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On the street every second Wednesday

Issue #40 18/04/07 - 1/05/07 Made in Tasmania


WIN! 3 Nino Brown Prize-packs to giveaway.


3 packs comprising: Tshirt & Album + Double-pass to ‘Blazin’ at The Saloon or Curly’s To win, email us the the top three Aussie bands that you’d like to see tour Tassie. Please include your name, age, address and phone number. Entries close Friday 20h of May. Send entries to with Nino Brown Comp in the subject line.

WIN! A double-pass to see Missy Higgins + the new EP ‘Steer’ 1 x Missy Higgins ‘Steer’ EP with 1 x Double

Passes (2 tickets) to Derwent Ent. Centre, Hobart

There wasn’t anywhere for 28 Days to go

show on Tuesday 22nd May, 2007. 1 x Missy Higgins ‘Steer’ EP with 1 x Double Passes (2 tickets) to Albert Hall, Launceston show on Wednesday 23rd May, 2007. To win, email us the the top three Aussie bands that you’d like to see tour Tassie.

A band break-up without the acrimony, bitterness and unpaid debts – that’s 28 Days, who this month sign off on a decadelong career with a clear conscience and a satisfaction that finds them returning to their punk-rock roots. Bassist Damian Gardner speaks with Steve Tauschke on the eve of the quartet’s 42-date farewell tour.

Please include your name, age, address and phone number. Entries close Friday 20h of May. Send entries to with Missy Higgins Comp in the subject line.

I guess this is your last round of interviews … what are you feeling right now? Yes, it’s sad really, just remembering all the interviews I’ve done. I used to loathe doing interviews years ago but I’m actually really enjoying doing these ones. It’s probably the most refreshed I’ve been in ages doing interviews. It’s actually cool just to talk about stuff that we want to talk about for once. So was there industry pressure on you in hindsight? Yes, there was. A lot of interviews and press with those crap Video Hits Magazine-type equivalents; stuff that we didn’t care about or want to be in. But I suppose when you sign the dotted line with a major label these are the things you have to do; things that have nothing to do with music or the band. Did that pressure ever influence the music? There’s only one time really where we released something we weren’t totally happy with. It was a song we did a few years back called Like I Do. They wanted us to do another What’s The Deal, a song we wrote on a tour bus in Germany in the middle of winter speaking to our mates back home who were down the beach having a ball. We actually had something to write about for that song but Like I Do was the only song we were ashamed of. I totally hate it. Tell us how your relationship with Festival eventually ended? It was like we were wrestling with them on the edge of a cliff and they didn’t really push us and we didn’t really jump – I suppose we slipped. It had been coming for about a year, so it wasn’t a terrible break up. Michael Parisi’s an absolute legend; he was probably the only reason we stuck around on that label for so long.


Did you find yourself shifting further and further from what you set out to do as a band? We started off as an independent punk band and suddenly we were in this world of having platinum records and number one hits and being on Video Hits. It was great for about eighteen months and then it started to get really stale really quickly. We always wanted to form this band in the mould of those late 80s/early 90s American punk bands, and it just drifted so far away from what we started out as. So, for the sake of ourselves, we had to get back to that, and maybe become independent again, and if that meant going from selling 120,000 records to 2,000 records, so be it. I notice you released last year’s EP on your own. Yeah, we wanted to get back to that DIY thing, the Minor Threat thing, and just see if we could do it ourselves and we did. We’re so proud of it and we just wanted to prove to ourselves that we could do it. Same with the best-of (Ten Years Of Cheap Fame), we just organised it all ourselves. It’s something we had to do. If you’ve been around ten years and you are breaking up it’s kind of an Australian tradition to do a “best of”. Was DJ Jedi’s departure confirmation the band was finished? We’d made up our mind probably halfway through last year, but we really wanted to see ten years and achieve that milestone. But really, there wasn’t anywhere for 28 Days to go, so it was really good being able to plan for this. We’re still best of mates and always will be. It’s a very weird place we’re all in at the moment, we’re all very happy and excited about the end. So what do you regard as the band’s biggest achievement over the decade? Probably getting off the major label breast and onto our own two feet. When that happened, a lot of people dumped us; booking agents, we no longer had accounts at Showtravel. So just that whole year after we got off the label, everything we achieved was the greatest thing we’ve done in the past ten years. That year was so much more rewarding than the year of the number one record and Rip It Up and all that. 28 Days play the Saloon Bar, Launceston on April 20th and Wrestpoint, Hobart on Saturday April 21st. 10 Years of Cheap Fame is out through Stomp.









Tix available from Mojo & the venue PAGE 3

SAUCE NEWS 1 RED RIVAL EP COMING SOON Red Rival. It’s rock and roll. It’s a three-piece from Hobart that combines stomping beats, no-nonsense bass and a mess of guitars and vocals with big, simple rhythms and melodies. About to celebrate their first birthday, Red Rival has more than a few milestones to celebrate. Announced as the Tasmanian winners of Triple J’s Unearthed competition, they graced The Falls Festival in 2006. Amid a storm of gigs and interest from Violent Femmes bassist Brian Ritchie, the guys headed immediately to the studios and recorded their debut EP Up All Night, set for national distribution through Reverberation. And what could have been a better way to celebrate their birthday than playing alongside the likes of The Pixies at the recent Southern Roots Festival? Keep your ears to the ground for news of their Hobart EP launch before the boys embark on their tour of Melbourne, Brisbane and Adelaide.

1 FAIR TRADE FORTNIGHT Local volunteers are taking part in the international Fair Trade Fortnight campaign (28th April to 13th May 2007), with a series of events in Hobart during the fortnight. The aim is to challenge people to make small changes, switching to choose fair trade products identified by the Fair Trade Label, which will trigger a positive change in communities in developing countries. A Fair Trade Fiesta will kick off the events for the fortnight, featuring live music, a mini-soccer match using a Fair Trade soccer ball and stalls selling Fair Trade products. The fiesta will be at Parliament House Lawns, Sunday 29th April at 12 noon to 3pm, commencing after Oxfam Australia’s Walk Against Want in the morning. Local musicians including Adam Cousens, Bredda and Trumps will entertain the crowds. Another feature event of Fair Trade Fortnight is a Fair Trade Film Night, featuring Guillermo Vargas, President of a Fair Trade coffee farmers cooperative in Costa Rica. Guillermo is also a coffee farmer himself and will give first hand knowledge of the

difference Fair trade makes to his community. The film night is on Monday 7th May, 6:30pm at the State Cinema in North Hobart.

1 XAVIER VISITS SOUTHERN FORESTS Acclaimed Australian singer, songwriter Xavier Rudd visited Tasmania’s Southern Forests before a performance at the Southern Blues and Roots festival. Xavier Rudd’s visit helps to cast a spotlight on the issue of destructive logging in old growth forests in threatened valleys such as the Weld, Florentine, Styx and Arve. Xavier Rudd joined with Huon Valley Environment Centre activists on a tour of threatened old growth forests in the Arve Valley. “I really support the work being done by these activists and the energy they put in to protect Australia’s ancient old growth forests. I hope to be able to cast an international spotlight onto their efforts. These people are heroes. I thank them for showing me around and I hope to come back soon,” said Xavier Rudd. “It is inspiring to have such talented and respected artists putting a spotlight on the global significance of pristine forests like the Weld, Florentine, Styx and Arve valleys,” said Huon Valley Environment Centre spokesperson Jenny Weber.

1 WALK AGAINST WANT Oxfam Australia’s Walk Against Want – you have probably heard about this annual event, but in case you haven’t, it is a national event where individuals/ groups get sponsored to walk and raise money for Oxfam to help communities overcome poverty. This year the Walk will be on the 29th April at 11am and will be starting from Parliament Lawns.

a mid-morning coffee with a friend, an extremely agitated man was smashing car windows as he walked up the street. When Rob was walking past the suspect, the man started yelling and viciously beat him. Rob was knocked unconscious and received extensive injuries. Hospitalised for two nights, Rob has been left bruised and with a broken leg that will take at least six weeks of rehabilitation to heal. Kid Confucius have confirmed that the Stripes national album tour launch tour will continue as planned with the upcoming Western Australian and Tasmanian performances. The band will also play their performance at the Groovin’ The Moo festival in Maitland NSW. Rob may need a seat but he will be there to please fans with his amazing vocal abilities and strong presence on stage!

1 RED BULL MUSIC ACADEMY 2007 – APPLICATIONS NOW OPEN! The Red Bull Music Academy first took place in Berlin in 1998, bringing together DJs and music producers from diverse musical and cultural backgrounds to exchange their ideas about music and knowledge of how life in the music industry really works. Now in its tenth year, the annual RBMA has been held across the globe in cities as diverse in style as Dublin, New York, London, Sao Paulo, Cape Town, Rome and Seattle, and in 2006 the activities were hosted in Melbourne, Australia. Structured in two fortnightly terms, sixty music enthusiasts are flown in from around the world all expenses paid, to share, learn and have an absolute ball, all the while exploring and absorbing influence from the host city and its musical scenes.


Covering all major aspects of DJ culture, including music history, technology, production and business skills, the Red Bull Music Academy invites a variety of accomplished international guests from around the world to share their knowledge and experience; everyone from industry movers and shakers, to pirate radio station operators, turntablists and sonic theorists. All are on hand to meet students and tell their own stories in their own words.

Kid Confucius front man Rob Hezkial was violently attacked in an unprovoked and brutal incident on the morning of Friday the 6th in Surry Hills. As Rob was walking back to his car, after having

Workshop Term 1: 23rd September – 5th October 2007 Workshop Term 2: 14th October – 26th October 2007

Applications Close: 4 May 2007 For more info, visit or contact Sofie Loizou - sofie@redbullmusicacademy. com.Tune in to Red Bull Music Academy Radio

1 YOUR CHANCE TO REMIX BLONDE REDHEAD Blonde Redhead released their latest album 23 on Saturday April 14th. It’s a record of renewed energy, intense colours and bewitching melodies. The New York based three piece are also inviting fans to remix a brand new Blonde Redhead song called Signs Along The Path, which will appear on the bside of their forthcoming single, Silently. Your mixes can then be uploaded on to the band’s website for people’s listening pleasure. The song has been separated out into individual instrumental and vocal tracks: you can download a file containing all the parts from the band’s recently updated website remix.php Meanwhile over at Blonde Redhead’s Myspace account the band are streaming the glorious new album 23 in its entirety.

1 REACH OUT! LAUNCHES PODCAST TO HELP YOUNG PEOPLE THROUGH TOUGH TIMES Reach Out! (, Australia’s leading online mental health service for young people, has launched a monthly podcast, adding another dimension to the information, fact sheets, stories, support and skill-building activities already offered by Reach out! to help young people through tough times. Focusing on different topics each month like Starting Uni, Dealing with Alcohol and Seeking Help, the Reach Out! podcast can be downloaded to an mp3 player, so listeners can tune in to the interviews, vox pops, and competitions whenever they choose.

Publisher / Editor David Williams Graphic Design Simon Hancock

Editorial Tom Wilson

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

Deadlines Sauce #41, 2nd Apr - 15th May Adver tising Booking: 27/04/07 Adver tising Ar twork: 26/04/07 Gig Guide: 26/04/07

Address: Po Box 5094, Launceston, Tas, 7250 Phone: 03 6331 0701 Advertising: Editorial:

Opinions expressed in Sauce are not necessarily those of the editor, publisher or staff.

Contents 4



Rock Salt

10-11 Bangers & Mash 12-13 Gig Guide 14

CD Reviews


Gig Reviews


RnB / Hip Hop




Hip Hop




Comedy / Games News


Street Fashion / Toon



WED 18

Lu c y THU 19

Tr a n s f i c t i o n FR I 20

Te n Fo o t Ta l l + L a ko d a SAT 21

B o rn H e a d l e ss WED 25

T h e N o N o' s THU 26

T h e B la c k Sw a n FR I 27

Bumtuck + Ubernaughties SAT 28

M e g a d e a t h Tr i b u t e 3 8 1 E L I Z A B E T H S T RE E T, N O RT H H O BA RT PH : 6 2 3 6 9 7 7 7



Practitioners of what has been called “ambush pop”, the enigmatically-titled My Friend The Chocolate Cake are heading southward for a string of dates in Tasmania this month. The man with the sass on the double-bass (our term, not his) Dean spoke to me about the inner-workings of the band. How long until you hit the road on the tour? We play Burnie Thursday-week. Burnie, then Launceston, [and] Hobart – that’s the first leg of the tour. Starting the tour off in Tassie – was that a decision by the band, or [did] it just work out that way? Is it a testing ground; a warm-up ground for you? Ah … I think it’s more about how the cards fell as far as getting hold of venues. We sort of set up the Tasmanian tour around the Theatre Royal gig … then we put together the Launceston and Burnie legs from that. I don’t think it was particularly deliberate in that regard … We’re trying very hard to do a lot more regional centers, rather than just the big cities, so that’s why we’re throwing Burnie and Launceston into the picture. Then, when we’re on the mainland, we’ll be doing Albury and a few smaller places like that up in Queensland as well. We’re just trying to get out there and stick our necks out a bit. It’s a bit of a risk, because if you don’t get a crowd, you can fall down financially a bit. I think there’s a lot of people over there who don’t get to see enough music; hopefully they’ll be pretty keen to get along. How long has the new album been out? Or is it about to come out? The new album’s out. That was released two weeks ago, and the single was actually released before Christmas. So the new album’s out, and it’s being played on the airwaves a little, and reviewed a bit … It’s all-systems-go; it’s all carefully timed to get it all together for the tour. I think the other week we were having a bit of a chuckle [because] we’re number eighty-two on the top 100 album chart … I don’t think it’s a huge number of sales, but I think it’s pretty good. We’re

off to a healthy start, actually, because compared to the really big acts, we’re a reasonably skilled band. So it’s all good.

We’re just trying to get out there and stick our necks out a bit

For me there’s a real feeling of patience on this album. And I read that David said, “With this album, we’ve learned to really appreciate what we have.” What do you think has brought about this new confidence, or new understanding of yourselves or the band? It’s a lot of things. When you’re in a band, it’s a

team, you know? And how us, as a mob of musicians … the way we interact when we’re putting together songs, or writing music, or rehearsing or whatever … even how we behave when we’re away together. There’s a definite way that every single mob of people behave, and because we’ve been together for such a long time – I’m one of the newer members, and I’ve been in the band since 1999, so I’ve still been in there for a while – it affects how the music is performed. And the thing is, we have got a really good way of working … Some of the other guys come to us and say that the way we put it together … it’s really fun. I guess it’s unique. I think every band has its own way of operating in that way. And that’s what you look forward to as a musician. For me that’s the most fun part; being part of a team, you know? It’s a pretty human sort of thing, I reckon. My Friend The Chocolate Cake play Burnie’s Civic Centre on the 19th of April, Launceston’s Earl Arts Centre on the 20th, and Hobart’s Theatre Royal on the 21st.


The End Of The World? BY TOM WILSON

The world is at a turning point. Just ask Brisbane rockers Glasshouse. Heading south as part of their 1 In 5 tour, guitarist Raven Jones spoke on the debut album, the state of the world, and why he’s afraid of coming back to Tasmania.

The intensity, and presentation of the music. It’s a different mood. It is a little more intimate and open, and quite a lot less driven and intense. It is a smaller but still telling side of the band, and is definitely part of what we are trying to achieve and be when creating music. The acoustic shows are thoroughly enjoyable, and allow for a close and more direct communication with our audience.

You first toured here last year. What are some of your most notable memories of your time down here? Yes, it’s our third time back in Tasmania. Notable memories? Falling in love with Hobart – Salamanca Markets, throwing bottles at a police car (it was an accident – long story), playing some awesome gigs, seeing beautiful rainforest, almost dying from hypothermia (seriously) … My alter ego Raven Jones was born in Hobart. [Other memories are] touring with a great band called Waiter. Making friends. Enjoying the cold. In fact, most of my life-changing events seem to happen in Tassie. I am actually afraid of coming back … don’t know what to expect.

The band is clearly very environmentally conscious. How does that come through in your music? The songs reflect our thoughts, discussions and passions on a day-to-day level. We are gravely concerned with the direction the human race is currently choosing, and discuss it often. Like a lot of people, we feel that humanity is at a turning point, or crossroads, perhaps as never before, and that is daunting and humbling. Awareness of current social and political development effect our writing more than anything else. Our music reflects our thoughts, really.

One of your upcoming gigs is an acoustic set in Cradle Mountain. What have you heard about that part of Tassie? That it is beautiful and awe inspiring. We deliberately booked a gig there because we really want to see it. How does the music change in mood when played acoustically?

If you could evoke any social change through your music, what would it be, and why? The end of global warming denial-ism. We have a serious problem here. Our choices will effect many generations to come … perhaps countless years in the future. Who with clear conscience can trade wealth today for health and happiness of the generations to come? The situation is becoming absurd, and change is inevitable. It’s the choice that

we collectively make that will really reflect who we are as human beings. You released your debut LP, Restore Factory Settings, in October last year. How was it received? We achieved what we set out to do with the album. We are totally proud of what we did on that album, and Restore Factory Settings is a poignant snap shot of that point in time. I would be lying if I did not say we would love to have reached a point in our careers where we do nothing but live from music. We are not there yet, but we have had a great experience, and are content with our achievements. This is an album I will still respect in retrospect in the future. We are humbly proud. What plans do you have to return to the studio? We are currently demo-ing the new album. We have recorded rough versions of about eight, nine songs, and want to write about ten more. A musician is always most interested in the newest material, so we are excited. We look forward to having the opportunity to record another album and see where we can take the band. The next album will be nothing like Restore Factory Settings. Actually, we really have no idea what it will be like. What material will you be playing at your Tassie shows? A couple of new songs, and most of the Restore Factory Settings album. We will also be doing a cover of The Beatles. A few spontaneous jammed moments, as our singer or drummer decide to go off on thoroughly un-rehearsed tangents … most notably the ones that fall apart on stage. It will be great. If you could be anyone for a day, who would it be, and why? I would like to be me as an old man. I would like to know what wisdom I will have then that I will wish I could have had now. If you had the time and money for some true rock star excess, what would you do? Travel the world, play music all over the world. See everything before it becomes submerged by the melting polar caps. Meet people, make friends, and try to help where we can … also pursue my interest in Vipassana Mediation. Glasshouse play Hobart’s Republic Bar on the 24th, Irish Murphy’s (Hobart and Launceston) on the 25th and 26th, Devonport’s Spurs Saloon on the 27th and the Dr Syntax hotel in Sandy Bay on the 28th.



Rock Rebels To Launch BY TOM WILSON

They’ve called their latest album Jazz Brutus. They have mean beards. And if they could be any car in the world, they want to be a beaten-up Kingswood. Are The Specimens Australia’s manliest rock band? Well, I could tell you, but I’d rather let them convince you when they launch the Jazz Brutus rock monster in Tassie this month. I spoke to Darren about the album, and his less-than-affectionate feelings towards modern rock … How has Jazz Brutus been received so far? What feedback have you got? So far Jazz Brutus has been received really well by national radio and press. I’ve also had lots of positive feedback from people who have brought a copy of the album. I’ve been told it’s better than our first two albums, so it’s good to know the band is still progressing. This album is your third LP. How was the process of creating it different to your last two albums? The creative process with this album was completely different to The Quick & The Deaf. Most of the songs on Jazz Brutus were written when the band was on the road through Scandinavia and Europe last year. We also spent more time doing demos and honing these songs. In the past, we would just record the first ten songs the band had written. With this album

THE HOPESMITHS PROJECT Music Bringing Hope to Kids with Cancer And Their Families The story so far: In early 2006, 25-year-old singersongwriter and independent label-owner Dave Callanan (CloudRun, Hot Mint Records) approached members of the Australian music community with an idea for a collaborative project, the likes of which had never been seen before. What was born then has grown into an unprecedented success story, proving that, with a common goal and a spirit of willingness and giving, anything is possible, even in the often-fickle music industry. The CD features original songs from talented musicians such as Bobby Flynn (Australian Idol), Tom Cooney, Tyrone Noonan (George), Jackie Marshall, Chris Pickering (The Boat People), Danny Widdicombe (Bernard Fanning band) and many more (eighteen tracks in all!). The CD also features production from some of Australia’s finest, including Paul Pilsneniks (Silverchair, Delta Goodrem, Alanis Morissette, The Mars Volta), Paulie Bromfield (George, Neighbourhood Groove Collective) and Ben Tolliday (Mark Seymour, Dallas Crane, Jon Stevens). All proceeds from the Project go to Childhood Cancer Support Inc ( to support children and their families going through childhood leukemia; a very traumatic, life threatening and life changing time. The Project is hoping to raise $10,000 for this valuable charity. The national release date for the album is 16th April 2007. The CD is being distributed nationally through MGM and available for purchase online from, More info via the Hopesmiths website.


we wanted to use a bit more quality control. We figured that, with all the interest that’s coming from Europe, we wanted to be 100% happy touring these songs. What were some of the most rewarding moments in the making of this record? The most rewarding moment would have been when we dumped what we had recorded onto a friend’s computer. We were having major problems with the tape machine we were using – the machine was chewing up the tape – so it was a major relief to have it safe on PC. Getting the final product back of Darren at L.T.I was very exciting too! You’ll be heading to Europe to tour for the second time later this year. What were the shows like the first time you went there? Europe and Scandinavia were great – we knew we had a bit of a vibe building before we left, but we didn’t realise how big it was. When we arrived for our first show in Italy we were really stoked to find out the show had sold out. I’m still finding it strange [that] the band has become so popular over there. It’s a bit surreal actually. We are really looking forward to heading back in September this year. Promoters over there reckon it gets bigger and better each time you go back, so bring it on! More trout please. You’ve said online that the band is influenced by “speed, beer, cricket and art”. How do you think those influences have shown through on Jazz Brutus?

I’m probably not the best person to ask. Our influences have probably changed a bit over the last few years; our new influences are Bruce Dool (Carlton fame), fruit, sleeping in horse trailers, and using fish as erotic art. Mr. Sardine has a fish tank in his cupboard. In the past you’ve toured with MC5 and the New York Dolls. What are some of the memories you took away from playing with such esteemed acts? First thing I thought was, “Shit! I hope I’m not doing this at their age! Where’s the dignity?” Nah, it was funny. Rock music has enjoyed one hell of a resurgence in popularity in recent years. To what extent do you think this has benefited you as a band? I don’t think so. The rock resurgence was centered around bands that looked cool. I think we were too cool for the cool kids, if you know what I mean? Look at bands like Jet and Wolfmother – their music is marketed at brain-dead morons who only go out and buy what they are told to. I don’t think Specimens fans are like that. Having said that, my cousin is in Jet. Good on him for earning some coin. Now for a strange question – if The Specimens were a car, what kind would it be, and why? A Ferrari? A puttering shitbox? A tank? A Kingswood – old, rusty, falling apart; in need of a good lube job, but still looking better than the competition year after year. The Specimens play Hobart’s Republic Bar on the 20th and Launceston’s James Hotel on the 21st.

BIRTHDAY CELEBRATIONS AS FREAKS FAN THE FLAMES The party will be white-hot, with celebrations in full swing on (Date) at The Northern Club in Launceston, as the venue celebrates its first birthday, alongside entertainer and residentshow-stopper, Emma Dilemma, celebrating her 26th birthday. Emma is known to “bring the heat” when it comes to performing and promoting, shown by the success of the recent, outrageous Freakshow. So, with the birthday celebrations being billed as a “mini-Freakshow”, it should be an absolute scorcher of a night. But the heat has been a bit too hot at times, according to The Northern Club’s Bek Deane. “Nick (partner) lit the fire … I went to the office. The fire was lit, but we thought we’d give it a bit more of a charge, and we had a ten-litre bottle of methylated spirits. So we put some on the fire, but the ten litre bottle fell over, and caught on fire. ‘Bek, get the fire blanket’, Nick yelled to me. We got the fire blanket, and Nick got the fire extinguisher, too, but it was a powder extinguisher, not CO2, so half an hour before we had to open we had powder dust everywhere. Luckily, the fire commissioner was in the street outside, for a photo-shoot, and he must have called the firemen straight away, ‘cause they were here in about thirty seconds”. THE NORTHERN CLUB’S BEK DEANE



For Melbourne band My Disco, the world is their oyster. After forming only four years ago in the summer of 2003, the band, who has already traveled to nine different countries, isn’t planning on slowing down in the near future. After recently completing an Australian tour, and making their way to Japan in the meantime, the band now has their sights set on traveling to Europe midyear to record a new album.

... I think our new material i s a l o t m o re c o n c e p t u a l , w i t h a m i n i m a l i s t i c a p p ro a c h …

Where did the name My Disco originate from? It’s a song by an 80’s band from America called Big Black. It’s on their Headache EP. You release quite a bit of your music on vinyl. Why is this? We think that it’s an appropriate form of listening source. Depending on what sort of music you play, vinyl often sounds better, and it’s a bit more audio dynamic. And I think it’s pretty interesting to have it on a larger, older format that I think is still quite relevant. How do you find playing gigs in Tasmania different to playing somewhere else? Well, we’ve only ever played in Hobart a couple of times, but it always sounds really good. It’s probably one of the best to play because the people seem really down –to-earth and open to our music. And people like to dance in Hobart, which doesn’t happen very often in other cities that we’ve played in. We’re always appreciative of that. How, if at all, does Liam and Ben being brothers affect the band? I think it works in our favour. We’ve had a strong working relationship for a couple of years now. It’s like being good mates. But we seem to have a strong working relationship which is beneficial. Out of the seven different countries you’ve performed in, where has been the most memorable and why? It’s been nine countries now, but probably one of the most memorable was when we played in Indonesia. We did a bunch of shows over there, and we played this one in small village called Bungung. We played at a little outdoor cafe that acted as a record store and sold local people’s art and clothing labels. That was really cool, ‘cause there was a bunch of kids, about fifty or sixty of them, who lived there that I think were really interested to see a band from another country. And also, we had a bit of a question-and-answer session after we played, and a friend of ours translated it all. So it was just really interesting to hear from really young people from a strong Muslim background, and what their take on music was. That was really quite refreshing. Who has influenced your band’s distinctive sound? Our influences come from a range of different musical backgrounds. We all listen to a range of stuff; music from electronic to dance, to acoustic, reggae, to punk music, and a lot of the 80’s underground type of stuff. It’s too far-stretched to put it down to our three favourite bands that we love and listen to every day. It’s totally varied, and I think our new material is a lot more conceptual, with a minimalistic approach. It still utilises the fundamental aspects of rock music, but it takes it to a more stretched-out, minimal level. I think a lot of it is reminiscent of the late 70’s post punk scene in New York. I’ve read that the band has an “intricate time feel”. What do you think that is referring to? I think that is referring to when we did our Language of Number EP. We took quite a mathematical approach to the way we recorded it, and some of the songwriting had a lot of different time signature changes, and I think it was always really heavily rhythm-based. We made a lot of shifts; it wasn’t just straight-out rock music. It was a bit more intense in the listening. What is the meaning behind the title of your album Cancer? My brother had cancer and he struggled with that for a number of years, and after being in remission from Hodgkin’s disease, he had a lot of source material to write [from]. It kind of reflected the minimalism and starkness of our music as well. In which country is the album selling best? Australia. You are said to be a fantastic live act – what do you think makes your live shows different to those of other bands? I don’t really compare our live shows to those of other bands, but I guess it’s pretty loud … definitely loud, and pretty intense. We try to draw a community aspect when we play. We draw in the crowd with a less of a “you’ve paid to see it” rock show, and more of a feel of respect for having people there taking time out to listen. After the tour, what’s next for My Disco? We’re going to record another album.



Local Rocker Makes Australian Idol BY TOM WILSON

each member can choose the level of commitment they can handle. It also allows us flexibility with the lineup – if someone can’t make the gig, the rest of us can still do it. For example, one time I did a gig with just me and the drummer. As the band has progressed each member’s character and talents have really come forth in all of the songs, such as Witty’s bluesy harmonica solos in Hardly Slept in Days or his uniquely textured drumming style, which adds something special to all the songs, particularly the reggae ones. Our new bass player, Jared Campbell, has already begun to infuse his very percussive style into my songs, adding new layers and dimensions. Hank’s phenomenal sax playing has taken my music to another level. It’s an element that no-one else is really utilizing in the same way that we are and he has become a very integral part of the band and its unique sound.

I want sleaze and depravity in this song

Where do you guys play the most? Irish Murphy’s and a few other pubs around Launceston.

It’s a bird! It’s a plane! Wait, it’s Zac Lister! Leaping across buildings and gigs in the north with his band – Owen “Hank” Hankin on saxophone, Jared “Legs” Campbell on bass and Shane “Witty” Witt hitting skins and playing the harmonica – he’s quickly made an impression on Launceston audiences. But that’s not all – there’s more, which unfortunately only came to light after we did this interview; he’s going to be waving the flag for Tasmania on “Australian Idol” …

Why did you decide to name the band after yourself? I have a very strong artistic vision that I want to express through my music. Starting an original band is a big commitment. A huge amount of time and effort goes into writing a set of tunes and it’s a big risk for other musicians to make such a huge commitment without knowing if it’s ever going to be successful. So I decided to make it The Zac Lister Band. I’d write the songs and take on the responsibilities and risks so I could offer the players in the band a less committed role, so they could just have fun with the songs and the gigs. You’ve got to remember that most musicians, myself included, are usually involved in several different bands, as well as working or uni … This way, as the band has evolved,

What’s been the best gig you have played? That would have to be the gig we did supporting the Embers at the ‘Oak on the 23rd of March. It was just a great vibe: lots of people dancing and having a good time. And I love seeing the Embers play. What’s been the worst? There’s not really a gig I could say was “the worst”. Bad gigs are great for the inspiration to write more songs or to practice your arse off. What kind of process or routine do you have when writing music? Songwriting is a very personal process. I like to take my time with it and just let the song unfold and stay true to the meaning of what I’m trying to say. It’s like a puzzle or a combination lock: you’re working


Swimming With The Sharks BY TOM WILSON

Like the marine life theory of their namesake, Hobart’s Rogue Sharks have clearly developed a taste for what they do, since they’ve been doing it since 1994. I spoke to Mick Adkins about their debut LP, the band’s evolution, and the influences that have shaped it. What’s the story behind the band’s name? I was reading the book Shark Attack Down Under by the late Alan Sharpe, and was interested in the chapter on the Rogue Shark Theory, which suggests that once a shark has acquired a taste for beach goers, surfers etc., it may return to a particular area on a regular basis to dine on an all-you-can eat human smörgåsbord! It’s only a theory, and has never been proved, but makes for a great band name, hey! You have spent quite a lot of time working on your debut LP. What can you tell us about the production process? We were halfway through the recording when we decided on a change of musical direction – that is, to write heavier songs, and try to apply more of an international sound, rather than stick with our textbook Aussie pub rock style that other bands were currently resurrecting. We didn’t want to be seen as jumping on the proverbial wagon, even though we had been playing this stuff for years. So we shelved those songs and started again. Steve and I wrote some new material and sent the demos to Blair to write lyrics. Some songs were written over the phone. Steve would hold the phone for me to play riffs while Blair sung lyrics at the other end. These songs were PAGE 8

then demo-ed and sent to Frank Basile in the US to record all the drum tracks. Once the drum tracks were done, Blair flew in from WA in March 2006 to record the vocals at Mixasaurus Studios with Michael Shelley. This took about a week, and then it was up to Steve and I to finish off any extra guitar tracks at our own studio. All the mixing, mastering, artwork and replication were completed over the next twelve months. The band has been together since 1994. Obviously, a lot has happened in the music world since then. In that time, what were some of the periods that were the most influential? Around the mid-nineties, our playing revolved around working in covers and tribute bands; namely AC/DC and Iron Maiden tribute shows. So our musical influences were well and truly established with the driving rhythms of AC/DC and heavy riffing and playing of metal bands. (Blair even played the part of Brian Johnson in the opening scenes of the movie Thunderstruck). We recorded our first EP Lock Jaw in Perth in 1995, and the tracks on that CD were definitely reminiscent of those punchy four-onthe-floor rock influences. While in cover bands, we always played a mixture of current hits and classics, but it was always the grooves of those classics (ZZ Top, Black Sabbath, Rose Tattoo etc) that really got the crowds going. So as far as influences are concerned, it is mainly those rhythms that are the foundation of our songs, blended with modern guitar sounds and recording techniques. Seeing Zakk Wilde in September last year was a blast, and just confirmed our belief that hard rock and metal is the best music to rage to. According to your website, you’ve all had quite a strange upbringing – with Blair coming from a

different planet system, and Steve being found in a bucket of canine entrails by nuns when he was an infant. What have been some of the biggest challenges that have faced you as a result of your experiences? I can see (for the sake of censorship) why you didn’t mention my entry into the world. This was just a bit of fun based on various personality traits. The story about the Zoidphurion Zootswanger creature living in Blair’s epiglottis came about because Blair can sing two separate notes in unison like those Tibetan monk dudes, only it happens intermittently and sounds quite freaky. You can here it on the album if you listen carefully as the second harmony “voice” is not as loud. I’m sure there is a fancy medical term for it. Probably the biggest challenge that the boys have had to overcome is being in close proximity to me in a confined area after chili-laced pizza. And, if that wasn’t enough, you’re also all cartoon characters. Does being animated characters mean you get sun burnt easily? What precautions do you take? There is a special secret paste that is administered for such painful afflictions, which works just as well on cartoon characters as it does on people. It is made by the same company that brought us Neat Effect 3B and Keep Erect 3D. Steve is an awesome artist, so I wanted him to show off his skills. I came up with the idea of cartoon caricatures for our website. If you’re a mate of the band, or have helped in some way, there’s a good chance you have been turned into a not-soflattering cartoon by Steve. The Rogue Sharks’ self-titled LP is out now.

through all these possibilities in your head and then each line will eventually just click into place. I usually start with the music, whether it’s some chords, a cool riff or a technique that inspires me. Then I start to put words to it. Sometimes the words all come out at once, but there’s other times when I like to write each verse, sometimes months apart, so that I get vastly different perspectives about how I feel about a relationship or whatever I’m writing about. I often find the inspiration to write in the early hours of the morning, but I’m starting to write at all times of the day now. I’ll think of something in the shower and have to get out to write it down before I lose it. I know what each song is supposed to feel like, but the details of what exactly can go into making that feeling I allow to evolve with the band. This allows each band member to bring their own ideas to the arrangement of the song. I teach the band the basic structure of the song and if there’re specific parts I want them to play I’ll go into detail with it. But other times I will just give them a vague clue, such as “I want this to sound like the horns of a Viking army about to go into battle”, or just tell them to “dirty it up”, or “I want sleaze and depravity in this song” and see what they come up with. I then just direct them from there to round out the bigger picture. How would you describe the band’s sound? I like to write in lots of different styles and have elements of each in all of my songs. At the moment I play acoustic because I love the percussive-ness, the dynamics and simplicity of the instrument. The songs reflect where I’m at, at that particular point in my life. That’s why there are some, which have a very reggae feel, while others have a real dirty blues feel. The horns are a big part of the sound. Hank plays in a very sympathetic manner that really enhances the emotion in every song. Witty, Jared and I bring a strong percussive element to the songs. When we play live it’s very much open to jamming, which allows everyone to really show what they can do on their instrument and have some fun. What’s the best heckle you’ve ever heard from the audience? Sometimes the odd punter (always pissed) will ask for Sweet Home Alabama or Khe Sahn. Zac’s gonna be on telly! Check him out – and flood him with votes – when “Australian Idol” returns to the screen soon.



The Making Of Young Modern Letting It All Out BY TOM WILSON


Nick Littlemore of Sydney collective Teenager has been a busy boy of late. In addition to remixing and production work with Van She and Eskimo Joe, the multi-faceted former helmsman of ARIA-winning outfit Pnau has branched out even further with his latest studio efforts. “I just produced a record with Mike Nock who’s a jazz keyboard player in his 70s, and who used to play with all the greats in America,” says Littlemore over the phone, lamenting Sydney’s late summer humidity. “Then I produced a band called Mercy Arms from Sydney and now I’ve just made an album with Luke Steele from The Sleepy Jackson. I’ve got another project on the go at the moment with Matt from Banshee and we’re doing stuff together, just remixing and shit like that.” All this in the wake of the stir caused by Teenager’s 2006 debut album Thirteen, an electro-scuzz collage recorded at various whistle stops during Littlemore’s global adventures through much of last year.

… This record is probably my most enjoyable experience …

On the morning of my interview with Chris Joannou, a “Young Modern” poster arrived at the office, signed by the boys, and I opened “Rolling Stone” to see a reprint of an article written in 1996. Pictured on the facing page, the band looked bored, mischievous; regular kids, who released an album called “Frogstomp” and ended up touring the US when still in school. In the long years since then, people my age became teenagers while Silverchair songs played on the radio. We grew up as they did, albeit a few years younger – and for us it seems that, while they took two years off, they never really went away; they just sound a bit different these days, and Chris told me why. First off, why is the album called “Young Modern”? “Young Modern” is a term that comes from Van Dyke Parks, who did all the string arrangements on this record and the last one. It’s a name that he started calling Daniel. Yeah, he would just call him “Young Modern”. Before the album was even finished, we knew what it was going to be called. So it was pretty much in the can, right from the word “go”. Between Diorama and this one, how do you reckon you’ve evolved as a musician? Well I think us taking that quite lengthy break between records, and going off and doing other things, let us all grow individually. Just kind of going off and having different experiences, more so on your own, than as a band with Silverchair. And I think, in some ways, it was quite a valuable

“I would just be in places and would meet someone or fall in with someone and do a session at their studio or something like that,” he explains. According to the singer-producer, stop-over highlights involved a fruitful session with Sonic Youth’s Lee Renaldo and Steve Shelley in New York as well as several late night stints at AIR studios in London, a favourite of Radiohead and Coldplay.

break for us; just being able to step back, and step out of that world for a little while. Because once we’re in there, we’re quite busy, and don’t really get time to do anything else but that. Dan did the Disassociatives with Paul, Ben was doing Tambalane, and I was doing some production stuff. I think each of us all got something different out of it. What kind of production work did you do? I did an EP and an album with The Mess Hall, and did a few other projects on the side as well. It was a massive learning thing for me, as well as an enjoyment thing as well; I really enjoy that kind of stuff.

Now back in Sydney working on Teenager’s second album, Littlemore is collaborating with the likeminded former Bad Seed, Hugo Race. “I’d written this suicide note and I read it to him and he came up with these chords,” he says. “It turned into a very beautiful song, it’s just called The Saddening. There’s actually two on the record; one called The Saddening and one called The Maddening – one’s about depression and one’s about psychosis. Two weeks ago, I wrote down a lot of stuff and I think it’s better to write it down than do it. That really does help – it’s like therapy, I suppose.” “Thirteen” is out on Timberyard through Shock.

Much like the Teenager moniker, Littlemore’s modus operandi in the studio is based on impulsivity; a free jazz honesty with bum notes gladly included.

How has the level of input that you’ve had on the writing of this album compare to when you guys were doing Diorama? Pretty much the same. We’ve been operating the same way for some time now – Daniel doing a lot of songwriting, and then we’ll get together as a band, and start playing the songs … They’re pretty much … almost completed. And then, as we start playing them as a band, they start coming together as Silverchair would play them, I guess.

“I try to get as close to the thoughts as possible before they get into the world and are fettered by all this other bullshit,” he says. “I like improvising for the fact that it is really fucking honest before you’ve got a chance to filter your shit, and that’s why it’s called Teenager; because you really don’t filter shit when you’re a kid; you just say the wrong thing all the time and you get into trouble. It’s always as raw as possible.

Have you got a favourite track, or tracks, on the album? It’s pretty hard for me, because this record is probably my most enjoyable experience of ever making a record. So all of them have got a pretty special place. I don’t know – it was just a really good experience. We funded ourselves, so were our own bosses for the whole way. We only worked with people we had friendships with, or had worked with before. Overall, it was a really enjoyable experience.

“They’re all improvised, every single note. I’m penning things more on this new record but the approach was certainly; wake up hung-over, get a mike and just go for it. Pony for example was just improvised, the entire lyrics from beginning to end. I just

ONLINE: I ask Chris about Ben’s potential career in porn films, and find out that they played quite a sneaky trick on us during their set at MS Fest. To listen to the entire interview, go to www.sauce.

Wed 2nd May

record as it comes out of my head. I’m trying to get it more crafted these days but there are some that I’ll improvise as well.”

“It’s 3000 pounds a day, so when you get it for free, it’s like you take advantage of these situations,” he says. “It’s amazing when people go home at seven o’clock at night and things then become available.”

GIG GUIDE 18th April - 2nd May Thu 26th & Fri 27th April

I’d written this suicide note and I read it to him and he came up with these chords …

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Be Touched In Hobart

Are Mp3s Hurting Dance Music?


Do you see this man? No, it’s not a member of The (International) Noise Conspiracy, but one of Hobart’s club mainstays. And he’d like to touch you … with disco. We wanted to know more. How’d you settle on the handle “Discotouch”? Well, we all start out with “DJ Something Or Other”; mine was “DJG”, and I just thought it didn’t accurately reflect the current trend of my music portfolio. But to put it simply, I just needed a new name! I love vocal and disco-flavored house, so that was the best and most appropriate name that I came up with. When was the last time you were touched by disco? That’s one night I will never forget. The sky was clear and the stars were out, and as she held my hand, she leaned over and said …

BY TOM WILSON play prog or tech all night if it clears the room. Be a little adventurous, and see what the crowd goes crazy about. And pack something different before you head into town. And the other thing, as clichéd as it may sound, is enthusiasm, and the willingness to entertain. We all know who the bedroom DJ is when we walk into a club. You’re there as a DJ to have fun and to get everyone else having fun and up dancing. What’s the strangest thing you’ve ever seen at a gig? It was this really weird location out the middle of nowhere; I remember almost everyone was wearing black, and they were dancing on the top of these wooden boxes. There was some drunk guy at the gig singing and crying the whole time. It was just unbelievable. I swear I’ll never play at another funeral again. Boom boom! Discotouch is a resident at Syrup in Hobart. Check Gig Guide for details.

What’s the best DJ set you’ve ever seen? Why? Jay-J came to play in Hobart in 2006. I’d played first up and ventured onto the floor, as you do. Latrice Bennett was down for the tour as well, and she sang live vocals while dancing with the crowd – it was amazing! And J plays the most beautiful funky, soulful and sexy house you’ve ever heard. Might I add too that their music had it all; and there was no need for fancy FX! If you could go anywhere in the world with DJing, where would you go? And why? I would definitely, definitely have to say France. Paris of course, but I would be keen to discover the nightlife outside the city too. So much of French music, house or otherwise has a sassy and sophisticated quality to it. I think French audiences would also be more receptive to the more sophisticated side of the house genre. Where have you played recently? Recently I’ve played at Ten Days on the Island, including four gigs in the Crystal Palace and one out at Moorilla Estate supporting Simona Salis. That was a stunning venue to play in, but even more so was the Palace. I think the décor and the wooden ballroom floor did it – people just went wild on Saturday night! I’ve also played at Curly’s Bar, The Quarry and, of course, as a resident at Syrup Nightclub. We’ve had some exciting lineup changes at Syrup, so it looks like it’s going to be a cracker of a year.

I swear I’ll never play at another funeral again.


What do you think the difference is between when you have two DJs playing after each other, as opposed to something like “Dopamine vs. Klaus Hill”? Is there a real rivalry or competition that gets going? No, not at all. We’re really good friends. We did this back-to-back thing quite often; we did it in England in Breakspoll in February. So we’ll be doing the same thing. We do an hour each individually, and


What’s the worst thing that can happen to a DJ? Going deaf! No, not really. In a nightclub situation, probably letting a record run out, or clearing a dance floor ‘cause you’re playing music no-one likes.

Musically, where do you hope to be in ten years? In ten years’ time I’ll be thirty-six, so, if I am still DJing, getting home before one would be awesome after playing some cool café gigs. Also promoting events on a national level and expanding our business will be the main focus. I’ve heard some rumours about the Ministry parties being put on in a different venue than in recent times. What do you know about it? Nothing is concrete at the moment; we put our events in whatever venue suits the night best. People sometimes like a change, and if we go to a different venue, we aren’t closing the doors on those other venues.

DJ Double-Act To Hit Halo

Breaks Heavyweight Comes To Town

You’ve got your residency night coming up at Halo soon, and Dopamine’s gonna be playing on the night as well; [it’s] billed as a “Klaus Hill vs. Dopamine” thing. Yeah. We did it last year, and it was a real success – it was a really busy night. So they decided to do it again this year. Yeah, it’ll be me and Dopamine on the decks all night.

What do you do outside of DJing? Along with my business partners Clint and Kimmy (who just got married), we own Chilli DJ & Urban Supplies, which sell DJ products, vinyl and clothes. We are also promoters for the north of Tassie, bringing down DJs, hip-hop acts and bands. Besides the shop, I play basketball and the odd game of golf on a Sunday with my mates.

How did you get started with DJing? I guess it was the same way that almost every one got into it. Before I was able to head out to nightclubs, I never gave dance music much time. It wasn’t until I saw a DJ spinning vinyl in a club that I got hooked. I started buying dance CDs, going out to heaps of shows in the north and south, and met a new group of friends, including a DJ who let me muck around on his decks.



So what’s been happening in the land of Klaus Hill at the moment, in terms of your career? In terms of your work? Oh, I’ve just been busy with the label, mate; just getting releases ready … in the middle of writing an album … and just really sort of concentrating on the Title Fight material, and getting new tunes off the artists on the label as well.

How healthy do you think the Launceston DJ scene is now, compared to a few years ago? Well, there are definitely more people DJing these days, with music becoming so affordable and easy to access from all around the world, in a matter of minutes to a few days. The main thing that has changed from a few years back is the variety of DJ tools and products that are available, such as the CDJ’s, computer programs like Ableton, Final Scratch and MP3 players. In some ways these new products have become a negative for dance music. Why do you think this is? Years ago, people used to go into a record store and search through the shelves to find a fresh, new beat that no-one had. You could walk in, buy a tune and walk out with a record in your hand. These days, if it’s downloaded, what do you have to show for it? All you’ve got is a file on your computer. Burning a CD is nowhere near as good as holding the real thing.

What’s one thing a DJ should never be without (aside from equipment)? Two things: Firstly, you’ve gotta be able to adapt during the gig, and that means preparing a whole mixed bag of tracks. It’s no good expecting to

These are busy times for the big man of breaks. In between managing his label, Title Fight, and moving house, it’s understandable that he might not have time to scratch himself. But that didn’t stop him taking time out to talk to me ahead of a back-toback set with Dopamine at Halo …

When he’s not helping to bring live acts and DJs to our fine state, he’s doing it himself. So what drives Joycie’s passion, on the decks, behind the counter at Chilli DJ, and as a promoter of interstate dance acts touring Tasmania?

then two hours back-toback where we’ll do two tunes each, and just keep playing the music that the crowd wants. So I guess, in a way, you’re reacting to what the other DJ’s playing, to an extent. Yeah, yeah. I don’t know what his next tune’s going to be, so I’m just reacting, and each DJ takes it off in a certain direction, and you have to keep following on. So it’s exciting, because he plays a different sound to me, and it means people get a different set than they normally do. How does having a residency at Halo compare with having a residency at other clubs around Australia or internationally? Well, [with] Halo, they just love their breaks down there, and it’s an awesome club. I’ve been doing it for two-and-a-half years now, and it’s one of the best clubs I’ve ever played; just the atmosphere and the crowd, and [Halo co-owners] Scotty and Damon as well. It’s just a special club – that’s the only way to describe it. It is a very, very special club. What’s on your cards for the rest of the year? I’ve got another Ministry Of Sound mix album due out in September. I’ll be going to China again, and me and Dopamine have a US tour at the end of the year as well. Klaus Hill goes head-to-head with Dopamine at Halo in Hobart on April 24th.

BY TOM WILSON About to take to the decks alongside breaks heavyweight and Title Fight label owner Klaus “Heavyweight” Hill in a double-act at Hobart’s Halo, Dopamine – known to his mum as Matt Goddard – looked back on the evolution of his style, and what it’s like to play alongside the big man ... How do you think your DJing style has evolved throughout your career? Interesting question – and one I’ve never been asked before, funnily enough! I’m obviously a lot more comfortable playing on a big system these days, which means that the stuff I would have normally only done at home I’m prepared to do in front of a crowd. DJing for me is often about taking chances, and just going for that mix which you just know at the time is going to work, even though you’ve never played those two tracks before in your life. I rarely get time to practice my DJing these days, but as I’m playing every weekend, I take every set as practice, and really concentrate on what’s coming out of the speakers while I’m performing. On the whole, I think my style has become a lot more solid, and my sets have a more interesting progression to them. I also mix up styles more, blending breaks, tech, electro, house and anything else I think works. I don’t think I can be classified as just a breaks DJ anymore. What kind of equipment setup are you using these days? How much gear do you have to lug around? I’m DJing with CDs, as I travel a lot these days. So my lug-about bag is quite small – just a bag of CDs, headphones, and a change of underpants. Where’s the strangest place you’ve ever heard your music played? It was really strange hearing it on CSI Miami, that’s for sure! You’re about to go head-to-head with Klaus Hill at Halo – how confident are you that you’re going

to wipe the floor with him? Got lots of tricks up your sleeve? [Laughs] Klaus and I smash it every time we play together. I dunno – we seem to have this amazing energy when we step into the booth. We both love what we do, love the music, and we’re good mates. I think that really shows – especially when we play Halo, which is our favourite club to play in Australia. The crowd just revs us up so much that we have to give 150% of that back in our performance. Ask anyone that was there for the last one; we were in a frenzy, and by the time we finished our set, the crowd was peeling themselves off the roof [laughs] But yeah, I’m pretty confident he’ll need to sit down or have a nap during the set at some stage. What material do you think you’ll be dropping during this set? If it’s the same format as last time, we’ll be doing an hour each, then two hours together, which is a serious amount of time to throw down everything you need to play. I’ve been going back to my roots a lot lately and getting quite deep and tech-y; lots of 4/4 stuff mixed up with house, electro, techno, and the breaks to tie it all together. I’ve got quite a bit of my own new stuff to play, including a track I just finished with Chris Carter. But I also have loads of new stuff I’ve signed to Fight Club and Title F i g h t over the last few months. Some instant classics in there – amazing work from new-to-thescene Aussies, Heretik and Bitrok. On your Myspace, there’s a picture of you dancing on a podium. How likely is it that you’ll be busting some similar moves at Halo? I think you can pretty much rest assured that I’ll be doing something just as ridiculous once the beer has flowed and we’re in full swing. Klaus and I like to do some synchronised routines we’ve worked out over the years. The “running man” often makes an appearance, as does the “reverse park” and other such brilliant rave moves. Who’s been the coolest DJ to play alongside, and why? I DJ’d beside a mirror once. I had to get it removed ‘cause I kept trying to chat myself up. Dopamine plays Halo with Klaus Hill on April 24th.



Making Noise In The North

Hobart’s Dancefloor Queen



What styles do you mainly play in? Fat, sexy house, glitchy tech house and vocal electro.

If Lisa Loud is the mainland’s first lady of dance music, Kir is Hobart’s queen. In the position to see club life from many different sides, Kir gave us an insight to her world. To what extent do you think people see you differently as a DJ because you’re female? To the extent that I’m not a guy! Most people are familiar with seeing a guy behind the decks, and get really excited and surprised, I suppose, to see that a chicky can also play music! I DJ’d at a couple of clubs in Bulgaria two months ago and had people that had seen or heard about me running down the streets calling “Are you the girl DJ from Tasmania?” The excitement came about as most of the Bulgarians had never seen a girl play before. In the future, we’ll see more female DJs. Musically orientated chicks are buying decks to become musicians, instead of guitars to play in a band. It is very encouraging for other females who would like to DJ, as there is much support in the greater music community for more girls to get out and show their skills.

It may not have the numbers of Launceston or Hobart, but Burnie has proven for quite a while that it shouldn’t be overlooked for its venues, or the music that fills them. One such source of sound is Randall, who’s been a resident at Sirocco’s for the last three months. And he shared his thoughts on the Burnie scene. You’ve held a Friday night residency at Sirocco’s in Burnie for the last three months. How did this come about? I’ve known the guys down at Sirocco’s for years, and when the new club opened up, Paul and Mark were after a change of musical direction; they needed a DJ with experience who could smash up some modern club tracks, but also educate the public more about other styles of dance music, and supply a new vibe for the club in Burnie. What does having this residency mean for you as a DJ? It means traveling more, but, really, it’s a challenge that I enjoy – working to a different crowd and playing in such a large venue. It also stretches my skills; makes me able to play longer, more developed sets, and keeps me sharp. Playing residencies gives me a chance to build a following for the music I play. What is the Burnie crowd like, compared to those in Launceston or Hobart? How is it similar, and how is it different? I don’t get to Hobart much unfortunately, and let me tell you; Launceston people love their vocals. The crowds are similar though. I think Launceston crowds have been dealt some shit in the past, so they can be a little jaded, although they are warming to more IDM and eclectic sounds slowly. Burnie crowds have been after some tougher, more varied sounds for some time, and now that they can get that, they are certainly up for a party. What sort of music drives Burnie people crazy on the dance floor? Have you noticed any particular trends? Yeah, they love their breaks and club-y house to be straight down the line. I’d say the trend is moving towards a lighter sound, rather than just bombastic tunes that sound huge regardless. I’m a typically self-absorbed DJ, so it’s as much about the style I spin as what the crowd want and need. It’s important that musically I don’t sell the crowd or myself short as it affects the scene in the future. How would you describe the atmosphere in the venue during your sets? On a good Friday night I would say the atmosphere is one of total abandonment! I like to rock it out hard

What’s one song you never, ever want to hear again? Flaunt It! What do you do outside of DJing? Enjoy life! Hang out with my hubby, my buddies and my dogs. Snowboard, manage Syrup, and I try to get away traveling as much as possible. I understand that your partner is a co-owner of Syrup. While this would obviously have its benefits as a DJ, what about the drawbacks? I do as I’m told! (For once) Who have been some of the biggest inspirations for you as a DJ? My parents – who (before I was one year old) lay me on the side of the stage in my bassinette, as my father played bass guitar in a band whilst my mother rocked on! I was bought up in a family where music was life’s biggest passion. Probably the City Rockers and the Bugged Out crews, as well as my many DJing/production friends that have been inspirations over the years for me. Musically, where do you hope to be in a few years? Seeing more of the world behind the decks!

What’s your greatest strength as a DJ? Electrifying the dancefloor, making people dance!

Kir DJs regularly at Syrup in Hobart.



so If the vibes right it’s a great place to be on a Friday. The crowd is willing to get involved and I like to go with that and flow with that. What kind of equipment setup do you use? As standard now I use 2x Technics 1200 turntables and 2x CDJ 1000s as well as a fucking huge mixer with all the trimmings. You can occasionally find me playing with three or four CDJ’s simultaneously very late on a Saturday night at the James when it hits about 4.30am. Technology certainly has changed the way I DJ and, for me, playing CDs is all about the ability to download a track released yesterday in Berlin and spin it tonight in Tasmania. Might I add, I will never stop beating out vinyl.

I think Launceston crowds have been dealt some shit in the past

We’ve heard good things about the Sirocco’s PA – to what extent have you put it through its paces? Definitely cranked it a few times. It’s a venue where you need to be on the dance floor to feel the impact, and that’s the place to soak up atmosphere at a club anyway. It’s quality equipment, no doubt there, and it helps to play through a smooth system. What do you do when you’re not at the decks? You mean at Sirocco’s, Tom? Well, at the club, I would do Black Russians, cigarettes and a sweatband change. Away from clubs, in the now immortal words of C&C Music Factory, “Music is my life” What are your plans for the near future? As a DJ I have been working on a new mash up style with more cutting and tempo changes, mixing all styles of music. Acts like Queen, Nirvana, Thompson Twins, Bee Gees, Prince and more classic, crazy shit with hip-hop, Finger Lickin’ cuts, Mylo and computer game themes. It’s a work in progress; I’ll be looking at doing a show like that in about three months, so stay tuned. Randall plays on Fridays at Sirocco’s in Burnie and Launceston’s James Hotel on Saturdays.

He’s released records on Whole9yards, City Of Angels, Chrysalis/EMI, Mob and China Records to name but a few. He’s collaborated with many top producers including Arthur Baker, BLIM (on that massive Eskimo track and the equally huge 2Freaks) and with Meat Katie. Rennie has also collaborated with Uberzone on Black Widow, Cous Cous and Fuego. He DJs world-wide and wows audiences with his raw, dancefloor-friendly, funk-infused breaks sets. He has been voted “Most Valuable/Influential Person” at The International Breaks Awards four years running (he has been asked not to put himself forward anymore). Lately he has been doing music for games and films. He scored the opening sequence for the movie Football Factory and the trailer for the forthcoming Life & Lyrics Brit flick. Rennie has composed a track for the million-selling Wipeout Pure game for Sony PSP and Tourist Trophy in Amercia. He has just completed a new track for Wipeout Pulse (with Blim). He has just started work on his third artist album which is set for this year

Heading to Hobart on the 18th of May, DJ Nathan G will be bringing his sexiest, dirtiest tunes to play at Syrup on the Tassie leg of the national tour to promote the next installment of the Ministry Of Sound Housexy series, Housexy Summer 07. From the DJ booth to the studio (and everywhere in between), Nathan G has not only made his mark within Australian dance music circles, but in turn has made it overseas, with dynamic and consistent success. To this end he has subsequently been instrumental in both pioneering and boldly highlighting Australia’s claim on the international scene’s proverbial map – cutting edge, upfront and always on the money, his enviable musical tastes have constantly evolved and, in 2007, will continue to captivate the ears and feet of discerning clubbers on a global scale. Following the success of the first instalment in this definitive new series, Housexy Summer 07 continues to keep the fires burning for the very finest in house music. By consistently delivering the sexiest and deepest new cuts in a seamlessly blended package, Housexy is fast becoming the essential collection for the discerning listener.

He is completely bald.

Featuring tracks from Fedde Le Grand, Supafly, Soul Avengerz, Jay-J and more, Housexy is mixed to perfection by Nathan and Australian House Legend Alan Thompson.

Rennie Pilgrem gets it on at Halo in Hobart on the 28th of this month.

Housexy heads to Syrup in Hobart on the 18th of May.



GIG GUIDE 18th April - 1st May


WEDNESDAY 18TH BURNIE Stage Door the Café Comedy feat. Tim Logan, Mike Kerr, Wangle and Andrew Dawson (Melb) @ 7.30PM

HOBART Curly’s Bar Ethel the Frog Republic Bar & Café Snowman + Fat Rider @ 9pm


Civil & Criminal Law

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

Syrup 10pm Till Late - Late Night Booty Call With Djs Mez, Chilli & Dave Webber Trout Lucy Wrest Point Dylan Moran (Ireland)

LAUNCESTON UTAS Uni Bar Grrr + Eclectic + Foreign Films @ 8:30pm

THURSDAY 19TH BURNIE Burnie Civic Centre My Friend the Chocolate Cake Stage Door the Café Viktor Zappner Swingtet feat. Denise Sam @ 8.00PM

HOBART d’Art Factory Daedeo & the Blue Mosquitoes @ 6.00pm

New bodyjar live 'Is it alive' out naolbum w. SUPPORTED BY



Irish Murphy’s Lana Chilcott 9pm - 9.50 Darlington 10.10 - 11.10 Late Night Radio 11.30 - 12.45



Republic Bar & Café Josh Pyke

Republic Bar & Café Simon Russell Guilty As Charged @ 10pm

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

Syrup 10pm - Tackyland - 70s, 80s, 90s Dance Classics! With Naughts & Billy Bob + Upstairs 11pm Till 6am Dirty F’king Dancing The House, Electro & Breaks With Resident Djs: Adam Turner, Gillie, Timo & DSKO Trout Born Headless Theatre Royal My Friend the Chocolate Cake UTAS Block Party 4 – Pegz feat. Bonez (VIC), Muph & Plutonic (VIC), Funkoars (SA), Vents (SA), Heads of State (TAS), Patto (VIC), Oratoric Paddles (TAS), Grotesque (TAS), Mdusu (TAS) Wrest Point 28 Days

LAUNCESTON James Hotel The Specimens + Dirty Harry & The Rockets

SUNDAY 22ND HOBART Backspace Theatre A Month of Sundays – Bad Luck Charms and Lucien Simon, Visual art by Matt Coyle d’Art Factory d’Art Trio @ 3.00pm Raincheck Lounge Live Acoustic Music Republic Bar & Café M.A.D.S. For Forests Fundraiser: Fat Band, Abby, Turbo Deluxe, Sunflower, Nick, Bum Tuck, Low Rider, Habaya @ 7.30pm

Trout The Black Swan

LAUNCESTON Irish Murphy’s Glasshouse (Acoustic Show)

d’Art Factory Balding & Croft @ 6.00pm

SATURDAY 28TH BURNIE Sirocco’s Blazin’ Tour 2007 – DJ Nino Brown Stage Door the Café Floyd Thursby with Adam Cousens @ 7.30PM


Halo Klaus Hill (Syd) vs Dopamine (Syd)

Dr Syntax Glasshouse


Republic Bar & Café Glasshouse + Waiter

Halo Rennie Pilgrem (TCR Records UK)

Stage Door the Café Looney Tunes @ 7.00PM


Syrup 7pm - Ko! - Chunks Of Funk With Resident Djs Mez & Chilli 11pm - Boogie - 70s & 80s Funk! With Djs Duncan & Nick C + Upstairs From 11pm La Casa: Sexy Vocal House With Djs’: Timo, Discotouch & Guests Trout Ten foot tall + Lakoda

LAUNCESTON Coats Patons Building LOCALLY FAMOUS This Future … Chaos, Mother Trumpet, Honest Bob, Chaotic Dilemma, Hot Tuesday, Your Damn Neighbours, Prejudice Art Scene, Anvil, Kids in Sandbox @ 7pm ALL AGES Gunner’s Arms Woof Woof + Tokyo Gun Club + The Fox Hunters Return + Follow By The Wayside @ 9pm Princess Theatre My Friend the Chocolate Cake Saloon 28 Days

SATURDAY 21ST HOBART Curly’s Bar Commercial Dance - JimK, D2M, ABS, DJ Grotesque, Samex

Curly’s Bar Detour d’Art Factory Soundscapes @ 5.00pm Republic Bar & Café Paul Green @ 9:00pm Syrup 10pm Till Late – Late Night Booty Call With Djs Mez, Chilli & Dave Webber Trout The No No’s

LAUNCESTON Irish Murphy’s Glasshouse Royal Oak Open Mic Night

THURSDAY 26TH BURNIE Stage Door the Café Viktor Zappner Swingtet feat Kelly Ottaway @ 8.00PM

HOBART d’Art Factory Dylan Stevenson @ 6.30pm Irish Murphy’s Bridget Pross 9pm - 9.50 Invisible Boy 10.10 - 11.10 Glasshouse 11.30 - 12.45


Trout Bumtuck + Ubernaughties

UTAS Blue King Brown

Republic Bar & Café The Specimens (Melb) + Lucy

+ Old Man River

Syrup 7pm - Ko! - Chunks Of Funk With Resident Djs Mez & Chilli 11pm - Boogie - 70s & 80s Funk! With Djs Duncan & Nick C + Upstairs From 11pm Pickle: Hard-Dance Night! With DJs Corney & DSKO + Guests

d’Art Factory Captain Havock, Crytearia & Tempest, Secluded Minds + others @ 9.00pm




Curly’s Bar Commercial Dance - JimK, D2M, Samex

Saloon Nino Brown


Republic Bar & Café Josh Pyke

Trout Transfiction

Curly’s Bar Red Rival + Fell to Erin


Curly’s Bar Blazin’ - R’nB night with DJ Nino Brown

Republic Bar & Café Manic Monday @ 9:00pm




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

James Hotel The Dead Abigails + The Embers


Spurs/Warehouse Glasshouse




Republic Bar & Café Fourth Floor Collapse @ 9pm

d’Art Factory Couta Blue @ 6.00pm


d’Art Factory Tequila Mockingbird @ 6.00pm

Aroma Records Glasshouse (Acoustic Show) Curly’s Bar Commercial Dance - JimK, D2M, ABS, DJ Grotesque, Samex

Republic Bar & Café Kid Confucius 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: Adam Turner, Gillie, Modal Trout Megadeath Tribute

LAUNCESTON James Hotel Josh Pyke

SUNDAY 29TH HOBART Backspace Theatre A Month of Sundays – The Black Swan, Debra Manskey, visual art by Gaby Falconer (Artist), films by Lucy Gould Thorpe d’Art Factory d’Art Trio + others @ 12.00noon Lewisham Tavern Kid Confucius Raincheck Lounge Live Acoustic Music Republic Bar & Café Cake Walking Babies @ 8:30pm

MAY - TUESDAY 1ST HOBART Republic Bar & Café Floyd Thursby @ 9pm

BURNIE Stage Door The Cafe 254 Mount St Upper BURNIE 64322600

HOBART Cur ly’s Bar 112 Mur ray St HOBART 6234 5112 Raincheck Lounge 392-394 Elizabeth Street Nor th HOBART 6234 5975 Republic Bar 299 Elizabeth St Nor th HOBART 6234 6954 Syrup 1st Floor 39 Salamanca Place HOBART 6224 8249 Trout 3 8 1 E l i z ab e t h 6236 9777

S t re e t


d’Ar t Factor y 230 Liverpool St Hobar t 6331 9991

LAUNCESTON The Batman Fawkner Inn 35 Cameron St Launceston 6331 7222 Gunner s Ar ms Bar & Bistro 23 Lawrence St LAUNCESTON 6331 3891 James Hotel Reality Nitec lub James Bar 122 York St LAUNCESTON 6334 7231 The Nor ther n Club 61 Cameron St Launceston 6331 3565 The Royal Oak 14 Brisbane St LAUNCESTON 6331 5346

Saloon 191 Charles Street LAUNCESTON 6331 7355



Fort Knox Five REMINTED All the way from Washington DC, Holy Funkity Funk act, Fort Knox Five, have got Reminted on the shelves, ready for your ears to kick with it. These guys have just recently toured in Feb supporting The Beastie Boys and Nick Thayer at Good Vibrations. Fort Knox Five is made up of Sid Barcelona, Jon Horvath, Rob Myers and Steve Raskin. The CD consists of a heap of break beats, and is so filled with funk, ya ‘fro may fall off! You’ve got your horns blowing flat-out, smooth basslines guiding you throughout all the songs, and a mega amount of soulful vocal work, blended with guitars and scratching to give it the edgy sound of fun! Most of the songs begin to sound the same after a while, but it is still a CD worth listening to over and over! Very easy to enjoy and it definitely sets you in a good mood every time your ears gasp upon it.


“[DJ Bonez] has finally put together another cracker of an album, this time with the help of the laid back styles of LA-Based rapper Omni.” Ryan Farrington 8/10

With too many songs I’ve enjoyed to list, they are definitely kickin’ with style and class! To watch these guys live would be an experience worth living! If you’re into A.Skillz, the style is almost identical to what he rips up on the decks. 7 ½ Fried Banana Monkeys out of 10 Review by Patrick Duke

Renaissance – Paris Vendome Hotel YOUR PRIVATE ADDRESS IN PARIS For the people out there who love the laid-back sound of sensual beats layered down with cruising bass riffs and silky smooth vocals. The CD is based on a Boutique Hotel in Paris; one with a 1930’s extravagant, contemporary design which would cost you around $600 a night if your super keen on pissing your money up the wall on a roof and pretty furniture. Compiled by Mark Barrott and Andrea Monta, Mark is extremely well known by many hotel chains for selecting the appropriate music with his other form of identity – Future Loop Foundation – and is also owner of Music Styling. Andrea is a well known DJ from Italy, and plays at many fashion shows and for other very well known clients. He is quite a clever producer, remixing big names such as Black Eyed Peas, INXS and more. With popular names such as Lemmon Jelly, Telepopmusik, Oscar, Thievery Corporation and many more, its vibe is to be laid back, and appropriate for any place anywhere. Yet it must be remembered that it’s a Creative Vibes release; [and they] love their chilled beats. The perfect gateway to escaping any plunders of annoyance in your life, the compilation is intended more for relaxation than partying hard. 7 leisure suit monkeys out of 10

Machine Head

Within Temptation



Who’d have thought that Rob Flynn – the cheery fellow we saw playing with his infant child on the Roadrunner United DVD – still has a lot to yell about? Well, he does. For me to say, “Welcome back” implies that these guys have actually been gone, which they never really were. But with an album like this – as much an explosive departure as a return to form – it feels appropriate. “Ambitious” is the word here, folks. From the St. Anger-style song lengths to the multiple guitar solos, The Blackening is an evolution of Machine Head. While they certainly haven’t abandoned their trademark sledgehammer guitar sound (I don’t think they’d dare), they’ve let it evolve and branch out into areas of metal they felt were begging to be explored. Machine Head have never been ones to shy away from political commentary, and as Clenching The Fist Of Dissent opens with the warbling voice of a Muslim prayer, it becomes clear that the band has a bit to say about the Iraq situation. The contrast between light and shade glares on Beautiful Mourning – haunting strains of melody are juxtaposed over seething, distant screaming, before Flynn starts crying “No...” like a felon being dragged down the Green Mile. Brutal, intense, and intricate, this is burnout music of the finest order; listen to this in a dark room, and one gets the distinct sensation of roaring along a highway at 200km/h. It seems that The Blackening has been more than a little bit influenced by Trivium’s The Crusade, and the old-school metal sensibilities they’ve made popular. But is this a good thing? MH fans will have to decide for themselves. 7.5/10 Review By Tom Wilson

Review By Patrick Duke

Well, the opener The Howling is a charging, epic number; grandiose orchestral sections underpinning some almost Rammstein-scale guitar riffs. However, I’m really not a fan of this kind of female vocals; when a voice has been trained to that level, it sounds like it’s trading sincerity and emotion for polish. Sharon den Adel can certainly sing; it just feels too generic, despite her obvious skill. What Have You Done – a duet with Keith Caputo – is, for me, irritatingly mainstream. It’s unfortunate that this vibe is fairly constant throughout this release; the playgroup guitar riffs get annoyingly radio-friendly after a while, as do den Adel’s choruses. If only she’d go for a bit more vocal variety – as in, not sounding like Kelly Clarkson for the entire album – things might have been different. But, unfortunately, they aren’t. Coming across like Roadrunner’s answer to Evanescence, the lyrics fall into what I’ve come to call the “gothic trap”; when an artist tries to be elaborate and meaningful, yet ends up with a product that is superficial and, dare I say, a bit silly. “Is it a sin to seek the truth – the truth beneath the rose?” goes a line from the track called, funnily enough, The Truth Beneath The Rose.

I’ll preface this by saying that this was a hard film for me to watch. Why? Priscilla: Queen Of The Desert is one of my favourite Australian films, so I’ll cover my arse by saying it’s not because of any homophobic bias. It’s a hard film to watch because I do have a problem with the label “gay movie”. It makes my fucking skin crawl. Since when, I ask you, do the sexual preferences of the characters and/or filmmakers become more important than the film itself? More to the point, why are people going to watch it – because it’s a great film, or because the characters are gay? I kid you not – someone told me recently that they considered the original Lord Of The Flies a “gay movie”. Say what? So it goes without saying that I had a lot of bias. And, I’ve got to say, Fabulous ... didn’t do much to sway my state of mind. Following the evolution of gay films throughout the 20th century, it’s an admittedly interesting story (though I’m sure gay audiences are going to get a lot more out of it). From the first male erotica shorts shot and developed in bedrooms during the ‘40s, to the explosion of underground gay films following the advent of home video, the story is punctuated by interviews with various figures and commentators of the movement. Needless to say, a film like this has already selected its audience, and I think that audience is well catered for. But, for others, Fabulous ... doesn’t offer much. In other words, see it if you like the title. 5/10 Review By Tom Wilson

Halfmast COMMERCIAL HOTEL – 5/4/07 By Kevin Gleeson

I’ll admit, I certainly wasn’t wowed by their last release, and The Heart Of Everything seems weak for all the same reasons. I really can’t imagine this having much appeal to male audiences. It may be on the label that brought us Sepultura, Fear Factory and Deicide (to name a few), but the metal pedigree of their label-mates clearly hasn’t deterred Within Temptation. This is pop, no matter how loud the guitars are. 4.5/10 Review By Tom Wilson

The Gilmour Ensemble DJ Bonez presents Omni NINJA ART Those familiar with the echoey melodies, deep bass tones and 80’s club drums that come with the name “DJ Bonez” (best heard on the successful “Drastik Measures” album with Hyjak and Torcha) will be pleased to hear that the Australian hip-hop legend from Sydney has finally put together another cracker of an album, this time with the help of the laid back styles of LA-Based rapper Omni. This release proves again just how flexible DJ Bonez’s production is, and how well he can adapt to the various lyrical styles of each rapper he works with. Bonez has done an outstanding job on the beats, and Omni is quite capable of pulling together an array of mildly intriguing verses, but I don’t care too much for Omni’s fairly mediocre flows and boring-sounding voice. But each to their own, I suppose. My favourite track is the heated banger “The Hot” featuring Blade (UK) and DJ Grazzhoppa, in which Omni does bring a strong, boast-y verse to a blazing, anthem-style beat, which was a great choice for an opening track for the album. I can see a lot of people digging this release, as it covers a truck-load of different styles. The beats truly are masterpieces in themselves, and the effortless mood-changes that Bonez achieves (which he seems to have mastered over the last few years), alone make the album well worth the money. 8/10


Composer Russel Gilmour and his ensemble have put together something quite unique in Seven Things I’ll Do Tomorrow; a very art-house and eclectic twelve tracks of moody arrangement recorded at Red Planet Studios in Hobart. Classical in nature, this isn’t generally the type of music I’d go out of my way to listen to, but is something I have the upmost respect and admiration for. The ensemble consists of four musicians on violin, cello, marimba (the deep xylophonic sound)/bongos and a variety of saxophones all led and arranged by principle writer Gilmour. This album has been produced for a cultured audience and has a concept of having its listener associate the title of the track to which they are listening to the sounds and feelings that lie within it. The album, on a whole, is quite similar to listen to, but each song is given its own personality, with subtle changes in tempo and instrumental arrangement. Each track plays as a commentary on its title, and starts off with five-and-a-half minutes of Strange Times. This sounds like the first part of a soundtrack to a social commentary on our ever-diverse and often oppressive environment. Happy is a jollier tune, which sounds like an outdoor scene set in a Victorian garden. Dark On Bach has an intense feel, as does my favourite track Vivaldi’s Green Jacket. The album’s great for what it is, but is not my usual cup-of-tea.

Silverchair YOUNG MODERN I think everyone went through a Silverchair phase when they were a teenager, and some of us just never got over them. After reforming in mid 2006 after a long break, the band has finally released their long waited follow up to the 2003 album Diorama. For this, their 5th album, they headed to Prague to record the strings with the help of Van Dyke Parks (who’s nickname for Johns is “Young Modern”). From the opening track (Young Modern Station) you know this is a new ‘Chair. The anger and energy from earlier releases is gone, but the rock feel and riffs that Diorama lacked are back in a big way. First single and only the Chair’s 3rd Australian number one, Straight Lines is my personal favorite track from the album. I’m sure everyone has heard it by now, and if you haven’t, have you been in Iraq? There’s lots of cameos; everyone from Paul Mac to Luke Steele from The Sleepy Jackson, who features on the track Insomnia – a song about (you guessed it) insomnia. Being produced by Nick Launay (who did Freakshow and Neon Ballroom) and Daniel Johns and mixed by Dave Bottrill of Tool fame, you know this album will be something special. The ‘Chair is back and better than ever … expect to see them walk away with almost every award when it comes to ARIA’s time. 7/10

6/10 Review By Ryan Farrington

Easter Eve is a good night to have a kickarse gig on and this show had the promise of that with Anvil, The Belchers, Woof Woof and Samora Squid supporting Halfmast’s CD launch.


Review by Adam Ferguson

Review By Ryan Cooke

It was a pretty cold night for an outdoor gig in the beer garden, but even before the bands kicked off, there was a good turnout. Anvil started off with what I believe was only their second live gig. Good performance, but maybe a little less showy guitar work and concentrate on tempo a bit more. Enjoyed their tunes though. The Belchers are really getting their stuff happening over the last year. I’ve always enjoyed their performance, and it just keeps getting better. My only complaint was a lack of foldback which gave them a few issues on vocals, but they managed extremely well under the conditions. Samora Squid. This man is seriously crazy. I didn’t catch much of what he did this night, but have seen his stuff before. If you get a chance to see him, it is fun and hard to watch at the same time. Ouch. I missed Woof Woof as I got a call away from the pub, but by all accounts they put on a good show. I arrived back in time for Halfmast. Lots of energy, and performing as tight as expected. My only thought here was the sound mix wasn’t as good as for the Belchers, I struggled to hear the vocals on quite a few songs. Couldn’t fault the performance though. A good crowd there too, especially considering how many other gigs were on over Easter. Everyone I saw seemed to be having a ball. A good night.


Infected Mushroom

Far Too Many DJs

Southern Roots

HALO – 9/4/07

SYRUP – 5/4/07

CURLY’S BAR –13/4/07


By Felix Blackler

By Felix Blackler

By Ian Murtagh

By Anita Williams

I was told that, if you have to listen to psy-trance, Infected Mushroom are the boys to see. With that ringing endorsement, I and the rest of Hobart were looking forward to seeing these guys from Israel performing live at Syrup, as this show had sold out days before. After packing his bags and trekking off to London, Aussie ex-pat Friendly was in town to tempt us with some of his recent work. Friendly has come from lots of different camps, that can be seen in a range of his releases, from the earlier “My Mother Was a DJ” to the heavier “Bump ‘n’ Grind” to the more recent tunes like “Nobody” and “Ride Baby Ride”. After a hectic Easter weekend, the crowd began to arrive as Friendly was preparing his Easter treats – as if running on some sort of body-breaks-clock that got them twitching to Halo at just the right moment. Dave Webber and Scotty Woodhouse set the scene nicely with some deep, thumping breaks, before Friendly began to fill the place with some happy breakbeat and funky tracks. Friendly does vary from traditional breakbeat, adding a nice range of tunes which kept the dancefloor full and the punter constantly guessing. Then again, most DJs jump genres. Before you know it, DJs will be saying that their style is break-y-progressiveelectro-house-with-a-touch-of-minimal-and-soy, “just ‘cos I’m treble intolerant”. But in my view, who cares what they call it? If it’s fresh and jumping, we will come and we will bounce. Friendly delivered just that; a creative and unique take on some tracks that filled the club with strong synths and Friendly-esque basslines. A great Easter treat, that was sweeter than the chocolate and provided more joy than any Easter egg hunt!

Syrup had gone all-out, with some great interior decorating to add to the mad environment, and the buzz in the air was electric as a couple of the locals set the pace with deep, driving trance tracks. In fact, waiting for Infected to start, there was an intense build-up in music as the crowd thickened, and machines and instruments were being tuned and prepared to be punished. Once underway, Infected mushroom turned Syrup into a frenzy as they opened with “Becoming Insane”, the new single off their album “Vicious Delicious”. The lead singer delivered trippy vocals, with some solid work on the guitar and keyboard by the other two members, as the drummer, patiently waiting in the corner, brought them together with a fast, pulsating rhythm. This was some of the most enjoyable hard-style of electronic music I have heard, with a massive focus on creating tracks that were heavily entrenched in musical influences, from traditional techno to as far as classical music and metal. The crowd was knowledgeable and absolutely crazy, with a large contingent able to sing along to a number of tracks in Hebrew. These guys then blew me away with what has to be the most torn-up remix of Groove Armada’s “Superstylin’”, that was in Hebrew and completely unique! A live show truly above expectations, this was an experience not to be missed, and if you didn’t get a ticket and have to wait ‘till next time, well ... nyahnyah! Sorry, it was awesome.

Dear Mum,

I’m a regular at Curly’s on a Friday night and, admittedly, it’s usually because it’s a reliable source of great Hobart original music. I’m not a DJ hater, but I’m not as much a fan as I am of bands, so I was a little disappointed when I got there. Curly’s is a funny room to fill. Usually the first act on doesn’t really get a good crowd to play in front of, which is often a shame because I’ve seen some very talented people play to their friends (respectfully standing a bit forward on the empty massive floor), who later find themselves girt by latecomers who’ve come to see the headliners. This is pretty common everywhere, and tonight’s time-burglars missed out on the multi-talented Kashishi. He’s got a good thing going; his sets are slick and well rehearsed, and he’s actively involved with the music he’s spinning; he’s not just dropping songs you can dance to – he’s doing it with style. No, he’s doing it with his style, which makes all the difference. One of the other guys I always pay attention to is Lobe Boy, (AKA Perigrin, and others just call him Sam). The thing I like about what he’s doing is that he’s educating the public to listen to left-of-centre choices on the dance floor, and, better than that, he’s causing them to dance to it. I’ve been digging his sets at Coven something fierce, and he still gets a tip of the hat from me for Nick Cave’s Red Right Hand. The crowd were dancing and, presumably, buying drinks at the bar, so I’m sure they were happy, but I did feel a big sting of disappointment that it wasn’t a band night. Great that there were a couple of ultraclassy DJs to jive to though.

I went to the Southern Roots Festival on the weekend. I was a bit late getting there, after locking the keys in the car, so Xavier Rudd was already playing when we arrived. Xavier was amazing. Playing so many instruments at the same time, perfectly, while appearing relaxed but enthused, it’s easy to see why this guy is so popular. After Xavier, went for a bit of a walk and managed to work my way into the SeaFM VIP tent. I was persuaded to go on one of the carnival rides, the Gee Wiz. Amazingly, I didn’t puke, and made my way back towards the main stage to catch The Vines. They rocked, but it was a show a little more subdued than I’ve known The Vine’s performances to be in the past. In the lead up to the Festival, many friends had said to me that they were really looking forward to seeing the Pixies, but for me, the standout act of the Festival was Gomez. From the first chords, Gomez illustrated to the crowd that they were something special, a cut-above the rest of the bands. There was a wall of sound, but it seemed to have space. There was energy, but also calm. It was a set that was full of contrasts, but held together in a mesmerising, almost shockingly good performance. I managed to catch a bit of the set from the new Lemonheads earlier on the second, smaller stage, and they seemed to be a favourite with many, as the inside area was packed full with people. Earlier, The Scientists of Modern Music had the second stage pumping, as they jumped around on stage to their own music. I had a great day – my best Festival experience in years. Say Hi to Dad for me. Thanks, Anita




This Ain’t A Mixtape … BY DAVE WILLIAMS


Music Makes The Man. OK! BY STEVE TAUSCHKE

Creator of the wildly successful series of compilations, hip-hop DJ Nino Brown will be Blazin’ in a new way if you happen to unintentionally call him a sell-out, as I did when he spoke to us recently. Whoops. Still, his clothing endorsements are one thing; what really matters is the music. And that’s what he’ll be delivering in spades when his Blazin’ tour hits Tassie later this month. You’ve got a radio show in Sydney. In what ways has this benefited you as a DJ? I have a radio show called Trailblazin’ Radio, and I do 5x12 minute mixes, called The Blazin’ Mix-Ups. They’re aired all across Australia (syndicated to various stations) everywhere except Tasmania and Victoria. I am looking for stations there to play it! I have been on air in Sydney for about ten years in total, and it’s a great way to stay in touch with the public.

Patto rhymes. That’s what he does. And you’re about to hear a lot of it. The Melbourne MC you might remember from the track “Controversy” on the release “The Jase Connection”, he’s about to dish out the one-two punch of an EP and LP this year, and I caught up with him ahead of this month’s Obese Block Party. How did you end up on the Blockparty Tour? Is it because you’re releasing the EP “This Ain’t A Mixtape” and the LP “Speaking Terms” on Beathedz? Yeah, that’s right mate. Basically it started with the Obese Block Party Tour, and Jase had a set there, and it turned out that Jase had some prior commitments. So basically they spoke to a couple of artists, and I ended up jumping on just doing “Contreversy” and it stuck up after that. Just recently I’ve been touring with Pegz. We did Cairns and we also did Tassie, and basically we made a strong connection. So I’ve jumped on the Block Party Tour to rock a few shows. That’s pretty cool – you cruising around with Pegz – ‘cause he doesn’t do many shows anymore, does he? Nah, not really. I think he took a little bit of a break there just to focus on his new album coming out called “Burn City”. I think he took a bit of a time out. It’s amazing going through with a crazy veteran like that – just learning the ropes with them. As an up-and-coming MC, you couldn’t think of a much better role model to tour with and just learn the ropes [with]. So it’s been a dope experience, man. How have you arrived at this point in your life? What’s brought you down the road to being an MC as opposed to being a nurse or a fireman? Being a nurse wasn’t as high a priority as being an MC, but I tell you, it was up there, man! Basically I’ve just been into hip-hop since the mid 90’s. Come around ‘99, and I discovered PBS, which was a local radio station, and they had a show called “The Formula”, hosted by Pegz. I found out where Obese Records was, picked up the cassette and basically just fell in love with the whole Australian hip-hop sound. It was totally new and fresh back in the day, and it was a whole new experience. I just started pinning up rhymes and just doing a few demo tapes and stuff like that and handing them out. This pretty much led me to the direction where I am today, man. And I’ve stuck with it for all these years. Did you find yourself doing anything different in terms of preparing for this Block Party Tour, as opposed to any other gigs you do cruising round with Pegz? Not particularly, mate; just pretty much practice most of the tracks. And it’s been a massive learning curve for me, just doing the high profile gigs, because it just gets you used to the crowd, and just controlling them, and just the whole stage presence thing has been a massive learning curve. It’s pretty much just “practice your tracks”. It’s all you can do, really. So I just follow that kind of preparation, man. Is it just going to be you on stage? Whose doing beats for you? I think I’m doing a solo set, and/or doing Pegz’s backups, as well as incorporating a solo set into it. All my production is handled by Jase from Beatheadz, and also Obese Records, so we’ve been working tight-knit together now for about four years. He does all of my beats and stuff like that, and I’ve


just been focusing on dropping those kind of live tracks, just as promo’s for “Speaking Terms” and “This Ain’t A Mixtape”. What’s the biggest thing you’ve learned from Pegz, in terms of connecting with the audience during a show and revving them up? He’s a really professional performer. He’s a natural. As soon as he hits the stage, he just goes into performance mode. The really good learning curve has been just interacting with the crowd, and just knowing when to take your pauses, and getting a bit intimate with the crowd – rather than just getting on stage and dropping your tracks, then leaving the crowd hanging. Just to make things a little more personal. That’s been a definite learning aspect from Pegz.

Being a nurse wasn’t as high a priority as being an MC

How far along are you with “This Ain’t A Mixtape” and “Speaking Terms”? What’s happening with those? We’re right on the cusp of it, mate. I’m just waiting on Jase now to finish one more track. We’ve recorded about eighteen tracks for “This Ain’t A Mixtape” so far. The problem being [that] Jase and I had fifty tracks in the chamber fully written, recorded and produced. So it was just a matter of choosing which tracks to put on the mixtape, which is going to be purely the development years.

How has Blazin’ 2007 been received so far? So far, all the responses have been really great! What plans do you have to start work on a new release? The next thing coming out is the Blazin’ Records release of Ken Hell’s single, Truck. It’s up on my Myspace page. You were voted Best DJ at last year’s Urban Music Awards. How did that change things for you? It didn’t really change anything, because it was the first Urban Music Awards, and people don’t know about it too much. But it was a great personal achievement, and I want to try to win it again this year as well. What prompted you to start the Blazin’ series of albums? I had been doing mixtapes since 1996. I was traveling around Australia a lot, and wanted to make an official mix CD, and reach the nation! You’re set to bring the Blazin’ tour to Tassie. What impressions do you have of the scene down here? The Tasmanian scene is wicked, because it’s so new and growing. That makes the crowds more open to music, and when I play down there, it is always


On Keep It Blazin’, you used a sample of Public Enemy. To what extent do you think their influence can still be seen in modern hip-hop? I didn’t sample Public Enemy – I sampled the original drum break they sampled. I know my breaks, homie! But in saying that, PE were, and still are, very influential. They promoted pride and good values in hip-hop, and also to think about things, like the government etc. They promoted the concept of conscious hip-hop. Terminator X was influential to me becoming a DJ. I’ve noticed that you’re sponsored by several clothing brands. What would you say to people who might see it as “selling out”? If anyone actually called me a sell out, we would have a serious problem. I am not the kind of dude that takes nonsense from people, and that would be an insult. I am sponsored by Joker Brand clothing only, and it’s one of the hottest labels on earth. Groups like Run DMC were sponsored by Adidas. It’s smart business to get sponsors, because if you’re in the public eye, you influence fashion. So why buy a t-shirt that may inspire people to get a similar one? Selling out is mentioning something that is whack, or just stupid, for money. I heard McDonalds were offering major bucks for a rapper to mention them in a track. That would be selling out! But getting major corporations to give you free stuff, and/or pay you for it, that is what can make hip-hop grow. They want to connect with the urban market, so that’s how they do it. All the brands that sponsor me, I fully endorse their products, and I actually contacted them, and said, “Hey, I use your stuff, I advise a lot of DJs etc. – make me the face of your products.” And Rane (DJ Mixers) [and] Ortofon (needles) are very happy, and so am I! Nino Brown plays Launceston’s Saloon on the 24th of April, Curly’s in Hobart on the 27th, and Sirocco’s in Burnie on the 28th.



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.

As you said before, you came down here recently with Pegz. How do you feel the shows went? Amazing, man. Absolutely amazing. The Hobart crowd just goes absolutely off. It was just a crazy experience. We saw some local acts down there, which, being in Melbourne and not really getting out of that state that much, you don’t really get to see a lot of those acts perform live. It was really good to see the scene that’s happening down there. All the heads are connecting and the younger crews are getting up, doing their thing and dropping releases. I think I got Mdusu’s release, and that was bangin’, man. It’s really impressive to hear these guys that are doing the come-up.

Patto plays the Obese Block Party at the Hobart Uni Bar on Saturday the 21st.

crazy! What did you do the last time you had a day off? I like to chill at home; watch DVDs, clean my place – regular stuff!

Prepare For The Hip-Hop Ninja!

All the rest we’re keeping for “Speaking Terms”. I was round at Pegz’ last week, and we wrote out a track, so he’ll be dropping on “This Ain’t A Mixtape”. So it should be a pretty dope collaboration. It’s probably about a month away man, so just round the corner.

Do you find that each state has a unique feel to the audience, or do you find that there’s an overall Australian audience? It’s pretty much an overall Australian audience. I’ve noticed that a lot of the guys that seem to be the most hungry are the young MCs that are coming up, because I think they’ve just discovered the whole new sound and the culture. They may have come from different elements or different genres, and they’re just throwing themselves into the scene. It’s pretty much the younger guys who are there. There seems to be a trend throughout the whole of Australia. So it’s good to see the youth arising and embracing the scene as well. It’s generally very similar throughout Australia.


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!

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

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! Bonez does what he does best at the Obese Block Party on Saturday the 21st at the Hobart Uni Bar and then at the afterparty at Halo.

My Friend The Chocolate Cake HOME IMPROVEMENTS

The ďŹ fth studio album by the Melbourne acoustic ensemble since they formed in 1989. An incredible study in contrasts, from sumptuous orchestral pop songs to fragile ambience; from wild, exotic instrumentals to poignant and potent Australian stories from the ‘burbs and the outback.





Sunny explains how speaking out after the Cronulla riots and holding meetings with largely Lebanese groups like the Comancheros helped ease tensions within the city during one of its ugliest chapters. In the aftermath of Cronulla, one night Maroubra Beach was targeted in one of the backlash attacks, forcing around one hundred Bra Boys to defend the beach.

They once had a brawl with

thirty off-duty police officers …

“I think Maroubra’s a lot more advanced in multiculturalism than just about any other beach in Australia,” Sunny says. “That’s a big part in the movie and the defence in the race riots is one of the most ironic things in it. The night of the defence of the beach – about half the people were ethnic. So that’s a big message in there. You make someone belong to a culture, they not only embrace you but they’d be willing to fight for it.”

“Most surf movies, or even Hollywood movies; they always try and beautify the culture. It’s always blue skies and palm trees and idyllic. But we tried to show the reality, the underbelly of the culture: the fights, the tribalism, the localism, the clashes with the authorities – that’s the real story. I think that’s what makes the movie so powerful.” I’m sitting in the Pavilion Café at Maroubra Beach with Sunny Abberton, member of the infamous surfing brotherhood, the Bra Boys. Sunny has written, directed and produced the upcoming documentary about his group’s history and alongside him sits another Bra Boy, Macario De Souza who’s helped direct, edit and conceive the film’s sound design. The Bra Boys are known for many things. They’re renowned as being an extremely tight knit surf community; they once had a brawl with thirty off-duty police officers at the Coogee Randwick RSL club; they called for peace after the Cronulla riots, and, most famously, they’re known for the murder trial that Jai Abberton and pro surfer Koby Abberton (Sunny’s younger brothers) were part of in 2004. The film is an attempt to tell the Bra Boys story: the good, the bad and the ugly. Its members want to demystify the negative media portraits of the group, empower youth and open people’s minds whatever their background or ethnicity may be. Predictably though, there were many obstacles during the film’s creation. “I think we really went to extremes to make it as objective as possible,” Sunny explains. “Especially like the Coogee Randwick RSL fight with the police – we wanted to hear their side of the story. And local politicians on youth crime and all that.” However, Macario goes on the explain that talking to the police was “impossible”, likewise with politicians, and even getting clearance for certain songs was ruled out by bands’ management once the words “Bra Boys” were mentioned. Despite such challenges, the finished film proves to be an engaging, funny and emotional ride. A surprising one as well, as the group’s multiculturalism is something the filmmakers wanted to give particular emphasis. “I think the thing was to stamp out that whole media thing of beating us up as an anglo surfing tribe,” Macario says. “I think that point had to be made clear. We’re multicultural, we accept whoever it is. And hopefully that leaks out into the rest of Sydney, or Australia even, and they realise what kind of multicultural community there is down here and not what they’ve heard.”

TRASHARAMA ENTRIES OPEN! Oh Lordy! The Trasharama-A-Go-Go Touring Film Fest-Evil/competition is back like a bad sequel, and it’s celebrating its Monster 10th year of movie madness! Trasharama is Australia’s nasty touring bad taste film festival! With a banshee’s howl, they’re on the prowl, stalking Australia’s most sick and twisted short movies for the 2007 National tour. They’re the screenings where independent horror, bad taste and sci-fi are intellectual forms of entertainment, and Hollywood is as welcome as the Grim Reaper with a bowling ball at a sex orgy.


Originally the film was intended to showcase the history of the Bra Boys and to focus on a storyline about overcoming adversity. However, during filming, Jai Abberton was charged with the murder of a local thug Tony Hines, whilst brother Koby was charged with perverting the course of justice when he made false statements to police regarding the incident. “Six months into the film, after the shooting and our family was dragged into it, instead of showing you that story of overcoming adversity through another community member – we came up,” Sunny explains. “It was hard for us but we had to stay true to that storyline.” In over two years of court appearances, the trials of Jai and Koby were part of a traumatic chapter for the Abberton family, with Koby losing major sponsorship deals and both brothers facing weighty prison sentences. But I wanted to ask Sunny how he felt about the death of Tony Hines now, who, despite a reputation as a fearsome local standover man, had been a surfer that the Abbertons grew up with. “His influence mightn’t have been good but it just shows that whole story of that battle to overcome adversity,” Sunny answers. “Of course we’ve got compassion - that’s why we include him in the rest-in-peace section in the end. Because a lot of those people who were in that section were from our generation or the older generation – they didn’t make it. They got caught up on the wrong path or fell off the rails. But that’s how we’ve grown up. That’s what we’ve witnessed.” Amidst the hardships of growing up in a troubled community, characterised by its housing estates, one of the memorable quotes from the film is that “the surf is your saviour”, and Sunny is a definitely a believer in it. In the low income and mixed migrant community of Maroubra, he’s seen countless young locals steer away from drugs and crime by focusing on a surf lifestyle. On a broader scale, he believes that if people can use their energy and their frustrations in the right way, anything is possible. Ultimately, that’s what he hopes the film inspires in its audiences. “I hope it’s empowering,” he says. “It just tells more of the real life story of our culture here. And hopefully it can start to open people’s minds and empower a lot of young kids coming through. We wanted to focus on surf culture in this country, which has been largely unrepresented. It has been a real struggle for the surf movement and the surfers on all beaches – not just Australia. With the race riots, we took control and represented the local surf community. I think that’s important. Surfers, everyday surfers, on all the beaches across Australia have a very important role to play in Australian beach culture.”

Old genres can be explored, and new ones invented! Films can be twenty years old or twenty minutes old! Just think “trash film” – early Peter Jackson, John Waters, George Romero or Herschell Gordon Lewis – and you’re halfway there! Filmmakers can win wicked prizes, and the opportunity to have your work exposed nationally. The deadline for all cinematic disasterpieces is August 14th, 2007. For an application form, tour details and more info, check out the groovy website: Stay sick Freakers!


Congratulations to Fleur Nelson, whose short film The Barn has been selected by the Mendocino Film Festival in California, as part of their program for the 2007 event taking place in May

Blood on Sydney’s Beaches


375 Elizabeth St, North Hobart 6234 6318

The Barn was written by Kathryn Lomer, directed by Fleur, produced by Andy Wilson of Zoot Film Tasmania, with financial support coming from Screen Tasmania.

Pan’s Labyrinth Now Showing

For more information about the festival go to:

SPAIN 2006 MA15+ 114 minutes

AFC GRANTS FOR SUNNYSIDE OF THE DOCS AVAILABLE The AFC are offering Market Travel Grants for documentary producers to attend the Sunny Side of the Doc International Documentary Market, which runs from 26th – 29th June 2007 in La Rochelle. Guidelines and Application Form for Type B (Producers with market experience) and Type C (Producers developing market experience) can be found on the AFC website: fund_42.aspx fund_69.aspx This is a competitive travel grant fund, and it is estimated that three-four Travel Grants to attend Sunny Side of the Doc will be granted. Deadline for applications – 5.00 pm, Tuesday May 1st 2007.

Unlocked from the imagination of one of the world’s most original directors, “Pan’s Labyrinth” is a gothic fairytale for adults. Set against the bloody backdrop of the Spanish civil war, ten-year-old Ofelia is sent to an isolated mansion with her heavily pregnant mother. Lonely and intimidated by her new step-father, Ofelia discovers an overgrown labyrinth where she meets Pan, an ancient satyr. Fascinated by fairy tales, Ofelia is captivated by Pan and his stories of the fairy world. However, when her mother falls ill Ofelia makes a pact with Pan in order to save her. In exchange, Ofelia must undertake three challenges to prove her worth. These challenges take her on a journey to another world where she must use her wit and guile to overcome the creatures that lurk beneath. Razzle Dazzle Now Showing

Find out more about Sunny Side of the Doc at

AUS 2006 PG 91 minutes

Producers must make contact with the Information Officer, Marketing before submitting the application; Jain Moralee, 02 9321 6435 or

“Razzle Dazzle: A Journey into Dance” lifts the curtain on the eager members of Mr. Jonathon’s Dance Academy (The Jazzketeers) as they prepare for Australia’s most prestigious dance competition. Amidst parental politics, dance school rivalry, creative controversy and the hysterics of pushy stage mothers Mr. Jonathan stands true to his vision – not only does he want to entertain, he wants to educate. With his unique routines, like the Kyoto Protocol Shuffle, Mr. Jonathan aspires to reflect the oppression and injustices in the world. This hilarious mockumentary stars Kerry Armstrong, Paul Mercurio, Tara Morice and many more.

AFC’S TELEVISION WRITER FELLOWSHIPS ANNOUNCED The Australian Film Commission (AFC) has announced the eleven projects chosen to receive almost $400,000 in funding through the Television Writer Fellowships. The AFC’s Television Writer Fellowships initiative is aimed at developing innovative adult and children’s television drama projects. The successful teams will receive between $30,000 and $50,000 to develop exciting new projects that take risks in both style and content, and have the potential for multi-platform and/or interactive delivery. More information can be found at http://www. release_544.aspx

SCREEN TASMANIA INTRODUCES NEW FUNDING ROUNDS FOR 2007 In response to industry needs, and in an effort to build and grow momentum in the local screen sector, Screen Tasmania is introducing a new system for funding rounds. The new system will be trialed for the next two funding rounds in order to determine efficiency and workflows. Funding rounds are to be held approximately every eight weeks, with the Screen Tasmania advisory board meeting on the last Tuesday of every second month. It is expected that all funding applications will be assessed within the funding rounds. Interim guidelines will be in place for the next two funding rounds. A major review of the funding guidelines, funding policies, levels of investment and eligibility criteria, and the development of a range of special funding initiatives will take place later in the year. In order to ensure clear and transparent decisionmaking processes, and so that practitioners are given detailed feedback on their applications, external script readers’ reports will be provided to applicants (if requested) for both production and development applications. The new application forms are now available for downloading on the website. Application forms must be signed and all materials provided in hard copy by close of business on the published closing dates. Funding Round: 01/07 Closing Date: Tuesday 24th April 07 Board Meeting: Tuesday 26th June 07 Applications will be accepted for: Project Development, Production Investment. Funding Round: 02/07 Closing Date: Tuesday 17th July 07 Board Meeting: Tuesday 28th August 07 Applications will be accepted for: Project Development, Production Investment, Industry and Cultural Development. If applications are not received by COB on the published closing date they will be deferred to the next funding round.

The Queen Now Showing UK 2006 minutes



When news of the death of Princess Diana, undoubtedly the most famous woman in the world, breaks upon a shocked and disbelieving British public, Her Majesty Queen Elizabeth II (Helen Mirren) retreats behind the walls of Balmoral Castle with her family, unable to comprehend the public response to the tragedy. For Tony Blair, the popular and newly-elected Prime Minister, the people’s need for reassurance and support from their leaders is palpable. As the unprecedented outpouring of emotion grows ever stronger, Blair must find a way to reconnect the beloved Queen with the British public. “The Queen” draws on scores of interviews with insiders and expert observers for its intimate, revealing and sometimes humorous portrait of a family in crisis and of a new Prime Minister operating at the height of his powers at a time of extraordinary private grief and public sorrow. Scoop Now Showing UK 2006 minutes



The “Tarot Card Killer” is at large in London, and only one man knows his identity: one Joe Strombel, journalist. Sondra (Scarlett Johansson)is an American journalism student visiting friends in London. During a stage performance by the magician Sid “Splendini” Waterman (Woody Allen), Sondra is confronted with the ghost of Joe the journalist. From beyond, he gives her the scoop of a lifetime and Sondra immediately starts chasing the big story, enlisting Sid Splendini as a very reluctant assistant. That chase leads right to handsome British aristocrat Peter Lyman (Hugh Jackman). Soon, Sondra finds that the romance of her life may well be the dangerous scoop she’s looking for.





Hobart Hip-Hop’s Go-To-Guy

Launceston Hip-Hop On The Rise


BY TOM WILSON the songs in peoples’ heads in preparation for the album release (probably two months away). We might have a new song to display, though …

So what’s on the cards right now for the producer who is namedropped by Tassie rappers in almost every SAUCE? I knew he was about to join a bucketload of Oz hip-hop acts onstage for the Obese Block Party, but I didn’t know anything else. So I got the man known as Mdusu – sorry, mdusu – to wise me up on what he’s up to in the Hobart scene. Would you like to get wise too? I thought you might – read on …

How did you come up with the handle “Mdusu”? Oh shit … it’s an old childhood joke that stuck. Back in my teens, me and my mates smoked a lot of weed, and went off on strange tangents. During one of those tangents, we all made up random nicknames for each other, and mine was “mdusu” (notice the lower case spelling!). When I started making beats around ‘94-‘95, I just kept using it. What other ones did you consider? I didn’t. Lately though, “mdusu” has been getting shortened to “duse”. I guess it’s easier to say when you’re hammered.

What have you been up to recently? Well … I’ve been busy as a mo-fo lately. I work six days a week, and between that, I’ve been trying to mix Heads of State’s upcoming LP (currently titled Making the Best of What We’ve Got), produce Dunn-D’s upcoming LP (Map of Tassie), produce Jonny Hack’s upcoming LP (My Comfort Homes; the one he talked about in the last issue of SAUCE), work on the second mdusu&dameza LP (tentatively titled Can We Get a Soul Clap?), rehearse with Unleash the Nugget (album on the way this year), and spend some quality time with my fiancée. Oh, and drinking lots of vodka and chain-smoking cigarettes.

What experience have you had performing outside of Hobart? I’ve been performing in various musical endeavours since I was ten, so there’s been a lot of travel in that time. I’ve been lucky enough to travel around Australia, and throughout the Pacific Rim with a whole bunch of crazy shit; from marching bands, concert brass bands and musical theatre orchestras, to rock, jazz and hip-hop outfits. How did you start working with Dameza? We met through mutual friends in 2003, and bonded through our mutual love of hip hop, metal and weed. Not long after that, he had a knee reconstruction. I’d had the same surgery about ten years earlier, so I knew how much it sucked. We borrowed a drum machine from Ruffcut, and set up his turntables on a coffee table in front of his couch, and jammed for a few weeks. I guess we never stopped.

How did you get involved with the Block Party tour? Basically, every time an Obese artist has come to Tasmania in the last five years, someone from our crew (S.L.U.T Productions) has performed on the bill, so we’ve slowly built up some relationships with those guys, and I guess they think we’re not too shit at what we do. Also, in the Aussie hip-hop scene, most acts are really good with giving local guys some showtime.

What’s his most annoying habit? Dropping his guts in enclosed spaces (the lab, the tour van, Dunn-D’s face … actually, the last one is usually pretty amusing).

Who are you most looking forward to meeting on the bill? Well, the only person on the bill that I haven’t met yet is Vents, Obese’s latest signing. I’m looking forward to checking his stuff out live. I’m also looking to having another drunken cipher with Patto – dude’s got mad freestyle skills …

What’s yours? Being a know-it-all cunt who always takes the good chair in front of the computer, and interrupting anything to go make a(nother) beat. mdusu takes the stage of the Obese Block Party at the Hobart Uni Bar on the 21st of this month.

What material will you be performing at the gig? Just the usual Heads of State stuff – trying to implant


What was the first rap album you ever bought? The first rap album I ever bought was Wu-Tang Clan – 36 Chambers. “Wu-Tang Clan Ain’t Nuthin’ to …” Sorry. Where do you usually perform? Anywhere I can… What releases do you have out at the moment? At the moment, none. I am, however, working on a release that should hopefully be out later this year. Perfectionism is a curse. How would you describe the hip-hop scene in Launceston at the moment? Have you noticed any changes in recent times? The scene in Launceston at the moment is starting to take a turn for the better, with people starting to take interest. With artists like Mynse and a few others, Launceston is starting to build a stable platform. I would like to see some open mic nights and a few more hip-hop gigs happening though. What kind of support have you received from the scene so far? Heaps … People in Launnie are really starting to fiend for hip-hop … What do you do when you’re not MCing? Who are you in the real world? Just a regular person with a regular drinking problem. What kind of subject matter do you explore in your lyrics? I like to delve into social matters, personal experiences, and the odd drinking tracks. When did you first start writing? What prompted it? I started writing after I saw Pegz live for the first time. I looked up and said, “I want to do that” … and with the help of Assentrix Crew pointing me in the right direction, it’s all starting to come together.

Nas announced that “hip-hop is dead”. What do you think he meant by that? I think he means that hip hop has diminished from what it used to be … instead of rapping about something meaningful, artists choose to rap about how much money they have, how many girls they get, or how iced out their grille is. Personally I think it’s pathetic.

y l l ca s u o IVE

m sL d a n a F al B Loc

Attention Hobart! It is official: you’re not the only part of the state with a thriving hip-hop scene. I spoke to rising Launceston star Projekt about the steady rise of northern rap …



20 y a id

-10 7 l i Apr


hu D n e l G r Corne ther St’s, & Hea Launceston,

(Old Coats Paton Building)


This Future.. .Chaos Local supp orting

Purchase tickets from the councils involved or at Mojo Music. Tickets

$8 prepaid, $10 at the door. Contact your local council for more details.

“If you’re late ƒor work, I’d build you a time machine. So that you can go back to bed and finish off your dream.” 5HFRUGDQGVHQG\RXURZQORYHVRQJDW ZZZJDOODQWU\LVEDFNFRP

bands are

-Mother Trumpet -Honest Bob -Chaotic Dilemma -Hot Tuesday -Your Damn Neighbours -Prejudice Art Scene -Anvil -Kids in Sandbox

An all ages drug and alcohol free event. Organisers reserve the right to refuse entry.

This event is supported through funding from the Office of Children & Youth Affairs, Department of Premier and Cabinet

Gallantry is back. PAGE 19


Today I went to the little box in the mall to tell the Man I’d arrived. Here I am. I’m here to busk. Just a minute later … there wasn’t any other way to put it; I was mortified. I was told that a new law – introduced that morning – forbid me from performing on the spot I’ve been playing on for over nine years. Now, I just want to set that straight. I’ve busked down at Salamanca literally three or four times at the market. I’ve dabbled in Wellington Court on occasion, but that‘s the realm of Aussie Idol star Sam Stansall, and let’s face it, who can compete with that? Launceston Mall was a great place to busk the couple of times I was there, and always paid for petrol home. But I cut my teeth, in the days of a store long before In2 Music that no one I’ve asked can remember the name of; in the days of lovely Jane the Flower Lady and Anthony the Dancing Man; under the sails that were not there before I was. It was that spot and a man named Danny that inspired me to become a musician, and I’ve made that spot in the mall, outside Rockman’s, one of the only storefronts that thankfully hasn’t passed away like so many others have, in the space I’ve observed for close to ten years, my own. At times it was the exclusive venue Hobart could see Ian Murtagh play. I wanted for personal pride, personal achievement; to be able to say that I performed my stuff on that spot for a decade. You might say, this morning, that I was a little miffed. Through the years there was respect, and there was peace. New laws were introduced as new stores took over old stores, and brought with them high horses to shout from (they are called the Rate Payers) that restricted buskers to an hour maximum in the mall, and we now had to tell the Man in the little box in the middle that we were going to do it, even though they could clearly see we were. Things have been strained with the poor workers of that little box and their busker combatants over time, but compromise was usually always reached. Today was like someone spit in my eye. Like a mean spirited Scrooge stole Christmas. We can still busk, though in spots that, for now, are fearsome to us. Buskers find comfort in the wall behind them. I’ve always thought my blanky was my guitar, but no. It was the wall. I’m grateful I can still busk, but I feel cheated. I’ve been playing my own music exclusively (well, almost; local bands I like get a look in, as do the blessed Crowdies) for the last couple of years, and wasn’t I told to do everything I can to achieve my dreams? On that spot my iron was sharpened, my wits were quickened, my dues were paid. I won’t go quietly into the night. Southern readers can read about what’s going on with this issue in the Mercury in the next couple of days. Oh, and apologies in advance to the café’s I’ll now be flooding with my tunes, though I know they won’t mind. And to Thompson, my new and ever present faithful stool. Perhaps it was meant to be. Who knows, it could be a very positive thing. At the moment I feel that by removing the ability to perform in front of Rockman’s, the prize position all buskers desire, an important part of what has shaped Hobart’s culture has been savagely and irreparably damaged. I feel robbed of my century, and there was nothing nervous about my nineties. I will not go quietly into the night. Though the circumstance unfortunate, it does give me a good opportunity to bring up what this bit in SAUCE will partly be about. There is a stage that, while I am a part of running, will never close its doors. Every second Tuesday we run an evening hosted at the Telegraph Hotel on Brooke Street down at the Wharf, showcasing original talent that’s popularly known as ASA. The Australian Songwriters Association, not for profit, makes it its mission to give artists wishing to perform and get their music heard the opportunity to realise their ambitions. There are no strings attached – we’re here to help. It’s easy to get a spot to play; just call 0439 572 056. I’ve been playing there for yonks (the amount of years that nobody can remember), and though the mall was my proving ground, ASA was my ceiling buster. Find me in a better mood next time! Nostravia!


SPOTLIGHT SWT BLYTHE AWARD FOR ARCHITECTURE STUDENTS The SWT Blythe Award will be conferred to a piece of work produced in the last academic year (2006) from the University of Tasmania’s School of Architecture. Eligibility: The Award is open to all student members of the RAIA/SONA and first year Graduate members who have been enrolled at any level of the architecture/Environmental Design course at the University of Tasmania in 2006. Award value: RAIA TAS and BlueScope Steel will assist the award recipient with arrangement to spend a period of time (minimum two weeks) in an architectural office or allied organisation of the student’s choice in Melbourne. The award covers the costs of a return airfare to Melbourne, up to a maximum value of $300, and is valid for twelve months. Submission requirements: Submission material should be in its original form, as submitted to the School for assessment, and be fully explanatory. Models are not to be submitted, but may be requested if required during adjudication.

QUEST FOR AN IMAGE Recent paintings by Launceston arts community “elder statesperson” and long term established local artist Wal Sutherland will be on show at the Arts Alive Art-Space from the 24th April to the 5th May. The exhibition consists of a series of dynamic medium to large acrylic works, with idiosyncratic, strong abstracted forms which reference space, reality and the artist’s “quest for an image”. “Every artist is on an artistic journey in quest of a personal image that defines him and one that he is identified with,” said Wal, “and I am excited to be showing these latest works at the Arts Alive Art-Space “ Art-Space Coordinator Ralf Haertel explained, “While the Arts Alive Art-Space is primarily for emerging and early career artists, we have decided to dedicate one exhibition in our annual program to one of our long standing senior artists, honouring the long history and diversity of contemporary arts practice in the region.” Wal Sutherland completed his studies as an art teacher in the 1960s, spending twelve years as a roving relief teacher throughout northern Tasmania, before concentrating on his music and arts career (amongst other things). He was one of the founding

members of the Images Group, established in 1962, also including George Richardson, Robert Ikin, Tim Waller, and Blair Gamble. This group of artists have exhibited together throughout Tasmania for over forty years, and the concept survives in the annual Images of Tasmania Exhibition at Salamanca Arts Centre. Wal has also held exhibitions widely in solo and two man exhibitions, both in Tasmania and Sydney. This is Wal’s fourth one man show. The exhibition will feature an informal “art chat and music session” on Saturday 28th April from 11am to 2pm, where the artist will be in attendance. What: Quest for an Image – Exhibition of Paintings by Wal Sutherland. When: 24th April to 5th May 2007 – open Tues to Fri 10am to 4pm, Sat 10am to 2pm. Where: Arts Alive Art-Space 178a Charles Street, Launceston For more details contact Arts Alive on 6331 2777


Submissions shall include the original project brief and the completed entry form. Students may submit CDs of their work, but the information contained therein must comply fully with the criteria set above (e.g. boards submitted on CD must be fully self-contained and coherent). Entries close Friday, April 27th at 4.00pm and are to be submitted on competition form. Competition form available at the School of Architecture office. See Helen for further information.

WELD ECHO 2007 Between the 2nd and 13th of May, the Long Gallery in Salamanca will host Weld Echo 2007, a collaborative exhibition of art works inspired by the Weld Valley in Southern Tasmania. Organisers from The Black Sassy Collective hope to raise awareness of the values of this beautiful wild valley, as well as promoting emerging and prominent environmental artists. Some of the contributing artists include sculptor Marcus Tatton, who has been creating visions out of wood for eighteen years. His work includes drums, large sculptures, woodstacks, furniture and playgrounds, amongst many other forms. Tasmanian photographers include Matt Newton, who has been documenting the campaign to protect the Weld Valley, and has contributed some of his moving images; Rob Blakers, who is one of Tasmania’s best known wilderness photographers, and Senator Bob Brown. Michael Schlitz, the renowned print maker, will also be exhibited.

Got a great Pic? Don’t keep it to yourself! Send it to us for a chance to WIN The Red Jumpsuit Apparatus - Don’t You Fake It CD! –


These artists, and many others, are donating some or all of the funds raised from sales to the campaign to protect the lower Weld Valley in Southern Tasmania. The lower Weld Valley is under dire threat from roading and industrial logging. This is an area that was largely untouched until only five years ago. Since then, activists have been attempting to highlight the plight of the valley and raise national and international attention for the cause. The lower Weld Valley has many values worth protecting, including threatened species habitat, carbon storage, and protection of water catchments, karst systems, unique ecosystems, Indigenous and European heritage, and the border of the World Heritage Area. If one looks at a map of the south west World Heritage Area border, the lower Weld Valley can be seen like a bite taken out of an apple. Its protection has been recommended by many local and international conservation bodies, but it was seemingly left out of the World Heritage Area because of its large stands of tall eucalypts that the logging industry wish to extract for their own economic gain. For more information about the Weld Valley campaign please visit www.huon. org. Please come along to Weld Echo 2007, enjoy the exhibition, and support the cause. There will be a grand opening on Friday the 4th of May from 6.30pm. There will be wine, nibbles, music and special guest speaker Senator Bob Brown. The Black Sassy Collective is the creative arm of the Huon Valley Environment Centre. Members include a range of local artists and campaigners. Please visit the website at For more details on the exhibition please phone the Huon Valley Environment Centre on 6264 1286.

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There was not a red-nose, rainbow-coloured ‘fro, or floppy shoe in sight during the Hobart leg of Class Clowns, a national secondary school competition supported by the Melbourne Comedy Festival. The competition hosts performances of students who have prepared up to five minutes of stand up comedy, musical parodies, a group sketch or something similar, and hosts shows throughout Australia in each state and territory. There were some standout acts in the crowd of boisterous teens, though all of the “Clowns” put in an impressive effort, and elicited wild laughs and applause from the audience alike. Among the mix was Troy, an evil genius whose newest sidekick was “Barbara”, who turned out to surprisingly also go by the title of “Mum”. It was hard not to laugh at this reminder that all of us, even plotting madmen intent on taking over the world, still answer to our mothers. The host of the evening was an entertaining comedian, capable of milking any situation for maximum laughs, and had also provided the students with a workshop to get their performances ready for the stage. He was refreshingly hilarious in his moments of improvisation – a rare talent in a profession where typically each joke and routine is carefully practiced and prepared. One such moment of impromptu comedy was when one of the audience member’s discobuzzing ring-tone went off during his introduction, and he used the opportunity to warn the audience to turn their mobiles off so they didn’t disturb the acts. He did this by first seizing the bag and rifling through its random variety of contents, like an inquisitive and unimpressed chimpanzee, casting aside bizarre objects such as a bouncy stress-ball, a bruised apple and a metal pencil case. I would have been skeptical as to this humorous skit being set-up as part of the show, if it had not actually been my bag that contained the offending phone. I will not be forgetting to turn it off in live performances anytime soon (or at least carry a smaller bag with less embarrassing contents).




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

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

104 George St, Launceston 6334 9355 or

The outstanding performance of the night was also the last; starring Tim Hurd and Ruby Grant as troubled teens, in the skit “Finding Emo”. Their two tiny figures approached the stage shielded by a giant black umbrella, tempting the crowd to wonder at what lay beneath the material on its clawed metal frame. The image revealed of the two on stage was hilarious in itself; both were a vision of angst and depression, their faces painted white and features highlighted in thick black eyeliner.

BRING THE HAHA TO THE UNI BAR Tasmania’s best line up of local talent is returning for another year, and the first event for 2007. Coordinator and host for of the evening, Tim Logan has once again managed to put together a stellar line-up of stand-up comedians, some fresh off the plane from the Melbourne International Comedy Festival. Performing this event: Kevin Kopfstein (U.K), Mick Lowenstein (Hobart Comedy Festival), Matt Burton (Raw Comedy’06 National Finalist), Andrew Dawson (Hobart Comedy Festival), Wangle (Musical Supergroup) Fin Kruckemeyer (Raw Comedy Final, Adelaide Fringe Festival), Tim Logan (Falls Festival, Southern Roots Festival), Plus more to be announced The Uni Bar will be transformed into a candle lit cabaret venue for the evening with Tasmanian wines and gourmet burgers available.

ARIES There are opposing forces fighting to bring out the best or worst in you. You’d better drink heavily or one of them might win.

TAURUS Your life is like a game of chess this fortnight. So beware of the killer prawn.


GEMINI Your life is like the difference between a duck this week. One of your legs is both the same.


October 16th, 2007 – mark that date down on your calendar. You’ll want to count down the days, just as Rockstar did on their website before unveiling this game’s trailer. October 16th will mark the day all those PS3 early adopters will finally be able to justify their investment.

CANCER You may discover a large ugly lump on your neck this fortnight. Don’t worry. It’s only your head.

LEO A trip across a body of water may leave you spell bound and ready to take on the universe with intergalactic mega-power. Or you may feel like a sitting duck. Wear galoshes.

VIRGO A loving and sociable fortnight lies ahead of you. Use protection.

LIBRA Life is like a box of popcorn. You kind of know what you’re going to get but you never know if it’s going to break your tooth.


It will be a day for the wowsers, who’ll once more be able to blame all of society’s ills on a videogame. It will be a day when mature gamers get to revel in the glory of a brand new playground. And for Australians, it will be a day we just have to tick off our calendar as it marks the North American release date of Grand Theft Auto IV.

You will be a shoulder to cry on this week, Scorpio. Someone you love may need your listening ear and your amazing healing powers. Try not to nod off this time.

SAGITTARIUS Emphasis is on travel, communicating, and problem solving this f/n. You could start with working out how to use deodorant.

CAPRICORN Whatever you do, be obnoxiously sweet and delightfully wicked. Be as naughty as you can this fortnight and your dreams will come true.

Tim and Ruby’s clothes also lived up to the definition of “emo” with tight dark outfits layered on their hunched figures and big black boots. Tim’s definition of “emo” being a style used by people who expressed their feelings through “morbid-sad-dark-paltry-clothing-and-music,” was delivered impressively in one breath. This was much to the delight of the audience, who had surely encountered groups of these individuals congregating in their like-minded despair. The whole act was well-timed and flawlessly delivered by the young comedians. “Finding Emo” garnered both the delighted praise of viewers and judges alike, and the pair won first prize, which includes being sent to Melbourne to perform their original material against the best “Class Clowns” Australia has to offer. The final showdown to see who is the ultimate “Clown” is April 20th, and will be held at the Melbourne Town Hall, with the winner taking home $1500. This year, my money will definitely be on Tasmanian talent.



Some of the most interesting comedic acts involved the performers showcasing their musical abilities. Two girls competed to be the next “Britney Spears” (pre-breakdown and shaved head fiasco), giving the infamous pop star a run for her money in their bright pink and red vinyl jump-suits. They may have been better groomed than the singer herself, but once they opened their mouths, all hopes of the act being anything other than glorified karaoke vanished. Sporting Bogan accents as thick as the wigs on their heads, the girls still proved much more entertaining than their idol, and twice as funny. The other notable musical act of the night was from last year’s Tasmanian winner, David Bakker, who sang a meaningful ballad that detailed the depths of his devotion for a lover. Hilarity ensued as David crooned about how he didn’t understand why she wasn’t impressed by the wedding proposal he’d written in weed killer on her lawn. He also was hurt by her lack of appreciation of him writing his name and number for her in his own blood. (Obviously a pen wasn’t handy at the time – why couldn’t she see that?) By the time he had gotten an infected tattoo with her name and run screaming naked through the mall, I was cured of any romantic ideas that the first lyrical notes of the song had encouraged. Deservedly, this creative effort received a runner up prize for the competition.


AQUARIUS Rockstar released the trailer for GTAIV a couple of weeks ago and the buzz is already feverish. And for good reason – all the footage depicted is in-game. Every sumptuous glint of steel, concrete, and glass is fully rendered in hi-def glory. The cartoonish scale of current-gen systems has been ditched for realism. Set in the New York-inspired Liberty City, buildings are massive, and people and vehicles are small. Other details that have recently come to light include the following facts:

This fortnight you are like a kookaburra. Good for a laugh but rather annoying during mating season.

PISCES Your financial situation looks good. In about 30 years.

The protagonist’s name is Niko Bellic, who may be Croatian or Serbian. It will most likely include a multiplayer element. No planes. More choice in how to fulfill missions. More freedom to advance the story in a number of different ways.

Doors open at 7.30pm with the show commencing at 8.00pm.

GTAIV is set to not just be a game, but an event. In just six short months it will be here. In the meantime, go check out the trailer and try not to wee yourself …

Be early to ensure a good table.


Pizza & Beer



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

254 Mount St Upper Burnie 7320


We bring back the Ha Ha Comedy feat. Tim Logan,Mike Kerr, Wangle and Melbourne’s Andrew Dawson 7.30PM $5 COVER CHARGE.


Viktor Zappner Swingtet DAMON 20 How do you make your dollars? I try to design things – I work in a deli to support my habit. What’s on your pod right now? Klaxons, Clap Your Hands Say Yeah and Of Montreal Tell us about the coolest item of clothing you bought recently? Tess fashioned me a headband out of her mum’s Country Road top, you can’t even compare. Oh, I got a new Schwipe tee. It’s hip! Dunlop volleys or chuck all-stars? Why? Volleys! Black & white – why do you need 1000 colours?

JESSIE 20 How do you make your dollars? Waitress What’s on your pod right now? The Kooks Tell us about the coolest item of clothing you bought recently? Awesome dress from Sportsgirl! Short and sparkly. Dunlop volleys or chuck all-stars? Why? Hmm … neither?

ROSS & HOLLY 23 & 21 How do you make your dollars? I’m an apprentice carpenter and Holly lives off me!

Featuring from Launceston Denise Sam on vocals and percussion. 8.00PM $5 COVER CHARGE

What’s on your pod right now? Dropkick Murphys Tell us about the coolest item of clothing you bought recently? Ross: My new Trimapee jeans from Small Rhino. Holly: A new black silk dress with a cream lace trim from Artikel in Wellington. Dunlop volleys or chuck all-stars? Why? Ross – Volleys, because they cheap and comfortable. Holly – I prefer chucks.


Looney Tunes 7.00PM $5 COVER CHARGE


Viktor Zappner Swingtet featuring from Hobart Kelly Ottaway on vibraphone 8.00PM $5 COVER CHARGE


Melbourne's Floyd Thursby with guest Adam Cousens from Hobart 7.30PM $5 COVER CHARGE


Viktor Zappner Swingtet JONATHAN 22 How do you make your dollars? My parents pay for me to be a student What’s on your pod right now? The Libertines, Hillsong United Tell us about the coolest item of clothing you bought recently? That would have to be anything from American Apparel. Dunlop volleys or chuck all-stars? Why? Vans or Bally!

LAURA 24 How do you make your dollars? I swim teach, work for Skydive Tasmania, and am a freelance Landscape Architect. What’s on your pod right now? Nothing … ‘cause it’s broken. But I’m listening to Beck, Astronomy Class and Regina Spektor. Tell us about the coolest item of clothing you bought recently? I bought these really cool buttons in Sydney and made them into this necklace.

FRIEDA 18 How do you make your dollars? I sell spices What’s on your pod right now? I don’t have one … but I’m listening to The Pixies, Ween, PJ Harvey. Tell us about the coolest item of clothing you bought recently? Probably my second-hand beanie from the Lindisfarne op-shop. It was only a dollar. Dunlop volleys or chuck all-stars? Why? Um, Dunlops.

Special guest: Greg Harrison, from Launceston, on baritone and tenor sax. 8.00PM $5 COVER CHARGE


Burnie Youth Choir Fundraiser "Sydney Here We Come" featuring Katy Pakinga & Vanessa Garratt. 6.30PM $10 ($5 CONCESSION)


Blue Gum Jazz Band 7.30PM $5 COVER CHARGE


Viktor Zappner Swingtet Special guests: Wendy Moles, From Hobart, on vocals; Kevin Findlay, from Burnie, on flute and trombone. 8.00PM $5 COVER CHARGE

To be continued ... PAGE 22

Sauce - Issue 40, 18-4-07  

Tasmanian music and pop-culture, featuring 28 Days, My friend The Chocolate Cake, Glasshouse, The Specimens, My Disco, The Zac Lister Band,...