On the street every second Wednesday
Issue #47 25/07/07 - 7/08/07 Made in Tasmania
www.jameshotel.com.au S AT U R D AY 2 8 T H J ULY
S ATUR DAY 2 8 TH JULY
122 York Street Launceston 6334 7231 FR I DAY 1 1 TH A UGUST
EXPATRIATE IN the MIDST of THIS with special guest BEATRIX BAE BOUMAN
(REA L I T Y N I G H T C L U B)
(FR ONT B AR )
+ Damn Arms
& THE SCIENTISTS OF MODERN MUSIC
Tix Available From Mojo Music Or The Venue TUESD AY NIGHTS
W H I S KEY GO GO’ S
Fights. Poetry. True Love!
By Tom Wilson time you wore one? I’m sure everyone wears them. I suppose what I was getting at with that statement was … I’m from Melbourne, and there’s a lot of pretentious bands in Melbourne, and I’m sure that there’s a lot of pretentious bands around the world, you know? I’ve seen a lot of bands where they don’t hit you … For me, when I enjoy a band, I enjoy something different. It’s not something you’re looking at. It’s not something you’re listening to. It’s something that you get from the show – it’s almost like a bit of soul. Like, you watch a good film, and you get shivers down your spine when something happens. Maybe the film makes you feel sad, or the film makes you feel happy. I think that reflects in music as well – that’s what I like … I don’t think you can make anyone feel happy, or make anyone feel sad, unless you’re honestly exposing yourself. A perfect example would be Chuck Berry – the guy used to put his soul on the line, every time … [it] taps into something beyond what you’re seeing; it’s more spiritual like that, you know? And you can’t do that if you’re wearing shields, and you’re protecting yourself. You’ve got to step out – you’ve got to put yourself on the line. You’ve got to bleed for whatever you’re doing. You’ve got to be a hundredpercent honest, and a lot of bands aren’t – that’s kind of what I was getting at with the “masks” thing. I think it’s so important. It’s something that I want to continue to do – keep learning how to be truthful in performing. There’s a lot of people out there … they’re doing it for different reasons. They’re doing it to look cool, you know? I was checking out your Myspace earlier today, and something really intrigued me. Under your influences, there’s a passage, “At five o’clock on the evening of the 18th of March in the year already mentioned, a train left Euston Station for Manchester. It was a rainy, squally day, which grew wilder as it progressed.” Now, I’m completely confused. What did you mean by this? It was just a caption – I read it in a book. For me, it’s distressed. That’s not our influences as such – it was just a line that I liked, really. I thought it was very poetic, and I thought I’d post it up for everyone to read. But, for me, it’s distressed; it’s a wild night … and if you think it’s wild right now, it’s only going to get wilder … You know, you can take that and twist it or change it to whatever you want to make it mean something for yourself. But, for me, it’s just an interesting piece of poetry.
The taxi driver got punched in the head, and then he yelled to us, because we were in the taxi at the time, “I’m from Broadmeadows! I’m not going to take this sh*t!” So when was the wildest period in the existence of the Whiskey Go-Go’s? … Last time we were in Tassie, we got in a bit of an altercation. Really? What happened? We just got in a blue at three in the morning, with a few people. They were heckling us when we were walking down the street. Then a taxi drove up, and they started throwing punches … punched the taxi driver in the head, punched me in the head, punched Sid from The Vasco Era in the head … then the taxi driver reversed and ran into them! It was crazy!
Hey you! If you want nationally-touring bands to continue to visit Tasmania, throwing punches at them after a gig is just stupid, and giving us a bad name. That’s what happened to the Whiskey Go Go’s last time they came down on tour, supporting The Vasco Era. But, you know what? That hasn’t dampened the band’s spirits a bit, as I found out when I spoke to Matt Hutchinson, guitarist, vocalist and harpist, ahead of their return for the Tassie leg of their national “headline” tour. As you might know, here in Tasmania, we’re actually about fifty years behind everyone else [that’s sarcasm, for you forum-festers], so we were perplexed to see that you recently released a shiny piece of plastic, with a shiny underside, called Proud Tales To Them Of Us. What kind of feedback have you received from it? It’s hot and cold. We’ve had some really good feedback. Obviously, the album was done in an attic … so it’s not a big production. It basically took about three months to record; I recorded all the instruments myself, except for the bass guitar, which I had a friend come in and co-write a few of the songs, and he played bass on the record. So far, it’s been good – we’ve had a really good response, which has been really refreshing, because I’ve been sitting on the album for a while, and it’s good to get it out there officially, and get some good response. You were sitting on the album? That must have been
uncomfortable. [Polite chuckle] It was finished … when did I finish it? Last year – about mid-last year. That was when it was completed, and I started sending it around, and got gigs and stuff. And more recently, in the last six months, it’s been licensed by a record company, and they’ve put it out. It’s good reception so far, which is really kind of refreshing, you know?
has gone through – it’s about the hard times, I guess. So yeah – I don’t know what true love is. I might meet her today, though. I’ll let you know. She might be down this alleyway with me now. Who knows? [Laughs]
This latest tour is called the True Love tour. Who’s your true love, and why? Oh, I don’t have a true love. I thought I had one, but then … I realised she wasn’t – she was far from it. I’ve never met her! Maybe you can introduce me to her when we’re down there!
You’ve said of Proud Tales… that it’s “a gift”. Who is it a gift to? Proud Tales… it’s not such a gift. I mean, it is a gift I suppose – it’s a gift to everybody … “gift” might be a funny word. It’s more of my story, my tales and my experiences put together, and, if you like it, it’s a gift, you know? I think that every piece of music that you like is a gift – it’s a piece of somebody’s life that they’re giving out to you. They’re letting you in on it all.
Cool. That sounds like a date. True Love is the first single, and the song’s about trouble; girls and relationships and all that business that doesn’t really work. [The song is] like everyone
You were also quoted as saying that “people wear so many masks today,” and that you didn’t want any barriers between you and the music. What are some examples of these masks? And when was the last
Bloody hell! The taxi driver got punched in the head, and then he yelled to us, because we were in the taxi at the time, “I’m from Broad Meadows! I’m not going to take this shit!” But we just got back from Tassie for the second time, and it was fucking amazing. We went up to the mountain – up to Mt. Wellington – and had a massive snowball fight and stuff. It was really, really fun. Hobart was a lot of fun. In Launceston, we went to the Fun Factory or whatever it is, and we won a magidoodle and four denim bracelets! They cost us a hundred and ten tickets! Like, game tickets? We earned them well! “The Whiskey Go-Go’s” – named after a drink by any chance? It’s named after a bar in Los Angeles. It’s a bar I used to sneak into. I wasn’t allowed to go out, because I was only twenty years old, so I had a fake ID. That’s where it all went down. But that’s where it comes from. The Whiskey Go-Go’s play Hobart’s Republic Bar on the 4th of August. To listen to an MP3 of the full interview, go to www. sauce.net.au PAGE 3
TH E STOI CS
Hit Me With Your Laser Beam By Tom Wilson Two things about guitarist and lead-vocalist, Ciaran van den Berg - firstly, as the only XY chromosome-holder in rock-trio The Stoics, he’s clearly outnumbered, but comfortable with it. Second, his band is making a name for themselves in the north of the state, and recently managed to rock-the-socks-off an audience that was dressed as pirates. I’m betting they’ll do the same for you …
What’s been happening in the world of The Stoics recently? We have been nice and busy putting together our EP. Carl Fidler from TasMusic has been helping us out heaps by getting us recording time with TAFE. Now we are working with a really cool engineer named Hamish Clark, who is helping us put those last finishing touches on our EP. The plan is to launch the EP in September. We have also been lucky enough to be getting lots of work performing live. That is, of course, what it is all about for us. You’ve said online that you love the girls from Tokyo Gun Club because they’re hot, and smell good. Who are some other hot Tassie artists? How long is this list allowed to be? There are so many! OK, in no particular order, some of our favourites are Foreign Films, Nathan Wheldon and the Two Timers, The Zac Lister Band, The Embers, Viva Computer, Modus, Enola Fall, Follow by the Wayside ... You aren’t playing any gigs in August. Why is this? What will you be doing instead? That is very observant of you, Tom. There will be no live Stoics music being played in the month of August. The reason for this being that Maria and I are going for a one month vacation to the Philippines to drink some cheap beer and get away from winter. She has family there, so we have someone to show us around, and hopefully we can make it back in one piece. After we get back on the 1st of September, we will be straight back into playing gigs. It just might be a more tanned version of The Stoics. One of your bill posters features a giant child melting someone with lasers coming out of his eyes. If you had this ability, who would you aim your deadly lasers at, and why? Oh yes, the poster … that is the work of a very talented art man named Sam Lynne. He does all our visual art work, and we pay him nothing but burnt toast with gravy on it. But back to the question: if I had a burning laser that I could shoot out of my eyes and melt people … I think it is safe to say I’d be living in a hypothetical world. In this hypothetical world, I would have a giant castle built entirely of really
bouncy rubber, so I could throw myself down stairs in wild dancing fits and never get hurt. If anyone came to my castle and interrupted me while I was getting my flailing, bouncy, kamikaze dance on, then I would totally spit it, and melt them with my eye lasers. However I can’t imagine that happening because, in my hypothetical world, nothing bad ever happens. Although, I still might decide to get on a flying cat and zoom over to the house of John Howard and dish out some one-sided justice with my hell-tough eye lasers. But of course! What do you think the Tasmanian music scene has too much of? Too much demand for cover music. This is a contentious thing to say for Ciaran, because he makes part of his living playing covers to pay for his original music. So he needs it, but wishes there was more demand for original music. It is slightly puzzling that punters are so keen to hear their local musician belt out a cheap imitation of their favourite song, when the artist that actually wrote or performs the song is still out there doing the real thing. Even if the artist is no longer around, a song that has been written by the musician that is performing it has been perfectly tailored to suit him or her, so it is going to sound best when a local artist plays his own songs. Of course, there are aspects of the cover scene that everyone can like, but there seems to be a shift in preference of original music in certain groups of punters around Tasmania. That is a really nice thing to see. What does it need more of, and why? It would be great to see more venues promoting local original music. Having said that, there are a lot of great places around Launceston that are willing to support the local scene, so it isn’t too bad. Aside from the obvious “people having a good time”, what makes a great gig for you? And what have been some examples? Last night was a fantastic gig for us. We played at the Royal Oak in the front bar. We took out that little stage and took up a good portion of the floor. It was very “intimate”. People seemed to be having a good time, as you put it. It was really great to see some people making the effort to turn up to the gig and listen. We’ve had some other fantastic gigs around
I still might decide to get on a flying cat and zoom over to the house of John Howard and dish out some one-sided justice the place, like one that was a pirate-themed dress-up party. Even those dirty pirates were really supportive, and actually listening to what our songs were saying. That is usually what makes a good gig for us; a crowd that wants to listen to our songs. Or even just dance around – it is all good for us. If you could play a show with any band or artist, living, dead, or cryogenically frozen (like Elvis … just kidding), who would it be? Elvis isn’t frozen – he is still alive, Tom! What a hard question. We couldn’t pick just one. For me, it would be Okkervil River and Arcade Fire. For Jo, it would have to be Smashing Pumpkins, and for Maria it would be Radiohead and Man Man.
If someone made a movie about The Stoics, who would you want to play you, and why? I would only want one actor to play the entire band, and that actor would have to be Crispin Hellion Glover. And what do you think that movie would be called? It would be titled One Day I’ll Grow Old and Sail a Ship. The Stoics play The Royal Oak on the 7th of September. Watch out for deadly lasers. www.myspace.com/stoics
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By Tom Wilson
A four-piece with a handful of raw-but-promising recordings, a strong affinity for 1960’s revenge movies, and great band name, Pussy Kills Everyone For No Reason are … in your face! While their bass player toiled away at work, Leila, Rachel and Em killed me for no reason … I understand that the band got its name from a character one of you created for films and comics. What can you tell me about this character, and the productions it featured in? I do love a good short film … Rachel’s film Pussy Kills Everyone For No Reason was created for the Super 8 competition as part of the Hobart Fringe Festival in 2003. The comic strip character is featured in Rachel’s independent comic Shat Girl. The Pussy character gets bored one night and goes to Bob and Tom’s service station and kills everyone for no reason. Pussy doesn’t like girls. Pussy doesn’t like boys. Pussy doesn’t like anyone. You feature a quote on your Myspace from Russ Meyer, director of Faster, Pussycat! Kill! Kill! – “While violence cloaks itself in a plethora of disguises, its favourite mantle still remains sex.” Why did you decide to put this on your site? What do you think he was talking about here? Don’t try to read into it so much. We just like Russ Meyer films. There’s no deeper meaning to it than that. Within the extended quote, talking about the underlying violence in women, one phrase was highlighted – “But a word of caution: handle with care, and don’t drop your guard.” In what ways does this reflect you? And what is it about this film that has inspired you so much? Is it a “girl-power” element? In the voice over at the start of the film Faster, Pussycat! Kill! Kill! (1965) the intonation of the voice emphasises the phrase about not dropping your guard. That’s why it’s highlighted. In regards to the film Faster, Pussycat! Kill! Kill! the film has a great mod aesthetic. The end is quite moralistic (as the end of all Russ Meyer films tend to be) which weakens the film. It is not a masterpiece by any stretch of the imagination: it is cheesy B-grade fun. The folklore attached to the star of the film, Tura Satana, is a fantastic story. When she was nine years old she was attacked and gang-raped by a pack of five men. She went on to learn karate and aikido, tracked down the attackers one by one and exacted her revenge. Tura Satana is genuinely scary in the film Faster Pussycat… She is completely believable in the role, and she performs all her own stunts. In general, kick-arse women like the ones in this film are a much healthier role model for women than the infantised bimbos plaguing the mass media that we are bombarded with.
Whilst it is interesting to look at roles that women play, but this is not really our major concern. We like
Pussy doesn’t like girls. Pussy doesn’t like boys. Pussy doesn’t like anyone. the aesthetic, but there’s no great profound meaning behind it. In a way it is entirely co-incidental that Pussy Kills has this link to the film Faster, Pussycat! Kill! Kill! When Rachel named her film, she was unaware of Russ Meyer and his film. We are selfaware enough to know that we aren’t about anything except playing music and sharing some scary stories about knives, guns, and running people over. Just because we are girls doesn’t mean that we like other girls. “Girl Power” is a Spice Girls phrase, and it’s not about real politics, it’s a marketing ploy. We are too cynical to be sucked in by that kind of pseudofeminist shit. By being actively pro-female, this is just continuing to conform to the stereotype that has oppressed women in rock. By being apolitical, we feel this is a more powerful statement. The band is made up of three girls and a “token
boy”. People always seem to make a point of saying that a band is “all-girl” or whatever, but strangely, no one ever says “all-male” when talking about a male band. Is rock ‘n’ roll a man’s world? Just by bringing it up, you’re perpetuating this phenomena. This question is too loaded. The “token boy” thing is a joke. And the contents of the member’s pants were entirely irrelevant when the band was formed. We are not a political band. Our violence is personal. As Poly Styrene said in 1977, we look forward to a time when we are not asked this question anymore. It goes to show just how much progress we have made in regards to this in the last 30 years. Fight the power. What was the last thing you did for no reason? This interview – and now we’re going to get drunk for no reason. Who are some musical acts, local and otherwise, who have had a big influence on the band? Shellac of North America (see 1000 Hurts), X-RaySpex, Anaal Nathrakh, Bonnie Tyler, The Anti-Nowhere League (especially So What). If you could have any kind of merchandise for Pussy Kills, what would it be, and why? Kill For No Reason knives, and bottles of Pussy gin. Pussy Kills Everyone For No Reason play the Brisbane Hotel on the 28th of July.
TH E QUE
Where The Everyday Becomes The Sublime ROCK SALT
By Tom Wilson The thing I love most about truly experimental music is its physicality and improvisation – the art of using an instrument to make sounds, rather than songs. The creative possibilities are endless. When I put on my headphones and listened to Hobart three-piece The Que for the first time, I didn’t hear the song 4:27 – I experienced it. A sprawling, organic, anti-rock soundscape, 4:27 is just one reason to get a spot up the front row when they play in August. I spoke to Ben Mason about their forthcoming album.
Last I heard, you guys were working on an album you were going to release in spring. What can you tell me about the album? What are you calling it? And how would you describe the sound you’re going for on this release? We heard about Second World Studios (Nagambie, Victoria) and got in contact with Nick who runs it, and found that he understood what we wanted to do and had the sort of equipment we wanted to work with. We went over for a fortnight last October, but when we got home we decided we wanted to change quite a few things. We wanted to expand on the clink-y, antique sounds, and include some more cassette sounds. We wanted the album to sound like an album, not just a bunch of different songs pasted together. We started viewing it more as a whole piece – with each section being important. So we went back for a week in June, and this time we had a bit more experience, and a clearer vision of what we wanted to achieve. We are now in the final stages – about to have it mastered, and get the artwork sent off for printing. The CD you released last year featured cover designs made from block printing. Why did you decide to do this? When we had worked with computers, it had come out looking a little cheap and yuck, and we quite liked the idea of things being hand-made, with each one being slightly different. It will be harder to do things like that with the album, because we are getting a larger number made up, but we still hope to include some personal touches. What other art forms do you pursue outside of music? And were the block-printed covers from last year an indication that you want to unite the two passions? Ben quite likes drawing and papers. We like the idea of the people creating the music [also] creating the artwork too, so it’s a full product from them. We enjoy putting it all together. The track 4:27 is absolutely sublime. How was this made, and how long did it take you? Thank you! That one was quite fun to create. In college we got pretty excited about the reel-to-reel machines, but had never really figured out that we can
record them into the computer and build up layers and record the sound of it rewinding and stuff like that. We recorded the sound of Michael [Valentine] foraging through a tin rubbish bin with a plastic bag. It came together pretty fast. The album is heading more in this sort of direction.
Our early stuff was quite inspired by bands like Sigur Rós … we seem to be heading in a different direction these days How do you perform a track like this one live? What instruments do you use? We don’t really have a problem with the studio stuff being different to the live stuff, but lately we have been experimenting with cassettes live and more clink-y sounds that join the two up a little more. It often depends on the venue though. At pubs this tends not to work so well, as it’s too loud there and the clink-y/tape sounds get eaten up. But at places like halls and theatre spaces, it’s really nice to work with more subtle sounds that we use on recordings. To what extent would you agree that Tasmania, on the whole, doesn’t have as much appreciation for ambient music as it possibly should? A few people here are interested in what we are doing; I think the ratio of people that are into it here would probably be the same as anywhere else. But then again, Sigur Rós have a pretty big following these days, so maybe … oh, we don’t know. Funny you should mention Sigur Rós – I hear a lot of similarities to Takk [on 4:27]. To what extent would you agree with that? Our early stuff was quite inspired by bands like Sigur Rós, but nowadays we are listening to lots of different music. The next album will have fewer similarities, as we seem to be heading in a different direction these days.
R ED W HYTE
I See Red, I See Red, I See Red ...
Red Whyte is a truly committed, spiritual and energetic musician, artist, photographer, and a dedicated surfer; one who is continually surprising his fans with every performance, displaying his often intense mastery within his music composition. He plays harmonic flute, sitar, acoustic and electric guitar, fretless and fretted bass, percussion and drums, and uses his access to a large nature sound library for atmospherics and ambience. Having played nearly every weekend somewhere since 1995, Red’s venues have ranged from big stage events to cafés to bars and hotels, festivals and gatherings. A fetish of Red’s is to set up live music venues for himself and, of course, other bands always follow. In Torquay (where he lives), he’s set up at least seven venues in the last ten years – some which have gone under, and some that are still going today. “Under PAGE 6
New Management” is not always a good sign to see out the front of some places, and sometimes, that’s the time to pounce. Overseas, Red has played in Indonesia, New Zealand, India, Scotland, Whales, Ireland and England. Red took part in the Red Bull Surf Safari Tour in 2000 in the UK. He supported Pico and his band from Sydney on a three-week tour – selling many a CD and actually coming back with more money that he went over with! He is fearless and spirited – Red is not one to just sit and wait for an opportunity to come his way – he’s already there creating it! Red Whyte plays Hobart’s Brisbane Hotel on the 27th of July.
You’re playing shows in Hobart next month with bands like Third Ending, Cityscape Riot and EC4. How do you think your sound sits in a bill with bands of this type, to create a gig where the various styles of music compliment each other? It’s always fun playing with different-sounding bands. Some people might discover different kinds of music
Photo By Sean Fennessy this way. The Que play Irish Murphy’s in Hobart on the 1st of August with Third Ending, and The Loft with EC4, Cityscape Riot and The French on the 4th. www.myspace.com/quexperience
BRI TI S H I ND I A
Australia Wants The Guillotine ROCK SALT
By Tom Wilson A four-piece rock-act high on Triple J’s charts, with a sharp debut-LP, British India will be making their first trip down from the mainland early next month. Singer-guitarist Declan Melia spoke to me about starting the band as high-school rebels, and the dark motivation behind the track Council Flat. Why have you decided to call the album Guillotine, of all things? We took the name Guillotine from a song Council Flat, which had that lyric. But I suppose it’s a bit of a loaded word … it’s got that sort of urgency and violence and grit that every good album title should have.
I understand the three of you have been friends since high school. What motivated you to start playing in a band together? I suppose it was just a rejection of lifestyle. I’d been fitting in pretty well, but suddenly all the girls that I’d been going for suddenly started to go with the guys with the tracksuits … I don’t know – it was something to do other than hang around Metro Station, or smoke bongs in the car park, you know? ... smoking bongs in car parks – I’ve been there, brother! We thought we’d get to that a bit later. We were kind of geeky in that respect. [Yawns] Yeah, I don’t know … try to get some people’s attention, I guess, because it wasn’t happening normally anymore. You guys released an EP before this. How do you reckon Guillotine represents an evolution of the sound, compared to that EP? What’s consistent, and what’s different? I guess, instead of consistency, like … it’s the same kind of genre I guess – pop-rock with a bit of punk going on. They’re all still short pop songs, but … it’s just a lot tighter, and the songs are a lot better, and a lot catchier. The lyrics are better, the guitars are better, it’s recorded better … it’s just worlds ahead of that EP, if you ask me. I understand there’s an element of social commentary on the tracks Teenage Mother and Council Flat. Was it personal experience that inspired this? Oh, maybe a little bit. Teenage Mother – not really. The lyrics for Teenage Mother were actually written really quickly … But Council Flat, yeah – it’s about someone spiral pointlessly out of control, and shedding them – not having the patience to stay by their side and coming through it. You guys are coming to Tassie in August. Have you guys been down here before? I’ve been there on holiday, but we’ve never been down
to play. It should be rad. Have you heard anything from other bands who have played down here about what to expect? Yeah. We’ve heard that there’s a lot of enthusiasm down there for live music. I don’t know, man – maybe not as many bands would go to Tasmania as Adelaide, which sucks …
I suppose the concept of going overseas … I’ve got nothing to say about it except
“holy f*ck!” So what are your plans once this tour ends? Have you thought about it much? Oh, I’m not sure. I’m sure that after this tour ends, there’ll be another one just around the corner. And the whole time, just continue to write songs, and, you know, do whatever we can to remain … vital … I don’t know. But there’s the possibility of seeing what people think of it overseas; maybe heading over there, which will be awesome. But it’s difficult for Australian bands. You really focus on this fishbowl world of Melbourne, Sydney and Adelaide – just Australia – and then you realise there’s a whole other world out there. Looking up at these stars, you realise how small you are. I suppose the concept of going overseas … I’ve got nothing to say about it except “holy fuck!” British India play Hobart’s Republic Bar on the 3rd of August. To listen to the full interview, go to www.sauce.net. au
EXPATRI AT E
On The Road And In The Midst Of It ROCK SALT
By Tom Wilson I want you to take a second and think, please. What surrounds you right now, as you read this? Are you in love? Are you pissed-off at a friend? What are you in the midst of? One can only speculate exactly what was going on in the lives of rockers Expatriate when they penned their latest album, In The Midst Of This, but, for front-man Ben King, it was about getting through tough times, and putting pieces back together, as he recently told me, while on the road. I had a bit of a chuckle – [the teleconferencing company] had trouble reaching you, because you were checked in to the hotel under an alias. I was just wondering if this is because you’ve had any kind of problems with stalkers or paparazzi? Yeah ... there’s a photographer behind every bush, and every tree, wherever we stay. [Laughs] No, actually less glamourous than that – it’s to do with our travel agent booking us in under various names accidentally.
… There’s a photographer behind every bush, and every tree, wherever we stay … we do have stalkers Damn – I thought there was a bit of a scandal there. No ... maybe another year or so. Who knows? We do have stalkers though, but they don’t stalk us at our accommodation. Stalkers? What kind of stalkers? Put it this way – people get on planes and travel the country to see our shows. They’re not stalkers – they’re fans ... avid, avid fans. So, [the album] In The Midst Of This – what do you find yourself in the midst of most? Well ... I don’t know. It’s not really that literal for me. It’s more about ... The whole record’s about love, really; being surrounded by that in a very intense way, whether it’s damaging you, or kind of putting you back together, is an all-consuming thing. That’s kind of where the reasoning behind that comes from ... the politics of people and the politics of the heart, and all that sort of thing – being in the throes of something. Would you say that is something you’re in now?
Are you in the midst of an emotion or a state now, do you think? Ah ... tiredness? [Laughs] I mean, you know ... I am, and we are, when we’re inhabiting the songs – either recording them or playing them live ... You’ve just got to hear on the record; the lyrics ... Half the record’s a break-up record ... most of it’s just trying to find a way through shit, and putting yourself and the relationship back together. You were saying that you were tired, and some of you have got the flu – is that to say that this tour is really kind of wearing you down, physically and mentally? Oh, not really. I mean, it’s been the best tour ... probably the most enjoyable tour we’ve ever done ... Hold on ... [argues street directions with band – unfortunately, they sound comprehensively lost] The name of the band, “Expatriate” – I’ve forgotten ... what is the literal meaning of the word? Oh, “to live outside your own home country”. So if you moved to, let’s say, Fiji, you’d be an Australian expatriate in Fiji. That’s the literal meaning. I understand that Chris’ family ... he came from migrant parents? Yeah. The current name resonated with us because ... in the more straight, historical sense ... I grew up in Indonesia as an Australian expatriate, and spent, like, half my youth living there, which was, you know, a very definitive experience. You end up meeting people and talking to people about the way you think about the world ... Someone like Chris in the band, also identified with feeling somewhat isolated and alienated growing up, given that his parents came from Greece, and you’re kind of caught in between two worlds. It’s just something that we all kind of identified with. [Pause] And we didn’t just want a cool font as a name or a logo. Expatriate play Hobart’s Republic Bar on Friday the 27th of July, and Launceston’s James Hotel on Saturday the 28th, supported by Beatrix Bae Bouman. To listen to an MP3 of the full interview, go to www.sauce.net.au PAGE 7
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To The Brink .. And Back
By Steve Tauschke Fans of Sparta may fondly remember the band’s Big Day Out performances in 2003 however the El Paso bunch’s unlikely support for Blink 182 here a year later may have easily slipped under the memory radar. Not so for singer-guitarist Jim Ward. “We actually stayed in the same Sydney hotel for 12 of the 15 days we were there,” recalls Ward on the phone from Providence, Rhode Island where he and the band are touring. “I’ve always liked Sydney but that time I got a chance to know the area a little deeper because I had a skateboard with me and I’d just go out every morning and skate for a couple hours.”
own greatest enemy, for sure. I don’t feel like I was born a confident artist, I’m always ready for things to be falling apart and that’s kind of my outlook on life I guess. But I do have this resounding hope that things will be ok. It’s this love-hate relationship with (exasperated sigh) life. Hopefully, the longer you live the more you understand. I definitely feel I understand things a little bit better than I did three years ago, that’s for sure.”
After finding cult success in the 90s with both-ends-burning Texas noiseniks At The Drive In, Ward and fellow ATDI refugee, drummer Tony Hajjir are now three albums into a career with Sparta that began in 2001. The quartet promote their latest disc, last year’s Threes, in Australia this month.
Obviously the death of your cousin Jeremy in 2004 affected you deeply … you walked out on a tour mid-stride to grieve which I thought was admirable. “What happened, I was at a show and I just wasn’t feeling right, I wasn’t feeling good at all inside. And this guy came up to me at the show and his girlfriend was crying next to him and he said ‘as soon as she saw you she started crying because your music got her to this time in her life and she wants you to know that’. Obviously she was really having a moment and I was really touched by that and started thinking ‘where’s my strength to get through this? Where’s my saving music? What the fuck am I doing basically?’. And that just started an avalanche really.”
That’s why I left basically. I hung up my hat and said ‘I don’t want to do this anymore
Did you contemplate quitting music altogether? “That’s why I left basically. I hung up my hat and said ‘I don’t want to do this anymore, at least professionally, or maybe at all’. Then I went home and started writing songs over the poetry of this guy Bobby Byrd who is one of my biggest inspirations and it was a nice chance to not worry about what anyone else thought or anyone else’s opinion or a record label and just find myself a little bit, you know.”
So what’s been your own reaction to the public’s reaction to the album? “I feel like the general reaction has been to note our growth which obviously makes me pretty happy. I’d hate to keep making the same record over and over again. So when people say it looks like you’ve grown and gone and done something different then that makes me happy.” Are you an astute self-editor .. it must be tough to trim everything down to a dozen songs? “It is and my favourite part is when it takes these massive arguments to get there because that means people are passionate about what they believe should be on the record instead of only having 12 songs and being like ‘ok, let’s just put out a record’.”
Is that the greatest thing your music has given you? “Well, I play music for the need to socially connect with people. It’s always been important to me and it’s a weird need to sort of share a moment. That’s why I play and tour and make records. The greatest thing music has given me is friendships with people around the world who I never would have met and an understanding of life I would never have had if I was kept to one city.”
So how does pressure, external and from within the group impact on you? “I’m highly perceptible to that. I think you’re your
There’s this lyric that makes me do one of them involuntary twitches every time I hear it, I hate it so badly. It scrapes nails down my chalkboard in a way that is almost unmatched, and it’s so bad I’m starting to worry about just how much it pisses me off. The line is in a Bon Jovi song called It’s My Life, and I remember specifically the first time I heard it. I was about twenty and I was working as a mobile DJ (in the days when the wizardry of spinning the “decks” only came down to how well the bloke with the CDs could cross-fade) and one of the gigs I took care of was the Friday and Saturday karaoke nights at Montgomery’s.
You really aren’t going to make any difference at all unless you’re doing it your way. Imitation might be the highest form of flattery, but your hero isn’t going to be flattered at all if they never hear it, and they’ll never hear your stuff unless you do it your way. I’ve enjoyed the connection people have made over the years with my stuff and Neil Finn and Crowded House. Whenever one of my gigs was going a little awry, I’d throw in a Crowdies cover, and they’d be back on-side in no time flat. The day someone asked me if one of my songs was a Neil Finn song still brings a grin to my face that takes ages to fade. But if everyone thought all my songs sounded like his, I’d be really devastated.
I’ll admit, my heart really wasn’t in it. I just put on the songs that were requested, gave them mic’s and set ‘em loose. I never really paid that much attention to the songs they were singing.
Sure, he’s widely regarded by the whole world as a song writing genius, and we of Australia certainly have adopted his successes as a Kiwi as if they belonged to us, but I want my songs to thrive on a life of their own, as if they had different batteries than everybody else’s.
One hapless night I throw on the Bon Jovi song in question, and it does its thing while the mostly drunk fellah who requested it did his best to keep up.
I desperately desire them to succeed and do well in their own right; I want them to live a life larger than I could ever dream.
And then, while I’m reading along with the song, I see the shittiest lyric I’ve ever laid eyes on. Worse still, due to the uniqueness of my situation, I then got to hear the shittiest lyric I’d ever laid eyes on.
More importantly, I want them to sound like they are mine, and most muso’s who’ve ever worked with me can attest that I won’t stand for any other way than my way.
Ew. I know there are some rotters out there, and I’m sure this one isn’t the worst – it just gets up my nose like an uninvited finger.
I’ve talked before about taking pride in your art, but what I’m talking about is through that ceiling and onto the next plateau.
The line I’m talking about is “Like Franky said, I did it my way”. It’s fair to say I’m over-reacting. It just digs right under my skin that this one, extremely lame and flimsy rhyme is all he could come up with.
To know where you want to go and what music you want to do, you first have to know yourself. Your music innately wants to come out it’s own way, and as it filters through you, it becomes your way.
Or worse still, the best he could come up with. Well, you’ve read this far, so I may as well tell you what got me thinking along the lines I’m thinking. I was walking past Sanity and heard this song and, in an almost ungodly twist of fate, it annoyingly inspired me to talk about what I actually set out to talk about. You’ve gotta have your own way (and yes, I’m rather aware of just how weak the link was). PAGE 10
God, that has to be right up there with the vaguest thing I’ve ever said about song writing, but you should be catching the drift – if you’re just aiming to pull off the sound your favourite band has achieved then you’re not really doing anything at all. You’ll keep banging your head against that brick wall painfully for years, until you finally figure out that you weren’t even in the vicinity of trees, but you were still barking anyway. Think about it. Next time
Songs From The Heart, Skills From The Stage
by Ian Murtagh
E M I LY S M A RT
By Tom Wilson The front-woman of alternative rock collective Illicit Eve, who lists everything from A Perfect Circle, to The Beatles as influences, Emily Smart – singer-songwriter, actress and all-round lovely person – is heading south next month on the back of her unique solo debut – The Escape Plan. She spoke to me from Uni about how her two passions for the stage intertwine. and things, that’s what comes across on the EP. Like, moments like these are quite uplifting and happy, and then there’s quite a few love-gone-wrong songs as well. They’re quite depressing – not depressing in a bad sense, but … sometimes you need a bit of a cry, and a song to listen to [for you] to do that. What was the last thing that inspired you to write a
How has your experience in theatre benefited you when performing your music live? I guess there’s more of a sense of understanding performing, and not just playing music. You’re there to entertain people, so, yeah, you do think about things more from a performance level, rather than just getting up there and playing a song. A lot of people just rely on their general charisma and stuff, and some people don’t have that. [Laughs] It’s good to be able to understand and know what it is to perform on the stage. That’s where it’s given me some good things that I can use in both music and drama. What kind of subject matter do you explore in your songs? I guess it all sort of comes from a lot of emotional points. It’s usually from experience, or [the experiences of] people around me that they talk about. Even imagined experiences or dreamed experiences. So, yeah, that usually comes from the emotional; underlying emotion that comes from circumstances in life and stuff like that. So yeah – I guess if I had to sum it up, it would be [to say it’s] just coming from an emotional place. On The Escape Plan, is there a mix – a positive song, and a sad song? Would you agree with that? It’s a varied kind of difference between mood with each song? Yeah, there is. And I think that’s sort of how my music is; because it comes from emotion and mood, so it just goes through a range of emotion
positive song? Hmmm … that’s an interesting question. I would say … I’m trying to think of the last positive song that I would have written … If I say in regards to the EP, Moments Like These actually probably came from a sad place, and wanting to feel better, and so … The song in itself was the positive outcome of feeling pretty shit and going, “Well, can I make myself feel better?” Sometimes I sort of act as an alter-ego to myself in my songs; the person who’s talking to me, going “you can feel better about this situation. How can you make it good?” So I think Moments Like These came from that. It is quite a positive song – it doesn’t sound bad in any way – but it actually didn’t come from something positive, but came from all I could make positive out of it. [Laughs] Does that sort of answer your question? Yeah, it does. Emily Smart plays Burnie’s Stage Door The Café on the 4th, and Hobart’s Republic Bar on the 5th. To listen to the full interview, go to www.sauce.net.au
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Dancing All The Way To Hobart ROCK SALT
By Dave Williams
Renowned Australian entertainer and Dancing With The Stars celebrity, Kate Ceberano, will be heading to Tasmania in September as part of her national tour – bringing with her a six-piece band and her Dancing partner John-Paul Collins. I spoke to her about her affectionate tribute to the eighties, Nine Lime Avenue, and the challenges she has faced throughout her career. Life must be pretty good for you at the moment – it seems like your career is going through another peak period. Yeah. It’s sort of funny – I don’t like to think about it too much. [Laughs] There’s just too much going on! Every time I put my mind’s eye over what I’ve been doing in the last couple of months, I get tired! [Laughs]
Do you think you might end up in film as well, Kate? I’ve made films before; I made a film with David Wenham in Hawaii called Molokai, which was a very big feature film … I like films. I don’t feel completely connected with it – with confidence – but it would be fun to do. I’m more about theatre, actually. I’d really like to do … a show where you have the combined efforts of written dialogue and a great sort of choreographed piece, and music … the whole thing. I’d love to do that. Your most recent album, Nine Lime Avenue – for a start, where did that title come from? Was it a house that you lived in? Yeah, yeah. That’s where I was raised. The album, I suppose, is sort of like a tipping of my hat to my youth, and the soundtrack of my youth, I guess. That sounds so cliché, but there was so much that happened in that time … just the development of myself as an artist and
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Seriously, though – it must be a great time to be so busy. Yeah, it’s a good time … creative … I have no complaints, because I’m doing what I’ve wanted to do my whole life, which is to combine music, dance, telly into this life that I’ve created as a musician. I must say – rock ‘n’ roll has never been quite enough for me; just touring and endlessly playing pubs and things. I’ve always wanted to do much more … bits of other stuff.
I must say – rock ‘n’ roll has never been quite enough for me … I’ve always wanted to do much more …
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James Kitto BARRISTER / SOLICITOR a musician, and my brother as well. All the elements that were coming in at a rate of knots – you’ve got your first of everything; first days at school, first kisses, first bustups, and high school … it just all seems so heady. And anyway, all those songs and all that music was around at that time. It’s been a great … it was the perfect thing to do, let’s face it, on the second week before the end of Dancing, because I’d always planned to be off the Dancing show well before then. I had to do it in a hurry, so it was really good. As an entertainer, what’s been the biggest challenge for you so far in your career? Um … I feel like I’m being presented with different challenges as my career continues, you know? There are many inflows with a career of my kind – I’ve been around, and have enjoyed many highs and lows, and different ebbs and flows, but … I don’t know. I think the biggest one … I want to bust through all this. I don’t think we’ve had an artist who has … well, at least at the level that I want to go at, who has been like a Bette Midler. I think that if I could bust through my own insecurities about that, and actually take it on and take the investment,
and take the time and effort that would be required to put on a big musical like that – that would be my biggest challenge, if I could do that. Actually, this tour – this one coming up – is like a nucleus. It’s sort of like a practice piece to get out there, because I’m bringing John Paul out, who was my dance partner on Dancing, and we’re incorporating that into the show, which I think is, in itself … just gorgeous. I can’t wait to dance again.
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Fantastic – that’ll be adding a whole new element to it. Yeah, and also … people who love Dancing … that show has hit such a chord with people … I actually get to see him, and I get to honour him a little bit too. Because, in the show, they never put much attention on them as people, and yet John-Paul’s story is fantastic as a dancer. I mean, he’s a contemporary dancer; sort of hip-hop and street … not at all like those ballroom dancers! [Laughs] And there’s a story in that, you know? It’s great. Kate Ceberano appears at the Wrest Point Casino in Hobart on the 28th of September. To listen to the full interview, go to www.sauce.net.au
NORTHERN ASSAULT -
Fundraisers Have Never Been This Loud …
By Tom Wilson Northern Assault is an all-ages metal gig to be held at Deloraine’s Little Theatre on the 10th of August, with all proceeds from the door to be donated back to the Community Youth Program. And, in an unusual yet, frankly, awesome move, a free bus has been organised to pick up and return to Launceston to enable anyone without transport to attend. The bands talk themselves up: THE LINE-UP:
PROJECTION OF AGGRESSION
Projection Of Aggression have been making ears bleed since November 2006.
With influences ranging from Lynyrd Skynyrd to Skid Row to Pantera, these southern rockinspired, late 80’s/early 90’s metallers will appeal to more than just your average headbanger. The instrumental teaming of founding members guitarist Josh “Maggot” Leslie and drummer Cameron Stroud has often seen them compared to that of the infamous Dimebag Darrell and Vinnie Paul Abbott of Pantera. Bassist Tom Tyler is recognised as the pretty boy of the band, and is often seen wearing a green piece of material on his head. Kyle Crimson (vocalist/ bass-master of former Hobart glam heavyweights Lady Crimson), possessing a distinctive voice and charismatic presence, is the definition of what a front man should be. With in-your-face, tell-it-like-it-is, up-yours lyrics and fresh guitar riffs that scream “get your mosh on”, P.O.A are not a band who’ll fade into the background.
Hallowed Demise is comprised of members of Rip Locus, Abacinate, Zero Degrees Freedom and Soul Usurper. Made up of Jaimie Taylor on vocals, Warwick Bruce on guitar, David Maher on lead guitar, Andrew Serisier on bass and Kristian Emdelmanis on drums, their sound can be described as a fusion of hard rock, thrash and death metal. This band is a side-project for every body involved, meaning that a lot of fun is had both on and off stage. Hallowed Demise are nearing the end of recording their demo, and plan to have a launch gig in Hobart in the next couple of months.
Vulgar was founded in mid 2006 as part of the Rock Skills program – an initiative funded by Youth Coordinator Chris Dell from the Westbury Community Health Centre – as a high school band from Deloraine High. The line-up consists of Mitchell Clark (drums) and Josh Hamill (guitar, vocals) – who are cousins – and brothers Myles (guitar, vocals) and Josh Flood (bass). They first started doing cover material of Metallica and Black Sabbath, before progressing to writing original work. They are strongly focused on producing an EP, currently obtaining funding for the costs, and should have a demo released by late November. The band has described its sound as 80’s-influenced thrash, and as a result of writing their own original material, they’ve becoming tighter, and developed a full, aggressive sound. PAGE 12
Based in Launceston and formed late in July 2006, Abyss first started playing hard rock and heavy metal. However, after a couple of pretty poor live performances, the band entered a hiatus period lasting from November until February the following year, when the band decided to take more of a serious, melodic approach. The band consists of Nathan (Jock) Geard doing the vocals, Tyson Mallinson on bass (and harsh vocals),
Josh Young and Lucas Atkinson on guitars and Brendan (Chicken) O’Keefe on drums. Each member of the band has a different style that they bring to the band, which, in turn, has allowed Abyss to play a variety of different genres of metal, ranging between heavy, metalcore and melodic death. Abyss aim to perform some live gigs as they prepare to return to the stage for the first time since the hiatus began last year, and maybe to record an EP by the end of the year. Northern Assault kicks off at Deloraine’s Little Theatre on the 10th of August. Call 63 93 58 00 to book a seat on the free bus service – bookings are essential.
JA MES BL U N D E LL
Conversations With A Like-Minded Felon By Tom Wilson
None of our pasts would bear great scrutiny, but I think it’s one of those delightful things of not been caught doing anything too bad ... yet
(The following may, or may not, be true) It’s around midday, and I’m just wrapping up an interview with badass-country singer-songwriter James Blundell, who is talking to me while driving to his next gig, when he quickly cuts me off. There’s a moment of silence. Then, “Sorry mate, I had to drop that [his phone] – there was a cop coming past.” How fitting, then, that a man committing a minor legal infringement just to talk to me is heading to Tasmania on what is being called the Like Minded Felons Tour? He spoke to me about his touringbuddies, Karl Brodie and Nik Phillips, and his latest album, Ring Around The Moon. You’re touring with Karl Brodie and Nik Phillips, and the tour is called Like-Minded Felons. Now I’m sure that you are all terrible felons, but in what ways are the three of you like-minded? Well, Brodie has a much more intriguing explanation about it than I do, because he does have a beautiful brogue, and if you ever come along to one of the gigs I’ll ask him to do it. But really it’s a very simple premise; that there is a stoic-ness to the singer/ songwriter in this day and age, and I guess the last decade has been reasonably unfriendly to that forum, you know? And when you make your living out of it, and persist in troubadouring and basically sitting there and get on with playing songs and accompanying yourself; enjoying it when you have the commercial flexibility to have a band, but predominantly working on your own ... It drives the mindset that the reward is in the craft itself, and as altruistic as it sounds, it actually is the case. So when we started working together, it was very much a matter of recognising in each other that we all had been through a similar process, and had arrived at the same mental juncture, but with different sounds.
yet – living fairly firmly on the edge, which is a great place to be. Anywhere else and you are taking up too much space. Nice. Now you’ve said that your last album, Ring Around the Moon, was the most mature and satisfying record that you have ever made. Now what were you talking about here. This was album number nine, yes? My ninth studio album. I’ve rebelled for so long against the stereotyping of being a country act. Mostly because what I’ve grown up with were the great country singer-songwriters; Kristofferson, Glen Elston … Slim Dusty absolutely … Stan Costa. All the people who really worked from a base of profound integrity because it didn’t occur to them to write shit, you know? When I lived through that time, when country became as clichéd as pop, it was very much a “git yur hat” and “sing your songs about someone’s broken heart and a lost dog”, and it’s not what the music form is about. One of the things that I’ve felt very strongly for a lot of years now is that it really is the last statement-orientated commercial platform.
So the performance each night is a short-ish solo set from each artist, but then we literally stagger together onto the stage each night, because we do enjoy each other’s company and we have been having too much fun. It is never intentional, but we turn up, have a few grogs, and all of a sudden it unravels and becomes a party, so it’s been a blast, and it seems to be rooted in truth, you know? So that’s about it.
There’s some great Australian talent at the moment – Luke O’Shea, Donna Corkram. I’m working with a young girl called Jessica Curran at the moment; they’re all writing things that matter. It’s very hard to say that without sounding like the ultimate wanker, but by the same token, I think music has to have that. I was born in 1964, grew up listening to some of the best writers that commercial music ever produced, and I find anything short of that just a
So, the second part of the puzzle ... if you are all felons – and that seems pretty obvious – what are you guilty of? [Laughs] Well, that opens up a whole heap of possible responses … None of our pasts would bear great scrutiny, but I think it’s one of those delightful things of not been caught doing anything too bad ...
little hollow. James Blundell plays, and plays-up with Karl Brodie and Nik Phillips at Hobart’s Republic Bar on the 9th of August, Swansea’s Bark Mill Tavern on the 10th, The Heemskirk Hotel in Zeehan on the 11th, and the King Of Burnie Hotel on the 12th. PAGE 13
The Emma Dilemma Band
Cosmic Psychos + Celibate Rifles + The Roobs REPUBLIC BAR & CAFÉ – 7/7/07
JAMES HOTEL – 14/7/07
Brisbane Hotel Opening Party BRISBANE HOTEL – 15/7/07
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The Beautiful Girls The night was cold, and the town of Launceston was in a state of hibernation as a local group, The Emma Dilemma Band was stirring at the James. With a mix of drum synths and shrill vocals, the group (which consists of a vocalist, mixer, and two dancers) have a very 80’s European techno sound. With songs such as Touch My Other Hole and The President is an Asshole, they really got smiles from the crowd, and catchy, repetitive vocals were used so that the listeners could sing along. The vocalist was very enthusiastic, and a bit over the top … downright dramatic. She actually reminded me of Frankenfurter from The Rocky Horror Picture Show, but in a good way! The two dancers were really zealous, with the guy waving his pelvis everywhere. I believe (though I may be wrong) it was the singer’s 24th birthday, as well as her sister’s 21st, so happy birthday to them. Still, it was disappointing to see the Red Paintings cancel their gig as the main act, because the Emma Dilemma Band would have been a great support for them. MICHAEL MARSHALL
IlL Technique RAINCHECK LOUNGE – 08/07/07
Anyone who knows me knows I am a dedicated Roobs fan,so add the Celibate Rifles and Cosmic Psychos, and I’m back up to North Hobart again. The show started a little late, as the two mainland acts were still at the airport when I arrived. The Roobs kicked off in typical style; loud, fast garage punk, complete with eye make-up, boas, and Chonga in fine Iggy Pop form. If you haven’t seen these guys, get along and see one of Tassie’s finest live acts. A reasonable-sized audience were quite happy to help Chonga crowd-surf. The Celibate Rifles were up next. I haven’t seen these guys for years. It was a solid rock performance, but it seemed a little down after the excesses of The Roobs (or maybe that is just my bias showing). They seemed to be almost going through the motions, rather than getting into the music. The Cosmic Psychos topped the night off, showing how it is really done. I had not seen these guys before but, like Sodom a couple of weeks back, they proved that experience can show through. There’s nothing sophisticated about their songs, just heaps of energy applied directly to the music – an interesting comparison to The Roobs, who apply it to both the music and the stage performance. But the Psychos didn’t need the theatrics. I loved the set. Mind you, by now it was getting quite late, and the beers may have helped. The band room was pretty well packed. Again, it was hard to get good photos, but seeing good crowds out for bands like this makes up for it all the way.
The opening of the Brisbane Hotel brought everybody out of the woodwork. It catered for everybody, with a diverse range of bands playing over the duration of the night. The front door had a bit of a line to get in, which took me by surprise, but made sense as soon as I wandered inside. I got there just in time to catch Lucy on stage. With the punters steadily streaming into the place and filling the joint up nicely, their fresh sound set the scene for what was going to be a big night. The main band area had people two-deep lining up at the bar, so I decided it was time to check out the back room to see if I could quench my thirst out there.
THE SALOON – 21/07/07
It was more a relaxed vibe out there with people chatting, playing eightball, or the select few movers and shakers on the dance floor grooving away to DJ Svengali’s laid-back beats. It was still pretty packed, but my beer-hungry tummy got satisfied in the end. With beer in hand, I went to check out The No No’s back in the main room, and by this time people were packed in as their old-school, punk-y sound had everybody rockin’. The arrival of The Roobs to the venue with guitars in tow had many people checking them out. They were like rock stars with their big fur coats, crazy hair and mad looking sunnies on. When they got on stage they didn’t disappoint, and topped off a big night of music at Hobart’s new live music venue. I must say that this place could become a real hot spot for live music, with good acoustics and a great layout for a crowd to gather and check out bands. BEN PETER
It was a freezing winter’s night, until The Beautiful Girls came to the Saloon and thoroughly warmed up Launceston. Starting out with a great favourite, Generals, they really got the crowd going, and made them roar when it came time for the loved single, Thought About You.
When it comes to Sundays, I say the Small Faces have the formula figured out nicely. As Lewis was noticeably absent last time I happened past the Raincheck Lounge, opposite the laundromat in North Hobart, I reckon he probably thinks so too. It’s about 3:40 in the afternoon, and it seems my super-procrastination powers have paid off; a friend with one of them fandangled automobile thingies has shown up. Yeah, they can give me a lift to North Hobart. “Close my eyes and drift away…” First up I’d like to correct a mistake I made in my last Illtechnique review – that being the scandalous intrusion of some Ryan guy who nobody in the house had ever seen or heard of (you just can’t trust those prone to looking shifty in corners…), leaving the far more talented and probably much nicer (though possibly just as shifty) Tom Ambroz to fend for himself with the savages. Well, that’s just not how you make porridge. I apologise. To clear the air, Illtechnique’s members include the aforementioned Tom with Lewis Higgis, Joel Imber and Sam who’s-last-name-was-printed-lasttime. Nobody has any idea who Ryan is. Experiencing them this time as a whole band, well … the proverbial arse was kicked. The bond they have as musicians together is just a shade off tangible, with opaque its clear destination (Sunday fun with puns!). Showing up at the start makes one aware that they perform each set in a different formation, much as you might see them in the Elizabeth Street mall, or at an air show, which left me with a four seasons in one day feeling that complimented the house beer splendidly. The different sets, coupled with more “Greens” stickers than an official stick poker could bite off and swallow, definitely strengthened the Captain Planet image I had in my mind, though it was briefly confused by the thought of Constructacons™ transforming as they combined their powers in a last set jam that stomped on in a meaty, bluesy frenzy – its frantic finale tempting me to close my eyes and think of old Disney animations like Noah’s Ark, with hippos in tutus dancing to men with deep voices in deep harmonies with drums and elephants laughing. The idea that I can come to Raincheck every Sunday and pig out on these guys makes me grin. They’re good, they’re passionate, and they’re bloody nice chaps to have a beer with. I hope they manage to install themselves as Billy Whitton has down the road at the New Sydney as a permanent staple of the Hobart music world. For fans of Billy, Illtechnique conveniently finish in time for you to shoot off and catch the start of his show afterwards. Just think; the boys had you in mind when they started this thing. I challenged Sam to a re-match at backgammon and beat his punk ass to the ground. One-all. Tune in next time for the final battle. Fight! IAN MURTAGH
The Beautiful Girls
UTAS (Sth) Uni Bar - 20/7/07
SYRUP – 21/7/07
Playing songs from their recently released Ziggurats record, and also their older releases, fans both old and new were able to sing along. The set was thirteen songs long, and afterwards came an encore of three more tracks, giving the large crowd more than their money’s worth. The Beautiful Girls put on an absolutely incredible performance, lasting an amazing two hours, including twenty minutes of awesome solos. I must also mention the support acts, Lucky Fonz III (Amsterdam) and CW Stoneking (Victoria), who really could have had entire concerts of their own, with beautifully written songs from Lucky Fonz III, and blues from CW Stoneking presented with a thick accent. Altogether, it was a breathtaking concert – one I very highly recommend anyone to see next time, and in my top five for sure. So catch them next time – they said they will be back as soon as possible!
The Uni Bar holds memories for everyone (and a whole lot that people don’t want to remember, most of which are awesome).
The note was slipped under the door sometime between 10 and 11pm; there was nothing there when the bananas arrived, and Alfonso had a keen eye.
So on the odd chance when there is still a gig at such a great venue, it’s usually a good night to build on those good times.
We had an hour to decipher the code in the message and reach our destination before the unknown sender would carry out his sordid threats.
It seemed half of Hobart felt the same way, as the place was packed for The Beautiful Girls.
The Rabbi was able to decipher that our journey would begin at Syrup.
It was no surprise to see the big space in front of the stage filled with people fairly keen on checking out some classic songs, and new ones from their fourth album, Ziggarauts.
But what to do, when our regular haunt left Alfonso scratching his head in confusion like the primitive monkey he is? The strategy was to do what we always do when here on a Saturday night; collect a stamp, leave your expectations at the door, and follow your instincts.
Myagi HALO – 13/07/07
I wouldn’t say our timing was the best, but then again, you don’t need to hear about the frustrating, ballbreaking efforts it took to even get from dinner to the concert. We got in, and frontman Mat McHugh was laying down the sweetest melodic vocals that hurtled across the crowd, as even the angriest member of our entourage developed a new found happiness. The Beautiful Girls began on a cruise-y reggae vibe, as they played some favourites including Blackbird, So It Seems and Music. Then, the rockier sounds of their new album turned the crowd into a frenzy. Mat lifted the guitar to the air vents, demanded the love be felt around the room as I Thought About You was played to utter perfection. The Beautiful Girls – a band that only improves and evolves with each album, and a live performance that left nothing but good memories. FELIX BLACKLER
The locals were layered across both levels, relishing in the lack of dickheads and the funkiest of beats being delivered by the DJs. The rabbi, with his fiscal powers, set about the mixologists behind the bar, demanding a range of cocktails and drinks that were inexpensive, yet also to blame for the dancing urges we all felt. Alfonso began to swing off the poles, as the Rabbi and I moved to a safe distance, knowing that the night was only young, and we would slowly watch it grow old in the grasps of this cosy club. Our mission became lost, as Adam Turner, with a funky tech house sound, brought us all to forget our worries and join in with the crowd for some punchy bass lines and a range of remixes. We seemed to be accepted by most friendlies, with some looking at us with odd smiles, thinking “What the fuck is a man doing with a monkey and a Rabbi in Syrup?” Alfonso just smiled, and gave bananas to everyone. FELIX BLACKLER
So I walk into this bar, and there was a duck, a nurse and a schoolboy only interested in other schoolboys. Now before you wonder what sordid activities these three were going to get up to, its not a joke, just Friday night at Halo. As I rocked up for some solid breaks from Myagi, the end of a private party was under way. Now don’t get me wrong, getting groped by a duck on the dancefloor is all well and good, but there is something about trying to hold a converation with someone who cannot scractch his own arse that is slightly disturbing. Then again, you can pinch his nipples and run away before he has any idea where you went. After toying with a range of people in costumes, it didn’t take too long for Myagi to step up and play some funky ol skool breaks. Some people think a track played at club with a shelf life of more than a month makes it old stale, but I say wipe your mouth out, that shit is a classic! If I had to have a moan, it would be how easy Myagi makes his set look as he pieced it together. Armed with his laptop loaded with Ableton Live and an armoury of tracks, it was just a click and a twist before the next track was thrown down with the same punch and vibe from any vinyl purist. A good breaks night that left a duck walking down the street, rubbing his inflamed and bruised nipples. FELIX BLACKLER
K I S S CH A S Y
An Awakening, New Directions ROCK SALT
By Dave Williams
It may be unique in an Australian band scene to have a songwriting duo who are both vegetarians, such as Kisschasy’s Sean Thomas and Darren Cordeux, but what is certain is that these two vego’s, along with colleagues Joel Vanderuit and Karl Ammitzboll, have combined to produce a unique new album. Taking a break from touring and avoiding serious injury from tumultuous storms, Sean spoke with me about how the album reflects a major change in the lives of the band members, as well as in the direction of the band itself. Where are you today? At home, mate. It’s blowing a gale down here; there’s some stormy action going down on the peninsular. So, pretty casual times then? Yeah … it turned into a fucking crazy storm. I’m working at a building site, and there would have been shit flying everywhere, so you saved me from work today, which I’m very grateful for. Who knows, you could have been permanently injured today if it wasn’t for this interview. I seriously could’ve man. Like, the power went out before. It’s been going crazy. So how come you aren’t out on the road, going town-to-town, flogging yourselves and the new record yet? That would be too much like hard work. We’re going to work the album for a while – let it sink
Record labels have been ripping people off for years, and they are all starting to die out now … You can only rip the world off for so long … in a bit. We’re trying a bit of a different approach from last time, because last time we spent about a year-and-a-half touring. The title for this new album, Hymns For The NonBeliever seems a pretty contradictory title to me. Can you tell me what’s behind the decision to call
the album that? Well there’re two things to that. We were looking for something to paraphrase the album, because the album has a theme running through it of [Darren Cordeaux] growing up in a religious family, with a lot of things really forced upon him, and he had to find out a lot of things about the outside world for himself that his upbringing didn’t prepare him for. There’s a line in We Are A Choir about singing hymns to keep the widow’s mind at ease, and he thought that using the word “hymns” would be good; using the word against them. The other part is that, over this period, we are really starting to consolidate our foundation, and we really wanted to reinforce that, and Hymns For The Non-Believer is our album. Everybody has something in their lives that they have been bought up to believe and then realised that it was bullshit and had to reject it … whether it’s religion or any concept – either school or work or family or whatever. So what’s your thing that you’ve grown up and come to realise that wasn’t quite as straight-forward as you had thought when you were younger? Well, my parents are park rangers, and I grew up in a very environmental household. It’s not a serious thing – it’s a little thing – but I grew up eating meat-andthree-veg and never really thinking about food and where it comes from. So over the last few years, I have become a vegetarian because I have been learning about the environmental impact of the meat industry and other food industries – so that’s one little thing. I have gone back to my parents and said, “How come you’re environmentalists but you eat so much meat, and you don’t eat humane meat, and you buy factory-farmed stuff...?” But that’s how we were brought up. It’s a hard thing, but they don’t know a lot about nutrition. But my girlfriend is a nutritionist and she has taught me a lot of things. Well, you never know – maybe they just like the taste of meat? It’s just something I’ve picked up on. It’s just my little thing, because they’ve been park rangers for
... ever – for as long as I can remember, so they’ve probably done more in the long run than I’ve ever done. So that’s the most dramatic thing that I can talk about [laughs], know what I mean? Darren’s the lyricist, and he comes up with all these things, but he’s had a very dramatic life, and a different environment than the one that I grew up in … so it’s hard to comment on those things. But as you grow, you realise that everyone has their little agenda. Some people pretend that they are doing this to help you, and it is all for your own growth, but it’s not – it’s for their growth. It sort of sounds as though you’re talking about the record industry, mate. [Laughs] Well, I look at the record industry as a necessary evil. But the record industry is changing now – it’s becoming what it should have been in the first place. Record labels have been ripping people off for years, and they are all starting to die out now. I think there’s a good lesson in that. You can only rip the world off for so long before it... But you’re on a record label. Aren’t you guys signed with someone yet. Oh, we’re on a record label, yeah. But I don’t have a problem biting the hand that feeds. I think that you should admit that record companies have taken advantage of people for a long time.
So he comes over to the good side of The Force, whereas the other guys are on the dark side? Well, Carl’s out of control. He’ll get a meat-shake? Well, Carl, he’s a big boy too. Vegetarians do, stereotypically, tend to be smaller-built people, and me and Darren aren’t huge people. On this new album, what would you say there is for previous Kisschasy fans that they’ll find familiar? And what is there that is new and strange? I think possibly some of the people that liked our earlier EPs might go “ooh”, because there is definitely some – in the traditional sense – “heavier” songs; there’s definitely more of that on this record, so that might be a surprise to most people, and some people will find that quite refreshing, I hope. “New and strange” …? I don’t know if there will be anything strange. I think it is a more rounded record than the first one. We’re all a lot more confident in our abilities, and the playing is a lot more relaxed. We all know where everyone is going with their part, and it all fits together a lot more seamlessly than the first one.
Hymns For The Non-Believer is out now.
Keeps them on their toes, you reckon? Yeah, keep them on their toes – exactly. Hey, anyone else in the band vegetarian? Yeah, Darren is too. Darren’s a very strict vegan. Cool, so you wouldn’t feel so alone now? No, it’s good. We’re a very balanced band, because Carl and Joel are very strict carnivores. It’s nicely balanced. Carl and Joel tend to eat together. But Joel sometimes comes across to our side, because he likes to get on a health kick every now and then.
Cartoons? Like your work to be published? Submit artwork to firstname.lastname@example.org PAGE 15
GIG GUIDE 25th July - 7th August On Tasmania’s Beautiful East Coast
WEDNESDAY 25TH HOBART
Cheeky Sound Chaser + The Embers + The Zac Lister Band
93.7 Pyengana to Beaumaris
100.3 Scamander up through the Fingal Valley to Campbell Town
Live Music + DJs
Texas + Quality + Pilot
Kid Kenobi + MC Shureshock + Recut + Phat
n Ugly + Jess Tucker
Breakfastaz (UK) Irish Murphy’s
SUNDAY 29TH BURNIE
Echo Blue + The Jay Hanson Trio
Stage Door the Café
Blue Money @ 5PM
Republic Bar & Café
Longley International Hotel
98.5 Bicheno, Swansea, Triabunna and Orford We are the ONLY Radio Station servicing the entire East Coast and Fingal Valley of Tasmania!
Mark Dynamix + Gillie + Adam Turner
The Loft Unofficial Breakfastaz Pre-Party @ 8PM
Royal Oak The Titz
The Kurt Williams Band
Live Acoustic Music
SATURDAY 4TH BURNIE
Republic Bar & Café
Stage Door the Café
Emily Smart Duo + Brillig
Comedy Night – “Impro-Vice” @ 7:30PM
Brisbane Hotel M.S.I + Taberah + Born Headless + Lacerta +
On Your Feet Soldier (ALL AGES) @ 3PM
Eclectic + Black Dollar + Foxhunter’s Return
Sexy Lounge With Carl Fidler
The Night Terrors + The Bad Luck Charms +
Royal Oak Open Mike Night
THURSDAY 26TH BURNIE Stage Door the Café The Jazz Free Zone @ 7PM
MONDAY 30TH BURNIE
B.O.T.O.X (18+) Curly’s Bar
27/7 28/7 31/7
Open Mic Night Invisible Boy S&M Idle Hands Jazz In The Boatshed Josh Shephard The Titz Kurt Williams Open Folk Seisiun @4.30pm ea Sunday
OPEN MIC NIGHT
OPEN 7 DAYS
14 BRISBANE STREET, LTN 6331 5346
Stage Door the Café Viktor Zappner Swingtet + Dan Barnett
Scott Woodhouse + Dave Webber + Samex + D2M + JimK
TUESDAY 31ST HOBART
Republic Bar & Café
Republic Bar & Café
Steve Campbell + The Sign + Darlington
Whiskey Go Go’s
Republic Bar & Café
DFD – Adam Turner + Gillie + Corney
The Last Wednesday Of Every Month
Hotel SOHO Live Music
Jazz In The Boatshed The Loft Project Weekend + Shammie + Guests
FRIDAY 27TH BURNIE Stage Door the Café
AUGUST WEDNESDAY 1ST HOBART Curly’s Bar Live Music + DJs
Fiction + Jonestown Syndicate (All-Ages) @ 8PM
LAUNCESTON Yuri & The Vostok + Woof Woof + Anvil
The Que + Third Ending Royal Oak
Red Whyte + Blind Billie Speed + Lucien Simon Republic Bar & Café Curly’s Bar
The Que + The Cityscape Riot + A Silent
Gunners Arms Hotel
Neil Gibson @ 7:30PM
The Kurt Williams Band
SUNDAY 5TH FORTH
Jazz/lounge – Guest DJs
Tom Cosm (NZ) + Shammie + EllisD + Cruse +
The Kurt Williams Band
Three Many DJs
Pharma Psy @ 11PM Hotel SOHO Live Music
Republic Bar & Café
THURSDAY 2ND BURNIE
Expatriate + Bit by Bats
Stage Door the Café
Live Acoustic Music Republic Bar & Café Emily Smart
Viktor Zappner Swingtet + Yoly Torres Syrup Pickle vs. Pitch Black – Shad + Will.co + PKC + Liv + Scott Woodhouse The Loft
HOBART Curly’s Bar
D2M + JimK
Royal Oak Open Folk Seisun
Got a gig you’d like listed in the Sauce Gig Guide? Email details to email@example.com
Irish Murphy’s Simone Taylor
Sexy Lounge With Carl Fidler
Republic Bar & Café
MONDAY 6TH HOBART
The Kurt Williams Band
BANDS! DJ’S! PROMOTERS!
Comedy Night – “Impro-Vice” @ 7:30PM
Scott Woodhouse + Dave Webber + Samex + Lucien Simon Presents A Night Of Theatre And Music @ 8PM
SATURDAY 28TH HOBART
The Loft Project Weekend + Shammie + Guests
Republic Bar & Café
Brisbane Hotel Pussy Kills Everyone For No Reason + Bad
Luck Charms + Enola Fall
Royal Oak Josh Shephard
Curly’s Bar RNB Superclub – MC Jayson + DJ Def Rok
FRIDAY 3RD BURNIE
Stage Door the Café
Bass Kleph (Syd)
Republic Bar & Café
TUESDAY 7TH HOBART Republic Bar & Café Joe Piere
WEDNESDAY 8TH HOBART Curly’s Bar Live Music + DJs
HOBART Curly’s Bar 112 Murray St 6234 5112 www.curlysbar.com.au
Hotel SOHO 124 Davey St 6224 9494 Raincheck Lounge 392-394 Elizabeth Street 6234 5975 Republic Bar 299 Elizabeth Street 6234 6954 www.republicbar.com The Brisbane 3 Brisbane St 6234 4920 firstname.lastname@example.org The Loft 142 Liverpool Street 6231 6552 myspace.com/theloft142 Syrup 1st Floor 39 Salamanca Place 6224 8249
LAUNCESTON Gunners Arms Bar & Bistro 23 Lawrence St Launceston 6331 3891 James Hotel Reality Niteclub / James Bar 122 York St Launceston 6334 7231 www.jameshotel.com.au
and the Jive Masters + Oooo Aaaa
Dirty Harry and The Rockets
Republic Bar & Café
River view Hotel 43 Charles Street 6331 4857
Republic Bar & Café
Royal On George 90 George Street 6331 2526
Jazz/lounge – Guest DJs
The Royal Oak 14 Brisbane St Launceston 6331 5346
Saloon 191 Charles Street Launceston www.saloon.com.au 6331 7355
James Hotel Expatriate + Bit by Bats
Stage Door The Cafe 254 Mount St Upper Burnie 64322600
Merchants Of Groove – Funk Fusion + Supports @ 8PM
Sirocco’s 69 Mount St. Burnie 6431 3133
Nellie & The Fat Band + Radio Fire + Fabio The Fat Band + Fabio The Loft
James Blundell + Karl Broadie + Nik Phillips
O’Keefes Hotel 124 George St. 6331 4015
BAT FOR LASHES Fur and Gold Natasha Khan, better known by her stage name Bat For Lashes, has just released her new album, Fur and Gold. This release has a very mystical sound to it, and at times her voice becomes so quiet it sounds as though she is merely whispering. What’s A Girl To Do is a fast-tempo song in which Natasha starts off by simply speaking the words, not singing. Her English background becomes apparent when she starts to speak – the good old Pommy accent. But the consistent drum beat plays over too many times, and begins to drown out the vocals once she does start singing. A very plain track … The beginning of Horse And I sounds almost techno with the twanging instrumental work. This is quickly resolved when the vocals start – she manages to hit some very high notes in this track and, in other parts, goes extremely quiet. Male vocals accompany her on Trophy, and this gives the song (and album) an interesting sound. It makes the song seem much bolder, and not as bland. Trophy is possibly the best song on the album, due to the distinctly different sound it possesses. Three out of the eleven tracks on the album are about animals; Horse and I, Bat’s Mouth and Seal Jubilee all relate to the theme. Now I wonder – is there a chance that she is into animals? Fur and Gold is not one of those albums that “jumps out and grabs you”, so to speak. It just seems a tad too plain. SHANNON STEVENS
CALVIN HARRIS I Created Disco The 2007 debut album from Scottish Electronic artist Calvin Harris presents a mix of electro-infused dance tracks, and sees Harris take influence from the likes of LCD Soundsystem, Daft Punk and, in particular, early ‘80s electro. One of the biggest tracks to come from the album would have to be Acceptable In The 80’s, which has been thrashed on all medias. Also a personal favourite would be the Tom Neville remix (not available on the album) which is an absolutely brutal electro cracker. So, in a nutshell, you have an album full of retro lyrics, all infused with a bunch of old school synths and beats, giving that old school electro pop music sound that seems to be growing in the industry. In my personal opinion, the album isn’t much chop, and doesn’t seem to have any appeal that makes me want to listen to it again. Yet it has been produced very well, and the style of music he is trying to put across to the audience he caters for is one he nails quite well. I do look forward to the remixes that may come out for the tracks such as The Girls, Vegas and maybe Disco Heat.
BROKEN TOOTH ENTERTAINMENT
This is a collection of rugged, Aussie hip-hop tracks; a showcase of Broken Tooth Entertainment’s finest artists, who once again show us the darker side of the field. All of the artists involved in this release are BTE label artists, and all have their own things going on, so it’s good to hear some fresh, new tunes from everyone while they’re in-between albums. I’d have to say that the introspective What Did You Leave by Swarmy and the thumpin’, shit-stirring Piece of Piss by Bigfoot are the standout tracks for me, and, now that I think about it, both artists are probably the best that Broken Tooth has to offer. Other artists such as Fame, Ciecmate and Newsense bring some pretty tight verses too, but overall, nothing really shook me much. The thing about the rough, Aussie underground rap movement is that the topics the MCs touch on are often really compelling, but the flows are so boring and effortless, which personally wears really thin when I’m after a bit of originality and passion. But each to their own, I suppose. All of the beats (aside from the instrumental for Kid Selzy’s My Struggle) are all fairly on-point, especially the Mr. Zux-produced Snap by Overproof. I think it’s a great representation of what Broken Tooth is bringing to the hip-hop scene, but while it’s admittedly not my sort of hip-hop, I didn’t really feel the majority of the release. RYAN FARRINGTON
CHRIS FORTIER As Long As The Moment Exists With over a decade of being in the industry, thus traveling from corner-to-corner of the globe, Chris Fortier has released his As Long As The Moment Exists album, consisting of fifteen mindbending tracks. Known for many epic remixes regarding the genre of progressive house tracks, this CD offers his style, but with some quirky tracks offering something a little different from the usual. If you like the kind of music Dave Seaman plays, you’d enjoy this CD, hence these guys used to play together at Twilo. (Google it!) Stand out tracks for me would have to be Fantastic Diversion, with a very bass-driven hook consisting of pads and melodies guiding throughout the journey. Stay Tuned is an interesting song, just due to it reminding me of theme music for an 80’s Muppet show, or something similar to Charlie And The Chocolate Factory. Deviated Septum is another appealing track, featuring usage of a 303 or something similar – cleverly produced, with a great LPF frequency thriving throughout the track. You want progressive tracks for ears? Have a listen to this album, it’s truly worth it. You could even pop a few of these tracks in your mix considering the album isn’t actually mixed. Check it out with your neck out. PATRICK DUKE
EDITORS An End Has a Start
If you’re after retro pop electro music, this is exactly that – some catchy elements uphold its respect. PATRICK DUKE
CHROMEO Fancyfootwork Following on from their successful release She’s In Control, Chromeo have released their new album Fancyfootwork, filled with what they’re known for – funk, funk and some more funkity-funk-funk electro pop. With a mega 80’s feel consisting of what sound like Commodore 64 analog moog synths and a collection of hand claps and clever usage of vocal processors, it’s certainly not music meant to be taken too seriously, yet it certainly has some class if you’re into that kinda sound. Every time I listen to this CD, I think of fluro happy pants, big mullet hair, Debbie Does Dallas and Baywatch. The CD honestly didn’t do much for me on the “am I going to listen to the CD more then I have to” level; Chromeo do have their own sound, but it seems to be consistently boring after the first few tracks, due to the songs all blending into each other, sounding so similar. Fancy Footwork seems to be the stand-out track, which you may have heard on Triple J, as it’s getting a fair bit of airplay. So if you’re chasing after some twisted 80’s-style funk, check it out. PATRICK DUKE
This being the first LP album to be released from Editors, a four-piece from the UK, I must say they have done rather well. With a gentle indie-rock sound that escapes others of the same genre, Tom Smith has a very a distinctive voice, with his deep vocals that catch and enthrall the listener throughout the album. Also the lyrics are very well written, in a way that lets you almost feel what the band was feeling at the time of writing the songs. The four-minute track that appears on this album at number three – The Weight of the World – could have easily been reduced by thirty seconds, but with all but two songs being under four minutes, that is the only one that does stand out to be a little long. Otherwise, the entire recording is put together very well, with each song flowing well into the next. Escape the Nest was the standout song for me, other than the wonderful single they have released, Smokers Outside The Hospital Doors – both being easy listening songs which get better with each listen. Overall, An End Has a Start is the type of record that does need a little more attention than some, as each song really needs more than one listen. The only drawback I have with this album is that it can tend to become a little blurred together, with not an extreme difference between tracks. But do give it a chance – I believe it is worth it in the end.
VENTS - Hard to Kill .... I can’t explain to you how hype-worthy this album is – you’ve really got to listen to it. 10/10 JAMIE T Panic Prevention
FEIST The Reminder Canadian singer-songwriter Feist has just released her fourth album, The Reminder. Also a member of the band Broken Social Scene, Feist has also been associated with big name act Placebo. Her vocals sound similar to those of Dido, especially in My Moon My Man. The bass work at the beginning of the track is quite a highlight – the same riff plays consistently throughout the entire song. So, basically, you finish with what you start with, except for the footsteps of someone running which form the lead-in to the next song. Now the next track The Park gives you the feeling that you are actually in a park somewhere, due to the distinct sounds of birds chirping. It is also one of the dullest songs on the album, and one of the dullest songs I have ever heard. The track is painfully slow, and it would almost be possible to say that this song has no tempo whatsoever. The Limit To Your Love is a more upbeat song, thank god. The percussion work stands out, and makes this song better than most of the others. The vocals don’t go as high as in the other tracks, and this is really a good thing, making this one of the better songs. But with very few upbeat songs, and no real standout tracks, The Reminder is only an average album. I would not suggest rushing out and purchasing it … SHANNON STEVENS
Called “the one man Arctic Monkey”, Jamie T is the next big English artist to have one of those very prominent and recognisable voices. His vocals sound unbelievably similar to that of the Arctic Monkeys – so much so that you would swear that was who the song was by. Brand New Bass Guitar is (I bet you could never guess) all about a brand new bass guitar. Adding a little touch of hip-hop to the album is So Lonely Was The Ballad. This makes the track much catchier than some of the others, due to the rhythm it is sung to. The instrumental work stands out substantially, making this one of the better tracks. The loud drum beat at the start of Dry Off Your Cheeks almost sounds like a gun shot. The song borders on the techno side, and the vocals sound as though Jamie has lost his voice, and is trying to screech the words out. If You Got The Money is another decent track. The lyrics are catchy, and there is a large possibility that you will have them stuck in your head for the rest of the day. The twangy guitar is also worth noting, as it is the first thing you hear when the song starts, and immediately draws your attention. Panic Prevention is a very English-sounding album; therefore, if you are into the whole English boy band sound like the Arctic Monkeys, then you will definitely like Jamie T. SHANNON STEVENS
The Scare Bats! Bats! Bats!
VENTS Hard to Kill
Rock Sound was quoted as saying, “The Scare … Musical equivalent to Russian Roulette. Illicit, exciting and fucking dangerous!” Well, they certainly managed to get that correct.
I can’t front – I really didn’t dig Vents’ previous efforts on his feature spots on the Funkoars releases, but his solo efforts on this new album Hard to Kill have completely changed my opinion of him as an artist.
Bats! Bats! Bats! is a four-track prelude to their soon-to-bereleased album. The song is extremely catchy and intensely powerful. (Note – this in one of those songs that you just have to play sensationally loud!) Kiss Reid provides the vocals for this insanely catchy track, and his extensive ability is shown thoroughly throughout this track.What I’m guessing is a continuation from the first track is Bats Bats Bats Bats Bats. It is a much more lyrically-charged song that also has a hint of techno added to it. It sounds as though some particular creature is making noises in the background, making this song a rather interesting listen. That typical squeaking microphone noise that is heard in many songs is what starts Sister (What’s Good For You). Instrumentally the song is a very strong one, but the lyrics are a tad weak. It sounds as though the vocals are straining uncontrollably. Kiss just doesn’t quite hit the right notes that are required to make this song a highlight.Overall, this is a decent release from The Scare. The mixture of intense vocals, thumping drum work and endless amounts of pumping guitar riffs make this a keeper. Bring back the post-punk, I say! SHANNON STEVENS
Vents, the Australian Chuck-D, rips a hole in the music industry with his political lyricism, force-feeding them into your ears with his unrivalled, signature intense flows. The beats are crazy, with most of the album produced by the one and only Trials (Funkoars), who matches his epic beats to Vents’ verses well. The intro of the album has Vents ripping a dope verse, leading into a spoken word statement directing people to seek the truth and not to believe everything we’re fed from the media. I can’t explain to you how hype-worthy this album is – you’ve really got to listen to it. I have to say that this did more for me than any other Obese release since Pegz’ Axis. Five Minutes to Midnight is yet another full force attack on “the Man” over a soulful instrumental, giving something completely different to the otherwise pumped-up album. This release proves that politics and consciousness are still alive in Australian hip-hop music, and Obese Records has shown us that they’re still successfully and effortlessly chipping away at that wall between mainstream and underground hip-hop. RYAN FARRINGTON
SH O UT OUT LO U D S
Good Will Hurting
You can always rely on Swedes to keep their cool under pressure. Stockholm pop sophisticates Shout Out Louds are no exception. Not only did they breeze confidently through supports for big league rockers The Strokes and Kings of Leon in recent times, but on the oppressively hot stage of the Colorado Desert’s Coachella Valley festival, they remained just as chilled. “It was really warm,” notes guitarist Carl Von Arbin on the phone in a clipped Scandinavian accent. “The heat was a big thing but we managed. We’re used to the sauna, you know, so we can relate to that!” Formed in 2001 by Von Arbin and singer-guitarist Adam Olenius – friends since kindergarten – Shout Out Louds began very much as a garage experiment. “In the beginning we used a drum machine, and we didn’t really want to bring in [drummer] Eric [Edman] until we really could play something together, because he would just get annoyed,” laughs Von Arbin. Now a quintet, they’ve blossomed through the noughties into a savvy pop outfit, finding favour with a cult audience in Europe thanks to their 2003 debut Howl Howl Gaff Gaff (apparently the sound Russian wolves make) on Swedish indie label Bud Fox. The band
It’s just about writing everything and trying not to censor yourself. But sometimes you can hurt people in the lyrics a little bit. later released an international version of the album, a la Radio Birdman’s Radios Appear, significantly broadening their global fan base. Despite the accolades, however, Von Arbin remembers the album’s studio session as a frightening experience. “It felt like walking into a cockpit of a plane and there were buttons everywhere and you didn’t understand – it felt scary in a way,” he recalls. “It seemed easier just doing a demo, so we were very naïve in there, and it was a weird experience on the first few songs. It’s hard once you’re into the recording process to know what’s right and wrong. Sometimes you get really blind, and your ears don’t really know if it’s good or not. It’s hard to be objective.” But the public’s reaction to SOL’s at times Cure-esque sound has been sincere, enabling the band to tour constantly. “People like the energy of the music and they want to move their bodies – they wanted to dance,” chuckles Von Arbin, a graphic designer by trade. “I’ve played in other bands and, you know, when you ask people in the office to come to your shows and stuff and sometimes you have to persuade them, but this time it all came very easy.” Prior to August’s Australian visit, their second in just over a year, Shout Out Louds are set to release their sophomore effort Our Ill Wills, produced by Peter, Bjorn & John genius Bjorn Yttling and an album steeped in revelatory secrets. “When you write things, you want to stay true to yourself, and try to dare to write everything, even though you or somebody else might not look good,” Von Arbin says. “It’s just about writing everything and trying not to censor yourself. But sometimes you can hurt people in the lyrics a little bit.” So did the album offend anyone? “Offend is probably a strong word – it’s not like we’re being mean. It’s more sad in a way for people who we’re singing about.” Shout Out Louds tour the mainland in late August. PAGE 19
CHEEKY S O U N D CH A S E R
Pursuing The Coolest Groove
BANGERS & MASH
By David Williams
He’s a man who’s jazz trumpet skills make you wish for a return of the days when you could light up a cigar in a nightclub – and could quite possibly be one of the most naturally cool guys I’ve ever met. You can just call him Monty, and, with percussionist/singer Kylie and DJing maestro Joel, he brings a classy splash of jazz to a musical collective that paint the walls In Cheeky Sound Chaser, you play trumpet, Joel spins records, and Kylie plays percussion and sings. That’s a pretty eclectic assembly of musicians. How did you first start playing together? Joel and I were introduced one weekend in March ’07; the idea was to have a jam and see what happened. A couple of weeks later we both were digging it, but we agreed we needed a percussion player and or singer. One night I spoke to Kylie to see if she was interested, and thankfully she was. She had what we needed. The rest is history. You’re very passionate about jazz music. Where did this interest first come from? What
were you first exposed to? My brother introduced me to my first jazz recording. I was at LC and he put on a real early Miles [Davis] album. It grew from there. Miles Ahead was my first jazz record. After that, a new world opens up to you; Coltrane, Monk, Duke, Lee Morgan, Clifford Brown, Mingus, Wayne Shorter … the list goes on and on. My biggest influences are Miles Davis, John Coltrane, Sonny Rollins and D’angelo. Your playing has that loose, improvised air to it – in other words, coming to one of your shows is like walking into the jazz club scene from Collateral. To what extent would you agree with this? What kind of method and structure determines what you play? We are all structured to a point; we have some very organised ideas, and some looser arrangements. Joel is like the rhythm section; his beats are always fresh, and his mixing is really tight. Kylie puts the feeling into it with her lyrics; she’s devised amazing ways of performing some well known songs with her own spin on them, but her originals are brilliant. I like to try and complement her while she is singing by playing in between her lines. It feels good when it’s working on stage – every gig is a new learning experience for us now.
Kylie, what kind of musical background do you and Joel come from? Joel used to DJ in a couple of little bars in Sydney. One in particular was Savage; he got the feel for it there, and has been mixing ever since. He is a chef by trade, and only moved to Tassie a couple of years ago. Kylie: I began collecting a myriad of instruments about five years ago; predominantly percussion. Last year I played in a twelve-piece percussion group in Canada, and dabbled in drumming with an amateur garage metal band. I grew up in the sticks, and always
I’m not sure what you would call it – maybe “Deep House Fusion”. If you can get something better, then I’m down with it. preferred listening to music or being creative than watching TV. Nothing has changed since then, and I’m jamming more than ever, which is great. What kind of material does Joel play? Is it all originals? Monty: He spins deep funky house. We have talked about trying to do some originals, but it’s not on the cards yet, although Stu Van Riel (The Embers) hooked us up with a track we all liked. It just needed to be polished a bit, so he said … but we dug it. Kylie, what can you tell me about your singing? What kind of subject matter do you explore in your lyrics? Kylie: Singing has been something I have always loved doing. It also stemmed my passion for percussion and rhythm. My style is entirely undisciplined and self-
taught. I never learnt to read music. Things have just progressed from there.
name. Joel was known as “Cheeky” in Sydney when he used to play there. We all love making sound, and as for “Chaser”, well … we are all chasing something.
One thing I’m finding particularly frustrating is trying to put a label on the kind of music you create. I know you’re probably going to say “we hate being pigeonholed”, but come on, Monty – it’s what I do for a living. Help me out. I’m not sure what you would call it – maybe “Deep House Fusion”. If you can get something better, then I’m down with it. Kylie said “Three World Fusion.” I like that too. So what does the name of the band say about the music you create, and the attitude of the group as a whole? We struggled for quite a while to come up with a
What plans do you have for doing some recording? We will be recording again in about two weeks. We had done one previously, but we want to try new things this time – get the sound right, try some new lyrics, beats, and maybe some other instruments. Looking forward to it. As am I. Cheeky Sound Chaser play Launceston’s James Hotel on Saturday the 28th of July, and again on the 18th of August with The Embers and The Zac Lister Band.
There’s No Place Like Home – Rainy, Unfriendly Home … BANGERS & MASH
By Tom Wilson
Composer of one of the major dancefloor bombs in the U.K. last year, which resurected the career of legend Leo Sayer, Thunder In My Heart Again, Brit DJ Meck has returned to the fold with a follow-up record which, while being a stylistic departure, should inflict similar chart damage. I recently found out when and why he Feels Like Home. So what’s the occasion? I’m releasing a single which is called Feels Like Home, which is by Meck featuring Dino, which is a follow-up to a number one single we had in the U.K. last year called Thunder In My Heart Again.
Why did you decide to work with Dino on this? He’s a guy that I’ve worked with on-and-off for about fifteen years, and he’s a sort of well-known Italian record producer. We’ve been friends for a long time. And I’ve signed a lot of his records at my record label over the years – or the labels I’ve worked for over the years – and we thought it was about time we came together on a collaboration. So what can you tell me about the sound of this track? Well, you’re at a slight disadvantage because you don’t know, or haven’t heard, the track. But Thunder In My Heart was more of a disco record, which sampled Leo Sayer, believe it or not. And it sort of did phenomenally well, but I didn’t want to get pigeonholed into making disco records. I’m also a DJ, and it’s not necessarily my natural, comfortable sound when I’m playing out. So with the Dino thing, it’s much more electronic; more on a beat sort of click; more sort of rock-edged, indie house. However you want to describe it, but definitely a million miles away from the last record I did. OK. So the track was called Feels Like Home … What makes you feel like home? [Laughs] There we go! There’s some improvisation for you! Yeah … great question! You’ve put me right on the spot now, haven’t you? Um … it depends. If it feels like home if I’m in Britain; if I’m in London – I’m from London – then feeling like home is definitely PAGE 20
nobody talking to you; keeping their eyes down on the train. Nobody sort of being nice to you, and putting up with this terrible weather that we seem to have in June, which always ties in with the start of the Wimbeldon tennis. You can guarantee, when the tennis starts, the weather’s awful, and it’s pretty awful at the moment. But do you know what? When I’m away from London, I really miss it – I really miss being part of this vibrant city. It’s very multicultural, and all those things like that …
… Feeling like home is definitely nobody talking to you; keeping their eyes down on the train … I don’t know – it’s like you miss those things when you’re gone. I’ve done a lot of traveling this year, and I’m always glad to get back. Where have been some of the places that you’ve gone this year? Where have I been this year? I’ve been to Argentina and Uruguay, which was pretty amazing for me. I’ve been to Los Angeles – early this year, to make the video to Feels Like Home, which was an amazing experience … I went to Miami, for the Miami Music Conference, which is sort of an annual pilgrimage. And then I’ve got a whole heap of DJing commitments that are going to take me far and wide. I’m off to Ibiza for a couple of days for one of many trips over there. And off to Hamburg, and just various places around Europe. It sounds glamourous, but it actually really knocks you out, so I’m always glad to get back, and spend time back in London, not doing a lot. Feels Like Home is out now. To listen to the full interview, go to www.sauce. net.au
MA RK DYNA M I X
Taking A Risk – It’s Time For A German Excursion BANGERS & MASH
by David Williams Aussie DJ Mark Dynamix built his reputation for being ahead of his time. So, it’s really no surprise that he’s about to push it further by jet-setting halfway around the world to shack up in the city at the forefront of the minimal sound. Ahead of the Tasmanian leg of what will be his final tour before packing his bags for Berlin, he spoke to me about his German Excursion. When will we be going on a German Excursion? I’ve always wanted to go back to Berlin … Yeah, right! Well, I’m going over there August the 28th – I’m going to be setting myself up in Berlin; just hiring out an apartment, and setting myself up there for about three to six months. And basically going over to do production work with my DJ mates over there, and also travel around Europe a bit, and do some gigs all over the place – I’ve got some gigs in Brussels, Paris, Scandinavia and Germany. So yeah, it’s going to be interesting – it’s going to be a bit of a different outlook as well.
So how does that tie in with the tour that you’re going to be doing around Australia – the German Excursion tour? Well the idea of the tour here was basically to do one more show in the capital cities before I head off overseas, and also just to warm up for the German experience, because the music I’m playing on this German Excursion tour here in Australia is pretty much that minimal sound from Berlin. The last show I’ll be doing down in Hobart will be at Syrup, I think.
tour; your last tour before you head overseas? Yeah. I mean, I get a lot of stuff sent over to me from Germany from artists and record companies over there, so I’ll definitely be putting a few of those together, and putting a set together for the German Excursion tour here in Australia. OK. What do you see generally happening in Australia at the moment in terms of the dance music scene – in terms of trends? I think the electro house thing … it’s been pretty solid for about three to four years now … I think it started to die off, and I think people are sort of starting to look for something a little bit different. They’re a bit sick of the same sort of formula; big build-up records … I’m not going to name names, but there’s a ton of
So, there is some really good stuff coming out of Europe at the moment that we’re not even touching on that sort of stuff happening at the moment. I think people are looking for something a little bit different; a little bit more depth. And hopefully they’re going to turn to this more minimal sound, because I think it’s more interesting musically, and there’s a bit more longevity in it. I don’t know – it could go that way, or
it could go in a completely different way; it could go rock-y again, and people [will] get more into the rockhouse thing. So who knows what’s going to happen? Mark Dynamix brings the German Excursion tour to Syrup in Hobart on the 3rd of August.
Is there a release that will be going along with the tour? I’ve just released a CD with Ministry … that came out about two months ago, so I probably won’t be doing another CD at this stage, because that one’s only just been in the shops, but I will be doing some of my own releases, in terms of production, singlewise, on Beatport, iTunes, and also on vinyl. So look out for those. And what’s prompted you to make this move and live and work in Europe now? I was over there last year doing a few shows, and experienced the clubbing life in Berlin, and I tell you what; the music over there … it’s just like another world. I was hearing music I couldn’t even put into a genre in the clubs, and people were totally into it, you know? It was quite refreshing to go out and have everyone in the club there to hear new music. Sometimes that gets a bit lost here, I think. So it was an interesting experience. And also, the music I was hearing over there was pretty cutting-edge. I was really quite inspired by it, so I just thought, I really want to get involved more in that sort of sound … I think Australia’s going to get there, but it’s probably a few years behind in terms of bringing that sound over to the mainstream clubs. So I’m basically going over there to get a bit of a head-start on it; try and lap up some of the culture and the sound and bring it back to Australia. I guess that kind of contradicts the idea of having a global music scene, where people are exposed to the music from other countries, even though you’re living over here in Australia. Well I think we are, definitely. Especially being in Australia, we’re exposed to music from all over the place – UK, US, Germany. But I find that a lot of the sounds here in the mainstream clubs … traveling around all the time, I get to hear DJs in Perth, DJs in Brisbane, wherever … and everyone sort of sticks within the same sort of realm, you know? Most DJs I think play it quite safe. There’s a few people that do try and push the boundaries a little bit, but I think some DJs sometimes – I know I do as well – you go into a club and you feel quite limited by what you can do; by as far as you can go. Sometimes it’s promoters telling you how far you can go. Sometimes it’s the crowd telling you how far you can go. But it’s just nice to be able to sometimes go out there and play exactly what you think is really, really good at that time – what you’re excited by. I mean, I think that’s what DJs should be booked for, you know? What they’re right into, and what they can do the best. I think sometimes it just takes a little while for that sort of thing to become the mainstream here in Australia. Do you think it takes someone of your achievements and your credibility … to have the confidence, and also the freedom – or be given the freedom – to be able to do some more interesting things? Is that perhaps why some of these DJs with not as much profile as you haven’t had the confidence to experiment as much? Look, I feel quite frustrated sometimes when I can’t even go out there and play the sort of things that I want to, you know? So I can understand why other DJs do play it safe. It totally makes sense to me – I’ve been there many, many times. But I think it does take someone to just go ahead and push forward with a new sound. And it may not work for me – I may come back here, and it might fall flat on its face. But I have to give it a go, because that’s where my musical tastes are at the moment; that’s what I’m really enjoying. And hopefully it’ll catch on – the minimal thing here – and more DJs will follow suit … and when more DJs follow suit, then the public follow, and they want to hear more of that sort of sound. So there is some really good stuff coming out of Europe at the moment that we’re not even touching on, and it’s a bit of a shame to be honest. And I guess you brought back quite a bit of music from Europe, and that you’ll be playing that in your PAGE 21
KI D KENO BI
BANGERS & MASH
A Break From The Past
by Dave Williams There’s no point introducing the man you see here. A frequent visitor to our shores and the clubs beyond them, chances are that the clubbers amongst you know him well. But change is afoot. Australia’s golden boy of breaks has taken a step away from the genre he built his reputation on, as evidenced by his work on the MOS Sessions compilation. I spoke to him ahead of his set latest Tassie trek. itself, and it’s kind of hard when you’ve got other obligations, and you’re traveling a lot, and you’re not getting full weeks in the studios. It’s nice to get into a routine, so it gets broken up quite a bit. I’m taking my laptop on tour and writing a bit there as well, but it’s nice to be in your little environment in the studio environment, and just nailing six hours in a day. But you know – you’ve got to do what you’ve got to do, I guess.
this [is] I guess, in some ways, a return to some of the things that I first started doing – sort of mixing up styles So how far are you along with what I’m anticipating will be a full album of original production? Possibly an album, yeah. I’m more interested in just getting music out there I think, and just exploring different avenues. The music that I want to write isn’t necessarily dancefloor or whatever. So yeah, I’d have to let the album be dictated to by what I write, I guess, over the next year or so. But it’s been good – I finished my first solo remix, which is going to be on the Ministry Sessions disc, and I’ve just about finished a couple of other tunes as well.
Is there anything in life at the moment that you really, really want to achieve, and you’re not already on the road to? Is there anything that you’ve still got as a big goal? Ah … yeah. I guess just writing more music, really – that’s my main goal at the moment. Yeah – it’s been that way for a while … really just getting time to finish
a lot of the stuff that I’ve been starting, and getting on top of that, basically. That’s the main thing for me at the moment. Pretty hard to focus on when you’re flying interstate and overseas and all that sort of stuff? Yeah, I mean … Writing music is a full-time job in
So the Kid Kenobi Sessions CD is different to anything you’ve been involved in releasing previously … can you tell me a bit about this release, and what makes it special? You know, for me, I think that it’s got the same ethics that I’ve been doing ever since I first started DJing, and ever since I started doing comps with Ministry … I guess, it’s a double-disc – two chances to do things a little bit differently. One’s a club set – more oriented towards the clubs – and the other one’s something that’s a little bit more personal; stuff that I’m into
that I’m playing, but also stuff that really suits the CD. I think it was inspired after hanging out after a gig in Canada, and just listening to the music and thinking, “Wow, this stuff sounds really great – it’s perfect to chill out to after a gig.” So I kind of wanted to capture a bit of that as well, as well as just pushing some fresh styles, you know? It kind of ended up being hip-hop orientated … or hip-hop influenced, anyway [on] the second disc, which is kind of cool, because that was the first music I ever really got into. It’s highlighting a lot of fresh sounds, as well as kind of drawing on a lot of the stuff that really inspired me in the first place. The main difference with this CD is that you’ve moved away from focusing on breaks, haven’t you? I’ve been just strictly breaks – yeah, I guess so. But I mean, this CD is still break-y, but it’s not … I wouldn’t call it “breakbeat” as a genre, really … There’s still breakbeat artists on there, but I don’t think you can label it just as breakbeat, for sure. You’ve largely been known as a breakbeat artist in the past. Why the move away from breaks now? I guess things change and evolve as they always do, and always have. When I first started DJing, at the very first gigs I was playing, I wasn’t playing breakbeat; I was playing a mash of everything – triphop, hip-hop, drum n bass, whatever. The first three years I was DJing, I was played a deep house gig, I played a techno gig, I played a drum n bass gig, you know? And then breaks became popular. I really dug breaks, so I played breaks. And this [is] I guess, in some ways, a return to some of the things that I first started doing – sort of mixing up styles. And I think it’s quite interesting and quite enjoyable to be able to be creative like that, and be able to say, “Here you go; he’s a bunch of tunes. How can you take that and make that work and make that work with that.” It opens up a whole new ball game. Kid Kenobi plays Launceston’s Saloon on the 28th of July as part of the Ministry Of Sound Sessions 2007 tour. To listen to the full interview, go to www.sauce.net.au
Move Aside And Let Live BANGERS & MASH
By Tom Wilson A Hobart-based DJ and resident of the Pitch Black club night, Liv is a woman with a very low tolerance for bullshit. She spoke to me about what makes and breaks the credibility of a DJ. Where do you … play? I moved to Hobart about five years ago … I play at Syrup a couple of times a year – although I’ll probably be there more regularly in future for the Pickle vs. Pitch Black nights.
Which genres do you dabble in, and which do you enjoy the most? Trance, mostly. More specifically, these days I mostly play (and enjoy) hard trance and tech trance, with a small portion of techno. (Note: “hard trance” is not usually the same thing as “hard dance”, and definitely not the same as “hardstyle” – just to make you really confused!) I don’t play nearly as much of the uplifting/ melodic – what I call “airy fairy” trance – as I used to play. It was my first EDM love, but, to be honest, in recent times that sub-genre has become even more dull and predictable than ever. It’s like the Kraft Cheddar of a genre which already has a tendency for cheese … and I’d better stop, before this turns into a rant about genre definitions! I could go on, and on, and on .... What are the traits of a good live DJ? And who are some examples? Meh – it’s pretty obvious in my opinion, even though punters and DJs alike could debate this point until the ugly lights come on. But since you asked … It’s different for everyone. Some people think of dance music – especially trance – as almost a religion, and others are much more cynical and couldn’t give a rat’s … it’s more like background music while they get drunk or ... whatever. Who the DJ is and how they play might be crucial to one person and completely irrelevant to another. I suppose ... apart from having enough technical ability to ensure that they’re not train-wrecking every second mix, I think a good DJ should be observant, pay attention to what is working with the crowd and what isn’t, and be able to adjust accordingly. But you also have to strike a balance between what you personally think is a good track, and what the drunk punters want to hear. I only have to say the words “Flaunt It” or “Put Your Hands Up for Detroit” and most of the Hobart club DJs (and clubbers) will know what I mean! Yeah, they were great track for a few weeks, but, honestly, you can only prostitute yourself so many times. A good DJ should also have a sense of perspective, because no matter how brilliant you are – no matter how awesome a party you put on – ultimately you’re only playing PAGE 22
other people’s music. A shocking revelation, I know. Giving examples of good DJs is actually really hard! They’re only “good” in my eyes, and even the greatest DJ can have a crap night, and crap DJs can have a fan base just because of the songs they play. I guess the best example I have of a good DJ is Dave Seaman, when he played at the Unibar in 2003. Amongst everything else he played for that three-plus hours, there was Sweet Dreams by The Eurythmics and
… A crap DJ is someone who puts on a commercial mix CD, makes a big show of putting on some headphones and pretends that the thirty-second mixes are all their own work Kylie’s Confide in Me … it was cheesy and a bit kitsch ... but it didn’t matter! He had the charisma to pull it off. His interaction with the crowd, and his obvious enjoyment of the whole thing, contributed to an incredible atmosphere, and all-round amazing party. And, without naming names, what are some traits of a crap one? [Laughs] Um … a crap DJ is someone who puts on a commercial mix CD, makes a big show of putting on some headphones and pretends that the thirtysecond mixes are all their own work. “Um, hello? I own this album! I know that isn’t you!” Not that I’ve heard that in a while, mind you. Other than the obvious – like not being able to mix a cake in a blender – it would be forgetting that “louder is not necessarily better.” How long have you been doing this? And what motivated you to first get behind the decks? About ... gosh … seven years? I just sort of fell into it. I filled in for a mate at a pub in Launceston, just cross-fading top 40 CDs all night, and then that mate didn’t want to do it anymore. So during three years of weekly six-hour retro/top 40 sets, I started listening to more dance music (rather than the Fresh Hits
compilations), discovered I liked trance, and, more importantly, that I really liked playing it for other people. I taught myself how to beat match, and the rest is history. Who have been some of the most influential figures in your DJing career so far, and why? Bexta was an idol for me – we’re both Australian, and are of a similar age and musical backgrounds. While I’ve met her twice and spoken perhaps five words to her, I still am very grateful to her, because her initial success in 1999 demonstrated to me that women can have a career in dance music if they really want it. Armin van Buren made me realise the raw emotional power of dance music. Ten thousand people with their hands in the air at an AVB gig is something to see. Eddie Halliwell opened my eyes to the fun that can be had not only by beat matching and scratching, but also by just … fucking around with switches and cross-faders! What do you do outside of DJing? How hard is it to juggle both roles? I work for the University of Tasmania. It’s pretty easy to balance the two these days. I found it hard in my previous job because I used to work weekend shifts – sometimes I’d finish a DJ set at 4AM and would have to be at work three hours later. Out of curiosity, how do you feel about illegal music downloading? And do you spin originals or burns when you’re playing live?
Hmm … I don’t think downloading unauthorised copies of music is stealing, because the owner still has a copy, and is still the recognised creator of the work. I think the record companies are clinging to an outdated business model, and the sooner they wake up to that, the better. That said, all of the music I play is legally purchased. I’ve switched back to CD DJing from vinyl, mainly for the convenience and cost benefits. I buy my music from the legal download sites like Audiojelly and Trackitdown. Finally, what do you think female DJs can get away with that guys can’t? It’s funny how this whole “female DJ” angle comes up all the time, actually. Would you ask a male DJ what he could get away with that girls can’t …? [That isn’t a bad idea, actually – Tom] Feminist rants aside, it depends what you mean by “get away with”, I guess. Over the years, I have seen a couple of girls put on very average performances, but get a great reaction from all the guys in the room because they were pretty or had great cleavage. But being female can work against you too sometimes. Quite often you hear people talk about female DJs in terms of their attractiveness (or not) rather than how good a performer they are – and there are some terrible assumptions made about really cute ones! But really, if her aim is credibility, then a female DJ can’t (and shouldn’t) get away with anything that the guys can’t. Liv plays Syrup in Hobart on the 27th of July, as part of Pickle vs. Pitch Black.
CA LV I N H A R R I S
Has He Reinvented Disco? BANGERS & MASH
By David Williams
I’m willing to bet that somewhere, earlier this month, there was a dance music fan who picked up Calvin Harris’ debut album, took one look at the title – I Created Disco – and thought, “Who does this guy think he is?” To that fan, wherever they may be, relax. Calvin Harris didn’t create disco. But, after listening to this, his opening salvo into the dance music world, I think he may well have reinvented it. Not bad for a guy who made his tunes on an old Amiga. What’s the stupidest question you have ever been
I reckon she’s bullshitting.
asked in an interview? Um, “What’s the strangest animal you’ve ever seen on
said, “Right, I’m going to do my album now”, because there was no need … what’s the point? So after that I just picked the best ones, and said, “There you go –
a leash?” That’s pretty bizarre.
Congratulations on your album mate, I think it
there’s your album.”
rocks. [Laughs] What’s that got to do with anything? I’ve got no idea. I don’t know what we were chatting about … music, life in general. She just asks, “So, what’s the strangest animal you’ve ever seen on a leash?” and I said, “Well, I don’t know – a llama?” and then she moved on. You should’ve put it straight back to them and said, “So what’s the strangest animal you’ve ever seen on a leash?” Well I did, after answering, and she said, “I don’t know – a Koala Bear.”
Oh good, awesome. So do I. Now how long has it taken you to put this debut together? And I’ll continue this question with a bit of supplementary information: are these tracks that you’ve got on this album the best that you’ve ever produced, and maybe some of them are three years old, four years old? Or have you gone, “Right, I’ve got a chance to make my album; to make a shitload of tracks and choose the best?” It was basically a collection of tunes that over the last two years I’ve been doing, but I had older tunes for my album before I found an album deal, so there was never a moment when I sat down to write and
How did you come to the attention of the record label gods? [Laughs] It was trying to set up a real Myspace, which involved me joining Myspace after about seven years of sending out demo CDs and not getting any response. And I think the guy who works for EMI Publishing – he liked it, and they ended up signing me, and then they shopped around for record labels on behalf of me, and got me a deal with Sony. Cool. That’s really bizarre, isn’t it? EMI Publishing getting you a deal at Sony. Yeah. Sometimes that happens. But it was basically a series of lucky accidents.
There’s a real contradiction here in your career already, in that we’ve got the latest technology, which has enabled you to come to attention, and then release this album. But, at the same time, you actually shunned to some extent the continuous flux of new technological sound devices that are out there, don’t you? Not [because] they were electronic – just because I couldn’t afford any of them, you know? I used what I had at hand, and it was good enough to make a decent tune. Some people have it wrong to think that you need all the best stuff to make a decent tune. You don’t really need anything. You can write a really good tune on nothing but a piano and a fucking microphone, and it’s good. Calvin Harris’ debut album I Created Disco is out now. To listen to the full interview, go to www.sauce.net.au PAGE 23
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MA CROMA N T I CS
The Return Of The Hip-Hop Provocateur BANGERS & MASH
By Ryan Farrington In 2004, on the verge of recognition for her obvious and unique talent, via Triple J’s Next Crop program, Macromantics described herself. “I am a hip hop artist. A cultural and social commentator trying to make sense of myself and how I’m placed in the world. I evoke emotion, I reference times, places, people, genres and other things which are of importance to me. I weave words. My music is humorous, serious, self reflective and occasionally self-loathing. It is a healthy balance of all things needed to face this crazy world we live in.”
Although we’re three years on since then, Macro holds true to this vision, and has only become more skilled and confident. I spoke with her, in the lead up to her tour down here next month, about getting in people’s faces. You released a single and a mixtape in June. What kind of feedback have you got from that? The mixtape, because it’s a tour release ... it’s not like an actual scheduled release. It’ll be available at independent hip-hop stores … I’ve been playing a lot of the material at the shows. It’s been great, you know? I think it just shows my versatility as an MC – rapping over things from Wu-Tang to Dr. Dre to Mary J. Blige, and even pop stuff like Devo ... It’s kind of caught people off-guard as well ... there’s such a formula these days in releasing records, that it’s good to kind of play around with that. I think it’s all that. But yeah, it’s been good. So, without sounding cliché, there’s a lot of attitude in your work. Have you always been this expressive? Yeah, definitely. You know, I don’t take things lightly. I mean, I take the world pretty seriously, and myself. Yeah ... I do have very strong point-of-views about everything that’s going on, and I’m not complacent about things at all. And I think that’s important – I think you have to know what you like and you don’t like. And there’s a lot out there to sift through and appreciate and hate and comment on. So yeah, I am intensely expressive.
I personally don’t like it when everything’s comfortable and easy and steady. I think it’s my job to provoke. You’re playing in Hobart next month. How do you think you were received last time you came down? How were the responses of the Tasmanian audiences different to the mainland? I think it’s been great. I love playing Tasmania. I mean, obviously that ties over to the Ground Components; I think that that double bill got people going. I think that, you know, because the Groundies and I have worked together, and we did our songs that people are familiar with ... So I really love to go to places like Tasmania and middle Australia, where you perhaps don’t get to see as much live music. To me, that’s even more important than playing places like Sydney or Melbourne, and places where people are almost jaded, because, you know, things are on every single night, and they kind of take it for granted. I don’t mind places with small audiences where everyone’s there, because they all really want to be there, and they really get into it ... Yeah, it was great the last time I was there. You’ve just completed a large set of touring of the U.S with some pretty great acts like Pigeon John ... What do you think people are getting from your live performances that split you from the rest? I think it’s good; it’s good to stand out. I think it’s good to rattle people’s cages. I personally don’t like it when everything’s comfortable and easy and steady. I think it’s my job to provoke – I’m a provocateur. I think it’s good. I think people need it – especially this country as well. I think it’s very needed for someone who’s not playing standard rock music. I’m just throwing those other things out there, because my viewpoint on the world is that I’m hear to teach and to learn from people, but also to kind of make people aware of what’s going on in the world. Macromantics plays an all-ages show at Hobart’s Brisbane Hotel and then an 18+ show at Halo on Friday the 10th of August. PAGE 25
MC Jayso n
Revving The Crowds At The RNB Superclub
By Tom Wilson Ahead of his set at Curly’s Bar in Hobart with DJ Def Rok, we had a quick word with MC Jayson about the RNB Superclub nights.
Everyone got their money’s worth, and unless they’re outta town this Saturday, we’ll see them at the club
How did you first start working with DJ Def Rok? What is it about his style as a DJ that appeals to you the most? I first started working alongside Def Rok over four years ago at a club called Jigsaw. Def Rok’s style is always fresh. A combination of turntable tricks, track selection and being crowd conscious, which equals booties shaking on the dancefloor! And what’s his most annoying habit? Never having credit! [Laughs] You’re playing the RNB Superclub in Hobart. Will this set be exclusively your own material? The night will pan out with two-plus hours of in-yourface party anthems, chants and hands-high club bangers to keep everyone on the dancefloor. You’ve been down here before. What do you remember about your crowds in Tassie? How did the shows go? The last two shows have been full house events. Everyone got their money’s worth, and unless they’re outta town this Saturday, we’ll see them at the club. What do you like best about the RNB Superclub nights, and why? We bring a big deal of entertainment, up-tempo energy, vibe, and hit you with the RNB Superclub sound. What do you think makes them unique, both in the music, and the vibe of the nights? It’s all about the RNB Superclub sound. Musically, what have you been working on recently? A few tracks which should be surfacing soon; some radio ads, and a music archive. What do you think are the most important attributes an MC should have? Crowd connection and participation. An MC needs to be on the same wavelength and party mood as the patrons at the club. MC Jayson and DJ Def Rok appear at Curly’s Bar on the 28th of July.
PI RATE B
Electro With A Taste For The Unconventional
BANGERS & MASH
By Tom Wilson DJ, filmmaker, metalhead, pirate … if there’s one thing that can be said for Launceston-based artist Bianca O’Neill, it’s that she certainly doesn’t have a lack of ambition (after all, she only wants to create her own breed of fans – how hard can that be?) and has a knack for blending a field of influences into something unconventional and unique. She spoke to me about her forthcoming debut, and the creative energy that sometimes comes from not liking something too much … Interestingly, you recently said “I don’t even like the genre of music I’m playing.” What compels you to continue with it? And also, how do you measure your level of satisfaction with your work, without that appeal? Well I have to mention I also was drunk and at a metal gig when I said that. [Laughs] When I was younger and just getting into writing my own music, I was fairly into more of the electro beats and heavy bass. I look at it as music as a pattern; a pattern that you can manipulate until others – and yourself – are satisfied with the result. All music is a [form of] visual math. My own plan is not to be stuck with a certain genre, but to almost create my own. So to answer the question of satisfaction, I’m satisfied when the pattern is perfect, and a new and original one emerges. With the tunes that I have programmed, I think you can almost hear my satisfaction.
I understand you’ve got an album in the works. What stage is that at now? And what plans do you have for the finished work, as far as distribution goes? I’m at the stage where some of the best work is happening – the most ideal and influential time when producing. Unfortunately, it’s also a time where I’m in-demand because people want my album. [Laugh] I’m really not trying to rush myself because, as most musicians know, it can render one useless in the end. The album will be available for download when it’s complete, and some of my songs will be appearing on a compilation that Bring On The BLING Promotions and Entertainment will be releasing. It seems to me that your interest in electronic music has grown mainly in the last year or so. How long have you been into electronic music, and did you always plan on playing it yourself? It didn’t really grow on me in the last year – I just happen to be producing it in this last year. [Laughs] To tell the truth, I never really saw myself in this kind of scene, but I am enjoying it. Being involved in a type of music that has never really been you “thing” really helps your creative brain-juice flow – if you leave yourself open to a change. I haven’t just been open to electro music this year – I have opened myself up to many different genres I never though I’d “get into.” It really does help you, as an artist, to grow. How long have you been producing your own material? And how has it evolved with time? I have been producing my own material for as long as I can remember – whether it be acoustic, metal or electro. I never really had the chance to record it for others to hear until lately. Its evolution has been interesting, really. I actually went from crazy, more involved music to trying to perfect a simpler sound. I also had a large uninspired break for two years before, so I’m quite glad to get back into the swing of things. PAGE 26
I’m thinking of maybe moulding my tasty elec-
based artists such as Mynse, The Emma Dilemma Show, The Stoics and Jesus and The Jedi. Yeah, it’s set in stone.
tro beats onto some of the metal I have written;
Your main passion seems to be metal. What work have you done in that area? And are you planning to do more? I’ve done a bit of my own private work. I’d love to do more work in this area. As you mentioned, it is a main passion of mine. I’m thinking of maybe moulding my tasty electro beats onto some of the metal I have written; maybe creating my own breed of electroheads. [Laughs] I think it’d be interesting to create something like that. So whether I do something like that, or just straight metal, I plan to take it further.
maybe creating my own breed of electro-heads. You’ve also been doing video production work. What projects have you got on the go at the moment? At the moment I’m working in collaboration with Josh Langley with our film group, called X Vendetta Films. We’re working on a few projects, but our main point of interest is with a documentary we’re doing on the pulp mill. It’s quite a touchy subject in Northern Tasmania at the moment, with so many for and against it, but that’s why it makes it all the more interesting to film. What experience have you had in the live environment? Do you perform much? For me it’s not really performing as such. Because I’m a “programmer”, I don’t perform it live. I edit all
the tunes in the luxury of my own home and release the music for people to hear, so there isn’t any performing involved – it’s more like exposing. I have had experience performing live, but it wasn’t with any of these tracks, or electro music [laughs], and that was a fair while [ago]. I understand that a group recently approached you about using your music. How did that eventuate? Is anything set in stone? Yeah, a Tasmanian group called Bring On The BLING Promotions and Entertainment have decided they want me to be a part of their VIP mini-festival in November, performing alongside other Launceston-
What are your tools of the trade when it comes to making music? My computer, synth, and good old microphone. I pull attention to the microphone, because it’s one of the most versatile pieces of equipment ever. If you have a mic, you can mod, and create so many different sounds, meaning the opportunities for originality are endless. www.myspace.com/djpirateb
JAPANESE CULTURE SCHLOCK OBON Compulsorily celebrated in mid-August in most regions of Japan, Obon week is one of the country’s three major holiday seasons - which plays havoc with domestic and international travel, and raises the prospect of completely booked-out accommodation or outrageously stiff hotel rates.
dancers sidle counter-clockwise around the yagura, depending upon the particular festival, but never the twain shall meet. Amidst the traditional soundtrack is inserted a bunch of enka classics and famous anime TV tunes, like those for Doraemon and Pokémon – and grandmas are just as likely to bop away at these, with adept penache, as their whippersnapper descendants. Somewhat creepily, it’s also a widely held belief that those spirits of deceased loved ones are jigging in step at the same time. At the tail-end of Obon, floating lanterns are lobbed into rivers, lakes and seas in order to guide the spirits back into their world – perhaps so they can choreograph new heavenly dance moves for next year’s event.
So what’s all the big fuss about, anyway?
JAPANANIME & MADMAN OVERVIEW AFRO SAMURAI Hitting stores in Oz in mid August (just as Obon seizes Japan), cheers to Madman Entertainment, will be this crazy anime venture from notorious Japanese anime producers Gonzo (Last Exile, Vandread, Romeo x Juliet), which mixes and matches katana blades, samurai ethics, revenge, kimonos, cell phones, cybernetic implants, attitude, and… the spirit of the blaxploitation cinema of the ‘70s. No surprise, really, when you realize that Samuel L. Jackson voices two of the central roles here, and the RZA (aka Robert Diggs, the de facto leader of Wu-Tang Clan) scored the soundtrack.
While Obon is the annual Buddhist event in which to commemorate and memorialize one’s ancestors, it’s also believed that the freewheeling spirits of these dearly departed return to this world in order to visit their relatives. And - you guessed right - it all happens round Obon week.
Gonzo in fact skipped using a Japanese voice cast and went straight to English (and Jackson) - and it was definitely the right move. Directed by Fuminori Kizaki, who did the character designs on the Leiji Matsumoto adaptation, The Galaxy Railways, and based on the manga by Takashi Okazaki. Indis pensable stuff.
The biggest fun at Obon time are the oh-so-special evening dance-offs, dubbed bon odori. Kids and their grandparents don summer kimonos (yukata), and as the bon odori music plays, they perform a dance routine that is, in some respects, choreographed the same way throughout Japan. There are specific moves that I like to call “The Shoveller” and “Vogue”, but these get lost in the (written) translation here. The typical bon odori dance involves people lining up around a high wooden building made especially for the festival, called a yagura, which doubles as a bandstand for the musicians, taiko drummers, and guest crooners. It also bears an unnerving resemblance to the ever-collapsing watch-tower in ‘60s US sit-com F-Troop. Some dancers proceed clockwise, and some
THE SKINNY ON THE PSP SLIM By Chris Rattray It first happened with the PSOne. Then the PS2 received the treatment, and now, Sony has taken the PSP to the electronics equivalent of Jenny Craig. Come September, the PSP Slim will make gaming 33% slimmer and 19% lighter. Or is that the other way around? No matter, the skinny is the newlyredesigned PSP will be lighter in the hand and less cumbersome around the neck. Because everyone wears their PSP on a lanyard around their necks, don’t they? Well, in Pretend Sony-World they do. And who wouldn’t want to go to Pretend Sony-World? In Pretend Sony-World, $999 for a PS3 is still a bargain, endless sequels and movie-game tie-ins are all the rage, and a slimmer PSP shall bring the masses to their knees, screaming with delight at this revolutionary hardware re-jig.
It first happened with the PSOne. Then the PS2 received the treatment, and now, Sony has taken the PSP to the electronics equivalent of Jenny Craig. Come September, the PSP Slim will make gaming 33% slimmer and 19% lighter. Or is that the other way around? No matter, the skinny is the newly redesigned PSP will be lighter in the hand and less cumbersome around the neck. Because everyone wears their PSP on a lanyard around their necks, don’t they? Well, in Pretend Sony-World they do. And who wouldn’t want to go to Pretend Sony-World? In Pretend SonyWorld, $999 for a PS3 is still a bargain, endless sequels and movie-game tie-ins are all the rage, and a slimmer PSP shall bring the masses to their knees, creaming with delight at this revolutionary hardware rejig. Now, don’t get me wrong, I’m as excited by the prospect of a punier PSP. I mean, not only has it gotten lighter, but they’ve added a TV-out option so you can enjoy your UMD movies and games on the big screen (why not just watch a DVD and play a PS2?). But wait, there’s more! The wi-fi button has been moved! There’s a screensaver now! Holy crap, Sony, what next, do we get Minesweeper and Solitaire with the next firmware upgrade? Sign me up! But look at me being all Mr. Cynical. There’s really no reason to be overly critical of Sony on this one. The PSP, despite stiff competition from Nintendo’s DS, is still a sweet little game machine. And it seems it’s going to be sweeter and littler, like your girlfriend’s little sister. All that’s been missing from the PSP is the really amazing games – and not just ports of PS2 games, or games that are released “exclusively” for the PSP but then turn up on the PS2 a little while later. Just like your girlfriend’s little sister, the PSP just needs something great to put into it. The US gets the new PSP in September with Australia probably a few months after that. It’s yet to be seen whether we’ll get the three varieties of PSP Slim game packs that will be offered in the US – a white one with Star Wars Battlefront: Renegade Squadron,
a silver one with Daxter, and a black one with… nothing; nothing but the satisfaction of owning a damn sexy piece of kit. After all, that old PSP you’ve
had lying around is looking a little flabby now, isn’t it? What better way to rejuvenate your gaming life than ditching the old one on eBay and investing in a newer,
slimmer one? Don’t tell my PSP, but just between you and me, that’s what I’ll be doing at the end of this year… PAGE 27
Yoga & Martini’s in Manilla
BY INGRID REYNOLDS
It’s been six months in Manila – halfway through my contract teaching Bikram Yoga. Manila. It’s an edgy, dirty city. And yet superrelaxed. Living in Asia certainly teaches you patience and acceptance. The government is totally corrupt, there are no rules, and traffic is a death sentence. There are hold-ups, shootouts, muggings and be-headings. Yet Filipina’s understand it’s easier to smile.
Living in Quezon City, in a shoebox apartment ten floors up; some dying orchids on the balcony. I’ve grown to love this place … The whir of air conditioning, dog bark, and a tricycle horn. I still don’t know why the rooster crows at 4pm, or why at 5am there are fireworks in the sky. Looking over my balcony, a rooftop jungle, bamboo and clothes strung up on string, the rattling of tin on the streets, motorcycles. It’s kinda like Manila’s version of Sydney’s Kings Cross. From my condo I walk to the studio each day. I’ve grown to know the kids on the streets, “Ate, Ate!” they scream at me from across the street. Ate is “older sister”; the local language, “Tagalog” is a mixture of Spanish and Filipino. It’s quite easy to pick up, and the Spanish Influence is still dominant here. Old Manila with the forts, horse-and-carriages, and guards at the entrance to every restaurant and train station – machine guns strapped to their sides, smiling shyly, calling you “Ma’am”. The Arts scene in Manila is progressive. Many filmmakers and poets are getting their work out there. I’ve been jamming with a band; performance art, poetry and electronic rock. It’s a whole new dimension – recording and film clips on the rooftop. Wet season is here … Floods in the street, and fifty or so kids in their undies swimming across the streets, thunder cracking. Warm. The boys running to help push cabs that get bogged, car doors in water. Many times I’ve found myself thinking, “Only in Manila.” But actually, it’s once you get outside the city, to the islands. That’s the real Philippines. So raw and untouched. Beaches and volcanoes. Diving WW2 shipwrecks. A month back, I stayed in an artist’s retreat called Enigmata Tree House in Camiguin Island; (Mindanao) murals and mosquito netting adorned with seashells. A sunken cemetery and a sand bar in the middle of the sea. Riding a motorbike around the island. Bohol: jungle Palms by the Loboc River, and swimming to the waterfalls. Palawan, Cebu/Boracay. The Philippines is made up of seven thousand islands. I’ve barely seen seven. I find myself eating rice and squid for breakfast local-style, but can’t bring myself to eat balut – one of the dishes that is considered a delicacy here, but the fact is a salted duck fetus: semi-matured. No thanks. At the same place I was offered balut, however, is a great martini bar, where all the waitresses wear brightly colored bob-style wigs – very Mod Squad. Befriending the staff one night, after much pleading, I managed to score myself one. Electric blue. After a couple of drinks, I found myself swapping yoga teacher for martini waitress … the feedback was so hilarious I wondered if I’d picked the right job ... well, until the martinis ran dry. Regardless ... Whether it’s yoga teacher, martini waitress or performance poet, no matter what hat (wig) you choose to don, here in the Philippines – in this city of ten-cent mangoes – anything and everything goes .
The government is totally corrupt, there are no rules, and traffic is a death sentence. There are hold-ups, shoot-outs, muggings and be-headings. Yet Filipina’s understand it’s easier to smile.
Andy Garwood’s 1986 R32 GTS-T Interior:
HKS gauge cluster; oil, ex, boost, E-Boost
JVC head unit, front splits and rear 6x9.
2 gauge, Greddy Turbo Timer.
Driver Profile: Exterior:
GTR Front bar + skir ts, GTR bonnet
You work for The Man at …?
and boot. Aftermarket rear wing, GTR
The Royal On George, behind the bar, pouring
headlights, Triple layer black paint with
the beers man.
What was your previous ride? Engine:
Do I have to tell you? [Laughs] It was a red,
RB20 stroked to 2.2L Oversized forges,
noisy 92’ Corolla Seca. Everyone knows it!
Trust TO4 Turbo, HKS Intercooler, exhaust
Yeah, I used to see … ah … hear it. [Laughs] Any trouble from the boys in blue?
management ECU. Custom 3inch mandrel bent
Once they stopped me recently, and had a go
turbo-back to 7inch exhaust .
about my numberplates [still mainland], but I
manifold and external waste gate. Turbosmar t e-boost 2, Turbosmar t Race por t 52mm BOV. 8
just got sick of them and drove off !
Rolling Smooth: 16inch original Watanabi Jap spec black rims,
Any major plans for the car?
wrapped with Firestone rubber. Tein Super
Probably an H-Tec ECU, but that’s when I have/
Street all over coils, front and rear struts.
can be bothered spending the cash for one!
WIN $1000 & A CHANCE TO PERFORM AT THE 2007/08 FALLS FESTIVAL, MARION BAY with Flip Top Heart 2007 Is Theatre is calling creative people of all artforms to take part in Flip Top Heart – a statewide performance competition, kinda like Tropfest – only live!
Flip Top Heart challenges artists to make short works based on this year’s theme of “Skin”. Entries should be short; ten seconds to three minutes in length, must include at least two artforms (e.g. dance and live music, electronic music and painting, puppetry, spoken word). A secret ingredient must also be included, and will be disclosed upon registration. All the details are on the Is Theatre website. Register now at istheatre.com In 2006, Flip Top Heart involved entrants from around Tasmania and interstate, and the $1000 cash prize winning entry involved a traumatic romance told with
puppetry and tomatoes. Three groups were chosen for development and paid performance at the Marion Bay Falls Festival. This is your chance to say what you want to say with theatre, in front of a supportive audience and a chance to win great prizes. “Flip Top Heart was a fantastic opportunity to create and share work with the public and other artists alike. There should be more statewide events like this to support independent artists and cross art form performance”, said Theresa O’Connor and Nicole Jobson – winners 2005. For independent artists there is a major cash prize of $1000 and opportunities for up to three lucky groups to receive a creative development to develop their work for performance at The Village, Falls Festival Marion Bay 2007/2008. For high school and college students there are cash prizes up to $500. Other mystery prizes awarded on the night.
Flip Top Heart Heats Launceston, Earl Arts Centre Sat 22nd September 7pm Hobart, The Backspace (behind Theatre Royal) Fri 28th September 7pm State Finals Hobart Sat 29 September 7pm The Backspace (behind Theatre Royal) Tickets $10 at the door to all heats and finals Register by Friday 21st September. For full details, registration and performance criteria go to istheatre.com or contact Magdalena Grubski (Producer, Is Theatre) on 03 6234 8561 or firstname.lastname@example.org
CALLING ALL BUDDING FILMMAKERS ... MAKE A DATE TO WIN! Diet Coke is offering you the chance to showcase your filmmaking skills. Whatever your style, whatever your genre, your entry will be judged by industry luminaries on its creativity and originality. 20 finalists will air online for the nation to view.
The short film you submit needs to answer this brief. Theme: Energy. Your short film needs to be inspired by this, and convey an energy that will make viewers bounce back into their day. Tone: humorous/entertaining/feel good/ uplifting/spirited Mandatory: The film must portray diet Coke somewhere; it could be portrayed on a bottle, t-shirt, cap, truck, billboard etc, provided that the visual image of the diet Coke appears in the short film. BEST DIRECTOR PRIZE
Of the 20 finalists, the director deemed to have made the “Best Short Film” will jump-start their film career with this amazing prize. They will win $20,000 cash to help them out in the film world. Perhaps they’ll choose to pay for film school? Maybe they’ll choose to make the feature film they have been dreaming of.
The choice is theirs. BEST EDITOR PRIZE
Of the 20 finalists the “Best Editor” entrant, as judged, will win the “Best Editor” prize of $5,000 cash. BEST SCREENPLAY PRIZE
Of the 20 finalists the “Best Screenplay” entrant, as judged, will win the “Best Screenplay” of $5,000 cash. THE PEOPLE’S CHOICE PRIZE
Of the 20 finalists the director entrant that submitted the short film awarded the largest number of “Sparkling Ratings” on www.dietcokefilms.com.au during the public voting period will win the “People’s Choice Award” of $5,000 cash! The Rules You must read the full conditions before entering this competition, but some of the most important rules are set out below: Professional directors, editors and screenwriters are not eligible to enter. Employees of the promoter, its related corporations, any of their agencies associated with the promotion
and employees of Coca-Cola Amatil (Aust) Pty Ltd and any of their immediate family members are not eligible to enter. Every entry must be submitted using an original, completed entry form, signed by all entrants named on it. Your film must be original and no longer than 3 minutes. Your film must not previously have been shown to the public or any substantial number of members of the public. Your film must not, in whole or in part, have been submitted as an entry in any other competition. The promoter will exclude films that, in its opinion, may cause offence or infringe other people’s rights. In particular, the promoter may exclude any film that: – includes any sexist or racist material, – may cause offence to members of any ethnic, religious or cultural group – does not comply with community standards on safety – portrays any illegal act (eg drug taking) – portrays any brand that is not one marketed by the promoter – conspicuously portrays any other brands in a manner that could be regarded as promoting those
brands. We realise some degree of brand portrayal is unavoidable – e.g. a car – contains excessive nudity or anything sexually explicit – contains swearing Download the entry form at www.dietcoke.com.au/ assets/filmcomp/EntryForm.pdf The Deadline
All entries must be received by the promoter no later than 5pm on 8th August, 2007 (Sydney time). No exceptions to late, lost or redirected mail will be made. The Entry Address
All submissions must be sent to: Diet Coke Short Film Competition PO BOX 1204 Brookvale NSW 2100 The Format
Please supply your video as a good quality Quicktime file on CD or DVD: – Uncompressed Quicktime video & video – 447 x 334 pixels – 15 fps
TROPFEST WINNER STEVE BAKER SHARES HIS TOP TEN FILMMAKING TIPS 1. More often than not, the story/idea should always be the most important part of your film. If you’re an amateur filmmaker, you probably won’t have a budget. So what? If your idea is great, and you have something to say, it’ll shine through. 2. Trust your initial instincts. It’s amazing how many times the first thing you think of will end up being the best of the bunch.
3. Know your audience … For example, my Diet Coke film is dedicated to all the bored and frustrated workers out there who need a laugh during the day – particularly those stuck in a cubicle! 4. Show up prepared for anything to happen … If a UFO crash lands in the middle of your set and aliens jump out, abducting half of your crew, it should come as no surprise! (Actually, if that does happen, keep filming!)
5. Enjoy yourself. It’ll rub off on your cast and crew. Filmmaking doesn’t have to be as serious as some would have you believe. 6. Don’t be afraid to ask questions, it’s a great way to learn. If you’re fortunate enough to work with really talented people that have more experience, use that knowledge. 7. Catering, catering, and more catering … A fatter crew is usually a slightly happier crew.
TASMANIA JOINS NATIONAL FILM INDUSTRY ALLIANCE Wide Angle Tasmania, the industry development centre for that state, has joined the national alliance of film, television and media industry development centres, Screen Development Australia, or SDA.
SDA now has six members states in Western Australia, South Australia, Tasmania, Victoria, New South Wales and Queensland. It is expected the Northern Territory and the Australian Capital Territory will join at a later date. The centres assist filmmakers from all backgrounds to pursue a working career in the screen industries, and in particular those who have already trained at a university, a film school, or in the TAFE system. The centres use their advisory, developmental and production services and programs to bridge career-minded film and media makers into the industry itself
through contracts and networks.
SDA. “The opportunity to bring Tasmania into our alliance is very important for us “We are very pleased to join SDA”, said Wide all nationally.” Angle Tasmania General Manager Beverley Jefferson. “Our operation is smaller and Mr O’Rourke said that the SDA alliance younger that the rest of the network, but filled that gap between education and with the wide range of exceptional industry training, and the screen and media talent to support our programs, and now industries themselves. “SDA was created our membership of SDA, we are confident to build the Australian industry to a point of increasing our capacity to link our early- of strength where it was self-sustaining career filmmakers directly into industry.” and globally competitive in its own right. SDA is designed to build small but working Karena Slaninka, Director of the Tasmanian businesses throughout the country.” film, television and media agency for Screen Tasmania has confirmed their Jefferson said the first step for Wide Angle support for this move into the national will be to begin work with SDA on the alliance. “We can expect great things for Australian Film Commission’s Raw Nerve our state industry from this new alliance,” annual national slate of locally produced Ms Slaninka said. short dramas. “Our operation in Tasmania now has a national reach, and through that, “Tasmania always manages to punch above an international reach through the world’s its weight creatively and industrially in this festivals. The future for our filmmakers in business,” said Kerry O’Rourke, Chair of Tasmania is very bright indeed.”
8. Let your actors surprise you ... When making a film, there’re few things more satisfying than discovering an unplanned moment of magic that works. 9. Always be prepared for criticism. It’s impossible to make a film that absolutely everyone is going to love. Try not to take it personally, learn from it and move on. 10. Don’t be afraid to make a film that you want to see!
U2 – POPMART – LIVE FROM MEXICO CITY DVD RELEASED 8TH SEPTEMBER Filmed at the Foro Sol Autodromo in Mexico City on 3rd December 1997, PopMart Live from Mexico City was directed by David Mallet and first released on video the following year; this is the first time it has been released on DVD. Described as a sci-fi disco supermarket, the PopMart Tour opened in its “spiritual home”, Las Vegas on 25th April 1997. All trash and kitsch, PopMart introduced a giant mirror ball lemon, a 100ft cocktail stick – complete with olive – and the works of Lichtenstein, Warhol and Haring to a live rock audience – a production experience never quite seen before. Originally filmed on analogue video, the film has been transferred to a digital format with re-graded and cleaned pictures. Great care has been taken to maintain the original look by simply enhancing it, with an added degree of sharpness and contrast unavailable when originally filmed. The audio has also been re-mastered and mixed in 5.1 Surround Sound. PopMart Live from Mexico City will be available in two formats – a standard one-disc format containing the concert, and a special limited edition two-disc format; the second bonus disc containing previously unreleased live audio and video material, including documentaries, a PopMart tour visuals montage, and DVD-ROM extras. PAGE 29
Red Hot Chili Peppers
The Mars Volta
Favourite drink: Sambuca Black
What would you do if you met an Oompa-
What would you do if you met an Oompa-
Loompa? I would take it out to a candle-lit dinner! And
What would you do if you met an OompaLoompa? Run!
What was the last thing that made you mad? Watching George Bush play golf
What was the last thing that made you happy? Having my photo in SAUCE.
What would you do if you met an OompaLoompa?
then do it!
Pat his head
What was the last thing that made you mad?
What was the last thing that made you mad?
F*ckhead client at work!
Someone abusing me on the street
What was the last thing that made you mad? Little skateboarding pricks!
What was the last thing that made you happy? Trip up to the Northwest Coast
What was the last thing that made you happy? Quinny!
What was the last thing that made you happy? On a holiday