Sauce Issue 38, 21-3-07

On the street Every Second Wednesday

Issue #38 21/03/07 - 03/04/07

THE ANGELS

Am I Ever Going To See Your Face Again?

BY TOM WILSON

The term “Oz Rock Legends” is thrown about quite a bit these days. But if there is one group that deserves to wear that label and stand alongside the likes of AC/DC and Midnight Oil, it’s The Angels. Ahead of their Tasmanian visit, I spoke with Chris Bailey about his memories of over thirty years of sex, drugs and rock ‘n’ roll ...

So what have you been up to today?

Today? I’m actually just recovering. The drummer from The Angels and myself play in another band called GANGgajang, and we did a couple of ‘Gang gigs on the weekend. Did one yesterday at a food and wine festival, so I got fairly out of it. So today, just kind of putting myself back together, [with] a few beers.

So not so much “food”, but “plenty of wine”, at this festival?

Yeah. Well it was free, you know? It was flowing like water.

Like you said [earlier], you probably can’t remember most of them. But the ones that you can remember, what are some of your best memories of playing in The Angels?

Oh, gee. Lots of good ones, [and] a few bad ones.

The whole story of The Angels really started in about ’76 … well, probably ’75, when they were signed to the spectacular Alberts label; that was the label that hosted Easybeats and AC/DC and Rose Tattoo and all those guys.

So Angels got a contract with them in ’75. I joined in ’76, and we toured for about four years on the bones of our arse; nothing happening. Then we got our first album out. “Face To Face” was in about 1978, and that went through the roof. And all of a sudden, we’d gone from fifty bucks a week to a reasonable wage.

We had a tax problem, put it that way. From that point on, the next couple of albums we released were pretty successful, and we were just touring Australia all the time, doing pretty good business. Then we got signed by an American label, CBS, and that started our international touring schedule.

We went to American about four times; toured across the States. Europe three times. And it was while touring there that we toured with The Kinks, which were just legend heroes to us, from the early ‘60s.

But apparently we were a bit too good – we got kicked off the tour halfway through! We were just getting better reactions.

In fact, there was an email that came in from an American just the other day to our Myspace site, and he said, “I remember you guys with The Kinks; The Kinks were OK, but you guys rocked!” So that was one of the highlights; you know, it was kind of a backhanded compliment – “You guys are too good – you’re going to have to go!”

“

... Bowie came to one of our gigs and picked us up and took us off to party ...

”

You can’t really argue with that. As bad as it must have been to be kicked off the tour, being kicked off saying, “You’re too good – you’re making us look bad!” That must have been some comfort.

Well, it was, except that it left us in the middle of America with a huge hole in our touring budget and no gigs to play, you know? Management were in a bit of a spin for a while there. And then when we toured Europe, we toured with Cheap Trick, who were just the most wonderful people, and the greatest people.

Touring France with Cheap Trick was certainly one of the highlights that I remember. Being in France was fairly romantic, and touring with Cheap Trick – they’re just such lovely guys. It was just spectacular; great gigs, and a great lifestyle, you know, for being on the road. Other great events? Playing with AC/DC on the Australian tour ... when was that? About 1981 I think ... AC/DC came out here, and we were on with them – that was spectacular. The David Bowie tour we did as well.

You toured with Bowie? Wow! Oh yeah. Fucking amazing. And there again – just a lovely guy ... You’re meeting your heroes, you know? And they turn out to be just these real nice guys. And, of course, Bowie’s show was just jawdropping – I had tears in my eyes, it was just so good ...

And that friendship lasted, actually, ‘cause when we were over in England, a year later, Bowie came to one of our gigs and picked us up and took us off to party ... Just a humbling, heartwarming relationship experience.

ONLINE: Chris tells us just how David Bowie parties, his feelings on Billy Thorpe’s passing, and his view on the state of Australian music.

THE EMBERS Publisher / Editor David Williams Graphic Design Simon Hancock

shancock@sauce.net.au

Editorial Tom Wilson

twilson@sauceonline.net

Contributors: Adam Ferguson, Ryan Farrington, Emma Dilemma, Nicky Wilson, Chris Rattray, Ryan Cooke, Ian Murtagh, Felix Blackler, Zadoc, Patrick Duke.

Jason Richards.

Deadlines Sauce #39, 4th - 17th April Adver tising Booking: 28/03/07 Adver tising Ar twork: 30/03/07 Gig Guide: 30/03/07 Editorial: 30/03/07

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

Contents 2

Rock Salt

3

Roots / Bangers & Mash

4

Bangers & Mash

6

Bangers & Mash / Hip-hop

7

CD Reviews

8-9

Gig Guide

10

Gig Reviews

11

Games / RNB / In Focus

14

Spotlight

15

Street Fashion / Toon / Travel

PAGE 2

Leo Bids Us Farewell

BY TOM WILSON

He’s the charismatic maestro of Latin sound, whose work with folkrock fusion troupe The Embers has helped establish the band as one of Tasmania’s musical treasures.

He’s Leo. But we have bad news.

He’s not going to be around Tassie much longer. In the lead-up to Leo’s final gig at Launceston’s Royal Oak on March 23rd, I spoke to him about where he’s going, and the memories he’ll be taking with him.

I understand you’re leaving Tasmania for Mexico. Why is this?

Well, I think it’s time to visit home for the first time after being here for more than 4 years. I am submitting my PhD thesis in the next couple of days. That means that finally I can afford the time to go.

What have you been studying while in Tasmania?

My research focused on seahorse culture; more precisely on the effect of environmental factors (i.e. temperature, light etc) on early juvenile seahorses.

At this stage, what are The Embers’ plans for after you leave?

They will be playing while I am away; so far what I know is that they are going to rearrange some of the songs.

Your heritage has had a clear influence on The Embers’ sound – to what extent do you think this will remain after you leave?

Well, I must say first that the band has given me a lot of musical experience. The input that I have contributed to the band will remain in the structure of the songs as with the other members’ contributions.

The sound that The Embers have created fuses many styles and instruments; I believe

that the fusion sound of the band will remain. However, it is clear that the parts executed with my instruments will sound “a little bit different” without my instruments.

What plans do you have to return?

After such a long time of not being home, and being under the hectic schedule that research imposes, I have decided to take it easy for at least a couple of months and see how things evolve.

What have been some of your most rewarding memories of your time in Tasmania, and why?

In terms of study, it has to be the opportunity of working with one of the most amazing fish in the best place in the world for it.

[Also] Meeting people of the caliber of the guys in the band; beautiful people like Liz, and friends for life like Mick Attard, who has become my Australian brother from a different mother.

In relation to music, the memories of playing at the Falls – with the crowd cheering, and [SAUCE designer] Simon almost killing himself while jumping the fence to take pics – are priceless.

What are your plans once you get to Mexico?

I will be visiting my dad and brother first, and then I will be traveling to the places I lived (which are a lot), staying with friends and probably busking (we don’t have government support money).

When and where will be your last performance with The Embers?

It will be the Friday 23rd of March at the Royal Oak Boatshed. The line up includes me playing solo, the Zach Lister Band and The Embers (five bucks at the door).

What can we expect from this show? Do you have anything special planned?

There will be some surprises. I am considering auctioning “The Bogan” (my car), which probably won’t make it to the day of the gig. But let’s see.

JOHN BUTLER

ROOTS

The Art Of The Song

BY DAVE WILLIAMS

To write is to embody creative thought and produce something out of nothing.

Sometimes it’s easy. Sometimes it’s not.

But hopefully, what is created is something to be proud of. I spoke to roots veteran John Butler about the method, the process, and the sweet “mumbling” of art.

I want to start talking about names, first of all. The name of your band – The John Butler Trio – some bands down here in Tasmania are also named [like that], such as the Zach Lister Band, Nathan Weldon and The Two Timers. One of the reasons they given as to why they’ve named them that, is so that just in case other members of the band leave, they’re not compelled to start a whole new band, and try to get that name out there. Was there any of that behind the reason to name your band The John Butler Trio?

Sure. It’s probably one of the biggest reasons, you know? ... Other than having a very strong drive of how I wanted my music to be, and, at the end of the day if need be, not compromise in it – I had a very strong vision of what I wanted my music to sound like. Especially a lot of up-and-coming bands – the moment things start going well, someone gets a bright idea and leaves. It happens all the time. The week that our album was released, “Three” – this is two albums ago – the bass player left, you know?

That would have been the end of the band if [it had

been called something else] ... And it’s the same, you know? People come and go for their own reasons, and that’s totally cool, but it doesn’t stop the mission or the music.

“

Every time I pick up a guitar, something is wanting to come out.

”

I’m sensing that you perhaps dominate the creative output of the band. Would that be a fair assessment?

I steer it. I don’t dominate it – I steer it. I mean, I write the songs, and I bring the music to the band, and then I ask them ... And then it’s open to them; to their interpretation, and then putting down the heart and soul into it. It’s really important that that happens, otherwise it wouldn’t be what it is. It takes something special to make something special – you can’t put anything average into that mix. You have to have people’s creativity and their love and their expression and their mojo, you know? Where they’re really, truly expressing themselves. So I definitely encourage that. And at the same time, if things are not going the way that I see for the song, then I’ll try and steer it in that direction ... It’s very easy to get

a good outcome for what I see for the songs. Not to mention that ... I will come to them with an idea, or a song, or a vision for a song. And ninety-ninepercent of the time, their interpretation, and what they instinctively do to the song, and what they would like to put in the song, makes the song better than I could ever dream.

Do you have a general process for writing new material? Do you find yourself writing lyrics and then matching tunes to the lyrics? Or is it around the other way? Or does it just depend on what comes out at the time?

Ah ... most of the time it’s driven from music; from the guitar or the banjo or whatever instrument I’m playing. The melody and the rhythm will come from that – usually in the form of mumbling; mumbling the lyrics. A perfect example would be “Company Sin” off our last album. And slowly, slowly, you kind of dust away the dust from the words, and you find that, when you dust this mumble away enough, there’s words underneath it ... I make the analogy that it’s like finding a bone in the ground. You see a bone, and you go, “Wow!” And you can either just rip that bone up and look at it and go, “Wow, that’s a bone!” Or you can go, “Maybe there’s a whole skeleton underneath!”

And you use your skill to kind of excavate it, and dust away all the soil around it; to try and extract the whole skeleton, the whole body of the piece, of the song. So sometimes, that mumbling is literally just half a bone sticking out of the ground, and you have to dust away all that mumbling, all that dust, all that soil, until what is underneath is actually a song, you

know? So you try to ... Actually, it’s something that Michelangelo said - “David was in the rock, and I just took away the pieces.” Sometimes it’s kind of like that with the music. When it’s happening good, what I’m aiming for is to just take away the pieces and leave the songs, you know?

It seems then that you write spontaneously, rather than sit down and make a plan, and go “next week, I’m writing songs”. To what extent is that correct?

That’s pretty correct, you know? I’m constantly writing music. Every time I pick up a guitar, something is wanting to come out. Sometimes it doesn’t come out; some times it’s just an idea, you know? Sometimes it takes years for that idea to fully come to fruition.

Other times it comes out in literally an hour.

But I’m always writing, and so, you kind of just let come out what comes out. And usually, what comes out is what’s going on inside me or around me, you know? ... The mood of the music and the tone of the music has a lot to do with that.

It seems like it’s partly a process of osmosis; like you’re absorbing unconsciously what’s going around, and then it seems to bubble up into your consciousness.

Beautiful! Lovely! [Laughs] Yeah, for sure. That’s definitely one aspect of it.

To listen to the full interview go to www.sauce.net. au/interviews.

FUNK D’VOID

Lap Dancing Opportunity Foiled!

BY TOM WILSON

“I am Sir Nose D’Voidoffunk/I have always been devoid of funk/I shall continue to be devoid of funk,” sang Parliament main man George Clinton on 1977’s seminal “Funkentelechy Vs. The Placebo Syndrome”. An album with a wild concept, it tells the LSD-inspired story of the conflict between the not-muchfun Sir D’Voidoffunk and his laugh-aminute nemesis Starchild (aka Clinton, who eventually triumphs in getting the old misery guts to feel that funk and shake his booty).

It’s no coincidence that Lars Sandberg has flipped Sir Nose’s handle around for his Funk D’Void alias, because he’s most definitely got the funk.

Much in demand as a DJ around the world, he’s a critically acclaimed producer as well, with three albums to date – 1997’s “Technoir”, 2001’s “Dos”, and 2003’s “Volume Freak” (all on Soma) – not to mention a string of killer singles and remixes, plus his more jazzier project as a member of the band Chaser.

His remix work is stellar; New Order, Kraftwerk, Underworld, Laurent Garnier and Kevin Saunderson have all asked for his unique take on their music, with a host of others to numerous to mention.

“

The Spanish mafia wanted an enormous pay-off

”

Having relocated to Barcelona since 1999, he has found a new base for inspiration; “It was a case of “don’t think about it, just do it”, and I haven’t regretted it,” he says of the move. “What are the plus points?” he continues. “The climate; the beach; palm trees; bars; clubs; architecture; girls in the summer; tapas; San Miguel on draft; Sonar; siestas; the laid back attitude; cheaper, bigger apartments; and a hundred parks.” Indeed, it seems the only thing he misses about his home town is the great clubs and cheese and onion pasties.

Another plus point of Barcelona almost turned out to be a certain type of gentleman’s nightspot. The

hot climate inflamed Lars’ blood – he almost ended up opening a lap dancing club. “I investigated it,” he says, “but the Spanish mafia wanted an enormous pay-off, and the whole situation was becoming really seedy. I was going to call it “Flaps In Your Lap”.”

Spanish lap dancing’s loss is your gain. Funk D’Void has proven to be a consistent player in today’s club scene and never fails to deliver powerful, emotional sessions wherever he plays.

Having started DJing in 1986 (Scottish DMC finalist 2 years in a row) he shows no sign of slowing down; he shows a hunger for music and interaction with international clubbing crowds that is unparalleled.

His recent collaborations with artists like Alexander Kowalski, Phil Kieran and Ken Ishii have seen him venture into a more edgy, raw, clubbier feel, and this has translated into his sets of late.

His new LP “Second Skin” promises a new arena for Lars to showcase his talents, as he is constantly looking for new sounds and inspiration – whilst never losing that visceral, emotional core to his music and performances.

Funk D’Void is going to make you freak.

PAGE 3

ANGELA MAISON

Angela Maison is one of Melbourne’s most respected musicians. As well as her DJing residencies at Melbourne institutions Honkeytonks and Revolver, she is also lead vocalist in the band Little Beasties which was formed in 2001 with another Melbourne DJ; Ant J Steep.

Their track “Digitise Me” was quickly snapped up by influential British label Music For Freaks, added to Pete Tongs “Essential Tunes” list and became a staple in the club sets of DJs such as Tiga, Derrick Carter, Andy Wetherall and Damian Lazarus to name but a few.

The Little Beasties were formed when Ant J Steep and Angela Maison met at Melbourne’s Madame Manners Mischief Management School shortly after the turn of the century.

After releasing their EP, a bunch of remixes followed for such labels as Odori (UK), Friendennen (Germany) and Tom Bone (France), that received play from DJs such as Tiefschwarz, Andy Weatherall and Damian Lazarus.

In late 2004, The Little Beasties made their live debut in front of 1200 people supporting Felix Da Housecat and in 2005 played live at Sydney’s Well Rolled and Bowled Mad Racket Partaay, Sydney’s Surry Hills Music festival in 2006, and the Modular Christmas party 2006 supporting New Young Pony Club.

They also played Good Vibrations Melbourne 2005 and supported Stacey Pullen at the infamous Mischief parties run by Future Entertainment. The Little Beasties have also played other Melbourne institutions such as Revolver, First Floor, The Esplanade Hotel and Honkytonks.

GIG GUIDE 21st Mar - 3rd Feb Friday 30th March

Saturday 31st March

The Angels Direct Influence

$20 Cover Supp Hannah 10pm PAGE 4

$8/5 Cover Supp Ill Technique 10pm

Republic Bar & Cafe

299 Elizabeth St North Hobart Ph. 6234 6954 www.republicbar.com

Wed

21st

Thu

22nd

Fri

23rd

Sat

24th

Sun

25th

Mon

26th

Tue

27th

Wed

28th

Thu

29th

Fri

30th

Sat

31st

Sun

1st

Mon

2nd

Tue

3rd

T i m D o w n e y 9pm T e c o m a & B a n d ( N . T ) $5 cover 9pm S u g a r t r a i n $3 cover 10pm B i a s B $14 cover 10pm V a r d o s $2 cover 8.30pm R e p u b l i c Q u i z N i g h t 8.15pm B l u e F l i e s 9pm R o r y M c l e o d $5 cover 9pm A c h t u n g B a b y U 2 t r i b u t e s h o w $7/$5 conc 9pm T h e A n g e l s $20 cover supp Hannah 10pm D i r e c t I n f l u e n c e $8/5 cover.supp Ill Technique 10pm F r i n g e F e s t i v a l Short Soup, Blind Billie Speed, Toe Cutters + Guests, Hammering The Cramps $5 8:00 PM

F r i n g e F e s t i v a l Open Mic 8:00 PM D a n i e l D i n n e n Supp. Adam Cousins

9:00 PM

Local HeroÕs Mycosonic (live) EllisD Pharma Psy Ham Menno M HaasEffect

+ Eye Candy Lighting Twisted Bush D cor Ali Cranker Art

Tickets $25 on the gate

Logsta Dwaine Dibley Corney RC Eye That Bob Guy Jay Boy

Banging Dance Floor for Exercise Market Area for Retail Therapy Healing Area Tee-Pee village Nocturnal Cinema Caf /Bar & Chill-Zone and moreÉ

Saturday 7th Sunday the 9th April Easter long weekend Bruny Island Southern Tasmania www.tasdoof.com

ychedelia Pe ople Music Art Dance Freedom!

Interstate Visitors Tetramethx (live) Ozzy One Army Al Diddy D.Dot

Living Breat hing Evolvi ng Celebrat ion of Ps

nses! all of your se perience for

Enjoyable Ex rtaining An te En g rin tu ur amic Safe N Vibrant Dyn

Fractal Main Arena with the Funktion 1 Sound system

FRIENDLY

CAPTAIN AHAB

HIP HOP

The Sounds Of Snakes On A Plane

BY TOM WILSON

Friendly is Andrew Kornweibel, a breaks producer and DJ originally from Australia, now holding down the breaks scene in East London. In reality, if you have witnessed a Friendly set of late, it’s hard to class Friendly as purely breaks. His mission statement is simply dirty and he mixes it up between breaks, electro house, bootlegs and oddities to create a bass heavy sweat fest. He seeks out the tracks that suit his sound, ignoring some of the big breaks tracks in favour of an ignored b-side that fits his set, creating his own distinctive sound. And if you’ve witnessed the crowd, you’ll know it’s working.

Friendly works very closely with Fat! Records and Fat head Paul Arnold. He’s a resident at Chew the Fat nights, with main room residency at the End nightclub in London, along with nights in Budapest, Brighton, Berlin, Slovenia and Barcelona, and one-off events around Europe. He’s also played at every shady dive and backroom in London, from Glade Festival and Ministry of Sound, through to disused toilets in Shorditch, at Cargo, The Key, the Bug Bar, Herbal, EC1, around the UK, US, China, Japan, Russia, across Europe and back to Australia numerous times.

He has had a string of releases on Fat! include Nobody, The Bump and Grind, Glottal Stomp, and more, all of which enjoyed major support and loving from across the board- Plumps, Freq Nasty, Krafty Kuts, Rennie Pilgrem, Stanton Warriors, Meat Katie, Annie Mac, Annie Nightingale, Zane Lowe, and outside the breaks spectrum to house and electro jocks such as Orbital, Sasha and James Zabelia.

GENERAL AND HEAVYWEIGHT COMBINE FOR Y4K LAUNCH

They’re an electronic music act influenced as much by ABBA as black metal kings Emperor, were featured on the so-bad-it-was-good cult movie “Snakes On A Plane”, and think all record labels are pussies. Am I the only one who likes these guys already? I think not. We spoke to them ahead of their upcoming Tasmanian gigs.

Your 2002 debut was called “pure smut” by Muzik magazine. To what extent was that a good representation of the band at that point?

That is not even a slightly good description. At this point in our careers we were neither pure nor were we smut. Nor were we a band. We were more of a birthday party set to music.

Do you think the Captain Ahab of today would be called the same thing?

We are still neither pure nor smut. We are tainted awesome, if anything. Maybe someone with as little business sense as Muzik Magazine had would still call us “pure smut”, but no one with a college education would use those words to describe us.

How has the Captain Ahab sound evolved in its lifespan?

First we made music that was awful. Then we did some research and bought some good gear.

Now we make music that fucking rules, asshole! We started out wanting to sound like Aphex Twin, then realised that was gay as dick, so [we] started making music that was fun and didn’t have all those damn triplets. Fuck triplets. No one can dance to triplets.

Your list of influences stretch from ABBA to Emperor, so it’s fairly clear that you draw upon many different sources. One that stood out for me, though, was John Zorn. What is it about his work that holds such appeal for you guys?

John Zorn got a McArthur fellowship. We want a McArthur fellowship. We figure fandom is the first place to start. We’re also big fans of Kevin Eggan.

He fucking rules.

Last year, you started your own label. Why did you decide to do this?

‘Cause all other labels are pussies and won’t put out the kind of music we like. You know, good music.

There’s a new trend; a new scene; an uprising in Los Angeles right now. All it needed was a name and an image. We call it “ravesploitation”. It is to rave music what “Shaft in Africa” is to black people; what “Emmanuelle in America” is to women; what La Boheme is to being an artist. We’re representing and co-opting rave culture and music as something other than it is, without telling the true story. Plus, we’re making it more violent and relevant. Starting a label was just the first step in ratifying our movement, in putting an official stamp on what is happening naturally in our city, our music, and our lives.

What kind of acts are on the label at this point?

Party bands. Dance bands. Harsh noise bands.

DJ GROTESQUE

Power electronic bands. Basically any DIY band with electronics and a “fuck you” attitude that doesn’t sound like yet another Peaches rip-off. Fuck that shit. Fuck it to death. We’ve got a good thing going on in Los Angeles. We’ve got noise and punk kids starting wrecking pits to club jams. It’s violent, it’s irresponsible, it’s techno in the guise of social upheaval.

One track featured online is “Snakes On The Brain”.

What’s the story behind this track? Is the reference as obvious as it seems to me?

Yes, it’s very obvious. It’s about having snakes on your brain. Coincidentally, it was chosen to be featured in the end credits of the New Line Cinema film, “Snakes on a Plane”. (We think it was because the titles rhyme – we don’t know. We haven’t seen any movies since “Whale Rider”, so we don’t really know how the movie business works anymore).

You’re playing in Hobart at the end of March. What impressions do you have of Tasmania?

That it’s fucking awesome. We’re incredibly excited to be going to Tasmania. Neither of us have ever been, but it’s always been a dream of sorts. We’re expecting people to go bat-shit crazy for our mad beatz. I mean, it’s Tasmania, right? If people don’t rock the fuck out, how will it live up to its name of “The Ibiza of bum-fuck nowhere”?

What are some good bands/artists to fuck to?

Ray Lynch, David Arkenstone, Paul Winter, Acoustic Alchemy. Those are the only artists we’ve ever listened to while fucking. Actually, those are the only artists we own any records by.

HIP HOP

The Abominable DJ

BY TOM WILSON

A hip-hop DJ with more musical endeavors than he knows what to do with – not to mention one of the coolest DJ handles in Tasmania – it’s clearly a busy life being DJ Grotesque. Still, he managed to spare a few minutes for a chat about his upcoming show with Bias B, the Obese Block Party, and what’s in his back pocket.

On the 31st of March, Klaus Hill and General Midi combine at Halo for the latest Y4K album launch.

While Klaus Hill is well known, having played here many times before, General Midi is less known, here anyway. Paul Crossman AKA General Midi has always managed to master a more level-crunching, dub-flavoured and bass-fuelled musical ride than his peers, and it is this that has earned him his fast-growing reputation as the source of a great night out when he’s at the controls, and as “the producer’s producer”.

Emerging from the backrooms of the Bristol Club scene, his slick DJ ability and an ear for a great tune have given him regular appearances at hotspots across the planet such as Fabric, Chew The Fat, Blow Pop, Sounds On Sundays (Sydney), Two Tribes (Australia), Zouk (Singapore), Budapest, all across the USA, Hungary, Spain, Serbia, China and Hong Kong. Teaming up with production partner Eelz, General Midi has been responsible for some of the most influential and genre defining tunes including “The Westoner” (‘99) “Daft Funk” (‘01) “Further” (‘03) and “You will Be Under” (‘03), “Entertainer” (‘04), “Bass Rockerz” (‘04) and ‘House of Funk’ (‘05).

Over the last few years General Midi’s singles have been released on some of the world’s best known and most respected breaks labels, including TCR (Rennie Pilgrims label) and Kilowatt (Hyper’s label). All of this has led to his debut artist album “Midi Style” released now on Distinct’ive Records.

PAGE 6

What have you been up to recently?

Working hard with the other Heads Of State boys getting our album finished up. It’s been a bit of an epic, but we’re just about done. I’ve also started a new residency at Curly’s Bar, so my weekends are pretty flat out!

What do you do outside of DJing?

What? There’s something other than DJing? In the odd moment when I’m not practicing, recording or playing I work at Ruffcut Records, which is pretty much the dream job for a DJ. What do you think makes a good hip-hop DJ? Basically the same things that make any DJ good: dedication, passion and a stack of practice. There are so many different directions a DJ can take these days – it’s crazy!

When I started, there was pretty much vinyl or CDs, but now you’ve got heaps of different digital options. DJing has changed a hell of a lot in the last few years. It’s a lot easier to get into, but it still takes a lot of time to develop real skills.

That’s the thing most beginners don’t get. You can’t just buy some gear and be playing in clubs the next week!

Who are some artists in your line of music that you look up to, and why?

How many pages have you got? There are so many artists around that I’ve got a lot of respect

for. Probably my favourite DJ to hear in a club is Dexter. He’s got great taste in music and doesn’t feel restricted by genres. As far as hip-hop DJs go, JRed is crazy to watch. His cuts are crazy and he really knows how to work a crowd. Funkoars put on a great live show – they’ve got so much presence on stage. There’s so much good music coming out at the moment!

What kind of process do you have when it comes to creating music?

I don’t really have any processes! If I’m making beats I just start with a sample and see where it goes. When I’m DJing it really depends what kind of crowd I’m playing to.

What would you normally be doing on a Saturday night?

Working! It’s a while since I’ve had a Saturday night off! I’d normally be playing at either Mobius or Curly’s. On top of that, I’ve quite often got Heads Of State or Dundee shows to do. It’s good to be busy!

What shows do you have lined up?

I’ve got a lot coming up in the next few months. As well as my weekly slots, I’m DJing for Dundee at the Bias B show on the 24th at the Republic, and then next month I’m DJing as well as performing with Heads Of State at the Obese Block Party. That’s going to be a massive night. It’ll be great to see all those acts again!

There’re also a few shows that’ll be announced soon that I’ll be at, so keep your eyes open!

What do you want to get accomplished this year?

As much as I can! The focus at the moment is finishing the Heads Of State album, but I’ve also just about finished a mixtape that’ll be kicking round soon. There’s other stuff coming, but you’ll just have to wait and see!

What’s in your pocket right now?

Just the usual stuff: a pickaxe, a spare pair of shoes, some rotten cauliflower and the cast from “Lost”.

TENACIOUS D

FOREIGN HEIGHTS

THE PICK OF DESTINY

SELF-TITLED

This album is a testament to what can happen when you don’t sell your soul to some yuppie jackass to pay the rent, while being as blunt as you can, in the best way you know how. In Tenacious D terms, that’s being as blunt as a turd in delivering the story of “The Pick of Destiny” and its journey through time in the hands of two immortals we now know as Jack “Suck My Hairy Sac” Black and Kyle “He’ll Kick Your Ass” Gass.

With friends Dave Grohl and Meat Loaf (among others) enlisted to fight off the evils of pretentious crap with their prodigious talent for not sucking, Tenacious D and friends spread the mighty message of The Pick through shit-kicking songs, laced with some of the funniest, yet absolutely relevant lyrics you’re likely to hear from any band that has ever been. Riddled with rock and roll riffs, awesome drums (from Grohl), piss-funny lyrics and such instant classics like “The Government Totally Sucks”, “Car Chase City” and “The Metal”, TD’s latest is a must-have for anyone with a working aural system.

My new goal in life is to make every one on Earth buy (not burn) this album/golden, parody-shaped nugget of bliss in the dag-riddled fur of everything that’s shit in this world; because Tenacious D rock ‘n’ mother f**king roll, and people who steal form this band deserve a demon-mayo facial.

Classico perfecto bitcho!

10/10 Review by Adam Ferguson

Foreign Heights consists of Maya Jupiter (Triple J radio), MC Trey and DJ Nick Toth (Aus tour DJ for a handful of national and international acts), and each being born in different countries with different upbringings, all members bring something individual to the group.

Various producers and MCs from all around the world feature on this flavoursome, old school album, including beatsmiths Kut Master Kurt (US), Mr Zux (Aus), P-Money (NZ), and MCs Mystro (UK), Eternia (Can) Murs (USA) among others, bringing together an interesting combination of chilled grooves, club beats and multi-cultural verses.

“The Feelin” is an energetic number, where Trey and Maya explain the excitement involved in touring a show, which rides side-by-side with a trademark, P-Money banger. The Nick Toth produced “Messin’ With My Flow” (that sounds suspiciously like a certain J5 joint) is a track detailing the pain of those days where nothing goes as planned, featuring a fine verse from raw Canadian rapper Eternia.

Although the album isn’t the most technically astounding release, it’s got a certain old school flavour that keeps you interested, and has so many well-picked collaborations that there’s something here for everyone.

Review By Ryan Farrington

THE SHINS

5/10 Review by Adam Ferguson

THE GOOD, THE BAD AND THE QUEEN SELF-TITLED On the cover of this disc is a sticker that reads “Damon Albarn has pulled it off again”. Of course, this can be taken both ways, and both are correct. If the quote is suggesting that Albarn may have faffed about with a few mates and created some half-arsed rubbish that he can exploit his fan base with, then it could be right. If the quote is suggesting that he’s had a wank at our expense, then that could be right also!

You can hardly blame him though. If the rest of the world can lower their musical standards and allow every Average Joe to become a pop idol, or every stoned surfer sitting around a campfire playing 12bar to have a solid career in roots music, then why shouldn’t Mr Albarn stop trying? Keep up the good work, I say. You’ve had a good crack at it, now enjoy your golden years.

I’m only being as harsh as I am disappointed. I have been a huge fan of Albarn’s since 1991 with the release of the first Blur album. This is just pap! I tried to listen out for the good songs; I tried to pick the singles. But I couldn’t find any. There were two tracks that almost reached me, but I’ll need another three or four listens for them to grow on me. The entire album sounds just like Blur’s last big hit “Out Of Time” – a sweet enough song buried in home-recording-level production.

3/10 Review By Carl Fidler

CHARMS OF THE CITADEL

HINDER EXTREME BEHAVIOR If you’ve heard the expression “pretentious cockrock” before, and you don’t exactly know what it means, go buy this thirty bucks’ worth of drinkcoaster and find out. That will be the only context in which I’ll ever recommend this musical (misspelled) contradiction-in-terms to anyone, anywhere, for the rest of time.

The title might make one think they’re going to hear some metal or, at the least, hardcore rock; “Extreme Behavio(u)r”?… The only thing extreme to come of this is the extreme attack of belly-laughs you’ll get from hearing lyrics – set to mass-produced lame rock – like (on first track), “Let’s go home, get stoned, we could end up making love instead of misery”. Or, “I try to remember to forget you, but I break down every time I do”; (third track) “…I thought that this was over, but then you called to say you forgot that broach of your mothers’”, and skip to the final track; “before I hung up the phone, all I could hear was the dial tone ring in my ear”. [Extended personal attack on the lyricist removed – Tom] Every song on this pile is – lyrically – a whiney rant about some super-intelligent, super-hot woman who had the infinite wisdom to leave whichever tool wrote this shit, and break his extremely un-extreme heart.

Musically, this album can only be described as a blatant rip-off of all those other God-fearing, cockrocking bands like Nickelback, Staind, Creed and so forth; it’s just one big self-righteous low-point.

Review by Adam Ferguson

My word – the market is loaded with over-hyped albums, that you think are the next big thing when actually they’re just OK. The Shins’ new offering is one of those albums.

ROBBERS AND COWARDS

What I like about this album is the variation of sound and arrangement throughout. If you compare the first track “We Used to Vacation”, a piano-laced story of an alcoholic father accompanied by basic rock percussion and bass, to the shuffling marching band-like drums, lightly played chords and softly spoken lyrics on the seventh track “Robbers”, the variations are plain to see. The album doesn’t rely on a set formula to get it over. There are a myriad of different blends of music from one track to the next which makes it very hard to get bored of; which is what – to me – sets a good indie rock album apart from an okay one.

“Robbers and Cowards” is a sweet introduction to the music of CWK. It is indie rock with elements of Jeff Buckley-like post-modern folk, Fiona Apple arrangements in parts with Radiohead-like vocals and instrumentals thrown in, minus the feeling of obligation to hunt their singer down and put him out of his misery.

FALL OUT BOY INFINITY ON HIGH How does anyone like this music? Fall Out Boy have had a huge following in the States for years now, and now, all of a sudden, Australia seems to give a shit (they must, as they sold out a full tour only last week).

I can’t directly tell you this band is shit, as then I and SAUCE can get sued, but I can tell you that this album is the worst thing I’ve ever heard! Since when did big song titles play such a major part of “scene” music? In the Myspace era, it seems that bands have discovered commas, and as a result, song titles have gotten longer than Meat Loaf ever dreamed possible.

“This Ain’t a Scene, It’s an Arms Race” and “I’m like a Lawyer with the Way I’m Always Trying to Get You off” are prime examples of having far too much time on their hands. I think you get the point.

The only song I can barely stand is the mega hit “Dance Dace”, which I’m sure you’ve all heard on every FM radio station in the past couple of months.

Please say “no” to Fall Out Boy and their teenage girl fans, and if you really have to buy this album, please only do it for the artwork, as it’s the only decent thing about the whole album.

1/10

8/10 Review by Adam Ferguson

THE USED

THE RETURN TO FORM BLACK MAGIK PARTY

REBIRTH CD/DVD

Listening to this is like hearing bubblegum-pop, glam-rock, psychedelic-hippie-groove, The Doors, Pixies, Waylon Jennings and more, all at once; all rolled into the unique packaging that is UK tripper, Pop Levi. Starting off with “Sugar Assault Me Now”, a rollicking drum and fuzzy bass-driven pop-rock song that gets your toes tapping from the opening bar, “The Return To Form…” takes you on a journey back in time, yet is so modern you could even call it futuristic.

After the contemplative, riverbed roots turn taken on “Crying Chic”, Pop goes sugar-coated with the infectious, bopping tune “Pick-Me-Up Uppercut”, and then takes a turn fronting The Doors with his multitracked high-pitched vocals on “Dollar Bill Rock”.

Like a split personality, he then channels classic 70’s heavy rock on “Mournin’ Light”, then goes down and dirty on the country-like “Hades’ Lady”.

Mortar covers the production duties for most of the album (apart from a little help from Bios, Dazastah and Optimus) so the beats are very sample-heavy and capture a real unique, mystical vibe, but the drums are pretty weak and the bass lines sound messy.

The majority of the tracks produce mental images of old, mythical Japanese warfare and B-grade horror movie scenes, whilst others tracks are simply just venomous, verbal massacres targeted at whack MCs. Although Clandestien’s flows are all pretty basic and very sloppy, the intelligent lyrics make up for that, with phrases like “We’re makin’ it, the underground signs on the dotted line with an alias”.

Another interesting feature is that unless these guys cleared all of these very well-known samples (which I doubt they have) scattered throughout the entire CD, those publishing companies are gonna have a field day on this album.

But it’s not important to Clandestein – they just want to release good music, no matter what the cost.

The whole dark thing doesn’t usually do anything for me, but the sheer wit contained in these lyrics is pure genius and I can live with the substandard drums.

All in all though, I enjoyed it on a raw level, and even though I don’t think it was solely directed at them, I can see that the rough heads are gonna absolutely love this.

7/10 Review By Ryan Farrington

XZIBIT FULL CIRCLE When it comes to gangster rappers, Xzibit has always been a favourite of mine, from his trademark, wheezy-voice to his smooth rhyming patterns that barely ever miss a beat, and eleven years on from his first release, Xzibit’s new album displays a refreshing consistency and maturity suiting the title ‘Full Circle’.

Something else that gives Xzibit the edge that most other gangster rappers fail to attain is his ability to choose beats that really suit his style. He’s not a double-time rapper, so he doesn’t pick fast beats.

He doesn’t try to be something he’s not.

The majority of the head-nod factor of this album is attributed to the thumpin’ beats and lazy, outof-time melodies supplied by the multitalented Jelly Roll.

POP LEVI Pop Levi might sound like a fashion in interior design, but is the name of “one strange cat” who either had extremely cool parents, or had a really shit name like Harold Wimplesteiner and felt the need for a change.

If there’s a Harold Wimplesteiner reading this and you’re offended … you should be! Your name is crap and you should change it, you poor bastard.

Perth hip-hop trio Clandestien have always been known for their mixture of hauntingly melodic beats and overly depressing, anti-social lyrics, and you can certainly expect to hear those traits and more from their new album “Charms of the Citadel”.

It’s just a shame more time wasn’t spent on perfecting the overall production.

COLD WAR KIDS Having never heard of Cold War Kids before I got a hold of this album, I was skeptical – as anyone is with anything they don’t know about – as to whether or not it was just another musical disappointment (see “Hinder” review). When something turns out to be cool when you think it might be shithouse, when you have low expectations to begin with, makes it all the better. This album is solid from start to finish.

CLANDESTIEN

Review by Adam Ferguson

Minus 5/10

WINCING THE NIGHT AWAY

The Shins offer a very laid back style of music; melodic and free-flowing, with whimsical lyrics and a style obviously influenced by the greats of the sixties (The Beatles etc.), evident on tracks like “Phantom Limb” and “Red Rabbit” that are – again – OK without being great. I did enjoy the mix of their style with the use of synth samples on “Split Needles”, which helped me wince my night away in a calm, sedated fashion. My favourite song, and the only one that I can see getting any quality air-time on commercial radio, is the infectious “Sea Legs” – another melodic tune, this time set to a looped hip-hop style drum beat which offsets the fuzzy guitar melody to a pleasing degree, reminding me of the song “Pain Killer” by Turin Breaks.

8.5/10

Foreign Heights, three of Aus hip-hop’s most lighthearted and good characters, have developed a diverse, educational style of music over years of workshopping together, and have recently released that rare vibe into the world with their debut, self-titled album.

7/10

Reading the press release for “Wincing the Night Away” and then listening to the album can be compared to expecting char-grilled crayfish and receiving poached salmon instead. It is a decent pop album, but is nothing overly special. After appearing on the soundtrack for Zach Braff’s 2004 film “Garden State”, with the song “New Slang”, the band gained more popularity in The States and are headed for big things if they can impress the U.S market.

It’s great to hear original indie music that doesn’t over analyse the world and take itself too seriously.

“The Return To Form…” is bottled California sunshine produced for the dour UK market.

It’s 2007 and the kings of emo, The Used, are back with a live CD/DVD package to keep fans happy until their long awaited new album is out in April or May, followed by an Australian tour in late May. A lot of people hold The Used responsible for this whole emo wave that hit Australia only a few years ago now and this DVD shows you why. In the eyes of their fans they can’t do anything wrong.

The live CD doesn’t impress me much at all, because, let’s face it, I just don’t like live albums.

But the DVD is something else. Just watching them sends chills down your spine, wishing you were there and witnessing it in person. The setlist centres more around their last album “In Love and Death”, but still has all your classics like “A Box Full of Sharp Objects”, “The Taste of Ink” and their first hit “Maybe Memories”. The only highlight for me from the CD is the brand new track which is included and gives you a taste of what is to come in the future.

Love them or hate them, you need to watch this and see the kings do what they do best, and see how high they still set the bar.

7/10

On the reflective track ‘Thank You’, X gets deep in connecting with his fans, thanking them for his success and coincidently has an eerily familiar vibe that reminds me of the track that ultimately made Xzibit’s career, his 1996 record ‘Paparazzi’.

‘Family Values’ is a J-Dubs banger, with necksnapping drums and well-sequenced strings samples, on which X eludes to (or atleast the concept of) settling down with a good woman, which is quite an unusual concept coming from this man. But hey, he is thirty-three, could X to the Z be goin’ soft?....nah!.

There’s a pretty dope track called ‘Black & Brown’ ft. Jelly Roll, which details X’s philosophy on why African American and Hispanic men account for 80% of inmates in America, and overall racial injustices still going on in America.

Certainly a worthwhile choice if you’re looking for some good gangster rap that may have lost its grime but hasn’t lost its punch.

9/10 Review By Ryan Farrington

Review By Ryan Cooke

PAGE 7

GIG GUIDE | 21ST MARCH - 4TH APRIL

1800 043 080 www.skydivetasmania.com.au Bias B @ 10pm

WEDNESDAY 21ST HOBART Republic Bar & Cafe Tim Downey @ 9pm Syrup 10pm Til Late Late Night Booty Call With Djs Mez, Chilli & Dave Webber

Trout ABC Weapons + Transtiction + Traitor + Thy Plague

Republic Bar & Cafe The Angels + Hanna @ 10pm

LAUNCESTON

LAUNCESTON

Syrup 7pm - Ko! - Chunks Of Funk With Resident Djs Mez & Chilli. 11pm - Boogie - 70s & 80s Funk!

With Djs Duncan & Nick C + Upstairs From 11pm Funk D’Void (Spain) + Adam Turner & Gillie

Saloon Uni Night – DJ playing commercial music and Karaoke in the Loft. Doors open 9.30pm.

THURSDAY 22ND BURNIE Stage Door The Cafe Jazz Club ‘07 – Viktor Zappner Trio, Michael Woods & Andy Dennis @ 8.00pm

HOBART Irish Murphy’s Amy Kendall + Micheal Clennett + Stratified

Royal Oak Idle Hands

Irish Murphy’s Sambo

James Hotel Glenn Moorhouse + Dj MacD + Dj Nikko Saloon Flashback Disco

SATURDAY 31ST BURNIE

James Hotel HO Club

TUESDAY 27TH HOBART

Stage Door The Cafe Nathan Wheldon & the Two Timers @ 7.30pm

Irish Murphy’s Mikey & Pete

Halo GENERAL MIDI(UK) + KLAUS HILL(SYD)

HOBART

Royal Oak Leo in the bar

Republic Bar & Cafe Blue Flies @ 9pm

Irish Murphy’s Tim Davies + Forgetful Jones

James Hotel UniNight - Sgt Green + DJ Nikko

WEDNESDAY 28TH HOBART

Republic Bar & Cafe Direct Influence + Ill Technique @ 10pm

Irish Murphy’s Running with Scissors

Curly’s Bar Beatrix Bae Bouwman @ 9pm Trumps @10pm Unleash The Nugget @ 11pm

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

Trout ...Of The Night + Daysworth Fighting + Halfmast + The Belchers

LAUNCESTON

Republic Bar & Cafe Sugartrain @ 10pm

Royal Oak Open Mic Night in the Bar (contact the Oak to register to perform)

Syrup 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’: Gillie, Discotouch & Guests Trout Charles Du Cane + The VC’s

LAUNCESTON Royal Oak Ben Castles in the Bar – The Embers (Leo’s farewell) in the Boatshed @ 9pm James Hotel Leigh Ratcliffe + Dj MacD + Dj Nikko

LAUNCESTON Batman Fawkner Inn The Angels

Saloon Legendary Uni Night – DJ playing commercial music and Karaoke in the Loft. Doors open 9.30pm.

Royal Oak The Titz James Hotel Tash + Dj MacD + Dj Nikko

THURSDAY 29TH BURNIE

Saloon Ethel The Frog

Stage Door The Cafe Jazz Club ‘07 – Viktor Zappner Trio, featuring Doug Sheehan @ 8.00pm

SUNDAY 1ST APRIL HOBART

DOVER Dover Hotel The Angels

Brookfield Vineyard Kevin Burke + Ged Foley @ 8:00 PM

MONDAY 2ND HOBART

Syrup 8pm Till Late – Mesh - Breaks & Drum’n’bass with Djs Mez, Model T & Chilli

SATURDAY 24TH BURNIE Stage Door The Cafe Melbourne’s Leigh Barker Quintet @ 8.00pm

HOBART Curly’s Bar Commercial Dance - JimK, D2M, ABS, DJ Grotesque, Samex Halo Angela Maison (Honkytonks - Melb)

LAUNCESTON

LAUNCESTON Royal Oak Rueben Ellenberger in the Bar

James Hotel HO Club

James Hotel UniNight – 3Sum + Dj Nikko

TUESDAY 3RD HOBART

BURNIE Stage Door The Cafe 254 Mount St Upper BURNIE 64322600

Republic Bar & Cafe Daniel Dinnen. Supp. Adam Cousins @ 9:00

FRIDAY 30TH BURNIE

AT BARRATTS

Jordin Electic Guitar & Amp Pack

MAPEX QR SERIES How’s this for value!

Fabulous Mapex drumkits.

Super hardware.

Includes Crash, Hats & Ride cymbals, only a couple left at $1149.

(Price going up to $1249 soon)

D

USE

WEDNESDAY 4TH HOBART

Barratts have one only, used

Maton Messiah Acoustic / Electric 12 string guitar You wont see many of these around

$2499

(some quality is a bit more expensive)

- Great electric guitar - 15Watt Amplifier - Heaps of accessories

A Real Fender Stratocaster With 3 Single Coil Pickups Plays & Sounds Great

Only $199

FENDER DG-4

Barratts have a huge range of great books in stock.

Tutor books, play-along books with CDs & DVDs, checkout Wolfmother or The Guitar White Pages.

NEW LOWER PRICES ON GUITAR STRINGS

FENDER SQUIER BULLET STRAT

$299

Dean Markley Acoustic $14.95 Dean Markley Electric $10.95 D’Addario Acoustic $12.99 D’Addario Electric $9.99

BARRATTS MUSIC 6331 9355 1800 066 741 FAX: 6334 1743

(One pot per pizza) 23 LAWRENCE ST. L’TON - 6331 3891

Republic Bar & Cafe The Big Low Dan Tuffy @ 9:00 PM

E QUALITY ISN’T EXPENSIV

10

$

Republic Bar & Cafe FRINGE FESTIVAL – Open Mic @ 8:00 PM

Stage Door The Cafe Gaye Clarke + The Troubadour @ 7.00pm

Irish Murphy’s Tim Davies + Dr Fink Republic Bar & Cafe

Pizza & Beer

Republic Bar & Café FRINGE FESTIVAL – Short Soup, Blind Billie Speed, Toe Cutters + Guests, Hammering The Cramps @ 8:00 PM

Irish Murphy’s Cait Vertigan + Eva + Hannah Republic Bar & Cafe Achtung Baby U2 tribute show @ 9pm

MARGATE

GUNNERS ARMS

Lewisham Tavern The Angels

HOBART

Saloon Dance Night - Karaoke on early from 10.00pm

What a great guitar - Acoustic / Electric - Terrific Tone - Dreadnought with cutaway $359

Syrup 10pm - Tackyland - 70s, 80s, 90s Dance Classics! With Naughts & Billy Bob + Upstairs 11pm Till 6am Dirty F’king Dancing; House, Electro & Breaks With Resident Djs: Adam Turner, Gillie, Dsko & Kir

Republic Bar & Cafe Rory Mcleod @ 9pm

Irish Murphy’s Joel + Johnny & The Smashers

2 Cameron St Launceston PH: 6331 2555

Commercial Hotel ...Of The Night + Daysworth Fighting + The Belchers + Halfmast

SUNDAY 25TH HOBART

MONDAY 26TH LAUNCESTON

FRIDAY 23RD HOBART

Professional Service At Reasonable Rates

LAUNCESTON

Saloon RNB Superclub – MC Rudeboy + DJ Lilo

Syrup 8pm Till Late – Mesh - Breaks & Drum’n’bass with Djs Mez, Model T & Chilli

LAUNCESTON

Civil & Criminal Law

James Hotel Glenn Moorhouse + Dj MacD + Dj Nikko

Republic Bar & Cafe Vardos @ 8.30pm

UTAS RAW Comedy – HOBART and state final

Irish Murphy’s Loco + Johnny & The Smashers

Royal Oak Black ‘n’ Blues in the boatshed

Republic Bar & Cafe Tecoma & Band (N.T) @ 9pm

Trout The EC4 + The Que

BARRISTER / SOLICITOR

Curly’s Bar Crytearia & Tempest @ 9pm, Pilot Beats @ 10pm, Spreckenstein @ 10:35pm, Captain Ahab (USA) @ 11pm

Syrup 10pm – Tackyland - 70s, 80s, 90s Dance Classics! With Naughts & Billy Bob + Upstairs 11pm Till 6am Dirty F’king Dancing – House, Electro & Breaks, with Resident Djs: Adam Turner, Gillie, Timo & Modal

Curly’s Bar Ethel The Frog

James Kitto

HOBART

104 George St, Launceston

EMAIL: help@barrattsmusic.com.au

HOBART Cur ly’s Bar 112 Mur ray St HOBART 6234 5112 www.curlysbar.com.au

Halo 37a Elizabeth St Mall HOBART 6234 6669

Raincheck Lounge 392-394 Elizabeth Street Nor th HOBART 6234 5975 Republic Bar 299 Elizabeth St Nor th HOBART 6234 6954 www.republicbar.com Do you need a flexible payment option?

Pay a reasonable deposit and tell us what you want to pay per month! Most reasonable offers are accepted! · No finance companies · No hidden costs · No excessive penalties · The advertised price is the total you pay!

(Some specials not available on Flexi-Pay) “WHAT SUITS YOU?”

Syrup 1st Floor 39 Salamanca Place HOBART 6224 8249 Trout 3 8 1 E l i z a b e t h S t re e t HOBART 6236 9777

N O RT H

LAUNCESTON Gunner s Ar ms Bar & Bistro 23 Lawrence St LAUNCESTON 6331 3891 Royal Oak 14 Brisbane St LAUNCESTON 6331 5346 Saloon 191 Charles Street LAUNCESTON www.saloon.com.au 6331 7355

MS Fest 2007

The Gin Club + Andy Morris + The Drybones

Devil Rock Four

INVERESK SHOWGROUNDS – 11/3/07

JAMES HOTEL – 16/3/07

By Adam Ferguson

ROYAL OAK – 9/3/07

By Tom Wilson

By Kevin Gleeson

GIG REVIEWS LTJ Bukem and MC Conrad HALO – 7/3/07

By Felix Blackler

On St Patty’s Day eve I thought that there would have been a decent turn-out. However, there were only a few paying customers, plus the two acts and their sound engineer at the James. It was another poor crowd for what was another good show.

PHOTO BY XACALLFORBLOODX PHOTOGRAPHY When a festival draws to a close, and the last band walks off-stage, the crowd turns and fades into the night, taking with them ringing ears and, hopefully, some damn good memories. I did, and, in the wake of MS FEST 2007, let me share them: On entry, I was presented with a knapsack full of anti-drinking propaganda. This would go on to prove its worth in the festival’s mosh pits; no matter who landed on my back, that thing stayed on. On stage, This Future ... Chaos made the most of their early slot. They sounded great, and it’s good to hear their new material moving into a heavier, more brutal direction.

The first mainland band of the day, Mammal’s lead singer came on like Peter Garrett crossed with Priscilla. Clearly not willing to play in front of a complacent crowd, he leaped into the mosh and roamed through the grounds, coaxing people onto their feet; a flock of followers gathering behind him as he led them like the Pied Piper of rock.

Starting off slowly with a moody ballad, and having sound quality that was way better than the previous week, Andy and TDB’s – which consists of three Gin Club members – kicked off the gig to the empty room … they didn’t really seem to care. Elements of folk and blues flowed through their set, which also had a distinct country vibe about it. Building speed as they went, I witnessed one of the best guitar solos I’ve seen in their last song by GC keyboardist/guitarist Ben, and I was left charged for the main act.

Hearing The Gin Club for the first time, I was impressed by their sound. They were much like the first act, as in owning a folk and roots vibe, but had a different feel, with a heavier guitar sound and three-pronged vocal harmony, with a floating ambiance added by keys and a crystal-clear cello backing. They have the added dynamic of the ability to swap instruments, like accordion and harmonica for their guitars, and also trade places at different times through a set, which – to my surprise – their drummer and lead singer/guitarist did halfway through.

I had driven past the Royal Oak the day before this gig and noticed that Devil Rock Four were due to play on Friday night. Cool. I had seen them once before and enjoyed the gig, so decided that Friday night would see me in the Oak, hopefully managing to catch most of DRF before heading to Lonnies to see the MS Fest playoffs as well – me being a greedy sod and wanting to see everything that was on this weekend.

I called in at the Oak in the afternoon on my way home, and the band was setting up while I had a cooling ale. There was a hell of a lot of gear going in for a fairly small room. Hmm, this could be noisy.

However, later that night, the sound level was spot on. They are a heavy rock outfit, so it was never going to be quiet, but they had it controlled and not ear-splitting.

I’m going to have to admit that I am great fan of this style of music, so it would be hard for me to not like this gig. With their Tasmanian roots, it’s also hard not to compare them to two other TasmanianMelbourne exports, Mustang and the Styles. Hard, driving rock, great solid riffs and vocals with a slight twang to them that would be almost country if you slowed it all down and played with less attitude. But, thankfully, they didn’t do that.

It was an exciting night for drum and bass at Halo with the return of favourites LTJ Bukem and MC Conrad, jamming in destinations across the globe as part of their “The 13 Years of Good Looking – Unlucky For Some” World Tour.

Words were flying around as I arrived, with the dedicated only pondering what Bukem would have in store on this visit. Warming up the floor was Tassie’s main player in the DnB scene, Model T, who got the crowd in a frenzied hype, dropping some fast melodic tunes which got me into the vibe, with the likes of a top track called “Missing Links”. Contently waiting in the shadows and enjoying the support, Bukem and Conrad were ready to pounce; preparing their bags of treats and passing cheeky glimpses to the wandering eyes that met them.

A fantastic set came afterwards that showed a heavy, yet moving, stack of atmospheric drum and bass with pure substance. Conrad’s vocally charged rhymes over the top created a stunning finish to the overall sound as these guys effortlessly fed off each others’ talents. Eyes closed and swaying in a gentle groove, it was easy to be taken away by the quality these guys produced, who work together better than vegemite on toast. Some agreement from the dedicated, Bukem and Conrad were performing at their best, and with a nice lead up from Model T, at the end of the night...I guess we were the lucky ones!

Kudos to The James for continually bringing great original music to Launceston, I hope you continue to do so; the fickle local crowds are bound to come around eventually.

Sounds all a bit gushy doesn’t it? But I do enjoy the band, and I couldn’t fault them that night. However, I did leave early to go and check Modus and the Scientists of Modern Music. Someone give me a Music Tardis so I can get to all the gigs in one night when they conflict!

Mason

JDS

Augie March

SYRUP – 9/3/07

HALO 9/3/07

REPUBLIC BAR & CAFÉ – 17/3/07

By Felix Blackler

By Felix Blackler

By Ian Murtagh

There’s only one band I know who can cover Led Zeppelin’s “Whole Lotta Love” and Snoop Dogg’s “Drop It Like It’s Hot” back-to-back and get away with it. There’s only one band I know who can let their cello player play an utterly haunting solo in front of a crowd of mostly teenagers hip-hop fans without anyone losing interest. There’s only one True Live. All hail.

Festival veterans Spiderbait oozed confidence and charisma, not to mention a hell of a sense of humour. “We fucking rule this place,” Kram shouted.

The crowd didn’t disagree. “We take great pleasure in driving the rich people on the hill absolutely insane!” They hammered through a set of their tried-and-true material - “Buy Me A Pony” sending a stream of punters over the barricade. After a wellaimed toilet roll flew over his drum kit, Kram asked who in the audience would like to take bassist Janet home (given the crowd’s response, I’m surprised she didn’t blush). Then, after a blistering “Black Betty”, Kram stood, hurled his bass drum onto the stage and left without another word. Awesome.

Nu-metallers Karnivool came on like a shot of adrenaline; their front-man looking almost illegally cool as the mosh pit exploded with a level of energy not topped for the rest of the festival; sending even yours truly sailing over a sea of heads. Top stuff.

As MC for the major acts, Channel [V] and “Fat Pizza” veteran Jabba did a fine job revving the crowd for those practitioners of FIGJAM, Butterfingers. After a set of some very naughty songs, their new drummer leaped over his kit and jumped onto the singer for a thorough man-cuddle; a touching display of homoeroticism to commemorate his first ever gig.

It’s always good when grandeur is sabotaged by humour. Awash in some incredibly majestic lighting, Pete Murray looked mesmerising on stage ... that is, until a “yellow balloon” flew past him, making his eyes quite wide. “Was that a condom?” he asked, smiling. Yes, Pete, it was.

After a lengthy sound check, Silverchair graced the stage – Paulmac joining them behind the keys wearing a hard-hat (“dressed as one of the Village People”, Dan explained). Though their set was dominated by “Diorama” and “Young Modern”, they rewarded a crowd screaming for their early material with “The Door” and, of course, “Freak”. It’s always good to see a high profile band actually have fun on stage; Daniel Johns asking, “does anyone have any pot?” as he whiffed the prerequisite festival weed plume. And, were I in bassist Chris’ shoes, I’d be pretty humbled by an entire festival singing me “Happy Birthday”.

PAGE 10

When Mason from Holland was coming to Syrup, I conjured up images of pumping German electro complimented by hot blonde women with cigars and pancakes, spliffs and flapjacks. But, as the event rolled in, I realised this wasn’t to be a night for stereotypes.

Mason, a classically trained musician, shot to huge success thanks to a tidy little number he wrote in his kitchen called “Exceeder”, which found its way into the box of many big name house DJs. Influenced by many styles, Mason was keen to show the depth of this talents, and not be pigeonholed into the house of today, which is heard in many a club, and that “Exceeder” sits annoyingly so well against.

As promised, Mason delivered a jumpy set of electro that explored many levels. From almost a minimal progression, Syrup was warming to the difference Mason had on offer, whilst still hard enough to shake yourself stupid until dawn.

A smaller but energetic crowd lapped up the resonating bass lines, and weaved between experimental synths before Mason played a few more well known tracks to keep everyone happy.

Punchy jabs held the end of his set together nicely, and to almost to stick it to the crowd, Mason played a Run DMC remix to finish his night off – clearly not what one would expect from this guy! Great to see such a rising star of electro in Hobart. And, with hidden embarrassment, next time, I will remember to reserve my judgment till the end!

Usually a “who” question followed by “Ah, the Purple Funky Monkey” [What? – Tom], JDS have massive respect from punters and DJs alike. One part of the Julian Darren Soundsystem (JDS … like, duh!), Darren Pearce is a man who is gracious, humble and a true pleasure to have gracing the decks at Halo for his first visit to Hobart.

To mark the occasion in high-class manner, the lineup for the night was exceptional; a fine introductory warm up from WBalls before Halo’s elusive breaks fly-on-the -wall Smithmonger came to the party. Smithmonger is truly fantastic to watch, playing some of my breakbeat favourites to exploring something different, like a killer remix of House of Pain’s “Jump Around”.

Darren jumped to the decks with the eerie excitement of a kid in a candy store; but this was a grown man, and his candy was the willing ears of Halo’s breakbeat fans.

Tracks of their last album were thrown down with such passion that, I swear, more than just the beats were going to be breaking; slapping us with the likes of “Discorockers”, “Blackout” and, oh yes, that “Purple Funky Monkey” [Ah, I see – Tom].

JDS held the crowd in a solid frenzy, building to pandemonium as the fader was moved with his finger as if in a tango of love. Not just a great performance by JDS, but by all.

Breaks is well and truly alive, and I think it’s fair to say that it’s in safe hands.

I’m totally stoked we get JJJ’s Hottest 100 winner so soon after Australia Day, and I would say the crowd concurs. I really dig the song that won, but I have to say, it makes me think of Natalie Imbruglia’s “That Day” in that way; there are far too many words in the song, but it really works. The lads are on fire tonight, drunk from the sensation of the clouds parting for them. I believe their song “There Is No Such Place” is on the cusp of joining songs like “Better Be Home Soon” in the pantheon of ballads that deserve to be classic. He sang it so beautifully tonight that you get the idea that he might realise that one day.

Last time they called in on the isle, I called them a gypsy band of rogues because there was a certain camaraderie and it seemed the most fitting. Their punch lines had not grown tired. Their presence on stage this time round is odd; the vibe’s a bit wacky and seems to fit them like a coat you really like but shouldn’t wear because it’s just too big.

I feel his frustration as an artist, and I reckon it lies in his complete unapproachable-ness; when he plays you cannot connect with him as he stands alone among his peers, staring into the middle of the crowd. His mind is full of insight and beautiful poetry, but he comes across as awkward and misunderstood.

The Augie’s have been marching around for such a long time (think Powderfinger), that their crew is fine-tuned to what the front guy’s doing. It’s a shame that the rest of the audience isn’t in on the private joke. They’ve spent their fair share of time in the valley paying their dues, so while most have only just heard of them and were probably only there to sing along to “One Crowded Hour”, they deserve their day in the sun.

MC RUDEBOY

Rude RNB

BY TOM WILSON

RNB He’s an RnB MC who’s been known to pour alcohol into people’s mouths while on stage, so in the lead-up to his set at the RnB Superclub, SAUCE tilted its head back and opened wide for MC Rudeboy … Oh, the innuendo!

What do you like best about RnB, compared with other styles of music?

RnB is seen to people as “rhythm and blues” but I see it as “rhythm & bass!” I love the soul and feeling it creates in the clubs. It brings people together and sets a certain atmosphere. It collaborates with everyone.

I think RnB has the most sexy image compared with other genres like hip hop, or metal etc.

What makes RnB sexy?

You can make love to RnB! You can chill to RnB, or just be cool… No boundaries. Every RnB song has its own style, but they all have a sexy rhythm and you can just let yourself go.

How did you get the name “Rudeboy”?

We created the name Rudeboy in 1993 when I was in a band called VOY. I was actually a dancer for them before I started MC-ing.

To what extent does the name MC Rudeboy reflect your style as an MC? Rudeboy says a lot about my style. I love doing Ragga Muffin styles on the mic. My style is unique and unpredictable. My name reflects me and represents all that I have learnt from day one of my MC career.

How did you get into MC-ing?

I started out as a dancer so I’ve always loved being on stage. MC-ing came naturally to me.

I used to write rhymes with my boys in the old school days, so I was always rapping. My oldest brother was an MC way back when I was just a kid and I really looked up to him growing up.

What’s the last rude thing you did?

I don’t think you wanna know…

What’s the rudest thing you’ve done on stage?

Wow. There’s been so many! Not really. I get the ladies up on stage for a dance or pour alcohol into people’s mouths… but nothing too rude. I just like having fun with the crowd.

GAMES PREVIEWS

BY CHRIS RATTRAY

ARMY OF TWO – XBOX 360/PS3 Next-gen systems should promise next-gen gameplay experiences, and EA’s new Montreal-based development studio seems to have embraced this thinking in the creation of their debut game, “Army of Two”. Boasting a co-operative style of play, you’ll team up with a buddy or smart-mouth AI character to set upon many tasks involving the mass destruction of property and riddling of bullets.

What’s normally going through your head before you step on stage?

I just concentrate on keeping my vibe up. I check out the crowd and see how they’re doing. If they look a bit low, I hype it up so everyone’s on the dance floor.

To be a good MC, one must do what?

Read the crowd and know your DJ’s style. It’s important to be able to work with the DJ as a team.

You’re performing with Lilo at RnB Superclub, what’s the show going to be like?

Off the hook! Lilo and I together are unstoppable.

It’s RnB on a whole new level. I get so hyped up from the tracks Lilo plays. The crowd is constantly feeding off our vibe. All I can say is make sure you’re down for a good time, because that’s what you’ll get. See you all there!

DRIVE IN HOLIDAY

Yes, this is a first-person shooter, but what sets it apart will be the unprecedented way in which you’ll be able to interact with your partner, and how you’ll be able to complement each other in your gritty urban warfareing. Mutually assured mayhem seems assured, as you’ll engage in several mini-games aside from the firing of ordinance. For example, should your comrade fall in battle you’ll be able to administer CPR, and while you tap your controller’s buttons in a rhythmic simulation of that First Aid technique, your buddy will be trying to avoid going towards a bright white light, which is presumably a metaphor for the afterlife.

IN FOCUS

Resurrecting Shack Folklore

BY TOM WILSON

So what is a “Drive In Holiday”? No, it’s not ram-raiding Fiji, but rather a unique new film/art production about to unfold in Tassie, involving a feature film that was made in three months, a few caravans, and some very interesting stories based around the culture and mythology of our state’s shack communities. To find out more, I spoke with actor/DJ/producer Dawn Yates.

It’s been said that, in “Drive In Holiday”, you’ll be “capturing the rough romance stories and ephemeral architecture of shack communities”.

What does this mean?

Basically, the project’s sort of been going for the last few years. It started in 2005 for the Ten Days On The Island festival. We’ve been traveling out to these five remote shack communities around the coast of Tassie, basically talking to people. And we’ve been working with young people on the north-west coast, and mentoring them in skills like interviewing and making art and that kind of thing. And they’ve been coming out with us to do the interviews over the last couple of years. It’s just been basically trying to capture memories and stories from these really unique, isolated shack communities while they’re still around, and while the people who can

remember bringing in the roads and the electricity are still there as well. And basically try to get a bit of a slice of Tasmanian shack life to share with the rest of the community before it fades away, like is happening in quite a lot of other coastal communities around the coast of Australia.

“

... Linking fingers with him, and bringing him back to the boat, saving his life ...

”

So what are some of these stories?

Well, I mean, that’s kind of the basis for this show, “Drive In Holiday”. We’ve selected five stories – one from each community. And these stories have been providing inspiration for the narrative of the film.

One of them, for example, is this one girl, who remembers going down to the shack community, and at the time there was this little deaf girl who used to come down as well, and they used to put the sign out, “Careful – Deaf Child” when drivers were coming into the community. And she fell

FILM FINANCE CORPORATION FFC Plans Hobart Visit Chief executive Brian Rosen will be leading the Film Finance Corporation’s (FFC) annual industry consultations in Hobart in March.

The consultations will be an opportunity for the FFC and industry stakeholders to discuss: the progress of the FFC’s two-door evaluation/marketplace system for financing feature films; the marketing of Australian feature films; the Government Review of Film Funding Support; investment guidelines for documentary in 2007/08; investment guidelines for children’s feature film in 2007/08 The FFC is not expecting to make substantial changes to its current investment guidelines for either feature film or television drama. In documentary, the FFC will be discussing changes to the guidelines for the Domestic Door. Industry stakeholders wishing to express their views or gather information on any of the topics above are encouraged to attend the meetings with the FFC. For inquiries and RSVP, please contact Karolina Lipiec at kal@ffc.gov.au Any written submissions to the FFC must be received by Monday April 16. Please send submissions to: Mary Anne Reid Policy Manager FFC GPOBox 3886 Sydney NSW 2001 Date: Friday, 30th March, 2007 Time: 4.00pm – 6.00pm followed by refreshments from 6.00pm – 7.00pm Venue: Marina Room at the Hobart Function and Conference Centre, 1 Elizabeth Street, Hobart For: Documentary, Television drama (children’s and adult), Features

out of the boat when she was fishing with her father one night, and was scrabbling around in the water in the dark at night. And he was terrified because he couldn’t find her, and she ended up finding him, and linking fingers with him, and bringing him back to the boat, saving his life. That’s more of a dramatic story. But other more “memory” stories – Tomahawk, for example, which is known for its massive sand dunes. And these dunes used to shift.

So people would come down for the holiday, and it would be quite a big process getting into Tomahawk, and they’d stay there and fish and basically live off the ocean for the weeks they were there while they were building little shacks. And then, when they’d go back to Launceston or wherever it was that they were living, they’d come back, and the sand dunes had shifted. So there’s all these stories of sand dunes covering shacks and following shacks. I guess it’s the stories we’ve collected over the years; [they’ve] been part documentary – trying to capture the history of these places, before the people who can remember are no longer around. And also lovely anecdotal stories from community members and people who’ve lived in these isolated communities.

Commands can be issued to your mate via headset as well, but the AI will learn from your mistakes and flat out refuse orders should it deem your strategy to be crap. It sounds like a ten-tonne hammer of pantswetting fun, so look out for this one sometime later this year.

GOD OF WAR II – PS2 A follow-up to what many considered to be the best game of 2005, “God of War II” is now being hailed as the final game to be considered worthy of investing in during the PS2’s twilight months.

However, not to be overshadowed by the oncoming storm of the PS3, “God of War II” may well reinforce the maxim that a gaming system should be defined by the quality of games available for it, rather than how many teraflops of pixels it can throw around onscreen.

To listen to the full interview, go to www.sauce. net.au/interviews

ENEMY – LOCAL SHORT FILM NOW CASTING Cast and crew positions are still open for the locally produced short film entering production in Launceston in May/April.“Enemy” is a dark urban crime saga more than two years in the making, now finally entering production in 2007.

The producers are seeking one lead actress and several male actors – the age range for which is between 18 and 30. Also sought is a male actor between 40 and 55. You don’t need experience – you just need enthusiasm. The filmmakers are also looking for between two and three people with video media experience living in the Launceston area, who are interested in camerawork, sound recording and lighting. Preference will be given to those with their own equipment.

Continuing on from the original game, this one sees Kratos embark on a quest to confront the Sisters of Fate or some such nonsense. Really, who cares when you can slice, chop and otherwise eviscerate various characters from Greek Mythology whilst simultaneously piloting a Pegasus?

So what is “Enemy”?

A bloody ambush leaves a hitman mortally wounded on the floor of a suburban garage. In the moments before he dies, he tells us his story; how he began, the work he’s done, and how making one mistake led to his betrayal, and violent downfall. Death is business, and business is good ... Enter the mind of a killer.

Ambitious and unique, this project has been conceived as a full-motion graphic novel, thanks to a genre-defying mix of live-action, graphic design and comicstyle layout. High-concept yet low-budget, it is inspired by a wide range of sources; from the blistering action of John Woo to the moody tones of “Sin City” and even the PC games “Max Payne” and “Hitman”.

Nothing like it has ever been attempted before.

To find out more about this project, and how to get involved, send an email to linchpinproductions@msn.com with “ENEMY” as the subject line for a copy of the screenplay and an application form, or call Tom on 0437 745 269.

Application deadline extended to April 6th. linchpinproductions@msn.com www.myspace.com/jointheenemy

Because that’s the kind of thing this game promises this time around, as Kratos continues to be all riled up about something or other. Undeniably, someone has poured their heart and soul into the story behind this game, but when you get down to it, it’s how cool you look when you pluck out the eyeball of a Cyclops or disembowel a Medusa that’s really going to determine how many times you stand up and do a little happy dance of doom in front of your TV. Apparently, some of the environments are so pretty and vast as to defy explanation as well, so it’s very possible you may also do little wees on the floor at the joy this game is likely to bring. Look for “God of War II” to hit the shelves towards the end of April.

PAGE 11

254 Mount St Upper Burnie 7320

THURSDAY MARCH 22

Jazz Club '07 with the Viktor Zappner Trio Featuring from Launceston Michael Woods on trumpet and Andy Dennis on drums 8.00PM $5 COVER CHARGE

FRIDAY MARCH 23

(Closed for private function)

“I’ve walked on my hands across deserts of quicksand.

Just so, ______ I can have a beer with you.”

Record and send your own love song at www.gallantryisback.com

SATURDAY MARCH 24

Jazz with Melbourne's Leigh Barker Quintet 8.00PM $10 COVER CHARGE

THURSDAY MARCH 29

Jazz Club '07 with the Viktor Zappner Trio Featuring From Devonport Doug Sheehan On Cornet And Vocals 8.00PM $5 COVER CHARGE

Gallantry is back.

FRIDAY MARCH 30

Gaye Clarke The Troubadour 7.00PM NO COVER CHARGE

SATURDAY MARCH 31

Nathan Wheldon & The Two Timers 7.30PM $5 COVER CHARGE

THURSDAY APRIL 5

Jazz Club '07 With The Viktor Zappner Trio Featuring from Burnie Yoly Torres on Vocals 8.00PM $5 COVER CHARGE

GOOD FRIDAY APRIL 6

(Closed) SATURDAY APRIL 7

Melbourne folk singer Dan Dinnen 7.30PM $5 COVER CHARGE

SOUTHERN ROOTS FESTIVAL SIDESHOW

SPOTLIGHT BACK TO BACK THEATRE WORKSHOP Back to Back Theatre will be in Hobart to perform “Small Metal Objects” as part of 10 Days On The Island. We have been lucky to be able to make some time with Bruce Gladwin and two actors for a “performance making” workshop.

IS THEATRE/TEN DAYS ON THE ISLAND – Queen of the Snakepit

The workshop will be held at The Regatta Grounds – under the grandstand pavilion. (Drive in to the pavilion and you’ll see a blue door.) Wednesday 28 March 4pm - 6pm. Free.

So, first question, how are you today?

Very, very well, thank you! It’s absolutely fabulous in this wonderful, beautiful place! It’s so stunning. I’m thrilled to be here. Absolutely thrilled.

Bookings are essential as there are only limited places Contact Danielle Walker on 6238 2772 walkerd@hobartcity.com.au

In the belly of the Snakepit, the bar is always open with a secret in the bottom of every glass.

Born and raised on Flinders Island, actor Cheryl Wheatley is a proud fourth generation islander.

“Queen of the Snakepit” is a theatrical collage of life and family on Flinders Island. Cheryl plays the witty and wise Lois – your tour guide into the belly of Flinders.

This moving portrayal of longing, endurance, strength and solitude is staged cabaret style in the island’s infamous ladies lounge – the Snakepit.

The audience journeys from this most intimate of smoky bars, to the wild landscape beyond its walls.

Ninetynine’s self titled debut on Patsy and Canada’s Endearing Records followed soon after, as well as tours of the US, New Zealand and Europe. In 1997, long-time collaborator Cameron Potts joined the band just in time to appear on the release of the “767” album on Patsy and Endearing. Further tours of North America and Europe occurred in 1999 and 2000, in which Ninetynine played in such countries as the UK, Netherlands, Spain, Sweden, France, Switzerland, Canada, US, Germany, Poland, Czech Republic, Lithuania, Latvia and Finland.

In 2000 Ninetynine also released their third album “180 Degrees” on Radio One and Patsy to local and overseas acclaim, with John Peel going on record as to how wonderful he thought the band to be. The following year a rejuvenated line up appeared with Amy Clarke and Iain McIntyre coming in to assist on bass, vocals, guitar, keyboard and vibraphone.

During this time the band toured Australia, Japan and Europe before releasing “Anatomy of Distance”, a collection of singles and compilation tracks, on Patsy and Radio One. 2002 saw Ninetynine head into a 24-track studio for the first time with Lindsay Gravina at Birdland Studios (Magic Dirt, Rowland S. Howard). The result was their stunning album “The Process” released on CD by Trifekta records and vinyl by Cars and Appliances. Rated as “album of the week” by various Melbourne radio stations and publications, the album was hailed

by Melbourne’s InPress magazine as “Leaving the listener hovering over the repeat button just to relive the infectious moments again and again.”

2003 saw the band tour Australia, New Zealand, Japan and Europe once more before recording an EP for US label, “Dark Beloved Cloud”. The band’s first four albums were also reissued by Unstable Ape Recordings. In 2004 and 2005 the band had a compilation of their songs released in Spain on the Strange Ones label. New songs also appeared on the Brisbane Ladyfest CD and German Kultur Shock double album.

In 2006 the band finished recording a new album “Worlds Of Population, Worlds Of Space, Worlds Of Robots”, which has just been released in Australia and overseas. Ninetynine launched the album in Melbourne and Sydney in September/ October and embarked on their 7th overseas tour in October 2006, including Finland, Russia, Iceland Spain and the UK. “Their manner, along with their choices of instruments, confidence and the aptitude of all members on all instruments set these guys apart from anything else around at the moment.”

– InPress live review, 11/9/06.

PAGE 14

Are Psychics Genuine?

Clairvoyance.

A genuine sixth sense?

Or mere educated guesswork? I have always believed the latter – regarding it as the art of making broad, loose statements for the gullible to run their lives by. But then I spoke with Pam Bradbury – recent visitor to our shores and twentyyear veteran psychic. Needless to say, I’m not sure what I think anymore. Readers, you’re probably sure whether you believe in it or not. I certainly thought I had. Is it a scam? Or is it real? Read and decide.

With Bruce Gladwin as Artistic Director, Back to Back has nurtured a unique artistic voice, placing the ensemble at the centre of social and cultural dialogue. Through a process of research, improvisation, and scripting, and collaboration between the ensemble, artistic director and invited guests artists, new work is realised.

Hailing from Melbourne, Ninetynine combine indie rock stylings with tuned percussion and layerings of Casio keyboard to create a unique kind of pop music. Variously described as “wonderful” (Melody Maker) and “versatile and talented” (Australian Rolling Stone) the band began as a solo project for Laura MacFarlane (the original drummer for Sleater-Kinney) in 1995.

SPOTLIGHT

BY TOM WILSON

Back to Back Theatre was founded in Geelong in 1987 to create theatre with people who are perceived to have a disability. It has gone on to become one of Australia’s leading creative voices, focusing on moral, philosophical and political questions about the value of individual lives. With a full-time ensemble of five actors, Back to Back creates work that is idiosyncratic, passionate and at times confronting.

ARTS ALIVE GIG: NINETYNINE – The Ninetynine Story

PAM BRADBURY

A team of renowned Tasmanian and interstate artists have been brought together to present this work through classic Australian yarn-spinning, projection, physical theatre and soundscape.

QUEEN OF THE SNAKEPIT 23rd – 31st March 2007 Devisor/Performer: Cheryl Wheatley Writer: Finegan Kruckemeyer Co-Directors: Robin Laurie and Tania Bosak Designer: Greg Methe Sound Artist: Jethro Woodward Lighting Design and Stage Management: Marianne Taylor

THEATRE - BOY GETS GIRL CentrStage and Three River Theatre presents “Boy Gets Girl” – by Rebecca Gilman, directed by Michael Edgar and Stan Gottschalk Theresa, a busy writer for a New York based magazine, goes on a blind date with Tony, a computer software trainer. It’s hardly love at first sight, but Tony won’t give up. It’s a case of “look who’s stalking!” for Theresa as Tony’s relentless pursuit of her love begins to affect not just her life, but the lives of those around her.

STARRING...

Angela Miller as Theresa Dan Lizotte as Tony Chris Rattray as Mercer Stan Gottschalk as Howard Michael Edgar as Les Kenkat Debbie Parish as Harriet BOY GETS GIRL @ The Annexe Theatre, Inveresk March 21-24, 7pm $17 Adult, $12 Concession Bookings via the Princess Theatre on 63233666.

AUTHOR FOURM - Sleepers Salon 8.00pm Thursday 22nd March at the Republic Bar Sleepers Salons feature readings, performances and authors discussing their works (as well as the famous Post-It Note Poetry Competition). Fullers Bookshop is proud to support the first Tasmanian Sleepers Salon, upstairs at the Republic Bar. Guests include Heather Rose, Katherine Scholes, and anarchic performer Lazlo Steigenberger.

Sleepers is a Melbourne-based organization that promotes and publishes new and emerging authors.

More information can be found on their website. http://www.sleeperspublishing.com

So how am I today?

How are you today? Well I would imagine ... not imagine, I’m telling you [laughs] ... that you are manning this phone on your own. Sitting with a lot of paperwork all around your desk ... [So far so good – Tom] Yeah ...

You’ve got somebody that you’re trying to meet later on, so you’re trying to get out of the office in a hurry.

There’s something that you’re going to do later on this afternoon. You’re looking forward to that.

And you’ve got some plans for tomorrow as well.

There’s lots of appointments for you this week; there’s about six people you’ve got to catch up with. [Damn near spot-on – Tom] And I’m not sure whether you’re going to stay with this publication or not. [Eeek! - Tom] There’s movement there; you must have some freelance work that you’re doing, in addition to this particular, SAUCE Magazine. So that’s what I’m picking up.

EXHIBITION: MELISSA RESCH – Iconometer Melissa Resch opened her first Tasmanian exhibition of paintings and drawings at the Arts Alive Art-space on Thursday, 15th March.

Melissa currently lives in Launceston, while completing a Master of Contemporary Arts at UTAS. She was born in 1965 into a US Navy family and moved coast to coast in America until age ten, when her family settled in Indiana. After four years of teaching primary school in Indiana and two years of world travel, Melissa moved to Boston to attend Massachusetts College of Art. She received a BFA in Painting with Highest Distinction and Departmental Honours in 1999.

In 2002 Melissa relocated to Provincetown, a small, vibrant artist community on Cape Cod, Massachusetts, and quickly established herself there as a full time artist.

A four-month trip to Australia in 2003 began a new course for Melissa’s career and life. Intrigued by the Australian landscape and history of Australia and its art, she has now spent much of the past three years living, painting and exhibiting her work in Western Australia and Tasmania.

Heavily influenced by the New York Abstract Expressionists, Melissa’s current work consists of works on paper and oil on canvas. This body of work focuses on the relationship between the artist’s experience of light and life on two continents through an abstracted response to the Gasometer at the Historic Launceston Gasworks Site. Melissa stylizes this currently unused architectural structure into a personal icon that serves as a metaphor for her own sense of place in the world.

Melissa has exhibited extensively throughout the United States and Western Australia, and has established herself as an international artist with a passion for dynamic and exciting new directions.

The exhibition was be opened by Dr Deborah Malor, Head of Art Theory at the School of Visual and Performing Arts, UTAS. Iconometer Arts Alive Art-Space 15th - 24th March 2007 Tues to Fri 10am – 4pm, Sat 10am - 2pm

Wow! You’ll have to forgive me; up until about thirty seconds ago, I was quite skeptical of the whole thing. So that’s ... wow.

Does that fit with where you are? What you’re up to?

“ ”

You’re on the rise, my boy!

Yeah, more or less.

So I’ll tell you right now that, whatever your plans are for the next month, they’re all going to change. And you’re going to be spinning around on a top, and I can see you going in three different directions at one time.

Someone will approach you, probably at the end of April, and you’ll take it.

Wow ...

You’re on the rise! You’re on the rise, my boy!

You’re on the rise! So it’s a very good year for you. What’s your date of birth? Don’t tell me the month, just what the year is.

1985.

Right, OK ... Your love life, and all that side of your life too, is sparkling. That looks ... oh, how can I say? I know you’ve had two major relationships, but there’s a sparkle-y person around you at the moment, who’s making a big commitment. [All bang on the nose; this is starting to freak me out – Tom] So watch out for that one too! It’s the Golden Year of the Golden Pig! And you’ve got it! It’s your year! So you’re in for some super things, absolutely.

And don’t worry about the debt side of your life, or the money you’re trying to accumulate, that will sort itself out too. But not until about November.

Wow ... bloody hell!

[Laughs] “Bloody hell! mean?”

What

does

that

You’ll have to forgive me – like I said, up until about a minute and a half ago, I thought ... well ... I’ll admit, I was a severe skeptic. So that was ... wow ...

I hope it helps. I’m here to help you. My whole role is to talk to you about you – that’s what I do. And if I can help you with your belief system, and change the way you see things, and help you to affirm your life, go for the things that you want, and change your attitude to things that aren’t working, then that’s what I’m prepared to do.

I work with people every single day; I’ve worked as a clairvoyant for twenty years. And my partner that I work with, Anna; she’s been working since ... I think she was about nine when she started work as a clairvoyant!

We really are here to show people ... well, for example, let’s put it like this; if there are six things that I’ve given you which are right and accurate, that you can identify through these last three minutes of conversation ... at least six things where you can say, “Yes, she’s right. Yes, she’s right.” Then that tells you that there’s something in this, doesn’t it? You have to say, “Well, this woman’s never met me. We’re working over the telephone.”

You know that. That’s fact. They’re facts.

That’s information that’s real, OK? So then what I do is take people forward, into the next twelve months, two years, into their world of aspirations; their invisible world that you’re working with constantly; the part of yourself that’s always trying to identify what you want from life.

So if I can give you some proof of your background and your past, that you can say “Yes, that’s what I’m thinking about”, “Yes, that’s what I want to do”, then you can believe your future.

So what that means then is you will believe in yourself! And you will believe that you can do the things you want to do.

ONLINE: Pam details how a role as a schoolteacher led her to become a psychic.

To listen to the entire interview, go to www.sauce.net.au/interviews.

Name: Calista Age: 19 What do you do for money?

Waitress & clothing designer.

What’s on your pod right now?

Joy Division Describe your fav style at the moment: Post-modern 1940’s.

What is your all time favourite item of clothing?

A pair of my mums shorts from the 80’s which I turned into a skirt!

What is the best supermarket aisle?

The health food aisle especially the wheat-free section.

Name: Dave Age: 21 What do you do for dollars?

Waiter & shaker!

What’s on your pod right now?

K’nann Describe your fav style at the moment?

Hobo meets 80’s B-Boy. What is your all time favourite item of clothing? A woolen knitted jumper with a big panda on it!

What is the best super market aisle? The canned aisle and weird dried Asian foods.

Name: Nathan Age: 20 What do you do for dollars?

Bartender at Knoppies What’s on your pod right now?

Clap Your Hands Say Yeah.

Describe your fav style at the moment?

Indie What is your all time favourite item of clothing?

My black stovepipe jeans.

What is the best supermarket aisle?

The cereal aisle.

Name: Diana & Mark Age: 30 somethings What do you do for dollars? Multimedia artists. What’s on your pod right now? Interpol & The Scientists of Modern Music Describe your fav style at the moment: Always functional, and it seems we both can never get away from black.

What is your all time favourite item of clothing? Mark – My black Levi jeans they are always easy, I can go anywhere in them. Diana – My beautiful black Yohji Yamamoto skirt which I am wearing now.

What is the best supermarket aisle? Diana – Chocolate aisle. Mark – The cat food section (for the cat)

JASE’S WORLD TOUR

A Laos Experience

BY JASON RICHARDS

TRAVEL BUG After being consumed by Northern Vietnam, I didn’t pay quite enough attention to the state of my visa.

I realised on a hungover Sunday afternoon, after a two-hour soccer game that saw four Vietnamese kids pitted against four hungover guys from the rest of the world, that my Vietnamese visa was due to expire that very day.

I wasn’t ready for it, but I had to jump a flight or get across a border straight away. So I was unable to choose my destination, it chose me. There was a $12 bus leaving from Hanoi to Vientiane in Laos that afternoon … so I hopped it.

There’s a country bordering Vietnam to the East, and Cambodia and Thailand to the south called Laos. I’ve always been unsure how to pronounce it. Most westerners pronounce the ‘S’. I’ve since discovered the locals don’t. So “La-ow” it is.

The ultimate freedom. I had no idea what Laos was all about. I knew I could get a visa at the border crossing, and that there was a bus going there leaving in 45 minutes. The bus ride, it turns out, was not your average Metro filled with obnoxious school kids.

After some fair warning from people I met who’d done the same 24-hour journey, I did not pass go, did not collect, but went straight to my local Hanoi pharmacist and ordered myself up some valium. She was more than happy to supply with no questions and a toothy grin.

I had a big box of “who know’s what” being smuggled under my seat, so knees were around my neck, and was surrounded by a group of ten rude and loud polish. The bus looked about 40 years old, the reading lamps didn’t work, I couldn’t turn the air con vent off, and there was some DVD playing on a black-and-white TV up front with a tiny screen but pumping volume … in Vietnamese. I chewed the valium … Never let a bad thing be said about such relaxing pharmaceuticals …

Hello Laos!

Laos is a very chilled place. In fact, Laos must be the most chilled place in the world. Take Fonzy – the king of cool – place him in a chest freezer for a week, and that’s about how chilled Laos is.

Vang Vieng up north, a small town surrounded by Jungle and Karst mountains, is famous as being a haven for opium, weed, mushrooms, Beer Laos, and river tubing. The most common thing to do (I did it twice) is to sit your rump in an inflated tractor tube and float 3km down the Nam Song river. This procedure is like a right of passage on the Southeast Asia adventure circuit. Float ten minutes, then get pulled into a riverside bar to consume your choice of poison, listen to pumpin’ tunes, swing trapeze 10 meters high, and

dive into the river, and just generally meet a whole other bunch of like-tube-minded folk. With all the malarkey surrounding it, it actually takes almost a full day to finish the 3kms back to the town. By this time, the world certainly looks and feels a better place.

What makes experiences such as these all the more enjoyable is remembering that, all in all, everything you desire costs almost nothing. A night in a guesthouse is approx $3. A healthy meal is approx $2. A chocolate mushroom shake approx $10. It’s hard to spend a lot of money if you try.

Why would you go to Europe when everything in Asia is so cheap? I don’t know. Maybe romance?

In Southeast Asia, you can do just about anything for next to nothing. Unlike most parts of Europe, the locals actually want you there, and their hospitality almost fills you with guilt. [And] Probably best of all…

In Southeast Asia there are nearly no rules, just one definite one… be respectful to your hosts. They’ll love you and you’ll have the time of your life for almost nothing.

Where to next?

Alana & Callan

To be continued ...

PAGE 15

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

WEB: www.saloon.com.au PH:

Awarded

03 6331 7355 FAX: 03 6331 2414 EMAIL: hotel@saloon.com.au

“Best Entertainment Venue” in Tasmania

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

FRIDAY 13TH APRIL THE SYDNEY HOTSHOTS

TUESDAY Trivia

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

WEDNESDAY Uni Night

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

FRIDAY

Dance Night

Karaoke on early from 10.00pm followedby Rewind!

"The Coolest Bar in Town - THE LOFT" with great prices, great cocktails, great service and great entertainment. Door 9.30pm and Free entry.

SATURDAY

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.