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On the street every second Wednesday

Issue #41 02/05/07 - 15/05/07 Made in Tasmania























Drum Kits Aren’t For Handstands BY DAVE WILLIAMS

Win one of 3 copies of The Hiptones’ new LP “Right Now”. To win, email us the top three Aussie bands that you’d like to see tour Tassie. Please include your name, age, address and phone number. Send entries to with “Hiptones Comp” in the subject line.

I accidentally fell headfirst straight into the drum kit

Work is difficult. Mistakes can be made. For me, it was having to re-do my interview with Jake of rock troupe Something With Numbers. For him … well, let’s just say that gigs don’t always go as planned, and he told me the story of how he gave all new meaning to the term “putting your foot in it.” Read on, read on … You played in Geelong last night, and you said before that you had a packed house, whereas previously you’d only had about five people show up. What do you think has made so many more people turn up this time, compared with last time? It’s probably got a lot to do with the songs on the new record, and the way that Apple Of The Eye was accepted, through the media, and through people. Since that song came out, we’ve just had a lot of attention from everybody; it just keeps getting better. So it has a lot to do with that. We were talking about distractions earlier as well, and you were saying that, overall, the main distraction for the band was food. I was just wondering – when you go on tour, do you take turns as to where to go for dinner or lunch? How does the distraction come about?

When we’re in certain places, we have certain places that we always go to for some reason. Like, when we’re in Melbourne, we go to this place on Brunswick Street. It’s just a massive place.

If you had one thing that was going to distract you away from something really important, what would be the perfect distraction for you? Well, my perfect distraction is my girlfriend, Lucy, without a doubt. She is, actually the perfect distraction of the record, and she can distract me from anything just about, and I really don’t mind that at all!

couple of times when you’ve actually come to grief with your own dancing style … [Laughs] Yeah! The first time was at this community hall a few years back, and I just sort of … I don’t know if you’d call it “dancing”, but I was just doing my thing … and the stage was a little bit flimsy, and one of my legs went straight through the stage. [Laughs] It was like I was kneeling down. And basically, I had to get stitches, and I was out for a few weeks after that. The second time, I was in Perth, and I decided, “Oh, it’s a really good idea to do a handstand on the drum kit – yeah, that’ll be great”.

Cool. And you are going to be playing down in Tassie again quite soon. I understand that the last trip was a bit of an eye-opener for you down here. Yeah, it was really cool. We just didn’t really know what to expect. When we got there … Some people say, “Aw, Tasmania!” Other people say, “Oh, Tasmania’s great!” So we had an open mind.

I hadn’t had much training in handstands prior to that, so I accidentally fell headfirst straight into the drum kit, and got a massive black eye … my head landed on top of the snare, and as Dave was going to hit on the snare, he didn’t forgive me, and hit me straight in the head with a stick. So, yeah … it’s pretty embarrassing! [Laughs]

And when we got there, it was a really beautiful place, and all the people were really nice. And when we played, I think they went more crazy than anyone else in Australia. So, ever since that first time, we’ve been busting to get over there. So, two weeks time, and we’re pretty excited about it. We were talking also about your crazy dance moves, mate. If you could just tell me that story about a

Something With Numbers play Hobart’s Republic Bar on the 10th of May, Siroccos in Burnie on the 11th, and Launceston’s James Hotel on the 12th.

Win one of 5 copies of the Arctic Monkeys’ new LP “Favourite Worst Nightmare”. To win, email us the top three Aussie bands that you’d like to see tour Tassie. Please include your name, age, address and phone number. Send entries to with “Arctic Monkeys Comp” in the subject line.

To listen to the full interview, go to www.sauce.

Win one of 3 copies of the Winnie Coopers’ new single “Eating Disorder”.


To win, email us the top three Aussie bands that you’d like to see tour Tassie. Please include your name, age, address and phone number.

Hello, Ladies …

Send entries to with “Winnie Coopers comp” in the subject line.


Their band name is Spanish for “wet female”, and their audience is mainly made up of hot surfer chicks. Yep, there’s definitely something appealing about being a member of surfing rockers Mojada. I spoke to singer/guitarist Marco about how lucky he is. I’ve read that most of your fans are young girls. I was wondering why you think that young girls are attracted to Mojada? I don’t know, man. I guess we’re kind of lucky, in a way! Because, at the end of the day, if you’re running a pub or a bar or a nightclub, you want lots of cute girls to come in, because I guess everyone follows the cute girls around. I think, you know, we’ve always tried to put forward a real high-energy show, and we’re playing a funky style of music. I don’t know – you go to a venue and you play a gig, the first people on the dancefloor are always going to be girls,

because they’re the ones that sort of care less about what people think. Guys, especially surfer guys, tend to stand up the back, and go, “Yeah, I’d get in there and have a go, but I’ll look like a kook”. I don’t know man; I think, at the end of the day, who knows? Like I said, we’re pretty lucky that we do get that kind of following. We all laugh about it, and we’re not complaining, definitely! You just mentioned the connection between your music and surfing; there’s a real connection, because your music has been featured in a few skating and surf films. How did that connection come about? Well, when we started this band, we’d always been surfers, so ultimately, my goal when I started out was to travel around and play music and surf. And, as a surfer, you’re always looking for ways to involve surfing into your life, you know? I’m not a pro surfer, but I wanted to be when I was a grummy, so you look at other ways of getting sponsors involved. We work with Billabong and Von Zipper now. As an

independent, original band in Australia, you’ve always got to find ways to get your music out there, because no one’s going to do it for you. I mean, gone are the days when the labels would pick a band up from the local pub, and go, “Mate, we’re going to work, spend a couple of years building a following …” They just don’t do it, man. Pretty much, now, the big record companies; anyone who has a lot of money wants an instant success … So, taking nothing away from the people that do those shows – they’re all talented singers and performers – ultimately, we just sort of thought, “Well, maybe there’s a connection.” Maybe the quickest and easiest way to connect with peope is to hit the coast, and playing towns where there’s surfers and surfing. And it worked good for us, because we got good waves! Mojada play Hobart’s Republic Bar on May 3rd.

Win one of 3 copies of The Black Seeds’ new LP “Into The Dojo”. To win, email us the top three Aussie bands that you’d like to see tour Tassie. Please include your name, age, address and phone number. Send entries to with “Black Seeds comp” in the subject line.

To listen to the entire interview, go to www.sauce.

Win one of 2 copies of Mojada’s new EP. To win, email us the top three Aussie bands that you’d like to see tour Tassie. Please include your name, age, address and phone number. Send entries to with “Black Seeds comp” in the subject line.

Competitions close Friday the 20th of May.

PREVIOUS WINNERS Nino Brown Comp Cameron Appelby & Anna Medling John Butler Comp Belinda Yaxley, Trina Childs & Daniel Brown Silverchair Comp Sarah Masterman PAGE 3

SAUCE NEWS 1 ELEPHANT MOJO NAME CHANGE It’s a year of new horizons for ex-Elephant Mojo-ers, gaining two new managers, a producer and a new name – “Chasing Gravity”. The band has appointed a new management team, with Dallas Ashton looking after Australian affairs and Golden Ear Management in Florida attending to their US business. After lengthy consultation, the team decided on the change of name to reflect the band’s new musical direction. The band have also secured the services of Phil McKellar (Silverchair, Grinspoon, Kisschasy) to record their debut full length album in September. The album will then take Chasing Gravity to the USA to master at Sterling Sound NYC with Ted Jensen (AFI, Evanescence, My Chemical Romance). Chasing Gravity will perform shows in both Los Angeles and New York in October before returning home to Australia to launch the album.

1LOBBY LOYDE: RIP Australian rock legend, Lobby Loyde passed away on Saturday April 21st after a long battle with cancer. Lobby influenced countless musicians, both nationally and internationally. Amongst them were AC/DC, Billy Thorpe & The Aztecs, Henry Rollins, Steve Malkmus (Pavement), Kurt Cobain, Rose Tattoo, Cosmic Psychos, Bored! (the last two covering his song G.O.D) and many more. He played in various outfits including Stilettos (1963), The Impacts, who changed their name to The Purple Hearts (1964 - 1968), The Wild Cherries (1967 – 1968), The Aztecs (late 1968 – 1970), Coloured Balls (1972 – 1974), as well a short stint with Rose Tattoo. Lobby also had a very successful solo career. Lobby did everything from the heart. He was a true inspiration. To paraphrase Frank Sinatra, he lived a life that’s full. He was determined, talented, intelligent and above all a true gentleman. He had a wicked sense of humour. He wore his heart on his sleeve, and called a spade a spade. You always knew where you stood with Lobby. He was a mentor to so many musicians. Not only encouraging them to believe in themselves, but producing their albums, showing them guitar techniques, sharing stories and advice, and always giving them his time, no matter what was going on in his life.

Lobby produced albums for many acts including X, Painters & Dockers, The Sunnyboys, Machinations, and Flaming Hands.


“More than anyone else, Lobby helped create the Australian guitar sound. Long before Angus (Young) or Billy Thorpe or the Angels or Rose Tattoo. Lobby inspired Australian bands to step forward and play as loud and aggressively as they could. People are still trying to copy it today,” Angry Anderson told The Age in 2006. Following Loyde’s passing, Angry said, “The man who fathered the Aussie rock guitar sound has moved on, but the sound remains.”

Edge Radio has turned four years old, and to celebrate they’re serving up a sweet red cocktail of Offcutts and Scientists.

1CHEMICAL BROTHERS – NEW ALBUM “We Are The Night” for release 16th June. The Chemical Brothers return with their sixth long player, set for release on 16th June 2007, following the double Grammy winning Push The Button album which was their fourth consecutive UK number 1 album. We Are The Night is The Chemical Brothers’ finest record yet; twelve tracks of psychedelic warehouse party acid music, euphorically melodic and as uncompromising as their retina-scorching live shows. Recorded under cover of darkness in a bomb-proof bunker in South London, We Are The Night is a route map through modern psychedelia; a derailed rollercoaster that barrels the listener onto a journey, that moves seamlessly from a frenetic percussion workout that threatens to splash out of the speakers, to metronomic pulses that sound like music played at some kind of future disco populated entirely by robots; from the wheezing groans of modular synthesizers that sound like they’ve been left out in the rain to die, to hallucinogenic public service announcements about salt-water fish. All the while, disembodied robo-voices boom out mind control commandments, as guest vocals weave in and out of tracks like previously undiscovered instruments … Effortlessly evoking the dancefloors of Manchester and Minneapolis in the early 80s and London of 2007, We Are The Night is The Chemical Brothers at their very best. Infectious from the ominous opening through to the gorgeous dying embers, the record features some of their most mind-blowing music to date; a massive step up for the duo in terms of both production and sound. The album builds on the band’s immense back catalogue and reaffirms them as true pioneers of electronic music; a band who are consistently hugely successful, both critically and commercially.

Editor David Williams Graphic Design Simon Hancock

Sub Editor Tom Wilson

Contributors: Adam Ferguson, Shannon Stevens, Emma Dilemma, Nicky Wilson, Chris Rattray, Ryan Cooke, Ryan Farrington, Ian Murtagh, Felix Blackler, Zadoc, Patrick Duke, Nicole Calabria, Steve Tausche & Dave Hernyk.

Deadlines Sauce #42, 16th - 29th May Adver tising Booking: 10/05/07 Adver tising Ar twork: 10/05/07

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 3 4 5 7 8 9 10 11 12-13 14 15 16 17 18 20 21 22 PAGE 4

Rock Salt News Rock Salt Hard Boiled Rock Salt Rock Salt Bangers & Mash Bangers & Mash Gig Guide CD Reviews Gig Reviews RNB / Hiphop Hiphop / Rock Salt F-Stop Spotlight / Street Art Games / Comedy Street Fashion / Toon


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The Birthday Party kicks off on Friday May 4th at Curly’s Bar, featuring Offcutts (Melb), with local supports The Reactions, The No Nos and The Scientists of Modern Music. Doors open 8pm. Tickets are $15, or $12 for students, with pre-sale tickets available online at The party doubles as a fundraiser, with all proceeds of the event going towards keeping Edge Radio on the air and improving their programming and events services. Ticket price includes the Edge Supporter fee - giving listener’s access to Supporter only prizes, events, and more. Partiers can register their details and pick up their Supporter card on the night. To coincide with turning four years old, Edge Radio has also revamped and re-launched it’s online Supporter registration service. Listeners who want to show their love for Edge can now elect their level of financial support using online payment options at Beginning in May, Edge will run Supporter -only competitions on air and online. All party-goers and Supporters who register up until the end of May will be in the running for major monthly prizes, weekly competitions and the annual Edge Radio “ERRs” Hamper, featuring over 100 of our hand picked Edge Radio Recommended artist releases from the last 12 months. Subscribe online at

1THE BLACK SEEDS ANNOUNCE AUSTRALIAN TOUR After a successful Australian album release tour in November, and standout performances at the 2007 Falls Festival and Southbound, reggae/dub/funk act The Black Seeds are pleased to announce their eight-show Australian tour in June. 2006 was the most successful year yet for the New Zealand eight-piece band, with the release of their new album Into the Dojo in Australia and New Zealand, including five weeks at Number 1 in the New Zealand album charts, and successful European and U.S. tours.

Having recently secured a deal with German label Sonar Kollectiv, The Black Seeds will then return to Europe in July to support the release of Into the Dojo in Europe and Japan. Renowned for their legendary live performances, catch one of New Zealand’s finest live acts in concert in June.

1JACKSON JACKSON ANNOUNCE MAY TOUR DATES Hot on the heels of their main stage performance at the recent Byron Bay Blues Festival, Jackson Jackson have announced more shows along the East Coast in May. Harry Angus (The Cat Empire) and producer/ composer Jan Skubiszewski combine their musical brilliance to create a fusion of hip-hop, afro-beat and psychobilly. Onstage they are joined by a five-piece red-robed choir, a mountain of synthesizers, and an acoustic guitar to bring you a live show that’s not to be missed! The album The Fire Is On The Bird hit stores last month and features the current single on radio, Cats Rats and Pigeons.


Much More Than You Expect BY DAVE WILLIAMS

OK, here we go. They just sold out the Metro in Sydney for the launch of their new album. They’re on Triple J. Sometimes there are seven of them. Sometimes there are nine. They cover just about every genre in popular music. Are you getting the picture? They’re a little hard to describe, and that’s clearly their charm. Their new album is wicked, and I will be going to at least one of their shows, so impressed am I with their new album. I’m not sure how much more of an endorsement I can make. I spoke to bassist Pat Torres.


I think your new album, “Perfectly Ordinary”, is far from “perfectly ordinary” – I think it’s fucking awesome, mate. [Laughs] So you’ve heard it? Yeah – I’ve been listening to it all morning … Now, I get a lot of CDs come across my desk, and every now and again, one of them stands out, and that’s how I feel about “Perfectly Ordinary”. I was just wondering – what do you think it is, about the band, or about the members individually … their standards, or where they come from … What is it that has produced such an amazing album? Well, it’s almost like a kind of hybrid album. The influences within the band itself are so sparse and huge, that creating an album of a certain genre was never really in the books, because we didn’t know how to stick to one thing. It’s taken years; it’s taken about four years to develop the right sound, and the right production for it … I’ve got to say, it’s just come from such unique influences. Also, [each band member’s] cultural sides. There’s, like, four Chileans in the band, an Argentinian, an Italian, a Kiwi and an Aussie, so it’s just mixing everything that we know, culturally and musically. It creates this kind of “new sound”. It’s a weird one, ‘cause it’s an old sound, but we’ve kind of re-vamped it so it’s fresh and new. You’ve got bits of hip-hop in there … I’d expect dub, and I’d expect reggae, but there’s so many other influences – there’s some real rock bits in it, there’s



This is it – this is our baby

have a great time, just hanging out, playing music. But we also … in the business end, we also work really hard for it, you know? We know it’s not easy, so we’re just doing our best, I guess.

some hip-hop bits in it … Yeah, yeah; we delve into a bit of drum n bass. We can even stick really cultural Latin stuff, like salsa and stuff like that. Yeah – there’s a huge influence, from all around the world. The overall feeling I get from listening to this album is that it’s really positive, it’s really fun, it makes you feel good. You guys, I reckon, must have a lot of fun in this band. It’s been one of the best adventures I’ve ever experienced in my life. It’s such a big band, and every band, in time, comes to a point where “this is it – this is our baby. This is our child now.” So we work hard, and we pretty much play really hard too! [Laughs] We

You guys have done a heap of shows, haven’t you? You’re touring pretty much constantly … We’ve done a heap of shows. We’ve toured three or four times. We’ve never done a tour as big as the one we’re doing at the moment, which we’re going to start next week. But yeah – we’ve been on the road for a long time now; probably two years, we’ve been on the road … We were playing, on average, a gig a week pretty much … which is a lot! [Chuckles]

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Rastawookie play Hobart’s Republic Bar on the 25th of May, and Launceston’s Batman Fawkner on the 26th. To listen to the entire interview, go to www.sauce.

FTER 0 | $5 A RY B4 1 RI 18 MAY T N E E F FRE

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“Central Energy”, Australia’s longest running compilation series is back with its 21st edition. With a loyal fan base eagerly anticipating each release, this is trance and hard dance at its finest. Back in the mix for Volume 21 is the all star team of: Baby Gee (current #4 DJ in this country), Amber Savage (current #5) and Archie (currently #17 DJ). Amber Savage is recognized as one Australia’s leading DJs. Appearing on the scene in 2000 as a nineteen-year-old, she has gone from a rising star to become a household name. Best known for her tough music style and vibrant personality, Amber tours Australia regularly and headlines the biggest clubs and events around the country. Frequently quoted as “The Queen of Hard Dance”, she’s now also making a strong push into House music. Her tough style is still prevalent – she is, after all, savage by name, savage by nature – but when playing house it comes across in her driving basslines and funkier sound. This moniker satisfies her unquenchable thirst for music and allows her the freedom and creativity to play an alternative style, and as “Miss Savage” she has been rocking the country with the fattest and funkiest electro and dirty house music to grace the sound systems of some of Australia’s most well-known and best-loved venues. Amber Savage plays Syrup in Hobart on the 25th of May with Archie. PAGE 5


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Enter The Dragon, Forcefully ... BY TOM WILSON

It’s a pretty strong indicator that you’re on the right path as a guitarist when Metallica’s Kirk Hammett says you’re the fastest axeman he’s ever seen. But then, given the massive rise of power metal squad Dragonforce, staying on the “right path” isn’t something Sam Totman really needs to worry about …

Some idiot nicked my bag!

I’ve always found that, with power metal, it’s such grand, over-the-top music, there seems to be this underlying sense of being tongue-in-cheek, for all its theatrics. To what extent do you think that’s true? Well, I dunno. Most of all the power metal bands that I’ve met have all been completely serious … and pretty boring, to be honest! So they’re definitely not tongue-in-cheek at all.

kind of tried to get away from it. I mean, there’s similarities for sure – you’ve got these happy kinds of choruses. But our influences come from so many different places.

But we don’t really think of ourselves as one of those power metal bands anyway; that’s why we

To listen to the entire interview, go to www.

I don’t think we dress like it. When you talk about a typical power metal band, you sort of think of European stuff. And, to be honest, we all think they’re pretty gay, actually. [Laughs]

Lambasted outside of their native Germany throughout much of their career, the legacy of stoic thrash outfit Sodom witnessed a 1990s renaissance of appreciation for their brutal, almost primitive metal attack. Hailing from Gelsenkirchen, Sodom debuted as a trio consisting of guitarist Angelripper, drummer Witchhunter and vocalist Aggressor with the demo Witching Metal in 1983. The earliest Sodom incarnation, dating to 1982, had featured Bloody Monster on the drums. In 1984 a second demo, Victims Of Death, included the original tracks boosted with the addition of four new songs. The demo began to receive a great deal of positive press, although Aggressor would choose to opt out. He was eventually replaced by Grave Violator and the new line-up debuted for the first time at a black metal night in Frankfurt. Grave Violator left at the end of 1985 and the debut, full blown Obsessed By Cruelty album featured Destructor. Obsessed By Cruelty would also play a significant part in the rise of the Norwegian Black Metal scene when Mayhem band leader Euronymous chose the title of its lead-in track, Deathlike Silence, as the branding for his notorious record label.

Sodom play Hobart’s Republic Bar on June 9th with Nosce Teipsum.

We were actually going to be speaking about a week ago, but apparently you had some trouble with your passport? What happened there? Was I supposed to talk to you when I was in England? Oh, that’s right! I remember now! Yeah, fucking … some idiot nicked my bag! I was in America. And [he nicked] my passport, man! I was supposed to be at this place in England, and I couldn’t go, because I had to get a new [passport] and shit.

LORD Melodic metal band Lord are returning to Hobart for two huge shows at the Trout on May 4th and 5th.

Damn! So did you get it back? Yeah, I got one. Well, I got here, now, so I must of! [Laughs] Nah, it was just a pain in the ass. Sitting around the passport office is pretty boring.

Lord are a continuation of Dungeon, who were arguably Australia’s biggest heavy metal band until their dissolution in 2005, with tours throughout Australia and internationally, alongside bands such as Megadeth, Opeth, Nightwish, Angra, Edguy and Nevermore. The band released three top selling albums and a live DVD filmed at the prestigious Club Citta in Tokyo, Japan. Originally just a side project for Dungeon frontman “Lord” Tim, Lord came into its own after Dungeon returned from a successful world tour with legendary metal band Megadeth, and suffered a line-up change which prompted Lord Tim to fold Dungeon after sixteen years and reinvent Lord as a legitimate touring band. In 2006, Lord toured Australia extensively with bands such as Queensryche, Gamma Ray, and Nevermore, as well as festival appearances and their own headlining shows.Fans of Iron Maiden, Helloween, Blind Guardian and Megadeth will enjoy Lord’s set, which will include many of Dungeon’s live anthems, classic metal covers, blistering solo duels and of course, new LORD favourites.

I was going to recommend checking eBay … Yeah. It’s probably on there now! Considering you hail from, of course, Britain – the same country as Iron Maiden – do you think there’s something distinctly British about the sound of Dragonforce? Do you think a band that sounds like you guys could have come from anywhere else? I dunno, man. To be honest, I don’t think … Every band thinks that they’re really original, but I actually don’t think there’s a band that sounds like us that comes from anywhere, you know what I mean? Without trying to sound like dickheads and that. I do think that we are quite original … [but] we’re not the only band that plays [this style]. The drums … it could be like Slayer playing that, because it’s the same speed. But put everything together; then it kind of makes something new, I think. I don’t think it’s particularly British. I grew up in New Zealand anyway. I think metal music is pretty universal anyway, really. We’ve got people from all different places … We’ve got a guy from Hong Kong, but he doesn’t play Hong Kong kind of melodies. [Chuckles] You know what I mean? It just turned out how it did, really.

LORD will return to the studio immediately after these shows to record Ascendence, the follow-up album to their 2005 release, A Personal Journey. For more information, visit Lord play Hobart’s Trout on May 4th and 5th.

Republic Bar & Cafe

299 Elizabeth St North Hobart Ph. 6234 6954














That 1 Guy (USA) sup Charlie du Cane $15 cover 9:00 PM End of Summer Sessions Todd Hannigen (USA) Mojada (SYD) Plus Jack McCoy surf film (upstairs) 8pm $10 pre sale $12 door 9:00 PM





















Bodyjar Supp. Stand Defiant, Your Demise. $15 pre sale $18 door 10:00 PM Ground Components Supp. Viva Computer $14 cover 9:00 PM Mike Elrington $5 cover 9:00 PM G.B.Balding (Finger picking blues) 8:30 PM Blue Flies 9:00 PM Black Water Fever $7 cover 9:00 PM Something With Numbers Supp. The Inches,the Lazy’s $15 pre sale $18 door 9:00 PM Dan Sultan Plus Echo Blue $10 Cover 10:00 PM 67 Special Plus The Exploders Supp. Hannah $12 Cover 10:00 PM Birds OF Tokyo $16 cover 9:00 PM Quiz Night 10:00 PM The No No’s 9:00 PM PAGE 7


Tassie Songwriter Features On Oz Compilation BY TOM WILSON

An active member of the music scene in Tasmania for over five years, debuting with his band at the tender age of fifteen, Nathan Wheldon is a singer/songwriter based in Launceston. I spoke to him on his return from a recording session in Sydney for the upcoming “Home Grown Roots” compilation.

How did you first get into music? I picked up my first guitar at the wee age of eight; was “pressured” into singing a little later on, and the rest is history! I was always more into music than sport growing up; let’s just say I’m not really built for it! [Laughs] I had my first gig at Lloyds hotel when I was fifteen, playing originals to about ten people! It rocked, and after the gig I got paid fifty bucks and nearly fell over … I was like, “I just played my own songs, loved doing it, and got paid for it?!” ‘T’was neat! I’ll never forget it ... I understand that you’re heading to the mainland to record a track for an upcoming roots compilation. How did this come about? Yeah, just got back actually! It started back in October last year. I sent my EP of to a few labels, not expecting anything. I kept hounding them with emails, and then one rang me up in February and said they really dug my stuff.

we headed off for Sydney for four days. One track, This Feeling, will be featured on Home Grown Roots. It’s a national compilation they release every year – about fifteen bands from across the nation. Pretty cool stuff! It was an amazing experience! Great studio, and it was great working with Russell Pilling (producer/engineer). He has worked with bands such as Hoodoo Gurus, The Cruel Sea, Yothu Yindi, so to work with him was a real eye opener. What can you tell us about the track? It’s a poppy little number. I’d say it’s radio-friendly. Russell and the band played with the accompaniment a bit; we are stoked with the way it came out. The song really matured that weekend. It’s pretty upbeat; when we play it live, we normally get a few bums out of their seats! Nathan Wheldon plays Irish Murphy’s in Launceston on the 2nd of May, AGFEST 2007 in Carrick on the 4th, and Irish Murphy’s in Hobart on the 10th.

Maybe they were just getting sick of me! [Laughs] So

WEDNESDAY 9TH really. That’s what the style is all about, and that’s what we’re trying to do, really. I guess from playing in the band together for, like, four years, we’ve learned how to do that, and got better at doing it. Does that make sense? [Laughs] ONLINE: More witty banter as Dallas reveals the origins of the band’s name, and what it was like to work with a female rapper. To listen to the entire interview, go to au/interviews. Ground Components play Hobart’s Republic Bar on the 5th, and the Lewisham Tavern on the 6th.


One Hell Of A Morning After

Spy vs Spy formed in Sydney in 1981. Managed by Gary Morris of Midnight Oil fame, the Spies created an unique sound based around Craig Bloxom’s driving bass, Michael Weiley on guitar & Cliff Grigg on percussion.


Oh, that old thing! Well, we’ve completed, successfully, a rather comprehensive tour of Australia … although we have lacked quite a few regional areas; capital cities have definitely had a taste of us. We’ve had a taste of them. So that’s been, like, six or seven weeks. [Smirking] You’ve tasted each other? [Laughs] No! Well … unfortunately, at times. But yeah, we’ve sampled the musical fare in different cities. So we’ve done Brisbane, Perth … we did ten shows in New South Wales, we’ve done three shows in Melbourne … where else is there in Australia? And we’re about to do Tassie. We’re just promoting our debut album, so it’s been pretty full on. It’s been crazy.

I love honesty, mate! Good, good. We went out last night. We went out. We went further out than I think we’ve ever gone!

Anything different going on with the shows these days? Um … well, yes … is this in regard to Tasmania? Are you in Tasmania right now? ... Well … we’ve become a three-piece power rock trio, I guess. [Laughs] Just completely change yourselves … Yeah! We’re now, like, bass, guitar, drums … kinda loud, funky rock n’ roll … kinda sweaty. Bit of blues, bit of jazz, bit of rock, bit of metal, bit of electronica … No, no! You’ve gone too far there, Dave! You’ve gone too far! Just like we did last night! No, it’s more sort of a blues-y, funky, rock-y, soul kind of thing. Uh huh. With a bit of roots. Yeah! Kind of like Break It Down, James Brown. You know that song? Oh yeah, I remember that. Yeah. It’s kind of like that, but, like, ten or eleven songs of that kind of feeling. Offcuts play Curly’s Bar in Hobart on May 4th.

Apart from right now, in terms of making music and playing music and that sort of stuff … What’s going on? PAGE 8

To listen to the entire interview, go to www.sauce.


Acoustic night


What did you guys get up to last night? You appreciate honesty, don’t you?




What’s happening with Offcuts right now? Right now, I’m standing in my hallway dressed only in a sheet, and my guitarist is passed out on the couch. That’s right now. That’s right at this moment!

Buzz,Explode, Love


Rock Out Or Go Home

There’s irony in the title of The Offcuts’ debut album, “What Happened Don’t Lie”. Because I have a feeling that once Tommy got off the phone from his interview with me, he just might be posed that question himself by someone close to him, considering he spoke to me after waking up from a massive night out.




To deliver a live performance that can be comes from. called truly “rock”, what does it take? Is it From what I saw at Falls, there is a hell of a lot of about musicianship? Is it about attitude? energy in the Ground Components live show ... Facial hair? Or is it about energy? For a Oh, for sure! There definitely can be! band to play perfectly without moving So where does this energy come from? a muscle is one thing; for them to cut [Pause] Good question ... loose physically and mentally with the From the rock inside? From the Goblet of Rock? proverbial middle finger raised clearly to Copious amounts of drugs? Where? the prospect of authority and responsibility Yeah ... I guess that’s just what we’re going for, you know what I mean? I don’t know where it comes is something else entirely. Think Iggy Pop. from. Everyone’s probably got it in them. That’s Think The Mars Volta. Think of music that just something that we were going for in our music we’re playing, we look at each other, we try to put seems conceived purely to blow out amps –heaps of energy into it. [In] other styles of music, and eardrums. Think Ground Components. that’s not what it’s about. If you’re playing, you After a stunning display of noise and pure know, pop music, it’s all about having that slick, catchy chorus. If you’re playing country, it’s about “fuck you” energy at the last Falls Festival, getting that lonesome feel across. the boys are heading south once again. guess that with rock music, if you haven’t got I spoke to the fabulously named Dallas Ienergy – you’re not really putting it in – then it’s – keyboardist – about where the spark kind of like, “you should be doing something else,”


Three -piece bands often fight to achieve prominence. In the Spies’ case this was achieved by ear-bleeding sound levels coupled with anthemic lyrics and Bloxom and Wieley’s alternating vocals. Harry’s Reasons to Trash the Planet mark the high point of Aussie pub rock, possibly destroyed by aggressive anti drink driving campaigns of the era. Spy vs. Spy play in Burnie on the 10th of May, the Batman Fawkner in Launceston on the 11th, and the Lewisham Tavern on the 12th.

BODYJAR They’re releasing a new live album, and are visiting Tassie for the promotional tour. So we thought there was no better reason to have a chat with frontman Cameron Baines. Fans tend to get a little quirky when it comes to rock bands performing live. Have you ever received any “unusual” items from them, after or during a show? Some dude threw a Bible once. We’ve had men’s underwear and heaps of shoes. We get a lot of people buying us drinks and bringing them up on stage. Last time at the Republic Bar, it seemed like someone shouted us Tequila shots after every song. I was amazed we could still play. Bodyjar play Hobart’s Republic Bar on the 4th of May, and Launceston’s Batman Fawkner Inn on the 5th.

The Boarding Party FRIDAY 11TH

Transfiction The Ghost and the Storm Outside Roadkill SATURDAY 12TH ALL AGES SHOW

Victory Avenue Mindset Stand Defiant SATURDAY 12TH 18+ SHOW

Victory Avenue Mindset Stand Defiant Our Silent Diary WEDNESDAY 16TH



The Rise and Rise Of The Arctic Monkeys BY JEFF APTER

You’ve got your whole life to make your first record and about fifteen minutes to come up with the sequel

Second comings can be dicey affairs: for every “Beatles for Sale” or “Nevermind” there are thousands of sophomore slumps, where the stars of yesterday fade quicker than you can say Hootie and the Blowfish. And the theory that you’ve got your whole life to make your first record and about fifteen minutes to come up with the sequel has never been more prevalent in our chew-em-up-and-spit-em-out culture. But English whiz kids the Arctic Monkeys have never been the kind of band to let history (and questionable odds) get in their way. They’re such an unpretentious, forthright bunch, in fact, that they allowed all of one week to pass between the final gig pushing their debut LP and their reunion in the rehearsal sheds to start thrashing out new tunes for its sequel. There were no neurotic episodes and no psychotic meltdowns, although, admittedly, they did shed a bassist along the road between LPs one and two (old pal Nick O’Malley now holds the post). The end result, their second LP, Favourite Worst Nightmare, is every bit as vibrant, tune-laden and un-freaking-stoppable as their debut, Whatever People Say I Am, That’s What I’m Not. It’s already been described as “a brilliant racket; very, very fast and very very loud.” And the reputation of head Monkey Alex Turner as a sort of wised-up, streetsmart cross between the Kinks’ Ray Davies and the Streets’ Mike Skinner remains untarnished. Turner, in his typically cutthe-crap manner, sums up Favourite Worst Nightmare this way: “I think this is more like extremes, ‘cos the heavier stuff went a bit heavier and, like, there’s softer moments on this record. [It’s] probably even like more stripped down than anything on the first [LP] as well, so it’s probably just gone wider.” (What, you were expecting Shakespeare?) At this point, it’s probably best to throw out a few facts and figures. This thing called Arctic Monkeys sprang out of a Sheffield suburb called High Green, in 2002. Singer / strummer Turner formed the band with school chums Jamie Cook (guitar), drummer Matt Helders and bassist Andy Nicholson. Turner and Cook were neighbours; they received instruments as Christmas gifts only a year before the band came into being. (Cook had dreamed up the Arctic Monkeys tag even before the fourtette existed.) They plugged in for the first time in mid June 2003, at a Sheffield city centre, and almost immediately began cutting demos and burning them onto CDs to hand out at gigs. Fans being fans, they ripped the CDs onto their hard drives and started passing them around — as groundswells go, it didn’t come much grassroots-ier than the Arctic Monkeys. When asked, the band admitted they were clueless as to how their music started circulating on-line. (“We actually had no idea what [MySpace] was,” Turner shrugged.) Nonetheless, their oftvisited MySpace site, which was set up by fans, got them the right kind of attention, as BBC Radio 1 and the English music press, on the lookout for the next Franz Ferdinand, started listening. In May 2005 the band dropped the EP Five Minutes with the Arctic Monkeys, and, as the man once said, things went apeshit. Next step was their debut long-player, Whatever People Say I Am, That’s What I’m Not. Upon its release in January 2006, it became the fastest-selling debut LP in UK chart history, shifting a useful 363,735 copies in its first week. A month later it became the second-fastest selling indie debut album Stateside. Although US critics were cautious, wary of swallowing the latest hefty serve of UK media hype, they changed their minds by the time of the band’s June 2006 tour, which played to full houses and positive notices. Meanwhile, back home, the NME crowned Whatever People Say … the “fifth greatest British album of all time”. The 2006 Mercury Prize was the ultimate topping on one very sweet rock and roll cake, while a Brit Award for Best British Group provided another handsome piece of silverware.

Triple J presents

On A Clear Night Tour


Steer EP Out Now. New Album Out Now.

Check out our competitions section for your chance to win a copy of “Favourite New Nightmare”




DJ Brings Summer Vibes To Winter Chill

17 Years In House Music


Ahead of his DJ set with Alan Thompson at Syrup this month – as part of the “Housexy Summer 07” compilation CD tour – a very busy Nathan G took a minute to chat with me about putting together an album of sunny tunes to keep us warm this winter. How did you get involved with the “Housexy” series? Ministry requested me to mix the CD, basically. This is my first mix CD; I guess … “official” mix CD. I was approached … I have a project through Ministry Of Sound. I guess it just came about through that, really. You’re credited as mixing the album alongside Alan Thompson, who I’m actually going to be speaking to in about an hour. Literally, what does it mean to “mix” an album. How much work did you have to do with “Housexy Summer 07”? With my CD, I compiled and mixed the whole CD. So it meant I had to actually research and choose all the acts for the actual CD. So there was quite a bit of work involved in, obviously, picking tracks that I thought would work for the theme of the CD, and also tracks that would work together. I’ve managed to include a few of my own productions on there as well, so that kind of set up a bit of a theme for me to work with as well. It was actually a really incredible process; there’re a few producers who I’ve made friends with over time – mainly based in the US – who I was able to source some up front tracks for the CD. So yeah – it was quite an involved process, but it sort of had to be executed fairly quickly too. You were mentioning having a theme to work along – looking at the finished product, what would you say that theme is? Well, it was … I guess, being the Housexy Summer CD, I guess I just wanted to keep a fairly summer-y

kind of feel to it; lots of light elements in there on my disc. I was aware that my disc was disc two, so I felt that that could lean towards a little bit more of a deeper house feel. That just allowed me to get a little bit more of the light, funkier live element into the mix. What would you say was the most challenging part of working on this? Well, I guess, initially, when you’re choosing your tracks, you really have to choose … given that there’s fifteen tracks for the CD … when the licensing process happens, you actually have to choose about thirty tracks, and be confident that which of the fifteen or twenty tracks that you’re able to have licensed are going to work together. You have to be very confident with the track selection that you’re choosing. If you get fifteen of the tracks back, but you don’t actually get a couple of the tracks that you were hoping for,

It was actually a really incredible process …

then that’s not going to change or divert the whole feel of it. That was probably the most challenging part, I think … yeah. So what were some of the tracks that you really wanted, but couldn’t get? To be honest, I was actually really fortunate with this CD. I submitted about twenty-five tracks, and I think we got about twenty-three or twenty-two to choose from. So I didn’t really have too much of a stress, which was really fortunate! [Laughs] Nathan G plays Syrup in Hobart with Alan Thompson on Friday the 18th of May. To listen to the entire interview, go to au/interviews


When it comes to a hobby or even a profession, most people have never done one thing consistently for a whole year. So it’s a fair bet that when a man spends seventeen full years immersed in one genre, he’s not just good at it – he’s an authority. Producer of the Housexy compilation, UK-born, mainland-based Alan Thompson spoke to be about spending more than a decade in house music. You’ve been doing this for quite a long time. How do you think you’ve evolved as a DJ in that period? Essentially, I’ve been a house DJ for seventeen years, and that’s what I continue to do. I’ve evolved with the musical style as it’s grown and expanded over the years, through different changes in the genre, and traveling the world and seeing different clubs; how they react and stuff. So I’m essentially still doing what I did seventeen years ago; what else is there to say? I’ve just evolved as the music has evolved over time. I certainly haven’t changed my style in any way; I’m still a straight-up house DJ. House music is a pretty broad spectrum; it goes from anything from funky, vocal-y house, right through to full-on electro. It’s all house music at the end of the day. I don’t believe in pigeonholing one thing! [Laughs] So yeah; I’ve moved along with the sounds of the times.

I’ve moved along with the sounds of the times.

So what have been some of the key points in your career so far? There’s been far too many of them to highlight one in particular. I mean, I have been DJing for seventeen years, so it is a long time by any means, only I’m lucky in that I continue to do what I love most, and that’s playing house music. But several things spring to mind … A pinnacle of most house DJs’ careers is to play in Ibiza. I was lucky enough to be part of that for twelve years. I spent most summers while I lived in the UK traveling back and forth to Ibiza. So that was very special, and still holds a great part in my DJ life. I also had a residency in New York … so that was pretty special. And playing at Love Parade was very special too. So there’s three very different highlights, but certainly equal in their own right, too. Obviously there’s been many others too … But they’re key highlights in their own rights. So how did you get involved in the Housexy compilations? Well when I lived in the UK – obviously I live in Australia now – but when I was in the UK, I was a resident DJ for the Ministry Of Sound, and had been for seven years. And when I moved to Australia, I already knew the guys here, at Ministry Of Sound Australia, so I had a good reputation with them anyway. And then, in 2005, I recorded the Clubber’s Guide for them, which did pretty well. Then we came up with a new concept, being the Housexy brand, purely to react to the market. The Clubber’s Guide and the Annual were tending to be … the thing behind the Annual, of course, is that it’s a retrospective of the biggest tracks of the year. And the Clubber’s Guide is a forward-thinking,





& Grotesque

“what’s going to be big this year?” So they both have their direct markets. And, of course, they were being dictated by what’s been popular at the time, and for the last few years, that’s been electro. So you’ll find that the Annual and Clubber’s Guide are very much electro-oriented compilations, because they are governed by what’s popular at the time. Alan Thompson gets Housexy at Syrup in Hobart on the 18th of May. To listen to the entire interview, go to www.sauce.









SUNDAY 6TH MAY Afternoon Show, 3pm to 6pm

SUNDAY 20TH MAY Afternoon Show, 3pm to 6pm





Scenic Drive, Lewisham.

Scenic Drive, Lewisham.

$18 plus bf or $25 on the door

11pm start $5 / $6 after midnight

299 Elizabeth St Hobart.

299 Elizabeth St Hobart.



Prepare For A Drum N Bass Assault to new stuff and old stuff. Getting sounds and plugins together for the new laptop so I can just bust something out whenever I feel inspired. When did you first start playing DNB? I first started DJing back in high school, around ’94‘95. I went for a drive one day with a mate at lunch time and met one of their mates who had a set of decks, which I had only seen on the TV before, and I instantly fell in love with them. But seriously – I had no bloody idea what to do! [Laughs] So I started to buy records with whatever cash I had; mainly hardcore and hip hop, but I got introduced to jungle in ‘96 and never looked back.

An Adelaide DJ who’s about to launch a fierce drum n bass assault on Halo with his radio show co-host MPK, DJ Patch gave me the skinny on his work at the decks. Musically, what have you been doing in the past month? [I’ve] just been DJing, really – playing tunes, listening

What is it about the genre that appeals to you the most? There’s so much to drum and bass. You can have some full-on hard shit that totally blows your mind with fresh sounds, and then you can get something that’s more laid back, that’s probably been done before, but just reaches another level of funk that takes you away. Plus, to me, it’s the most exciting music to mix, ‘cause of all of the little elements in the tunes. You can make a new and exciting blend of two tunes every time you play, or just let them talk for themselves, unlike other genres where you’ve got to wait for the build-ups and breakdowns … Boring! You’ve also done production work – what was the last thing you worked on?

BY TOM WILSON The last thing I worked on was just the weekend gone with one of my best mates DJ Filter. We’ve wanted to do something together for a long time, and he’s never been in the studio before, so it was a great learning experience for him, and a wicked and fresh change to have some new ears in with me. I haven’t been on the ball for a fair while, but that’s all going to change in the next few months. Who has been the best international act that you’ve played with, and why? That’s a really tough question; there’re so many good ones that come through Adelaide. The most memorable ones recently would probably be D Bridge – he just keeps it nice and simple, but so deep and interesting; Andy C always blows shit up with his mixing, but I’m not into everything he plays … still, you can’t test the king. And Friction … my gosh, this guy can throw shit down, and this time round kept it realer than I’ve ever heard him, which was right up my alley. What do you consider to be your greatest strength as a DJ? I think most people are taken away with the speed that tunes are put in. I dunno. Sometimes I listen back to a set here and there, and I’m like, “how the fuck did I do that?” [Laughs] I guess you’ll have to make your own minds up on it, and get back to me.

radio show these days? I’ve yet to see a dog do a radio show, but that would be interesting. I guess it’s a bit easier to get out there with all the internet stations these days, so anyone can get a go. I was lucky enough to just slot right into my spot on Fresh FM with MPK, when another mate, John Doe, called it a day. What projects do you have on the go at the moment? Right now I’m running a monthly night here called “Funk Shop” with my house mate, and Inbound head honcho, Fiction, which has just had its second birthday. It’s been going really well, and is at a cool little club that everyone seems to like well – everyone seems to stumble out in good spirits. It’s kind of been renamed “Drunk Shop”, which is quite fitting. If anyone’s ever in town, come check it out, on the first Friday of the month at Tonic. We keep it an all-local affair, unless there’s just something that has to come through and funk up. What’s the most embarrassing thing you’ve ever done – or that’s ever happened to you – at a gig? I dunno – loads of shit. But I’m always out to top whatever the last effort was … and then conveniently forget it, just like now! [Laughs] Tell me, damn you! Oh well … Patch plays Halo in Hobart on the 18th of May.

Why is it that every DJ and his dog seem to have a


Get Hooked In Hobart BY TOM WILSON

Ahead of his set at Halo in Hobart, I spoke to DJ/producer Hook n Sling about his style, playing in Tassie for the first time, and exactly where he got his name … So what are you up to overseas? In June … I’ve got a three-week tour – UK and Ibiza. I’m doing London and Leeds, and also one of the opening parties at Space in Ibiza … It’s only three weeks though – then I’ll be back. How do you differentiate yourself from other DJs? Is it the music you play? Is it the mixing? How do you make yourself stand out? It’s probably … having production behind you, and having tunes out that people know that I wrote or I remixed, really helps. It kind of helps you have your own sound … you can kind of push a certain sound a bit clearer, you know what I mean? If you’re a DJ, and you’re playing everyone else’s stuff, it’s really hard to get a certain sound. But if you’re writing your own stuff, and doing your own bootlegs and re-edits and stuff, you kind of start to develop your own sound, and people start to recognise it, which is, I suppose, what everyone needs to have – their own sound. This is going to be hard, but what is that sound for you? Is it a tough sound? Is it electro? How would you describe it? Um … Yeah, it is a hard one! [Laughs] I hate getting asked this. But, I suppose … I taught myself guitar, and I’ve got a self-taught musical background. I play

a lot of guitar-based music, so a lot of funk, a lot of groove. And then I started playing old-school rare groove hip-hop; beats and stuff like that. I mean … it’s where I am now, to answer your question. It’s like tech, house, but really strongly influenced by funk and melody and vocals and stuff like that. Whereabouts did you grab the tag Hook N Sling? I was thinking that there might be two people involved. [Laughs] Nah, Hook N Sling’s just me. The way I got the name was: I used to … a few years back, when I was just starting up producing, I was sampling the drums from a track that was called Hook N Sling … I used to use this drum loop for a few bootlegs, and stuff that I was doing [in] the early days. So I borrowed the drums from that like, four or five times, for a few songs. And then, you know, my production started up; my own originals. Then I just thought, “I suppose I can just credit this guy somehow.” It just seemed to make sense. You haven’t played in Tassie before, have you? Nah, man – first time. So have you been asking around? What are you expecting? I’m good friends up here with Matt – Matt Dopamine. And he plays down there with Klaus, and he told me that it’s pretty cool down there; down at Halo … So yeah, I’ve heard good things. Hook n Sling plays Halo in Hobart on the 12th of May. To listen to the entire interview, go to www.sauce.


Take Off Your Pants! BY TOM WILSON

Ahead of his set at Halo in Hobart, we spoke to Adelaide-based promoter and DJ MPK about the colour of drum n bass. What does MPK stand for? I could tell you, but then I would have to look ridiculous in public. Despite the fact I have looked ridiculous before, it was never on purpose. What is the DJing scene like in Adelaide at the moment? Good fun, always good fun. Just played the 9th birthday party of Fresh FM, the community dance music station where Patch and I do a DnB show called Rollerz. It was massive, with about 3000 people at it, and they turned away another 1000 who couldn’t get in. What releases do you have out at the moment? None. I’ve been busy putting on parties and the like lately. What have you been working on recently? Nothing music-wise – terrible and slack, I know. I’m going to do a remix of an old tune of mine called Walk Defiant soon, plus I have another mate who I have been talking about doing a tune with for a while now. I have been doing a lot of parties which is taking up time. How did you start working with Patch?

what am I meant to do whilst being hot and clammy in the middle of my set? Take off my pants?

He won a DJ comp I was judging about seven or eight years ago. We have worked on and off together for a while, made a few tunes, and now we do our Rollerz radio show together. You’re playing with him in Hobart on the 18th of May. What kind of show will you two be putting on? A good one! Fresh and classic party tunes. Good times and plenty of vodka. I think we bring a fair amount of energy to the stage, so hopefully we can entertain. You’ve been quoted as saying, “drum n bass is the colour of my blood”. If that’s the case, what colour is drum n bass? Good question. Drum and bass has lots of colours,

lots of flavours. I know a guy who took acid the other night and he saw all kinds of crazy colours. I should have asked him what colour DnB is. What’s an artist or compilation that you seem to play the most in your sets? Hmm … I’m pretty keen on SKC and Chris Su. The latest Shapeshifter album is wicked. I play most of it actually … What’s the best and worst thing about touring as a DJ? It depends on where you are going. I like Tassie, because almost every time I have been there, people have been really up for it and want to party. People aren’t too pretentious; they like their tunes and they like having a good time. Also, nowhere else have I had as many robust political discussions with complete strangers. The worst bit about Tassie is that it’s freakin’ cold in winter! Goddamn – I hate Adelaide winters, but yours are scary. I once played a gig there in July, I think it was. I wore long johns to keep warm during the day; the problem was, at night in a club, it’s a bit hot for that. This presents a problem; what am I meant to do whilst being hot and clammy in the middle of my set? Take off my pants? Bad planning I guess.’ MPK plays Halo in Hobart on the 18th of May.


Missy Higgins’ New Album

Arctic Monkeys F av o u r i t e worst nightmare

GIG GUIDE 2nd - 15th May

On A Clear Night available now at

Lizzy's This ‘n’ That


WEDNESDAY 2ND HOBART Republic Bar & Café That 1 Guy (USA) + Charlie du Cane @ 9PM

Trout Buzz, Explode, Love Irish Murphy’s Nathan Wheldon


Stage Door the Café Viktor Zappner Swingtet + Greg Harrison @ 8PM

Polish Hall Emma Dilemma + The Reactions + Palm This + This Future Chaos + Grrr + more @ 5pm ALL AGES





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

Here’s A Practice Guitar Amp For Only $99! - It’s A Fender!

104 George St, Launceston 6334 9355 or

Irish Murphy’s Steve Campbell @ 9pm Micheal Clennett @ 10.10pm The Overview @ 11.30pm Republic Bar & Café End of Summer Sessions – Todd Hannigen (USA) + Mojada (SYD) + Jack McCoy surf film (upstairs) @ 8PM Syrup 8pm Till Late - Free Entry Mesh - HOBARTs Oldest Club Night Breaks & Drum’n’bass With Djs Mez, Model T & Chilli


James Hotel Sgt Green + Dj G-Rox Royal Oak Rueben Ellenberger


Got a gig you’d like listed in the Sauce Gig Guide? Email details to



Batman Fawkner Inn Bodyjar James Hotel Nat & Adam + Cruel Like That + Dj Randall Royal Oak S&M Saloon RNB Superclub Volume 6.0 Album Launch – DJ Def Rok + MC Jayson









Tix available from Mojo & the venue

Stage Door the Café Blackwater Fever + Echo Blue @ 7:30PM


Curly’s Bar Heads Of State + Epic Proportions Crew + Mynse + Oratoric & Paddles @ 8PM Lark Distillery Adventure Kid [Melb] + Transcription of Organ Music + Charles Du Cane + Chris Wessing


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



AGFEST 2007 Nathan Wheldon

Republic Bar & Café Blue Flies @ 9PM

Curly’s Bar The Offcuts + The Scientists Of Modern Music + The Reactions + The No No’s

Irish Murphy’s The Lazys + Hannah


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 & DSKO Trout Transfiction + The Ghost and the Storm Outside + Roadkill

Batman Fawkner Inn Spy vs Spy James Hotel 67 Special + The Exploders + Leigh Ratcliffe + Dj PD Royal Oak The Titz

SATURDAY 12TH HOBART Halo Hook n Sling Lewisham Tavern Spy vs. Spy


Republic Bar & Café

The Coven @ 9pm

Black Water Fever @ 9PM

Mayfair Tavern

Republic Bar & Café Bodyjar + Stand Defiant + Your Demise @

Syrup 10pm Till Late - Late Night Booty Call With

Republic Bar & Café


Djs Mez, Chilli & Dave Webber

67 Special + The Exploders + Hannah @ 10PM

Syrup Open From 8pm, Come And Check Out Our New

Trout The Boarding Party


Wine & Cocktail Menu 7pm - Ko! - Chunks


Of Funk With Resident Djs Mez & Chilli 11pm

James Hotel

- Boogie - 70s & 80s Funk! With Djs Duncan & Nick C + Upstairs From 11pm Break Even:

Carl Fidler + Van Diemen

11pm Till 6am Dirty F’king Dancing - House, Electro & Breaks With Resident Djs: Timo,

Booty Breaks & Bumpin’ Beats With DJ Adam

UTAS Uni Bar

Turner + Guests.

Indie ‘n’ Ghandi Rock Festival – eclectic +

Trout LORD!


Stage Door the Café

Adventure Kid [Melb] + Carl Higgs + EVA

10pm - Tackyland - 70s, 80s, 90s Dance Classics! With Rolly & Billy Bob + Upstairs

Gillie, Adam Turner & Corney Trout Victory Avenue + Mindset + Stand Defiant – ALL AGES Victory Avenue + Mindset + Stand Defiant + Our Silent Diary – 18+


Viktor Zappner Swingtet + Wendy Moles +

Gigantic + The Reactions + The Numlocks - ALL AGES

Kevin Findlay @ 8:00PM

James Hotel

Irish Murphy’s

Lazys + Glenn Moorhouse + Dj Randall


James Hotel

Jane McArthur @ 9pm

Glenn Moorhouse + DJ PD

Samuel Bester @ 10.10pm

Mike Elrington (Vic)

Royal Oak Dan Salton + Mick Attard

Republic Bar & Café


Saloon RNB Superclub – MC Jayson + DJ Def Rok @

Lazy’s @ 9PM




Something With Numbers + The Inches + The

Nathan Weldon & The 2 Timers @ 11.30pm Royal Oak

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

Stage Door the Café


Blue Gum Jazz Band @ 7:30PM

James Hotel 3Sum + Dj Mark J

BURNIE Stage Door The Cafe 254 Mount St Upper BURNIE 64322600

The Loft



Republic Bar & Café Dan Sultan + Echo Blue @ 10PM


Something With Numbers + The Inches + The


Sirocco’s Something With Numbers

Raincheck Lounge Live acoustic music Republic Bar & Café Mike Elrington @ 9PM

Daughtry Self titled


The Loft Adventure Kid [Melb] + Blind Billie Speed + Viva Computer + Yuri & the Vostok

Foreign Films + The Stoics


Royal Oak The Blackwater Fever + Echo Blue

Lewisham Tavern Ground Components

Stage Door the Café BURNIE Youth Choir Fundraiser – Katy Pakinga + Vanessa Garrett + guests @ 6:30PM



Republic Bar & Café Ground Components + Veva Computer @ 9PM Syrup Open 9pm, Free Before 10pm - 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, Kir

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



Raincheck Lounge Live acoustic music Republic Bar & Café Birds Of Tokyo @ 9PM


Backspace Theatre Is Theatre Presents “Operation”

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 Royal Oak 14 Brisbane St LAUNCESTON 6331 5346 Saloon 191 Charles Street LAUNCESTON 6331 7355


Steve Porter


STEVE PORTER PRESENTS PORTERHOUSE VOL.2 DJ and producer Steve Porter, known for being the youngest to sign up for The Collection Agency, has thrown his second rendition of the Porterhouse series. Playing with electronic sounds since the age of sixteen, Steve has released over seventy singles and twenty-eight remixes under his name and a few different aliases. He’s known very sparsely around the globe for killer tracks and smooth skills behind the decks … although I get the feeling it’s courtesy of Ableton Live. (This program mixes the tracks for you without any skill of having to beat-match etc.) The double CD features many big tracks with famous names such as Plump DJs, Sucker DJs, Slyde, Rogue Element, Disconnection, CPM and many more. With a style consisting of a mixture of breaks, hard disco and techno, CD 1 ultimately smashes through twenty-eight tracks, which can make the mix a bit full-on, considering that once your mind is set on a particular track, it’ll be gone within sixty seconds of enjoying it. I must admit, there are some great tracks selected, but not enough of the track to enjoy it thoroughly. For me, CD 2 has more of an edge towards its sound. With a tougher blend of tracks, it’s suitable for a peak-time environment, yet it still does have a lingering appearance of prog tracks. I enjoyed this CD, yet originally thought Steve was a wizard on the decks until it really showed Ableton’s true colours. Nonetheless, there’s some fresh tracks worth checking out!

LOOP DREAMS A legendary Australian hip hop/breaks DJ and producer, Regal has been baking up smooth grooves and mean breaks for over two decades, supporting acts like Afrika Bambaataa and Kool Herc, so it’s hard to imagine that Loop Dreams is actually a debut solo album for the seasoned DJ. Regal’s style is fairly similar to that of fellow Australian breaks veteran Katalyst, but a little more jazzy. The tracks have more of a lounge style vibe than anything else. The CD is completely instrumental, and has that 60s/70s down-tempo, jazz feel that you might hear alongside slowed down skate videos. The amount of dope breaks and samples Regal has managed to find indicate that he has spent a stupid amount of time with his fingers in dirty, second-hand record crates, and that he has a Cut Chemist sort of sixth sense for picking good vinyl. My favourite track is The Village Calling, which is six minutes of pure dope-ness, incorporating a Stevie Wonder-style melody with a funky, hip-hop groove.


Some of the big tracks on the CD that everyone can relate to would be Your Body, a mega club classic that seems to get anyone’s hips swinging. Also Lovin’ You has been a killer track, with its lounge-y house groove, driven with a nice melody of vocals and sweet, sensual bass lines. The most recent popular track would be The Power, which is a classic remix produced with TV Rock that has been on the charts in Australia for quite a while. Most tracks consist of smooth bass lines and catchy vocal hooks, with a usual funky sound to keep the track kicking along. If you love a mixture of house music that’s easy listening – perfect for warming up a night with a few cocktails – then you should be Tom Novy’s no.1 fan. Definitely a very soft CD compared to his recent compilations such as Ibiza Sessions, which had a more gritty, dirty sound of electro. Overall, this CD has been produced no better then what Tom Novy could do, which is definitely impressive.

Kaiser Chiefs

“Paul McCartney called; he wanted his singing accent back”. The distinct English voice of Ricky Wilson, (Kaiser Chiefs front man who bought us that irritatingly catchy song I Predict a Riot) is still belting a few more tunes out to grace our ears. It does seem like this music has been released a little too late if you ask me; sounding as though it should have been released back in the 70s or 80s. The Kaiser Chiefs are bringing back the old-school rock our parents would appreciate. The Angry Mob, the second track from their new album, is respectable until the last verse is repeated ten times, heading in the direction of Sting and The Police’s Message In A Bottle. At least we get the picture that they are an angry mob … Nick “Peanut” Baines’ talent is shown significantly in Boxing Champ. His skills on the keyboard make the shortest song one of the better songs on the album. It’s not often that you come across an all-male group with a song titled My Kind Of Guy. Not your typical type of song for guys to produce, but, both instrumentally and lyrically, it’s is a good one.

The choice of songs on their latest release could have been improved in order to have a stronger track list, but don’t get me wrong – it’s still good listening. 5.5/10 Review by Shannon Stevens

10/10 Review by Ryan Farrington

It wouldn’t be a true NIN release without a haunting ballad (it could be argued that these are Reznor’s greatest talent as a songwriter), and closer Zero-Sum is something to behold. Like Right Where It Belongs from his previous album – not to mention his classic Hurt – Trent brings the curtain down on his new opus with a whispering monologue; a piano’s fragile tinkle fortified by the pulses and hisses of synthesised decay. It’s classic NIN, and a fitting end to a unique, surprising release. 9/10

The Red Jumpsuit Apparatus



Snow Patrol


The package comes with a second CD named Something for Nothing which has six extra tracks on it and includes three dope film clips that are definitely work a look.

On Year Zero, the Wish-style speed guitars have taken a backseat to down-tempo, synthesised noise. The album’s pace and tone feels in places like Trent’s coming down from some very intense drugs, but, surprisingly, it doesn’t lose momentum. Like being inside a robot’s brain during a nervous breakdown, Year Zero throbs along, shifting seamlessly from downbeat rock to fuzzy electro beats. Given the entirely imagined subject matter from which the songs are based – which, you could say, is a first for this artist – Reznor’s lyrical scope has shifted from his inner-demons to the world of make-believe, but the abstract nihilism of his writing remains. It’s as moody and complex as his best work.

Shadows Fall My only exposure to Shadows Fall prior to getting this album was the single The Power of I & I – a booming, straight-up thunderstorm of riffs meatier than a Mr. Olympia contest.

Plan B

This album really is a level above the majority of music coming out of the UK right now – all genres included. Everyday is a tragic spoken word track, where B speaks on his depression and describes his train of thought as he attempts to get through each day, and has to be one of the standout tracks for me.

The one-man-army of industrial rock, Trent Reznor, has returned from the disappointingly shallow With Teeth with his take on a “concept album”; for the first time drawing not on the personal, but the imagined. Set in our world fifteen years from now, all is not well in the future ... but then, when envisioned by one of the most talented (and morbid) musicians in alternative music, it couldn’t have been otherwise.

Review By Tom Wilson


Review by pd


It seems the only way possible to not have heard of Snow Patrol is if you live a very sheltered life, minus both television and radio. Gaining extensive airplay due to the band’s hit single Chasing Cars being featured on the American television show Grey’s Anatomy, Snow patrol has quickly become one of the most well known bands to arise from the U.K.

So it has come as some surprise to hear just how much melody is emphasised on this album, and how much it softens the blow of the music. Where a band like Sepultura cracked you across the face with knuckle dusters, the musical fists of Shadows Fall seem, for the most part, nestled inside twelve-ounce boxing gloves.

On first hearing this, you would have thought that 30 Seconds From Mars singer Jared Leto had joined another band. That pop/punk-with-a-hint-of-screamo style is all the rage now by the looks of it, and The Red Jumpsuit Apparatus is a perfect example of this. Their debut album Don’t You Fake It is a strong album for a first release. In Fate’s Hands starts off the album; this emotionally charged song unleashes lead vocalist Ronnie Winters’ extensive song writing and vocal ability.

Hands Open is the big stand-out song on the album, with its explosive drum and bass work at the beginning of the track. However, it does become a little difficult to tell when one song ends and the next one starts on a few occasions, as some of the songs tend to sound rather dull and similar.

I’m far from being against strong melodies in metal – Fear Factory and Strapping Young Lad are two of my favourite bands. But in my mind, the current state of metal - and the overwhelming popularity of metalcore – seems to have proved the old adage that you can have too much of a good thing. And I ate my fill a long time ago. Still, things start improving in the album’s second half; the melodies carry a bit more sincerity, and the riffing – particularly on Just Another Nightmare – is hard-hitting.

As much as the beginning of You Could be Happy sounds like the music from one of those jewelry boxes that nearly every little girl seems to own, it does improve slightly by the end of the track. Martha Wainwrite provides back up vocals on Set Fire to the Third Bar, providing an edge to what would have been quite an undesirable song otherwise.

I’ll admit it – working in music, with metal the way it is today, I’m hard to impress, and so am probably not giving Shadows Fall the credit they deserve for Threads Of Life. I guess it’s just my bad luck that a genre of heavy music I’m getting really sick of – metalcore – doesn’t seem to be in any danger of losing popularity at the moment.

The lyrics tend to get a bit repetitive by the time you have listened to all eleven songs, but the stand out tracks on the album make it worth that trip to the music store.

I just hope that the genre goes the same way as nu metal did. And I hope that when it does, Shadows Fall adopt the same tactic used by the survivors of that genre – innovate, or fade away.

I think the album has the potential to broaden the bands’ career and make them successful on a worldwide scale. Overall, this is an excellent debut album.




Review by Shannon Stevens


Slow and a tad boring for me, Act V, Scene IV: And So It Ends is the last track on the album, and seems as though it was chosen simply to get the track list up (it’s filler, in other words). Cardiff-by-the-Sea is lyrically one of the weaker songs. The repetition of the word “euphoria” began to get on my nerves by the end of the track – I’m not one for hearing the same word repeated to many times throughout one song. From the Last Call is by far the biggest highlight on the album for me. This easy listening track sounds similar to some of The Ataris’ music off their earlier albums.

Review By Shannon Stevens

His new album Who Needs Actions If You Got Words is unreal; from the dope beats (which are all based around guitar riffs created by Plan B himself), setting the emotion and mood for each tracks perfectly, to the rough verbal massacres spat with so much passion.


It’s quite the typical alternative-rock album, with a few decent songs, a few bad songs, and a whole lot of average ones. This just doesn’t have any of those outstanding songs that make you want to listen over and over again. Not Capable Of Love starts the album off on a good note. The impressive vocal work of Kristopher Roe, with his “T-T-T-Take it back” pounding out in the chorus, gives the song the extra energy it requires.

By the time you get to the fifteenth (and final) song on the album, you begin to realise the songs are quite slow and are borderline boring. Unless you’re big on the older style of music, Yours Truly, Angry Mob is probably not for you.

8 love monkeys out of 10

Hailing from East London, brutal rapper Plan B has established a name for himself over the last few years as a nasty young storyteller, whose obscure imagination allows him to speak on the deep scars and awful confessions of the various characters that seep into his tracks.

Nine Inch Nails


Review by Ryan Farrington



The Ataris

Do you ever get the feeling that a band has released a new album just so their fans don’t think that have disappeared into oblivion? Perhaps it’s just me, but that’s the vibe I get from The Ataris’ latest release, Welcome the Night.

Review by pd

The man from Munich, Tom Novy – infamous for many popular tracks that have smashed the charts on a global scale – has a new album on the shelves, consisting of all of his latest and most popular tracks. While he’s known for his mastery behind the decks, this CD certainly shows his professionalism with laid back grooves in the studio.

“Reznor’s lyrical scope has shifted from his inner-demons to the world of make-believe, but the abstract nihilism of his writing remains. It’s as moody and complex as his best work” Tom Wilson 9/10

Personally I don’t usually get into breaks that much, but this one definitely struck a chord for me. I like it!

8 Tech-y Gizmos out of 10

Tom Novy

Nine Inch Nails

By Tom Wilson

“Do you feel like a man, when you push her around?” is blasted out in the chorus of Face Down – one of the songs with quite a serious meaning. Unlike the majority of the songs on the album, Your Guardian Angel starts off reasonably slow, later regaining the typical style of the rest of the album. But the one-and-a-half minutes of complete silence at the end of the track did get annoying for me. [Note to bands: she’s not alone here! – Tom] The track list only states that there are eleven songs on the album, yet as you later find out, there is a nameless bonus track that is, I’m guessing, meant to be one of those cliché hidden songs. It would be interesting to see how The Red Jumpsuit Apparatus go performing live with the mixture of genres that they cover.

Review by Shannon Stevens

The Embers + The Dead Abigails


La Casa

By Tom Wilson

By Felix Blackler

By Felix Blackler

JAMES HOTEL – 24/4/07


SYRUP – 20/04/07

Klaus Heavyweight Hill vs. Dopamine HALO – 24/04/07 By Felix Blackler

Captains Log: Mission Three Battle the Breaks

Captains Log: Mission One Find “3”

From the moment their performance began, The Embers cast a vibe over their growing crowd so thick it was almost tangible; the violin leaping bold and sharp from their dense, moody opening. With a new member playing trumpet – presumably to balance out the absence of Leo – the Embers’ tried-and-true set was like hearing a well-known story told in a different voice. It was fresh, surprising, and above all a relief for those of us concerned that Leo’s temporary departure was going to hurt the band.

We touched down in North Hobart on Friday and weaved through the local inhabitants dining in frivolity. Our mission was to find out this new and elusive “3”. After failing to actually find a “number” and almost been arrested for asking for one, we followed a warm glow and a soothing beat as directed by our fearless leader. We had arrived at our destination; a casual and comfy lounge area, called “3”, behind The Queens Head. Stumbling into the unknown, I had deciphered this relaxed gig is to be a regular on Friday nights, stretching from 5 till midnight, and was a nice change to the often loud and crowded venues ventured on my intergalactic travels in this region. After directing my crew to a reclined position on one of the couches, I took to the bar to communicate with the smiling specimen who proceeded to quench our thirst with a range of cooling ales and spirits. Relaxing in my fashionable spacesuit, it was nice to take a moment to plan our upcoming adventures whilst some minimal yet catchy beats were delivered by some of the local, yet strikingly alien DJs who took to the turntables with zest, variety and general funk.

Captains Log: Mission Two Solve the Case of La Casa. Mission two, and there is unrest in the crew. Samson, the fiery engineer, has been twitching since leaving our last destination. With little known of his condition, the crew doctor orders us to find a dose of La Casa for this deprived individual. I had seen La Casa in my previous travels; this concoction is to be found every Friday night upstairs at Syrup, and is to be approached with an open mind and a satchel of good times. The crew and I touched down to find casualties spilling out on the footpath, with obvious signs of those who have been under La Casa’s spell for years suffering from maniacal grins and blurred memories.

“3” certainly holds its own in North Hobart, offering something different to the trendy creatures wishing for a casual start to the evening, or a soothing beverage after devouring nourishments. Expect to see this Captain passing space-shanties at “3” for many weeks to come.

We climbed our way to the top to find more people pulsating to some solid house tunes, as they greeted their friends for a weekend of debauchery. Samson follows the deep basslines straight to the DJ box, where he makes himself known to the friendly resident DJs Timo and Discotouch. These guys seem to be the source of La Casa, and Samson attempts to bottle the magic from Timo, despite his disgust and inhibitions. The night continues, and Samson is overcome by a high powered dose, destroying the dancefloor with his electric boogaloo from many moons away. The Captain has pinpointed these coordinates and lets his diary know – we shall return, and La Casa shall be remembered for its healing powers, in overcoming the hardships and perils of a week’s adventures.

Clarity Through Identity

The Specimens

Northern Club First Birthday Party

By David Walker

By Adam Ferguson

By Tom Wilson

This was to be their last show for a while; the band now intends to spend the next two months working on their eagerly awaited debut EP. Time will tell whether it is worth the wait. The Abigails’ set is very consistent; so much so that their performance on the night seemed to suffer from it. Each of their songs seemed to bleed into each other, losing distinction – like a smudged drawing. Aside from show-stopper The Anthem – which they delivered with gusto – the set bore few highlights, however well-played it was. I’m hoping that when the time comes to pen some new material, Tassie’s best pop-rock band will make a big push for diversity, and make the songs stand out as much as their consummate performing.

SALOON – 14/4/07

JAMES HOTEL - 21/04/07

Our final mission was to see two of Australia’s toughest breakbeat DJs in a battle of biblical proportions. Dopamine would prove to be a worthy opponent for Klaus, a Breakspoll-winning bassshuddering magician who throws down breaks at an almighty rate. The place was already full as the ringleader warmed up the floor with some solid winter-induced breaks. The captain led the crew to their vantage point, but was not prepared for the layer of talcum powder on the dancefloor to assist in the slide of the highcaliber friendlies here for this battle. Klaus was first – stretching out and then dropping his favourite breakbeat releases of the past few months. The crew was having a blast, but the Captain felt Klaus was throwing overly consistent punches like he has in many previous battles, and was left wanting something more. An hour passed, and Klaus headed to his corner as Dopamine took to the decks, shocking the crowd and Klaus into pure submission with an inventory of new tunes and electro-styled breaks. Like a robot driven to destruction, Dopamine tore Halo apart; the crowd falling with basslines that were short, sharp, and so fresh they hadn’t even been given a use-by date. In the final round, Klaus and Dopamine teamed up in a punch-for-punch set that made all remaining sanity disappear, as Hans the co-pilot removed his spacesuit and proceeded to jump to the front, jiving like a monkey on a sugar high. This was by far one of the biggest nights from two of Australia’s finest, and the Captain believes this battle will be remembered … as soon as we touch back down to reality.


THE OVERVIEW Huge credit goes to the drummer of Indecent Exposure, who looked the liveliest member on stage as he thrashed out and gave the drum kit an absolute pounding. The band wasn’t acknowledging the crowd; mind you, there wasn’t much of an appreciative crowd to feed a vibe off. Ten Foot Tall had a real rocking sound – their vocals were clearer, and the mix seemed cleaner. This act was skilled – belting out an overall rock sound with elements of melodic metal. I recommend anyone seeing this band if you’re into the solid, chunky, riff-driving sound. The Muddy Turds definitely have a distinct sound, comprising of a three-string bass, a pointless extra vocalist, and bizarre out-of-time drumming, possibly due to bad fold-back. Their comedic tunes about mail order brides and wanting to put their “yoo hoo into your woo hoos” – or something to that troubling effect – didn’t have an admiring crowd reaction. [There’s no accounting for taste; long live the Turds! – Tom] Fourth act of the night was four-member alternative band The Overview. At times, the very energetic lead guitarist’s playing didn’t necessary have to go as far as it did – it could have been effective with less composition. The Overview is a band that would sound really good acoustically, as their more ballad-like approach worked for them effectively on the night. The 80s metal-sounding Projection Of Aggression had an appealing response to the small crowd. The drummer could have done some more fills instead of straight playing, and if the whole set was original songs. Apart from that, the band had a great thing going. Check this band out if you like that 80s/ early 90s melodic metal sound.

This wasn’t a gig. This was a party … I was stoked to be seeing the unpretentious, hard and fast sounds of The Specimens for the first time, and even more so to be catching up on the progress of the best classic old-school pub rock band to ever hail from Devonport, Dirty Harry and the Rockets. I was keen to see how DH was going since I last saw them, just after the release of the Hot Lit EP, and I hoped they hadn’t messed with the never-fail formula of down and dirty Aussie rock-and-roll. I was pleased. They’ve shown heaps of improvement, especially Aaron in his vocal delivery. Trent packed in some awesome guitar solos, and, as always, their drummer and youngest member Matt (thirteen, at last check) kicked serious arse on the drums. The Specimens played fast, heavy and loud. They showed no sign of fatigue from their hectic touring schedule for the promotion of their new album Jazz Brutus. From start to finish, these guys just stand and deliver fast, hard, thrashing rock-and-roll. They mainly played their new stuff, of which Locked Out and Jazz Brutus were highlights. Terry just stood up and belted his lungs out for and hour, and the guitar interplay between he and Tim was outstanding. Afterwards Tim handed me a copy of a promo single, which has a hardcore rendition of The Monkeys/ Neil Diamond classic I’m a Believer … I thought I recognised that finale. Check it out.

I got stopped by police on the way to the show … it seems that walking down George St wearing a balaclava is a very effective way of getting attention. Oh well, if they can’t take a joke, fuck them. After being greeted at the door by Princess Leia, I left the cold night behind to immerse myself in the toasty-warm atmosphere of the Northern Club’s first birthday party. Things got off to an interesting start, when the strange beeping in one of the dance tracks turned out to be a fire alarm triggered by a smoke machine (We told you this gig would be hot!). Considering it was a fancy dress party, it’s not surprising that hardly anyone noticed a team of fire-fighters arriving on the front steps in full regalia … on any other day, I would have thought they were strippers. In the main bar, a bustling throng of partygoers jived to the unique sounds of jazz a la Monty, as he worked with a DJ, elegantly punctuating dance music with his improvised trumpeting. It sounded truly extraordinary, particularly when backed up by Modus drummer Anthony on a set of bongo drums. This kind of improvisation and musical fusion is something the Launceston music scene is sorely lacking; get out and see what you can of it, so we might one day have more.

world music band. They had the dancefloor jumping, or, as one person described it, “dancing their tits off!” They certainly could have made their set a lot longer, as they granted the appreciative crowd two encores. Then came the outfit already being described as “destined for world greatness”, Tom Bombadil, the two-member electronic act, doing their 1980s-ish take on techno-funk. Really impressive stuff. Seems Tassie has really taken to electro, with these guys, and The Scientists of Modern Music leading the way. It was during their set that the fire alarm went off – it seemed to be a planned element of their show. No one noticed anything out of the ordinary, and the crowd kept on dancing. Up next was Charles Du Cane, who showed everyone why he is Tassie’s number-one electro-trash cowboy. The final act for the night was the infamous, and talented, Emma Dilemma show. It was one of the best show I’ve seen from Emma. The vibe was right, her delivery strong and engaging, whilst the humour in her show meant that, as always, she didn’t take herself too seriously, and the crowd loved it. Congratulations to the Northern Club for making it to the one year mark. And congratulations to Emma for organising the night; she draws people like a magnet, be they members of the northern arts community, or simply those of us looking for an alternative to mainstream entertainment.

First up, out the back, was Bocamono, an eight piece PAGE 15



Returning The Favour BY TOM WILSON

His name is Rok. Def Rok. How def? Very. Does he rok? Absolutely. RNB Superclub’s DJ of choice, who’s about to launch the new compilation CD at Launceston’s Saloon with MC Jayson, he spoke to me about his methods on the decks. You’re playing the RNB Superclub album launch with MC Jayson. How did you start working with Jayson? Because he’s the main MC for RNB Superclub, and because I’m contracted to them ... that’s how we ended up working together. So how did you get involved with RNB Superclub? It was around 2002; at that time I was just doing gigs around the city – just smaller venues, like bars and the smaller nightclubs. And then I got a chance with RNB Superclub, and it just went from there really. As soon as I got my foot in the door, I took the opportunity! [Laughs] I’ve been with them since 2002, so yeah. So that would be what they were talking about when they said, “Your destiny changed forever in 2002 when the call of a lifetime came.” ... God, that sounds dramatic! Yeah; they’re dramatic words, hey? [Laughs] So what work have you been doing outside of RNB Superclub? Nothing, really. I’m just DJ-ing professionally now; I do that twenty-four-seven. Pretty much just in and out of studios. It’s fun to make beats, producing my own stuff as well. Everything’s surrounded by the music business. So what stuff are you producing?

Just mainly hip-hop beats. But I’ve been delving a bit into electronic stuff as well; electro, even a bit of house and stuff. I’m just experimenting at the moment! [Laughs] So you’re not particularly tied down into one particular genre? Nah, not really. At the moment – like, with DJing – I’m just concentrating on RNB and hip-hop. But when I’m at home and stuff, I listen to all different kinds of music; I’m a fan of all kinds of music. With the electronic stuff, I don’t mind listening to that, so it was just a progression into making it. As a DJ, how do you think your style is unique compared to other DJs who play in your genres? When I DJ, it’s like a show; I don’t just play the music. Like, I’ll use two copies of one song, and I’ll manipulate that song – I chop it up. I might do echo effects, or scratching or sampling from that same song. It’s a different show to other DJs who just stand there and play the song, you know? I try to bring a show to people. So is that just through music, or through physically performing at the decks? Oh yeah; cutting up, scratching, dubbing – just using the turntable the way it was supposed to be used, you know? [Chuckles] Not just playing a song and standing there until it’s finished! Def Rok plays with MC Jayson at the Saloon in Launceston for the “RNB Superclub Volume 6.0” album launch on May 5th. To listen to the full interview, go to


Twisted, But Not Tied BY TOM WILSON

HIP-HOP To use a term like “the next big thing” to describe The Tongue seems like a cliché, despite how true it is. It’s a phrase that has been used so much that it has lost its meaning, so it just won’t do – the man in question is anything but a cliché. “Exciting” is much more fitting. Yet to release his debut album but already on a national tour, with a ground-breaking film clip and several battle contest wins under his belt, things are looking up. We talked about his influences, and how attracting attention on a Sydney train is harder than it sounds ... What have you been up to recently? Ah, I’ve been working on an album … on the album; the debut album. It’s supposed to be coming out September. Yeah, it’s going to be good … It’s got … I’m not going to really name names, but people from the US and people from the UK. It’s got a few fun guests on there, as well as some of the other Elefant Traks guys. I noticed with great pleasure that one of the influences you list online is the late, great Bill Hicks [world-revered, acid-tongued stand-up comic/social commentator who died in 1994]. What was it about him that struck a chord with you? Well, Bill Hicks and I share an understanding … Have you seen his stand-up? His stand-up DVD? Oh yes … hell yeah. There’s a bit at the end where he goes, “Right – we have enough money. The amount of military spending, that we spend on weapons, is enough to feed and shelter the world’s population.” All this kind of thing. He goes off on his rants, and we share a lot of views


about drugs and things like that. But yeah – I think he’s just got a lot of great philosophies, and he told it how it was. I think that’s something I look for with any musician, really; someone who can tell it like it is in an entertaining way. And he was certainly the best at that. I just watched the video for The Punch. I was shocked to see that you’re not actually a person – you’re actually a cartoon character. I’m not actually a cartoon character in real life. [Shocked gasp] Really? Yeah. It is shocking. That was a fun clip to do. It kind of came about in a back-to-front kind of way. My friend works for this production company, called Radical Media. And he had been working on films and ads for a few years. He heard about this animation technology where it sort of locks onto colours. So in the clip where I’m animated, in reality, my face was painted bright, fluoro yellow – my face and neck. I was wearing a green swimming cap, purple washing up gloves, and a red jumpsuit. That gets loaded onto the computer, and the colours lock onto that. You would have looked great getting on that train wearing purple gloves. The actual amazing part … we shot it in one day, and what really amazed us all was how many people didn’t react to me at all. The center of Sydney is just like that – people are desensitised. But yeah, I’d seriously get on, looking like a total freak, and people wouldn’t bat an eyelid. It’s great. ONLINE: I make the extremely bad move of taking on The Tongue in a rap battle, and, funnily enough, get my arse kicked. To listen (and laugh at me), go to The Tongue hits Tassie with Astronomy Class and Mista Savona at the Republic Bar on the 19th of May, and the Lewisham Tavern on the 20th.



Ascent Of The Axesent BY TOM WILSON



“The Hard Road” Restrung

Who have you worked with so far? Production-wise, not a whole lot. As far as MCing, I’ve worked with Mynse, Cejas, Oxcyde, Projekt, Yamane (Japan), Genki One (Japan) and a few other international small-scale MCs. What projects have you been working on recently? Right now I’m working on my EP/LP; haven’t decided what it will be yet. [Laughs] I’ve got a ton of songs to sift through, and more to come before [the] release. [It] should be dropping later this year. [I’m] also working on an album for Logic Terror, that consists of me and another local MC called Projekt.

In these times, with technology allowing artists to put together albums using nothing but a ProTools rig and their imagination, you never know just where you’re going to find new talent. Things aren’t so high-profile anymore. The next big thing in the music world could well be sitting next to you as you read this now. Hovering amid the north’s burgeoning hiphop scene is one man we’ve been told to expect big things from; a new blip on our radar by the name of Axesent, who spoke to me recently. How did you get into doing production? I’ve been into hip-hop since around 1988, but mostly at a listening level. It was when fellow Launcestonian Oxcyde dropped his first EP that I got into production on a small scale; basically for my own MCing etc.

What kind of routine do you have when producing? How long do projects usually take you? When producing my own songs, it can sometimes take a couple of days, up to a couple of months … depending on alcohol consumption and spare time. [Laughs] I will usually just go through a heap of samples – whatever goes with the mood I’m in – and work from there. Just a basic set up on a home PC ... no fancy stuff here. [Laughs] You’re based in Beaconsfield; in what ways is this a good and a bad thing for you as a musician? Doesn’t really effect me that much – I spend 80% of my time in Launnie anyway. I also work in Launnie, and much of my recording is done in the Altrueistic studios. Who do you see as being on the top of the heap in Tasmania, production-wise? Why? That’s a hard one! So many diverse styles, all differing … Oz hip-hop has such a broad range of styles, but I would have to say peeps like Mynse, Mizari, Crytearia, and guys that have headed to the mainland, like Oxcyde and Cejas. What gigs do you have lined up for the near future? No gigs at present – I’m basically the type of person to write and master songs, and just push the music through word-of-mouth or internet. And a lot of my music is with international artists from Europe and Japan, so it makes [doing] live gigs a bit hard.

Hilltop Hoods have recently returned to the studio to work on their new album “The Hard Road Restrung”, which has seen them elevate to another level of creativity. Their Platinum selling #1 album “The Hard Road” has been re-composed with the assistance of arranger Jamie Messenger, to combine with the Adelaide Symphony Orchestra (ASO). To coincide with this innovative release, Hilltop Hoods are pleased to announce that they will be launching “The Hard Road Restrung” with a one-off, unique performance at Adelaide Entertainment Centre on Saturday the 12th of May, performing live with a 31-piece ASO and conducted by Benjamin Northey Presented by Nova 919, Adelaide Scene & Onion/ Rip It Up, this exclusive event will be the only Hilltop Hoods performance in South Australia for 2007.

Hilltop Hoods are renowned for their onstage energy and incomparable live sets, while ASO have long been recognised for their superb artistry and youthful vitality. The union of these two forces live onstage will reveal a bold, dynamic experiment in combining hip-hop and an orchestra – a feat rarely ventured. The ASO excels as a dynamic, versatile orchestra and has performed with such artists as Placido Domingo, Luciano Pavarotti, Shirley Bassey, Tony Bennett, James Morrison, Dionne Warwick , Andrea Bocelli, KD Lang and Ben Folds, as well as conducting ground-breaking tours to China, Hong Kong, Korea and Singapore. This launch supported by Plutonic, with and Trials of night.

show extravaganza will also be fellow Obese label mates Muph & DJs Reflux and Shep spinning tunes Funkoars fame will be hosting the

This concert is certain to be history in the making, and a milestone event not to be missed by any lover of live music.



His Own Worst Critic

How To Break Bones And Influence People


Tim Rogers sounds unhappy. His voice on the line is quiet. He speaks slowly, and it’s soon very clear that he’s got a lot on his mind. After his embarrassing, liquorsoaked fall from grace on the stage of the Falls Festival three years ago, the You Am I frontman spoke about his struggles with personal demons, and, after spending time with him on the phone ahead of his acoustic visit, it seems that they haven’t quite been conquered yet. Hi [Tim], how are you? Oh … about six-foot-three! How are you? Ah … gifted linguistically, but I’m inept mechanically … [Long pause] Good lord … do you have a boyfriend, young man? No, I don’t. Are you looking for one? Well, if you’re gifted linguistically … So what’s happening with your musical career at the moment, Tim? What’s turning you on, in terms of working as a musician? Ah … too much. Absolutely too much. I feel like there’s a million things to do, all of which are very challenging to my meager talents. I’m going to spend the rest of my time trying to explore them, and to try and do something good with my life, and with the opportunities that I’ve been given to make music. I’m no longer going to … [Sighs] I don’t know … just not try … [mumbles] Sorry, what was that? You’re not going to … ? I’m just going to spend the rest of my time trying my very hardest to do things that are worth listening to. OK. But I’m sure that’s what you’ve been doing for the other part of your career, isn’t it? Well, you know, you just kind of wake up one morning, or hear something, that changes your way of thinking; you look back on stuff that you’ve done

and think, “I think I took it a little bit easy” … Not necessarily to make thirteen different chords every five seconds, but just … there’s a lot that you can explore, and learn from. And I think that, playing with different people over the last couple of years, it’s gotten to a point where I really want to jump in there myself, rather than relying on other people to ... embellish in that kind of folk music that I do ... try to do it myself. [I will be] Learning a little bit, trying a little bit harder. Was there something that was the catalyst for this new way of looking at things? A couple of days of sobriety. Just a couple? That’s all it takes. No ... just a cumulative thing, over time. Just realising that I was just rolling along a little bit; not really pushing myself. I understand. I’d have to say that my biggest character flaw is complacency, so ... [Chuckles] It’s part of the national character, sir. You think so? Well, I’ve been told that. But I don’t think a day has gone by where I don’t meet someone who just has a real zest – whether it’s for horse breeding, or the law of the land, or with music, or with art. I think all it takes is taking the time to read a good book ... or a bad book, or listen to some music that’s [outside] of the stuff that you normally listen to ... Often, some Eastern-African music, and some psychedelic music from regions ... As an artist, I believe that one needs constant input, to produce new material. Well, you can forget that. For a long period, I thought, “I’m just going to get as deranged as possible”, and that’s one way of doing it. But then it just becomes ... you develop habits – not just in the traditional sense, but in ways of working.


A lot of bands lament about “crap gigs”; complaining that it sounded shit, or there was hardly anyone in the audience … you know what I’m talking about. But unfortunately, they don’t know the meaning of crap gig. They’re not even close. Because unless they’ve managed to break bones live on stage at a Foo Fighters arena show, they’ve really got nothing on Dan, drummer of threepiece rock machine The Nation Blue. He told me the story ahead of the band’s Hobart show. In reading about the band, a lot has been said [in press materials] about “breaking bones”. What’s the story behind this? Well, I guess … [Laughs] It is what it says! I guess the most obvious story of that is when we played with the Foo Fighters; I guess our first real, big stadium show we’d ever done … big, huge opportunity … We did the national tour, and the first show of the tour was up in Brisbane, at the Brisbane Entertainment Centre … [During] The first song, Tom’s guitar stopped working. He sorted that out. Second song, I kicked all my pedals off … the leads out of the pedals by accident. And then, the third song – thinking we were all sweet – I sort of turned funnily … my knee went the other way, and dislocated, and went behind the back of my knee … and I went

down like a piece of shit … and then went on and finished the set laying on the ground with my leg out! So that’s one of the main parts … Tom’s head is regularly bleeding. There’s often many different types of injuries … that’s probably where the mention of “broken bones” comes from! [Laughs] Now, you released “Protest Songs” last month. How is it being received? It’s been received really well, as far as reviews and stuff like that. I guess it’s always hard to judge the quantity of that … based on whether people will always write good reviews so that the record labels keep advertising in the magazines and stuff like that. I guess the stuff that we take away is when it’s a bit more personal … when people come up to us at a show and tell us what they think about the record. They put it on and get really excited … I guess, from that perspective, it’s cool. Not too many people have come up telling us that they wasted twenty dollars, and that it’s a piece of shit! [Laughs] That’s been really cool … but inevitably, a lot of people still want to hear songs off the first record. But it’s been cool. We’re really proud of it, so it’s great that we got to do something that was a little bit more relaxed and different to the process of how we usually make things. Essentially, it was a pleasure to make, and the end result seems to be, in my eyes, the best-received thing we’ve done. I’m just going to sneeze … [A-CHOO!] Bless you! The Nation Blue play the Republic Bar in Hobart on May 18th. To listen to the entire interview, go to www.sauce.

So is this new perspective linked to the title of your new tour – the “Gentleman’s Agreement” tour? ... No, it’s more just a title that we had. It was actually the title of a tour that Dallas Crane and You Am I were going to do overseas, and then that fell through ... Lewis and I thought, “Gentlemen ... one far more attractive than the other”. And we came to this agreement that we were going to throw ourselves in the deep end. It was like, “Yes! Let’s hold hands and go off into that sunset – and possibly be bottled off within five minutes together”. But we’re going to do it together. That’s where that all comes from. Tim Rogers plays Hobart’s Republic Bar on the 20th of May. To listen to the entire interview, go to www.






The Australian Film Commission’s Film Development division have announced that the closing date for STRAND A funding has been delayed from the 15th of June until late July 2007. Film Development Funding guidelines are revised annually. Proposed changes to 2007/2008 funding guidelines include some exciting revisions that will increase funding opportunities for STRAND A applicants. These proposed guideline revisions are currently being circulated to the various industry guilds for comment. AFC’s Film Development apologises to potential STRAND A applicants for any inconvenience caused. Applicants can liaise with their guild for further information about the guideline changes and should check the AFC website at the end of June for the final round closing date. Further queries can be directed to Film Development Administration Officers on 1800 226 615 or 1800 338 430. Matt Dillon has directed the video for the first Dinosaur Jr single to be taken from their new album “Beyond” (which was released on April 28th). Old friend, music aficionado, and film star, Matt’s vision was to lace the band’s history into a clip that alluded to the past, while showing the band doing what they do best – playing live … today. The resulting clip illustrates the understated strength that Dinosaur Jr has always personified. After the video’s theme was dreamed up, a set was needed … and what other setting would serve better than the basement of brethren-iconoclasts Sonic Youth? None. So it was. The new video is peppered with the bands history, but most importantly it acts as a visual platform for the band’s first new single since the Bug LP was released in 1988. If nothing else this video will reintroduce the band to the world and will illustrate once and for all: Dinosaur Jr. is, and always will be, J, Lou and Murph…

CALLING FOR CANNES 2007 ATTENDEES The Australian Film Commission (AFC) will once again be offering a range of services and initiatives for Australians during the 2007 Cannes Film Festival. If you, or any of your colleagues, are planning to attend Cannes this year, we ask that you fill in the details below and send them to Clare Strong at as soon as possible. This will ensure you are included in any Australian activities and events being held.


Name, Title, Company, Address of company (in Australia), Phone (in Australia),Mobile (in Australia) Email, Dates in Cannes, Mobile in Cannes (if different from above)

Aussies Prove Their Worth In U.S.



All those people who are considering submitting applications for the recently announced Screen Tasmania funding rounds please note that there are new versions of the application forms now available to download from the website. Please make sure that you use the latest version of the forms when submitting your application for funding. The new forms can be found via links on the following page:

JTV DOCS2 DEADLINE The deadline for ABC TV’s “jtv docs2” initiative is approaching.

What is the key to the success of an artist? Them alone, or the people around them? With praise from both “Rolling Stone” and “NME” under their belt – not to mention a tour supporting The Killers – the Howling Bells have enjoyed a success they couldn’t have deserved more. But what led to that success? When speaking to Juanita Stein, I wanted to find out. So whereabouts are you today? Right now, I am sitting in a tour bus. We’ve got two days off, and I decided to stay right here, in a place called Jacksonville in Florida. How many dates have you got left there with The Killers? Well, we finished The Killers tour two nights ago, and last night was the first solo show; we’ve got four solo shows, and we end in New York on the 27th. Is life a little bit surreal for you at the moment with the amount of success that the band’s enjoying? You know, I think it’s only surreal when you extract yourself; when you have a moment to yourself, or if you go back home to Sydney and put it all in perspective. But whilst you’re in the midst of doing touring like this, it becomes very, very normal. Like I said – you only realise how extraordinary the lifestyle is when you’re removed from it. You’ve had some amazing reviews from some very respected music publications – Rolling Stone and NME. They must give you a lot of encouragement. They do; they give you encouragement … I guess it’s inspiring, in the sense that you take such a gamble to make the art that you make, and it’s always really encouraging, like you say, when you get some kind of … I don’t want to say “confirmation”, but you get people sharing, obviously connecting with the art that you’re making. And that’s a wonderful thing, because you never know; you have no idea when you’re making a record, or any kind of creative process – you never know how people are going to react. And it’s always wonderful when it’s positive. You’ve got some really well-credentialed people around you, and involved in your art – there’s Ken Nelson. Also Grant Thomas, who’s managing you. These are some of the biggies of the industry, and you guys have got them helping you along the way. That must be, at least, incredibly fortunate … Yeah. But it’s not without reason. I mean … The reason Grant Thomas started working with us was because I came to him for help when I wanted to start Howling Bells, and kind of ease ourselves out of Waikiki, our old band. And I remember coming to him, and he kind of helped us establish ourselves. But there’s no way he would have done that had he not believed in the music that we were making, and the demos we were writing at the time. And, of course, with Ken Nelson, there was no way in hell he would have made the record, had he not have really connected with the music we were making. So on the one hand we’ve very, very fortunate, and we’re constantly aware of certain fortunate positions that we’re in. And on the other hand, you kind of feel like … if you make music that is incredibly strong and confident, and personal, you hope that those kinds of people will pick up on that, and I think they did. And that’s great. To listen to the full interview, go to


ABC TV are looking for fresh approaches to halfhour and one-hour documentaries that explore contemporary issues, ideas and culture through the eyes of generations X, Y and Z. jtv docs are stories from across Australia, presented through the eyes of, and with the voices of independent filmmakers, under the age of 35. ABC TV and the AFC have committed a total of $300,000 to this initiative. The closing date for submissions is April 30, 2007. For information on funding, please visit http://abc.

SHORT FILM FESTIVAL ADVICE So … you’ve just made a fantastic short film and you want to start entering it into festivals … BUT St Kilda or Melbourne Film Festivals – both want a premiere, so which first? You’re confused by competitive Dendy Awards and non-competitive Sydney Film Festival? Do you have a chance at Telluride? You want to enter Cannes/Berlin/Venice, but don’t have a 35mm film print – do you tell them or not? Which festivals look for Australian entries? What is the difference between Sundance, Slamdance, Moondance and Raindance? What are festival prizes worth? Want to know the answers? Then this seminar is for you … It has lots of useful information for filmmakers who have something in the can or projects in development. This is a great opportunity, and may not be repeated any time soon. Hobart 5th May, 2pm - 4.30pm. TMAG

Royal Society Room,

Launceston 6th May, 2pm - 4.30pm. Auditorium, QVMAG at Inveresk For more information please contact Edwina Morris, AFTRS Tasmania, infotas@aftrs.

STATE CINEMA - Whats’s On 375 Elizabeth St, North Hobart 6234 6318 Infamous Coming Soon USA 2006 M 118 minutes Sex, lies, intrigue, betrayal, egotism, gossip and heartache. Infamous follows the dangerous quest for artistic greatness chosen by author Truman Capote, as he travels to Kansas with Nelle Harper Lee to investigate the brutal murder of the Clutter family, the story that inspired his masterpiece obsession, In Cold Blood. Throughout this six-year journey, the eccentric, and cunning Capote of both dark obsession and frivolous high society is definitively revealed. A stellar cast including Toby Jones, Sandra Bullock, Gwyneth Paltrow and Daniel Craig.

The Science of Sleep Coming Soon FRANCE 2006 M 106 minutes A playful romantic fantasy from director Michel Gondry. Set inside the topsy-turvy brain of Stéphane (Gael Garcia Bernal), an eccentric young man whose dreams constantly invade his waking life. While slumbering, he is the charismatic host of Stéphane TV, expounding on the science of sleep. In real life, he works at a Parisian calendar publisher and pines for the girl in the apartment across the hall. A whimsical trip into a cut-and-paste wonderland from the maker of The Eternal Sunshine of the Spotless Mind.

The Page Turner Coming Soon FRANCE 2006 PG 81 minutes A masterfully crafted work of subtle, unsettling suspense, The Page Turner, (La tourneuse de pages) is the story of two pianists whose lives become inexorably intertwined. During her entrance exam for a music conservatory, young Melanie is distracted when the chairwoman of the jury – a well-known concert pianist – signs an autograph for a fan. Melanie fails the exam and gives up the piano forever. Ten years later, Melanie volunteers to look after her boss’ son during a business trip. She moves into his home and meets the boy’s mother, Ariane – the same renowned pianist who caused her to give up music. Soon Ariane discovers Melanie’s musical sensitivity and asks her to become her page turner – unaware of Melanie’s vengeful motives.

Orchestra Seats Coming Soon FRANCE 2007 M 101 minutes Fauteuils D’Orchestre ... A heart-warming and thoughtprovoking tale of a woman’s quest to find her place within a city of opportunities. Jessica arrives in Paris where she finds a job as a waitress in a bar next to a theatre. She will meet a pianist, a famous actress and a great art collector, and begin to have her own dreams of fame ... Orchestra Seats is directed by Danièle Thompson and stars Cécile De France (The Singer), Valérie Lemercier, Albert Dupontel, and Sydney Pollack in an amusing cameo role.


“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

Sat 12th Hook

n Sling (Syd) Friday 18th Halo Drum n Bass Sessions feat. Patch & MPK (Adl) Sat 19th May Steve Hill (Syd) Sat 26th May Phil Smart (Melb) HALO - Purdys Mart (Off Collins)

Gallantry is back.



Cutting-Edge Examination Of Interrogation BY DAVE WILLIAMS

SPOTLIGHT Stompin Dance Workshop Emma Porteus will be holding contemporary dance classes at the Stompin studio in Launceston. The classes will run on Tuesday nights, 6pm – 7pm, from the 17th of April to the 29th of May (excluding 8th of May), open to all ages from 13 – 35. Stompin’s SHOP Quadrant Mall, Launceston $50 for six classes Book now: (03) 6334 3802 or sarah@ www.stompin. net

John Bolton Theatre Workshop FESTIVAL OF VOICES HOBART 5TH-8TH JULY 2007

For the third year in a row, the Festival of Voices presents a theatre stream for those interested in performance and creativity. This year, experience the creative talent of exceptional theatre director, John Bolton, as he directs you through Boccaccio’s masterful piece, The Decameron. Using a mixture of techniques including mime, pantomime and melodrama, John’s extensive teaching experiences will allow participants to explore the extraordinary characters that these rich and lusty stories offer. For more workshop details and information on dates, cost and bookings please visit www.


…We’re able to really show,

hopefully, real violence …

For those of you, like me, who are sick of perpetual productions of “The Merchant Of Venice”, and are crying out for contemporary theatre which is original, challenging and politically controversial, our Christmases have all come at once with the upcoming production of “Operation” to be presented by IS Theatre. I spoke with co-director Martyn Coutts about how the play deals with the issues of detention, interrogation, and rendition. So can you give me a brief synopsis of what “Operation” is all about? Yeah, sure. Basically, the narrative is really simple; it’s basically a show about an interrogator, who’s interrogating a prisoner. The interrogator is Sam – the other main person in Blood Policy – and the prisoner is like a life-size puppet. And basically, as he interrogates the prisoner … it’s all about him gathering information about the puppet, and basically, as he interrogates the puppet, he uses a scalpel to cut the prisoner open, and pull small puppets and objects from inside the body. And then those small puppets and objects are used to tell the story. This sounds like it’s a really topical production, considering the Guantanamo Bay situation. Yeah. It definitely grew out [of that]. This show’s now a couple of years old, because we developed it through the Next Wave Festival in 2006 here in Melbourne, and it was definitely in the public eye at that stage, you know? Lots of people had been taken to Guantanamo Bay, but also had been taken to third countries on these flights, called “Rendition Flights”, which meant that they were taken to secret CIA prisons, beaten up, and then taken on to Guantanamo Bay. It was kind of the “in between”, between the country they were taken from, and the country that they were going to, which was Guantanamo Bay. And that was because torture was no illegal in those countries. Yeah, exactly. And, you know, one of those countries was Egypt. And, you know, Mamdouh Habib, who went to Guantanamo Bay but was released; he talked about going to a third country, which he thought was Egypt, but he wasn’t sure. So yeah, it is quite topical, and now that there’s a lot of pressure in getting David Hicks out of there, it also has a new relevance [which has] come into the show as well, which is great. And I’ve read that “Operation” employs “innovative technologies and staging”. What is that referring to? Basically, the show uses a life-size – human-size


– puppet, but then also uses quite small puppets, which actually come out of the big puppet. And these puppets are a little bit bigger than your hand. So in order for an audience to see those things, the interrogator has a small wireless camera attached to a medical head-torch that he’s wearing, and that camera is live-feeding the video back to a screen that’s actually on stage. So all of the very small detail that happens in the small puppetry can actually be seen through that camera as the performer looks at them, and then gets fed back to a screen that’s at the back of the stage. What advantages are there to using puppets in these roles, as opposed to human actors? Well, in the way that we’ve approached it, we actually cut the big puppet open, which can’t really be done with a person. So we’re able to really show, hopefully, real violence, because the main characters on stage, that we’re being violent against, are actually not people. So it can actually be real – as real as it can be. That’s something that I think has been lost from the debate in the media about David Hicks and that sort of thing; saying, “Well, he was a terrorist” and that kind of thing. We don’t know what went on there, and we don’t know what kind of things happened to him. So it’s kind of trying to open up that very personal thing that happens to a prisoner, where you don’t know what happened to them, and you don’t know how they’ve been damaged by what’s gone on. So it’s very much about that personal story. What message or feelings or thoughts would you like the audience to take away from the production after watching “Operation”? Umm … I guess … we don’t want to ram anything down people’s throats. I think that the left of politics has a very clear view of what America has been doing in that regard. And I think the right also has a very clear view that these people are Muslim extremists or whatever. But I think we’re trying to tread the middle ground, where we’re saying, “We don’t really want to comment on it, but we want to show how the very smallest person, in the very largest war, what their journey is through that war.” And, yeah, how the individual feels, and how that individual thinks, throughout that larger war, is what we’d really like people to take away from this. Because we really are telling a story of one interrogator and one prisoner, and that resonates across the whole of the war. But it’s very much about a personal, individual story. So I think the audience will really take away a very personal and very intimate view of what’s happening. Because you see this puppet up so close, because of the camera, you really do get a very intimate view of what’s going on. “Operation” runs from the 15th to the 19th of May at Backspace Theatre in Hobart (behind the Theatre Royal).


1 You would rather ram another car off the road than let it merge in front of you. 1 Anywhere that is more than a five-minute drive from your home is considered “too far away” and if you can’t park right out front of your destination, you’ll do laps of the block until a spot becomes available. 1 You live in Launceston and think Hobart is a cold, boring, rainy hole full of latte-sipping wankers and public servants – but you’ve only been there twice. 1 You live in Hobart and think Launceston is a cold, boring, polluted hole full of rednecks and bogans – but you’ve only been there twice. 1 You live in Burnie or Devonport and think people from Hobart and Launceston should stop their whining because frankly you’d rather live in either place than Burnie/Devonport. 1 It is considered a disgrace to your family to drink anything other than your local beer – Boag’s in the north and Cascade in the south. 1 You’ve visited Sydney or Melbourne and some smartarse at a hotel or business has asked to see your passport. 1 You begin your answer to any question with ‘Yeah, nah,’ no matter whether you’re answering in the affirmative, negative or otherwise: “You going to the pub tonight?”, “Yeah, nah, I thought I’d check it out later on...” 1 You’ve ever left the house in the morning wearing a coat, scarf, hat and sunglasses and returned home in the afternoon cold, wet and sunburnt. 1 You or someone in your family owns a shack at a beach. 1 You’re only six degrees of separation from Crown Princess Mary of Denmark. 1 You know how to pronounce Launceston as “Lonseston” and Glenorchy as “Glenorky”. 1 You can easily identify five different subspecies of bogan: The suburban bogan, the rural bogan, Bridgewater/ Gagebrook bogan, North West coast bogan and the Ravo (Launceston) bogan. 1 You complain loudly about your local newspaper being full of rubbish, but believe every published word of it as if it were gospel. 1 You’ve had to explain to someone that yes, Tasmanian Devils are real but no, they don’t spin. 1 The last Tasmanian Devil you saw was roadkill. 1 You live in a city and the tap water is actually drinkable. 1 Mainlanders complain that you talk too fast, even though they make jokes about you being too slow. 1 You whinge about the smog but there’s no way in hell you’re going to stop using your wood-heater. 1 Beer comes in pots or pints – not midis or handles, and only wankers ask for schooners. 1 The pub is a perfectly acceptable place to take someone for a first date. 1 The Falls Festival is the single most important date on your social calendar and it is perfectly acceptable to miss weddings and funerals if you have tickets. 1 You’ve gone on holidays to the Gold Coast and spent every day sitting in the shade to get away from the heat. 1 You know how to pronounce Clarendon Vale as two syllables. 1 The only thing you can think of when leaving a nightclub at 4am is “Mykonos” or “Real Pizzeria”.






HALO 3 – XBOX 360


Civil & Criminal Law

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


ARIES If you were lucky enough to have jumped through the hoops of Bungie’s “Rule of Three” procedure for betatesting signup, you will undoubtedly be aware that May 16th is the date that said testing begins, ensuring many “n00bs” the world over get “pwn3d” for a third time in the legendary Halo franchise. Before the end of 2007, Bungie promises that Halo 3 will be flying off shelves everywhere, so you too can start limbering up your itchy, itchy trigger finger for some more first-person shooting antics with Master Chief and Cortana. But this time, it’s only for the next-gen crowd – those of you still playing on the ageing hardware of the original X-Box need not apply. The third foray into Halo sees Master Chief somewhere in Africa as the Covenant tidily invades the Earth. All kinds of next-gen marketing wankery is assured, including “High Dynamic Range” (HDR), real-time reflections depth of field, real-time shadows and so forth. The most exciting prospect, however, will be the ability to record the action and send clips to your buddies, which should make the guys who produce the exceptionally funny Halo “machinema”, Red vs. Blue extremely happy. New weapons and gameplay physics should all add up to a game that may well be the reason I plonk some dosh down for an X-Box 360.


Scary Aries, quite contrary, You smell like Mariah Carey.

TAURUS You da bull. You da man. Have a pull. Have a can.

GEMINI The sexy twins inside your head Are sniffing glue with Mr Ed

CANCER Move house. Change jobs. Buy a wig and hide. The rest of the zodiac is looking for you. Who said you didn’t have to rhyme?

Anyone Know Any Royalty?

LEO Pussy cat, pussy cat, where have you been? Snortin’ lines off a zebra and making a scene.


In a recent interview, Mista Savona spilled the beans on “Melbourne Meets Kingston”; the challenges, the rewards, and why he decided to make it in Jamaica … By the way, anyone know any rich benefactors? How has your album been received so far? What kind of feedback have you received? Yeah, the response has been quite amazing, particularly at first from the reggae and dancehall heads who love it. But then word has spread; radio is all over it here, and I’m hearing that lots of crew are raving about it who don’t necessarily normally get into this kind of music. It’s had some ridiculously good reviews; JJJ have done a feature on it. It’s been album of the week on lots of independent stations, so, yeah, hopefully more and more people will get to hear about it. How long was “Melbourne Meets Kingston” in production? Well, pretty much my whole life! Nah, just the last three years or so. I was in Jamaica in July 2004 when most of the vocals were laid down over my beats and instrumentals. I knew I had some pure gold, so when I got back to Oz, I really spent a good amount of time arranging and producing the tracks, making sure I coaxed the best out of each song. Also, I wrote some new instrumentals and got some great players like Nicki Bomba, the guys from Rootbound System, and the horns from The Red Eyes into the studio to do their thing. Really, it’s the first album I’ve made and can sit back, listen to and there’s nothing I want to change or fix or re-do ... and I know that’s a rare, rare thing, so I’m really glad I spent the time on it, ya know? Why did you decide to record it in Jamaica? The skills, the vibe, the vocals! It’s mad over there – music is everywhere; it’s the pulse of the nation, and the competition is so strong that the talent is just astonishing. This is my third solo release, and I knew that, if I wanted the real thing, I needed to get to Jamaica. The album blends roots, reggae, dancehall, hip-hop and some middle eastern and Indian flavours, it’s a real mash up of styles and I knew that the Jamaican vocalists I wanted to hook up – crew like Anthony B, Lisa Dainjah, Determine, Stevie Culture and others – would just rip this stuff up and take it to the next level. And they did, and some of the vocal performances still give me shivers.

VIRGO If you have a burning bush It’s time to take it up the toosh

LIBRA Poke it up and pull it out, That’s what this month’s all about.

So, you’ve got a very expensive games machine – or a very inexpensive HD Blu-Ray player, depending on what you use your PS3 for. What else is missing from this equation? Of course, the next-generation iteration of the Playstation EyeToy! Now all the world can watch you gazing at your screen in slack-jawed worship of the hi-definition gaming experience of PS3. Dropping the “toy” part of the name – because at just under a grand, the PS3 is definitely not for children – Sony boasts that its next-gen peripheral includes:

SCORPIO You’re a thing on a sting, And the bling on the ring.

A sophisticated microphone with the ability to reduce background noise and focus on the spoken word for smoother, more accurate speech recognition and transfer.

SAGITTARIUS Sadgie Sadgie, wakey wakey Hands off vadgie, grab a snaky.

The ability to capture videos and audio clips directly to your PS3’s hard disk drive. Engineered to perform well even in low-light conditions. A range of different capturing modes, including slow motion and time-lapse. Faster frame rate for improved tracking, responsiveness and smoothness.

CAPRICORN Capricorn Crack a horn Kiss the sun Embrace the dawn

Two-position zoom lens for close-up and full body options. A range of eye-catching visual effects to apply to photos and videos.

What were some of the challenges in making this album? Hmm … I guess one challenge is putting out reggae and dancehall in a country that’s not had too much exposure to these genres in their raw form – there’s just not a history of AfroAmerican or Caribbean culture here. At the same time, plenty of peeps are hungry for new sounds with some vibe and originality, and hopefully this album will open them up to a whole amazing world of music they didn’t know existed. The other challenge was financial – for an independent artist getting to Jamaica and spending a month in recording studios, then back to Australia to mix the whole thing in the country’s best studios and get it released ... not easy. So I’m looking for a rich benefactor, preferably royalty. Know anyone?

Bundled with EyeCreate™ editing software, which allows users to save and edit photos, video and audio clips.

Afraid not, but don’t fret. Mista Savona plays the Republic Bar in Hobart on the 19th of May, and the Lewisham Tavern on the 20th.

The Playstation Eye is scheduled for a winter release in Australia.

Furthermore, we’re assured that the camera has four times the resolution, twice the framerate, and double the sensitivity of its predecessor. This should ensure that you’ll look four times dorkier as you once again plonk down double the cash needed for this latest addition to your in-home entertainment megalopolis.

AQUARIUS Throw down your bucket Pick up your spoon Pull down your pants And flash to the moon

PISCES Pisce, Pisce, try be nicey Crabs are bad but eels are spicy.


254 Mount St Upper Burnie 7320


Jazz Club '07

Viktor Zappner Swingtet

BEC 22 What do you do for dollars? Waitress / Nurse What’s on your pod right now? The Knife, Girl Talk, Shapeshifter and lots of old school stuff. Tell us about the coolest item of clothing you bought recently? My bright blue maternity dress from Vinnies! It has a frilly collar with flowers on it and it’s cool because you can wear it with waist belts! What’s the best thing about winter in Tassie? Dressing up in boots, scarves, hats and warm winter woolies!

MONIQUE 31 How do you make your dollars? Monique Germon clothing / Co-owner of Love & Clutter. What’s on your pod right now? The Pixies. Tell us about the coolest item of clothing you bought recently? The skirt I’m wearing – my design; the picture is a painting my friend did of Russian poet Anna Akhmotova. What’s the best thing about winter in Tassie? Long nights.

HANA 24 How do you make your dollars? I sell spices at Spiceworld What’s on your pod right now? The radio. But I’ve been listening to the new Nightmares On Wax. Tell us about the coolest item of clothing you bought recently? A Christian Dior pure lambs wool sweater, for a dollar! What’s the best thing about winter in Tassie? The pub.

featuring Greg Harrison, from Deloraine, on baritone and tenor sax 8:00PM


Burnie Youth Choir Fundraiser featuring Katy Pakinga, Vanessa Garrett & friends. 6:30pm Cover charge $10 ($5 concessions)


Blue Gum Jazz Band 7:30PM


Jazz Club '07 FRIEDEL 24 How do you make your dollars? 9-5 grind. What’s on your pod right now? A good selection of east and west coast beats. Biggy, Mos Def and Dead Prez. Tell us about the coolest item of clothing you bought recently? This stripy polo & my new Lomo bag. What’s the best thing about winter in Tassie? Warm jackets and crisp mornings.

JONO 24 How do you make your dollars? 9-5 grind. What’s on your pod right now? A good selection of east and west coast beats. Biggy, Mos Def and Dead Prez. Tell us about the coolest item of clothing you bought recently? This stripy polo & my new Lomo bag. What’s the best thing about winter in Tassie? Warm jackets and crisp mornings.

MADDI & ELOISE 16 & 16 What’s on your pod right now? Silverchair & Fallout Boy Tell us about the coolest item of clothing you bought recently? Maddi – brand new boots which I bought this morning, and nice new blue denim jeans from Bell & Paige, What’s the best thing about winter in Tassie? Beanies and Boots!

Viktor Zappner Swingtet

featuring Wendy Moles, from Hobart, on vocals, and Kevin Findlay, from Burnie, on flute and trombone. 8:00PM


Blackwater Fever

with special guest Echo Blue 7:30PM

To be continued ... PAGE 22

Sauce - Issue 41, 2-5-07  

Tasmanian music and pop-culture, featuring Something With Numbers, Mojada, Rastawookie, Dragonforce, Nthan Wheldon & The Two Timers, Ground...