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On the street every second Wednesday

Issue #53 17/10/07 - 30/10/07 Made in Tasmania

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Put Sandra Bullock To The Guillotine! ROCK SALT

By Tom Wilson

Declan Melia – singer/guitarist for Melbourne rock troupe British India – is happy enough that the band has managed to get a debut LP, Guillotine, released in the first place … so the fact that it’s also being hailed as a damn good one should be a nice bonus. About to tour the album in our state for the second time, he spoke to me while crammed in a car with his bandmates about his lifelong phobia of … wait, did he just say “Sandra Bullock”?

Now that you’ve done a leg of touring for it, how have the audiences’ reactions to that material [Guillotine] differed to their reactions to your EP? Well, it’s just changed in every way. It’s gotten so much better. I wonder if we’re the same band that we were, you know? Since the release of the album, it’s just been great – things like crowds, numbers, and to the extent of which they seem to enjoy the show. It’s gone well. A lot of the shows have sold out – most of them in fact – which is something we probably wouldn’t have expected to achieve this time last year. So what do you remember about coming down to Tassie on your last tour? Any amusing incidents? It was all pretty amusing. I recall that Will got a kiss from a girl before he’d even got onstage, which is pretty far-out for him, because he’s a horribly ugly guy. I remember the crowd … We played one gig – we were there for a few days, and we were staying at the casino because our producer is out of his mind and likes to stay in casinos. But that one show seemed to justify us coming there, because the kids went nuts. I think it was probably the most enthusiastic crowd we had on that whole tour. Did you do anything on that tour that you’ll definitely be doing differently this time? Any lessons learned at all? Any lessons learned? Maybe we’ll go to bed a bit earlier … maybe we won’t waste so much money at the casino bar … It was this horrible cocktail lounge kind of thing; it was called the “Birdcage”, where this guy would come down at about nine o’clock and start to play these just gruesome covers with an electric keyboard, and he’d sing along … It was very bleached. So I won’t listen to so much of that. But we did manage to watch Roadhouse, the Patrick Swayze movie,

so we’ll definitely try and catch that again, or even better, Roadhouse 2, considering it’s our return to Tasmania. What plans do you guys have to follow up Guillotine? And what direction would you like to go? We’re not really going to think too much about what direction we’d like to go, I suppose. We’re just going to write a couple of songs up – a couple of fast ones, couple of slow ones, couple of pop songs, couple of mental songs, and then we’ll just go in and record ‘em. I don’t think we’re going to set up some sort of credo about what direction our music is going to take or something like that. We’re just going to take it as it comes, and hopefully, all the touring we’ve done, all the thinking that we’ve been doing and the straightening of our heads that we’ve been doing, we’ll play some pretty good music … in fact, I’m sure we will, ‘coz we’re so f*cking rad! [Laughs] Here’s a nice open question for you – what’s the best and worst thing about playing in British India? Oh, the worst thing would be easy to tell you, and that is having to sit in a car with the same four a**holes every day of my life … that includes our producer … Ah … the best thing, I suppose, is you get to play these shows, and you get to look around … kind of break the status quo of finishing school and going to uni and getting a job. And also, you know, you’ve got these kids singing words back at you, and you can create some delusion that you’re making a difference … you’re affecting people. But, you know, it’s not something that I think about often, but f*ck – holy f*ck! It’s funny that you use those words, because that phrase – “holy f*ck” – you once used to describe the concept of taking British India overseas. Is this anymore plausible now?

I suppose it is … I guess it is … slightly more plausible, if not completely plausible … But I hear whisperings from people like our label, and the people that we work with, kind of laying some kind of groundwork to get over there. So [it’s] not impossible, but nothing set in stone. But it’s certainly something that we’d like to do. I don’t know – I guess, months ago, it would have seemed completely crazy to do something like go to the U.K. or America. But maybe now it doesn’t seem so far-out; maybe it’ll be just like touching down in Perth, or touching down in Brisbane … except there won’t be anyone at the f*cking shows … No, it’s quite, quite possible. Musically or otherwise, what has been the biggest high-point, and what has been the biggest low-point for you, in your life? Oh, man … I guess releasing an album is pretty far-out … At this stage, we’ve been very lucky, and it’s quite an achievement for us … so young … I’m just proud that the album came out, and we don’t have a gimmick, and we’re not really part of any particular fad or scene – I don’t think so, anyway … I guess, maybe, call the releasing of the album a highlight. The low-light? I don’t know … you miss out on other things I suppose. You know, being in a group, you don’t get to … you never really have that normality that other people seem to so cherish. But I guess, who wants that? You know, man, I honestly can’t think of anything at this stage that’s too bad. I seriously can’t complain at all. It’s been a blast.

Well I have a sneaking suspicion that … ah, I forget her name … [to his band mates] What’s the name of that actress I hate? … Sandra Bullock! I have an inkling suspicion that Sandra Bullock is evil. I think it’s something to do with childhood trauma of some kind, because she scares the living sh*t out of me. So, to have her dead would certainly make me sleep more easily at night. [Pitches the question to the others in the band] Sigourney Weaver? … They’re all saying Australian Idol judges, which is a bit predictable I suppose. But they are hell-bent on destroying the Australian music scene, so that could be to our advantage … For the record, though, Dicko actually loves our band. He came and saw us when we were in Adelaide with Kisschasy, and he gave us rave reviews. So we’d spare him, but the rest are f*cked! If you talk to them, tell them they’re f*cked! British India play Sirocco’s in Burnie on the 25th of October, Hobart’s Republic Bar on the 26th, Launceston’s James Hotel on the 27th and then again at the Republic Bar on the 28th. To listen to an MP3 of the full interview, go to www.

To play on the title of the album, which celebrity in the world would you most want to see put to the Guillotine?

I have an inkling suspicion that Sandra Bullock is evil … she scares the living sh*t out of me.




Open Wide For A Dose Of Novocaine

By Tom Wilson

The retro-flavoured garage rock four-piece may have just dropped the word “Howlin” from their name, but rest assured, that doesn’t mean they’ve stopped making noise – quite the opposite, in fact. All set to support the mighty Vasco Era around the state this month, I spoke to vocalist/harmonica-wrangler Corey Marriott.

Two of you are brothers. What are the best and worst parts of having two siblings in a band? See, the big positive and negative is that we can abuse the hell out of each other, and know that we can’t stay enemies, because we have to sit down to dinner with the family next week. But, all in all, Jay and I get along great. You’ve got a clear passion for old-school rock – how did this begin? Do you come from musical families? Yeah, parents’ vinyl collections really paved the way. Through our drummer Gumby finding “The greatest band ever” week-by-week, most of the stuff we expose ourselves to is pre-1973. What releases do you guys have out at the moment? Two demos – Let it Loose (2006) and The Howlin’ Novocaines (2007). Both are available at shows, but we’re currently in the studio for our first nationally-distributed EP. Aside from this touring, what have The Novocaines been up to recently? [Laughs] Mostly touring, actually – ninety-four shows in eleven months. But recording is the next big thing on the agenda. We are attacking this new record causally, as we want to take our time and get it right. In addition to touring with The Vasco Era, you’re also traveling with “Jenny”, a cartoon woman drawn on the back of a shoebox. What kind of woman is she? And did you guys make her up because you don’t get enough female attention? Initially our bassist Steve was trying to draw our merch girl and tour manager Kerry-Anne, on the back of the shoebox, but due to poor drawing skills it didn’t turn out that well, and

then became an extremely unattractive female with the back of her head shaved and a gigantic Adam’s apple. Things got crazier when a whole bunch of quotation boxes started appearing such as “I like rabbits” and “I’m hell into Karma-Sutra.” She was the greatest accident ever, and it’s hard to look at any other girls sexually now that we have feasted our eyes on Jenny.

See, I was going to a wedding and wasn’t sure if I was the bride or the groom …

In the shot you’ve sent us, one of you is wearing what looks like a cross between a bow-tie and a veil. Did you catch the guy who dressed you that day? And what did you do to him? See, I was going to a wedding and wasn’t sure if I was the bride or the groom, so I decided to go somewhere in-between (to cover my bases, of course). Though I didn’t realise we were also booked for a band photo shoot that same afternoon. And what did you do to your hairdresser? What’s a hairdresser? What was the last thing that made you howl – in a good way? Meeting Jenny. And what about in a bad way? Seeing Jenny snuggling with Steve on the car trip home. The Novocaines play Launceston’s James Hotel on the 19th of October, and Hobart’s Republic Bar on the 20th and 21st, supporting The Vasco Era.








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I was making a Radish record in New York, and had a prostitute meet me in my hotel … [Laughs]

You Better Not Change Horses Mid-Stream ROCK SALT

Snoop Dogg, Mark Twain, teenage encounters with prostitutes … you should know better than to think an interview with Ben Kweller would run on a predictable line. In the midst of working on his forthcoming release Changing Horses, and about to head to Tassie for a show this month in Hobart, he spoke to me from the studio, deep in the heart of Texas … What have you been up to today? Well I’ve been recording all day; I’m in the studio down here in Texas. I’m making a new album. That’s why my voice is a little shot, because I’ve been singing my ass off for the past week. But it’s all good, because we’re making a lot of progress, and it’s really sounding nice.

Isn’t it amazing how language spreads across the globe? That expression “all good” – that’s such a common expression where I live, and you’re using it. I know! I think … didn’t that really come from Snoop Dogg or something? I think it came from him! That originated from the hip-hop culture, and I think Snoop was the guy to really bring that to the forefront, and it just spread like wildfire. He’s so slick, Snoop Dogg … Yeah, he is. And he has a hard time getting in Australia to go on tour, right? [Laughs] [Laughs] Have you got your Visas all prepared? Are you going to be able to make it through customs? Yeah, I’m no criminal! I was sent to the principal’s office a few times growing up in school, but that’s about the worst of it. So why are you recording in Texas, instead of Brooklyn or somewhere in New York? Well, there’re a few reasons. One – the tour that I just did here in America ended in Texas. And so, I wanted to make this before Australia, so I thought, if I just hung out here in Texas, I could make a good record. The band Spoon have a really nice recording studio here in Austin, and so they’re letting me work over there. So I’m in a really good studio, with a lot of vintage gear. Also, I grew up in Texas – Austin is one of my favourite towns in the world, and it’s good to make music here. My last three albums were all made in New York, and I was ready for a change. And also the material is more country and western, sort of folk-y, acoustic-oriented with some pedal steel … mainly acoustic instruments – it’s got that kind of a sound. And so there’s no better place in my mind to make a record like that then Texas. And I didn’t want to go to Nashville, because my kind of country music isn’t Nashville – I’m more Texas country. I don’t know – a lot of reasons all into one, basically. And have you got Glyn Johns on this one as well? Oh, Ethan Johns – Glyn’s son … No, actually … I did my second record On My Way with him. I love him – he’s a great engineer, and a great producer – and then, [on] my PAGE 6

last album was Gil Norton. I mean, I feel … I’ve been really lucky – I feel like I’ve worked with some of the best producers of our time. So, for this album, I wanted to just come down here … I flew in my engineer. The guy that records all of my albums is here recording me, and for this album, I’m going to produce it myself, and basically take everything that I’ve learned from people like Ethan and Gil, and just sort of do my own thing here. Would you say it’s more in the vein of, say, the track On My Way, as opposed to the album On My Way, this new material? Yeah, exactly. That’s a great way of describing it, you know? It’s got that feel of the song On My Way or Family Tree from Sha Sha, you know? That kind of a feel … Sort of the roots-y side of Ben Kweller. I’m sort of taking that part of me and really bringing it to the forefront on this album, so it’ll be nice. I think a lot of my fans will be excited to hear it. All my records have been fairly diverse, and I always pull from different genres. So right now, I just wanted to pull only from that one side of me. So that’ll be cool, and next time maybe I’ll just make a punk record, you know? Just a bunch of two-minute punk songs, and [I’ll] scream a bunch, and then my other set of fans will be really happy. [Laughs] You know? I just go which way the wind blows me man, you know? It’s like, just see what I wake up and feel like doing, and as long as I’m feeling it, and the music feels right, and the words are believable to me, I press “record”. Cool. Has anyone ever compared your music to nursery rhymes? Ooh … Only myself, actually. I haven’t ever read that, to my knowledge. I can’t really remember reading anybody saying that, but I have said that in the past. The song, like, On My Way, actually kind of could be a children’s song, in a way. Or a nursery rhyme. Why? Do you feel that? Yeah, definitely. Even Penny On A Train Track as well … Oh, very cool! You’ve got these lyrics which are quite dark, with these melodies which are really happy! To me, it’s like Ring Around The Rosy, but in a modern sense! Right, totally! You know – the Rock-A-By-Baby … the cradle will fall out of the tree … I guess, for me, I’ve always been a big fan of juxtaposition, you know? When light and dark collide. So that, to me – dark lyrics with happy melodies – can be a fun sort of trick to use. Yeah, I like how nursery

rhymes are also very simple and easy to remember … To me, that’s my shit, man. I dig that. If a four-year-old can remember it, then it must be a good song. How much of your material would you say is autobiographical? And how much of it is storytelling? Well, it varies … I would say Sha Sha and On My Way were very autobiographical albums. And then, my last album was a real mixture … The new one – the one I’m making right now – there’s a lot of storytelling on this one, and, you know, it’s weird. I don’t know where a lot of it came from. Some of the stuff is just pure fiction that I’ve developed on my own. Some of it is stories [of] people that I know or have heard about. There’s a song about prostitutes … There’s a song … as sort of a gospel song about this homeless guy that is living under this bridge, and he’s just trying to get a fix. There’s some sad songs, actually. I think people are going to see a much darker side; a more serious side. There’s basically a lot of songs about real people, and really vulnerable people. So it’s interesting. I don’t know … It’ll be fun to finish the album and see how it turns out. Do you give albums working titles? At what stage do you name an album? This is one of the few instances where I had the title very early on. It’s called Changing Horses. I got it from a Mark Twain story called Changing Horses … obviously the whole saying, “You better not change horses mid-stream.” But as an artist, that’s kind of an important thing for me to do – to change it up. And this album is definitely me trying something different. It sounds like a real Texas sort of name. Where was Mark Twain from? Mark Twain’s from Connecticut, I believe. He was from the north-east. But he traveled down to the south, you know – in Mississippi and along all the rivers. But he wrote Huck Finn when he was at his desk back up north in Connecticut. But he did really do a lot of traveling through the south. He would travel around America and just do weird fucking jobs; he’d hang out with homeless people and hobos and train-hop with them … then he’d go back home up north to write. Do you have problems going out in public? Do kids swamp you? Oh, no … So you could go hang out at a truck-stop or a diner or something like that … Oh, yeah; especially those places, it’s very easy for me to hang out, you know? Those people really don’t know who I am

or what I do. If I’m in a big city … if I’m in Chicago, and, like, Kings Of Leon are playing a show and I go to it, I’ll probably get recognised by a bunch of people. But everybody’s always nice, you know? I get the occasional … people recognise me sometimes in restaurants, but it’s rare enough to still be very flattering, and it’s not a nuisance whatsoever. It still surprises me when it happens, so I’m more than happy to sign an autograph or take a picture. It’s really flattering! [Laughs] It’s certainly the opposite of Tom Cruise or someone, you know what I mean? I’m not sneaking around! [Laughs] Whereabouts did you go for the inspiration, or where did you glean the inspiration from, or the material from, for the new album – especially the storytelling ones? The darker ones, about the prostitute for example? A lot of them are from real experiences. I got a prostitute actually, once when I was a teenager – in my later teenage years. And it was a horrible experience, actually … Basically, I was making a Radish record in New York, and had a prostitute meet me in my hotel … [Laughs] and it was horrible, you know? I really just wanted to talk to her more than anything. I kind of felt like Holden Caulfield actually [protagonist of famed novel Catcher In The Rye] The same thing happens to him in the book that happened to me. I don’t know – I feel, in some weird way, connected to the people that are less recognised in society; truck drivers and the working man, homeless people … Do you think that’s partly because of your Jewish background? You know? That’s actually interesting … it might be. I don’t know if it’s directly related to the religious thing … my parents always instilled a very liberal point-of-view in me. My grandfather was a huge inspiration to me; a huge influence on my beliefs. There’s a saying in America – “When you’re young, you vote democratic … and as you get older, you start to vote Republican.” Because you become stingier, and you want to keep your tax dollars to yourself, and you become more immoral, you know what I mean? But my grandfather … till the day he died, he was democratic his whole life, and always believed in helping the working class, and helping the poor people, and lifting up your neighbour. That was a huge inspiration for me, so I’ll take that to my grave as well. Ben Kweller plays the Wrest Point Showroom in Hobart on the 30th of October. To listen to an MP3 of the full interview, go to





The 2007 Guitar Expo has changed venue, due to flood damage at Devonport High School. It is now to be held at St. Brendan-Shaw College. The event will run as follows: 10:00 AM – Doors Open 10:30 AM – 11:30 AM – Guitar Fight Club (First Rounds) – Room 1


ENOUGH 2007 is a Make Poverty History concert to be held in Launceston (26th of October) and Burnie (27th of October). ENOUGH is being run by young grade 10 student leaders with the aim to raise awareness about Global Poverty. ENOUGH will be raising a voice just before the Federal Election, and ENOUGH wants people to vote with their heart not their wallet. We want the Government to realise that the youth of Tasmania want the Pollies to do what they promised and halve global poverty by 2015. Artists:



11:30 AM – 12:30 PM – Randall Amp/Digitech Clinic with Dale Keating – Room 2

It’s coming up to that time again when the night dwellers and freaks of Hobart come out of their various dark shadows to live/death it up. This year, Helloween Havoc will be held at the Brisbane Hotel on Saturday the 27th of October. So get those costumes and dancing shoes out of the attic and dust’ em off. As usual, there will be prizes for the best moshers/dancers and the best costumes after the bands have finished playing. Typically a Helloween Havoc music mix will be playing before, between, and after the bands for extra atmosphere.

12:30 PM – 1:00 PM – Daniel Christoffersen (Classical Guitar Maestro) – Main Stage

Headlining this year are mad shock punkers BumTucK. Joining them on the bill will be Your Demise, Incarcerate and Mindset.

4:45 PM – Guitar Fight Club Finals – Main Stage + Maton Guitar Door Prize

12:30 PM – 1:30 PM – Guitar Fight Club (Second Rounds and Semi-Finals) – Room 1 1:00 PM – 2:00 PM – Line 6 Clinic with Steve Mackay – Room 2 2:45 PM – 3:45 PM – Boss/Roland Clinic with James Ryan – Room 2 4:00 PM – Brett Garsed Solo Show – Main Stage

The Guitar Expo 2007 will be held at St. Brendan-Shaw College on October 21st.

Helloween Havoc kicks off at Hobart’s Brisbane Hotel on the 27th of October.





THE STOICS SHOCK CORRIDOR YOUNGER DRYAS Launceston concert – Friday 26th and the Tailrace Centre from 6:30 to 10:30. Burnie concert – Saturday 27th at the Burnie Park Sound Shell from 3:00 to 8:00.

SHAMMIE / BUBS 33A ELIZABETH ST MALL HOBART ph. 03 6234 8600 email.

TICKETS ON SALE! True Live Republic Bar - 18th October



$5 before midnight $ $6 $ after midnight


‘triple j's Home and Hosed presents’












Republic Bar - 19th October

The Vasco Era Republic Bar - 20th October

The Vasco Era Republic Bar - 21st October

Hard vs House Syrup - 24th October

British India Republic Bar - 26th October

The Angels Republic Bar - 27th October

British India Republic Bar - 28th October

Kid Confucious Republic Bar - 2nd November

Brad Strut Brisbane Hotel - 10th November

Red Eyes Republic Bar - 16 & 17th November

Nick Toth The Metz - 18th November

The Panics Republic Bar - 23rd November

EarthCore Global Carnival Victoria - 23-25th November

Kid Kenobi & Shureshock Halo - 24th November

Elements Tour 2007 Uni Bar - 29th November

Kisschasy Uni Bar - 30th November

Tickets On Sale Sydney: Wednesday 10th October Gold Coast: Thursday 11th October Auckland, Melbourne, Adelaide & Perth: Friday 12th October

Frenzal Rhomb Uni Bar - 1st December

DJ Regal The Metz - 2nd December PAGE 8

Simon Posford - Hallucinogen Live +Sphongle DJ Set Brisbane Hotel - 15th December



Prepare To Be Given The Clap ROCK SALT

By Dave Williams

Beer. Swear words. Allusions to sexually transmitted diseases. The Clap. It’s rock ‘n’ roll, with a sense of humour. I recently got in touch with singer/guitarist Luke Hoskins to find out who he thinks would win in a fight between AC/DC and TISM.

I heard that The Doctor from Triple J said nice things about your track Che Guevara T Shirt Wearer. What were some of those nice things? And am I the only person who sniggered at the connection between “The Doctor” and “The Clap”? He wrote that it was bloody good (which is nice) and repetitive (which is true) … Well, it is a pop song. He also said that our song Get on the Dole was bloody good, but couldn’t condone the sentiment of it because of the Unearthed initiative being funded by the Arts Council. I tell ya, it was a bit of a spin-out to hear the T-Shirt song on breakfast radio. I’m sure it either ruined or made a few people’s days. I had, like, a billion calls from friends asking me if I heard it. Now I did hear something interesting. Apparently The Doctor was suffering from an ailment and went looking for some home remedies on the ABC’s intranet when he stumbled across our page on the Triple J Unearthed website (which is what he should have been looking at while on company time). So he decided to kill two birds with one stone, but this was told to me by an unreliable source, so I can’t confirm or deny this.

Considering you guys wrote, under the “sounds like” tab on Myspace, “Australian rock and f*cking roll you f*cking c*nt”, I’d like to ask – what’s your favourite swear word, and why? And when was the last time you used it before now? “John Howard.” It’s like “f*ck”, “sh*t” and “c*nt” all rolled into one, but someone would really have to rub me up the wrong way for me to call them a “Johnny.” There’s John Howards everywhere. You wouldn’t believe it. They take the guise of ordinary people, but you notice them by the fuzzy brows and warped view of the world.

be a part of a new album, which we will probably start recording some time next year. We did a demo of seven songs in July, but we decided to keep these to ourselves so we can get it all tighter, except for a rough demo of our safe sex anthem I Don’t Wanna Sleep With You, which is now on Myspace.

What releases are you guys flogging at the moment? And what material have you been working on recently? We’re still trying to get rid of our first album. It has distribution through MGM / Green and has sold a fair few copies, some in places we have never been, including someone from overseas. So this is why we are coming down to such a fine a place as Tasmania. We’re basically an unknown band outside of Newcastle, but even then we still manage to win new local fans every time we play around town. At the moment we have about six new songs, four of which (including the crowd-pleaser The MTV Gun Song) are now regulars in our set, and will definitely

When was the last time you got the clap, and who was it from? Hey! Are you propositioning me? Well … I’m flattered to say the least … umm, this is really awkward … I hardly know you … can I call you sometime? We could have a beer or something …

What’s a good use for your latest CD, other than actually listening to it? Propping open a door? Flying at the head of someone you don’t like? It’s funny that you mentioned that … I once used one as a shaving mirror. I don’t think I did a very good job …

Sure thing, big boy! The Clap play the Commercial Hotel in Launceston on the 18th of October, Spurs in Devonport on the 19th, the Wharf Hotel in Wynyard on the 20th, and Hobart’s Brisbane Hotel on the 21st.

You guys have a very distinct sense of humour. Who are some examples of bands that don’t have a sense of humour, and desperately need one? I think that bands like Hinder, Maroon 5 and Nickleback have an awesome sense of humour. Whenever I hear their music, I laugh my arse off. No … really. I think that certain people out there who make music of any genre can take themselves way too seriously. They may put on a fun performance, and it’s all a good time, but after the show, when you talk to them, you find out that they’re complete wankers. I don’t know how it is anywhere else, but in Newcastle, if your mates like your band they will tell you how shit they think it is, even while you are playing. It is a good way of keeping egos in check.

Hey! Are you propositioning me? Well … I’m flattered to say the least … How did you guys first start playing together? What was each of you doing beforehand? Well, the four of us have been jamming on and off since 2000. From 1996 ‘til around 2000, me and Matt Close, the bass player, had a band called Rubbish Rat, which was guitars and distorted Casio keyboard beats plugged into a cheap mixer with no EQ. It was horrible, but extremely enjoyable to our teenage minds. After that, we did a lot of noisy electronic things, which we still do using various names and releasing it on our own label (Noise Machine). Meanwhile Shane, the drummer, used to play in a few rock bands around town. He’s more into old school heavy metal and glam stuff. My brother Mat used to jam with mates and stuff, and annoy the shit out of me. Sometimes he would sit in with some of our experiments. It was around 2002 when we used to jam at my house every weekend. We recorded some demos of bad improv stuff, but it wasn’t until 2005 that we really took it seriously. Me and Matt wrote the song Scary Man in 1996. The version which appears on our album is the one we have been playing since 2002. Do you guys have a favourite spot to rehearse? What do you like about it? Do you piss off your neighbours with the noise? Yeah, we actually rehearse at our bass player’s house. He has this great room underneath it which leaks when it rains too hard, and recently had a swarm of bees living in it. But it’s really good, because on one side there’s just bush, and the neighbours on the other side don’t mind. Sometimes you even catch them sitting out on their verandah and having a few coldies while we play our songs a million times to get that one note right. The main criticism the neighbours give us is that we don’t play loud enough! If someone was to buy the band drinks at your shows down here, what would each of you be having, and why? And what’s something no man – and particularly no muso – should ever drink? Well, I prefer to drink Old, and the other members like VB and Coopers, but we’ll drink anything. If you want to get us drunk, I recommend buying us two port and cokes each, in schooner glasses. As far as what no one should drink, I believe that wine is the devil’s spunk. I’ve made a fool out of myself many a time after a litre or two of red wine. There’ve been some gigs where we shouldn’t have been allowed in the pub, let alone playing onstage, but lately we’ve been behaving more like a “professional” band should, and I now understand that I shouldn’t play without a shirt on, and why the pants must stay on at all times! The Clap has been described as sounding like AC/ DC getting into a drunken brawl with TISM. If such an altercation was to occur, who would win? And would TISM’s spiky costumes save them? It would be a pretty even match. From what I hear, Malcolm Young has a mean right hook. But, on the other hand, there’re seven members of TISM and only five members of AC/DC, and there’s also a significant size difference between the members of the two bands. Perhaps the Scottish blood might be the deciding factor. PAGE 9

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Dark Passions Lighten For A Band Reborn THE CAGE

By Tom Wilson

It seems the symphonic metal phoenix has risen from the ashes … After the ugly and very public dismissal of vocalist Tarja Turunen two years ago, many were left wondering what future, if any, lay ahead for Finland’s Nightwish. Well, Dark Passion Play – the first album to feature new vocalist Anette Olzon – should conquer any doubts about their longevity. I spoke to founding member, key songwriter and Captain Jack Sparrow-look-alike Tuomas Holopainen from his home in Finland, just days after the current line-up’s first show in Israel. The new singer [Anette Olzon] – this only happened about a year ago, is that right? That you got a new singer? Actually, we got the new singer in January. We decided she was going to be it on January 30th, so it’s only been, like, seven/eight months.

And Dark Passion Play was entirely written while she was there? Or did the band write material before she was confirmed as your new vocalist? This is a kind of funny story, actually, that people don’t really understand; the whole album was written and even recorded, and we still didn’t know who the new singer was going to be. We had everything – drums, the first part of the orchestras, all the keyboards, guitars; everything was in there, and we were still looking for the singer. And then, because of the schedule, we already had decided early on that, but the end of January 2007, we’d have to decide. And we did – it was going to be Anette, and when she joined the band, we taught her the new songs, and then, the 1st of March this year, she entered the studio and did her parts. The lyrics and the music I find very theatrical – almost cinematic. Would you agree with that? Absolutely. I’m a huge fan of film music and soundtracks, and whenever I do a song, the idea is that the listener would see the song as much as hear it. I always think about writing songs very cinematically … it’s like doing short music. What are some of your favourite films? And in what way have they maybe influenced your work in Nightwish? I like all kinds of movies, starting from the historic spectacles – like Braveheart, Dances With Wolves, Gladiator – to horror movies like Wolf Creek … that’s my absolute number one horror film of all time, Halloween … One of the biggest films also is the movie called The Village by M. Night Shyamalan – that really made an impact on me. I know it’s kind of a controversial movie, and people consider it as being a horror movie, but it’s not a horror movie at all. For me, the idea behind the movie is so beautiful, and for me it represents the most beautiful love story ever written. Wolf Creek … I’m wondering – did that change how you see Australian people in general? [Laughs] [Laughs] No, no, no – not at all! One of my ultimate dreams is still to do the same thing as those three kids in the movie – drive through Australia someday. But this movie is just something incredible – so immensely scary, and it just went

under my skin big-time and never left … [Impersonation of Mick Taylor’s chuckle] Somebody should give John Jarratt an Oscar for that … [does his own impersonation] One of the other things I really wanted to talk about was the element of grandeur in Nightwish music. This might seem strange, but I see a lot of similarities between the work of Nightwish and recent Rammstein material, just in that huge spectacle [style]. Would you agree with that? Yeah, I do – I really do. It’s not, like, “on purpose”. We’re not trying to do grand music because it’s cool – it just comes out naturally, and kind of has become the concept of the band. We need to categorise the music – people call us “symphonic metal”, they call us “operatic metal”, “power metal” … I like to call us “grand music”. That’s the best description. You write all of Nightwish’s lyrics, and yet you don’t sing them. How do you pitch your lyrics to Anette? How much input does she have? Have you ever given her lyrics, and she’s gone, “Oh, no – I don’t think that’s very good! Let’s do this!” I am the most democratic band leader on earth, I really am. But one thing is that I just want to keep it to myself, and I’m not going to do any compromises about my lyrics. That’s something that no other band member in this band is allowed to do – lyrics – than me. I’m a tyrant in that sense. But it’s my own little microcosm, and it’s never been a problem for me to let other people sing them. I mean, it’s only natural, because I cannot sing worth shit! I let people who can sing … do it. And sometimes we go through the lyrics with Marco and Anette really carefully. I kind of explain what the atmosphere of the song is about – what the story is – and they have always managed to pull it off perfectly. The opening track of Dark Passion Play is no less than thirteen minutes long … That strikes me as really bold – does it reflect the state of the band with the new singer, that you have the confidence to say, “Right! We’re not going to open the album with something easy and manageable! We’re going to open with a thirteenminute song!” Would you agree with that? You said it! That’s exactly [what] I felt that we needed to do. At this point, we don’t want to play it safe – we want to do it full-ahead, and take all the fucking chances, and avoid all the clichés possible. So yes, that’s the reason.

In the tray of the album itself, there’s a quote of Walt Whitman [19th century American poet]. What was the significance of this quote? Or was it just chosen by the art department when designing the CD? Well, I just found Walt Whitman about two or three years ago, from the movie Dead Poets Society. He had some interesting ideas, and I checked him up, and then I found his poem called Song Of Myself, which I think is the greatest piece of poetry ever written on the planet. I’ve read it many times now, and I think it’s really … it captivates the essence of life in every sense of the word. It’s a wonderful piece of poetry, and I just wanted to include a part of it into the album, and there it stands. I’d like to talk to you about “image” for a moment. Nightwish is portrayed in both its album artwork and its videos in a very medieval, gothic tone. How did this evolve? Was this something that was suggested to you? Or did they just emphasise a kind of look and a vibe that you’ve always had? We have never been forced to do anything – we have never used any stylists, and nobody has ever told us what to do or what to look like; what to wear on-stage. I didn’t mean to offend you … No, no – I’m not offended at all! [Laughs] The thing is that we don’t really put much effort into that, because I think calculating in advance in the cancer in music. It really is. I mean, calculating what the album should sound like, calculating what you should look like … that’s the worst thing. We dress the way we feel like it’s good to dress, and we try to look like the music a little bit, but that’s it. Nobody in this band is the slightest bit fake. My fiancé said you looked like Johnny Depp from Pirates Of The Caribbean. God I hear that a lot! You can’t imagine! First of all, I’m kind of flattered, because I think he’s a really cool character – he’s one of the funniest characters in cinematic history, but I never, ever did it on purpose; I have been looking like this for the past five years … it’s just a coincidence … but if there’s a similarity between us, I’m really, hugely flattered – thank you! [Laughs] What, for you, was the worst thing about the period when things started falling apart with Tarja Turunen [former vocalist expelled from the band in 2005]? What

was the strongest emotion you remember feeling? It was bittersweet. On the one hand, it was the saddest thing ever happening in my life; on the other hand, it was one of the biggest feelings of relief ever. So “bittersweet” is really the word. Then there was anger and shame about myself, because, as a band leader, I couldn’t hold the whole big scenario together – I couldn’t find a solution. The fact that it, in the end, turned so ugly, I take a lot of blame for myself, because I should’ve been able to handle everything better, but I didn’t have the strength or the wisdom to do so. You shouldn’t be too hard on yourself when things like that happen – what people do, you can never control. Yeah, but … it’s just, you have this feeling – “Did I do everything in my power? Did I do my best?” And I cannot honestly say at the moment that I did. But at the same time, there are no regrets. If we, as a band, could go back two years, everything would be done the same way … So, in this way, there are no regrets. How different is it now with Anette than back in those days? It feels the same as it felt during the best times with Tarja. For example, the summer and the fall of 2004 were awesome times with Tarja. We were all so happy back then, and at the moment, with Anette, the feeling is every much the same. When you think of that moment in the band’s history – the departure of your vocalist – does a certain moment in time, a certain memory, come back to you? Hmm … I think about the last show we ever did with Tarja. That was the 21st of October 2005. Talk about mixed feelings! It was the best show we ever did – it was such a moment of happiness and joy and friendship – and, at the same time, it was feeling ultimate sorrow and frustration, and that feeling of “departure forever.” What’s your biggest hope for Nightwish? Where do you want to go? What do you want to do? I want to keep this lineup together for the next decade or two, so that we don’t have to start writing any stupid open letters anymore. And just to have a good time, and do the best we can with music – that’s my ultimate goal. To listen to an MP3 of the full interview, go to www. Dark Passion Play is out now.

The fact that it, in the end, turned so ugly, I take a lot of blame for myself, because I should’ve been able to handle everything better …



Who Knew That Touring Artists Still Like To Play With Dolls? ROCK SALT

By Dave Williams

They could run, but Hobart rockers The Evening Dolls couldn’t outrun our desire to crash tackle them mid-stride and talk to them ahead of their shows supporting British India this month. Don’t worry – you’re not too old to play with dolls, particularly these ones. Who came up with the name of the band, and how does it represent you? I came up with the whole concept of the band before it even had any members. It was to be a classic rock band filled with catchy choruses, big vocals, guitar hooks and high energy. I suppose “The Evening Dolls” plays on the themes of nightlife and all the different people involved.

How would you describe the overall sound of the LP you’re about to release, and have you got a title yet? The record will be named Coming Alive. It is one of the featured tracks, so we thought it was also an appropriate name for our debut album. The overall sound on the record does vary slightly, but manages to stay within the overall Dolls’ style. The lead guitarist comes from a more 70s punk background. Mix this with my pop-Oasis style of writing and you’ve got a fresh, unique sound. We really wanted to make it a locallybased recording, filled with Tassie pride. It features local brass players, keyboardist, guitarist and an amazing performance by the Salamanca String Quartet. It has everything from rock, punk, pop, disco and even a heartfelt ballad. What direction does the album take lyrically – to what extent are there any underlying themes or perspectives? I think the direction of our writing came from whatever was happening in our own lives at the time. AKA – personal challenges and experiences. We were never trying to preach, just have fun. The second track on our Myspace page, The Prize, is probably the only song with an underlying message. Basically it describes our reluctance to produce the typical Californian style of punk. Instead, we “…aim for New York”. What influence did producer Stew Long have on the finished product - did it change from your initial goal or did he have a similar ideas to you as to how the band would sound? Having Stewie on board was probably one of the best things we could have done. We had every song already demoed, which meant Stewie could run a fresh ear over the songs and cut out any of the bullshit. He also convinced us to record to tape, a rare occurrence in today’s digital world. But f*ck it helped to give us a fat drum sound. There really is something nice about the sound of tape and the overall body. His goals were basically the same as ours. To just make it the best it can be. So, seven months later …

we think it’s pretty much there. How has the band evolved with the addition of new members, and how have they influenced the band’s sound? It was a long, hard process trying to find the right people. Now that we have, it’s very exciting. Both Scott and Sean are great musos with heaps of versatility. This helps to add some sophistication to our songwriting and live shows. How would you describe the personalities of the members of the band, and what roles do each of you play, in terms of the running of the band, as well as in terms of songwriting? Glenn and I are the main song writers. He’ll usually come up with sh*tloads of punchy half-songs that we’ll workshop as a band. I won’t really expose my tunes to the band until I feel it is complete.

The main feature of the sound is the big vocals and harmonies. That will be our main concern live, though we have been very pleased in rehearsals. What atmosphere do you seek to create when you play live? We try to create a high-energy and fast-paced set. I mean, we’re not shoe gazers, and do try to put on a show – we usually think KISS-style … fireworks and sh*t … actually, I have heard us being described as glam rock. Maybe that should be what we aim for. What are your plans for the next six months or so? We plan on having the LP released in November, then push it on to the mainland with a tour. Promote its ass off and just keep writing.

What are you happy with in the Tassie original music scene, and what changes do you think would be beneficial? Like I said before, the bands here are amazing, and the scene is good. I’d probably just like to see more of these bands getting together to do shows, and having people really excited about that. Lastly, describe your perfect day. Warm summer’s day, Boags XXX ale, good friends and good tunes. The Evening Dolls support British India on the 26th and 28th of October.

Then we’ll jam it out in the studio, record it, and then listen back for any possible changes or new ideas. We are all focused and willing to let it take us as far as it will go. Above all, we’re just young lads that like beer and rock ‘n’ roll. You’ve had some great support roles for bands such as Jet, Dallas Crane, Magic Dirt, Whiskey Go Go’s and now for the upcoming British India tour. What is it about the band that you think scores you these spots over other Tassie bands? I don’t think we’re really scoring these slots over other bands. I definitely think we have something good to offer as a support act, and some slots we just fit into better than others. There a lot of amazing bands in Tassie, like Ballpoint, Unleash the Nugget, Red Rival and Lucy, and we all seem to fit into different niches – though a lot of it comes down to your P.R. skills. I spend a lot of time chatting to people and emailing because, although your material could be great, it really comes down to how much you expose your band, and make people aware of what you have to offer.

I’ve worked out that most people give into the bloody little persistent dude.

I’ve worked out that most people give into the bloody little persistent dude. Also, Tasmanians are very supportive of other Tasmanians, and do really like to give each other a go. What differences will there be in the sound that we hear on the new LP and that which you produce live? There has been a lot of production go into this record, but we’ve tried to keep it realistic when reproducing it live. Obviously were not going to do every show with a brass section and string quartet.


Take A Trip Up The Ivory Stairs ROCK SALT

By Tom Wilson

“Am I ever going to see your face again?” Well, yes. Oz rock institution The Angels Band have re-birthed a handful of their old numbers, and they’re now heading down to Tassie. In fact, singer/guitarist Rick Brewster is here already, and he spoke to me about the much-publicised feuding between the band and former member Doc Neeson, and the resurrection of “the forgotten songs.” Your new single Ivory Stairs is being released on the 19th. What’s the song about? Well, it’s an old song … it’s actually off the second album we ever did, Face To Face. We decided to revisit it, because we’d just started playing it recently, and it was getting a fantastic response. It was like “the forgotten song”.

Yeah, I know! You’re good at that! [Laughs] And I don’t blame you, to be honest. If I was in your shoes, I’d do the same thing; jump on anything. But it has been a bit distorted. Yes, it’s true that Doc was not happy with us using the name The Angels, and, in our view, it’s always been a name that is ours and Doc’s. The original band, the band that we have now, with Chris Bailey and Buzz Bidstrup and my brother John and myself and Doc, we all did the hard yards together in the late seventies, and built that name up to a really good point.

We never really paid it much attention back in 1978 when we released it; we played it for a bit, and then kind of forgot about it.

So we’re all quite protective about it, and so is Doc, and quite rightly so. But it’s not as acrimonious as it’s made out to be – we’re still currently talking to Doc about it, and we’re all hoping to resolve it soon, one way or another. But it’s not that big an issue for us – we’re really happy with the name The Angels Band anyway.

We started it again, and this thing happened on stage with the out-tro … it was quite sensational. We just loved doing it, and it was going down really well, so we just thought, “Let’s record it.” So have you changed elements? What’s different about these versions of these two tracks? Well, for a start it’s The Angels Band doing them, as opposed to The Angels; in other words, without Doc. My brother John does the singing these days; he’s been doing it now for the last four years. It feels a bit different than the original, just because everyone’s further down the line with their playing. The main thing though, for me … and this applies across the board to everything we do now … it’s all just a bit looser; a bit more “blinkers-off”, if you know what I mean; a bit more improvisation. Nothing’s exactly the same from night to night, whereas, in the early days of the band, it used to be pretty much exact as per the record … For me, as a musician, that was a major shift in what we do. I’ve never really been an improviser – really, until we started the Brewster Brothers several years ago. We started The Angels Band at about the same time. How likely is it that you guys will record another fulllength album? It’s always possible, you know? We’ve talked about it, but, as you know, it’s a long way from talking about it to actually doing it. But we did actually get in the studio and record these four songs – that’s a really good sign. Really, the next thing that’s coming out for us is a live album recording in February at the Bon Scott celebration concert in PAGE 12

We’ve used that before. And it sort of reserves “The Angels” for that possibility of if we ever reunite with Doc.

I’ve actually moved down to Tasmania, so I’m hanging out to do these gigs Fremantle, and that was sensational. It was a huge show – twelve thousand people – not just us, but lots of bands; Rose Tattoo, Screaming Jets … lots of other acts. It was a major event for all of us. Bands of that era, who knew Bon, all gathering together for the one cause … and, that far down the track, all that young-band competition has gone out the window. We just get on like mates. So it was a

great event for us. I understand there was some controversy regarding the use of the name of the band. What happened there? And how was it resolved? Well, as usual, the press has made a bit of a meal of it … That’s what we do! [Laughs]

I was just wondering – Am I Ever Going To See Your Face Again? Well, if you come to the gig in a couple of weeks, we’ll be down there, yeah! [Laughs] That’s not the right answer! Well, I won’t say, “No way – get f*cked, f*ck off!” This isn’t live-to-air, is it? Wouldn’t matter anyway – it’s like a common expression these days! You probably don’t know, but I’ve actually moved down to Tasmania, so I’m hanging out to do these gigs – two of them are down the road from me. I’m in Sorrell – about halfway between the Hobart gig and the Lewisham gig … What’s the other one on there, on the 26th? It’s Launceston. When you become a local, you can call it “Launnie”, I believe. The Angels play Launceston’s Saloon on the 26th of October, Hobart’s Republic Bar on the 27th, and the Lewisham Tavern on the 28th. To listen to an MP3 of the full interview, go to www.



First We Take Tasmania, Then We Take The World! By Tom Wilson

As daunting as the prospect of working in a creative endeavor with a sibling might be to some of us, it hasn’t seemed to hurt The Emma Fair Band. Far from it, actually – they just won the state final of the National Campus Band comp … which seemed like a perfectly good excuse to have a word with them.

You guys recently won the northern heat of the National Campus Band Competition. What does this mean for you guys? What are you now required to do? We never expected to qualify in the northern heat, let alone win the state final! This will give us a chance to be noticed on a national scale. It means we’ll travel to Melbourne to face winners from the other states on the 25th of October. What can you tell me about the material you played on the night? Was it newer material, or some of your older work? As a band, we’d been rehearsing for several months, getting some ideas together and polishing some of Emma’s previous material. Not doing many gigs allowed us to fully focus on experimenting and developing our sound. You could describe our set as atmospheric, jazz-infused folk/rock. We wrote a new song for the state final – which went down well with the discerning clientele of the Launceston Uni Bar.

We never expected to qualify in the northern heat, let alone win the state final! This will give us a chance to be noticed on a national scale. How did you guys first start working on music together? What kind of background did each of you come from? Swifty and Dani have been playing in bands together for about ten years (Emma was a fetus …) and, following Swifty’s music degree, formed a jazz band (Blue Cube) including Ben, who was also studying music at UTAS. Meanwhile, Ben’s little sister grew up and started singing with a folk trio, Blue Cotton []. Having written a few songs of her own, Swifty encouraged Emma to develop them further and record them.

Dani and Swifty, being keen to start a new thing, offered to lend a hand, and later convinced Ben to join a band under his little sister’s name! What recordings have you guys done so far? Do you have any releases in the works? We have a couple of songs on our Myspace [www.myspace. com/emmafairband], but are hoping to get into the studio these summer holidays to record a full album for release in 2008. Winning this comp would make this a whole lot easier. Who are some of the other Launceston bands you enjoy playing shows with, and why? We enjoy the company of all our local compadres and are keen to play with any of them whenever. What kind of songwriting process do you guys have? Who comes up with what first? And how long does the whole process usually take? Usually Emma comes up with some lyrics, then about a week later writes a chord progression, then sings the lyrics over it until she likes the melody. Then the band step in and make it feel good. We have reversed this process recently, with the guys coming up with some riffs and grooves, and Emma adding melody and lyrics later … Considering the group is named after her, to what extent would it be accurate to say that Emma has the most creative control? Mostly, Emma brings the concept of a song – lyrics, melody, form, feel etc. – and the guys mess with it until we’re all happy with the result. Emma brings the bones, and the boys flesh it out. What would you guys most like to get done by the end of this year? Further build our set and start recording. I actually did English with Ben at Newstead College a few years back. Has he learned to spell yet? Ben ses hy. The Emma Fair Band play Outta Lonnie in Launceston on the 26th, and Irish Murphy’s in Hobart on the 7th of November.


Witness The Mettle Of Gretel ROCK SALT

By Tom Wilson

A singer-songwriter with a firm emphasis on “songwriter”, Launceston expat Gretel Templeton’s musical output typifies the raw essence of heart-on-sleeve creativity. As one lyric goes, “dreams can come true – what if they do?” For an artist like this, it’s not a question of “what if.” It’s a question of “when”. Not bad for someone who thinks they haven’t had enough formal musical training.

Your parents started your musical training when you were very young. Where they actively musical themselves? How did they inspire you as a musician growing up? Both my parents have always played music in the community, playing with bands, orchestras or singing with choirs. So, from a very young age I’d be singing along to musicals, playing with mum’s folk band, or picking up dad’s guitar whenever he wasn’t looking. I was constantly surrounded by music and love for music, which has very much shaped who I am, my love for all genres of music, and what I want to do in life. So I guess my parents inspired me to pursue music; whether it will be a career for me or not, it will always be part of my life. One of your online songs, Dreams, really intrigued me. In what ways have your dreams inspired you in the past? Well I’m a typical Piscean, so being a dreamer is a big part of my character. Dreams, for me, are a lot like songwriting, in that they both help me so much in sorting everything out. They both let your mind bring everything that’s happened around you together to give you a completely different perspective and so often change your feelings about things, and eventually they help you evolve. Dreams are another world to me and, like songwriting, it’s a place I often escape to for inspiration.

sound. To what extent would you agree that your lyrical delivery benefits from the low-key style of guitar playing? And was this always a goal? When I write songs, I don’t really have specific goal, other than to write something that I like the sound of and is meaningful to me. I’ve never really had any goals as far as “my sound” goes, other than I just want it to be mine. As a listener I have a soft spot for raw guitar parts and simple melodies though, so perhaps that’s where my sound has got its shape. I think lyrics are the bigger focus of my music, so the raw guitar leaves more focus for the vocals. What would you say is your most personal song, and what makes it personal? I consider all the songs I write to be personal, because every song is like a snap shot of what’s going on in my mind at one particular point. Whether a song is about my experiences or someone else’s, I always write truthfully, so it feels to me like I’m handing over my heart, and letting listeners do as they please. Sounds very dramatic, doesn’t it! Though I think that’s why, when I first started writing songs, I found it very hard to share them with anyone. Gretel Templeton plays Maginty’s in Burnie on the 27th.

The songs of yours that I’ve heard have a very raw kind of sincerity to them, especially in your guitar

Dreams are another world to me and, like songwriting, it’s a place I often escape to …

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SICK DISC! SEAN KINGSTON Sean Kingston 9/10 Sean Kingston is seventeen years old, and is the latest stt talent to hit our charts with his self-titled debut album. Byy now, anyone who is somebody would have been treated d to Sean’s version of sweet old-school Jamaican soundd-meets-new-age pop song Beautiful Girls; whether you heard rd someone humming it, or it was blasting from a car passing g you by in the street.

The melody of Beautiful Girlss talks about growing up, and the pain of finding love love. Sean’s baby-face portrayal of youth and innocence – and the yearning for love – helps the song to appeal to us on all levels.

CHERRY GHOST Thirst for Romance 6/10

Most people would be familiar with how bands nowadays have “side projects”, and most people would also be familiar with the emo band AFI.

The debut album from English indie rockers Cherry Ghost has just been released.

Well, W Blaqk Audio is just that: a side project by two of the m members of AFI. Davey D Havok and Jade Puget are the founders (and only members) m of Blaqk Audio: an electronic emo/punk band making m their debut with Cex Cells.

The first track off the rank, Kingston, is what I consider to be his anthem. You won’t be able to keep this baby down wn low – it needs to be cranking every time it’s on. For me, itt sets the standard for the entire album – but not to worry; y; there are plenty more fantastic songs to come.

There is not a negativee thought that enters myy head when thinkingg about Sean Kingston.

BLAQK AUDIO Cex Cells 8/10

The T album starts off with Stiff Kittens – the perfect song to have blasting out at nightclubs. The fast tempo of the song so works really well when accompanied with the deep, distinct d vocals, making this an excellent song to start the album a off with – a good prelude of what is yet to come!

I Can Feel Itt has a resemblance to the Phil Collins song Something in the Air – to me, it is yet another example of Somet Sean’s talent, that is so well defined by the collection at hand. There T is not a negative thought that enters my head when tthinking about Sean Kingston. This whole album will knock you off your feet – I loved it. If this is anything to go by, then I really can’t wait to hear more from Sean.

Chris Cornell is one of the most influential icons of music with his raspy rock vocal style and charisma – there’s a guarantee you have heard his voice on radio before. For those who are nevertheless unfamiliar with Cornell, he was the lead singer of grunge band Soundgarden, Temple of the Dog and, more recently, disbanded supergroup Audioslave. Carry On is the second solo effort from Cornell, who, between the split from Soundgarden and forming Audioslave, brought out his first solo album Euphoria Morning in 1999, which had a dark presence much like that of Soungarden’s sound. Cornell’s solo career has always been overlooked by the public, as it was a change of direction, with the singer trying different music styles. Carry On offers a much different approach; a more soul/jazz and blues compilation. If you have seen the latest James Bond film Casino Royale, you will have heard its theme song – the top ten single You Know My Name. Arms around Your Love is the second single off the album, a soft-rock love number which, while an okay song, wasn’t really the best choice for a single –opening song No Such Thing is more suitable. Eighth track Billie Jean is a rendition of Michael Jackson’s dancefloor hit. Cornell transforms the song into a tedious vague listening appearance – strictly no dancing to this version. Being a huge fan of Cornell’s work since the Soundgarden days, the latest offering from the underrated rock-god unfortunately delivers bland, uninteresting music. If you want to experience the power of Cornell’s voice, listen to albums Superunknown, Audioslave’s first album and first solo album Euphoria Morning. DAVID WALKER

THE MENDOZA LINE 30 Year Low 4/10 This album is stooped in visceral, emotional and melodramatic – the reason being is that The Mendoza Line’s 30 Year Low minialbum marks the end of band-mates Tim Bracy and Shannon McArdle’s marriage and artistic collaboration. Now, warble-y folk is known for much social commentary and being revolutionary – let’s face it, it’s pretty well documented! But for all the ways, means and intensive purposes, it’s not hard to make it fresh at times with a bit of imagination. On 30 Year Low we’re left with a bunch of songs that are gutwrenchingly heartsick; you get swept away in a rampant flood of romantic despair. Hailing from New York, my first thought is that they should know better. New York is, after all, the cultural capital of the world to so many people! And bands seem to have it good there too, for a variety of reasons. So many folk singing pioneers, and their wonderful legacies over an epoch, are from New York City. But if you want to cover Dylan, as is the case on this album (with It Takes A Lot To Laugh, It Takes A Train To Cry) – you’ve got to do it well! Be that as it may, American accents aside, one could be fairly rapt in the musicianship and instrumentation of these songs – but then, it’s hard. There are noise solos where violins should be, guitar lines where there could be vocal harmonies. The drumming, so easy to get right, is quite misappropriated. The drum patterns lack variety throughout the album – it sounds like a folk rock symphonic of expensive instruments by guys drinking too much homebrew stout. MARTIN BLACKWELL


They say that nobody ever likes a liar … well, it looks as though they got that very wrong. Liars (the Aussie dancerock band, that is) have just added a new album to their musical portfolio. Stumm 287 is a mix of doof-doof techno and loud rock beats.

Mary On The Mend starts off with what sounds like a church organ that you hear at a funeral. The pace is painfully slow, but the vocals take a whole new turn and sound more like Five for Fighting than Arctic Monkeys.

Cex Cells is one album that is definitely worth racing out to grab, especially if you are a fan of AFI – as it is basically an electronic version of the band. Definitely worth a listen!

The pace does manage to speed up just a little by the chorus, and just when you think the sound will redeem itself by staying at that speed, it slows right back down to where it started.

MADLIB The Beat Konducta Vol. 3+4 – India 8/10 The latest instalment of the Beat Konducta series is an instrumental album including thirty-four hip-hop instrumentals filled with melodic, Indian samples, psychedelic vocal harmonies and highly compressed percussion.

Plaster Casts of Everything is a song best played loud! Nothing beats the extreme drum and percussion work in this track – it draws you in and forces you to keep listening. The further into the track you get, the better the instrumental work gets. What Would They Know is a much more rock-infused song. The dance aspect of this track is not as dominant as it is elsewhere on the album, making this quite an intriguing track.

There’s no way of picking a favourite track, as it’s no more a collection of tracks as it is a selection of badly mixed loops and arrangements with random song lengths.

The beginning of The Dumb In The Rain sounds somewhat … well, creepy. Angus Andrews, the man behind the eerie vocals, makes this track well worth a listen, even if it does make you feel paranoid by the end (NOTE: I would not recommend listening to this song in the dark by yourself, unless you want to end up as a quivering mess.) SHANNON STEVENS



Lifeline is the latest release for Ben and the Innocent Criminals. This is Harper’s eighth studio album, recorded live in Paris, in seven days, and straight to analog tape. There was not one particular song that stuck out to me; I found them all to have great undertones and resonance, which is what I look for when defining a great song. Ben’s amazing abilities as a musician are once again demonstrated with this collection of songs, which have been skillfully written and produced. The Innocent Criminals compliment his exceptional talent, and form the basis for the superb production that is Lifeline. I think Ben’s skills as a singer/guitarist/songwriter, and producer of the music on this compilation, are outstanding. It’s no wonder these guys are so successful! I found myself popping it on a second and third time, taking in the soft, classic-rock tones, and relaxing to the flowing mellow vibes. Having a listen to Lifeline is definitely worth the time. If it’s someone with talent, and a passion you like to hear, Ben has that. With a group of brilliant musicians complimenting his work, this combination makes Lifeline one of the best albums I’ve heard yet this year. LISA HOWELL

The keyboard work throughout this track is rather unusual. It seems to be repeating the same two or three notes over and over for most of the song.

The T music itself is quite calming, and the softer-styled vocals give this song a rather saddening feeling. It is an excellent song, and really finishes the album in a good style.

In true Madlib style, all the tracks are scattered, disconnected and intriguing; it’s pretty much exactly what you would expect if you’ve ever heard Madlib’s previous efforts, but the introduction of the odd musical timing and themes that come with Indian music makes for a very interesting experience.

The instrumental work on the song does, however, manage to drown out the vocals in certain parts, forcing you to concentrate hard to properly hear them. The rock beats do make the song one of the best off the album.

Thirst for Romance, the title track off the album, has a very English feeling to it. The vocal work of Simon Aldred sounds quite similar to the Arctic Monkeys in the chorus, but differs when the verses begin.

With W the unusual title, Wake Up, Open The Door And Escape E To The Sea is a slower addition to the album.


LIARS Stumm 287 7/10

with many bands these days.

It stands out substantially, due to the fact that the notes are quite high and do not really fit in with the rest of the instrumental work in the song. If you’re not one for liking repetition, then I can safely say this track is not for you.



Thirst for Romance is your typical mix of pop-rock and garage rock – quite common

It’s almost as if Madlib is giving us a brief lesson on Indian musical styles and instruments. I think you really need to have heard Madlib’s previous work to appreciate and understand this release. If you’re into the DJ Shadows, Cut Chemests, Oh Nos and J Dillas of the musical world, you’d definitely be into this release. The only other thing I can say is that I can’t wait to hear what both Madlib and Stones Throw comes out with next. RYAN FARRINGTON

VARIOUS ARTISTS The Best Of Taste Of Chaos 3 7/10


PLANET ASIA Jewelry Box Sessions 6/10 I’ve only ever heard Planet Asia on guest spots, with such artists as Swollen Members, Dilated Peoples and the like, so this is the first full project of his that I’ve managed to get my hands on. As far as the beats go, they’re slow, heavy, thuggish and very LA – kind of similar to Jellyroll or Evidence beats, but a little less catchy. Planet Asia has a slurred, gangsta-style flow, combined with interesting rhyme structures but fairly ordinary lyrical content – predominantly about cash and spinners. Something I like about this album is that the vocals have been mixed with heavy compression and distortion, so they sound as if they were recorded on a crusty, old microphone in a dusty basement in the early 90’s, which is the kind of sound I like. Fuck You Up sees a tight collaboration with Strong Arm Steady’s Krondon, giving the solid Brisk One beat that raw, Xzibit-style vibe. I really like Family Tree featuring Kemet and Shake Da Mayor; a cliché topic – dedicated to friends and family who’ve passed away – but it’s done well, and suites the epic, DJ Khalil-style beat, produced by Veterano. I rate this album as a whole, but some tracks have that Southern, T.I. feel that I really can’t get into, so it’s kinda bittersweet for me. But I think Planet Asia’s managed to create something a little different overall, so that’s a win in my book. RYAN FARRINGTON

APOCALYPTICA Worlds Collide 7/10

Taste of Chaos is a worldwide post-hardcore tour that was started in 2004 by Kevin Lyman, the creator of the successful Warped Tour. The Taste of Chaos CD is comprised from bands that either were on the tour or will be it. I have never been a big fan of various artist compilations; they usually end up all over the place and don’t seem to flow, or the artists have a completely different sound to each other, which can become very confusing. This time, Taste of Chaos 3 has a great selection of artists which really seem to complement each other. The majority of the bands on this album have a vicious/ deep sound which is really starting to make Taste of Chaos a worthwhile CD to listen to, and a great event to attend. With a mix including some of my preferred artists; Antagonist, Carpathian, Killswitch Engage, I Killed the Prom Queen, Job For A Cowboy and The Devil Wears Prada, this album really hits the sweet spot. The only criticism I have for this sensational compilation is that, of course, being the Taste of Chaos, they had to include My Chemical Romance. Enough said! I encourage anyone who hasn’t ever listened to any of the Best of Taste of Chaos CDs to make this one their first, and anyone who is a lover of metal-core should go out and buy it.


When I heard that Apocalyptica comprised of three cellists and one drummer, I was eager to know how they would pull it off as a metal band. For die-hard fans of Metallica, Apocalyptica brought out a covers album titled, Plays Metallica by Four Cellos – this was the band’s debut in 1996. Worlds Collide is the eighth offering from the band, offering ten tracks of original material and one cover of David Bowie’s Heroes which, titled Helden (German), features collaboration with Till Lindermann of Rammstein. There are many popular guests on the album, including long time collaborator Dave Lombardo of Slayer, Corey Taylor of Stonesour and Cristina Scabbia of Lacuna coil. The first single release I’m Not Jesus features Corey Taylor on vocals, which is one of the highlights of the album. The novel thing about the band is that they’re not your average string-trio-plus-drummer. What appears to sound like a distorted electric guitar are, in fact, driven distorted cellos. Only when it comes to the solos do you notice that it’s a cello playing. Track seven, which features Lombardo providing a vicious drum backdrop, has the band doing some insane thrash riffs, like that of Slayer. The downfall of the album is the lacklustre tracks I Don’t Care and S.0.S., which don’t keep up with the quality of the other songs. Apocalyptica are a band for those who enjoy the gothic-tinged metal with a symphonic edge. The band offer exceptional musicianship and arrangements, especially using cellos as their primary instrument. It’s unique, and a real listening experience. DAVID WALKER



The Hub Josh Sheppherd

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Brisbane Hotel Iciclan (CD Launch) + M.S.I. + Zero Degrees Freedom @ 9PM Curly’s Bar Revival Peacock Theatre “Mateâ€? Republic Bar & CafĂŠ Urthboy + Hermitude + The Tongue @ 10PM









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It’s A Bird, It’s A Plane, It’s Blackhawks Over Los Angeles MOHAWK

By Dave Williams

A band that carries a lot of respect but doesn’t think they’re too good to play for us, Tassie’s punk fans no doubt carry fond memories of Strung Out’s two previous visits to our stages. They may not be returning here during their mainland tour this November – they’re not snobbing, they’re just touring with seriously-big-deal punk legends Bad Religion – but that didn’t stop beat-pounder Jordan Burns getting in touch to talk drums and the newfound political slant on their latest album, Blackhawks Over Los Angeles.

You have good memories of when you were down here last? Oh yeah, for sure. I mean, I think we’ve been to Tasmania twice now. We were really happy about being able to make it over there. I think we were one of the first bands to get over that way, at least from the old punk rock world. I know that, before we had played over there in Hobart, I don’t believe a lot of bands had been over there to play – a lot of U.S. bands. Is there any different feeling about going on a tour with Bad Religion, with them as the headliners, compared with when you do your own headline tour? I don’t know. I think everyone’s just as excited, you know? Playing with Bad Religion is obviously a great thing; they’ve been around forever, and they’ve been doing this for a long time. We’ve done a couple of small tours with them in the past … knowing that, they haven’t been to Australia in, like, ten years. It worked out to be awesome. We did really well down in Australia – it’s one of our strong markets. We have the same booking agent – Chris over at Blue Murder. He’s booking the Bad Religion tour … that’s basically what helped us ink the deal with being support. So we’ve known those guys for a while, and it’s going to be really exciting – we’re playing in some big places, and I think the tour’s going to be really good.

warm your wrists up … and when you get your [show] sticks in your hand, they feel light. So it gives your wrists a nice work out … [Plugs Cadence Academy again] … If I had to recommend them, I for sure would. I think you have already – twice, mate. [Laughs] Nice! And Blackhawks Over Los Angeles – why over Los Angeles? Why not New York or Washington? I guess that’s what Jason came up with … Obviously, Los Angeles is where we live. I hope that’s the concept that Jason came up with – I don’t have a great answer for that! [Laughs] … I’d say it’s probably just based off a lot of things that he sees going on around where we live. Are you happy with that – a significant political direction for this album? Yeah, I think it’s cool. I mean, there might be some political themes in there, but we’re not, like, some overly politicaltype band … that’s just like trying to directly send some message, you know? We haven’t totally jumped on the political bandwagon. But, you know, I think … Jason thinks up a concept, and it probably goes around with the lyrics that he’s writing. I think, when people are writing lyrics, they’re writing about the things that they see around them, and the

What’s happening with your drumming these days? How are you feeling about it? Are you trying anything new, or doing anything different? Well, I’m trying to practice a little bit more. This music definitely takes a bit of stamina and conditioning to play. But playing every night definitely helps me out. I’ve been using these new sticks from this company called Cadency Academy. They’re some warm-up sticks. I’ve been trying to use those every night, and that’s helping me. But, you know, I’m constantly trying to keep on top of my drumming, and think of new things and new ways to be inventive, and get new, different things on each record and stuff. I’m pretty happy with the way things have been turning out, you know? I’ll listen back on my drumming and stuff … it’s not, like, super-repetitive, so I’m happy with it.

things that are affecting them. So this album just happened to have a few different songs with lyrical content pertaining to that stuff. At what stage do you get input in how a song develops? When does Jason go to you and say, “What do you think you should be doing in this song?” Is it when the whole band gets together and hears the songs? Or does he go to you individually? Yeah, I mean … It’s not too often … In the beginning stages of us developing our songs, it’s mostly just the five of us making the music and piecing everything together, and while we’re piecing everything together, Jason will be there listening and jotting down ideas and putting things together. It’s usually not until all the music is recorded and everything … I don’t usually hear any of the melody or the lyrical content or anything until the album’s done. So it’s pretty much always been like that, but every time it’s done, I’m always surprised when it comes out. I have to say that there hasn’t been one time where I haven’t been pretty blown-away with the final outcome. It must be a bit like a birthday or Christmas – like unwrapping a new present … Yeah. It’s definitely really cool when he finishes a couple of tracks, and we’re in the studio, and they get played … They

just hit you, and you’re like, “Woah – holy shit!” There’s some songs … I remember hearing Party In The Hills for the first time … I was just totally blown away, you know? It’s cool, yeah. It’s sharing the final product, and just seeing what the five of you all created together. There’s so much trust in each other, and so much trust in his role especially, in bringing those parts together … Yeah. Well, we definitely have a lot of trust in him with all of that. I mean, with all of that, with all of his art content, in everything – a lot of his visions for the band and stuff like that. So, you know, everyone just lets him do his thing – no one else really does much input and stuff, you know? Maybe when he’s done with some art or something, someone will say, “Hey, what about a little bit of this? Or a little bit of that?” For the most part, that stuff is all in his hands, and we all believe in him, and know that he does a great job with that stuff. Strung Out tour the mainland in November. Blackhawks Over Los Angeles is out now. To listen to an MP3 of the full interview, go to www.

...we’ve been to Tasmania twice now. We were really happy about being able to make it over there.

How do warm-up sticks differ from show sticks? The warm-up sticks … it’s like a metal/aluminum stick, and they’re heavy. I guess the best way I could try and relate it to you is how a baseball player swings two bats for warm-up, and then goes up to bat and swings with one. It’s kind of the same theory – these sticks are, like, really heavy, so they


Ready, Aim, Fire At The Melbourne Pop-Punk Shootout MOHAWK

By Dave Williams

Ahead of the band’s set at the Brisbane Hotel this month, guitarist Jon Chapple locked and loaded, took aim and opened fire on this very unarmed journo. Thankfully, he missed, so he put down the machine gun and spoke on the catharsis of live music, and the sound of Shooting At Unarmed Men … I’ve got this idea that you guys are originally from Wales? Is that correct? You don’t sound especially Welsh. No, I’m lucky enough not to have an accent! [Laughs]

How would you describe the music of Shooting At Unarmed Men? Did you ever hear a band called Mclusky? I used to be in Mclusky – the bass player. Now I play guitar. It’s kind of like Mclusky if you take off the ... um … it’s like a poppier version of Mclusky. It’s sort of still as heavy, but it’s almost not as aggressive … It’s a little more … “flippant” is probably the wrong word … It’s kind of like pop-punk I guess, but more emphasis on the punk. And what do you find that you guys write about? Do you do most of the writing yourself? Yeah, pretty much all the lyrics are written by me … in fact, all of the lyrics are written by me … I guess most of the songs are … they’re either extraordinarily political, but not in an obvious way, or their extremely personal … It’s pretty much all from my perspective. It’s all pretty biographical, but not ever much about myself, but definitely the way I look at the world … I try to write songs so that they have a meaning to me, but that meaning can be interpreted by other people. So if a song’s got a particular theme, I’ll know what it’s on about, but other people will have an idea of what it’s about for them. I’m not shoving themes down people’s throats – I’m just singing, and, hopefully, making music that other people can have an opinion of it that’s close to my opinion of it.

So what sort of atmosphere would you say that you create at a live gig? Is it a party vibe? Like, “Party for your right to fight!” What is the sort of vibe that comes out overall at one of your gigs? I like to think of it as a catharsis. Our gigs … I like to think of them as somewhere where people can come along and … basically, it’s an arena for people to get rid of any negative energy that they have, in a really positive way. That’s why when I’m on stage, I’m just venting … It’s basically like an oral and aural enema, or whatever you call that. It’s a purging of all the negative sh*t that everybody puts up with, day-in and day-out. It’s somewhere where people can come and get rid of it in a jolly, jolly way, with other people that are doing the same thing, hopefully. I think it could be misread as an aggressive atmosphere – I think that’s probably a given for most punk bands, especially when you get in the mosh pits. But I like to think of it as a more inflectional version of that type of atmosphere, where people aren’t necessarily being aggressive with one-another – PAGE 18

… When I’m on stage, I’m just venting … It’s basically like an oral and aural enema … they’re being aggressive together, if you know what I mean? That’s the kind of atmosphere I feel that we generate when we play our shows. And what’s happening with you in terms of releases? The last one was Triptych, I understand? That came out here on the 11th of August. How’s that going? I have no idea! To be honest, I never ask questions like that. As long as I’m able to keep making albums, the selling of those albums … apart from the fact that I promote the band by doing shows, the actual selling of the product is pretty much nothing to do with me. That’s somebody else’s job. I make the music, and I promote the music by playing live, but it’s up to other people to buy it, and up to other people to sell it, I guess.

How did you arrive at the name “Shooting At Unarmed Men”? For me, that’s one of the more “punk” names for a band that I’ve heard in quite a while. Where does that come from? I came up with the band name in about 1999, so I can’t exactly remember what our thought processes were, but … for me, it stands for something political. But whether you think that we’re the people being shot at, or whether we’re the ones doing the shooting, it’s up to you. But I think the band name’s just a statement in itself, and we perform under that statement, headline-thing, I guess. But “Shooting At Unarmed Men” – it creates a good picture of … [Laughs] I don’t know, this sounds really wanky, but you’ve got people at the top echelons of society, and you’ve got people at the bottom echelons of society, and “Shooting At Unarmed Men” gives you a good umbrella of … there’s

people for, and there’s people against, and one of those parties is more aggressive and has all of the guns – which basically happens throughout society; the rich and the poor, the politically-aware and the non-politically-aware, the people that have food and the people who don’t … that kind of sh*t. So that’s pretty much what it means to me – there are people over there, and then there’s us over here … and that’s wrong, you know? Shooting At Unarmed Men open fire on the Brisbane Hotel on the 20th of October. To listen to an MP3 of the full interview, go to www.









15/10/07 5:29:56 PM PAGE 19

GIG REVIEWS Falls Playoffs – North

Falls Playoffs – South

JAMES HOTEL – 5/10/07

First up were Breakfast Balcony, a band I had not seen before; bouncy pop-rock with a nice hook to the tunes and good stage presence. I noticed they describe themselves as indie. I’d like to see a bit more indie in them – more work on the drummer’s skills, and sense of light and dark. But they are a young band, and this should come with time. All three of these acts played good pop music well. But there are a lot of people out there playing a similar style; it’s reached a point where I think we need more variation in music. Surely downloading in the digital age is giving people access to a wider variety of music? Live music should have energy, not sound like a CD. Nathan Wheldon and the Two Timers step outside my last criticisms, by having such good musicianship that they can pull it off. Regular live gigging must give them the crowd feedback to interact in a live situation. The music style is not really my cup of tea, but I can’t fault their performance.


REPUBLIC BAR – 3/10/07

Dirty Harry & The Rockets I have followed closely over the last three-or-so years. I was convinced by a friend to go up the NW coast and watch them when their drummer was still only twelve (he’s not that much older now). I was impressed with them back then, and they just get tighter and better each time I see them. And a fifteen-ish-year-old drummer is not there as a novelty. They are all a young band, and go to prove that age is nothing to do with it. If you are good enough to get out there, forget about age. Their version of classic pub rock (with an obvious Living End influence thrown in) is high-energy and precise. There is a passion for it there that the crowd cannot deny. And they delivered again this night. The two seasoned performances of the night got through, Nathan Wheldon and the Two Timers and Dirty Harry and the Rockets. A wild-card entry was to be picked between the southern and northern play-offs, and this went to Bridget Pross. KEVIN GLEESON

I was surprised to see Enola Fall on the stage first up. While they are one of my favourite Tassie bands, I thought their performance this night was a little flat. Dean Stephenson and band are all experienced, talented musicians. I can’t pin why I can never gel with their music though. I’ve seen these guys play in different versions of cover and original bands, and their music style is something I should like, but never quite do. One day I’ll pin what it is. In the meantime, I’ll have to stay confused.

Red Rival gave the freshest performance of the night; an infectious high-performance set that I’ve come to expect from them. My only (minor) criticism is that the guitar sometimes gets lost, as the bass distortion pushes its frequencies into the guitar’s range. That said, the bass is driving a lot of what a rhythm guitar would do in other bands anyway. A stunning performance on drums made this set the highlight of the night for me. But I have to admit bias, as I am a fan.

The No-Nos pulled the best crowd of the night with their fastpaced rock-a-billy pop-punk. Plenty of punters on the floor having a really good time gives this band a good vibe. Being a somewhat picky person, I’d like to see the bass player work on his solos a bit more though.

I was asked at the end of the night who I thought would get through. My reply was that, if I wanted two bands to get through that I liked, it would be Enola Fall and Red Rival. However, I also said that Enola Fall wouldn’t get through from that performance (and they had played before) and that I was sure Adam Cousens would most likely get through with Red Rival. (I forgot that Red Rival played last year, but I was in Britain and missed that one, OK?) So Adam Cousens and the No-Nos were the logical choice for the night, and will be playing Falls.

Adam Cousens has come a long way over the last few years. His style of music is not really my cup of tea, but I can see that he is creating a good following, and would very much suit a Falls crowd.



Give Us Our Gear Back, You Bastard Gypsies! STRAPPIN’ DA HEAT

By Dave Williams

When some smelly gypsies broke into a certain car at a campsite in France and made off with armloads of Hermitude’s gear, they did one very good thing – they forgot to take the sampler. And that little oversight of theirs turned into the catalyst of The Rare Sightings, the new EP from the Hermies. I spoke to the fantasticallynamed Luke Dubs ahead of the Three Strikes Tour with Urthboy and The Tongue. If “solitude” is the state of being solo, or in solice, is “Hermitude” the state of being a hermit? It is! That’s exactly what it is … which is kind of contradictory – there’s two people in the group – but, you know … [Laughs] We can still be hermits individually, you know? We don’t always have to hang out.

Was that the personality types you were before getting together? Did you just hang out in your bedrooms, or what? How did that come about? We were just two completely antisocial dudes who had no idea … no, I’m only joking. We wrote a couple of tracks back in the day, before it even came anything with a name – we were just hanging out as mates, writing beats. We had a couple of good tracks to play, so we went into one of the community stations in Sydney. Elefant Traks, at the time, were doing a show on there called “The Peanut Spell”, which was just purely for unreleased Australian music. So we went on there, and Urthboy at the time was doing the show, and he was like, “Alright guys, come in – but you’ve got to have a name for yourselves.” We were walking down, and I recalled a cartoon – Ren & Stimpy – there’s an episode about a hermit … It kind of made sense for how we were writing at the time. The name of this new EP is like the culmination of all this time as hermits, I guess … Yeah … The Rare Sightings … last year, we kind of went from being Australian hermits to international hermits, where we journeyed around the world, spreading the good word of the Hermit Union to all! So we tried to keep it pretty low-profile when we were cruising around overseas, and there were a couple of times where a few sightings were made of us overseas, and it leaked to the press. All hell broke loose! [Laughs] So The Rare Sightings EP was just basically tracks that we wrote while we were on the trip last year – on our tour. What stands out as the best thing that you got out of that trip? Wow … It was an amazing experience on so many levels – not just musically. A lot of lessons were learnt. We saw some amazing music – we got to see some of our idols; DJ Krush, and Shadow, Diggable Planets … heaps of guys … So, musically, we obviously got heaps out of it, and saw a whole bunch more stuff. We also learned lessons like “don’t drive through France and leave your equipment in the car when you go and check for campsites,” because there’ll be some French gypsies waiting around the corner to break into your car and steal all your stuff, which also happened to us. It was just an amazing experience on so many different levels … To narrow it down to the best one is kind of difficult, but I guess … not to sound clichéd, but to be able to play our music and share it with a broader international audience, just to see how we stand next to other international acts, was

a real buzz for us. It was great to see what was going on over there, and to see that we could stand on our own two feet – [stand] our own ground – next to artists that we look up to. It was great. I guess the time that you spent over there would have had an influence on the beats you were producing – I guess that’s perhaps going to be the main element that’s going to distinguish the material on The Rare Sightings from your previous work? The stuff that we wrote – the beats that we wrote – it’s the first release that we’ve had that’s been completely instrumental. Like, we’ve got no MCs on there. We only actually just got the CD back last week, and we’ve been playing it to a few of our friends. And it’s interesting to hear feedback just from our mates already, as to how, in their eyes, we’ve kind of matured, or how the sound that’s come out of this EP is quite a bit different to the last couple of albums, but still maintaining the kind of Hermitude sound. The reason we did this EP – a lot of people have been asking us “why an EP? Why not an album?” That was going to be my next question. Yeah! Well, I’ll just butt on in and keep going, because I’m on a roll! [Laughs] We basically … a lot of time we spent organising that tour … we finished Tales Of The Drift, and did probably three or four tours in Australia with various bands, and by ourselves. Going overseas was always on the cards for us; it was a big plan that we’d wanted to do for years, because we’d looked up to Krust and whoever else, and guys in our realm. We wanted to go over and see what they’re doing, but also just kind of try and meet those guys and play over in their territory and whatever. So as soon as Tales finished, aside from touring over here, we were organising the overseas tour. We left in May, and didn’t come home ‘til October. As soon as we got back, we kind of got psyched to go again, so we hooked up another two-week tour in Japan, which we did this year in April. So the only time that we kind of had to write, between playing over here and playing over there, was when we were overseas; it was a tour, but it wasn’t a hectic, five-nights-a-week-for-four-months … there was times when we had three or four weeks in between a show, and we had our sampler, which was the only piece of equipment not to get stolen when we got robbed in France, so we had a lot of time on our hands to write music. So we kind of hit lots of second-hand record stores and Vinnies and stuff, and dug for samples. We probably wrote about ten tracks overseas, but we just picked five … We’ve got a third album on the way, which is going to come out next year, and that’s already well into production. ‘ Hermitude plays with Urthboy and The Tongue at Hobart’s Republic Bar on the 19th of October. To listen to an MP3 of the full interview,

We also learned lessons like “don’t drive through France and leave your equipment in the car when you go and check for campsites,”



Be Alert, Not Alarmed BANGERS & MASH H

BBy Tom Wilson

Given that he runs his own record label, it’s fair to say that Scott is indeed quite “Alert” to the ebb and flow of dance music world – so when he says that trance is going to swell significantly over the next twelve months, you should probably trust him. He spoke to me ahead of his set at Syrup this month. In reading about you, one phrase intrigued me – “Scott is also one of the only Australia DJs to play the UK’s Slinky and will never sneak of for a cigarette in unfamiliar territory again.” Is this as literal as it sounds? What was the story here? Ah yes, how funny. I was actually getting a jug of coke and walked through a self-locking door at the back of the stage, then opened another door only to find myself standing in a dark back alley, locked outside. I had to run around the block and back in the front entrance to get back into the club. So embarrassed. You have your own record label, Hard Kandy. What has been going on with that lately? We have had two releases – No Go, Go for Launch and How Hard Do You F*ck, with international remixes for both, which has been really exciting. Our next project is remixes of Cntrl Walt Delete by Organ Donors & Dr. Willis. What are some of the best and worst things about running a label, and why? The best thing about running a label is marketing and pushing local talent. I’m really keen to push local productions overseas, as there is a lot of talent here that I want to see exposed on the international market. The worst thing is, I guess, getting frustrated trying to source out new music in a direction that represents the label Who are some of your all-time favourite DJs, and why do you like them so much? I guess my all time favourite DJs are Yoji Biomehanika, Carl Cox, Alex Kidd and Organ Donors. I like artists that have a lot of technical skill along with stage presence. I was a big fan of people like Oliver Lieb and Paul Van Dyke growing up. If you could mix two songs together that are the polar opposites of each other musically – purely to irritate whoever listened to it – what two songs would they be, and why? Dolly Parton and Linkin Park. Why, I’m not sure. I’m sure it would be more laughable than irritating. You’re about to play Syrup in Hobart. At this point, what can you tell me about the kind of stuff you’ll be dropping during your set? I will be playing a mixture of dirty electro to trance. Expect the unknown. I like to fuse a few styles. Especially with so many remixes of old tunes at the moment. What’s been happening in the Melbourne electronic music scene at the moment? What are the trends? What seems to be on the decline, and why do you think that is? There are a lot of festivals on now, and so electro/house to trance seem to be the most popular styles. There are clubs still playing hard dance, which are doing well, but the majority of punters are into the more commercial sounds. I definitely see a move towards trance over the next year with artists like Armin Van Buuren and Paul Van Dyke having huge tours here.

The strangest thing I have seen was someone DJing through a telephone

What’s the strangest or coolest thing you’ve ever seen behind the decks while DJing? The strangest thing I have seen was someone DJing through a telephone. Instead of headphones they had an oldschool phone plugged up. Lastly, when you were young, what was the first dance music song you remember liking? [Laughs] “When I was young” – I still am young! I think one tune that stands out was Future by Mr. Monday – I spent years tracking down a copy. Scott Alert plays Syrup in Hobart on the 24th of October.



Megamix Pioneer Set To Crank It Up In Launnie

B Tom Wilson By He’s the high-energy dance music mastermind who singlehandedly pioneered the megamix, and he’s coming down to Tassie for one show only at Lonnies on the 26th. Prepare to go completely Skitz … You’re coming down to Tasmania in October to play a show at Lonnies in the north of the state. It seems unusual that a touring artist, who’s only playing one gig, would play in Launceston, and not in Hobart. What’s the story behind this? To be honest, I don’t have much say as to where I play, as I have booking agents who look after the touring side of things. Either way, I would be more than happy to play in Hobart You mix compilations for a number of different labels. How and how much does the experience differ producing compilations for different labels, such as Central Station, MOS and Wild? Most compilations are pretty much produced and mastered the same way. With other compilations, the record companies commission me to put the CD together with the tracks they give me, whereas I have 100% creative control with Skitzmix.

You’re credited in some circles as the pioneer of the “megamix”. To what extent do you think that’s true? What can I say? After so many CDs, and the success they have had, the proof is in the pudding.

A deejay should not have their head up their backside …

And how guilty do you feel that your invention led to the Grease Megamix? What plans do you have to apologise for that? I plead the fifth amendment … Much of your work is characterised by its intense energy. What’s the most insane reaction you’ve ever seen from a punter during one of your sets? What I’ve seen and heard is best left unsaid … what happens in the club, stays in the club. What’s the best thing and the worst thing about having the profile that you do? Best thing: playing to a packed house full of happy clubbers. Worst thing: Late nights and early check-outs. For a bit of a spin on a clichéd question, what’s one thing an aspiring DJ should definitely not do? A deejay should not have their head up their backside – they should look at the crowd and see what they want to hear. One of the genres you dabble in is hard house. In an interview I did with him a while ago, Rennie Pilgrem told me that he’d like to throw a dwarf at people who like hard house. If he threw a dwarf at you, what would you do? I’d catch the little fella and make sure he’s OK, and then give him a cuddle. When was the last time you went completely Skitz? Five minutes ago; I’m running late for a flight. Bye! Nick Skitz plays at Lonnies on the 26th of October.



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Drum roll please …

If you didn’t know already from the full-page ad elsewhere in the edition, the first official lineup announcement for MS FEST 2008 has just been made – and, once again, we’re the first ones to bring it to you!


MS FEST 2008

MS FEST 2008 will be held on Saturday the 16th of February at Launceston’s Inveresk Showgrounds.

“We were like this electronic garage band with delusions of stadium glory; fantasizing about the day we played to a billion people at the next Live Aid. All of a sudden we turned into a real band and we ‘were’ playing in a stadium…and then came Live Earth – I guess we got what we wished for, big time.”

A slick debut self-titled album emerged that is doing for the local music industry what Paris Hilton did for amateur home videos. It’s an album that takes its influences from all over the shop … the world of P-funk, early eighties disco, The Cure, New Order, Human League, Prince, Kate Bush, The Cars, Eurythmics and more modern German electronic producers than you could poke a stick at. Think stiff beats, thick bass lines, lush melodies, haunting vocals, rolling guitar licks and urban tales of love and loss. It is part-melancholic beauty but, for the most part, it’s party mayhem.

In 2004, Black Angus and MC Double D decided to start their own record label, Whack Recordings. After hooking up with recording engineer/ producer Peter Dolso, they set up a studio in Bondi Beach called The Whack House, and set about making their own music. Enter Miss Connie. After meeting randomly in a central Sydney park, the boys invited Connie to came on down to the studio and the newly formed gang laid down the vocals for their hit song I Love It. Hairs stood up on the back of everyone’s neck and a group hug followed. Now with super-hot, superlativedefying vocalist on board, the rejuvenated Sneaky Sound System started recording.

Of course, this didn’t happen overnight. After meeting at a dodgy “Cowboys and Indians” party in the spring of 2001, Black Angus and Double D started up a regular Sunday night at their mate’s fancy new club and the idea was simple: Black Angus jumps behind the decks, a few live musicians and the occasional guest DJ drop in while MC Double D does whatever the hell he wants on the microphone. Sneaky Sound System was born. Their mixed CD Other People’s Music was released through Sony Australia in 2003, and they quickly started playing clubs, parties and festivals everywhere, and then touring throughout the US, Europe and Asia.

It has been a phenomenal year for the trio of Miss Connie (frontwoman/vocals), MC Double D (frontman/man-about-town/MC) and Black Angus (chief songwriter/producer/music guy). Fifty-two weeks after releasing their self-titled debut album (115,000+ copies sold in Australia), it was still sitting at number nine in the ARIA Album Chart, while the singles UFO, Pictures and I Love It sat firmly in the Australian ARIA Top 20. They scored a record breaking six ARIA nominations plus three ARIA Artisan nominations including Best Album, Best Single and Best Group. Their performance at Live Earth Sydney in July had everybody talking, and their most recent festival show at Splendour in the Grass Festival was testament to their ever-growing popularity. With a string of sell-out headline tours, festivals (Good Vibrations, Big Day Out) and support slots with Robbie Williams, Jamiroquai and Scissor Sisters under their belt, Miss Connie also found time to record vocals on a handful of tracks for Kanye West’s new album, Graduation …

Over the past twelve months, this Bondi-based electro-pop trio have been catapulted from club and festival favourites into an omnipresent platinum-selling pop sensation.





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Take Your Effeminate Male Vocal And Shove It! By Tom Wilson

Do you love your trance, but would rather listen to fingernails on a blackboard than effeminate female vocals? Yeah? Gee whiz, you’d better clear your schedule for the 26th of October, then, ‘coz you’ve got something in common with Hobart DJ, acronym and allround nice guy, PKC …


Dirty Hendrix is a production duo hailing from Brisbane, Australia. Austra alia. Skerik and Jason Fader teamed up in 2004 calling themselves thems selves Mango Jam, Jam and in less then a year developed a reputation for non-stop mayhem at their shows. In the short reputa time they’ve been together (and also individually), they have i played with the likes of Mark Dynamix, Groove Terminator, Kosheen and Malente, and have played at events all over the country. The beginning of 2006 saw some radical changes. After realising that they were getting great reactions from crowds with their own remixes at their shows, it was time to do their own material. And, with the hard task of having to change their name and re-educate their fan base, all are in agreement; the new direction is going somewhere. With their contagious mix of funky beats, dirty synths and journeying to the voids of house, breakbeat, club and electro, Dirty Hendrix is one act not to be missed.

Dirty Hendrix play Curly’s Bar in Hobart on the 20th of October.

Where do you play the most these days? In my bedroom! My couch gives me resounding applause at the end of each grueling practice session … um, Syrup Nightclub. Their sound system is just fantastic – really good for trance! How would you describe yourself as a DJ, in terms of your style? What genres do you work in the most, and why? Most of my friends would say I seriously lack style, of any sort! In terms of DJing, my style could be termed as “playing songs that I like” – is that a style? I play trance, whether it’s referred to as melodic or uplifting or hard; as long as it has a melody that makes you stop and listen. Trance melodies are far more complicated than they are given credit for, and I am really drawn to a genre that utilises melancholy chords, but in an upbeat and exciting fashion. Really good trance melodies are quite miserable in their tone, and I’ve always loved those kinds of tracks, whether they’re in folk or metal or dance.



Come on fellas, you’re Come on fellas, you’re big hairy men – try and big hairy men – try and sing like it! sing like it! What keeps you busy when you’re not DJing? And how much time does it leave you to work on music? Well, slaving away from nine-to-five certainly puts a dampener on all kinds of things, but I still manage to find practice time, as well as time to sit back and go shopping for new music. I love DJing, but it’s just one of many hobbies; I certainly can’t rely on it to pay the bills. I divide my time between drinking with friends and playing the latest PC games. If anyone wants to give me a full-time DJing job so I can quit the daily cube-farm, please let me know! Who has been the most impressive DJ you’ve ever seen play live, and what was it about them that struck you? Well, I tend to judge DJs more by the music they play than having ninja skills behind the decks – I’m really much more a punter than I am a DJ! Though I’m not really a fan of other genres, the regular faces at Syrup really do know how to get the crowd going, and keep them going all night – I really admire that. But if I had to pick just one DJ out, I would have to say Archie. Combining trance with scratching isn’t something you see everyday, so I am in awe of the young man – he’s half my age and twice as good! What do you think is the most important skill someone should have as a DJ, and why? I know some people will laugh at this answer, coming from me of all people, but a DJ that respects their timeslot and recognises their spot within the context of the night. You can’t be banging out 145bpm monsters at 11pm – you should be trying to build the crowd for the next DJ. It’s not all about you when you’re up there, I’m disappointed to say! So, despite what people might think, I try and pay attention to this. [Laughs] Having said that, my other answer is a good taste in music! Nobody likes listening to bad tunes. How did you first start DJing? What got you into it? I’ve always been a bit pushy when it comes to popular culture – making friends read books, watch movies, buy TV shows et cetera that I have been obsessed with. I got into DJing because I was sick of going out on the weekend and not hearing any music I liked, and felt I should have the right to make people listen to my tastes! [Laughs] I felt there had to be a market for trance in Hobart, so I set out to find it. Of course, there were other trance DJs around at the time, but I was pretty ignorant of that fact! So I shelled out a small fortune for new decks to practice on, and irritated every Hobart DJ I knew for tips and advice. How much production work have you done so far? I bought Cubase. Production is really, really hard work. If anyone wants to help me out, get in touch! I keep meaning to really get stuck in, but it doesn’t have the instant appeal of putting a record on and learning how it works. Sonicanimation once sang “I’m a DJ – my head is up my ass”. In what ways do you reckon they were right, and why? I dunno about this. All the local DJs I’ve met have always been really helpful with advice or comments when I’ve approached them. You get d*ckheads in all walks of life. As long as somebody knows they are only part of the party, they shouldn’t end up with their head in their sphincter. What’s a good hangover cure? I think you will find there are few ills in the world that cannot be cured by twelve hours in bed. PKC plays Pickle vs. Pitch Black at Syrup in Hobart on the 26th of October.







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DENNI S F E R R E R By Toni Tambourine Dennis Ferrer, dance music’s most innovative producer, was the next rising star invited to mix the 20th Defected In the House compilation. He explains why he can’t stop acting like a big kid, why he regularly travels halfway around the world to pick up a microphone, and exactly why the international DJ lifestyle isn’t as glamorous as it seems.

BURNIE CITY SKATE PARK On the edge of town, on just the other side of the tracks, the Burnie Skate Park has landed.



What Obsessive Compulsive Dance Music Sounds Like

No one took it seriously when the council came down to the old Marine Terrace park just before the 2006 summer holidays and told a couple of kids it would be closing. It just sounded like a rumour. Then suddenly it was fenced off, torn apart, and disappeared into storage. Skating was back on the streets, forcing us to deal with police, rent-a-cops and anyone else who decided to have a problem with the sport. Fed up with being hassled, we hit the road. Weekend after weekend, we had to hook up at skate spots as far a field as Smithton and Launceston. As we sat in on local council meetings, asking the hard questions, we were approached by BIGhART with the idea of making a temporary park for the Burnie skating community. With BIGhART and the council’s support, we found an old shed, and enlisted the help of some old-school skaters, now professional builders and welders, and built a mini ramp and a street course. A year and countless meetings later, backwards and forwards through the political process and squatters trashing our shed, we finally have our new park. The temporary shed ramp has now been transformed into an eighteen-foot wide quarter pipe for BIGhART’s production, This Is Living earlier this month. BIGhART brings fifteen years of national arts experience back to its home town of Burnie. Drawing on this wealth of knowledge the Two Heads Crew has set their sights on improving the involvement of young people in the arts. The Crew has already gained financial support from the Foundation for Young Australians. The Two Heads are about giving a voice to the younger generation. It’s exciting to be in a position to direct some power back into the hands of the young people in our community. The Burnie Skate Park is a milestone in this process. TELEN RODWELL & KADE REDMOND


Junk Rooms ARTS ALIVE SPACE – 6/9/07

The Death of Light / Suffering Fools

ANNEXE THEATRE – 23/8/07 A double bill would strike fear into the bank accounts of most people, but a double bill in theatre-land is a two-for-the-price-of-one offer, so I took it. The offer, that is. And attended.

What is a junkie? In popular culture they are the debris of society, just as the name suggests. They are rubbish.

Michael Edgar holds the stage alone for The Death of Light, his desolate and confusion-creating discomfort for the audience. His character founders from a reclusive life of loneliness and paranoia, and we watch as the light of hope dies. This monologue – or, as described in the program, monodrama – was originally written for film, (the film is now in pre-production) when both writer and actor realised it could be adapted to the stage.

They are pathetic, red-eyed, track ridden, emaciated people who would rather inject than eat, and steal from their nearest and dearest than go without a hit. It’s easy to dismiss this notion of weak, thieving creatures. You don’t have to show empathy, or even a dash of sympathy, because it’s their own trashy desires that they failed to resist that made them what they are today.

Michael Edgar is a lecturer at the School of Visual and Performing Arts (SVPA). Although his students have all nurtured their own individual talents and styles, nevertheless there is a melody of speech – and an overlap in intonation – that I have witnessed from different performers that resonates with the melody and intonation of Michael Edgar. And this is by no means an aspersion on those actors, for all are unique, and so many for such a small state are exceptional.

Stephanie Briarwood with her words, and Jane Binning with her f*cking awe-inducing performance, smash this convenient stereotype with Junk Rooms. Meet Jenny Brotten, just one of the residents in the shitty apartment block for human trash, inside her small room that she hasn‘t left for weeks.

But as the subtle resonance of an esteemed performer, and teacher, it is beautiful to behold glimpses of the heritage of Michael Edgar to performers in this state. The Death of Light did not translate smoothly to the stage, but the gentle, dying fervour of Edgar‘s recluse left a disquiet in the audience that night.

She looks like a junkie, she tells you to your face that her clothes haven’t been washed for days, weeks, so she smells like a junkie. And her sleeve drags at the mucus from her nose with no ceremonial pretence.

Suffering Fools was the Artist in Residence project of … drum roll … the Artist in Residence at SVPA, Jamie McCarney. Like an audience at a rollicking revue, skit-after-skit, the audience exuded frequent bursts of jollity (AKA laughter). The production was written and directed by Sir Jamie, and ably presented by Jamie and three of our best local actors, David Quinn, Katie Hill, and Jarrad Enniss.

And there you are, in a room (you thought you were a part of an audience), but it‘s just you, and, Jenny and her journey, in her words. The story of Jenny is so damn real, there is no drama, no sanctifying junkie goodness, no cliché except the reality that junkies are addicts, but here’s the twist. Jenny is a person, a person who once felt of value, whose choices have reduced what was once clearly a beautiful and uniquely imaginative woman to human rubbish.

Jamie, as a performer, is a fearsome beast that releases sound and expression relentlessly. His preacher was as loud and obnoxious as any deity could not hope to cringe at; his greasy taxi driver was dripping with sleaze, and his Shakespearean actor, as pretentious in his every over-gestured word as could be desired of an old noble thespian reduced to kitsch voice-overs.

The staging is simple; one room, cluttered, suffocatingly small, and a lot of lamps that Jenny illuminates one by one, punctuating her story with a building glow of hope, that she may or may not find the courage to activate.

David Quinn is always a natural comedic performer, and was a fine match to Jamie’s talent, and I was all hooray and hurrah at seeing Katie Hill again, after being smitten with her performance as a mad old lady singing Don’t You Wish Your Girlfriend Was Hot Like Me in a recent One Day Production (now managed by Mudlark Theatre).

Spend an hour and a half with Jenny and you will never feel the same way about junkies again. They should stage this for counselors and mental health workers, because not one of my Psych text books, with their clinical drug descriptions and biological effects, had the insight to strip a junkie back from a cliché to a person, like Junk Rooms can.

Young Jarrad Enniss, being much younger than his peers, showed a confidence and comic timing on par with his seniors. Speaking of seniors, the two old men in a nursing home was my favourite skit. Jamie and David bounced off each other a treat, with a piss-funny script that didn’t patronise senior citizens, and damn, those two characters were funny.




Flip Top Heart is a yearly celebration of Tasmanian artistic-talent and was hosted by Is Theatre and Aurora Energy at the Backspace in Hobart. This year’s featured theme was skin, with each team required to produce a multi-art form performance based on the topic – as well as including a short “cry” – in order to be eligible for the contest. The nine performances were set in varying spaces around the theatre, encouraging the audience to move around to witness each piece, which gave it an informal, spontaneous feeling. The winners of Flip Top Heart are offered the generous incentive of $1000 in prize money. There was differing degrees of creativity contained in the ideas and performances, but all were entertaining; if not somewhat abstract and “post modern” in their exploration of the topic. The performances were humorously strung together by Ian Pidd, the host of the night, and his use of the catchphrase “be nice” was ironic as he screamed belligerently at the audience and actors alike. There were an unfortunate number of technical difficulties during the first half of the show, which broke up the flow of the evening. On one occasion all of the performers stood awkwardly on stage under a sheet, when the music and visuals failed to co-operate. The resulting interlude was humorously dealt with by Mr Pidd, who encouraged the audience to participate in a game entitled “French Revolution” (which naturally contained a lot of bad accents and obscenities,) however this disturbance did sidetrack the serious mood of the following piece. There were a number of standout performances during the evening, including More Than One Way to Skin a Cat: A Soapbox Reverie which featured last year’s winner Alex Duncan, joined by Maeve McGregor and Phoebe Duncan. The piece was an interesting social commentary, addressing the rights of Burkha-wearing Muslim women. The Duncan siblings both delivered monologues perched on soap boxes simultaneously from different sides of the room, while McGregor stripped off her Muslim garb. Not Satisfied was another eye-catching and intriguing movement-and-vocal-based performance. It abstractly raised some relevant issues of identity, dealing with the way people change their skin to identify themselves. The two lead performers moved elegantly in a small, lit-up space, and sported Prison Break-reminiscent shaved-heads that would have made Wentworth Miller himself proud. The overall winner of the night was an impressive piece titled Shed Some Skin starring Angela Barnard and Jay Bailey. The pair acted as two robot life forms, plugged into a power point through a socket in their heads. The short act was also judged as the Crowd Favourite, and showed them peeling off a shiny, glimmering extra layer of skin as they explored their “artificial” life-forms and growing awareness of each other and their bodies. The performance culminated in an enlightening and tragic accident. Flip Top Heart contained some burgeoning local talent, and was successfully engaging in its format as an audience-interactive competition. The event was executed with a fresh, impulsive edge. Shed Some Skin is set to be expanded and showcased at the Falls Festival later in the year. NICOLE CALABRIA



KABUKI IS A GO-GO While young Japanese musicians smack of “cool” abroad – think of bands like the 5,6,7,8’s and Shonen Knife, not to mention Ken Ishii, Captain Funk and Cofusion if you’re into techno, or DJ Krush and HIFANA if you cherish your cut-up hip-hop. Adversely, younger Japanese think of kabuki as something old-school – but not quite so cool. Think instead an unintelligible art form that needs a good dust-down after four centuries on the go – kind of like Shakespeare, I guess. Yet the fact is that kabuki’s made a surprising comeback in recent years. Aside from the fact that Kabuki is one of the “43 Masterpieces of the Oral and Intangible Heritage of Humanity” proclaimed by UNESCO in 2005 (to be honest, complete unknowns like the Ramlila in India and the Calus ritual dance in Romania also qualified), there have been some gob-smacking performances in America and Europe, performed by the cream of the kabuki crop – like Nakamura Kanzaburo XVIII, who gigged in New York, Boston and Washington DC back in 2004. He’s a celebrity here in Japan aside from kabuki chores, doing TV and commercials for Japan Post and Suntory, and now stars (sans the “XVIII” tag) in the hilarious new comedy movie, Yajikita Dochu Telesco (Three for the Road), which will hit cinemas this November, costarring Akira Emoto (Zatoichi). Also leading the resurgence is the so-called Inoue Kabuki style, named after director Hidenori Inoue, in collusion with playwright Kazuki Nakashima (who previously parodied Tennessee Williams).

They tend to conjure up extravagant romantic dramas – starring J-pop idols and Kabuki actors – that have enticed the imaginations of younger Japanese as a viable “new” form of entertainment, away from video games, anime and pachinko, and have been known to sell out tickets to performances within a matter of hours. Their new kabuki-centric movie, Obori no Mori ni Sumu Oni (a.k.a. Lord of the Lies), to be released this month (October), is a stunning celluloid version of one of their more recent stage extravaganzas, and there’s a distinctly manga feel to the production – probably aided and abetted by the fact that Nakashima also moonlights as a manga artist, and admits to being heavily inspired by Go Nagai’s classic ‘70s comic, Devil Man. Check out for more on this little baby. And, truth to tell, not just kabuki is on the comeback trail. 31-year-old Mansai Nakamura, who’s the current wunderkind in kyogen (a branch of noh theater), is now being acclaimed for his own takes on Shakespeare. Incidentally, he also played the enigmatic lead in Onmyoji (The Yin Yang Master) six years ago, featured in Akira Kurosawa’s Ran at the age of just 18, and lately has been doing stirring, oft-hilarious performances – for kids – on NHK’s educational channel. Occasionally the past isn’t as dry, tedious or decrepit as some people think – and, let’s face it, dust adds depth.



Madman has a veritable swag of essential Japanese DVDs out this month, including Production I.G’s anime movie Ghost in the Shell: Stand Alone Complex – Solid State Society, directed by Kenji Kamiyama, and based on the TV series – which in turn jumped out of the pages of Shirow Masamune’s indispensable manga.



RED HOT GUITAR EXPO 2007 Red Hot CDs will launch their Guitar Expo with a screening of Neil Young – Heart Of Gold at CMax in Devonport on Friday the 19th of October. Tickets will be $20.00 for adults, $16.00 for concession and $10.00 for children, and will include drinks and nibbles provided by Goumet

2 Go prior to the film, and live entertainment by Half Way To Forth. The film will start at 9.00pm, with function at 8.00pm.


Fronting a new wave of moviemakers, Calavera Productions presents Burnt Out, a forty-five-minute feature on the horrors of arson – exploring a sexual gratification in the all-consuming fire, portraying in screen-searing savagery the characters who cause them. Sparky, a petrol-sniffing pyromaniac, burns down the local church, and is captured and beaten up by an alcohol-crazed mob who conduct a midnight trial to punish him.

In a climatic conclusion, the plot takes an unexpected turn as the alcoholic firees reveal themselves as pyro riders of the alco-holocaust. Markos, producer/director of Burnt Out, began working on feature films in Hollywood in 1996, and has previously produced several documentaries in Sydney, Hobart and now the east coast of Tasmania. Currently he and Majjik, his co-producer, are working on developing a full-length eco-defense action-adventure film. Together the dynamic duo hope to produce quality feature films in Tasmania, providing employment and skill development. Burnt Out screens at Launceston’s Royal Oak on Saturday the 2nd of November at 9pm.





Screen Tasmania has announced a documentary co-production initiative with SBSi, SAFC, NT Film Office and Screenwest. This represents an exciting opportunity for local documentary filmmakers, with a guaranteed budget of $300,000 for the successful project. Destination Australia is a four-part documentary series exploring the themes and stories of refugees arriving in Australia from war-torn countries.

Each one-hour documentary will be shot entirely in the four participating states and territory, providing professional development for the creators of the series, as well as exposure for the series via SBS Television when the programs are broadcast in 2008. An information session will be held by Trevor Graham, the SBSi commissioning editor, on Tuesday October 30th. Further information will be available on the Screen Tasmania website next week. The final submission date for applications is January 18th, 2008. Successful projects will be announced at AIDC in Perth in February 2008. Successful applicants will be required to attend a workshop at AIDC at that time. Screen Tasmania will provide financial support to the successful Tasmanian applicant to attend the conference. PAGE 29

Street Fashion





Fave Band: Underoath / Aaron Gilespi.

Fave Band: Disturbed.

Fave Band: B Radiohead. Radiohe ead.

Fave Band: Sneaky Sneak ky Sound System.

Fashion is … ? Trackpants, thongs, collar-up.

Fashion is … ? Anything I want it to be.

Fashion is … ? Shit.

Fashion is … ? Being yourself and looking cool.

Fashion isn’t …. ? Hanging out at Coffee Republic when you don’t drink coffee.

Fashion isn’t …. ? Following the crowd.

Fashion isn’t …. ? Good enough.

Fashion isn’t …. ? Being a bogan!

I wish I could wear …. ? Aaron Gilespi’s drumming underpants.

I wish I could wear …. ? Nothing all day.

I wish I could wear …. ? Spandex.

I wish I could wear …. ? A cardboard box.

I love clothes, because …? They are involved in getting naked.

I love clothes, because …? They’re easy to take off.

I love clothes, because …? They hide my nakedness.

I love clothes, because …? I’m female!

I hate clothes, because …? I have no fashion sense.

I hate clothes, because …? Because I have to wear them.

I hate clothes, because …? They hide my nakedness.

I hate clothes, because …? I have too many.

What’s the most important issue in the Federal Election? Electing a PM.

What’s the most important issue in the Federal Election? To get Johnny out!

What’s the most important issue in the Federal Election? What, they are having an election?

What’s the most important issue in the Federal Election? No opinion.

What’s the least important issue in the Federal Election? Your opinion.

What’s the least important issue in the Federal Election? My opinion doesn’t matter, does it?

What’s the least important issue in the Federal Election? Who wins.

What’s the least important issue in the Federal Election? Still no opinion – not interested.





Sauce - Issue 53, 17-10-07  
Sauce - Issue 53, 17-10-07  

Tasmanian music and pop-culture, featuring British India, The Novocaines, Ben Kweller, The Clap, Nightwish, The Evening Dolls, The Angels, T...