Sauce - Issue 39,

On the street every second Wednesday

Issue #39 04/04/07 - 17/04/07

EASTER LONG WEEKEND upcoming

gigs

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

SAT 21st APRIL

THE DEAD ABIGAILS

THURSDAY 5th April

Uni Night FRIDAY 6th April

DJ Patty Duke SATURDAY 7th April

Nat & Adam + DJ Randall SUNDAY 8th April

Tash + DJ Patty Duke

ANZAC DAY EVE TUE 24th APRIL

+

THE SPECIMENS EMBERS THE

SAT 28th APRIL

JOSH

PYKE

THE LEMONHEADS

WIN!

Dando Directs Lemonheads’ Return

BY STEVE TAUSCHKE

“

A John Butler Trio Prize Pack

3 packs comprising: 3 x JBT Grand National CD 3 x JBT Grand National Cap

I thought, “I don’t want to put this band to bed forever”

”

To win, list the top three Aussie bands that you’d like to tour Tassie.

1.

2.

3.

Name: Age: Address: Email: Phone: Entries close 16th of April. Post entry to: Competitions PO Box 5094 Launceston 7250 Tick this box to not receive further promotional information from SAUCE.

WIN!

In the wake of a spate of 90s alt-rock reunions – Dinosaur Jr, Pixies, Urge Overkill, Rage Against The Machine, among others – it seems only just that Evan Dando re-invent The Lemonheads, the group he formed in Boston as a high school student in 1986.

A Silverchair Prize Pack

Resurrecting the project was simple for Dando, given he’s largely been the band’s nucleus and public face through more line-up changes than he cares to remember.

In the decade since disbanding the group following 1996’s swansong “Car Button Cloth”, Dando has married, released a solo record in 2003’s “Baby I’m Bored”, and toured the world in 2004 as guest vocalist with DTK, the remnants of legendary Detroit rockers MC5.

1x Major prize pack including:

“Playing with Deniz Tek was just as exciting for me as playing with the MC5,” enthuses Dando.

1x signed double sided poster 1x fridge magnet

But it was a recent Lemonheads tribute concert in Brazil that seriously pricked his interest again.

1x Copy of the limited edition CD/DVD version of Young Modern.

“Well, you’ve done your research, because the last person who interviewed me really put me off when they just asked “Why? Why did you do it?”” laugh Dando. “But actually, before this Brazil thing, I found out that I was writing these faster, almost early Lemonheadstype songs, and I thought, “Well, it’s time to do it.” I thought, “I don’t want to put this band to bed forever”, and I found the perfect people to make a Lemonheads record with; people that I wanted to make the old Lemonheads records with, literally. I would rather have been playing with those guys back then.”

1x signed copy of the standard album cover 5x Runner-up copies of the album CD To win, list the top three Aussie bands that you’d like to tour Tassie.

In 2005, Dando teamed with like-minded veterans Bill Stevenson and Karl Alvarez, rhythm section for punctual-pop outfits Descendents and ALL, for a handful of shows in London. Then, last year at drummer-producer Stevenson’s Blasting Room studios in Colorado, they slammed out “The Lemonheads”, a self-titled comeback set that owes more to the band’s unchained 1980s sound than the poster boy-pop of their commercial period that found Dando wincing at “Alterna-Hunk” and “Slacker Sex Kitten” headlines.

1.

“I didn’t think it could actually bite back,” reflects the singerguitarist of the celebrity spotlight glare he endured in the 90s. “I thought it was just ludicrous, but after a while that stuff gets to you – you know, it undermines the music. The less amount of heraldry the better, really. But I didn’t really care about it back then, I was just having fun being a protagonist and traveling the world.”

Name:

While US label Rhino plan on re-issuing a special 2-disc edition of the band’s 1992 breakthrough album “It’s Shame About Ray”, Dando is also hoping to self-release its follow-up “Come On Feel The Lemonheads”. He insists he’s still proud of his back catalogue material, such as “Hate Your Friends” and “Come Back DA”, two of several early tracks to be featured on his forthcoming, and tenth, Australian tour.

“The songs really hold up over time,” he says, “and that’s one good thing about having such a liquid line-up; the songs are always different. It’s something that’s worked really well.”

2.

3.

Age: Address:

As to new tracks, Dando wants to continue collaborating with Stevenson who co-wrote part of The Lemonheads.

“I really like the way Bill works and produces and I definitely want to have him involved on the next record,” he says. “A couple of songs that didn’t make this album were twice as fast as the first track, ha-ha, so they may be on the next record. We haven’t really started on it, but I think it’ll be more like Kreator, but recorded better.”

The Lemonheads play the Southern Roots Festival on Saturday April 7th.

“The Lemonheads” is out on Vagrant.

Email: Phone: Entries close 16th of April. Post entry to: Competitions PO Box 5094 Launceston 7250 Tick this box to not receive further promotional information from SAUCE. PAGE 3

MIDNIGHT JUGGERNAUTS

Gearing Up For Southern Roots Festival

BY TOM WILSON

I spoke to the Midnight Juggernauts ahead of their set at this month’s Southern Roots Festival and the Juggernaught DJ’s gig at Curly’s SRF after-party.

We understand that you’re working on a debut album. What stage is that at now?

The album is almost finished. We’re putting the final touches to it this week, and will get it mastered in the UK very soon. Though the first single “Road

“

I understand that some of your tracks have been remixed by, of all people, members of Wolfmother.

How did this come about? What did you think of the work they did?

We’ve been friends with the Wolfmother guys for a while, and we went on our first national tour with them. Yeah they’ve remixed one or two of our tracks, also just for a bit of fun but they sound really good.

You’re set to play the Southern Roots Festival. How do you feel in the lead-up to this gig?

Yeah we’re looking forward to playing the Sounthern Roots Festival. We’ve been researching Hobart and

looking for the best local pubs and other sights to visit while we’re there. This is the first visit to Tasmania for all of us. Coming to Southern Roots will be like a holiday.

Which of the other acts on the bill do you most want to have a beer with, and why?

It will be great to meet with the Wolfmother guys again, but we’d also really like to meet the Pixies. So many people revere them that they’ll probably hide away back to their hotel rooms after their shows, but we’ll see ...

electro-synth assault poised before Armageddon”.

While this is clearly press hyperbole, we’re curious – what do you perceive “Armageddon” to be?

Armageddon is basically that point at the end of the night when the house lights come on and everyone is kicked out of the venue. We were just having a bit of fun with that bio description.

What’s one thing you wouldn’t want to be without when Armageddon comes?

A phone with a good camera so you can immediately take shots and send to family and friends overseas.

Some phones also have a karaoke function.

Press materials have described you as “an indie-

We’ve been friends with the Wolfmother guys for a while

”

to Recovery” can now be heard on Triple J or our Myspace page.

What kind of vibe/sound are you going for on this release?

A lot of people will have been introduced to us through our cross-over dance style, though we wanted to expand on a few things for the album.

We wanted to create a more diverse world of light and shade. The tracks are more song based rather than being just about the dance-floor. There’s still that indie-dance style, but we’ve just wanted to broaden the scope to more epic landscapes.

We’ve heard that you’ve got some homemade video clips floating around – what are they like? How did you make them?

Yeah we made our first few clips ourselves, just for the fun of it. They were more in an animated style.

One was made up of hundreds of blue biro drawings of ghosts and monsters. Though we don’t have much time for that anymore. A friend Chris Hill is making a new clip for “Road to Recovery” which consists of us and tentacles. We’ll see how it looks soon.

HANNAH Publisher / Editor David Williams

Hobart Rockers To Glam It Up

Graphic Design Simon Hancock

BY TOM WILSTON

shancock@sauce.net.au

Editorial Tom Wilson

twilson@sauce.net.au

Contributors:

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

Deadlines Sauce #40, 18th Apr - 1st May Adver tising Booking: 14/04/07 Adver tising Ar twork: 15/04/07 Gig Guide: 14/04/07 Editorial: 14/04/07

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

Contents 3-5 6-7 8&10 9 11 12-13 14 15 17-18 21 22

Rock Salt Bangers & Mash Hip-hop Hardboiled Roots Gig Guide CD / DVD Reviews Gig Reviews In Focus Comedy / Games Street Fashion / Car toon

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104 George St, Launceston 6334 9355 or help@barrattsmusic.com.au PAGE 4

The Hobart three-piece with a knack for playing kick-arse support slots – not to mention having one of the few band names that means the same thing when spelt backwards – rock trio Hannah, Roachy & Krisso gave us an update.

At the time of answering these questions, you’re about to support The Angels. To what extent are you nervous as hell?

Roachy: I’m not actually that nervous, just treating it as a normal gig.

Krisso: I haven’t really thought about it yet, but tomorrow we have practice and then we will do the gig – and I will think then. We played at the Irish Murphy’s original acoustic night just then, and it’s now 1:47am, so I’m not that nervous as hell.

You’re heading up to Launceston to play a “glam rock” night. How is Hannah planning to glam itself up? Any sparkly moon-boots planned?

Roachy: I’m the king of glam and I will be wearing a checkered cardigan.

Krisso: He suffers from the Hobart pop star syndrome.

How did you guys come together?

Krisso: Well, I played a few trashy covers with a mate Tom, the first drummer of the “Spinal Tap”-like phenomenon.

Then we needed a bass player to fill it out – enter Sav. Then we needed a drummer that liked the music we played, so we got Roachy. Since then we have had a lead guitarist, but a three-piece seemed to work better for us I think.

Where do you play the most?

Krisso: Lately we have been playing a lot of acoustic gigs – the Irish Murphy’s AO nights are always fun.

Also it has been great getting some good mainland support slots at The Republic – they are nice to us there. The Trout and Lark are fun also, as are The Loft all-ages gigs.

What’s the best gig you’ve ever played?

Roachy: Supporting The Vasco era. We also played a gig at Krisso’s mum’s primary school to the kids in Gagebrook. “Best Dressed Crowd” and “Best Crowd Response”, baby!

Krisso: I reckon Kisschasy, as they are quite a contemporary of ours.

“

We are giving that out for zero smackers at gigs

”

What releases do you have out at the moment?

Andy: “The Awkward Silence” five-track DIY EP, also a self-titled four-track EP. Krisso: Yeah, it’s the same old story of your “release” not being a true representation of what you are now. But we recorded a little single, I guess you would say, at Red Planet, which shaped up real nice, and we are giving that out for zero smackers at gigs. It’s something on disc that people can take away, and not hear something totally different to what they heard at the gig.

I understand you guys won the Tasmanian heat of the Global Battle Of The Bands. What has that meant for the band? What’s next?

Andy: Sort of gave us a boost of confidence, made us realise we are on the right track, and it’s sorta good to get that recognition for our own music that we created.

Who’s the most annoying member of the band?

Krisso: Well technically, I’d say Roach, because he deliberately eggs people on, and then is astounded when we crack the shits with him. Seth just pouts like a true rock god and doesn’t care about anything – he doesn’t say much as he doesn’t care about a lot of stuff, especially owning his own gear. I annoy myself though, because I’m so pedantic about stupid little things that don’t matter – like a lead being untidy on stage. True things rock stars care about. We aren’t very good at the whole pretend-tobe-rock-star thing.

If you guys hit it big, what would you want on your rider?

Andy: A bowl of Special K Krisso: It sounds stupid, but I’m a big fan of seaweed crackers.

What’s one thing you never want to put in your mouth again?

Andy: Seth’s fingers Krisso: Seth has wart-infested fingers – he somehow manages to have ingrown fingernails. Genius.

WWE

HIGHROAD NO. 28

R o ya l R u m b l e Anthology box

Dangers To Society?

SEVENDUST ALPHA

If you ask front-man Andrew J. Cantwell, he’ll tell you that Highroad No 28 is, quite simply, the universe. The universe is a big place, but hopefully it will fit through the front doors of the Launceston Saloon as they headline the Clarity Through Identity Festival. Yes, he said the universe. Is this guy incredibly insightful, or just loopy? We decided to find out.

You’ve been quoted as saying that Highroad No 28 is “a force that embodies the very fundaments of the universe”. What did you mean by this?

Well, Highroad No. 28 is a manifestation of the universe. In fact, Highroad No. 28 is the universe.

This may sound like an outrageously bold statement depending on your perspective, but it is essentially the truth. Within our music and lyrics – albeit the lyrics are very much autobiographical – we manifest the fundamental elements of the universe. Such things are change (“the only thing that is constant is change”), the laws of thermodynamics (physics) and the laws of chemistry. You hear entropy (chaos) within our songs in some sections. You hear equilibrium in our songs in some sections. Our upcoming second release, “Inauguration to a System Of Laws” is going to be very lucid in this sense of embodying the universe. The universe can be seen as the totality of a plethora of laws. Some are not amenable to the scientific method: those laws which pertain to our emotions etc. This is where I have formulated my own laws. I will try to present the album in such a way that the non-scientist can empathise and really understand what I am going on about.

So, it’s relatively simple then. What’s the story behind the band’s name?

I named the band. “Highroad” is a word which manifests one of my personal philosophies: to always walk the “Highroad”, even when things look impossible and hopeless: to never give in! The “No. 28” part? Well my (biological) birthday is on November 28th!

How did you get involved in the Clarity Through Identity festival?

I did the whole thing myself. I love Tasmania. I think the people are really so nice down there. The bands involved in the festival have been wonderful.

I have no complaints. The venues have been great.

I feel privileged to be coming down and playing there again. And I also want to mention that this festival has a serious message, in that it has some of the proceeds going to the Launceston and Hobart hospitals to benefit the young children who are in illness. I think it is always best if you can remember that there are always people worse-off than yourself.

How has the album “Unsteady And Steady State” been received?

Well, for the most part, it received good reviews, although one review I saw did slam it. I am not too concerned, but. I play music ‘cause I love it. If no one ever listened or watched Highroad No. 28, I would still be doing it. The album is good, but now, looking back, certain parts of the album do annoy me. But it is what it is. And I feel great that many love the album.

What’s the most unsteady state the band has been in?

[Laughs] Well, a lot! Line-up changes … with this band, I have really put myself in some real sticky situations. But I always pull through. In terms of the music, if you hear our first EP in 1999, “Obscure

Madness”, you will hear that I was real unsteady in many ways! I love that EP, but!

You’ve stated very clearly online that “the band will never break up”. Why are you so sure of this?

Because I created the band all by myself. This is not a band where four mates started the project.

When that happens, so many times, when one member leaves, they just give in and break up. I know that for the rest of my life Highroad No. 28 will exist: the band cannot break up. Even once my biological life has reached its limit, the band will still exist as information which is immortal. I am the kind of person who never gives in. Never. Put me through hell and I’ll still be standing tall. My will is made of iron.

“

IN STOCK NOW AT

When my biological life is finished, I want to be buried in Tasmania

”

How did the band start? What were each of you doing beforehand?

Like I said, I started it all myself; demoed-up five songs which were to be the band’s first release in 1999, “Obscure Madness”. I put an ad out for a guitarist (I was on drums at that time, and starting singing later). Found a guitarist, and we rehearsed like crazy, and nailed it. Before that period of time, I was doing music still, and just working. The guitarist was in some other band I think.

How do you believe the band’s sound has evolved over its lifespan?

Very much so. We have really gotten away from the drop-D style which had very conjunct melody lines. I still love playing those heavy raw dropD songs, but! I have grown immensely as a musician. Our album was a departure from the 2 EPs: we tuned to E for the first time, and I was more vigilant to melody lines. The next album is going to be a significant edification: it is going to have heavy songs, light songs, layer upon layer of tracking. I am so excited about it!

What impressions did you get from your last visit to Tasmania?

I enjoyed it thoroughly. Was amazed at how the bands are so very communal, helpful, and trusting. The bands are great too: I have heard amazing stuff from Tassie. I’d like to see more mainland press focus on the Tasmanian scene.

My mother is a born and bred Tasmanian, and she lives there now with my father and one of my siblings. Every time I see them, I have such fond memories of Tasmania. When my biological life is finished, I want to be buried in Tasmania.

Your website displays a rather scary looking man who’s forgotten his shirt and has “28” written on his chest. What can you tell me about this man?

Is he, as we suspect, a danger to society?

Who is this man? He sounds like a real poser!

Oh yeah, that’s me! Well, I am certainly a danger to myself! I hope society doesn’t find me too questionable! Oh well, bad luck if they do!

PAGE 5

INFECTED MUSHROOM

RENNIE PILGREM

Israeli Psytrance Heads South

Dwarf Tossing 101

BY TOM WILSON

BY TOM WILSON

He’s a guy who was voted ‘Most Valuable/ Influential Person’ at The International Breaks Awards four years running – and was actually asked not to put himself forward after that – so it’s fairly clear that, in the electronic music scene, if anyone’s opinion matters, it’s Rennie Pilgrem. In the lead up to his Tasmanian visit, he spoke to us about spinning dancefloor monsters and throwing dwarves.

involved with dwarf tossing?

I am not allowed to talk about that as there is a criminal court case pending.

What’s the most important thing to keep in mind when throwing a dwarf?

That sometimes they can backfire on you – literally.

What do you most prefer to throw them at?

Tories, people who like hard house, Welsh people.

Also, if you can get them to turn “just so”, it’s possible to get them to stick against windows … but don’t try that at home, please (not unless you send me the video).

What have you been up to in the last month?

I have been remixing a Time Deluxe track called “Let The Beats Roll” for Skint Records. I have moved studio to a wonderful famous ‘70’s place called the Townhouse and I have just started doing a weekly Radio Show for Galaxy. I also have been preparing for our first live gig for six months. I have been trying to cram in doing as much music as possible and DJing at weekends.

In most of our lifetimes, Israel’s impact on the world media seems to only ever be for the wrong reasons. But behind the much-publicised troubles of that part of the globe lies one aspect definitely worth celebrating – its music. Ahead of their visit to Hobart’s Syrup, I spoke to those superstars of live psytrance, Infected Mushroom.

Where did the name Infected Mushroom come from?

To what extent is it a drug reference?

The name came from a small, local punk group in Israel that broke up a few years before we started Infected. We were kids and we thought it was a cool name for a psytrance group. We never thought that we would ever be what we are today.

For you, what are some of the positives of playing live electronic music, as opposed to just standard DJing?

There is the live element that is totally different in every show. We are four people on stage all performing and jamming live –keyboards, drums, guitar and vocals. There is a tension in the air that happens only in a live show that is really hard to explain. I actually prefer playing live. I also prefer going to see a live show that than a DJ. (I hope that I didn’t offend any DJs) What about negatives?

[When] DJing, you can play many kinds of music from different bands, and in a live [environment] you can only play original stuff. And in live [performance] there are fuckups. [Smiles] We are just human, and we do make mistakes sometimes ... Some people might see it as a positive thing.

What is one country you never want to have to DJ in again?

Hmm … I don’t think there is one. Maybe Winnepeg, Canada, in the winter. Last time we played there it

STUDIO B

was about –45 degrees Celsius. Not fun! I’d go back in the summer, no problem.

You come from Israel. To what extent did the tensions in that part of the world affect your decision to start making music?

I don’t think that it’s related to Israel. I think it’s more because our parents kicked our asses to go and learn classical music, and never give up.

We both have been writing music since we were kids. Again, I don’t think it has anything to do with Israel.

What is the music scene like in Israel? What style of music is most prevalent?

The music scene is big everywhere around the world. The same for the psytrance scene. I hear it playing on the biggest radio stations, TV, sports channels etc; I think Israel still has one of the biggest scenes around the world.

You’re playing at Syrup in Hobart - what can you tell us about the dynamics of this show? Will it be live?

We do only live shows, so yes it will be live. You will hear a lot of our latest album and some special live versions of older tracks.

What do you do for kicks?

Kick drums? We create them, it takes us a lot of time to find the right ones. After thirty to forty different attempts we get the right one.

Last we heard, you were working on your third artist album. What stage is that at?

It’s nearly ready and we will be seeing an exclusive upfront version at the gigs in Australia … so you guys will get it first.

It has been written about you that some of your first musical exploits were “rudimentary House music on the wrong kind of drum machines”. To what extent is that a positive or negative statement?

Actually looking back on that comment, it sums up house music before the electro stuff came in and gave it a wake-up call i.e. it seemed to be a scene where it’s about how you dress, what sort of equipment you use (no 909 drum machine – no can do). Why do house people wear shiny shirts?

When you’re approaching a track to remix it, what kind of thought process do you have? What do you ultimately hope to accomplish?

I now want to turn the track into a dancefloor bomb.

Simple as that. If you can’t do that to it, leave it to someone else … ’cos you are doing no-one any favours.

What do you enjoy most about playing a set in a club?

I enjoy three things … seeing people derive pleasure from the music you’re playing, and playing your own compositions or something brand new and seeing it work. I also secretly enjoyed making that girl sick in Dallas once because of the bass.

I mean “having fun”, but that’s interesting too.

I’ve read that there’s a thrash-metal undertone in the album “Vicious Delicious”. This seems unusual for a dance act. Where did this influence come from?

We love metal, and we always try to write using new styles. So we did this song called “In Front Of Me”. It’s “soft metal” with some distortion. I think we will do more songs like that in the future.

How does playing in Tasmania compare with other places around the world? What makes your visits here unique, in your memory and in your heart?

Actually, like Ambar in Perth, I really got a fantastic vibe of the crowd. We walked in and you could feel it.

The resident DJs were playing great music, the crowd knew their shit … basically you couldn’t have asked for a better time behind the decks. It really does make you play better when you get that interaction, which is why smaller gigs are often the best.

What are your plans for the rest of 2007?

A lot of live shows, produce our next album (after “Vicious Delicious”) and have more fun.

We’ve heard that you’re chairman of your local “Dwarf-Hurling” association. How did you get

GIMME A BREAK

THE PAYBACK PROJECT

You’ve got a live band, “Rennie Pilgrem & The TCR All-Stars”. What work have you been doing with that recently?

We are just about to do a live gig in London to play some of the new stuff. We have just been included as one of “20 Live Dance Acts You Must See”, so all the hard graft seems to paying off. I’ve been recording special live versions of the tracks for the band to learn, and basically am waiting for them to take the piss out of my three-note basslines.

I was studying some pics of you and noticed that you don’t have any hair. In the DJ world, how true is it that bald is the new black?

No, that’s out of date. “Bald Is The New Black” … in fact, that would have been a good album title. I think I will at least do a track called that and play it in Tasmania first. How about “Bald Is The New Black” by The Mighty Dwarfs?

What are your plans for the rest of 2007?

Finish album; do a live mIx album for Functional for their ten-year anniversary; try to find and capture the mysterious and rare Tasmanian Pygmy … apparently they go several yards further than your average dwarf. Although in some circles they have been accused of “flying”. See you soon!

DJ REFLUX

Local DJs Get Chance To Shine A new club night at Halo is giving aspiring DJs the chance to play in a professional environment.

Unless you have been on Mars for the last two years, you can’t have helped to be rocked by Studio B’s first global hit “I See Girls”.

Selling over three million on singles, comps, digital and downloads, this major electro anthem still rocks the clubs two years later.

Next up was “C’mon and Get It On” – with some heavyweight remixes from monster producers such as The Freemasons, Damien Carter, The Young Punx & Slugs and Jugs, helped propel this track to the top of both the club and commercial charts, with over two million sales on singles, comps and downloads.

The boys are back in town. “Spanked” is back where the Studio B sound is at: dirty, filthy, fresh and funky as hell.

Filthy bass lines and some even filthier vocals, featuring the delectable Mistress J on the sexy vocals and Fake Rapper delivering the rap duty. “Spanked (By You)” is gonna be the track of 2007 to get the asses and the masses moving …

PAGE 6

“Gimme A Break” started around six months ago with the aim of giving up-and-coming Hobart DJs a place to practice their art – not just outside the bedroom, but in front of a good crowd with one of the best night club sound system in Hobart.

The brainchild of Hobart electronic music figures Matt Osborne and Zack Dwyer, “Gimme A Break” is open to DJs who play anything from funky hiphop to electro breaks, heavy drum and bass and anything in between. Past events have seen up to thirteen people playing to crowds of about 250 people throughout the course of the night, making for a very diverse evening; the paying host to very different styles and a great variation in music.

People are encouraged to come up and ask on the night if they want to play in the next event, and the organisers are fixated on trying to accomodate all requests. In other words, they want everyone to get a go.

The next event is on Good Friday, the 6th of April, at Halo off Purdy’s Mart, and looks set to be a massive one. Entry is only $5 – considering it goes toward keeping the events running, it’s a small price to pay for unveiling new talent from right in our own backyard.

The line up for the next event is as follows: DB Skivvy, B_Side, PlanB ‘n’ Stockloff FatherJon ‘n’ MattyO, Pilot, Russ, Jesse, Waz Outlaw

Recently, Smithmonger (AKA Paul Smith) moved back from London to Hobart to work on an artist album for The Payback Project.

He is constantly in touch with all the biggest names in Breaks from the UK, and as a result he’s been lifting the roof around Oz with some huge shows.

So you have to ask yourself a question: When was the last time you had a bass-line right up the clacker?

The night will feature some of the freshest promos and nastiest bass-lines from the Payback Project and other UK labels thrown down by Smithmonger and Hobart’s finest DJs, so come down to Halo on the 14th for the biggest bass-line session of the year!

Smithmonger, Wballs, Gnosis Event: The Payback Project Date: 14th April Venue: Halo, Hobart Time: 10pm – 5am Entry: $8 – $5 Digital Thugz Members

Otherwise known as Flashy D, DJ Reflux is a member of After Hours and the notorious Funkoars. He released a solo album entitled “Amalgamated Representation” in 2001, and has since been working with both groups.

The Funkoars relish in their label as “smut-hop” and are a name synonymous with immorality and debauchery. Well known for their passionate and outrageous lyrics (if somewhat unconventional), onstage antics and energy, their second album “The Greatest Hits” – produced by Reflux – captures the reckless spirit that is Funkoars.

This shameless quartet have been working hard since the release of their debut album “Who’s Your Step Daddy” in 2002. In that four year hiatus, besides causing a general ruckus, they have been steadily touring around the country spreading the dogma and word of Funkoars.

“The Greatest Hits” is an audacious 15-track release that takes you on a journey that these MCs like to equate to an excessive, indulgent night out that leaves you with a banging hangover the next morning – the effects continue to be felt long after the tracks are over.

FRIENDLY

Aussie Ex-Pat Returns Home

BY DAVE WILLIAMS

The world dance scene doesn’t know Andrew Kornweibel. But it knows Friendly. It knows him well. The Aussie ex-pat who’s been spinning dancefloor monsters in London clubs for many years, he now has his sights trained on his homeland, and he spoke to me in the calm before the storm that will be this month’s Australian tour…

So whereabouts did you grow up in Australia?

In Perth. And then I moved to Sydney – I was in Sydney for about five or six years before I left.

OK. So did you get into the club scene, and learn your skills as a DJ in Perth, or Sydney?

Um … I was DJing in Perth, like, in the early 90s. In fact I’ve just dug up a rather embarrassing YouTube documentary of the Perth rave scene, [laughs] that

“

someone has played before or after me, and I’ve thought, “I’ve played that record, that record, that record, and that one”, you know? [Laughs] I definitely find I play very different records to everyone else.

And as well as that, because I’m a producer as well, then that automatically differentiates me a lot, obviously; different production styles and stuff like that. And I play a lot of my own productions as well, so it’s quite different.

I was wondering how much of your own stuff you might end up playing at Halo in Hobart, for example.

Yeah, probably quite a bit. I’ve just been finishing off some new Friendly stuff, that is getting quite a bit of interest.

So I’ll be playing that for sure. And I’ve just done a few more new remixes as well. I did a mix for Triple J, and I actually ended up … I counted the tracks that were my productions, and it was, like, six out of the thirteen tracks that I did for them which ended up being my own productions. [Laughs]

London … is q u i t e a h a rd c i t y t o live in

”

features me with dreadlocks, talking about DJing. But then, when I was in Sydney, I was just doing the live thing, so I wasn’t really DJing.

So it wasn’t really until I came to London that I decided to ditch the live band and focus more on DJing, instead of the live stuff.

And what was it that prompted you to move from Sydney to London?

Basically, I was working pretty hard in Australia; it was going really well, but it never actually left Australia. And I figured, if I was living in London, it would spread a lot further. And I was right … relatively speaking, I’m a lot smaller in London, compared to how I was in Australia.

But it’s more of a global spread.

So I get the bookings from Shanghai to St. Petersburg to San Francisco. And those people are really aware of me; when I was in Australia, I was working just as hard, but it was purely confined to Australia.

And now you’re going to be playing in the prestigious city of Hobart in the near future …

[Laughs] Yes! On a Monday night!

That’s going to be a tough gig, mate.

I know! It’ll be interesting.

I haven’t checked the date yet, but you never know – it might be, like, Easter weekend or something.

It is Easter weekend.

Well, there you go! It’ll be chockers!

[Laughs] Sure.

You have a residency, I understand, at The End. Is that still current?

No, no. I had to ditch them, because … Well, The End didn’t owe me money, but someone else involved in it owed me a lot of money, so I basically had to say “goodbye” to them … I mean, most of my gigs now are outside of London, but I’ve got some of them in London as well.

I was talking with a DJ recently who moved to the UK from Australia, and then thought, “Well, look – why am I living in London? I could be living in Portugal or Greece or anywhere!” If you’re not working so much in London, have you thought about perhaps moving somewhere else in Europe? A bit more warm?

No … I find London really inspiring. There’s always something going on here, and there’s this sense of competitiveness, because there’s so many people here who have moved here to achieve something – even if it’s not in music.

But it’s kind of inspiring, because it makes you want to be the best. I think if I moved to Spain, I just say, “OK, I can do that tomorrow – I’m going to the beach today!” But in London, things move along at a hectic pace, and it is quite a hard city to live in. But at the same time, that kind of inspires me to push myself to be that bit better.

What are the characteristics of a Friendly set at the moment?

I mix it up between house and breaks. I mean, my sets have always been fairly … I don’t make just straight-out heavy music, but I don’t like straight-out fluffy music either. So it’s kind of like a combination … kind of heavy, or a little bit tough … very groovy, bassline-driven stuff, but it’s still got to have a sort of uplifting and party vibe about it as well.

Do you find it hard to differentiate yourself from other DJs who are playing similar genres?

Not really. I mean, I’ve never really done a gig where

PAGE 7

JONNY HACK

Get Comfortable

BY TOM WILSON

How long have you been into hip-hop?

Hmmm, well, I have been into hip-hop music for about eight years, but only started getting an understanding of the culture and whole art form since I was fourteen. I’m eighteen going on nineteen now, so whatever that works out to be.

When did you start writing your own stuff?

My first rhyme I wrote was when I was finishing grade 8. I wish I had it now, but I do remember how bad it was. I use to write them on a crappy old computer that I got given.

“

Watch me get shown up on my own record!

It could be said that Jonny Hack’s calling in hip-hop was established the moment his pen hit the paper to write his first rhyme in grade eight. Sure, if you ask him now, he’ll tell you it was crap … but everything

has a beginning, and that was his. And it’s the journey from that which has finally led to his forthcoming EP produced with Hobart mainstay Mdusu. He spoke to me about his “Comfort Homes”.

Mdusu is producing the release. What kind of vibe has he brought to the tracks?

95-percent of Mdusu’s beats I like. Therefore it makes it easy for me to write to the beats. There is always a good vibe in his lab, and he knows what I like. Mdusu is a producer, a lyricist, plus a musician, so he has a pretty good idea of what’s going on most of the time.

Where do you usually perform?

It’s been all about the booth lately, but I should be starting to do a few tracks up on stage in the next month or so. I got a DJ now (DJ Coms), so stuff is starting to pan out quite nicely for a live set.

What do you do outside of music?

I love my sport – mainly cricket and football (who the hell calls it “soccer”?). At the moment I am looking for a stable job (preferably outdoors), so anyone in Hobart, hook me up!

You’re currently recording an EP, “My Comfort Homes”. Who are you working with on that, and why?

I’m working on the EP with Mdusu. I work with him for a lot of reasons; the main ones being that he has a great work ethic, [and] in my opinion makes the best beats. He is a legend of a guy and is at the forefront of the hip-hop scene in Tasmania. He also gets the best work out of me and knows what I’m up to, recording and writing-wise.

When will the EP be released, and what do you plan to do afterwards?

The E.P will be released through S.L.U.T. productions late this year (no set date confirmed), so keep your ears to the street! Hope [that] afterwards I can start to work on an album and start doing frequent shows.

I don’t know what the future holds, but I’m sure it’s exciting!

Confucius Sets A Benchmark Albums. Everyone releases them. Sometimes they’re good. Sometimes they’re not. Sometimes they’re in-between. But every once in a while, one will come along that isn’t just impressive – it sets a benchmark. The second album from live troupe Kid Confucius, “Stripes” is one such album; strikingly unique and, arguably, the first soul album to come from Australia … ever. I spoke to guitarist/MC Andrew about the making of an early contender for best album of 2007 …

In a review of “Stripes”, one journalist has said that this album “could well do for soul what Wolfmother is doing for heavy rock”.

Wow, I haven’t read that one! [Laughs] We’ve got to get that one on posters!

“

I’ll do it! I’ll do it! Get up off your knees!

”

Well, I can give you a hint – it was one of our own.

What do you think this means?

On the surface of it, I’d like to think it means that we’re going to become extremely huge and win a Grammy in the next twelve months. [Laughs] That’s the first thing I’d garner from it. But in all seriousness, I don’t know. For me, I’d like to think that I can breathe a little easier, knowing that what we set out to do with this album is being at least felt by people out there. While that quote, to me, seems a little bit on the grand side, our reviews to date for this album have all been down that train of thought. People are really hearing this album, and hearing a legitimate soul album, and potentially the first of its kind to come from an Australian band.

That was almost what we were trying to do in the recording studio, apart from obviously nailing the songs and playing with the band, and doing all the kind of things you have to focus on. But in the back of our minds, we were thinking, “Let’s make the first Australian soul record” – whatever that’s going to be, you know? That was a big goal of ours. And again, the fact that people are feeling it, and people are noticing it, I’d like to hope that that’s what a comment like that means; that it’s worked, and we’ve done something right. [Laughs]

PAGE 8

So in what ways do you reckon this is an evolution of the Kid Confucius sound? How is it different from the original?

Well, the first album … apart from the fact that it was very much a purging of old songs … it wasn’t a piece of work like this record is. We didn’t sit down and go, “Right, let’s write an album.” They were just songs that we had played live on stage for the first two/three years of our existence. And all of a sudden, people were talking about making an album, and it just seemed obvious – “Well, let’s just record the songs that we’ve already written.”

And they weren’t as cohesive, and I think they were a little bit more influenced by the live scene. They were the songs that really worked well on stage; the songs that got everyone going at the live shows, that maybe didn’t have as much substance once you put them on record; they were just funk songs. Still a good album, and still an album that people love, and we love, but yeah – it was kind of just live, dancefloor funk, just recorded, and we didn’t know any better, almost. Whereas this album, in terms of the way we recorded it, was a complete evolution. We kind of ditched the digital recording process of doing everything separately, and jumping from computer to computer, and did the whole thing in a massive studio where everything’s analogue, and everything’s real, and recorded to tape as much as we could. And the songwriting developed; instead of us looking at ourselves as a funk/soul/hip-hop band, we just looked at ourselves as a live band, and tried to lessen the “genre filter” on all the music. If something came out sounding a little more rock, then that’s cool. If something came out soulful, then that’s cool too. If something’s a little bit more poppy, then that’s cool – what mattered is that the songs had to be at a certain level, and we wanted the whole album to be as killer as possible. So I think, across the board, from the songwriting to the recording, I think we evolved. I’d like to think we’ve evolved.

The album was mixed by Russell “The Dragon” Elevado …

Yeah. Well, two tracks were, anyway.

OK. So why did you decide to work with him on those two tracks?

Um … I think with someone like that, he’s the one who decides to work with us. [Laughs] You know … in the sense that he’s mixed some of the world’s biggest acts, including some of the soul and hip-hop artists that we idolised. So for him to make room in his schedule for us, it’s kind of like … all we can do is beg and hope that he tells us to get up off our knees, “Yeah! I’ll do it! I’ll do it! Get up off your knees!”

I understand you’ve got several guests on the EP. Who are they, and why did you choose to bring them in?

Different artists bring a lot more to the table I feel – on a record. The artists I have so far featuring are Dundee, Mdusu, Opoetik (USA) and Dissordely (UK).

All of these guys have experience, and are on top of there game. I’m trying to get a broad range of talent and accent on it. Watch me get shown up on my own record!

How do you think your writing has changed and evolved over time?

My writing style is constantly changing. I listen to a whole lot of different hip-hop, and am always getting inspired to do something different. One thing I’m really hoping about my EP is that every track can be unique.

KID CONFUCIUS

BY TOM WILSON

”

What’s the meaning behind the title? Where are your “Comfort Homes”?

I’m inspired by so many different things, and by me calling the EP “My Comfort Homes”, it represents an EP that is not limited to one listener. It can be interpreted by anyone; a homeless kid, a welleducated kid, an adult. My comfort homes can be anywhere; from my house, to walking down a road, to sitting in a skate park at three in the morning with a beer. Without trying to crack myself up to be some wise old man, I have been through and seen a lot of things in my young lifetime, and I really would like to be able to connect with that through my music.

Check out www.myspace.com/jonnyhackmusic

HATEBREED

Joining The Hate

BY TOM WILSON

Joining a well-established band can’t be easy. You might remember Rob Trujillo in “Some Kind Of Monster”, on a furious study bender to learn Metallica’s back catalogue in a matter of days. Others have it easier. In the case of Frank Novinec – Terror and Ringworm veteran and second guitarist for US hardcore giants Hatebreed since last year – being best friends with them really hastens things along, as he told me during the ‘Breed’s Australian tour.

How did you wind up playing in Hatebreed? What were you doing beforehand?

Well, I’ve been playing in bands since high school, which was around 1989-1990. I started in a band called Ringworm, which I’m still very involved with; the band is on Victory Records, and is still going strong. [I’m] Not so much touring with them, but still writing the songs. After that, I played in a group called Integrity – a very popular band in the hardcore scene at the time. We’re talking around 1995; around the time Hatebreed was starting. And I remember Jamey approaching

us, because they were huge fans of our band, and we were a big influence on them, about putting out a split record with them; a split 7”, which eventually ended up coming out, actually – there is an Integrity/ Hatebreed split 7” that’s out, which you may or may not be aware of.

said, “Are you ready to be in the band?” And I said, “Yes.” That’s really what happened. There were no auditions. They didn’t ask anyone else; they just knew that they wanted to have me in the band. They wanted to be a five-piece again, and here we are now, you know – almost a year later.

And that’s how I ended up being in contact with Jamey through the years. Eventually things fizzled out with Hatebreed and I around ’97, and I ended up getting Ringworm back together. That took me until 2001-2002. At that point, I was really becoming great friends with everyone in Hatebreed; Jamey and Sean especially. They ended up becoming some of my best friends in the world; people that I ended up

There’s always been a lot of aggression in Hatebreed, [in particular] the new material. How much of that comes from you?

Um … None at all, at the moment. Actually, when I joined the band, they were in the studio recording the record already.

… We d o n ’t want to change anything …

“

”

talking to everyday. At this point, they’d become a four-piece again, and they said, “You know, one day you’re going to be in the band; we’re going to make it so that you’re in the band.” Sean would always say that, you know? Then in 2002, I joined a band called Terror, which are a very popular band in the hardcore scene at the moment, and who we’re actually over here doing shows with.

Yeah, I was just reading about them, waiting for you.

Yeah, oddly enough. And then, around February of last year, I got the phone call from Jamey, and he

I flew out, and met them in the studio. At that time, while they were in the studio, I was taking the time to learn the catalogue of all the songs, because, shortly thereafter coincidentally, our first shows with me were in Australia, which was when we were here last year with Korn. I was taking that time to rehearse stuff.

I didn’t actually play on the record, even though I am pictured and credited on it. For the next record, I’ll definitely have some input on things, and if we end up using them, great. If not, so be it. We’ll see what happens, and I’m really looking forward to contributing regardless.

And of course, it will have to be in the vein of Hatebreed – at the end of the day, it has to sound like Hatebreed, otherwise it wouldn’t be the same.

It’s a strong formula that they’ve stuck to over the years, and we don’t want to change anything about that.

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

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PAGE 9

PLUTONIC LAB

VENTS

Enter The Hip-Hop Laboratory…

Hard To Kill New Obese MC

BY DAVE WILLIAMS

BY DAVE WILLIAMS

To kill two birds with one stone, you’ve either got to have a remarkably good throwing arm, or be Adelaide rapper Vents. In dropping a new LP, he’s about to pull off both his required promo touring and a kick-arse hip-hop tour in one go, courtesy of the “Block Party” roadshow. He spoke to me about the album, the Hilltop Hoods, and being “Hard To Kill”.

How do you distinguish yourself from other Oz hiphop acts, MCs around Australia? What makes you special? What makes you different, you reckon?

I guess style, first of all. I’ve made a real conscious effort to sound like … you just mentioned the Hoods, or ‘Oars or anyone else. Lyric-wise as well; when you hear the album, it’s not really in the same vein as anyone else, like the Hoods or the ‘Oars.

So have you signed on the dotted line with Obese now?

Yeah. I mean, signing’s a formality, you know? I just haven’t got down to actually sign it … Yeah, I’ve signed it! [Laughs]

What sort of things are you writing about?

Well … personal politics, I guess! [Laughs] It’s not political … I guess it’s conscious. Whatever’s on my head. I don’t really rhyme about … a lot of dudes rhyme about the hip-hop scene or other rappers or stuff like that. I can’t really do that anymore. I get bored. I try and be creative. But you’ll see when the record comes out.

“Signed, but not actually signed”?

Well, signed … we had to concentrate. A couple of amendments had to be made; just minor things.

You must be pretty stoked with that.

Yeah, man, I’m stoked! It’s kind of like the Mecca, I guess.

Do you have much to do with the Hilltop Hoods in Adelaide?

Yeah. Well, they’re good mates and that. But music-wise, I guess … I was on that “BlueBlooded” track, and me and Suff did a track from my album, and Pressure was supposed to get in on one of my albums, but they were pretty flat-out.

But he helped me out with the hook, so he’s on there in spirit!

With the Hilltop Hoods – they’ve had so much influence on hip-hop on the whole, their influence over the scene in Adelaide must be pretty immense.

Yeah. Well … They were … When I was young, when “Back Once Again” came out, I was about fifteen, that was … I’d never heard dudes rhyming in Australian accents. I just remember … I had a shitty tape of it, and I was just playing that non-stop. I remember sitting in the studio, when we were doing that track ten years later, I’m just sitting there, and it kind of hit me. “Fuck! I’m doing a track with the Hilltop Hoods!” You know what I mean?

Oz hip-hop mainstay and part of this month’s massive Obese Block Party lineup, I spoke to producer Plutonic Lab about the current evolution of Oz hip-hop and his frequent collaborator Muph.

So what are you and Muph up to at the moment?

Apart from just doing shows, we’ve started to work on a few new tracks. But, because I’m sort of caught up in a couple of projects that need to be done fairly soon, it’s been fairly slow – not really my first priority at the moment.

What are the other projects?

Well, I’ve just started tracking vocals on Pegz’ next record; there’s quite a few beats on that. And the other project, which has been going for about two years, is Ivan’s record. So I really want to get that done in the next couple of months, so it just means putting everything to the side a little bit.

That’s going to be a bit tricky, with doing the Block Party tour as well, mixed in to all that.

Yeah. Well … Ivan’s project is all kind of recorded and everything; it’s just doing the finer bits of it. So I’m pretty confident I can get that done, with touring and everything.

How do you think that Muph would like to be described or known as?

Oh God … [Laughs] Like, in terms of his MCing?

I don’t know, mate. You name it. [Laughs] “That he hasn’t got smelly feet!” I don’t know – you choose the category!

“How he would like to be described” … Um, I guess he’d just like to be described as … in terms of his lyrics; just being honest. He’s kind of got that calculated thing about his work, I suppose. He’s really sort of considered in that way.

Do you think that how he would like to be described is different from how you would describe him?

[Laughs] It’s got to be!

[Laughs] I guess so, yeah. Well, you know – it’s kind of hard to sum up how someone thinks about themselves. So I’d say it’s pretty different, hey?

that I think is good that I’ve done … But as far as other people’s perception of that, it doesn’t really matter. It kind of just matters to me and my peers, I suppose. [Pause] That was pretty wank-ey, hey?

Look, it was very deep and meaningful, man! I’m feeling closer to you right now!

[Laughs] How would you say that you have evolved from a year ago, as an electronic music producer?

What’s better, or different, from a year ago? Or worse?

I think what I’ve been struggling with lately is just the difficulty of trying to break out of doing the same sort of thing. It’s almost a bit debilitating sometimes. Like, just thinking of ideas – it’s almost like I’m putting a lot of pressure on myself, almost to a ridiculous level … Trying to reinvent the wheel kind of thing. I don’t want to just do the same record over and over. So just coming up with different things … I guess lately, I’ve been concerned with how hip-hop in Australia is going to evolve, and how to make that happen, and how to hone our own sound, I guess … Even though it’s a pretty diverse kind of music scene, [I hope we can] in some way contribute to it, you know?

“

It’s hard to answer that question without sounding like a wanker …

”

I think that where you’re at is an area that is just waiting to be really developed. I think that the side of Oz hip-hop that has not got as much attention is the actual beat side of it.

Yeah, maybe. There’s a few guys who are definitely being recognised – Katalyst and guys like that.

They’ve been making waves, you know?

That’s alright. Musicians are allowed to be wankers.

Yeah, it seems to be the go.

I was thinking more in terms of just general pervasion; there’s a lot of new groups coming up, and the scene’s growing. And for me, it’s been built a lot on the lyrics; it’s been built at lot on the MCs, and I think there’s really a lot of room for a lot of crazy shit to happen in terms of the beats, and the tracks that go under these MCs. Yeah. I guess that the vocal, more than anything, is going to be the most picked-up-on thing; the focal point of any piece of music, if it’s got a vocal on it, you know? It’s the most direct thing, I suppose. It doesn’t surprise me that that is focused on more than anything else. It’s almost like, if you have really good lyrics, and you’re a good MC, you could have a pretty average beat, but still make the track work, I suppose.

So you’re not going to answer that one, then?

Oh … I don’t know. It’s almost like I don’t really care, in one way. I mean, I sort of know what I’m doing, and where I’m at, and where I’ve fucked up, and stuff

Yeah, true. But hey – if you can combine awesome beats and awesome lyrics with awesome delivery … then fuck – you end up with Public Enemy.

[Laughs] Yeah! Fully!

[Laughs] Then, how would you like to be described or known as?

God … I don’t know. I really don’t know …

“He can spin a mean CD…” It’s got to be better than that!

[Laughs] Geez … It’s hard to answer that question without sounding like a wanker, I suppose.

PAGE 10

Is it hard to make sure that you don’t start sounding like them? With the big influence that they’ve had nationally and locally in Adelaide, do you have to make sure that you don’t start imitating them unconsciously?

[Laughs] Maybe on some … They’re kind of like an archetype now for upcoming groups. But no, I sort of got in before they were too big. They probably do have a huge influence on something; their first couple of albums, when I first started rhyming. It’s not hard … They’ll pick me up on it!

“

It’s a struggle, man.

You’ve got to resist

”

It’s “Hard To Kill”, huh?

Yeah – “Hard To Kill”. The intro will explain that; it’s basically … they’re trying to kill you with all the bullshit you put in your body and your fucking brain on TV, you know? It’s a struggle, man. You’ve got to resist. You’ve got to stop eating that shit, listening to that shit.

What stage are you at with it? Have you recorded it?

What stage are you at?

Yeah. The album’s been done for probably about a month or two. It’s been mixed, though pretty much exclusively with ‘Oars – I have to work around their schedule, and they’re pretty flat-out a lot of the time; they’ve got their tour coming up. It’s getting mixed now, and I think Obese wants it out by the 28th of July – but don’t quote me on that. I know it’s around July sometime. But it’s been done for a while, and I’m pretty keen to start the next one.

And you’re cruising around with the Block Party tour; you’ve got the double-bonus going on.

Yeah, that was the fucking gold at the end of the rainbow. I couldn’t believe it when they asked me to be on that. Because I was going to have to do shows anyway for promo, and this … I couldn’t ask for anything better than Block Party. You know, on my own, I’m not going to pull crowds like this.

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

BLUE KING BROWN

ROOTS

Falls Sensations Return To Tassie

BY EMILY WRIGHT

Practitioners of a truly unique style of blues/roots fusion, Blue King Brown made a spectacular impression on their audience at last year’s Falls Festival – conducting them into a Mexican wave stretching the length of the main arena at one point. So it’s a good thing that we didn’t have to wait that long to see them again, as they prepare to take the stage at the Hobart Uni Bar. Singer Natalie spoke to Emily Wright.

You have opened for many international and national acts, such as Micheal Franti and John Butler. What stands out in your memory about touring with these people?

Other than being just heaps of fun and hanging out with those guys, it was just really good for us, as an upcoming band, to see these bigger tours and how the production works, as well as a lot of the backstage stuff behind the big shows. It was interesting to see a big international artist and what it takes to get the tour on the road. So that was really good for us to see that side of the industry.

Where does the name Blue King Brown come from?

It came when we were just trying to find words to put together, and words that we liked, and the name eventually came together. It’s a name that doesn’t mean anything else other than the band, and the band’s music, and it doesn’t exist as anything already, and that was what we wanted. But now, we have a way of explaining it. The “Blue” is for the blues and the roots of the music. “King” is the power through music. And “Brown” is the groove and the soul.

What are you enjoying most about being on tour at the moment?

It’s just really fun to be able to travel around and get a room full of people together and just have fun. We’ve also been including new members on the road with us. We’ve had backing singers, and there’s been more of us on stage. The whole thing’s just awesome.

“

Busking is the essence of being independent.

”

What experience on tour has stood out the most for you so far?

Coming from the festival circuit over summer, we’re still kinda on that. We’ve been going since November.

All the festival gigs over that whole festival season have definitely been some of the best gigs, because the audience at a festival is always buzzing and ready to party. As well as that, you get to really check out a lot of other bands and hang out with all your crew, so that’s also a really good thing.

from our percussion background and all those years on the street, playing.

When do you feel you are in the best state of mind to write music?

When I’m home or when I’m off the road. Some people can write on the road heaps, and I wish I was able to do that. But for me the best time is when I’m by myself at home, not having to travel or do gigs.

Days off at home are always the best. You seem to get a backlog of songs from being on the road and not having the time to sit down and write. So I really value my time at home, and hopefully I’ll be getting some of that in the next few months.

Apart from a love of your music, what other characteristics do people at your shows share?

I think we appeal to a really wide audience; a wide demographic. Especially when we play at festivals.

It’s really great to see that there’s, like, young people and little kids, [who] really get into it because they

love the rhythm. They get into our sound as well as people right through the ages [do]. We did this gig once that was at a community hall, and it was so great, because parents would bring their teenage kids, and everyone would get into it. So I think we cover a wide range of age groups and demographics, which we think is a good thing.

To what extent do you write for your audience, as opposed to writing to please yourself or the rest of the band?

I think you always just write from your heart and soul, and that’s a big part of it. Personally, you have to be happy with what you’ve written before you think about what other people want to hear. You be yourself through that. At the same time, when you get out there and do your own show, you try and make it punchy and deliver it in a way that will make the audience stay entertained and connect it to you throughout the set.

How do you think working as a street performer in the past has affected your career today?

I think it has had a huge impact on our careers, from performance, to the way we are running the show and the band. We are very independent at the moment. Busking is the essence of being independent. Setting up your own shows in your own time is great self-motivation and promotion.

All those things we learnt from busking. Getting out there and performing straight out there on the street really comes through now in Blue King Brown. The sound is heavily percussive, which obviously comes

JOSH PYKE

ROOTS

Dust Off Old Memories

BY TOM WILSON

A singer-songwriter with a gift for creating lyrical depictions of human emotion – in all their abstract complexity – and a knack for turning them into very, very good songs, it could be said that something special happens every time Josh Pyke puts pen to paper. In fact, I just said it then. I spoke to him about the lyrical subtext and creative process of his latest album – the enigmatically titled “Memories & Dust”.

“

… I think I know what I want to achieve …

”

To what does the title of the album, “Memories & Dust”, refer?

Well obviously it’s a song on the record as well. The song itself is about a bunch of things which I think are applicable to the actual process of putting out an album ... You know, not taking things for granted; not allowing bad stuff that’s happened to get in the way of trying to make good of those kinds of situations, And also, there’s a theme of nostalgia and stuff, which I think is pretty prevalent in all my songs. It just seemed to describe the whole process well.

So how much of the album is “memories”, and how much of it is “dust”?

Um ... I don’t know. [Laughs] I know – I’m talking out of my arse. I thought it’d be good. In the song “Lines On Palms”, you refer to “what is weak in men and in boys”. What are those weaknesses for you?

Well, for me, when I wrote the song, I was talking about being jealous; being a weak, resentful ... just being weak and resentful and, you know, hot-headed – all those things that every man in the world has let get out of control at some point in their life, Not being cautious with people feelings and all that kind of stuff. Those are the main things that I’m talking about.

So how happy are you with the amount of time you had to put this album together?

I could have done it quicker, you know? [Laughs] Because I wanted to get it out last year ... all the songs were written. But, because I got signed to Island Records in the UK, negotiations with that, and going over there and trying to get the ball rolling, just meant that I didn’t have time to do both, really.

It just kept on getting delayed and delayed. So I was fine with how much time I had to write it – I could have done it quicker. But it’s kind of all worked out for the best now anyway, because it means the UK

release and the Australian release aren’t too far off.

Like, it comes out in May over there, so it’s pretty soon anyway, which is a better thing.

So how did you arrive to be making the style of music that you are?

I used to play in a rock band – a punk-y sort of rock band. But it just ... I just started writing this kind of stuff, and it just felt a lot more natural; it just felt sort of like I was able to express what I wanted to express a lot better in this form; this kind of narrative form.

And I just started exploring that more and more. And then, pretty soon after I started to actively write this kind of music, I started getting a bit of attention and stuff. So as soon as you start getting positive feedback on something that you’re doing, you just keep doing that thing. That’s when I really started to develop in this genre, I guess.

So how do you write? Sporadically? Or do you have planned times that you set aside to do some writing?

No, it’s just totally ad hoc; it’s just whatever. I can’t really write much on the road because I’m always busy. But I’ll think about something that I want to write about on the road, or I’ll think of some lyrics on the road. Or I’ll come up with a little idea at soundcheck or something, and then, when I’m at home for a period of time … I mean, I love sitting around playing guitar anyway – that’s what I do. I’ll generally do that everyday anyway. But there’s no set time as such. Also, I don’t force myself to finish a song if it’s not coming naturally. It’s kind of just a combination of collecting all the different bits, and trying to make something out of them – but not forcing the issue either.

We have to ask this after seeing photos of you; we’ve noticed that you aren’t a fan of the razor. Now, has this been bought about as a style thing? Or are you just a very lazy man?

It’s definitely both, actually. I’m very lazy – I fucking hate shaving! Like, I’ve got a pretty full beard – it grows pretty quickly – and I just hate shaving. It’s just annoying. And also … here’s a tip for any other aspiring “beardies” – surprising, having a beard is better for if you’re going to be making out with your girlfriend or your boyfriend or whatever.

Really?

It’s better having a beard, because, when it’s of a certain length, it’s actually softer. And so you don’t give your girlfriend beard rash as much.

Damn it! My girlfriend won’t let me grow a beard, for exactly that reason!

[Laughs] Take it from me! Once it gets past a certain length, it’s actually better for the girl’s skin. I swear to God! ONLINE: We ask Josh about his plans for the rest of the year. To listen to the entire interview, go to www. sauce.net.au/interviews.

PAGE 11

ON TOUR THROUGHOUT APRIL

WEDNESDAY 4TH HOBART

Elizabeth St Walk By Acts (Fringe Busking Night) @ 6pm – 8pm Irish Murphy’s Dirty Angels

James Kitto BARRISTER / SOLICITOR

Civil & Criminal Law

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

Stage Door The Cafe Melbourne folk singer Dan Dinnen @ 7.30pm

THU APRIL 5TH

GLAM ROCK NIGHT FEATURING

Rocket Noodle (Farewell show)

Jimmy Steele & The Thunda Grrr Hannah

SAT APRIL 14TH Ballpoint Yidcore (Melb) Stand Defiant The Belchers

SAT MAY 5TH BODYJAR

FRI MAY 11TH SPY vs. SPY

Contact the venue for ticket information.

HOBART

Irish Murphy’s AO - Simone Taylor + Samuel Bester + Nathan Wheldon and the Two Timers

HOBART

Curly’s Bar The Official Southern Roots Festival Afterparty – The Juggernaut DJs (from Midnight Juggernauts)

Republic Bar & Cafe Fringe Festival: Upstairs Fashion Parade @ 7:30 PM Fringe Festival: Adult Black Comedy @ 9:00 PM

Lark Distillery Edward Guglielmino, Jay Fraser, Charles Du Cane

Syrup Infected Mushroom (Israel) + Corney, Ozzy (Melb), Haas Effect, Ellis D.

Royal Hobart Showgrounds SOUTHERN ROOTS FESTIVAL – Pixies, Wolfmother, Gomez, The Vines, Lemonheads, The Embers, TSOMM + more.

The Loft Muddy Turds, Anthony Rochester, Argus, Shitkicks @ 9:30

LAUNCESTON

Batman Fawkner Inn Glam Rock Night - Rocket Noodle (Farewell Show) + Jimmy Steele & The Thunda + Grrr + Hannah

Royal Oak Short Daze Saloon Party and Groove with DJ playing commercial music and requests @ 9.30pm.

Republic Bar & Cafe Sugartrain @ 10:00 PM

Curly’s Bar Southern Roots Festival Sideshow - Devilrock Four + The Embers + The Dili Allstars + DJ Grotesque Republic Bar & Cafe Fringe Festival: Lucian Simon, Edward Gugliellmino, Beatrix B Bouwman @ 9:30 PM

Royal Oak Leah Flanagan + Matt Ryder + Jane McArthur Saloon Hotshots - Male Strippers @ 9.30pm.

SATURDAY 14TH BURNIE

TUESDAY 10TH HOBART

Stage Door The Cafe Leah Flanagan plus Jane McArthur @ 7.30pm

Irish Murphy’s JohnCraig

HOBART

Halo Payback Project – Smithmonger + Wballs

Republic Bar & Cafe Leah Flannigan @ 9PM

Irish Murphy’s Garod + Stokin’ the Neighbours

WEDNESDAY 11TH HOBART

Lark Distillery The Rusticators + guest artist, Jay Fraser @ 8pm Republic Bar & Cafe Ruins, Five Star Prison Cell @ 10:00 PM Syrup 10pm - Tackyland - 70s, 80s, 90s Dance Classics! With Naughts & Billy Bob + Upstairs 11pm Till 6am – Dirty F’king Dancing The Very Best Of House, Electro & Breaks with Resident Djs: Adam Turner, Gillie, Modal & Kir. + Special Guest, Sean Candy (Byron Bay) Trout Spazzys + Mustang with The Roobs

LAUNCESTON

James Hotel Dj MacD + Dj Nikko

THURSDAY 12TH BURNIE

Stage Door The Cafe Jazz Club ‘07 with the Viktor Zappner Trio featuring John Broadby @ 8.00pm

HOBART

Irish Murphy’s AO – Crystal Campbell + Stravos Roussos + Fink

Royal Oak The Stephen Bowtell Blues Band (Vic) + Kyron Howell

Syrup 8pm Till Late – Mesh - Hobarts Oldest Club Night Breaks & Drum’n’bass With Djs Mez, Model T & Chilli

Saloon Live Bands and DJs @ 9.30pm.

LAUNCESTON

Irish Murphy’s Micheal Clennett

Saloon Party and Groove with DJ playing commercial music and requests @ 9.30pm.

FRIDAY 13TH BURNIE

+ Five Star Prison Cell $12 / 10 PM

TH

APRIL Lana Chilcott Darlington Late Night Radio

TH

APRIL Bridget Pross Invisible Boy Glass House

21 SALAMANCA PLACE. HOBART. 03 63 6226 1119 WWW.IRISHMURPHYS.COM.AU

BURNIE

The Warehouse We Don’t Need Another Mural – Stompin Dance Party

SUNDAY 15TH HOBART

Halo 37a Elizabeth St Mall HOBART 6234 6669

Irish Murphy’s Sambo

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

Raincheck Lounge Raincheck Sundays - Live Music

Republic Bar 299 Elizabeth St Nor th HOBART 6234 6954 www.republicbar.com

Republic Bar & Cafe CLARITY THROUGH IDENTITY – Highroad #28, Hanah, Lakoda, Branded Left Handed, The Overview, Ten Feet Tall @ 2:30-6pm, 9-12pm

Syrup 1st Floor 39 Salamanca Place HOBART 6224 8249

LAUNCESTON

Trout 3 8 1 E l i z ab e t h 6236 9777

Republic Bar & Cafe G. B. Balding @ 8:30 PM

LAUNCESTON James Hotel HO Club

TUESDAY 17TH HOBART Irish Murphy’s Mikey & Pete

Republic Bar & Cafe Train Wreck @ 9PM

S t re e t

N O RT H

H O BA RT

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

Curly’s Bar “Too Many DJs” – Local emerging DJs Halo The Payback Project – UK Breaks

Republic Bar & Cafe

GIG GUIDE 4th - 17th April Saturday 14th April

Crystal Campbell Stavos Roussos Fink

HOBART

HOBART

Republic Bar & Cafe Fringe Festival: James Brooks, Jamin, Fabulous Diamonds, Muddy Turds & More @ 8PM

APRIL

MONDAY 16TH HOBART

Stage Door The Cafe Gaye Clarke, the Troubadour @ 7.00pm

Raincheck Lounge Raincheck Sundays – Live Music

TH

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

Star Hotel Sexy Lounge with Carl Fidler @ 5pm – 7pm

Royal Oak Thursday Night Originals – Josh Shephard + The Stoics

Backspace Theatre A Month of Sundays – Edward Guglielmino, The Que, Tim Logan, Artists Peter Angus Robinson & Lucia Rossi and films by Lazlo Steinberger

Simone Taylor Samuel Bester Nathan Wheldon & The Two Timers

Saloon “Clarity Through Identity” - Highroad No. 28, Hannah, Lakoda, Branded Left Handed, This Future Chaos, The Belchers, The Overview, The Muddy Turds, Bumtuck, Madhouse + 8:30pm

Backspace Theatre Charles Du Cane

James Hotel UniNight – Dj Nikko

HOBART

APRIL

Stage Door The Cafe 254 Mount St Upper BURNIE 64322600

Royal Oak The Titz

Republic Bar & Cafe 4 Letter Fish @ 9PM

Bruny Island FRACTAL FESTIVAL 07

5 12 19 26

TH

Batman Fawkner Inn Ballpoint + Yidcore (Melb) + Stand Defiant + The Belchers

LAUNCESTON

James Hotel Nat & Adam + DJ Randall

ACOUSTIC ORIGINALS

Every Thursday, From 9pm

LAUNCESTON

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

SUNDAY 8TH BRUNY ISLAND

FRIDAY 6TH HOBART

Lloyds Spazzys + Mustang

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

The Venue Neil Hamburger (Americas Funnyman) with Dr El Suavo, Emma Dilemma

James Hotel Good Friday Eve – Funkin Unbelievable + Dj MacD + Dj Nikko

James Hotel Dj MacD + Dj Nikko

Republic Bar & Cafe Milk @ 9PM

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

Trout The Roobs + Brand New Second Hand @ 9pm

LAUNCESTON

Irish Murphy’s Dr. Fink

Irish Murphy’s Joel + Dr Fink + Easter Saturday

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 Dj’s: Gillie, DSKO, Discotouch

The Loft Ballpoint, Yidcore, Stand Defiant, Your demise

Saloon Studio B live (UK)

BURNIE

Republic Bar & Cafe Pete Cornellious & The Devilles @ 10:00 PM

Trout Ninetynine with Bad Luck Charms & The Que

James Hotel HO Club

Bruny Island FRACTAL FESTIVAL 07

Stage Door The Cafe Jazz Club ‘07 with the Viktor Zappner Trio featuring Yoly Torres @ 8.00pm

MONDAY 9TH BRUNY ISLAND

LAUNCESTON

SATURDAY 7TH BRUNY ISLAND

THURSDAY 5TH BURNIE

Star Hotel Sexy Lounge with Carl Fidler @ 5pm – 7pm

Irish Murphy’s Easter Monday

Saloon Karaoke on early from 10.00pm

LAUNCESTON

Irish Murphy’s Loco + The Smashers

Halo Friendly (UK)

Royal Oak Dan Dinnen + Jay Fraser

Trout Buskers After Dark - The Walk By Acts after party @ 9:00pm

James Hotel Tash + DJ Patty Duke

HOBART

James Hotel DJ Patty Duke

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

Label Night

LAUNCESTON

Bruny Island FRACTAL FESTIVAL 07

LAUNCESTON

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

35 CAMERON ST LAUNCESTON 6331 7222

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

With Djs Duncan & Nick C + Upstairs From 11pm Break Even: Booty Breaks, Bumpin’ Beats & Electro with Resident, Adam Turner + Guests The Loft The Reactions + Red Rival

Republic Bar & Cafe Fringe Festival: Upstairs Fashion Parade @ 7:30 PM The Big Low Dan Tuffy @ 9PM

GIG GUIDE | 4th - 17TH APRIL

1800 043 080 www.skydivetasmania.com.au

Hobart 21st - 24th & Georgetown 25th - 26th

Wednesday 18th April

SNOWMAN $10 / 9 PM

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

Fringe Festival at the Republic Bar Wed Thu Fri Sun

4th 5th 6th 8th

Upstairs Fashion Parade 7.30PM Upstairs Fashion Parade 7:30 PM Adult Black Comedy $8/5 9:00 PM Lucian Simon, Edward Gugliellmino, Beatrix B Bouwman $5 9:30 PM James Brooks, Jamin, Fabulous Diamonds, Muddy Turds & Miore $5 8:00 PM

Wed Sat Mon Tue Wed Thu Fri Sat Mon Tue Wed Thu

4th 7th 9th 10th 11th 12th 13th 14th 16th 17th 18th 19th

Sun 15th The Big Low Dan Tuffy $5 9PM Sugartrain $3 10:00 PM Clarity Through Quiz Night 8:15 PM Identity Leah Flannigan 9:00 PM Highroad #28 Milk $3 9:00 PM Hannah 4 Letter Fish 9:00 PM Pete Cornellious & The Devilles $3 10:00 PM Lakoda Branded Left Handed Ruins, Five Star Prison Cell $12 10:00 PM The Overview G. B. Balding 8.30 PM Ten Feet Tall Train Wreck 9:00 PM $10 Pre/ $12 Door Snowman $10 9:00 PM 2:30 - 6 & 9 - 12 Fourth Floor Callapse + Supp Tba $8

DVD FUCK – A DOCUMENTARY

Intercooler

FOREVER OR WHATEVER Intercooler has been busy over the past few years.

They’ve played the Big Day Out twice, in 2003 and 2006; toured Australia extensively supporting such international acts as Gomez and Maximo Park, and toured the US three times in three years, supporting Red Hot Chilli Peppers and Queens Of The Stone Age along the way.

Now, five years after the release of their acclaimed debut “Old School Is the New school” which received quality air time on Triple J, Rage and Channel V; Intercooler have evolved their sound, to a degree, with their second full-length album “Forever or Whatever”.

The first track “Sail Into Me” is a sweeping, slow melodic song which utilises keys and stylish synth samples to accompany the moody harmony. It’s a well rounded release; their usual pop/rock sound prevails through the album like on the catchy fifth track “Wasted My Day”, and the heavier, rocking tenth track “Move From My Way”. The band mixes it up a fair bit, using elements of electronica on “Hold Me Again” which also has a sweet sounding, fat bass backing throughout. My favourite song is third track, the indie rock anthem “Craving Others” which is filled with awesome drums and melodic vocal backings.

Intercooler “This album is filled with rocking guitars, elements of blues and electro beats ... Intercooler have pulled out a bit of a gem with this one.”

This album is filled with rocking guitars, elements of blues and electro beats and features mature arrangements, with the odd rumbling crowd pleaser thrown in for good measure. I reckon Intercooler have pulled out a bit of a gem with this one.

8/10

Review by Adam Ferguson

Mignon

BAD EVIL WICKED & MEAN When I got this CD, I thought Mignon was the name of a Finnish metal band or something along those lines. Mignon is, in fact, the name of the hot “highpitched rockbitch” on the cover of this album.

Best known for her satanic cabaret live shows, shocking and turning on audiences with her evil, dark, fun and sexy on-stage antics; she has made her name touring the world, but until now hasn’t recorded anything. Apparently she learned the basics of how to put on a show from the German drag queen scene and it tells from the look of them.

Her sound is like techno, glam, punk and heavy metal thrown at you all at the same time. She uses the unique blend of a groove box to program beats, heavy metal guitar, punk-like lyrics and tweaked vocals to convey her messages of hate, love and wickedness.

There are some big-name cameos on this album which adds to the sound, and her reputation. Peaches announces, “Yeah, she’s an evil motherfucker, you better watch out”, and adds vocals on “Bad Girl”.

Tom Wydler from The Bad Seeds plays drums on a few tracks, including the metal guitar soaked track “Impatience”.

MOS CLUBBERS GUIDE TO 2007

Disc one by Goodwill starts off with a massive remix of “Proper Education”, consisting of Eric Prydz’ interpretation of Pink Floyd, then slams through many original and remixes, featuring big names such as Robbie Rivera, MYNC Project, Fedde Le Grand, The Knife, Claude Van Stroke and many more! My definite favourite on this disc would have to be Sucker DJs featuring Tiger Lily – “Firework”. It’s huuuuuuuuuuuuuuuuuuuuuuuge!

On Disc two, The Kid has trashed his so-called “breaks rep”, and jumped on the mixture of breaks, electro and tech. It has a mega collection of my favourites on there, such as Malente – “Killer Application”, Stanton Warriors – “Shake It Up”, D. Ramirez’s remix of “Junk” and many more. With a plump mixture of fat beats throughout the whole mix, it’s a great consumption of satisfaction every time.

Jamelia

WALK WITH ME The eagerly awaited third album from Jamelia is a joy to listen to.

The album is filled with tracks with beats that make you want to get up and dance. These bouncy tracks outnumber the slower R&B ballads.

Stand out songs are “Do Me Right” because of its funky Egyptian beat, and “La La Love” because of its sweet melodic lyrics backed with a soft beat.

The lead single “Something About You” could easily be mistaken for an Avril Lavigne track, with its rocky guitars and confronting lyrics.

The album is made so much sweeter when you read the credits, and are made aware of the fact that Jamelia either wrote, or co-wrote, all eleven songs on the album.

Review By Patrick Duke

4 Corners

THE FOUNDATION Hailing from New Zealand, hip-hop crew 4 Corners are pretty much what the final product would be after cross-pollinating members from Mobb Deep, Dilated Peoples and Beatnuts. But, on the other hand, compared to most NZ artists, they’re bringing something very different.

From the grimy lyrics and flows to the snappy beats and detailed vocal choruses, this album is a pretty good representation of where the evolving and varying NZ hip-hop scene is at in 2007.

Most of the verses display fiery punch lines and a rough-neck attitude, but there are a couple of deeper tunes such as “Now I Know” on which 4 Corners team up with Ladi 6 on a soulful tip, promoting selfgrowth and keeping-your-head-up-style attitude.

A couple of pretentious tracks kind of ruined the album for me, and really damage their credibility; for instance the rough, club banger “Hard Knock” sounds eerily similar to a handful of 50 Cent, tracks as well as having a beat reminiscent of a Scott Storch creation.

But, as I said, no one else seems to be doing this kind of thing in NZ, so hats off for trying something different.

“Walk With Me” again shows Jamelia’s fantastic ability to mix R&B, hip-hop and pop into a winning combination.

The variety of tracks did impressed me, and those quality, neck-snapping beats helped the album a bunch, but the filler factor and the lack of timeless tracks that achieve the appeal of a second listen means that 4 Corners lost me pretty quickly.

7.5/10

6/10

PAGE 14

Review By Emily Wright

With a mixture of soul, funk, reggae, and anything else under the sun, we have Watch TV And The Primetimes releasing their new album “Discolexia”.

It’s a title that Mr. Watch chose as a result of his penchant for confusing different musical styles in his music; dyslexia = “Discolexia”! (“Disco” means “record” in Spanish).

In their decade of playing and recording, in all honesty I don’t know a great deal about them. But their tunes are cool, and really have a happy soulseeking vibe towards their particular sound.

Perfect for upbeat café, but even still, I’d love to hear this style of music live – it would be hell funky! It’s available on CD – or better yet, vinyl, just for the extra cool factor.

Lots of sax, piano, trumpets, scratching, guitar – everything you need for the sensual mood of feeling laid back and cruising through the day.

Rubén García has been getting busy, so check it out!

This album grows on you with every listen.

7 smooth cigar sucking monkeys out of 10.

Review By Patrick Duke

Beyond Mortal Dreams THE DEMON AND THE TREE OF THE DEAD

10 Fatarded Monkeys out of 10

I’d way rather see Mignon live than just listen to her; it’s a cool album but I want the full Mignon experience.

Review by Adam Ferguson

DISCOLEXIA

Just buy it! My favourite Ministry CD to date! With so many great tracks, you’d be crazy not to get ya cochleas around this.

And Quan from Regurgitator – who you could compare Mignon to – provides the voice of the ring announcer and screams some lyrics on the musical fight scene that is “Violence”.

6.5/10

Watching TV And The Primetimes

Kid Kenobi & Goodwill Strap on ya fuck-me boots and get your kit on; we’re going for a ride on the banging beats train.

Yes, Ministry Of Sound have released one kick-ass compilation, mixed up by the Kid and Goodwill, with the mega flavours of big club bangers. This CD has really impressed my ears with all its glory, featuring many favourites, that have smashed the charts or that are climbing their way up to mega-popularity on dance floors today.

Review By Ryan Farrington

8/10

I was sitting around contemplating the irony of being SAUCE’s “metal reviewer” and having never reviewed anything of that description when along came this – “The Demon and The Tree Of The Dead” by Beyond Mortal Dreams. Was it a welcome surprise? Yes, it was. Is it any good? Well, not really.

After a short, ambient lead-up, the title track doublekicks in with a furious blast-beat.

Particularly down-tuned-sounding death metal, the production sounds above-par (if a little inconsistent, but I’ll get to that in a minute).

While the drummer sounds like he’s struggling with maintaining the snare during the blasts at some points, the vocals are suitably deep, and sit nicely over the guitar work.

Bizarrely, there are eight tracks on this album, but only five listed on the back. And, since none of these titles are numbered, it is unclear which song you’re actually listening to.

Secondly, half the tracks sound like they’ve been recorded in a completely different manner to the first few; and by that, I mean they sound crap.

Why they’ve decided to do this is beyond me.

Apparently, this is a “promo release” ... if that’s true, my advice to them would be to take a bit more care with what they’re using to promote themselves.

As a huge fan of the poly-rhythmic technicality of bands like Meshuggah, I’ll admit that straight up death metal doesn’t hold my interest for long.

No, that title is not a typo. This is a documentary about the mother of all curse words; a talking heads analysis of the history of the word, its usage in society, and its ordeal with censorship. Lending their points-of-view on this notorious expletive is everyone from morality committee members (translation: right-wing censor-Nazis) to rappers, comedians and porn stars. From Billy Connelly to Tera Patrick to Ice T and the late, great Hunter S. Thompson, their individual insights make for some truly great stuff; detailing the word’s use everywhere from the US senate (no, really) to stand-up comedy, Woodstock, and, of course, films; from Pacino letting rip in “Scarface” to some truly appalling Steve Martin “comedies”.

There are a lot of surprises in this. I, like many people, believed the word came from a medieval acronym for “Fornication Under Consent of the King”, though several linguistic experts are quick to tell us that that’s absolute crap. I also had no idea that Dick Cheney once told an opponent to go “fuck himself” in the senate. And don’t even get me started on an old quote from Hilary Clinton that makes Mel Gibson’s recent antiSemitic tirade seem fit for church (though, given Mel’s alleged views, maybe it already was). It’s hilarious stuff.

It’s clear that this documentary was never going to be shown on TV (if they did, it would probably be edited in half), so I hope that DVD sales are kind to those behind this brave, and certainly original, work. I can tell you that this is truly a worthy purchase, even if you just want to see porn star Tera Patrick proving the use of the word by dirty-talking the camera [which certainly had me crossing my legs].

Is it a little too long, with a bit too much emphasis on talking heads segments? Yeah. But is it good? Fuck yeah.

8.5/10

Review By Tom Wilson

I AM A SEX ADDICT This is a film that should raise eyebrows for more than its rather frank title. A semiautobiographical “documentary” (I use that word loosely), with an almost Dogme 95 sensibility, it details the writerdirector’s struggle with his addiction to prostitutes, and the affects it has on several major relationships in his life.

He’s an awkward, unappealing guy, becoming even more so throughout the film’s duration, particularly after we see his nauseating orgasm face for the fiftieth time.

He seems to almost suffer from his honesty, and this extends to the film’s production, as he plays himself; while I understand he might want to have full control over how he is portrayed, it’s a role he should have given to someone else (but I imagine he would have found that dishonest).

Still, it’s very clever in places; in one instance telling us that one actress has refused to do a sex scene, so the protagonist reads the dialogue intended for her straight to the camera.

His numerous audience asides remind us that we are watching a film (as opposed to us getting lost in the screen’s “world”), and provide a few laughs; during one emotional scene, his voiceover explains, “I’m not very good at crying on camera”.

There are some bizarrely graphic behind-thescenes featurettes, one of which showing how they shot one of the film’s numerous sex scenes (including the three lines of coke an actress snorts off the bedside table before the take).

And while, yes, I’ll have to face the fact that not every heavy band in the world can sound as brilliant as they do, I don’t think I’m out of line in saying that Beyond Mortal Dreams should be enjoyed in small doses only.

As illustrated by the film’s title, sex is clearly a big part of it as a whole. However, those who might be drawn to it for just that reason will be sorely disappointed – with its reliance on natural lighting, ugly camerawork (and even uglier lead actor), “I Am A Sex Addict” isn’t red hot – it’s chilly.

6.5/10

6.5/10

Review By Tom Wilson

Review By Tom Wilson

Cruel Like That

The Embers and The Zac Lister Band

Funk D’Void

By Kevin Gleeson

By Adam Ferguson

By Felix Blackler

JAMES HOTEL – 24/3/07

THE ROYAL OAK – 23/3/2007

SYRUP 30/3/07

Klaus Heavweight Hill feat. General Midi HALO – 31/3/07

By Felix Blackler

I’d heard some good reports about Cruel Like That.

These guys have been gigging around the NW coast for over a year now and scored themselves a spot at MS Fest, so The James seemed like the place to be this night.

Carl Fidler kicked the night off with his usual solid performance. There weren’t many people in the audience at this stage, which makes it hard to get a good vibe going, but Carl had been doing this long enough, and he put the effort in regardless. Carl’s guitar work is so damn tight. Nice.

I’d arrived too late at MS Fest to catch CLT, but I did see the singer and lead guitarist at Irish in Launny last weekend, and was very impressed with them playing acoustic; I was determined to catch the full band. But, this night, they didn’t seem to have the dynamics they showed as an acoustic duo for some reason. It didn’t help that the kick drum was overpowering the whole sound to the point of distraction. They fit very well into the pop/rock genre though – catchy lyrics and riffs abounding. There is one standout song called “Runaway”, which I also heard played acoustically a week ago, that just rocks. To me, that song has huge potential. With only a year under their belt, I’m sure these guys will continue to grow.

The first time I saw Leo Martinez of The Embers play was at this very location, almost two years ago in a solo gig. He had his pan pipes hanging from his neck; his guitar strapped to his back and was giving his charango hell. I loved it. And that was the sight and sound that greeted me when I arrived at The Oak to see him play with The Embers one last time before heading back to Mexico.

The Boatshed was packed by the time The Zac Lister Band was gearing up to play in front of their biggest crowd to date.

They’ve come a long way in a short time playing live together, and turned heads with their stylish and polished sound, and had feet tapping and bodies moving. They use elements of blues, reggae, funk and rock, all accentuated by Lister’s unique, bluesy voice. Go see them when you get the chance – they’re going places.

It was the last time we’d get to see the original Embers line-up – maybe forever – and they didn’t disappoint – they never do. The room was shaking for over an hour to their sweet Latin, reggae grooves.

They had people cheering with every solo and joining in with the infectious songs, and had me sweating my balls off from dancing so much. After their set, they got their customary shouts for an encore, and went on to jam for at least twenty minutes.

An awesome set! It’s a gig I won’t forget for a long time.

One of the great things about events at Syrup is their diversity. When hosting touring DJs, Syrup proudly holds itself on bringing a range of DJs from different genres and backgrounds to equally shake the foundations of the club.

Tonight’s treat was Funk D’Void (Lars Sandberg) hailing from Spain with a portfolio of albums and remixes wide and varied. His brilliance may work in his ability not to be pushed towards the commercial side of electro, but to carve his own path, without the desire to be the biggest name in the business. It was hard to say what to expect at a Funk DVoid show, due to his varying styles, but with his reputation and popularity across Europe, we were ready for anything. And everything is what was delivered, which can only be summed up as deep, pumping funk.

Syrup bounced to a solid range of thumping tunes that covered deep house with atmospheric rhythms to jumpy electro grooves.

It was great to see a good cross-section in the crowd, with obvious admirers of Lars’ work out on the floor and providing him with the energy to keep dropping perfect, fresh clubbing beats that contained distinctively twisted elements. Funk D’Void was truly a good act to see, allowing me and, I’m sure, others, to hear something a little more edgier and obscure than the norm. Another diamond in a building sea of rough picked up by Syrup, so keep your eyes out for the next dose of funk!

It was a night of giants at Halo with Klaus Heavyweight Hill, on his monthly residency, joined by his heavy breakbeat comrade General Midi. General Midi is out to make his mark after mixing the latest “Y4K”, the well-respected breakbeat compilation series that are consistently brilliant and, among DJs, an honour to be asked to present one.

Halo was starting to fill up when General Midi hit the decks; the crowd hovering towards the floor as the deep resonating sounds, typical of Midi’s style, began to fill the club. The set was, as expected, a heavy and bass-driven ride through some of his defining tracks, and also a sample of some cracking tunes from a range of producers, most likely on his new “Y4K”. General Midi displayed massive energy as he mixed bulky beats with extended hooks, demonstrating his defined style and evolving ability to give breaks the giant testicles it proudly displays in dark clubs everywhere.

Klaus took up his position after General Midi and continued to show why he is loved by all at Halo.

A personality as big as himself, Klaus took time in between drops to scream at the crowd, demanding the masses to go harder or go home. Only midway through the morning, the crowd responded and fed off the energy Klaus was kicking, with General Midi surprising us all by teaming back up with Klaus for a second dose with the night almost over and sensibility well and truly gone.

The Angels + Jimmy Steele & The Thunda Mindset EP Launch BATMAN FAWKNER INN – 31/3/07

SPURS– 30/3/2007

Enola Fall (Joe & Linc)

Spreckenstein

By Alex Robinson

By Ryan Cooke

By Ian Murtagh

By Ian Murtagh

I’ll try not to bitch too much about the disappointment of going to another show that has Enola Fall on the bill and most of the band isn’t turning up, though I do enjoy the tunes Joe plays solo when the band can’t get out of bed, and I do like it when it’s just Linc and Joe. Their two man act really has become the acoustic Enola Fall with it’s own little history and legs to stand on and thankfully isn’t simply a watered down, abridged version of what their electric shows are like. Linc stands more as a second front man in this version and the interaction on stage between the pair kinda reminds me of Hesty and Neil’s banter.

One of the nicer things about particular musos in this city is the bunch of people that come every time to watch them play, the friends that are fans.

It’s even better when that same bunch of people can always be found frequenting other particular events (Enola Fall, Coven etc.), because all of a sudden a new little sub-culture is formed. Tonight we’re here to witness Duncan of local band Botox get his Spreckenstein on, with new tunes, a much bigger stage with the same fully black flavour.

Unfortunately support band Jimmy Steele & The Thunda had finished by the time I made my entrance, but the audience certainly held them in high regard when I asked; impressive, since it’s not every day a band is asked to support Oz rock legends of the caliber of The Angels.

The band came onstage at around 10:30, and the crowd welcomed them with open arms. This was the first time they’ve been down since the departure of former vocalist Doc Neeson, but the audience didn’t discriminate at the presence of new blood John Brewster. The crowd was a surprisingly good mix of old and new fans, and seemed to be the perfect size for the room; I wasn’t having to fight my way through people, yet there were no big open spaces amongst them that might kill the vibe.

The band played a great selection of their new material. But, of course, it was their old hits from the late seventies/early eighties that we were all here to see, and the boys played them with relish.

I noticed that a lot of their gear was borrowed from their support band – I guess they like to travel light. I imagine Jimmy Steele and co. are pretty stoked that their equipment was being used by such revered figures of Oz rock. The boys sounded great throughout their set – a credit to whoever mixed them.

All in all, it was a great night – hopefully it won’t be too long before they come down again.

Sunny skies and huge winds greeted me when I rocked up in Devonport for the first time in a long while. Local boys Mindset were playing in support of their debut EP “Heart of the Storm”.

First up were Burnie metalcore’s finest Confessions of Darkness, who got the floor moving and heads banging with their opening Killswitch Engage cover.

These kids have a lot of talent, and I am one of many looking forward to hearing their forthcoming release.

From the point This Future… Chaos walked on stage and set up, they owned the place. Devonport kids didn’t know what hit them when the Launceston mosh crew started destroying the pit with their silly fight-style dance moves and stage dives. All the favorites were aired including “Casket Hunter”, “Mercury Flood” and “Born Burning”.

Last, but certainly not least, Mindset was up next, and the band everyone was here to see sure didn’t disappoint. The sound was fairly bad at the back of the room (because, you know, that really matters), but up front it was great. Even if you don’t like the band, you should go watch guitarist Chang Kim weave his magic. The boy has talent and is surely going somewhere. Probably the best local show I’ve been to, and that’s a huge call. Everyone needs to check out the Mindset EP – it’s well worth the $8.

REPUBLIC BAR - 03/2007

Though they didn’t oblige requests for their epic loud songs it was a good chance for them to show off new Joe new tunes from Ghost Poems, and the bands versatility shined tonight as they hit us with some of the real melodic acoustic nuggets that usually wouldn’t get a look in the electric show, including his new single “I Made A New Friend”.

And to be honest, while I much prefer the way it is presented on the album, I’m so used to hearing “We Become Wolves” acoustic that I don’t remember if I’ve ever seen the whole lineup do it live.

Without the band behind them they are a completely separate energy, and swinging past classic “Brief Lives” gave this show its edge and a brief moment to jump up and down. Joe’s experimenting with backing tracks for his solo act (they’re not too bad either), which will further separate the different Enola Fall’s. This is a band in constant transition and I wouldn’t be surprised if they popped another squirt soon. Be bloody nice to see the whole band again though! Come on! It’s been ages!

CURLY’S – 30/3/2007

I wonder what he felt like playing tonight, as every other time I’ve seen him strut he likes to be cloaked in darkness, the big emo bitch, but I doubt the stage lights at Curly’s even dented his armour. Smoke and lights add a dramatic flare to his gothic futurepop, and other long, weird and exciting names.

Probably the easiest way to describe his style, and I mean this in no offensive way, would be to say that essentially, it’s glorified karaoke. And before anyone gets their knickers in a twist, I admire greatly what he’s doing. Often to realise the very specific noise and tone you want in a song, you have to do it yourself. His backing tracks slip seamlessly into what he’s playing and singing live and lift the songs rather than make them tacky. He’s taken the less travelled road of a lot of practice and patience, and it’s paid off.

Duncan kicked arse tonight, and it was great to see him stretch his legs a little on a bigger stage, even if he does mostly stand still. Check him out because I think he really is writing good music at the moment and he’s gonna break through a ceiling any day now.

PAGE 15

1998 SUBARU WRX

BURN-OUT

WILCO

Where There’s A Wilco

BY STEVE TAUSCHKE

ENGINE Blitz BOV, 600x300 Blitz Intercooler, Intercooler spray kit, Turbosmart dual stage boost controller [L-8psi H-18psi], STi clutch, VF23 ball bearing turbo, Hailtec ECU, STi fuel pump, 3.5-inch turbo back Hurricane Exhaust to 5-inch tip.

INTERIOR Kenwood DVD, 7inch screen, 2x Rockford 10-inch subs, power amp, standard splits, Rockford 6x9 rear.

Omoni gauge cluster [ex temp, oil temp, boost], Blitz DTT, chrome gear shifter + pedals, Nardi Torino leather steering wheel.

EXTERIOR Front bar lip, Navara driving lights, STi rear tail lights, aftermarket rear wing.

ROLLING SMOOTH F+R sway bars, Adjustable struts, Star Corp 17-inch Chrome 9 spokes, GT Radial Rubber, DBA slotted rotors, hard sports pads.

DRIVER PROFILE

Chicago alt-rockers Wilco will be spoiling Australian fans this month by performing live, for the first time, tracks off their new album “Sky Blue Sky” as the band kicks off a world tour to promote the record.

“Yeah, it’s going to be debuted there which is I think is a pretty awesome thing,” enthuses bassist John Stirratt on line from The Iron Horse bar in Northampton, Massachusetts where he’s currently playing shows with his side project The Autumn Defense. “Hopefully some people will have heard the new stuff but of course we’ll dip into the back catalogue too.”

Fronted by Stirratt and co-founding singer-songwriterguitarist Jeff Tweedy – both former bandmates with 80s/early 90s alt-country outfit Uncle Tupelo – Wilco performed mammoth sets in 2003 during their Big Day Out side shows. But if you thought those marathons were all-encompassing, the Grammy Award-winning band now have six full studio albums to draw from, bringing an even greater scope to an already well-stocked repertoire which is set to include songs from the new album “Sky Blue Sky”, penned in a relatively unorthodox fashion, according to Stirratt.

“Most of it was really collaboratively written in The Loft in this little circle we’d get into,” he says. “We did three week sessions, four of them in all, and we’d sit down and write in a circle. It was the first time we did things that completely and really arranged things that democratically and communicatively, if that makes any sense.”

The Loft, a high-quality analogue studio in a nondescript north-western suburb of Chicago, has been favoured by Wilco since 1998. It was here the group “built from the ground up” 2002’s inventive “Yankee Hotel Foxtrot”. Since then, the six-piece has undergone several personnel changes, recently adding jazz guitarist Nels Cline and multi-instrumentalist Pat Sansone, both of whom have brought a newfound collaborative approach to the band.

“The lyrics are completely Jeff’s and very often

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WHERE DID YOU GET THE SUBI? From Melbourne, it had two previous owners.

BALLPARK FIGURE SPENT ON MODS? [Counts out loud] Ah… [Counts more] Between seven and nine thousand.

PAGE 16

he’ll have a very cohesive song structure, a very finished song and that’s true on a few of the songs,” explains Stirratt. “But this time there was more collaboration that there’s ever been in a great civilized musical way, arguing points over what the tone of the music should be. Nels and Pat are kind of music theory guys so they helped with that climate quite a bit and contributed to the change. It was cool, a departure.”

For those suspecting Wilco have re-discovered the languid soft-rock sounds of 70s AM radio on “Sky Blue Sky” may well be onto something too.

“I think given the age of the band there can’t help but be a little of those sort of touchstones that we come back to,” chuckles Stirratt. “And I think

“

... both of whom have brought a newfound collaborative approach to the band

”

that we weren’t afraid to just let the songs be what they were and just carve our parts out without so much post-production or deconstruction or things like that. It’s funny, it’s just an indication of how the songs are and what they want to be.

Songs like that which have always part been the Wilco thing from back on Being There. There’s no soundscapes on this record - the songs are unadorned.”

Wilco tour nationally in April. “Sky Blue Sky” is out through Nonesuch Records.

STOMPIN YOUTH DANCE CO.’S

WE DON’T NEED ANOTHER MURAL Choreographers Luke George, Antony Hamilton, twenty five young Launceston dancers and four dynamite bands and DJs are set to put on an “atomic” show, expected to peel the paint and lift the roof. Saturday 14 April at The Warehouse 25 St John Street is where it’s all at.

Set to the existing backdrop of a fifteen-year-old community mural project, young artists and young performers will inject new ideas and artwork into our lives and place.

Stompin gears up with a cast of twenty-five dynamite dancers from Launceston all aged Stompin is transforming the way people see and between 14-26 and raring to go. experience contemporary dance.

The line-up of local music includes: Tom Bombadil, We Don’t Need Another Mural is an event that thrusts The Emma Dilemma Show, DJ PD and more to be the worlds of contemporary dance and live music announced. For Stompin, these musicians are creating and performing risky and exciting new together into one multi-performance event. work at the edge of the local music scene.

“There is a growing swell of underground cultural activity happening in Launceston. Younger people We Don’t Need Another Mural is one night only on are ferociously seeking and creating a scene which Saturday 14 April at The Warehouse, 25 St John encapsulates and fuels their ideas, perceptions and Street, Launceston. creative and dynamic expression.

Four hours of new dance and music from young Stompin is part of this scene and riding the edge of Launceston people starting at 8pm and finishing where contemporary culture and art collide.” – Luke at 12am. Only $12 per person available from the Princess Theatre Box Office – Ph. 03 6323 3666 or George, Artistic Director www.theatrenorth.com.au.

DJ BONEZ

DOPAMINE

Prepare For The Hip-Hop Ninja!

BY TOM WILSON

There were many things I could have talked about when a very sleepy Bonez rang for this interview; most notably his involvement in the Obese Block Party roadshow hitting Tasmania this month.

And, eventually, we did. But you’ll have to listen to it online. Why? Because there was one question that I believe had to be asked in the space we had for this article; one question that this hip-hop DJ needed to answer; possibly the most crucial question that can be asked in society today – who’s tougher; ninjas or pirates?

Apart from sleeping difficulties, what have you been working on recently?

Well, apart from the “Ninja …” thing which came out, just some more songs for this year; I’ve got a few projects that I’m working on with different people … also working, just remixing for a few guys as well. But mainly production for myself.

Dopamine is an internationally respected party starter, with a serious talent for pushing new sounds.

With ten years’ experience behind the decks and a history of techno and electro based music, the progression to breaks has seen Dopamine bringing fresh and exciting elements to the genre.

He’s into what he does and it shows – whether in the genuine loving he places in each carefully crafted track or the personality we glimpse behind the decks; Matt Dopamine is breakbeat.

So, “Ninja Art”, the album … [Laughs] I find the title funny, because I remember hearing this stupid debate online, as to who is tougher – pirates or ninjas? So, let’s get Bonez’ opinion!

In Oz hip-hop?

Oh, no – just in general. Bugger it; just for the sake of it, who do you think are tougher – pirates or ninjas?

Oh, ninjas, definitely!

First and foremost, Dopamine is a producer.

His tracks are some of the finest electro/techinfluenced breakbeat badness available today.

They literally fly out of stores and line the record boxes of influential artists such as The Plump DJs, Stanton Warriors, Tayo, Annie Nightingale, Uberzone, General Midi, Rennie Pilgrem, and FreQ Nasty to name but a few.

Yeah?

Oh, yeah. Oh, then again, pirates … they’ve got blades and swords, I guess. But ninjas are masters of every style of combat, so … I’m not saying I’m a ninja, though. [Laughs] Would you say that you’re “a ninja of a DJ”?

Fuck yeah! Fuck yeah – I destroy ‘em all!

[Laughs] Wicked! There’s nothing wrong with a bit of confidence!

[Laughs] Usually, I’d say, “Oh, you know, I’m not good enough!” Stuff ‘em – I’ll school ‘em all!

So where did your handle Bonez come from? Is it because you’re skinny?

Oh, it’s just a nickname from high school. And yeah, I guess I am a little thin. No, lately, I’ve been putting on a bit of fat. It comes with age! [Laughs] But yeah, it’s basically just a high school sort of name, and I said, “Fuck it.” So I kept it! It’s a tag name.

So what do you do in your spare time outside of DJing?

Um … To be honest, I don’t do a lot of DJing at the

moment. All I do really is just work on music, really.

When I’m not doing that, I’m just trying to figure out who I can work with … you know, just kind of get to meet new people, and just network with people. And that’s it – that’s what I do non-stop at the moment.

It’s my job.

So how did all of this start? How did you get into DJing?

Um … it was when I was a kid. I used to watch a lot of videos and stuff, you know what I mean? I’d sort of see the DJ in the back, with the records and

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that. And I was always more fascinated with that, more than the singers really. It was kind of cool, because I knew I couldn’t sing; I knew I couldn’t rap, even though I didn’t try it. I knew I just didn’t want to do it. So when I had a little go at a mate’s house, and had a little spin on his records and that, I really liked it heaps. Like, “Man – this is really cool!” I just put my hand on a record, back and forth; I’m like, “Oh, so that’s how they do it!

This sounds great!” And it sounded like shit! But back then, it was, “Oh, this is mad fun!” You’re like fifteen, sixteen – you’re loving it!

Dopamine is one of Title Fight Recordings’ main recording artists alongside the Label’s Manager and himself respected breakbeat artist; Klaus Heavyweight Hill. The coming year sees a slew of remixes for artists such as Myagi, Vinyl Life and Metric – all of which are sure to push Dopamine’s profile further worldwide as more clubbers discover his dance floor orientated sound. But don’t expect his original production work to slow down as he remixes for others – the Dopamine release schedule remains packed with more solid breaks tunes to make your mouth water.

His residency at the weekly Break Inn night at Sydney’s Chinese Laundry is renowned as the best place in Australia to catch “fat ass breaks”, and has fast become one of the most respected breaks nights in Australia since its inception just under a year ago.

2005/2006 saw Matt playing alongside most of the heavyweights of breaks on his UK/ European tours where his storming set with Klaus Heavyweight Hill at the Breakspoll awards at Fabric no doubt ensured them both a repeat invitation.

Kim Dalton, Director of ABC TV, recently announced two major initiatives at the Australian International Documentary Conference in Adelaide.

The launch of an $800,000 Documentary Series Initiative between ABC TV and the South Australian Film Commission to produce a landmark documentary or documentary series for a prime time slot. “This is a fantastic opportunity for some bold and ambitious ideas.

It can be any genre, any format, but should aspire to create debate, challenge preconceptions and tap into the national agenda or simply revel in the everyday,” said Kim Dalton.

In addition, ABC TV and the Australian Film Commission (AFC) announced it would provide a further $300,000 for young documentary makers, continuing the Jtv Docs Initiative announced last year. This would be available to filmmakers under 35, to fund several one hour or half-hour documentaries aimed at a young audience.

Last year, three long-form documentaries were produced from this fund – the first, “Words from the City”, will have its world premiere at the Adelaide International Festival on Friday March 2nd, and will screen on ABC TV later this year.

The final dates for submissions for the ABC TV/SAFC initiative is April 13th and guidelines are available on abc.net.au/tv/dcoumentaries or safilm.com.au The deadline for submissions for the Jtv Docs Initiative is April 30th and guidelines are available on abc.net.au/jtv or afc.gov.au/ jtvdocs

PAGE 17

DANNY BOYLE

IN FOCUS

STATE CINEMA - Whats’s On

375 Elizabeth St, North Hobart www.statecinema.com.au 6234 6318

Lights Out

The Notorious Bettie Page Now Showing

BY ANDREW SECCOMBE

USA 2006 MA 91 minutes Bettie Page was the ultimate girlnext door, and one of the most popular Playboy centrefolds.

Page challenged the conservative 1950s, posing as a fierce dominatrix and earning both a cult underground following and Senate Committee investigation on juvenile delinquency, essentially a witch-hunt orchestrated by a senator from her home state of Tennessee bent on exploiting her as a stepping stone to the White House. At the height of her popularity, Bettie disappeared.

But in 1979 and 1982, Page (a diagnosed schizophrenic) tried to stab several people to death and was institutionalized. This is a cleverly crafted insight into the phenomenon that is Bettie Page.

Marie Antoinette Now Showing USA 2006 PG 123 minutes From Oscar winning writer/ director Sofia Coppola (“Lost in Tranlation”, “The Virgin Suicides”) comes a vibrant retelling of the classic story of Marie Antoinette, the naive Austrian princess who is plunged into the scandal-ridden world of French aristocracy when she is betrothed to King Louis XVI at the tender age of fourteen. Still a teenager, Marie Antoinette conquers her fears and ultimately becomes France’s iconic queen. “Coppola puts us inside the bubble created for a queen. Your eyes will be dazzled, especially with the real Versailles as a location...a luscious world to get lost in.”

– Peter Travers, Rolling Stone The Last King of Scotland Now Showing UK 2006 MA15+ 118 minutes

When our sun goes out, we will all be dead in eight minutes.

Most people would suppress such a terrifying idea immediately. But Danny Boyle is not most people.

The eclectic filmmaker, famous for his critically acclaimed addiction flick “Trainspotting” as well as the futuristic horror “28 Days Later”, was obsessed by such a premise, which in turn fuelled the creation of his new opus, “Sunshine”. The film follows the Icarus II, a spacecraft manned by eight professionals, whose mission is to deliver a nuclear bomb to reignite the fading sun and ensure the future of our species.

The journey is fraught with unbelievable pressures, as the crew encounter a distress beacon from the Icarus I, a craft sent on the same mission seven years earlier. They decide to investigate the wayward ship but it only leads to inconceivable new dangers.

Boyle admits that he wanted to put his characters under as much psychological stress as possible, where morality and efficiency would be magnified to unheard-of levels in a largely unknown setting. “The hardest thing is to make the audience feel like they’re there as well,” he says. “I always wanted it to have that intensity.”

The film was born from an original screenplay written

by Alex Garland, whose novel “The Beach” was adapted for the screen by Boyle and who also wrote the script for “28 Days Later”. Boyle was attracted to the mind-boggling concepts within the story and explains that together they honed the script for about a year to broaden the scope of the ideas. “What we tended to do as we worked together was expand it to make it more visual,” he says. “It was always the intention to make it a huge visual experience. I think that’s probably the element that we pushed more and more and more.”

The results are dazzling, as the film contains some startling imagery and incorporates various unusual cinematic techniques throughout. For Boyle, the use of CGI in the film was far beyond any of his previous projects and the post-production stage lasted a year, a huge challenge in itself. “Getting the CG – it being delivered – it’s like a snail setting off from Perth and you’re in Sydney and you have to wait for it to arrive,” he says. “It’s so slow.” The lengthy post

PODLOVE 2 INITIATIVE SBSi and the AFC are seeking proposals for the new innovative series of PODLOVE 2.

process threatened to distort the original storyline at times and Boyle explains it was his patience that was tested the most. “To get it looking quality, you have to wait, you can’t rush it,” he says. “I’m a very

“

… Deliver a nuclear bomb to reignite the fading sun and ensure the future of our species

”

impatient person and my instinct is always to push things. And you can’t do that.”

Voyaging into outer space was, in every way, new territory for Boyle and he subjected his international cast (including Ireland’s Cillian Murphy and Australia’s Rose Byrne) to some highly authentic experiences in preparation for their roles. For instance Boyle made his eight lead actors live together for two weeks in student accommodation facilities in East End London, in order to develop the chemistry required for shut-in crewmembers on an interstellar journey.

He also held screenings of relevant films for the cast such as “Das Boot”, “Alien” and “2001: A Space Odyssey”, and rehearsals included scuba diving, stunt training, flight simulation and lectures in astronomy and physics. Most significantly however, the cast also took a trip in a light aircraft to experience zero gravity, an experience that Murphy has since described as both “horrifying and exhilarating.”

Boyle himself didn’t shy away from such remarkable experiences, recalling his own flight in the light aircraft to be “mind-blowing” and during subsequent promotional duties for the film, the director also describes his luck at being taken up in a much larger zero-G plane, that was used for anti-gravity scenes in films like “Apollo 13”. “Fox took up twenty journalists from different parts of the world in this plane and I went up as well,” he explains. “She gets thirty seconds of zero-G where you float for thirty seconds … and that is amazing. They say there’s more people that have been on top of Everest than have been in this plane, which is really weird [laughs]”

in truth, with the filmmakers meeting with NASA officials, as well as physicist Brian Cox, who works at CERN (European Organisation for Nuclear Research) which straddles the Franco-Swiss border near Geneva. CERN boast a 27km long particle accelerator where scientists are attempting to find a particle that existed soon after the Big Bang, which is unofficially known as “God’s particle”. What Boyle finds interesting is the fusion of science and religion that results from any investigation of the universe, be it on screen or in the laboratory.

“Their nickname for it is “God’s particle” – but they’re all scientific atheists,” Danny explains, referring to the aforementioned scientific community. “When you search for the origin of life, you are infected by all our religious cultures that have, kind of given us our genes over the years. It is amazing – when you go to meet the sun, as they do in the film, you are meeting the source of all life in our solar system and it’s inevitable that for some people that becomes a kind of a spiritual experience.”

There are certainly weighty spiritual themes within the film and “Sunshine” again demonstrates Boyle’s remarkably diverse interest areas when it comes to his projects. He’s experimented with various genres and his characters have included everyone from BB gun-toting heroin addicts, to Utopian backpackers, to rage-infused zombies. With an animation project with Dreamworks currently underway, (an adaptation of the Terry Pratchett novel “Truckers”), one wonders what style of film Boyle may wish to undertake in the future?

“I’d love to do a noir,” he responds enthusiastically.

“A proper modern noir film. A very sexy film.

There’s very few films made about sex that aren’t embarrassing. You just feel a bit shifty…”

But whatever the future holds for Boyle, he’s certain that “Sunshine” will be his last excursion into deep space, commenting that the time it took to make the CGI-heavy film was longer than even he could have imagined. “It’s so tough to do,” he says. “Directors, unless they have to do a sequel contractually – they don’t go back into space. They only make one movie in space because it shortens your life, believe me.”

[Laughs]

The research behind the film is firmly grounded

“Sunshine” Out in cinemas April 12th

a website and an online game that will expand and build upon the established Podlove community. The series will show how communication technologies continue to add to or detract from our lives, loves and relationships. Lost without your mobile phone?

Searching for love online? Or are you living in a virtual world?

Super 8 to HD, and using digital effects or archival stock.

Each documentary will receive a cash budget of $115,000 for production of the broadcast and online production components. The costs of producing the Podlove 2 website will be met with additional funds.

You can watch the first series of Podlove films with loads of online extras at www.sbs.com.au/podlove/

SBS Independent and the Australian Film Commission are excited to announce the Podlove 2 series initiative.

Building on the success of the first series of Podlove, Podlove 2 encourages creative teams to further push the boundaries of the “standard” documentary form to explore how technology affects relationships in the 21st Century.

Podlove 2 seeks bold approaches to the half-hour documentaries that explore and use technology and “mixed media”. We want to see challenging and compelling stories – stories about people who are using technology as an integral part of their relationships. Podlove 2 will be diverse in style.

The deadline for applications is Friday 18 May 2007.

Complete guidelines and application forms can be obtained from

Podlove 2 comprises two 25-minute documentaries,

The series may use content created by any production methods available – from live action to animation,

www.afc.gov.au/podlove2. For further information visit www.sbs.com.au/podlove

PAGE 18

th

Forest Whitaker, 2007 Academy Award, Best Actor, is stunning as Ugandan dictator Idi Amin. A young Scottish doctor, Nicholas Garrigan (James McAvoy), comes to Uganda and by chance treats the President when he is injured in the region.

Impressed with Garrigan, the President makes the doctor his personal physician, and by steps Garrigan becomes a close confidante and advisor to the dictator and to the régime.

This is the story of a man’s descent into moral corruption as he enters and becomes trapped in the dangerous inner world of a dictatorship.

Miss Potter Now Showing USA 2006 G 88 minutes Directed by Australian director Chris Noonan and starring Renee Zellweger and Ewan McGregor, “Miss Potter” tells the magical story of Beatrix Potter’s love for her publisher, Norman Warne, and her striving towards an independent life at a time when her expected place in society was as a wife. It praises her talented pen – both as writer and artist – that created the world of Peter Rabbit, Mrs Tiggywinkle, Jeremy Fisher and friends. It tells the story of a woman whose life was a fascinating mix of professional achievement and private grief; a woman who swum against the tide.

Volver Now Showing SPAIN 2006 M 120 minutes This is director Pedro Almodovar’s highly anticipated and acclaimed masterpiece. At the heart of this film, three generations of women survive wind, fire and even death, thanks to goodness, audacity and a limitless vitality. Raimunda (Penelope Cruz) lives in Madrid with her daughter Paula and her husband Paco, who is always drunk. Her sister, Sole, is separated and works clandestinely as a hairstylist for women. The two sisters lost their parents in a fire in La Mancha, their birth village, years ago. Their aunt, Paula, still lives in the village and continues to speak about her sister Irene, mother of the two sisters, as if she were still alive. When the old aunt dies the situation changes and the past returns in a twist of mystery and suspense.

The Singer Coming Soon France 2006 M 112 minutes Gérard Depardieu plays Alain Moreau, a nightclub crooner who makes his living in local nightclubs, tea dances and factory committees. He knows he will never be great but he loves to sing and it is his whole life. Until he meets Marion. A hit at this year’s Cannes Film Festival, “The Singer” is rewarding and touching romantic drama featuring one of the great performances of Depardieu’s career.

“I’ve wrestled crocs in just my jocks and socks.

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

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

Gallantry is back.

HOBART FRINGE FESTIVAL 1 - 8 APRIL 2007 SUNDAY 1ST

Fringe Photos Competition entries go on display

5:00pm Republic Bar

Backspace

Launch of Fringe Art Exhibition See Change, Kill Difference & Start of the Fringe Photo Competition

7:00pm Republic Bar

Opening Party featuring Toecutter (Syd), Toxic Lipstick (Osaka), Blind Billie Speed, Short Soup, Special Students and Hammering the Cramps. - $5

Dance Premiere

9:00pm Republic Bar

Adult Black Comedy $8 / $5

9:00pm Trout

Fashion Parade After Party with the Roobs and Brand New Second Hand

MONDAY 2ND 6:00pm Trout

Launch of Shop Front Art

7:00pm Trout

Launch of Flyer Wall Exhibition

8:00pm Republic Bar

Fringe Mic - Free

TUESDAY 3RD 12:00pm

Fringe Photo Competition Closes

6:30pm State Cinema

Super 8 Film Competition Screenings

9:00pm State Cinema

Hobart Underground

9:00pm Trout

Super 8 after party

WEDNESDAY 4TH

FRIDAY 6TH 5:30pm Newdegate Street Night Market - Free

8:00pm Backspace Dance

8:30pm Backspace

A Girl and Her Squid - $12 / $10

9:30pm Republic Bar

Night Market After Party - $5

SATURDAY 7TH 4:00pm Trout

Salmo Cinema

6:00pm Trout

T-Shirt making workshop

8:00pm Backspace Dance

6:00pm - 8:00pm Elizabeth St North Hobart

8:30pm Backspace

4:00pm Trout

9:00pm Trout

Walk By Acts (Fringe Busking Night) - Free to attend

Salmo Cinema

7:30pm Republic Bar Function Room Fringe Fashion Show

9:00pm Trout

A Girl and Her Squid - $12 / $10

Womans Monthly Launch - $3

SUNDAY 8TH 6:00pm Republic Bar

The Judging of Begins

the Fringe Photo Competition

Buskers After Dark - The Walk By Acts after party

THURSDAY 5TH 7:30pm Republic Bar Function Room Fringe Fashion Show

4:00pm Trout

Salmo Cinema

PAGE 20

6:30pm Backspace

Launch of A Month Of Sundays $10 / $5

6:00pm Trout

Closing Party - Fabulous Diamonds, Essence of the Cool, and Joe Stirling $5

THE DEVIL IS IN THE DETAIL – ADULT BLACK COMEDY A Burlesque-themed night of cabaret-style indoor/outdoor entertainment starring “Ooo Ahh productions” with Ellie and Nellie. The evening will incorporate surprise guest performances with theatre, song and circus routines, as well as a theme-based DJ. Venue: The Republic Bar, North Hobart. Date: Thurs 5th April. Time: 9-12pm Duration: Two and a half / three hours. Cost: $8 adult, $5 concession.

CIRCUS HORRIFICUS: A GIRL AND HER SQUID Bridget Nicklason-King, Samora Squid and Matt Oakes have teamed up as Circus Horrificus, to create a dark, physical-comedy show. The show was created as part of the HCC and Is Theatre backspace winter residency program and resulted in a sell-out season. The show has since enjoyed having packed houses when it toured the North East Coast of Tasmania, was staged as part of The Village Festival in Melbourne and The Falls Festival in Marion Bay. This is a show not to be missed. A show featuring clowning, movement, projected images, music and circus arts with a narrative centred around two characters; a slightly eccentric girl with a peculiar attachment to glass and her bizarre pet, a humanoid jellyfish, who has some strange habits involving swords and nails. She is faced with the age old problem of “If you love something, then set it free.” He goes for a swim. The show will provoke thought, laughter, perhaps even nausea and is guaranteed to change the way you think about circus and breakfast cereal forever.

FRINGEOGRAPHY COMPETITION Fringe Foto goes digital this year. Mobile phone photos, digital video stills, any kind of digital camera pics – they can be your entry in the Foto competition. Fill in an entry form at the Fringe Opening, where the theme for the competition will be revealed, and then you’ve got about 40 hours to produce six images.

All entries will be exhibited during the Fringe, with a popular choice vote deciding the winner at the exhibition closing on the last night of the festival. d’Art Factory has put up a fantastic first prize of exhibition space and digital printing enlargements. They are also offering a runner up prize of dinner at their cafe.

The fine print The theme for the Fringeography competition will be revealed at the launch of the competition on April 1st. There will be an entry fee of $5. All entries must be received on memory card or CDROM by the midday deadline on April 5th. Media will be returned immediately following download of the images. Each entry must comprise four original photographs. All images must be as captured by the digital camera device – no digital manipulation of the images is permitted.

Entries must be accompanied by an official entry form. The winning entries will be decided by popular vote conducted between 6-8pm on April 8th at the Closing Party. Photographs will be displayed at the Republic Bar from April 5th to April 8th. First prize is large prints of the winning photographs produced by d’Art Factory and

exhibited in gallery space at d’Art factory. Other prizes to be announced.

HOBART UNDERGROUND FILMS A selection of films from local film makers, presented by your favourite fringe mc, Andrew Harper. Tuesday 3rd April, State Cinema 9:00pm.

MONTH OF SUNDAYS Music From will be Enola Fall, The Que and Brisbanes Ed Guglielmino. Comedian Tim Logan will MC Films by LAZLO STEIGENBERGER of YOUTUBE – “LAZLO SHOW” (http://www.youtube. com/profile?user=LazloSteigenberger) and Visual Art from Lucia Rossi and Peter Robinson.

THE NIGHT MARKET From boxes to beanies, handmade publications to home-burned Hobart CDs, the Night Market is the Fringe’s traditional late night shopping.

This year it will be in Newdegate Street, North Hobart. While we buy art direct from artists we will be entertained by Fabulous Diamonds, The Bad Luck Charms, The Boarding Party, The Black Swan, and more 5:30pm till 10:30pm.

SALMO CINEMA An afternoon session of eclectic short and long films, animation, documentaries and such, from the local to the far-flung. Chill with a beer or coffee at the Trout Bar and watch something you probably won’t see on tv. 4 til 6 in the arvo on Wed’dy, Thurs’dy and Sat’dy. Watch this space for the program...

SHOP FRONT ART Submissions for Shop Front Art exhibition to be held in shopfronts of participating businesses on the busy North Hobart strip for the duration of the Hobart Fringe 1st-8th April. Seeking works of an emerging and experimental nature that are community-focused and open to a wide audience.

Send email with a photo/description of the available piece, including size measurements. All artists will be responsible for the setting up and pulling down of their own work.

SUPER 8 FILM SCREENINGS This is the screening of the films produced by entrants to the competition, who them-selves will be seeing them for the first time. Sometimes they come out all black, sometimes all white. Tuesday 3rd April, State Cinema 6:30pm.

WOMANS MONTHLY WM is a new Hobart-based magazine featuring a diverse range of writers and artists and ways of filling up pages. WM encourages participation, feedback and engagement from anybody out there, in all paper-based artforms. Tasmania is currently facing social and economic crises over various issues. WM recognises the need for fully representative discussion on issues that affect Tasmanians, and the need for Tassie interests to be valued as much as their resources. The only way that Tasmania can take back control of its own resources is to support forms of media that breakdown these polarised ideologies, and resolve and heal social splintering and alienation, both in city and country. This issue will contain a myriad of different styles, from digital collage art from Osaka, through to formal articles, as well as poetry and prose from people of all ages and from all around Australia.

SPOTLIGHT SEA CHANGE KILL DIFFERENCE “Gentrification” is the theme of the Fringe art exhibition “Sea Change, Kill Difference”.

Featuring sixteen of Tasmania’s foremost emerging artists, the exhibition opened Sunday April 1st at The Room Upstairs, The Republic.

Curator Tim Panaretos says his personal interest in the theme “stems from my involvement with the local music scene and the issues of a gentrified society allowing people to make noise and create.”

Tom Jackson’s self portrait as a petrol sniffer forces the viewer to question the concept of a world where there is no place for youth in our cities. Jamin, another artist featured in the show, has recently exhibited at Inflight Gallery with “Explore the Possibilities; An Exhibition of Alternative Parliamentary Portraits”, which explores the bizarre and often disturbing links between politics and business in Tasmania, and questions whether or not the arts have a role to play in these issues.

Other artists included in the exhibition are Scot Cotterell, Tom S Egg, Empire and Mat Ward in collaboration, Adam Fisher, Andrew Harper, Simon James, Sarah Jones, Leila Mihal, Francisca Moenne and Jane Menzies in collaboration, David Norris, Caroline Shepherd and Carolyn Wigston.

Tim Panaretos is currently studying at the School of Art, University of Tasmania and majoring in photography. He has been involved with several group shows over the last two years and is keen to develop his own work further as well as continue work on the curatorial side of things. This exhibition runs in conjunction with Red Wall Gallery.

SHADOWS IN THE WATERS PROJECT – Local Artists Reflect Our Current Concerns.

The Shadows in the Waters project has happened at a time when concern about the quality and conservation of water is leading the national agenda. More than ten artists from northern Tasmania have installed artworks at Kings Park on the banks of the river in Launceston. The project aims to stimulate discussion and bring focus to our waterways and their significance in our community.

The artists created their installations throughout the morning, enabling people to watch the works emerge.

The artworks have been relocated to the grounds of the Pilot Station at Low Head, and are on view until 29 April – open daily 9am to 4pm.

Participating artists include Vicki West, Robyn McNicol, Sonia Hindrum, Martin Cole, Chris Warehan, Robert Ikin, Gardie Palmer, Brian Abraham, Christine Norton, Ceci Edwards, Ralf Haertel and Jo Anglesey.

“Shadows in the Waters will be something of a fringe activity to the 10 Days On The Island Festival” said project curator and artist Ralf Haertel. “We hope that the local community and visitors alike will come out to celebrate our river and contemplate its future.”

“Water is fundamental to our daily lives, and the Esk and Tamar Rivers figure in our heritage, our economy and our ecology,” Ralf said. “It will be fascinating to see the range of sculpture, photographs and film that our waterways inspire.”

An exhibition featuring photographs, film, and installation remnants documenting the project will on display at the Arts Alive Arts Space, 178a Charles St until Thursday 5th April.

Environmental Installations Pilot Station/ Maritime Museum Low Head 27th March - 29th April 2007 Open 9am to 4pm daily Documentary exhibition / Multimedia event Arts Alive Art-space 178a Charles Street, Launceston 27th March to 5th April Open Tues to Fri, 10am to 4pm, Sat 10am to 2pm

REVIEW: One Day 5 EARL ARTS CENTRE – 17/3/07 A lot can happen in twenty-four hours.

The rise and fall of nations, wars fought and lost and won, footsteps falling on the moon, love wrought by words or affirmed in deed; all these things are possible in the mere passing of one day. What you may think is impossible, however, is

to go see four new works of excellent theatre, conceived, rehearsed and delivered to a paying public in the space of twenty-four hours.

Fortunately, due to the amazingly talented pool of writers, actors, directors, and crew available here in Launceston, the impossible has been made possible five times now.

GAMES REVIEW FINAL FANTASY XII – PS2

Next came Robert Lewis’s “Orbiter, Lander”, directed by Travis Hennessy. This was probably the most challenging offering of the night, due to the broken narrative style and frequent blackouts between numerous scenes. Set in the Simpson Desert, we followed the trials of two scientists, Ned and Rachel, as they endured the punishing conditions of the open land for research into travel on Mars. Visited periodically by the stoic Anne, played with chilling conviction by Carrie McLean, Ned and Rachel were in turns delirious and made to betray each other, testing not only their physical but moral limits as well. It was a fascinating expose into a little-known piece of Oz history.

After the interval (and cheap drinks … love the cheap drinks!), we returned for Liz Dobell’s “Beyond the Line”, directed by Nicole Lewis.

Brothers, Jim and Lennie, spend a night getting drunker and drunker as they try to deal with the loss of Alex, a woman they both loved. The understated dialogue between brothers in the throes of grief-inspired reverie, where the fragile seams of “mateship” at times gave way to outright hostility, was both very real and upsetting. The flashback scenes between Lennie/Alex and Jim/Alex also served to enhance the pervasive melancholy of the script and the disciplined cast delivered a fine, well-rounded show, which also spotlighted the considerable musical talents of cast-members, Daniel Lizotte and Madeline Southey.

Finally, all too soon, it was time for the last show, “The Storyteller” by One Day-favourite writer, Scott McAteer (writing from Melbourne) and directed by Fleur Evans. By some miraculous serendipity, this script was quite thematically similar to the show beforehand, but delivered with McAteer’s trademark off-the-wall humour.

Father and son, Ron and Nathan, meet in the park for a game of chess as they discuss Nathan’s latest romance. This is juxtaposed by the first meeting of Ron and his former wife, delivered as an allegorical toy-box fantasy, with David Quinn’s awesome “Optimal Maximus” character (complete with Transforming sound effects!) carting off Megan Gillard’s “Barbie” character. The fun and games soon faded into memory by show’s end however with a subtle twist, delivered with great sensitivity by Quinn.

Coupled with the prior show it made for a moving set of plays.

As the crowd shuffled out, I yearned for some kind of credits to sit through so I could reflect on my experiences. But all I could do was smile sadly and make my way into the foyer to congratulate the performers, writers, directors and crew, who had all toiled fearlessly for the day. The only thing that marred this particular One Day was the relatively smaller audience turnout in comparison to former events. Perhaps it was due to the unavoidable clash with St. Patrick’s Day (a day favoured by many in the performing arts) or the generally lackluster approach to promotion which plagues much of the great theatre in this town, but it was a shame for the efforts of so many to be recognised by so few.

Aside from this, One Day was a great example of what can be made to happen in a compressed space of time, and a marvelous affirmation of just what can be achieved in twenty-four hours. For two of those hours, I was delighted, puzzled, bereaved, and amazed – which is more than what happens to me in the space of a week, let alone one day.

Review By Chris Rattray

THE PSYCHO PSYCHIC SCREWS WITH YOUR LIFE

ARIES It may feel like you’re living in a horror film at times.

This fortnight you may be surrounded by vintage lace and busty Italian vampires – or accosted by a creepy Rottweiler.

The brainchild of local theatrical luminary, Stuart Loone, One Day has been an almost bi-yearly event held at the Earl Arts Centre since July 2004. It’s the Olympic sprint of performing arts. Writers are assigned their writing topics, or “core statements” at the launch of the event. Their completed scripts are handed to a director the following morning, and then a bunch of nervous but eager actors make their way to a rehearsal space to learn the script and breathe life into a newborn, ready for delivery that night to an expectant and supportive audience. Four new works were created this time around, encompassing the entire realm of human drama, struggle and victory.

First out of the gate was “Home Sweet Home”

by Emily McMahon and directed by Liz Bennett.

Recently evicted, Joan, Dean and Sammy live in a tent below an overpass. Joan and Dean’s tenuous relationship is pushed to breaking point by the machinations of Sammy, played with capricious delight by Georgie Todman who, despite her rather vicious manipulations, still came off as rather sweet, with most of the laughs arising from her character. It was a good start to the night.

Horrorscopes

TAURUS Sexual frustration never killed anyone … yet! However Taurus, you may make history this month.

GEMINI

Last week’s solar eclipse will indicate nothing in your astral charts this fortnight.

That’s because it is merely a scientific phenomena and cannot tell your future.

BY CHRIS RATTRAY.

In the world known as Ivalice, city-state islands float in the sky, vast empires clash in bitter battle, and a young street urchin named Vaan, too pretty to be an emo but too emo to be pretty, dreams of piloting his own airship one day as a dashing Sky Pirate, free to forge his destiny amongst the clouds.

CANCER It’s not a nickname if you make it up yourself. It’s an early-90’s feral thing to do.

Is that what you really want?

Tie a scarf around your dog’s neck instead. Hippy.

LEO

Your smoke signals are simply not visible across the sea, Big Chief. Drop a line, shoot an email, SMS a txt, post a card, give a tingle, blue a tooth – make modern contact with your favourite alien before she

VIRGO You are feeling as kinky as a cheap garden hose this fortnight. Gardener’s delight!

And so, for the twelfth time we are treated to the fantastic, courtesy of the genius artists at Square Enix.

And finally, a number of the problems that have been part and parcel of prior installments in the series have been completely redesigned, to craft one of the finest RPGs I’ve had the pleasure of playing.

Twenty hours into the game, and it’s like the first hot flushes of a newly ignited love – I want to be with it always and explore its many nooks and crannies as thoroughly as I can. Every exploration is rewarded with a new revelation or reward, as the game reveals so much more than just the superficialities of the storyline. The in-game animation is as good as it’s going to get on the PS2; the design and artistic direction as rich and detailed as a classic painting. Ivalice is truly a wonder to behold, with architecture evocative of the Middle East and Renaissance-era Europe. Massive airships glide through the skies between the floating islandcities, as a tight cast of thrilling characters meet and embark upon their quest. Other reviewers have called this game the “Star Wars” of “Final Fantasy”, and I believe them.

LIBRA This fortnight leaves you tainted scarlet by a warm gush. Put a plug in it, Libra, and take up tennis.

SCORPIO The Fallout from the Manky Skank Fest will leave you looking for a Southern Root.

SAGITTARIUS Last week’s solar eclipse indicates nothing in your astral charts this fortnight.

That’s because it is merely a scientific phenomena.

It cannot tell your future.

CAPRICORN With the sky becoming dark at night, you may need to settle some money matters.

For instance, the phone bill.

The main changes in this installment have all been for the better. Combat is now a fluid experience, and foes can be avoided or engaged with because you can actually see them roaming in the environment! Fighting and other actions are handled by the elegant Gambit system, where you can set character actions according to conditions. Character leveling and skills attainment progresses using the License system that allows you to freely determine a character’s specialties. Finally, you can customise your party how you want, free from predetermined character “classes”. You want Fran the Viera bunnygirl to be a black magician? Sure thing!

You want Vaan to be the party’s sure-shot bowman and healer? Then unlock the requisite licenses and you’re away!

With an intricate story of political intrigue and worldspanning conquest, “Final Fantasy XII” is a constantly entertaining game. Actually, it’s more than a game – it’s a commitment. The world of Ivalice demands to be entered at every opportunity and you’ll go willingly because the whole thing is just so bone-achingly gorgeous. The only drawback will be that, at some point, the game will end. However, with such a vast land to explore there are, at least, 100+ hours worth of game on offer. If you’re an RPG fan you simply must own this game – it’s what you bought your PS2 for. http://www.finalfantasyxii.com/ 5 bunnygirls out of 5.

AQUARIUS Joy, beauty and love will flow in orgasmic streams from the velvet erection of life this month. All over your face.

PISCES You are walking down a desolate road. Pay attention to the road signs. Especially the ones that say “Dangerous Curves Ahead”. Maybe it’s time to join the gym.

GUNNERS ARMS

Pizza & Beer

10

$

(One pot per pizza) 23 LAWRENCE ST. L’TON - 6331 3891 PAGE 21

254 Mount St Upper Burnie 7320

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

BEN 29 What do you do for dollars? Design Buildings What’s on your pod right now? The Knife Describe your fav style at the moment: Quirky, Clean, Cool What is your all time favourite item of clothing?

My birthday suit.

What is the best supermarket aisle? Fruit ‘N’ Veg

JULIA 28 What do you do for dollars? Photographer, I take photos of good faces & pretty things.

What’s on your pod right now? Nina Simone & Dappled Cities Fly Describe your fav style at the moment: Simple, sixties, second hand.

What is your all time favourite item of clothing?

I have lots. A green raincoat, a vintage black dress covered in black and white pearls and a blouse from my grandma.

TESA KATE LITTLE 20 What do you do for dollars? Make hot drinks and eat out of date food..

What’s on your pod right now? Obsessively listening to Tokyo Police Club Tell us something about your wears: Opshop finds!

What item of clothing have you always wanted to wear but never had the confidence to? Well I always wanted to be a pirate, so ... a pirate hat Where would you wear it? Pirate bar or ship ...

(Closed) SATURDAY APRIL 7

Melbourne folk singer Dan Dinnen Plus special guest James Parry.

7.30PM $5 COVER CHARGE

THURSDAY APRIL 12

Jazz Club '07 With the Viktor Zappner Trio Featuring from Hobart John Broadby on tenor sax and clarinet.

8.00PM $5 COVER CHARGE

FRIDAY APRIL 13

Gaye Clarke The Troubadour.

7.00PM NO COVER CHARGE

SATURDAY APRIL 14

Leah Flanagan / Matt Ryder CHARLES 23

ANNIE 22

What do you do for dollars? I own a store. Small Rhino. We design and sell cool things.

What’s on your pod right now? Ratatat, Crazy Penis, Amy Winehouse & Booka Shade Tell us something about your wears. My waistcoat is a Tim Buckley original, my cap from C4LA in Japan, my fav new denim is by Limedrop and this snappy shirt is by Hem&Haw.

What do you do for dollars? I’m a Bar-wench at Knoppie’s & Halo and I’m an occasional masseuse.

What’s on your pod right now? Prince, some trash and a bit of general hip-hop.

Tell us something about your wears. My new Alice McCall skinny jeans from Small Rhino & my favourite Adicolours sneakers!

SIMON 37 What do you do for dollars? Gardener, author, artist.

What’s on your pod right now? “Solaris” soundtrack.

Tell us something about your wears. My favourite Martin Margiela jumper, it smells of bonfires and sex.

What item of clothing have you always wanted to wear but never had the confidence to? A red satin bias slip dress

Darwin folk singer-songwriters plus Hobart's Jane McArthur.

7.30PM $5 COVER CHARGE

WEDNESDAY APRIL 18

We bring back the Ha Ha A night of comedy.

7.30PM $5 COVER CHARGE.

THURSDAY APRIL 19

Jazz Club '07 With the Viktor Zappner Trio Featuring from Launceston Denise Sam on vocals and percussion.

8.00PM $5 COVER CHARGE

FRIDAY APRIL 20

Looney Tunes 7.00PM $5 COVER CHARGE

To be continued ...

PAGE 22

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