Sauce - Issue 57, 12-12-07

On the street every second Wednesday

Edition #57 12/12/07 - 25/12/07 Made in Tasmania

Tix Available From Mojo Music Or The Venue www.myspace.com/jameshotel w.myspace.com/jameshotel www.jamesho www.jameshotel.com.au 122 York Street Launceston 6334 7231 w

T SATURDAY 15TH DECEMBER

FRIDAY 21ST DECEMBER

SATURDAY 22ND DECEMBER

Dan England

urs rridor e y o o V The hock Cn Films + S oreig +F

TASMUSIC SHOWCASE

JANUARY

Carus & Loren -CD LAUNCH-

Dallas crane’s

DAVE LARKIN

BOMBA + The EMBERS

The Embers

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FALLS

FESTIVAL

Would you like a side of arts with your already full serving of pleasantries at your summer music getaway? A touch of tai chi with a cup of chai perhaps?

A relaxing night-in with a movie? Fifteen minutes of fame? Or just a good old belly laugh?

Back by popular demand at The Falls Music & Arts Festival in Marion Bay are the quirky and exotic escapades of The Falls Arts Village; the smorgasbord of the as-yet-unknown talents on The APRA People’s Stage; the relaxing and oft-wacky Films in the Field, and a bunch of funny buggers that are, in the wider community, known as comedians. We have a posse of talented ladies and gents from both near and far that shall add even more flavor to your already overflowing serving of tasty entertainment. So, sit back, relax, and indulge.

Perhaps a relaxing night of films tickles your fancy? Reclining for a movie marathon is a great way to turn your festival into a three-night sojourn of music, arts and films! So, bring your sleeping bag and popcorn and wind-down after what has been, no doubt, a hectic December.

Showing in both states are: The Thin Green Line (Sean Willmore), Howl’s Moving Castle (Hayao Miyazaki), Feel Like Going Home (Martin Scorsese) Paris, je t’aime (many directors, including Gus Van Sant, the Coen Brothers and Wes Craven), Soul of A Man (Wim Wenders) and some impressive animation and bibs ‘n’ bobs from locals Darcy Prendergast and Zane Pinner.

NEWS

BDO – FINAL ACTS THEJOHNBUTLER VIVA COMPUTER BROTHABLACK TRIO AND THE ALBUM LAUNCH TUCKER Computer have just released a self-titled album.

WAIFS – UNION OF Viva Recorded by Anthony Rochester at the Winter Palace BEHIND CRIMSON EYES in Hobart, the eleven-track LP was mastered at Spill SOUL TOUR Studio in Melbourne.

DAPPLED CITIES EDDY CURRENT SUPPRESSION RING EXCLUSIVE TO MELBOURNE:

PEGZ CHILDREN COLLIDE LOVE OF DIAGRAMS GAME BOY GAME GIRL MAMMAL J-NETT MUPH & PLUTONIC T-REK GALVATRONS SPACEY SPACE DJ MOUNTAINS IN THE SKY MISO DJ SUNSHINE For the full line-up go to: www.bigdayout.com

www.fallsfestival.com

CONTENTS 6-19

ROCK SALT

20-21

THE CAGE

21

MOHAWK

23

SKIN DEEP

23

EYEBALL KICKS

24-28

BANGERS AND MASH

29

XTREME SPORT

30

STREET FASHION

Phone: 03 6331 0701 Advertising: advertising@sauce.net.au Editorial: editorial@sauce.net.au

Founder/Editor Sub-Editor David Williams Tom Wilson david@sauce.net.au

twilson@sauce.net.au

Journalist Chris Rattray

Graphic Designer Chris Titmus

crattray@sauce.net.au

ctitmus@sauce.net.au

Adver tising Rep.

Gavin Mace

Opinions Expressed in Sauce are not Necessarily those of the Editor or staff.

adver tising@sauce.net.au

Next Edition Deadline : 7th December Sauce #58, 26th December - 8th Januar y Special Thanks To Our Contributors: Ryan Farrington, Clara Murray, Zackery Blackstone, Shannon Stevens, Lisa Howell, Dave Walker, Michael Marshall, Carlisle Rogers, Steve Tauschke and Eloise Gurr.

PAGE 4

Having both grown as strong independent acts that are now making waves around the world, The John Butler Trio and The Waifs are thrilled to announce a performance for Tasmanian fans under the banner of “The Union of Soul.”

This unique show will take place in the Royal Botanical Gardens, Hobart on Sunday February 10th, and is the first concert to be held in this unique and iconic destination. The venue is fully catered for, with options of food and wine and an open license, meaning the entire site is licensed, so please bring appropriate ID if you wish to drink. It is an over 18s event and families are welcome to come, however people under 18 must be accompanied by a parent or guardian. Children under five are free.

A five-piece independent act based in Hobart, Viva Computer formed in 2005. The next year, they released a six-track EP titled Viva Computer: We Are The Fourth Emergency Viva Computer, which they recorded themselves. Since releasing The Fourth Emergency …, they have collaborated with The Social Union, a group of artists including but not exclusive to Charles Du Cane, Lillian Pearce, Peter Escott, Tom Starr and Chris Wessing. As a result of this, they have created new songs with a different sound.

They will be launching their new album at the Peacock Theatre Salamanca on the 15th of December, joined

by The Vivids, Peter Escott and Que. Entry is $5, and things kick off at 9pm. It will be available for the tidy sum of $20 from Aroma Records and Tommygun in Hobart, and Mojo Music in Launceston. After the launch, you can catch them in Launceston at the Gunners Arms with the Tokyo Gun Club and The Stoics.

The Waifs are riding high with their new album SunDirtWater debuting at No. 2 on the ARIA charts, and remaining in the top twenty for eight weeks. A www.MySpace.com/vivacomputer few months ago they completed a sell-out tour of the nation, securing rave reviews for their concert performances.

It’s been an extraordinary ride for the John Butler Trio this year with their new album Grand National, debuting at No. 1 on the ARIA charts in March. Since then, the album has delivered three radio hit singles, and gone on to be accredited for double platinum sales in Australia, whilst the band makes incredible in-roads into all major international territories.

The John Butler Trio and The Waifs play Hobart’s Royal Botanic Gardens on the 10th of February.

WHERE DO YOU GET

LAUNCESTON

Launceston Airport Sauce Publishing Route 66 Cash Converters IGA Supermarket (Prospect) Hotel Tasmania City 2 Street Refresh café Sebachi Chilli DJ Commercial Hotel Sodium Coffee Republic Wills Music Elaia Café The Empire Hotel Internet King Barratts Music O’Keefe’s Hotel Lloyds Hotel Studio 19 The Riverview Hotel Launceston Library Irish Murphy’s Mojo Music The CD Centre The Princess Theatre The Royal Oak Hotel The Hub Gunners Arms Hotel James Hotel Launceston Backpackers Blue Café AMC Alanvale (Student Assoc) AMC Beauty Point (Student Assoc) Glenn Shephard Riverside Hair & Beauty Launceston Vistor Information Centre Star Hotel The Newstead Hotel Cunninghams UTAS Cafeteria UTAS Student Association UTAS Inveresk TAFE Alanvale Cafeteria TAFE Launceston Cafeteria TAFE Drysdale

HOBART Hobart Airport Red Herring Surf Hobart Hostel Jetty Surf Entrepot Tracks Music Hollydene Lodge The Brisbane Hotel Ruffcut Records Mouse On Mars Internet Café Pelican Loft Internet Cafe Mayfair Tavern Doctor Syntax Hotel Prince of Wales Hotel The Loft Sodium Customs House Hotel McCann’s Music Centre Hobart Visitors Information centre Kingston Library Rosny Library Glenorchy Library Hobart Music Central City Backpackers Pickled Frog Backpackers Republic Bar & Café Knopwoods Retreat Queens Head Café & Bar Curly’s Bar Alley Cat Bar Irish Murphy’s Machine Café Conservatorium of Music (UTAS) Hotel SOHO Telegraph Hotel Syrup Kaos café Retro café Gay and Lesbian Community Centre Lewisham Tavern Tafe Drysdale (cafeteria) UTAS Sandy Bay UTAS Center For The Arts Metz on The Bay Aroma records Nourish café tasCAHRD Victoria Tavern State Cinema Raincheck Lounge New Sydney Hotel Beachside Hotel Lark Distillery

Got Some News To Share?

Email details to news@sauce.net.au

BURNIE Sirocco’s nightclub Red Herring Surf Collector’s Corner Burnie Library TAFE Burnie Cafeteria UTAS Burnie Student Assoc.

Xedos Haircutters Fosters Music Centre Beach Hotel Stage Door The Cafe

DEVONPORT Devonport Airport Passport Surf Surfin Style Red Hot CD’s Tasman House Spurs Saloon Canoe N Surf Molly Malones TAFE Devonport Devonport Visitor’s Centre Devonport City Library

ST HELENS The Village Store & More

SMITHTON Lizzy’s This “N” That

ULVERSTONE Ulverstone City Library

?

PAGE 5

ROCK SALT

BRIDGET PROSS

HOME AND AWAY

By Chris Titmus B

Miami may be a long way from the Derwent Valley, the former home of singer-songwriter Bridget Pross, but it was the perfect place to craft an album, writes Chris Titmus.

M S why are you living in Melbourne rather than So Tassie these days?

T There’s more opportunity over here for music and to get T my stuff out there and to just support some pretty cool m acts. Me and my boyfriend Paul have been travelling ac everywhere across, the countryside… it’s been really ev ggood, really busy!

holidays so I reckon there’ll be a few people around so… I’m not really expecting less people because Tassie’s pretty cool for having people rock up and have a good time.

Tell me about your album coming out next year…

It’s called I Wanted To, [which is] the title of one of the tracks, the third track… I recorded all the songs in Miami with my boyfriend and our friends… I went over there in 2005 and recorded [the] tracks which became my EP, which I just sort of brought out as a six-track EP last year… and then I went over March of this year and recorded the other six and put them all together and it’s become my first album!

What was the highlight in making your EP, Little Sister?

Making the actual single, Little Sister, was pretty amazing ‘cos I did it in Miami… that was pretty cool for me. My boyfriend studied bass guitar for four years at the University of Miami [so] we played music together and recorded the single; also my album, which will be released nationally next year through MGM. That was definitely the highlight, going over there and meeting some amazing musicians…

What’s your favourite song on the new album?

I really, really like Better Than You – I think that song works really well, moves really well, and I really like the recording of it that we did. It’s got its own sort of sound, sort of really different to the rest of them. It’s in a class of its own! [Laughs]

… TASSIE’S PR PRETTY COOL FOR HAVING PEOPLE ROCK VE A UP AND HAVE E… GOOD TIME

“

Did you perform at all in Miami?

Yes, I did a few shows – they were pretty good. People over there come out just to watch you; they don’t have to be your family and friends and stuff. People came just to watch me, which was kind of amazing… Yeah, the shows were really good and supportive over there, just like they’d be over here. I didn’t do too much over there, to tell you the truth… I was just working on the album, getting that right, pretty much. What I did was really, really good, performing with a couple of my musician friends over there… it was good.

“

http://www.bridgetpross.com.au Bridget Pross performs at the Republic Bar in Hobart on Thursdays, and Launceston’s Tonic Bar on Sundays, in December.

The second track on your EP is called Pullin’ Away – what’s that all about?

Pullin’ Away is all about an ex-boyfriend of mine who – you know, when you’re in a relationship, you kind of feel like they’re not there anymore? That song’s about thinking that he’s pulling away from me, going somewhere and they’re not really there anymore.

To listen to this interview, go to www.sauce.net.au.

Track three, Better Than You, is a live version – why’d you go with that?

I chose to do the live version because I really like that version in particular, and I suppose it gives it a bit of bite… I like the studio version but it [sort of mixes it up]… it’s a bit different.

Got Some News To Share?

ROCK SALT

How do you think your time away on the mainland will affect the shows you play down here in Tassie – will you be expecting more intimate crowds?

In a way, yes, but I’m coming home through the Christmas

CUSTOM KINGS

MELBOURNE PARTY-STARTERS TO EVADE TASSIE CUSTOMS! B

By Tom Wilson

N No, contrary to popular rumour (which they actually started), Custom King Nick Vorrath didn’t used to work in Australian Customs with his band. He’s also not also known as “The F Fence”. But, as a certain earless celebrity of Australian crime once said, “never let the truth get in the way of a good yarn.” So don’t. Ahead of the funky Melbourne troupe’s set aat The Soundscape Festival early next year, Nick went against the advice of Ol’ Chop Chop and separated truth from lie …

I read that two of you guys used to work in customs.

This was written on your MySpace. Is this true? Or is T this a bit of manufactured mythology? th Yeah, it’s a little bit of that. After a while, you get tired to Y telling the truth, and start making up stories – seems to go te down a little bit better, usually.

Bugger it – let’s do the whole interview like that. Like you said, it goes down a bit better. So feel free to bullshit away …

There’s nothing more boring than a musician talking about music.

Tell me about it – I’ve been doing this for two years! Let’s start off with a bit of wordplay – what are some customs which the band abides by?

Well, “Custom Kings”, it came out of the whole travel thing, but it’s more the “custom” side of … you know, “custom-made”. We tend to play a lot of different music, and a lot of different shows, and usually we sort of gauge it off the audience … If we’re playing a big party festival or something, we tend to be a bit raucous.

We’ve done shows where it’s just a couple of us on acoustic guitars, and that kind of thing. It’s kind of like a custom-made show as well.

You’re also known as “The Fence” – in your band names on your MySpace …

Yeah, I didn’t have a lot to do with setting up the MySpace site.

I wrote the little blurb, but the nicknames were a spur-of-themoment thing. I’m not really known as “The Fence”, but it’s kind of like the character I was given in this little novel that was put together on MySpace.

So, with that in mind, is Craig called “The Mule” because, well, he smuggles drugs somewhere uncomfortable?

[Laughs] No … I guess that’s probably the thing … I mean, smuggling is not always about drugs – it’s more the black market side of things; stuff that’s tough to get, but not necessarily illegal.

Have you ever shopped on the black market?

Look, I’m sure I probably have, you know? But totally unwillingly, of course … I’m just a sucker.

So, the song Up Late … who handles the lyrics?

Mainly me. Jared wrote a few of the lyrics on a couple of the songs, and Tom wrote for a couple, but Up Late is all mine.

So tell me about the song, man. Where did it come from?

I guess the chorus is about just staying up late, and I usually find that most of my interesting stuff happens when I stay up late – when you get tired, and you get a bit crazy. I mean, everyone’s had that experience – where it’s trying to get some homework done on time or something. It gets to four o’clock – you’re exhausted, but you get this weird sort of Zen euphoria that kicks in … You just get it from sleep deprivation … and mind-altering drugs [laughs].

PAGE 6

Email details to news@sauce.net.au

I’ve always found that, when it gets to that point where you’re that exhausted, it’s actually better for creativity, because the bullshit filter between your brain and your hand or your mouth or whatever is completely removed.

That’s exactly it, man. That’s exactly what it’s about; it’s just about sort of pushing it, you know? You’ve just got to keep going until it’s finished … It’s pretty abstract in the versus and stuff – it kind of wafts in and out of the storyline. But a lot of my … I guess, more lyrically-busy songs tend to do that.

So how, in a nutshell, would you describe yourself as a songwriter, in terms of, I guess, your inspirations, and your method of writing?

THERE’S NOT NOTHING MORE BORING THAN A MUSICIAN OUT TALKING ABOUT MUSIC.

“

“

I guess, right now, I kind of see myself as pretty much straight-up pop songwriter, you know? I just want to write songs that are appealing … and songs that, I guess, are more on the happier side of things these days.

I guess, when you’re younger, you tend to write a lot of introspective, depressing stuff, but I’m more about writing songs for the crowds, you know? That we’ll enjoy playing to a lot of people live, because that makes your job a lot easier, when you’ve got songs like that – songs like Up Late, that people can sing-along to, and it’s got a throwaway sort of chorus.

I mean, I’m always going to write a lot of weird stuff, but, for the Custom Kings, I want to keep it pretty straight-ahead.

The Custom Kings play Hobart’s Domain Regatta Grounds on January 26th, as part of the Soundscape Festival.

To listen to an MP3 of the full interview, go to www.sauce.net.au

PAGE 7

ROCK SALT

DAVE LARKIN

BACK TO THE CATHARSIS

By Tom Wilson

… WE’ VE ALL JUST HIT A POINT WHERE WE’RE JUST THINKING ABOUT WHY WE’RE IN A BAND, BASICALLY …

After several years together, Dallas Crane are resting up and re-evaluating. Meanwhile, vox and guitar man, David Larkin, has been writing and will tour his acoustic show, sans Crane, to three destinations in Tasmania. For David, it’s an exercise in getting back to the basics, as he explained to Tom Wilson…

You’re coming down here to perform solo – what was the motive behind this?

Well, Dallas has taken a well-earned spell after nearly five years straight on the road… I’m a musician and I like to keep active and I thought this would be a good way to do it. I get to try out some new songs… I think our fans have had a hell of a lot of just Dallas Crane and it’s an opportunity for them to get another version of it, you know?

Are you performing with a drummer as well or is it just you and an acoustic?

It’s me and an acoustic – you can’t get much more solo than what we’ve got!

How hard was it to strip back the Dallas Crane material?

It’s funny – most of it starts off on an acoustic or an electric… a lot of these songs start as little sketches on a Dictaphone and they turn into these great rock ‘n roll monoliths… this is taking it back to where it sort of began, because most of my songs are either on an acoustic or just an electric on its own and I build them up from there.

What’s the rest of the band up to while you’re doing this?

They’ve all got things to keep them occupied – it’s not like the band’s breaking up or anything… we wanted to just maybe take a step back from it. We’ve been so intensely involved with the band for the last six years and it was just getting to the point where we just had to stand back and think about the next six years and if that’s going to happen or not and I guess that’s kind of what the holiday is.

So at this point, is it going to happen?

Dunno, man – we’re playing it by ear. It just depends on a lot of things. The band’s been through a lot these last few years, you know – having twenty-five people working on the band rather than four, just with record companies and that; it’s made it confusing at times and no matter how hard you try, your focus just shifts on what’s important about being in a band and I think that’s what’s happened with us. Yeah… I don’t want to say too much or send a message like “Dallas Crane’s broken up” or anything like that – it’s not at all; we’ve all just hit a

PAGE 8

point where we’re just thinking about why we’re in a band, basically…

You’re playing five acoustic shows – will you be doing more?

I’m just testing the waters. I’ve got a whole lot of new songs [which] I’m not sure what to do with yet – whether they become Dallas Crane songs or whether they come out as my songs on their own or with another band… I’m just not sure so, I’m kind of just feeling my way through the crowds at the moment, and happy to do so ‘cos… just getting back to the catharsis, taking it back to starting again almost and trying new things, which is good.

I noticed that three of these shows are in Tassie – was this intentional?

Tassie was just what we thought of first! The date’s were offered to me and the bands gone down there a fair bit and done pretty good so I thought it might be a good place to start – it might be a horrible place to start, we’ll see! – There wasn’t any sort of… they were just what came up first. It could have been WA or New South Wales, but these Tassie dates presented themselves first and I went yeah. Basically I love coming down there and the band does too, so…

When was the last time you had an absolutely sh*t day and what happened?

That keeps popping up from time to time… you get those days you know, when you lose sh*t and sh*t f*cks up - sorry to be so eloquent! – you have those days where a succession of “bad” happens to you. That happens to me once every twenty-eight days, I have one of them… yeah, it’s ah… it’s by the moon.

Maybe you’re just well in touch with your feminine side…

Maybe I am… I’m well in touch with that, mate!

Dave Larkin plays The Stage Door the Café Dec 18th, The Republic Bar Dec 20th, and The James Hotel on the 21st.

To listen to an MP3 of this interview, go to www.sauce.net.au.

ROCK SALT

LESS THAN JAKE

ROOTS RADICAL

By Steve Tauschke B

P Perennial masters of the good time live show, Less Than Jake double the li sska-punk dose on their forthcoming Australian jaunt by bringing friends and A circle pit kings Reel Big Fish along for the ride. Steve Tauschke hears more.

“This year we did an eight-and-a-half week tour in the US with them,” says LTJ saxophonist Peter “JR” Wasilewski, grabbing the phone ahead of scheduled spokesman, trombonist Buddy Schaub, who is “busy making dinner”.

“Those guys are a lot of fun and great touring partners – just fun dudes. We definitely bring out the best in each other when we play together.”

In the late 90s, Less Than Jake rode the wave of yet another ska renaissance by injecting pop, punk-rock and unbounded energy into their 1997 high-water mark Losing Streak, an airwave-worthy album that had the kids going crazy.

A decade on, the American quintet revisited that record along with much of their back catalogue by performing chronological live versions of six albums plus B-sides across six nights in their home state of Florida, a feat they repeated at London’s Mean Fiddler last month.

&

“Going and doing it is a little bit of a mind-f*ck because there were all these songs we hadn’t played,” laughs JR. “I think the total was a-hundred-and-eighteen songs, and it’s crazy because some of them kind of run together in your head a little bit. It’s like learning the words to War & Peace – there was a good month of rehearsals involved! I’ve been in the band eight years, but I’d never played some of these songs, and some of the guys hadn’t played some of the songs for twelve, thirteen years!”

Casting an eye over their fifteen-year legacy, LTJ also recently ended their deal with Warners subsidiary Sire Records, a decision JR believes has given the band more vim and vigour.

PRESENTS

“You know, a label is just a label – it’s a conduit to get your music out there,” he shrugs. “Basically we spoke with Warners about our next record and we didn’t quite see eye to eye on it and we asked if they would let us go and they graciously did.”

WE WE’RE W GOING TO PUT OUT OUR NEXT RECORD ON OUR OWN LABEL CK AND GO BACK LE FULL CIRCLE

“

“

When pressed on the topic of a sticking point with Warners, the saxophonist is more forthcoming.

“I think where they messed up was they tried to market us like a new band – and we’re not a new band. So they were trying to break us over into radio and stuff and our hardcore fans definitely rebuked against things like that.

They had said to us that if we wanted to go for radio and TV then we had to try to do some things differently musically.

And we accommodated that and tried some things differently to push our band forward but it didn’t work out … But it’s cool because we’re going to put out our next record on our own label and go back full circle.”

Returning to their genre-busting roots that precipitated multiple world tours with a broad range of musical acts, Less Than Jake is a statement of what a band can achieve by keeping both feet on the ground.

“When you’re writing songs it’s basically like holding onto a tree trunk and trying to stretch out as far as you possibly can because you want to hold on to what your roots are,” reasons JR. “And our roots have always been ska and punk rock.

I think on this next record we’re writing we’re really trying to embrace our roots again and try to see if we can come up with a Less Than Jake record. I don’t know how much further outside that realm we’re going to go.”

’ 8 0 P P I I H V S R N I E B W M E O M T p U s s e r D

ty i r b le e C te i r u vo a F r u o As Y

Less Than Jake are currently touring Australia.

Contributors?

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Contact us at contributors@sauce.net.au

FRI 21ST

DEC PAGE 9

LOUNGE ROOM 1 2 1 C O L L I N S S T, H O BA R T

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254 Mount St Upper Burnie 7320

(Give us $5 for live music unless otherwise stated)

NYE 31st DECEMBER 9:00pm

Stuie French and Camille Te Nahu THURSDAY DECEMBER 13

Jazz Club '07 Viktor Zappner Swingtet featuring Kelly Ottaway on vibes 7.30PM

ADAM TURNER DAVE WEBBER ADRIAN BRENT BAZZA MEZ

FRIDAY DECEMBER 14

Tickets strictly limited

Gaye Clarke

$33 plus BF available from:

Troubadour 7:30PM

Raincheck Lounge - North Hobart Luxe Flowers - City Brew - Sandy Bay or from the bar

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SATURDAY DECEMBER 15

Camille Te Nahu and Stuie French 8:00PM $25

SUNDAY DECEMBER 16

Camille Te Nahu and Stuie French 5:00PM $25 (SOLD OUT)

TUESDAY DECEMBER 18

Dallas Crane’s Dave Larkin 8:00PM $10

WEDNESDAY DECEMBER 19 Celebrate Christmas with

Karen Knowles

DECEMBER DJ LINEUP FRIDAY 30 NOVEMBER Smithmonger, Dave Webber SATURDAY 1 DECEMBER Brent, Dave Webber, Mez, Adrian FRIDAY 7 DECEMBER Smithmonger, Dave Webber SATURDAY 8 DECEMBER Adrian, Brent, Mez

8:00PM $30

THURSDAY DECEMBER 20

Jazz Club '07

FRIDAY 14 DECEMBER Smithmonger, Adam Turner

Viktor swings with the Viktor Zappner Swingtet, featuring Greg Harrison on saxophones, Cameron Scott on trumpet/percussion 7.30PM

SATURDAY 15 DECEMBER Brent, Mez, Dave Webber

FRIDAY DECEMBER 21

SATURDAY 22 DECEMBER Mez, Dave Webber, Brent

Caitlin Corbel's American Dream 7:00PM admission by donation

SATURDAY DECEMBER 22

Acoustic Avenue feat. Wendy Moles & Kim Cambridge 8:30PM

stagedoor@keypoint.com.au

FRIDAY 21 DECEMBER Smithmonger, Adam Turner

FRIDAY 28 DECEMBER: Closed SATURDAY 29 DECEMBER: Closed

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PAGE 10

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happy hour 10pm-11.30pm open 4pm-5am

ROCK SALT

DEAN STEVENSON

SWEDISH ADVENTURES WITH THE ECLECTIC TROUBADOUR

By Tom Wilson B

D Dean Stevenson is a man of many talents. Melbourne-born, Tasmanian-based, he’s worked in a handful of different acts in our sta state, ate, sp spanning numerous genres, and it’s for those kinds of reasons that he’s about to open for Alex Lloyd. He spoke to SAUCE AUCE about hhis iss fo forthcoming album which he recorded in Sweden, Marcia Hines, and being an “Eclectic Troubadour.”

I under understand you used to work as a photographer, shooting album covers and the like. What kind of stuff did you work on?

Mostly bands starting out – artist’s folios and stuff like that. I did some work for Mushroom Records, which was great. I shot Melbourne bands for years, convincing myself that getting to know musos this way was the best way to access the industry, which I desperately wanted to be in, but never realised it. It felt like the back way in to the music business. But in the end, I spent too many years in the dark room going insane, and had to get out and leave cameras behind. I finally made the jump.

Sometimes you’ve just got to jump.

You’re originally from Melbourne, but you moved to Hobart, and you were once quoted as saying “things sound better here.” In what ways?

Well it’s quieter, so you can hear more. I don’t just mean the music, I mean hear myself. Look, I love Melbourne – it will always be my dear sentimental home – but I didn’t realise until I moved here how much of my day was spent just getting through the city. Not living in it, just getting through it! It takes an amazing amount of energy to get from here to there in Melbourne, and still be in shape by the time you arrive.

Living in Hobart, I work more, write more, listen more, chill more, laugh more, and tour more. I’m a big fan of this place.

I reckon isolation breeds innovation. When people are in a place that is slightly disconnected from the major thoroughfare, there’s this amazing organic growth that comes from people’s need to satisfy themselves. Someone like Joni Mitchell, for instance, who was cracked from an iceberg in Alaska. There’s this amazing sound that was born of having to make it up without music on every corner to inspire her. Cities can drown you in excess.

ROCK SALT

You recorded an album in Sweden that will be coming out next year. What can you tell me about this release, in terms of its sound, and the way it was put together?

It was the initiative of Al Campbell the producer, really. He had a connection with an amazing character in the Swedish music scene who runs this studio in rural southern Sweden.

It’s incredible! So we booked in three weeks and headed over with a swag of songs that ended up being both necessary and a noose around our necks. This studio is a collector’s dream.

Totally analogue. And I mean totally! Classic gear in both recording equipment and instruments, set up in an old converted barn, a residence a short walk along a path lined with wild blueberries, and it came with a Volvo (of course). We explored

every instrument we could find at first, just hitting, strumming everything – just getting to know the place before we started recording songs. Eventually the songs I took over began to close in on me, because they were from here, and I was, well, over there, and somehow they needed to divide. So I just started turning up everyday and going straight to the piano or pump organ or something, and start making sounds that would, by the end of the day, become songs. It was an amazing journey of discovering spontaneity and patience in equal measures simultaneously. The tracks are so juicy and rich.

Why did you decide to do it in Sweden, instead of here?

Look, I’m the poster boy for making it happen here in Tassie, absolutely! When I recorded In Time in Hobart, we would fit it in between our lives. So we ended up doing Monday and Tuesday nights for weeks, then break for a bit and so on. I’m so proud of that album, but with the Sweden thing, I loved the idea of immersion; leaving my life for a while and allowing the music to take its time, rather than insist that it come out at a given time. That’s the biggest difference, I think, between the two.

You’ve performed with Marcia Hines. Does Australian Idol do her justice? What’s she like?

Marcia is the ultimate professional. She really knows how to work the crowd. It’s manipulation, but it’s positive and unthreatening. She knows when to “stop and chat” between songs to maximise the energy in the room relative to the song tempos and stuff … she’s great! Yeah, I guess she’s still the good guy. I suppose that’s why it keeps working for her.

You’ve performed in many bands around Hobart. Which one has been the most satisfying project for you, and why?

That’s so hard to answer, because they all serve a different need.

Recliner has been great, because people fall desperately in love with this groovy lounge vibe when they walk in the room.

Watching people walk in is one of my favourite things about that band. But when it comes to rocking out, then you can’t beat 4 Letter Fish for the most amazing fun you can have with your pants on … I mean really! With Dave Wilson on guitar, playing the way he plays, it’s just incredible. I’ve played with Dave for years, and it’s such a privilege. I get the best seat in the house every night because I get to sit right up there with him, and we just talk in music till we’re full. Our cups often runneth over.

How would you say you have evolved as a songwriter in the time since you first moved to Tasmania?

I’M A BIG FAN OF THIS PLACE. LACE..

ON I RECKON ISOLATION ON N BREEDS DS

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buu This probably sounds very hippy and “out there, man,” but caan I can hear more, so I can speak more and learn more. I can th say things now that were impossible too say in the din off the ords – or, better said, saiid, I big city, because I couldn’t hear the words ouut in in couldn’t hear the meaning behind the words. It comes out couurse better phrasing, clearer pictures. It’s alll subjective, of course sti tilll – you might think it sucks! [Laughs] Having said that, I still the write more when I’m on tour. Being on the road helps withh the ot to come home again, aggaiin,, separation from the un-poetic. But I’ve got charge up, then be still. dour”?

What makes you an “Eclectic Troubadour”? ne who’s no doubt seen seeen That term was coined by a friend of mine ses of performance and annd me go through a number of different phases diffeeren ent repertoire. I play solo a lot, and I guess I cover a few different g s] areas of music, if only because it keeps me interested! [Laughs [Laughs] ith live shows too.

I love the vocal gymnastics that come with What are your plans for next year?

Dave ve A lot of touring for this album. I’ll be solo, or duo with Dave nd Wilson mostly, I think. It’s a handy way to get around, and other er it costs a lot less! I’ve got the Swedenn recordings plus other ut I’m really passion natee surprises in the wings, so plenty to do. But passionate st people in the w orldd about In Time. I’m so proud of it. Most world haven’t heard it yet, so I’ve got my workk cut out for me.

Dean Stevenson supports Alex Lloyd at Moorilla on the 16th of December, Hobart’s Republic Bar on the 19th, and the Falls Festival at Marion Bay on the 30 0th. www.MySpace.com/deanstevensonoz

THE BLACK LIPS

GIMME DANGER

By Steve Tauschke B

W When a band is noted for its onstage vomiting, urinating, fireworks, inter-band kissing and stunts involving chickens, people tend to pay attention. And that’s exactly what Steve Tauschke did when he caught up with seemingly mild-mannered Black Lips drummer JJoe Bradley as he and his fellow “flower-punks” celebrate the release of their fifth album Good Bad, Not Evil with a whirlwind A Australian tour.

W What have you been up to?

Well, we had a week at home in Atlanta, which was a W ra rare occasion but a lot of fun. I had a friend come down from Ne New York to join us for Halloween.

COLLECTOR’S CORNER

So you get into the spirit of Halloween?

Oh yeah! I was a Peeping Tom this year. I had a plastic police hat and I screwed some window blinds onto the top of it so that they ran down across the front of my body. I had a pair of binoculars and a draw string and so I’d look at people from behind the blinds and spray them with silly string. It was the only idea I could come up with.

CDs and DVDs

I guess you’re still touring the UK right now – how’s it all going?

It’s starting to be more and more forgiving. It was kind of tough, but it’s our fifth trip here this year since February when we did seven shows in London one after another, just to introduce ourselves to the London market. Then, during the year, we’ve gone up and down to Scotland and Ireland and southern England, and now we’re getting much more support.

We gave up on this country for a long time, because when we first came here four years ago just for a week, it basically bankrupted our tour. Any of the money we made in mainland Europe was quickly lost because we were getting paid like fifteen pounds a show and nothing was provided – no food, no lodging like we got in Europe.

I heard you were certainly taken care of earlier this year at the SXSW festival in Texas where you played an exhausting twelve shows in three days!

That’s correct. Twelve shows in three days was tough, and we’ll never do it again. Our voices were destroyed at the end, we were exhausted because there really was no time for eating or sleeping between shows, as we had to do interviews as well.

But it’s the only way you can do [it], because there’re just so many bands, so you have to increase your odds by playing more shows. We did house parties at 4am, then shows the next day at noon – anything we could.

Were you confident of making your best record with this new one Good Bad, Not Evil?

We’re basically just doing everything as we’ve always done it. Everybody writes songs and brings them to the table. Some songs weren’t written until we got into the studio, just like our first album. And most of the lyrics, again, were created the day of recording them. We haven’t really changed that much in the recording process, but one thing I have to say is that I

New + Second Hand 37 Wilson St Burnie ph: 03 6431 6616

EVERY TIME A LITTLE GIRL WOULD BE EVE WAT WATCHING, SHE’D BE QUICKLY RIPPED K ‘N’ AWAY BY HER FATHER, BECAUSE ROCK ROLL IS EVIL

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think we’re better musicians now, and we have a little more experience on that side.

Do you take pleasure in people struggling to identify The Black Lips’ sound?

Well, we had a very diverse group of kids we hung out with when we were growing up. I know there were about forty or fifty of us weird kids, and we all listened to different types of stuff – eclectic stuff that was a lot different to the day-today shit.

We all grew up listening to 50s and 60s music, and that continues on to this day. But on top of that, we listen to a lot of other different things too. We have a lot of variety in taste in our music. But there are some genres out there that have no redeeming qualities, like emo and nu-metal and stuff like that.

“

Got Some News To Share?

Email details to news@sauce.net.au

Tell us about your tour of Palestine and Israel?

It was interesting going to Palestine with a bunch of acoustic guitars, and just setting up on the street to play to a bunch of ten-year-old kids and their angry fathers. Every time a little girl would be watching, she’d be quickly ripped away by her father, because rock ‘n’ roll is evil.

But we met some shopkeepers and I bought a hand drum from one of them, because he hadn’t had a sale in two days, and we wanted to put some money back into the Palestinian economy. So they invited us back to the shop afterwards for mint tea and to take pictures with their kids in front of this big Palestinian flag.

The Black Lips are currently touring Australia.

Contributors?

Would you like to contribute to Sauce? either doing CD or gig reviews, photograhy ... or make a suggestion as to what you could contribute?

Contact us at contributors@sauce.net.au PAGE 11

ROCK SALT

THE RED-EYES

TWO SCOOPS OF DIESEL PLEASE

By Tom Wilson B

W a funding injection from John Butler’s seed, the eleven-strong Red-Eyes have grown to be one of Australia’s most vital dub/reggae exports. With worldwide With ffestival experience and local dates all over Australia, you’d think this touring monster would know what kind of petrol goes where, writes Tom Wilson.

Y Your DJ handle, why A13?

It’s actually my birthday, April the 13th, and my It name’s n Adam so it just seemed to work!

I I’ve heard conflicting reports regarding the number of people in the band – is it nine or eleven?

Yeah, eleven is the right number. I’ll just double check…

Damien, myself, Al, guitar, bass, keys, percussion, horns… am I missing someone? Yeah, I’m pretty sure eleven. I lose count sometimes!

What are some of the drawbacks to this when touring – it must be a lot different than say, having four people in the band?

It has its ups and it has its downs – it’s convenient for moving gear, because there’s so many of you and you can move things quite quickly, but when it comes to checking in at an airport, it takes a bit of practice. We’re getting quite good at it now so it’s all right.

The first few times were a bit of a trial but now we’re starting to get the motions rolling – it’s all right. It’s a travelling party pretty much, with eleven of us… there’s always something to talk about and someone to make fun of. [Laughs] Who was the last one you made fun of?

[Laughs] Our drummer actually! He put unleaded petrol in a diesel car… it was when we were on our last tour.

I went up to Byron a day earlier so I could swim at the beach. There they were driving up as – his new name is “Two Scoops” – he got lost and took a wrong turn and went inland instead of going up the coast and someone woke up when they got to a petrol station and said, “Did you just put unleaded in a diesel tank?” So they had to stick around and get the tank drained… so he was the last victim to fall to ten other members giving him sh*t for the whole tour [Laughs]…hence the new name, “Two Scoops”!

ROCK SALT

So what have The Red-Eyes been working on recently, have you been gigging or recording…?

Yeah, we just finished an East Coast tour. We’ve actually got two more shows this weekend, we’re doing regional Victoria, Wangaratta and Bendigo, but before that we just went up the East Coast and did Brisbane, Byron, Sydney… we went to Tassie, Sunshine Coast, Melbourne… we just played Fed. Square on Sunday for the PBF Benefit gig and now we’re just getting ready to do the festivals over the summer period so yeah… we’ve just been working on

heaps of new songs, went on tour, and now we’re working on more new songs until festival time.

Will this be for a new EP or album?

Our album, Rudeworld, came out… we finished recording it at the end of last year, it finally got released a year later – it took a long time to get it out.

We had a distribution deal and then we decided not to go with that, and we decided to look for someone that was willing to work with us on what we wanted to do and that sort of took us a little bit of time in between different labels trying to find which label was best suited for us, so… and then finally we got approached by AmpHead which is a digital download and normal distribution dealer… they’re really into us and have got a booking agent so we just went with them with the option that it was going to take us to the next level instead of just getting it into stores…

…D DID YOU JUST PUT UNLEADED EL IN A DIESEL TANK? …

Sounds like this year’s been pretty full for you guys – looking back over it, firstly, what are you most proud of doing and secondly, what’s one thing the band did that you’ll be doing differently next year, apart from not putting… …unleaded petrol in a diesel tank? [Laughs] One of the highlights for the whole band is – we went to New Caledonia at the start of the year, around June, that was a highlight for us because we were asked to go over there and play to the Kanaki people, the local people, up north of the island – we got to go and do two festival shows for them in the middle of the jungle in the tropics, outside, and have a beautiful holiday at the same time and meet heaps of amazing French people, local people, and it was just really nice for us to go and do that. That was definitely a highlight for the band…

What we’d do different? Not sure! Maybe rehearse a bit more? This year’s just been really good for us… we’ve worked fairly well as a team and a lot of stuff’s been achieved over the last eight, nine months… so yeah – nothing really that we’ve done wrong… except for the diesel thing! http://www.thered-eyes.com See The Red-Eyes on Australia Day, Jan 26th, in Hobart for The Soundscape Festival!

To listen to an MP3 of this interview, go to www. sauce.net.au.

BOMBA

BREWING A STRONGA BOMBA

By Tom Wilson

G Grab your fire hoses and raise them in salute to Bomba, returning to Tasmania later this month for a set of sweat inducing dance engagements! This legendary funk/soul/reggae tr troupe are never more relaxed than when making music, so learn to breathe before you hit the dancefloor and tune your pants to “party!”

B Bomba have always been a politically aware and aactive band. What were your feelings after the recent fe federal election? What do you think this means for th the country?

M Mild euphoria comes to mind … feels a lot more like a democracy now. I think it means we will be stronger members in the global community (and really embracing that), making our own stance and putting our country’s vision over economic outcomes. Did someone say “republic”?

In this day and age, what scares you the most?

Waste of resources, intelligence and common sense. I also have nervous feelings watching late night dial-in TV quiz shows.

What gives you hope?

Silence … nature … friendship … love … and the birth of a new song.

What’s your most optimistic, and most cynical vision of the future?

Optimistic? Free, clean energy to the whole planet, clean drinking water, unlimited time to write magnificent songs [while] touring the world, [and] all political conflicts to be sorted out via soccer matches! [Save a bucket on military expenditure] Cynical? [An] apathetic, economy-based mindset with a nonrespectful cultural format, and dial-in TV quiz shows running endlessly …

… I THINK M MUSICAL INSTRUMENTS ARE STILL BY FAR THE BEST GIFT IFT TO GIVE …

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You’re returning to Tasmania once again this month. In what ways will this be a different Bomba to the one we saw last time? How have you guys changed?

I’m wearing something off the shoulder, and Michael’s got a new hat … we jam a lot more on stage these days too … having lots of fun making up songs. Speed of Sound is still in the key of A. PAGE 12

What about your crowds down here? What changes have you seen in your Tasmanian audiences between each time you’ve come down here?

I see new faces all the time singing our lyrics. I suppose the sweet thing is that it’s constantly building via word-of-mouth … I liken the band to a slow-percolating cup of organic coffee aside a maturing bottle of red … always brewing … better with age …

I heard a story about a fire hose once having to be used after one of your shows. What was the story there?

Blues and Roots, Byron Bay – the crowd created a dust storm whilst dancing to us, and the ground had to be watered down before the next act.

What have been some of the most rewarding moments in the history of the band, and why?

Connecting with people at gigs on that beautiful level where the music, the performance, the audience and the energies all synthesise into a blessed moment. I also get a thrill when people are genuinely moved into a positive, uplifting feeling through our songs.

What’s a new year’s resolution that you wish the world would make, but never could? And what’s one that Bomba might make?

Never say never … Let’s all get on the same page as caretakers of this planet. Make great music … bless the moment … love life.

Lastly, what are your plans for Christmas? Have you been one of those organised eager-beavers who did all their Christmas shopping ages ago?

Just chillin’ with the family, [playing a] couple of gigs, ignoring the commercial hoo-ha that floods our senses … Jesus was one cool dude! I think musical instruments are still by far the best gift to give … last year I did the ukulele thing. This year, who knows? Maybe bongos … Bless!

Bomba funk up at Hobart’s Republic Bar on the 21st and 23rd of December, and Launceston’s James Hotel on the 22nd. www.MySpace.com/bombamusic

ROCK SALT

SHOCK CORRIDOR S

LEAN, MEAN, AND ROCK AS F*CK

By Tom Wilson B

W When it comes to Launceston’s Shock Corridor – in the middle of their long-awaited EP and recent additions to next year’s MS Fest bill – the screams of vocalist Alita might be a little softer these days, but, as I recently discovered, she hasn’t dialed down the venom (four-hundred-and-ninety-five words … and ten of them are “f*ck”) And you know what?

Thank god for that …

T

L Last time we spoke to you guys, you were working oon an EP. What came of that? And what plans do yyou have to follow it up?

W We’re halfway there – couldn’t be f*cked deciding who to record with, so we’re just gonna do it at Joel’s house iin hi his bboiling i hot tin shed.

two different bands. To what extent would you agree with this? And how did this kind of shift come about?

Alita got sick of f*cking up her voice with screaming … it got old really fast. We felt like we were wasting our skills, and were more of a gimmick band as opposed to being taken seriously as musicians.

Typically, what are you guys doing ten minutes before you go on-stage? What little routines have each of you developed?

Routine? No thanks … each performance is its own unique love child of ours.

You’re set to play MS Fest next year. Of all the acts on the bill, who are you keenest to meet and shoot the shit with, and why?

None of us are familiar with the music of any of the “big name” bands playing; that’s why I guess it’s a good thing we’ll be playing early, so we can get smashed and make some friends backstage.

In terms of your stage presence, you’re quite a distinctive performer, in terms of the energy and attitude you put out.

Who are some performers who you look up to, and why?

We don’t believe in idols. Without them, you can be original.

For a nice, open question, if you could throw anything at anyone in the world, who would it be, what would you throw at them, and why?

We’d throw our music into your ear, pussys! (What’s the plural for pussy? Pussies? Pussi?)

At this point, what are your plans for next year?

Work for the motherf*cking pulp mill.

Ben and Joel also play in Kids in Sandbox. How would you describe the difference between their guitar work there, compared to Shock Corridor. What can they do differently in each band?

They can be punk as f*ck in K.I.S., and in Shock Corridor they can rock steady and let Alita do her thing.

If bands were buried the same way as people are when they die, what do you think would be inscribed on the Shock Corridor headstone?

You do ask some stupid f*ckin’ questions, don’t you? [Oh, yes – Tom] But, if you must know, then probably, “It t’was I who f*cked the dragon, f*ck-a-lye and f*ck-a-loo,

www.MySpace.com/shockcorridormusic

I remember seeing your set at the Polish Hall in Launceston a while back, and the material you performed then, compared to the tracks you have on your MySpace, almost sound like

and if you try to f*ck with me then I shall f*ck you too!”

How long until Shock Corridor take over the world? And, once you’ve established your supreme command over the planet, what are the first things you’ll do?

No thanks.

Shock Corridor play Irish Murphy’s in Launceston on the 26th of December, and MS Fest at the Inveresk Showgrounds on the 16th of February.

IF Y YOU TRY TO F*CK W WITH ME THEN I

ROCK SALT

SHALL F*CK YOU TOO!

A ANDY WEAR

A VINYL DEFIANCE OF THE DIGITAL AGE

By Tom Wilson B

D Defiance of trends; it can be admirable, or it can be foolish. But when it comes to local artist/musician Andy Wear – who, in this fully digital age, recently released an EP eexclusively on vinyl – there is one question that needs to be asked before any other - why? SAUCE got in touch to find out.

Y You’ve released an EP exclusively on vinyl. Why d did you decide to do this?

I have always been incredibly fond of the format and I still have a predominantly vinyl music collection. It ju just felt like the right thing for me to do.

In this day and age, it seems very strange to release something exclusively on a medium that isn’t widely used (to put it lightly). What do you say to this?

Two things: first, I believe that the physical and visual qualities of vinyl can be appreciated irrespective of whether or not a person has a turntable. This might sound a little absurd as it is, after all, supposed to be an essentially aural experience.

But I know that all the years of those horrible little cracked CD jewel-cases that we’ve all owned have diminished the aesthetic experience for the sake of convenience. It sounds like folly, but I actually like the fact that it is large and inconvenient! Second, I think that, as downloadable music files render the CD redundant, people might start wanting some physical and visual experience with their music again.

I’m not saying that vinyl is “back”, but I think there will be a new and special niche for the vinyl recording.

What can you tell me about the production process of Demonstration Extended Play Record Number 1? How did you create it?

It was the ultimate home-made, low-budget experience.

The only thing I didn’t do was master the tracks and press the vinyl. I wrote and performed all the music and lyrics. It was recorded in my bedroom using a Tascam four-track tape recorder and an Apple Macintosh computer. I sent the tracks off to The Vinyl Factory in Sydney, who then sent them on to Abbey Road Studios in London for mastering.

They came back to The Vinyl Factory for the final pressing and cutting of the vinyl. Those guys were fantastic to work with, and really respected a small-scale project like mine – I only pressed a hundred records. While that was all underway, I did the covers back here in Hobart using secondhand albums from the South Hobart tip shop. I split them down the seams, turned them inside-out and screen printed the design. I then re-folded them, glued them back together and, voila … record.

You crafted this release almost entirely by yourself. Why is this? Why was this important?

It was an ethical, aesthetic and fiscal choice – not necessarily in that order. But I have to be realistic; I have no mainstream ambitions. The production and – dare I say – content of the record is pretty average, so felt like the whole thing should reflect this.

Don’t get me wrong, I’m not being deliberately flippant; I love what I do very much and care about it intensely – I’m just not under any pretence about what it is that I do, and the scale and expectations of my audience.

How would you describe yourself as an artist, in terms of the drawings and digital art that you’ve done?

It is hard to answer that honestly without coming across as a bit of a chump, but I really do live it and breath it…it’s just something I do. I tell myself often, and have been told by others, that it is not particularly groundbreaking or amazing, but it has never stopped me producing. The digital thing is just another medium for me to explore. I am as happy on a computer as I am with a pencil.

THE DIGITAL TH THI THING IS JUST ANOTHER MEDIUM FOR ME TO EXPLORE. I AM AS HAPPY ON A COMPUTER HA AS I AM WITH PENCIL

“

I was particularly intrigued by a digital art piece you did last year – Failure. What was the story behind this?

What inspired it? And how did you create it?

The image is a digitally manipulated still taken from the 1939 version of The Hunchback of Notre Dame, with Charles Laughton as Quasimodo. The image was taken from a television screen, and my interpretation is only really an extension (as are, I suppose, the five or so cinematic productions) of Victor Hugo’s original social commentary.

But the pitiful figure of Quasimodo and his misguided intentions, driven only by the desire to be respected, is one that I think many people can relate to.

Without wanting to sound like I’m dribbling off the pages of an art theory text-book, I’d have to add that taking the image from a television screen further illustrates how social/moral commentary gets watered down as we reproduce things

endlessly for mass consumption in popular culture. In that sense, it is a rhetorical title.

You’ve done your fair share of travelling. Which places in the world have left you with the strongest memories?

And what were they?

I am very fond of Eastern Europe, particularly Poland and Bulgaria. Some of my strongest memories, however, are not so fond. Burma is a beautiful but tragic country, while Russia and Albania scared the hell out of me. In another life I would live in Berlin.

What are your plans for next year? What do you hope to accomplish?

Finish this damned Doctorate, take on some fresh artistic challenges, and release another two records. And do it all with dignified grace – ha! web.mac.com/andrewwear

“

How much time do you spend on music, compared to your other artistic exploits? And which, ultimately, gives you more satisfaction?

I go through phases. When I was working on this record, I did no visual art. When I’m preparing for an exhibition, I do no music.

I’m supposed to be submitting a Doctoral thesis next year, so perhaps while that’s happening I’ll do neither! But I am as satisfied with one as the other. I know that is a bit of a cop-out, but it’s a little like that question – would you rather be deaf or blind? I just can’t answer it, because I love both practices, and couldn’t begin to imagine who I’d be if I lost the faculty to produce and enjoy one or the other.

PAGE 13

BRITNEY SPEARS Blackout 2/10

BEST OF THE FORTNIGHT

“It’s Britney bitch!” I kid you not, these are the first words you hear from Ms. Spears on her latest album. But I can’t help thinking, “Yes sweetheart, it is Britney, but it’s also your management, marketing team, whizzbang pop writers, producers, studio musicians, photographers, graphic design artists, costume designers, make up artists and hair stylists, that you bring with you… so don’t call me bitch unless I buy your album, and then honey please input ‘stupid’ in front of it.”

ARMY OF THE PHAROAHS Ritual of Battle 8/10 Army of the Pharoahs is a hip-hop supergroup from the States, comprised of Apathy, Celph Titled, Cheif Kamachi, Esoteric, Outerspace, Jus Allah, Reef the Lost Cauze, and spear-headed by the one and only Vinnie Paz (of Jedi Mind Tricks). Ritual of Battle is the newest release from the crew; a raw compilation full of hostile battle raps, rugged beats and spectacular lyricism, but it’s not that hard really, in comparison to their previous releases.

Blackout is a pop album of the finest calibre in many respects, B thanks th to the money that goes into paying the best of the best to produce p the brand that is “Britney” because, let’s get this straight up, u Ms. Spears is not an artist like we so often write about in these hallowed pages; she is a corporation.

One problem I have is that one of my favourite rappers, who happens to be a part of the crew, does not appear on the album, that being Apathy (of Demigodz), so I was little disappointed, but another favourite, Celph Titled, brings the heat in tracks like Time to Rock, Drama Theme and Swords Drawn. Vinnie Paz is pretty consistent in general – personally, I don’t think he ever seems to let his standard drop, especially in the way of rhyme structure and vocal tone, and his verses on this album confirm that.

I confess that sometimes I love to kick back to some fluffy tunes from big brand names, with big brand money to invest in their f writers w and producers and all the rest. And it’s not that I can’t step st back from the drama of Ms. Spears escaping her crafted image to reveal herself as a messed up girl with NFI about life and responsibility. I can.

The beats are solid, and, as could be expected from this crew, they’re incredibly epic, with crescendoing orchestrall d horn samples swiping in and out over heavily compressed d, drums and rumbling bass lines. If you’re into your hard, underground, street-level hip-hop, it’s safe to say you’ll reallyy dig this release.

But to have it served up to me so self-righteously by a girl who believes the spin being spun to keep her brand at the top of the food chain. I can’t. It’s just too annoying, despite the dollars that have fielded her with the best pop money can buy.

All the way from New York comes the new release from disco house band, LCD Soundsystem. Being strange in the very structure – tracks one through six are all plainly labeled 45:33 – is the just the beginning of the strangeness that is to come.

My favourite track would have to be 45:33 (Part III) which consists of many scratches running in perfect time with various chimes, metal xylophones, blips and different computer generated sounds - such a peaceful song, yet at the same time incredibly lively. Although it doesn’t change much, it has no need to. With so much already going on, it doesn’t at all get boring.

This is an album that is very hard to listen to, to begin with at least. After some time, I went from being irritated with the length between, say lyrics, or structure of any kind, and suddenly stopped paying so much attention, and everything fell into place. I don’t exactly know what changed, but suddenly I understood this album, and what it’s trying to do, and I settled in for the ride.

And what a ride it is. With everything from jazz, to punk disco, to disco house, it’s all there. And it is actually incredibly relaxing, I actually found myself drifting off, until 45:33 (Part IV) where a haunting voice-over entered my consciousness and startled me awake again. No, LCD Soundsystem will not let listeners sleep through their album.

This one’s certainly not one for everyone, but if you can learn to handle it, you may just like it. And I am still not sure if I do…

CAROLE WHITEHEAD

GOODBYE MOTEL End.Play EP 8/10 Cute five-piece, Goodbye Motel, bring their unique alternative-rock sound to us from the shores of Melbourne city, with their new EP, End. Play. And it’s a great one. This disc also includes the wellmade film clip for If This Is The Way Out (Then I’m Staying Here).

My pick from this EP – and also my favourite song at the moment – is Not Anymore.

It soars over many others being released at the moment.

Damien’s powerful vocals combined with great melodies makes for a song that leaves a lasting impression. Beginning softly and building into a strong, heart-felt chorus with perfect lyrics, it then fades to end as it began.

Operation Lights is also one to look out for, continuing in the same vein as Not Anymore, it stands out with its strength. The drums and guitars tend to stand out a fair amount more, with tiny touches of electronic sounds.

In all, this is a great glimpse at what an album could sound like for Goodbye Motel, with such amazing songs one could only hope that is their intention. I recommend checking them out in any case, whatever genre you like, but certainly if you like such bands as Placebo, or even so far as Coldplay.

With most of their work at or above the level of many of the “big” bands at the moment, watch out for this band, as it wouldn’t be too hard to imagine them becoming quite famous.

It hasn’t been long since their last album soared through our charts, but the Rogue Traders are back again with their latest release, Better in the Dark!

Maynard formed this side project back in April ‘06 and has taken a while to hit Australian shores. Having so many guest musicians featuring on the album - about twenty - would have halted recording, delaying the release.

Using Puscifer as a catch basin for everything swirling around in his head, “The space where my I.D., Ego and Anima all come together and exchange cookie recipes”, as Maynard says on the band’s MySpace page, gives Maynard the chance to write what he normally wouldn’t write with both A Perfect Circle and Tool.

After listening to the collection a few times over, I can only describe it as funky, upbeat and strong vibes together with distinctive melodies, collaborated with soulful lyrics, delivered with the Che’Nelle edge and sass!

LISA HOWELL

The voice of Angie Hart has been all but absent since Frente, the arty poppy band that roved the 90s charts with her childlike flotations of voice, disappeared.

But the unsought fame became cruel for Angie as the fans that had embraced her quirky, boppy style began to mock her instead.

The six lads from Melbourne wield their horns well and the rapping and the crooning are in synthesis - who would have thought that Michael Buble and Vanilla Ice could belong to genres that would get it on together so damn well? Clearly these six Melbourne lads did, and their debut album feels like a live gig that never lapses, and if I ever get the chance to catch these boys live, I’m going to be there in time for soundcheck..

Years later after leaving Australia, a divorce from Alanis Morrisette’s touring guitarist, and eight years in LA she came back to Oz earth. The tender girl of twenty is now thirty-five and I expected to hear a voice ravaged by pain, or velvet with maturity.

But instead she sounds eerily the same; it’s the darker emotional themes that are new.

Bottom Jackpot.

Opening track, Lazy Sunday, is a perfect introduction to the De Jah Groove experience with Harley Stewart’s laconic yet somehow energetic rap launching into the reverie of sultry horns and the muted rasp of reggae guitar.

The fleeting, but salsa hot, Capricho Arabe, seduces with its South American style of guitar, a style I developed a passion for when jamming with a guitarist mate who had a thing for Latin flavours. Hi Ben, I can’t see your house from here but you rock… and I know an album you might like…

Their first track has already been released onto the charts Don’t you Wanna Feel is classic Rogue Traders music, pop/ rock with an urban dance vibe thrown in.

It has already hit the charts, currently sitting at number ten, if the success of this song so far mirrors the success of the whole album, then I think that they would be very happy little chaps!

There are twelve great songs on this album, ideal for the car, party, or to just get you out of that slump.

MICHAEL MARSHALL

LISA HOWELL

If you like their previous work, then I bet it won’t be long ‘til this one is in your collection as well!

She sings of fear and doubt and loss in beautifully simple lyrics, and her journey to hope is eulogised by the beautiful song Kiwi she will fly again despite the odds. She does get her wings working on this album but she doesn’t do it alone. The touch of other musicians is intrinsically sensitive to Angie’s songs, with strings, electric guitar, percussion and piano appearing around her voice as if to cradle each melody like a proud lover.

For me the only shadow on this album was the lack of vocal absence.

Painting a voice over other instruments with little respite decreases the impact of the singer. Perhaps she has so much to say that she forgets to occasionally give Grounded Bird room to breathe.

This is an album that has already appealed to a broad demographic from grandmas to your everyday gringo and don’t let that deter you from tasting its groove. I’m not talking Ray Martin appeal. It’s all about the human need to party. And De Jah Groove would get me dancing even if John Howard was still Prime Minister of Australia. Yep, it’s that good.

Nevertheless this is a gentle album with undercurrents of grief as Angie reigns over her art instead of having it reign over her… as it once did long ago. Perfect for sinking into in solitary moments or leaving as a sonic canvas to drift by as you drive, wash dishes or play with a lover.

CLARA MURRAY

CLARA MURRAY

DVD REVIEW disc contains a great mix of old and new Silverchair material, including Young Modern Station, Emotion Sickness, Ana’s Song (Open Fire), Freak, The Door, The Greatest View and Without You amongst them.

After lingering on this disc I eventually checked out the Powderfinger set, which is equally impressive. It features loads of their hits, like These Days, (Baby I’ve Got You) On My Mind, My Happiness, Already Gone and so many more, and reminded me that I am actually a bit Powderfinger fan, too!

Unlike many artists in today’s music scene, The Rogue Traders have stuck to the style that has helped them be so successful, and developed that style further to bring us this new funky collaboration of music.

Natalie shines bright once more in this latest collection, their unique style of pop/rock music really suits her voice, and with her undeniable sex appeal thrown in for good measure, well… need I say more.

ANGIE HART Grounded Bird 7/10

The barbie and the overgrown backyard look naked when I put this album on. This is some seriously sexy party music and if you haven’t already I recommend you pop that reggae cherry and get into Rock

It’s been an exciting ride for The Rogue Traders so far, but the journey continues with the release of another brilliant album, all the while keeping us intrigued as they continue to evolve as a group, and their unique style of music.

Maynard insists that Puscifer is just a playground for the voices in his head, so for all the Tool fans - not to worry, this is just a side gig for Maynard and hopefully Tool will be recording soon.

PAGE 14

By using her emotions and applying her own style and technique to the mix, she reveals to us the journey that has brought her to this point.

DE JAH GROOVE Rock-Bottom Jackpot 8/10

CAROLE WHITEHEAD

Puscifer’s ‘V Is For Vagina is the newest side project from the legendary Maynard James Keenan from Tool.

The acoustic guitar lends a dark tinge to Momma Sed while a gristly electric guitar cuts through The Undertaker. Also a lot of the songs are sung with a voice over, to add to that creepy vibe that this album sends out.

Che’Nelle has already made her mark with the release of her first single, but there is much more to come. Flicking through the tracks on the album, it is clear that Che’Nelle has incredible talent, and an indefinable style that keeps me intrigued all the way through.

CLARA MURRAY

ROGUE TRADERS Better in the Dark 7/10

Puscifer comes about sounding very experimental, with the blend of slow tempo beats and dark-electro swirls. There are more varied sounds as well.

The 24-year-old was born in Sabah, Malaysia, but she developed her amazing singing talent in her Dad’s karaoke bar on the local Perth club scene. This is also where she got her first taste of hiphop music. If she had not encountered this path in life, she may not now be releasing this urban dance/hip hop album for us to enjoy.

This is a mix of the finest of recipes, so give it a go!

PUSCIFER ‘V’ Is For Vagina 7/10

Although not too different from Tool and A Perfect Circle, which defies heavy metal, ‘V’ Is For Vagina, brings something a bit new.

Another Aussie debut guys!

Where have you been lately if you haven’t heard the song, I Fell in Love With The DJ, pumping from the airwaves over the past few weeks? It’s track number one on Things Happen For a Reason, the debut album from Che’Nelle.

Don’t buy it.

RYAN FARRINGTON

LCD SOUNDSYSTEM 45:33 6/10

CHE’NELLE Things Happen For a Reason 6/10

POWDERFINGER & SILVERCHAIR Across the Great Divide 9/10 As a huge Silverchair fan I was devastated to miss the recent Across the Great Divide Silverchair/Powderfinger national tour, so I was absolutely ecstatic when I got handed the DVD of the tour! Not quite the same as being there but a fabulous consolation none the less. The DVD is an awesome threedisc collection, with the first two discs featuring full length live sets from both bands, and the third disc containing a ninety minute behind the scenes doco. The live sets were recorded at Rod Laver Arena in Melbourne on 18th and 19th September, 2007.

Of course I had to watch the Silverchair disc first, and was pleasantly surprised to find it contained a “song selection” menu, so you can go straight to your favourite tracks. This

The end of each disc features the bands’ duet Substitute that’s right, two amazing Aussie bands doing a duet! What starts out looking like Daniel Johns and Bernard Fanning doing drunken karaoke turns out to be a fun and energetic song and a great way to finish each disc.

Lastly I found my way to Behind the Great Divide, a great doco made with participation by both bands. I hate docos where they don’t actually talk to the artists, but this one’s a comprehensive presentation that goes from the promo photo shoots through to travelling between the shows and the backstage banter.

I was really impressed by the clarity of the cinematography and the overall look of it as there’s nothing worse than watching a concert DVD that’s grainy and only gives you one view of the stage – this one’s really well put together.

My sources tell me that this special three-disc release is strictly a limited edition and will not be manufactured again after the 2007 holiday season, so get in quick!

ELOISE GURR

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Republic Bar & Café Amali Ward (EP Launch) + Unleash The Nugget @ 9PM Syrup Rewind @ 9PM

LAUNCESTON

Royal Oak Sorry … We’re Off (The Show) @ The Boatshed

THURSDAY 13TH HOBART

Alley Cat Bar Crystal Campbell – Solo Acoustic @ 9PM Brisbane Hotel Metal Vs. Punk – Your Demise + Bumtuck + Lacerta @ 9PM Irish Murphy’s Amy Kendall @ 9PM + Micheal Clennett @ 10:10PM + Samuel Bester Band @ 11:30PM Republic Bar & Café The Evening Dolls (Album Launch) + Ballpoint @ 9PM Syrup DJ Adam Turner @ 8PM

WED 12TH DEC SORRY… WE’RE OFF

(THE SHOW) IN THE BOATSHED

THU 13TH DEC NATHAN WELDON FRI

14TH DEC THE TITZ

THU 20TH DEC SAMUEL BESTER FRI SAT

22ND DEC THE ZAC LISTER BAND

GREAT FOOD

OPEN MIC NIGHT

THE LAST WEDNESDAY

OPEN 7 DAYS

OF EVERY MONTH 14 Brisbane Street, Launceston 6331 5346

Alley Cat The Alley Cat Bar THURS 13TH OF DEC 'Crystal Campbell' solo acoustic FREE 9pm SAT 15TH OF DEC 'Beatrix Bae Bowman' and 'Courtney Barrett' $4 9pm

SUN 16TH OF DEC

Curly’s Bar Revival Proller Smithmonger + Adam Turner Republic Bar & Café The Roobs @ 10PM Syrup Ministry Of Sound “The Annual” – John Course + Goodwill + Adam Turner + Gillie Nick C + Reme @ 9PM

LAUNCESTON

Northern Club Cheeky Sound Chaser @ 11PM Punchbowl Primary Auditorium Funky String Band

The Hub Jordan Miller + Nathan Wheldon

HOBART

Alley Cat Bar Tony Brennan + Jane McArthur + Ben Crombie @ 5PM

SATURDAY 22ND BURNIE

Moorilla Alex Lloyd + Dean Stevenson Band + James Parry

Stage Door the Café Acoustic Avenue – Wendy Moles + Kim Cambridge @ 8:30PM

Raincheck Lounge Live Acoustic Music @ 4PM

HOBART

Brisbane Hotel As I Fall Through + Crusader + Incarcerate + Estizare – ALL-AGES Stand Defiant + On Your Feet Soldier + Sunday Something Ruined + The Turnaround – 18+ @ 9PM

Republic Bar & Café Bridget Pross @ 9PM The Metz Laid-Back Summer Beats @ 4PM

Curly’s Bar Grotesque + D2M + JimK + Samex @ 10PM

MONDAY 17TH HOBART

Proller Brent + Mez + Dave Webber

Republic Bar & Café Dave Mann + Simon Phillips @ 9PM

HOBART

Brisbane Hotel The Scandal + Lead Sketch Union + The Ghost And The Storm Outside

Royal Oak S&M

Stage Door the Café Camille Te Nahu + Stuie French @ 5PM

FRIDAY 14TH BURNIE

Stage Door the Café Gaye Clarke @ 7:30PM

Northern Club DJ Sketcher

SUNDAY 16TH BURNIE

Royal Oak Nathan Weldon

HOBART

21ST DEC S & M

The Hub This Future Chaos + Supports @ 9:30PM

TUESDAY 18TH BURNIE

LAUNCESTON

James Hotel Dave Larkin (Dallas Crane) + Glenn Moorhouse

Republic Bar & Café Pegz + Heads of State + Diafrix @ 10PM Syrup DFD – Adam Turner + Timo + Gillie Tackyland @ 9PM

Stage Door the Café Dave Larkin @ 8PM

The Loft Kaotic – Oz Hip-Hop

Republic Bar & Café Thrust @ 9PM

LAUNCESTON

LAUNCESTON

The Hub Open Mic Night @ 6PM

39 Bar Kid Kenobi

WEDNESDAY 19TH BURNIE

James Hotel Bomba + The Embers

Stage Door the Café Karen Knowles @ 8PM

Northern Club Cheeky Sound Chaser

HOBART

Brisbane Hotel Lance Cooper + Lonely Residence

Royal Oak The Zac Lister Band

Curly’s Bar Selecta

The Hub Cruel Like That + Chris Liley @10PM

SUNDAY 23RD HOBART

Republic Bar & Café Dean Stevenson & Band @ 9PM

Alley Cat Bar The E-Wah Lady + Tim Downey @ 5PM

Syrup Rewind @ 9PM

THURSDAY 20TH BURNIE

Brisbane Hotel Stand Defiant + On Your Feet Soldier + Sunday Something Ruined + The Scandal + A So-Called Hero – ALL-AGES @ 4PM

Royal Oak The Titz

Stage Door the Café Viktor Zappner Swingtet + Greg Harrison + Cameron Scott @ 7:30PM

'The Trolls' and 'The Chariot' 9pm $4

The Hub Halfmast + Zero Degrees Freedom + Woof Woof @ 9PM

A Band Called 'MIQ'

SATURDAY 15TH BURNIE

Alley Cat Bar Syrivelo @ 9PM

Republic Bar & Café Bomba – Acoustic Set @ 9PM

Brisbane Hotel Roadkill + 17 Hertz

The Metz Laid-Back Summer Beats @ 4PM

'Tony Brennan', Jane McArthur' & 'Ben Crombie' FREE 5pm

THURS 20TH OF DEC 'Syrivelo' 9pm FREE

FRI 21ST OF DEC SAT 22ND OF DEC

SUN 23RD OF DEC 'The E-Wah Lady' & 'Tim Downey' 5pm FREE

381 Elizabeth Street North Hobart ph: 03 6231 2299

Stage Door the Café Camille Te Nahu + Stuie French @ 8PM

HOBART

Alley Cat Bar Beatrix Bae Bowman + Courtney Barrett @ 9PM 160 Elphin Road L a u n c e s t o n TA S 7 2 5 0

Live music Woodfired pizzas Extensive bottleshop ph: 03 6331 1344 fax: 03 6331 2191 e: thenewsteadhotel@hotmail.com

Brisbane Hotel Hallucinogen + Shpongle + Ozzy + DVDA + Corney + Shammie + Wil.co + Loagsta + Psywise + Cruse

HOBART

Proller Brent + Mez + Dave Webber Republic Bar & Café Sugartrain @ 10PM Syrup DFD – Matt B + Gillie + Adam Turner Tackyland @ 9PM The Loft Kaotic – Oz Hip-Hop

LAUNCESTON

James Hotel Tasmusic Showcase – The Voyeurs + Shock Corridor Northern Club Tom Bombadil @ 10:30PM Royal Oak Live Music

HOBART Curly ’s Bar 112 Murray St 6234 5112 w w w.curlysbar.com.au

Brisbane Hotel Julian Teakle + Liam Constable + Micheal Noga + K Mason + Matt Bailey + DJs

Royal Oak Samuel Bester

FRIDAY 21ST BURNIE

Stage Door The Cafe 254 M ount St Upper Burnie 64322600

MONDAY 24TH HOBART

LAUNCESTON

Halo Organ Donors + Nik Fish + Liv + Shad + G-Tek @ 10PM

BURNIE

Irish Murphy’s Cheeky Sound Chaser

Syrup DJ Adam Turner @ 8PM

The Hub Forefront Hip-Hop

Raincheck Lounge Live Acoustic Music @ 4PM

LAUNCESTON

Republic Bar & Café Dave Larkin (Dallas Crane) @ 9PM

Curly’s Bar DJ Kevin Watts + MC Jason

12th DEC - 25th DEC

Curly’s Bar Dr Fink

LAUNCESTON

Royal On George Cheeky Sound Chaser

GIG GUIDE

WEDNESDAY 12TH HOBART

Republic Bar & Café Haylee Cooper @ 9PM

Syrup 1st Floor 39 Salamanca Place 6224 8249

The Hub Open Mic Night @ 6PM

DEVONPORT

Spurs/Warehouse Stand Defiant + On Your Feet Soldier + Sunday Something Ruined + Broken Words – ALL-AGES @ 6PM Stand Defiant + On Your Feet Soldier + Sunday Something Ruined + Victory Avenue – 18+ @ 10PM

HOBART

WEDNESDAY 26TH HOBART

The Lof t 142 Liverpool Street 62316552

Brisbane Hotel Ambulance + Chi Roh

Metz on The Bay 217 Sandy Bay Road Sandy bay 6224 4444

Curly’s Bar Mr. Meaner @ 10PM

Alley Cat Bar The Trolls + The Chariot @ 9PM

The Alley Cat Bar 381 Elizabeth Street Nor th Hobar t 7000 6231 2299

Republic Bar & Café The Sign @ 9PM

Brisbane Hotel Turbo Deluxe + Red Rival

Proller 121 Collins Street Hobar t 0418 366 241

Syrup Rewind @ 9PM

Proller Smithmonger + Adam Turner

LAUNCESTON

LAUNCESTON

Republic Bar & Café Bomba @ 10PM

Lonnies Niteclub 107 Brisbane St Launceston 6334 7889 w w w.lonniesniteclub.com

Irish Murphy’s Shock Corridor

Syrup Matt Nugent (Syd) + Matt B + Gillie Nick C + Reme @ 9PM

QUALITY ISN’T EXPENSIVE AT

BARRATTS

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

YAMAHA PSRE213 A Great Sounding, Five Octave Keyboard

A Mere $199 Power Adaptor $32

104 George St, Launceston 6331 9355 or help@barrattsmusic.com.au

Republic Bar 299 Elizabeth Street 6234 6954 w w w.republicbar.com The Brisbane Hotel 3 Brisbane St 6234 4920 thebrisbanehotelhobar t@gmail.com

TUESDAY 25TH LAUNCESTON

Stage Door the Café Caitlin Corbel @ 7PM

R aincheck Lounge 392-394 Elizabeth Street 6234 5975

Kaotic

JetBLACK Entertainment Presents:

OZ HIP HOP

EVERY SAT NIGHT @THE LOFT 142 LIVERPOOL STREET

James Hotel Realit y N iteclub / James Bar 122 York St Launceston 6334 7231 w w w.jameshotel.com.au The Royal Oak 14 Brisbane St Launceston 6331 5346 S aloon 191 Charles Street Launceston w w w.saloon.com.au 6331 7355 The Hub 1Tamar Street Launceston 6334 9288 39 Bar Batman Fawk ner I nn 35 Cameron Street 6331 7222

ROCK SALT

JOE SUMNER

PLANE ALL OVER THE WORLD

By Tom Wilson B

S Sting’s son could so easily have gone on to a fruitful career as a video game player, had it not been for the fact that Joe Sumner is Sting’s son. With such a pedigree behind him it’s no surprise that Joe’s band, Fiction Plane, are currently on a world tour off the back of their second album’s release. It’s all part of the natural order of things, from the northern n hemisphere to the south, Joe gets right to the left of the brain matter… h

H are you guys holding up with all the touring, are How you getting homesick…? y Personally, not at all – I love it. I could just keep going.

P I do occasionally think I’d like to be back in London fo for this or that, but I’m not really fussed. It’s definitely what h we were designed for, as people, as individuals, we were designed to travel, to keep going and today we have a very rare day off which is kind of nice but it’s also like, “What the f*ck are we doing?” It suddenly becomes really depressing because we’re like, “Aww, we’re not working today!” – I can’t handle it! I think we’ll have a couple weeks off for Christmas and then our bodies will tell us at that point that you need to have a rest…

With your ability to stay constantly enthusiastic on tour, I guess it’s pretty fair to say that you’re your father’s son?

Yeah, in that respect, definitely – we both go a bit mental when it’s break time. A lot of people do seem to complain about touring, saying it’s so hard, couldn’t handle it… I just think they’re mental. They don’t get it!

Let’s go right back to the beginning when you were kid – what are your memories of being exposed to music? Your father’s profile must have played a big part?

Not so much. I wasn’t really… when I was three, four years old my main memory is that of a lot of weirdoes and hangers-on and the kind of bullshit that surrounds music; it wasn’t really music at all. I don’t know what that world is called – it’s called the World of Weirdoes! My main exposure to music when I was a kid was really just video game music because I played video games and kept myself to myself, very much. After that, I went to a show when I was about twelve and there was a band there, The Special Beat – it was half of The Specials and half of English Beat and I really liked them. That was the first band where I was, “Ohhh… I’ll be in to that band!” – [but] I couldn’t quite cope with the fashion and then grunge came about so I thought I can be in to that because I looked like that anyway, kind of a slovenly, long-haired, no-effort, you know, random clothes person, which was quite good! I just totally fit into that scene. It was a bit weird. I kind of grew up not knowing who Pink Floyd was – that’s strange. I was probably about eighteen I think [when I first heard them]. I missed out on lots of music when I was a child because I just wasn’t interested.

What’s the story behind the title of the album, Left Side of the Brain?

A couple of things, really - The song - a friend of mine was sick. He had a tumour on the right side of his brain. Kind of the idea of the song is that he only had the left side to be getting on with. The other part of that is that the left side of the brain is to do with simple tasks that you can begin and end – logical things, facts, not emotions. When something like that happens

PAGE 18

where your friend is dying or whatever, I tend to go straight for the left side of the brain activities – I just do something else. That’s the time when I start thinking like, “Okay, I can do my taxes!” and that kind of became the whole thing for the whole album because the lyrics deal with a lot of emotional “stuff” like the right side tends to… when we actually play music, [you] literally kind of co-ordinate doing a physical kind of thing with the left brain – it sort of exercises, with all the pain and stuff and emotions and stuff like that. If that makes any sense to you…

… I KIND OF GR GREW UP NOT KNOWING WHO PINK FLOYD TS WAS – THAT’S STRANGE …

“

“

What’s been the biggest challenge you’ve had to face in your career as a musician so far?

Initially, it was not being very good! After that, it was trying to maintain some sort of integrity because that comes under threat like, every single day. Somebody says, “If you do this you’ll have a hit…” and it’s like, “Well, you might be right but I have to do what I believe in.” It’s very tricky to know… I was into Nirvana, all the things Kurt Cobain said about integrity and stuff like that… he was a bit contradictory and crazy.

That’s how I started out, you know – you’ve got to be true to yourself, you can’t sell out, you’ve got to have all these rules, and sometimes you don’t know if you’re just being spoiled or stupid. You could be adhering to your principles or you could be throwing away your talent – you never know. That’s been the hardest thing, just trying to get through it without selling out… http://www.MySpace.com/fictionplane Fiction Plane tour Australia from January 22nd to February 2nd.

To listen an MP3 of the full interview, go to www.sauce.net.au.

ROCK SALT

CHEEKY SOUND CHASER C

NEW MEMBER BRINGS SOME BASS TO THE PLACE

By Chris Rattray B

A while ago, a band started playing gigs at the Northern Club in Launceston – and in the time since, they’ve made themselves known far quicker than most. That name was “Cheeky SSound Chaser”. A blend of jazz trumpet, DJing, percussion and live vocals with a knack for rocking a party with the greatest of ease, they’ve now thrown another element into the mix … and the results should be very good indeed. We spoke to a musician who truly blows … trumpet. Say “hi” to Monty … m

T last time we talked to you, you were a couple The oof weeks away from recording something – how’s it been going?

Monty: Actually, we recorded something last week M at Th The H Hub. We have only heard about half-an-hour of the recording, but it sounded cool, considering it was pretty raw. I want to hear the rest now; we went off into some strange playing toward the end.

ahead. The idea is; if you want a solo, take it, but then leave room for someone else.

experience?

Quinny: That would be great, but pretty unlikely.

What other instruments do you see the band possibly needing in the future, or do you feel you have all “basses” covered (so to speak)?

Quinny: Maybe an electric drum kit or some keys – the sky is the limit.

What’s the cheekiest sound you’ve created lately?

Monty: Quinny pulled out an electric last week for the recording. That was cheeky. He then played some Dave Mustaine-like solos over the house music. It was cool – he’s brought a lot into the group. He was the missing fourth member that we finally found.

With the comedy team, The Chaser, off on a live tour of Australia next year, what are the chances of you guys hooking up with those guys for a fully cheeky

I believe your last gig was at The Hub – to what extent are you growing your fan base?

Kylie: It is quite surprising when we are not playing at home (The Northern Club) at the amount of familiar faces we see at all of our gigs around town. We have definitely done something slightly different in this place for the music scene. People really enjoy dancing or just sitting about watching all the chaos on stage. It’s free and improvised and makes you feel like dancing!

What plans does Cheeky Sound Chaser have for 2008 – got any New Year’s Resolutions?

Monty: Just more gigs. Private parties particularly; we have already got a couple booked. I also think we would all like to play an outdoor gig at some stage – any kind of festival or big party. I think we are all pretty happy to sit back and see what the New Year brings.

Cheeky Sound Chaser play the Northern Club in Launceston on the 14 th of December, the Royal On George on the 15th, and Irish Murphy’s on the 23 rd.

How have your live performances been going?

Monty: Better every week. We are playing twice as much as we were, and we are able to come up with new bits and pieces fairly regularly. We are getting asked about doing private gigs, so something has to be going right.

You’ve expanded your sound to incorporate a new fourth member – how’d you hook up with them and what do they do?

Kylie: We generally practice up at Joel’s house. One particular afternoon everyone had a jam, and Quinny rocked up with his bass. The boys really liked the sound, and we had often discussed incorporating another member – guitar/bass in particular. Quinny came to a gig and improvised and it seemed to work. People were receptive of the new member, and it really adds another dimension to our live improvised sound!

How has it influenced the rest of the band?

Joel: The music I play revolves around big bass lines. The bass guitar fills the sound and brings tracks together just like mixing records. Quinny mixes the bass lines and adds his own groove. With the bass I can stop tracks and he keeps playing with the other guys etc.

To what extent do you improvise or has the addition of a new member mean you’ve had to tighten up?

Monty: Good question. We can still improvise as much as we want. That’s the beauty of the group. Joel has been playing some different kinds of records lately just to change it up. It allows us all to alter our playing, so we don’t get to stuck in a format. Quinny can even bridge Joel’s mixing if he wants. Joel will take the record off completely, and Quinny can just keep the bass line moving

WE HAVE H DEFINITELY DONE SOMETHING SLIGHTLY HTLY DIFFERENT IN THIS PLACE FOR THE MUSIC SCENE. DIF NE.

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SUNDAY, SOMETHING RUINED S

IS TASSIE HARDCORE ON ITS LAST LEGS?

By Chris Titmus

P Practitioners of throat-tearing, high-velocity hardcore delivered without the slightest hint of restraint, Launceston’s Sunday, Something Ruined have, in their short lifespan, made themselves impossible to L ignore … particularly given they’re currently touring around the state with punk heavyweights Stand ig Defiant. It’s just a pity that the state’s hardcore scene is dying, as they recently told Chris Titmus …

D With th this tour being your first “official” tour, how’s it been?

Touring is awesome, but we usually pull up sore-as after just the first show. We have done other small tours and stuff around Tassie with a few mainland and international bands, but this one will definitely have to be the best one coming, due to the promotion and the bands playing. Touring is perfecto; we end up coming back smelling like shit and hungry – mainly Lenny, due to him packing one pair of undies and ten dollars on tour.

Devonport is easily one of the most sublime crowds to play in front of. Launceston is losing interaction with the bands at shows. Hobart’s icy cold winds off the mountains seem to blow the crowd into the venue, but sometimes it feels like they find it hard to listen to something new. Also, we’re hoping to set sail across the fat Bass with a few scallywags to play with our Melbourne band buddies.

What got Ruined on Sunday?

Some of us don’t happen to agree with the church.

You’re a very young band, and you already have a demo, which is a great example of talented young hardcore music.

What’s the future hold for Sunday, Something Ruined?

Well, the demo was going to be a rough EP, but we didn’t officially release it. All you have to do is ask, and we will burn you one or something. We are looking at merch at the moment; getting designs and prices, etc. We are also doing an album next year hopefully, so keep your ass peeled, because it’s going to have its way with you.

Do you find that it is getting harder and harder to create music with your own unique sound, with so many hardcore bands forming?

Yeah, we’re kind of like that on the demo, but have steered away, and [are] trying to just think of original material – like, weird shit … whether the people listening like it or not.

How did you guys get together?

S.S.R. formed back at high school, with a different vocalist and several name changes, just doing a few public gigs and school stuff. We broke up during grade ten and reformed with Will as our new vocalist early this year.

When do you think the world will be introduced to an official album?

Hopefully at least by the end of next year – if we get the dosh, and if people come to the shows and support this wonderful, wonderful thing.

What’s your opinion on the current state of the Tasmanian “hardcore scene”?

When you refer to the “hardcore scene”, there isn’t much of one in Tassie. There are heaps of metal bands around though, but the thing is that kids don’t go to the shows any more, so, in our opinion, it’s dying. There are the people who are always at the shows, which is awesome, but more people have to support the local music scene, whether it is metal or not.

Sunday, Something Ruined play with Stand Defiant and On Your Feet Soldier at Spurs in Devonport on the 21st of December, Hobart’s Brisbane Hotel on the 22nd and 23rd, (all-ages and licensed shows).

What’s you opinion on kids that tend to follow the personalities of the band, as opposed to the music itself?

It’s ridiculous, mainly because they don’t even have a passion for the genre. It feels hard sometimes to get fans that actually listen and enjoy the music, rather than just being cool or whatever.

Where has most of your inspiration to play hardcore music come from? If you weren’t in the band, would you listen to Sunday, Something Ruined?

Our inspirations have basically come from hearing music we like, and trying to do our own thing with the style. We would give every local band a listen.

In one word describe the music you play?

Gaycreampie!

www.MySpace.com/sundaysomethingruined

When You Refer Wh To [[The Hardcore Scene], There Isn’t Much Of One In Tassie … In Our ur Opinion, It’s Dying ying

“

“

ON YOUR FEET SOLDIER O

COME WITH ME IF YOU WANT TO LIVE

By Tom Wilson

Ta Taking inspiration from James Cameron’s Terminator is nothing to be taken lightly. Like the titular character, you’d want to make sure you were intense, driven, unstoppable, and very, very metal. Thankfully, Hobart’s On Your Feet w Soldier have got all those bases covered … mostly with the bodies of some very dead Orcs.

So How did On Your Feet Soldier come together?

What p projects were you each involved in prior to this?

We start started jamming around December last year, bbutt we started getting serious around the start of this year. The band came together through an older band that some of the other members were involved in. Alex and James (drummer and singer) were in bands throughout high school and college which led to the starting of this band.

carved into her chest. Who’s idea was this? What do you think it says about the band?

[Laughs] This is funny, as the girl didn’t carve it onto her chest, and people have asked us about this before. I strongly don’t endorse any type of self-harm.

… WI WITH MY ALLIANCE WIT BROTHERS, WE WILL BROT RID OUR GLORIOUS What releases do you have out? What do you have in the pipeline?

LAND OF THE E We don’t have any releases at the moment unfortunately, but we are planning to hit the HORRID ORCS S… studio around mid ‘08 to record some tunes.

There are some rough demos up on the MySpace that we recorded ourselves. They might make it onto a release, but, at this stage, nothing is set in concrete.

Who have been some of the guitarists that have influenced you, and why?

The most influential would have to be James Hetfield/Kirk Hammett – they’ve had the biggest impact on my playing. Muhammed Suicmez (Necrophagist), Paul Waggoner (Between the Buried & Me) and Claudio Sanchez (Coheed & Cambria) have influenced me also.

Your featured photo on your MySpace is a rather emo-looking girl with the band’s initials

PAGE 20

Where in the state have you played your best gigs?

And do you think their location was a big factor in this?

“Best gig” really has two meanings for us – best gig where we’ve played tight and solid, and also best gig where we’ve had the most fun. I’d have to say the best gig in my opinion would have to be supporting Behind Crimson Eyes back in June. I think we played well, and the crowd really enjoyed us and were having a good time.

You’re about to support Stand Defiant. What do you think are the chances that Mischa will offer to sign you?

The chances are slim that we’d get signed, as I don’t

think we’d really fit the Disconnect Records roster very well. But we’re really excited for this tour, and thankful Stand Defiant chose us to tour with.

I was overjoyed to see that you take influence from my favourite movie franchise of all time, The Terminator.

If you had a T-101 [the Arnie model] for one day, what would you make him do, and why?

There are so many things I would want it to do, but there is one thing that I’d have to choose, and that’d be for him to play footy with us. [Laughs] What do you do with yourself outside of the band?

My “real life” is within the wonderful World of Warcraft.

Azeroth is my homeland, where I, a Paladin, guardian of the Holy Light, battle against the vast armies of the Horde.

With my Alliance brothers, we will rid our glorious land of the horrid Orcs and their followers.

What’s on the cards for next year?

We’re hoping to play more shows, get into the studio, put out a CD and, most of all, just have fun and enjoy ourselves.

On Your Feet Soldier support Stand Defiant at Spurs in Devonport on the 21st of December (all-ages and licensed shows) and Hobart’s Brisbane Hotel on the 22nd and 23rd. www.MySpace.com/onyourfeetsoldier

BEHEMOTH B

BIGGER THAN JESUS

By Steve Tauschke B

RELIGION IS D DEFINITELY THE CAUSE OF THE CRUELLEST SH*T THAT WE DO TO T’S A EACH OTHER. IT’S FACT …

Nergal, icy-voiced nucleus of Polish metal heathens Behemoth, has metal in his heart and philosophy in his soul. And to prove it, he’s bringing the band he formed as a spotty teenager to Australia this month for the second time. Steve Tauschke chats to the blackened one.

You’ve been on the road since April and recently completed your first co-headlining tour of the US – anything crazy to report?

Well, I met this couple in Texas, and instead of a marriage ring they got Behemoth tattoos, both of them on their legs. And when I saw that I thought, “Wow, that’s crazy.” It kind of proves to me how much impact this band has on people.

I believe you’re a pagan – why paganism?

Because it’s the closest to nature, and nature is the perfect expression of … you know, if you get close to nature then you pretty much get close to yourself. Nature reflects what human beings are all about. There’s one huge energy and we’re part of it, and if we respect nature then we respect that energy and we respect ourselves.

So are you closer to knowing yourself than when you formed the band as a kid?

Definitely! Back then I was searching for answers, and I remember thinking I knew everything. But then, the more experience you get, the more you learn about the world and yourself. Then, at the same time, the more you know, the less you know. The further into the forest you go, the more trees you see, and I think that’s a prefect equivalent for what life is all about. The more you explore it, the more doubts you have, the more questions enter your head. It can be confusing in a way.

MOHAWK

What’s Behemoth taught you about life?

Well, several things. That I should pretty much depend on myself, and that’s why I do most of the stuff in Behemoth. I do have this philosophy that I should do everything myself, so other people cannot f*ck up things, and I want to take responsibility myself. I try to be as independent and as assertive as possible.

You’ve claimed there’s “more speed, aggression and blasphemy than ever before” on this new record.

Religion is definitely the cause of the cruellest shit that we do to each other. It’s a fact, and if people want to argue about facts, then they’re stupid. So that’s one of the messages we try to bring with our lyrics and our music. What can I say? I’m from an extremely Catholic country – a country that lacks reflection and deep thought. It’s Catholic for the sake of being Catholic.

I can have respect for religious people – what I’m saying is that religion is not really needed to achieve happiness of satisfaction. I have interest in religion and spiritualism, but I try to balance it my own way. I have my own thoughts and philosophies, which are eclectic actually. I couldn’t put it in one or two sentences. I’m just not a follower, and there’s no group I swear to, and no ten commandments that I stick to in life.

So where do elements of the occult fit with Behemoth?

To me, occult or magic is pretty much daily life, but it’s up to you how you’re going to see it. Neitzke once said it’s all about interpretation, and how you see things, that shapes your point of

view. And I try to do that with Behemoth. But if you’re talking about occult rituals, I have my casual daily rituals, but don’t expect pentagrams and shit like that. [Laughs] Here’s me imagining you to be a metal night stalker …

I don’t really fit the metal guy thing. I don’t look like a metal head. I have metal in my heart, and I live it every day, but I’m not a metal head who drinks beer every evening and listens to metal every evening. [Laughs] I heard Behemoth was banned in Poland by the Committee for the Defence Against Sects! Is that true?

We are, although there have been attempts to stop us from playing live. Apparently they failed, because we just did a very successful tour here in Poland. It was the biggest metal tour here in this country for years.

So why is metal huge in Eastern Europe?

I can tell you that metal is pretty much popular anywhere – maybe not in India or China, but it’s massive in Europe. I think it has something to do with the intensity of life, and the relationship a metal head has with his life. Maybe there’s so much frustration in life today, and the possibility of identifying with what heavy metal music is all about and its energy. I just know that when I was pissed off and had my dark periods, metal would really keep me alive and keep my faith and spirits up.

Behemoth are touring Australia this month.

BUMTUCK B

MAKING THE ELDERLY SPEW

By Tom Wilson B

It’s time once again to drink beer and bang your head, going steadily deaf and loving every minute of it. It’s time to witness three guys with (apparently) shaved bums take to the stage and prove that rawness is next to godliness. It’s time to have a word with bassist/vocalist Glenrowan Rotten. It’s time to shut up and read on.

S what have you pricks been up to, then?

So, 1186, 193 and 197cm respectively.

What has the band been working on, outside of playing W ggigs?

M Mainly i l our love of beer and shaving our bums.

You last spoke to us in June – in your eyes, how has Hobart’s live scene changed in the time since? And is it for better, or worse?

Hobart’s not the best scene for original music. You have Psycroptic, M.S I., I.H.R., Lost Hope, us, and a heap of copycat bands like any other scene. It doesn’t pay to sound like yourself down here, but if you want to sound like some pre-set sound or be a cover band, there’s cash to be made!

Why will you be Krusty Til’ You Die? ‘Cos we’re all too lazy to wash – it takes up too much drinking time!

The gig is called “Metal vs. Punk”. Who should we put our money on to win, and why?

The fans of both genres are the only winners.

IT’S A ALWAYS FUN TO MAKE MAK OLD LADIES DIES VOMIT.

“ “

If there was an actual war between metal and punk bands, what kind of weapons would each side have?

Good question – it’d be a brain-against-brawn deathmatch, that’s for sure Why are you all so frightfully ugly?

Punks don’t dress up, they mess up! Plus it’s always fun to make old ladies vomit.

What has been the worst experience you’ve had with alcohol?

Running out halfway through band practice.

Which Tassie musos make the best drinking buddies, and why?

The Superkunts, M.S.I. and Lost Hope.

What would BumTuck do with a million dollars?

We’d have to pay someone to kill you if we told you.

BumTuck will be paying someone to kill you at Hobart’s Brisbane Hotel on the 13th of December. www.MySpace.com/bumtuckrock PAGE 21

ROCK SALT

MAYFIELD M

OUTTA THE ‘BURBS AND INTO YOUR PANTS

By Chris Rattray

W When The Dead Abigails were finally, triumphantly, laid to rest there was tr nno doubt the lads would rise again oonto the scene with new projects and nnew sounds. First out of the ranks was former Abigails’ guitarist, Glenn w Moorehouse’s, Alien Existence, and M now it’s the turn of former Abigails’ vocalist, Carl Fidler, to introduce his new band, where funk meets disco and pop soul is in the house. Backed by some old faces and new players on the scene, ladies and gentlemen, please meet Mayfield…

So let’s get the name question out of the way straight up – why Mayfield?

Well, there are two reasons. First of all, I wanted to pay respect for the sound I borrowed for the new material. Curtis Mayfield was one of the greatest soul/funk songwriters ever to grace the earth, and we’ve tried to recreate the vibe he laid out for us in the 70s. For those of you unfamiliar with this guy, his most celebrated work was for the movie soundtrack to Superfly. The second reason is that I’ve always wanted a local reference in a band name. America does it really well as we’ve seen with the bands America, Chicago, even Texas from Ireland!

How does Mayfield’s material and vibe differ from The Dead Abigails?

It’s completely different. The Abigails were a straight-up pop band; Mayfield is all about 70s soul. There are still some pop elements in the songs, as I can’t seem to write any other way, but the material is more groove-based and very danceable. We touch on house, disco, and breaks.

What are the chances of ex-Abigails Glenn’s band, Alien Existence, and Mayfield sharing a bill?

I’m sure it’ll happen. Probably at the next multi-band night!

What lessons, if any, did you learn from your prior band that you’ve applied to this one?

Not to take it too seriously – keep it fun. There’s more emphasis on “playing music” with Mayfield; freedom to adlib and step outside the form of the songs. If Glenn wants to take another solo, then he can! Mayfield is also about keeping the crowd moving physically and emotionally.

We’ll deliver a tasty soul ballad and follow it up with a nine-minute dance epic!

Who is in the band and what do they bring to it?

Myself, Glenn and Coz from the Abigails, our new energypacked drummer Dane Leonard, Heidi McGuire on keys and trumpet, and two of the finest back-up vocalists/divas, Juliane Di Sisto and Jade Howard.

How’d you go about assembling this crack team of musicians to bring alive your new artistic vision?

Coz mentioned years ago that he wanted to start a funk band. He’s been a dedicated fan to that style for longer than I’ve known him, so I knew he’d be keen. Glenn and I have been writing songs together since before the Abigails.

Glenn helped develop these songs with me, so I knew he’d be keen! Dane was a blessing to everyone after Randall left for the UK. He stepped up and filled all of Randall’s gaps quite nicely. Heidi was a wonderful addition – she’s very busy playing with a lot of other bands, and multi-talented (keys, trumpet, vocals and guitar!). Glenn works with Jade in a cover band, and I’m not sure how he knows Jules, but he found her. I handed out demos of the tunes that I had recorded, and everyone seemed instantly keen to join in.

How do you think Mayfield’s music can be applied to seducing members of the opposite sex?

Mayfield is all about the love! We’ll do the hard work, and you can step in later for the prize …

Give us a sneak preview of the set list. What are the three of your favourite tracks, and what’s the story behind their creation?

At this stage they’re all favourites! But if I have to choose, Bumpity (The Stone Roses meets club disco) is about returning to the nightclub scene only to find it filled with young drug bunnies and realising that you already had the best vibe at home with your friends dancing to music you actually like! Fight For Love is about reclaiming the power from an abusive relationship.

It’s a little bit James Brown and a little bit Tina Turner!

Winter Warmer is a six-minute Barry White lovemaking epic! I went for particular flavours this time. I’d hear a classic soul track and think, “Man, I’d love to play a song like that.”

To what extent does Mayfield pay homage to music you’ve not had a chance to explore in prior bands?

I’ve said this many times, I feel that the Abigails built themselves into a small box for their sound. We couldn’t play outside of pop/rock. But anything goes with Mayfield.

We’ve got soul, funk, pop, house, disco, and breaks so far. I’d like to go for something Motown next. There is a constant theme between the songs so as to keep it all together, but the styles and influences come from everywhere. The vibe is really about keeping the crowd dancing and entertained.

What’s your ultimate goal with this new endeavour?

To whip the crowd into such a frenzy that they fall into a drunken orgy at the front of the stage. Actually, it’s just to have a great time playing music that feels good and to give the audience a great night. Dance baby, dance!

Fight for love, and get bumpity with a winter warmer with Mayfield at their debut gig - Irish Murphy’s, 10:30pm.

PAGE 22

…M MAYFIELD IS ALL ABOUT THE LOVE! ABO WE’LL DO THE HARD WORK, AND YOU CAN STEP IN LATER FOR THE HE PRIZE …

Supported by the Tattoo Studio

INK OF THE EDITION

A LITTLE HISTORY ON TATTOOING Tattooing has been a Eurasian practice at least since Neolithic times. Ötzi the Iceman, dating from the fourth millennium BCE, was found in the Ötz valley in the Alps and had approximately fifty-seven carbon tattoos consisting of simple dots and lines on his lower spine, behind his left knee, and on his right ankle. Other mummies bearing tattoos and dating from the end of the second millennium BCE have been discovered at Pazyryk on the Ukok Plateau. Tattooing in Japan is thought to go back to the Paleolithic era, some ten thousand years ago. Various other cultures have had their own tattoo traditions, ranging from rubbing cuts and other wounds with ashes, to hand-pricking the skin to insert dyes.

Tattoos have experienced a resurgence in popularity in many parts of the world, particularly in North America, Japan, and Europe.

The growth in tattoo culture has seen an influx of new artists into the industry, many of whom have technical and fine art training.

Coupled with advancements in tattoo pigments and the on going refinement of the equipment used for tattooing, this has led to an improvement in the quality of tattoos being produced.

During the 2000s, the presence of tattoos became evident within pop culture, inspiring television shows such as A&E’s Inked and TLC’s Miami Ink and LA Ink (Tattoo TV). The decoration of blues singer Janis Joplin with a wristlet and a small heart on her left breast, by the San Francisco tattoo artist Lyle Tuttle, is taken as a seminal moment in the popular acceptance of tattoos as art.

Next Issue we will drill Avery From the Tattoo Studio about why you should think ink

PAGE 23

BANGERS & MASH

THE HEAT T

WAR LED TO IGNITION

By Carlisle Rogers

T Heat’s J-P says their sound has earned them gigs from underground to popular clubs, because it’s pure party music, not genre tunes. Signed to London’s Love is War label, he The aand bandmate Jonny were playing a gig in Sydney last NYE, and Marcus J Knight from Ignition just happened to be in town.

“H was talking to us when we were playing down at “He Hugo’s,” J-P says. “He heard some of our stuff, went H to our MySpace. We put a new track up there, which he later signed to the label. It was just that easy.” la

WE DON’T W R E REALLY FALL INTO ANY GENRE, WE JUST TY Y PLAY PARTY MUSIC

J-P attributes the band’s success across the club sphere to Jtheir ability abi to straddle or even transcend pre-packaged sounds, delivering pure good times. “We just play live electronica.

We don’t really fall into any genre; we just play party music.

Whether that is banging electro sounds, tech or eighties disco, we will drop it if we think it will work. The advantage of seeing people do live stuff is you get to see something a bit different, not just spinning records.

We’re editing and mashing stuff up and playing live synths and vocals and effects. It’s something visual as well as the music.”

Together for a little over a year, they have scored residencies, festivals and remix work galore, the latest being their Sneaky Sound System remix, which is bringing their name to the right lips. “Basically, we like to rebuild a track from the start up, and only reuse the vocals.

We try to do the opposite of just editing, and create a whole new track as if we were the producers in the first place. We try to build it from scratch up, sometimes without even listening to the original track if we can help it. When you have vocals, you have the opportunity to totally rebuild something new and take it in a different direction, which I think is the purpose of remixing. It might be a really club track, but they might want different versions to get into different audiences. So we always try to rebuild it to reach people the original would not have.

“With original tracks, we just try to come up with eight bars of music, a good hook. And we just build things around that. We have a lot of unfinished tracks that are just good hooks, eight bars of music.

The next step for us is just to go back and extend that out.

There are a couple of different ways it happens. Either you think of something in your head while you are walking down the street, and then it’s a matter of transferring that idea into your software. Or there is the case of jamming on the keys and something will often appear.

You just play around different patches, and you’ll hear something that sounds really cool. And you hold that thought and put it down. That’s the two ways it always seems to happen for us.” www.MySpace.com/theh3at

Republic Bar & Cafe

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

Dave Larkin (From Dallas Crane) $10 9:00pm

FRIDAY 21ST & SUNDAY 23RD DECEMBER

Bomba

PAGE 24

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AMALI WARD (EP Launch) + Unleash The Nugget $10 9:00pm THE EVENING DOLLS (Album Launch)+ Ballpoint 9:00pm THE ROOBS $3 10:00pm SUGARTRAIN $3 10:00pm BRIDGET PROSS 9:00pm DAVE MANN + SIMON PHILLIPS 9:00pm THRUST $5 9:00pm DEAN STEVENSON AND BAND 9:00pm DAVE LARKIN (From Dallas Crane) $10 9:00pm BOMBA $12pre/$15door 10:00pm PEGZ + Heads of State + Diafrix $24 10:00pm BOMBA $12pre/$15door 9:00pm HAYLEE COOPER 9:00pm CLOSED FOR CHRISTMAS. MERRY CHRISTMAS!

ER E R

THURSDAY 20TH DECEMBER

BANGERS & MASH

MATT NUGENT M

SYDNEY DECK-HEAD TO RAISE THE ROOF AT SYRUP

By Tom Wilson

M Nugent is one of Australia’s most in-demand DJs, holding down high-profile Matt residencies at two of Sydney’s leading club nights; Onelove at Tank and the re legendary Chinese Laundry, as well as various guest spots around Australia. Originally making a name for himself in Brisbane, with residencies at Family, The Empire, Monastery and Viva, as well as playing at pretty much any club or one-off party worth going to. Matt has mixed it with the cream of the crop at his club gigs, and during the national summer festival circuit at Good Vibrations, Summerfieldayze, Vibes on a Summers Day, Two Tribes and more. At these large events and at his club gigs, Matt became the go-to man to play warm-up, or play directly after international touring DJs whenever they hit town.

GOING DEAF SCARES ME – LOSING MY HEARING WOULD TOTALLY ALTER MY LIFE

Although predominately a house DJ, Matt is very versatile across various genres of dance music, so promoters know they can slot him in pretty much anywhere and he’ll still come packed full of surprises – something he did to the delight of the evening crowd during 2004’s Good Vibrations Festival sandwiched between two acts as contrasting as Nitin Sawhney and Moloko, and then again between Arrested Development and Mylo in 2005. Matt has twice been nominated as best Brisbane DJ in the Australian Dance Music Awards, and rated number two in Brisbane, and among the top 50 DJs in Australia through the popular voting competition on inthemix.com.au.

Ahead of his set at Syrup in Hobart this month, Matt spoke to SAUCE on everything from his recent production work to his greatest fear …

What’s the scene like in Sydney at the moment? What’s popular? And what seems to be on the way out?

It’s pretty strong at the moment – heaps of different little club nights popping up. The whole Bang Gang phenomenon is still huge, so noisy indie dance stuff like Justice, SebastiAn and the stuff on Ed Banger, and French stuff like Surkin is massive. The fidget house sound of artists like Sinden, Herve, Switch etc. has pretty much taken over and killed the breaks sound. Tech house seems to be coming back in a big way in the more underground clubs like Chinese Laundry, and that whole Deadmau5, Chris Lake, Dave Spoon sound is popular in the big rooms like Onelove.

What production work have you been doing recently?

Have just had two remixes come out – one for Scenario Rock’s Skitzo Dancer and one for Jeff Drake & Nash T’s Rollover Rockstar. Have also been working on an original track that’s coming along nicely.

What are you most proud of achieving this year, and why?

I guess having a couple of our remixes hit the top five of the ARIA club chart, and seeing one make it on the Ministry of Sound Discotek CD was pretty cool. My mum was pretty stoked when she heard our remix that we did for the Potbelleez get played a lot on Big Brother. I’m not sure how I feel about that. [Laughs] What’s one lesson that you learned?

Try to only take carry-on luggage on flights when DJing interstate – that way you only have to be at the airport fifteen minutes before your flight.

Both in music and in life, what scares you, and why? And how does that fear affect what you do?

Going deaf scares me – losing my hearing would totally alter my life, as it currently revolves around music and what I hear.

What do you remember about the moment when you were first inspired to start DJing?

Hearing Terminator X scratch on Public Enemy’s It Takes a Nation Of Millions To Hold Us Back album. I wanted to be able to do that. I still can’t scratch like that, though … Also watching Ken Cloud from Poxymusic DJing one night when I was about sixteen – he was playing all this cool shit I’d never heard before in my life, and had the whole room rocking.

What equipment setup are you using these days? And how has it evolved since you started?

DJing-wise, mainly two CDJ100s and Technics 1200 turntables – less and less these days, unfortunately. I’m a vinyl junkie, so I kinda miss the format. I’m interested in switching to Serato though – have had a bit of a play around on it and like it. Abeleton is great, but I’m not sure I like it in a club environment – seems to take a bit of the soul away from DJing.

You’re playing in Hobart on the 21st. In your experience, how have your crowds down here been different to those on the mainland? How are their tastes different?

I’ve only played in Tassie once before, and that was in Launceston, so I’d imagine that Hobart would be different again. I think I’ll hit Gillie up for some advice – everyone says he’s the man in the know down there.

When touring, what’s your most important possession, and why?

I used to say record bag, but now my CD wallet for sure. It has my music and headphones and toothbrush; you can lose all your other bags ‘cause clothes and stuff are replaceable – your music collection is essential.

What are your plans for next year? What would you most like to get accomplished?

Really want to nail a few original tracks with my production partner Nick Galea; we’ll keep working on remixes, but [I] really want a couple of original tracks out.

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Matt Nugent plays Syrup in Hobart on the 21st of December.

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

Pegz Republic Bar - 22nd December

The Soundscape Festival

Juggling & Circus Equipment available here!

Domain Regatta Grounds 26th January

John Butler Trio & The Waifs Botanical gardens - February 10th

Tribeadelic Gathering

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Melbourne - 29th dec - 1st jan

16th February

Qbert

Southern Roots

Halo - 29th December

Botanical Gardens - 23rd march

PAGE 25

BANGERS & MASH

NIK FISH

Nik Fish – born, bred and based in Sydney with a career spanning fifteen years – is renowned for his work on several musical platforms including DJing, studio production and dance music radio. Nik is arguably one of Australia’s most popular and wellknown DJs, travelling extensively, performing in all states and capital cities, as well as appearing in regional centres. His fan base can be attributed to delivering long DJ sets (up to three hours), working hard behind and on the decks, watching and reading the crowd, and putting on an energetic performance, physically and musically.

He releases DJ mix CDs regularly and tours to promote them, which, in turn, sees every guest appearance drawing capacity crowds wherever he plays around Australia.

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5

BANGERS & MASH

THE PRESETS

K Kimberley Isaac Moyes was but a yyoung man, small of stature but big oof heart, down on his luck, doing the odd performance in a downtown th ggay bar and eating anchovies from tin ccans discarded in the alley behind a local Italian restaurant, putting all his lo dollar bills in a pillow, with the dream to one day have enough money to buy a Moog synthesiser.

Julian Hamilton was the new bus boy in said food joint – robust and ambitious, taking out the trash and sweating like a malaria-ravaged wrestler, when he one day chanced upon poor Kim out the back, sucking on those oily little fish like hed never tasted such a delicacy.

These encounters out the back of Luigis Linguini And Pasta Allsorts became regular, and led to the occasional lunch date, when Julian would not only smuggle Kim a fresh can of anchovies, but would even share his own chef-cooked meal.

The boys found friendship over faggotini, had leisurely lunches scheming up ways for Kim to stay one step ahead of the Child Protection Services who longed to send the delinquent off to an orphanage in Mongolia, they dreamed of the myriad ways Julian could swindle his evil boss Luigi, and held heated debates about their shared passion – music.

It was in these early days that Kim and Julian realised their meeting had been fateful, and that one day they would make good on their shared desire to make moody, crisp electronic future pop.

If youve ever wondered what they might play when youre standing there staring at the fork in the road between heaven and hell, this could be it.

The Presets play MS Fest in Launceston on the 16th of February.

JOHN COURSE

John Course has been a leading DJ and figure in Australian dance music for over fifteen years. During the late 80s and early 90s, John was primarily associated with the Chevron nightclub, where he was resident at successful nights like Sanction and Insanity. During this period he also won the Victorian DMC Mixing Competition twice and played at Chasers, one of Melbourne’s first clubs to embrace the emerging house music sound with John being one the first local DJs to champion its cause.

Aside from DJing, John is one of the people behind the Vicious label, co-owned with DJ Andy Van and Colin Daniels. Also, alongside partner Andy Van, the pair have lent their remixing talents to a host of Australian and international artists including remixes for Defected UK, Todd Terry’s Sound Design label, GT, Edison Project, XLR, Pendulum, Bubbleman, The Astral Project, Foreal People, Sgt Slick, Madison Avenue and Dead Or Alive just to name a few. Together they also mixed A Night Out with John Course and Andy Van, which was an upfront selection of house grooves released in 2001.

John Course, as you would expect for somebody who has been behind the decks for so many years, has supported and played alongside many international DJs. He has graced the turntables alongside people like Roger Sanchez, Richard F, David Morales, Harry “Choo Choo” Romero and Felix Da Housecat. John has also played the main stage at Melbourne’s massive Summerdayze party on numerous occasions.

As well as playing each Saturday at Onelove, John is regularly in demand for guest spots at one-off parties and major house music events both in Australia and across the globe.

GOODWILL HALLUCINOGEN KID KENOBI Goodwill is a DJ/producer whose career reads like the last decade of Australian Dance Music. Starting out as a young buck with compatriots Kid Kenobi, Ritual and Q45, with a mutual love for breaks and rhythm, it didn’t take long for this DJ to discover house.

Hallucinogen is the stage name of Simon Posford, specialising in Goa trance music from England, who’s early work was as an engineer on the T.I.P. (Raja Ram) and Dragonfly (Youth) labels.

His first album, Twisted, was one of the most widely influential electronic music recordings which helped to define the Schooled by Sydney’s finest, Goodwill has held a sterling list of psychedelic trance genre. The follow-up album, The Lone residencies, including Home’s main floor for five years, Tank, Deranger, only cemented his influence.

Family, and a continuing residency in Melbourne at One Love, where Will has gained a large following for his action-packed From then on, Posford ventured into numerous collaborations sets. with other artists. His most notable projects involve artists such as Raja Ram (Shpongle), Martin Glover (Celtic Cross) and His DJ performances today are full of original tunes, pre-release Prometheus AKA Benji Vaughan (Younger Brother). records, edits and exclusive mixes of up-front house, electro and techno. Goodwill’s technical ability shines in his shows, Though pooling his talent from a host of worldly influences, with the use of Pioneer CDJ 1000s being looped and worked many of his fans will attest that he has the “Posford Touch,” a to their full effect. certain unmistakable quality to the sound of his music that is revered by psychedelic and electronic enthusiasts from around Goodwill has played an envious list of guest spots over the the world. He is renowned for his meticulous production skills years, and continues to be the DJ in demand at festivals and the multi-layered depth his music has.

Australia-wide, with repeat performances at the Falls Festival, Big Day Out, Good Vibrations, Livid, Splendour in the Grass, Simon grew up in the village of Chobham, Surrey. While Mobile Home, numerous Jamiroquai dates and Summerdayze, attending the nearby Woodcote School, he played keyboards in where his sets are always ones to remember. his first band, “The Electric Light Failure.” Later as a teenager, he experimented extensively with home recording, first on a It is Goodwill’s diversity and experience that has also seen him four-track portastudio and later with a Tascam MSR-16 16-track support almost every act imaginable. It is a regular occurrence recorder. for international guests to request Goodwill to support due to his consistency and knowledge of DJing. Support highlights He is also the founder of Twisted Records, which is one of the include Erick Morillo, Roger Sanchez, Groove Armada, Darren most influential psychedelic trance record labels.

Emerson, Jamiroquai, Tim Deluxe, Sasha, Adam Freeland, Crazy Penis, Mylo, Tiefschwarz, Fatboy Slim, Underworld and Hallucinogen plays Hobart’s Brisbane Hotel on the 15th of many more.

December.

There’s no disputing the transient nature of the DJ – many hopefuls come and go, but few actually remain. You could attribute this to one of many vague criticisms of the dance scene, but the truth is DJs who quickly and quietly sink into obscurity just don’t have what it takes. When the lights go on, the job isn’t all guestlists and groupies, and not many people love the job that much to persevere.

Jesse Desenberg does.

It’s been a decade now since he began DJing as Kid Kenobi, and during this time, his contributions to the Australian dance scene can be matched by few of his peers. A quick look at his rap sheet shows he was voted Number 1 DJ in the Technics InTheMix Top 50 three years in a row; he’s chalked up so many mix CDs for Ministry of Sound Australia they made a special Sessions series for him; he’s even got a Dance Music Award under his belt for his remix of Green Velvet’s La La Land. Most people don’t achieve so much in a lifetime, but for Kid Kenobi this is still the beginning.

Last year literally took Jesse around the world. His itinerary read like a Lonely Planet guidebook, only with better nightlife recommendations. From Brazil to Canada to London to Cologne to Shanghai to Paris to San Fran Cisco, the more he travels, the better he gets, the more he gets booked, the more he travels and so on. His popularity just continues to snowball, so if he comes to your town in 2007, make sure you don’t miss him.

Kid Kenobi plays with Hook N Sling at Launceston’s 39 Bar on the 22nd of December.

Goodwill plays Syrup in Hobart on the 14th of December, and MS Fest at Launceston’s Inveresk Showgrounds on the 16th of February. www.myspace.com/djgoodwill

John Course plays Syrup in Hobart with Goodwill on the 14th of December.

PAGE 27

BANGERS & MASH

T-REK T

ATTENTION, COMRADES! IT’S THE PEOPLE’S DJ!

By David Williams B

It been a long night for T-Rek. But it’s fine – he’s used to it. On the release of his latest double-disc addition to the Freakshow series, he had a pre-morning-coffee chat to me about It’s internet downloading, and being “the people’s DJ.” in D you just get up?

Did Ah, a little while ago. How can you tell?

A

all together and all the DJs whinge because they want it separately ... and if you have it separately, then it’s a bit boring for people who aren’t DJs and aren’t going to try and mix it into other music. So it’s a little bit of everything for everyone.

[L [Laughs] Well, you are a DJ after all, yeah?

Oh, it’s not so much because of that. It’s more because I O work in the studio until six or seven most mornings. w

An everyman sort of approach?

That’s it. It’s the people’s record! [Laughs] I’m going to run with that! I did an interview last night, and I was talking about the genre of Freakshow and the concept of it, and saying that people can make up whatever they want to go with it.

He’s like, “So, it’s kind of like everyone’s genre?” I’m like, “Yes – it’s the people’s genre!” So everything from now on is going to be “the people” - I’m “the people’s DJ” creating “the people’s music,” and this is “the people’s release.” [Laughs] This should come off real bad in the interview – I should probably shut up now!

Is that because you prefer to work at night, because nobody else rings you on the telephone, or pops over to see you?

Spot on. Spot on, my friend – absolutely nailed it there. Yeah, that’s exactly what it is. I mean, I work right through the day now on the computer, working on stuff. But yeah, I try to do all my business-sort of back-end stuff during the day, because that entails a lot of phone calls and emailing people.

Then, when the phone goes down, everyone stops ringing, and then I get into the creative side of it; although last night was not creative at all. I was doing really, really boring stuff for about twelve or sixteen hours! [Laughs] I haven’t had my coffee yet!

“

I’m “the people’s DJ”

creating “the people’s creat

What was it? That you weren’t being very creative? Or was it just some sort of process stuff that you had to go through?

Yeah, it was process stuff that I had to do. I was being extremely productive, but not very creative; it’s not work that needs creativity, so just paperwork and endless emails, things like that. [Laughs]

“the people’s release.” ease ”

I went to Beatport.com and looked at your other releases, and I couldn’t actually see a Freakshow Disco Volume One ... ... Because there’s a few remixes on the first album as well which are from overseas artists, I’m still in the process of clearing the two or three international tracks, on that last album, for a worldwide license.

Congratulations on Freakshow Disco volume two and three – not just two, but also three as well.

Yes, why not? Make it two-for-one! [Laughs] How come? This is the first double-disc you’ve put out, isn’t it?

It is a double disc, but in some ways, I don’t really see it as a double-disc, because it’s really just that I had, over time, sort of collected a bunch of songs that people have remixed for me. So really, that second disc was more or less to be filled up with tracks that people had remixed for me, and then, just to kind of throw it a bit more, I threw a few other extra bits and pieces of mine in there.

At the moment … I could put it up there at the moment, and make it available – when you click on it in Australia, you can buy it and download it, but then, if somebody in America tried to download those tracks, they wouldn’t be able to get them.

It’s a bit of a drawn-out process. It’s the same with this new album at the moment. Like, I could put out this new album – next week, when it comes out on Beatport – and people will be able to buy the bulk of it all over the world, but then [there will be] specific tracks that they will only be able to buy in Australia, you know what I mean?

So basically, the first one is set up as a DJ mix kind of thing – well, more for people who aren’t DJs to listen to, because it all kind of runs together – and the second one ... the tracks were all kind of isolated specifically for DJs to take out and stick in their CD wallets.

To listen to an MP3 of the full interview, go to www.sauce.net.au

BANGERS & MASH

I’ve found in the past, whenever you do one CD, you always get the other half whinging if you do it, and you mix it

MATT B M

RESPECT ON THE DANCE FLOOR

By Chris Rattray B

M B’s experience and expertise as a DJ has seen him play at all the best clubs and events around Hobart town over the last eight years, but as life commitments pull him away Matt hhe’s playing a little less frequently… but that just means that going to one of his nights is just made all the more special, writes Chris Rattray.

T us about the evolution of Matt B – where Tell does he come from, what’s he doing now, and d where is he going? w I I played my first gig New Year’s day 2000, and since then I’ve enjoyed residencies at most of the best th clubs l b in i Hobart including ICQ (now Mobius), Carbon, and, of course, Syrup. Early on I was also playing at a lot of the big dance events, parties such as Hard On, The Queens Ball, Future Elements, Twin Tribes, and Peaktime.

Nowadays, as the scene has changed and moved away from the big events, I’ve been focused on the club nights.

Due to work and family commitments it’s been necessary to scale back the number of nights I was playing at Syrup.

Currently I’m doing a night a month for La Casa, and also one Saturday night for DFD. La Casa is a night dedicated to soulful and funky house, whilst DFD is a night for harder party music, so I get to scratch both my musical itches whilst only playing infrequently. But the best thing is I still get the same kick out of DJing today as what I got when I started out.

What sets you apart from the other DJs at Syrup?

That would definitely be my use of melody and vocals. I’ve always been into funky house music; the funkier the better, so when I play, even if it’s a late Saturday night slot, there will always be plenty of melody running through my sets.

What was the first dance party you ever went to like?

I’m not really sure what I would count as my first dance party, I was going to clubs and parties in the late eighties and early nineties, but apart from indie dance stuff like New Order, and semi commercial house stuff out of the UK, I wasn’t really into dance music then. I think my first big party memory from my dance music renaissance was a New Year’s Eve party at Syrup called Heaven and Hell. It was put on by Milk and 2 Sugars, it featured all local DJs, and it was a themed party and lots of people got dressed up.

It was a great party but the thing I remember most about the night was that it was one of the defining moments that convinced me to buy myself some turntables and a mixer.

What are some of the most essential skills you think you need to make it in the business you’re in?

I definitely believe that having a good ear for music is an essential pre-requisite to becoming a DJ. Sure you need to be able to mix, but what good is a DJ who has impressive mixing skills, yet bores or scares the crap out of everybody in the club? Being able to construct your sets so that the nights flow well when other DJs take to the decks is also an important, yet often overlooked skill. I’ve seen a lot of jocks play a set by belting out hit after hit leaving the DJ that comes on after them nowhere to go.

PAGE 28

“

music,” and this is s is

How comfortable would you be on the dance floor busting out some moves to one of your sets?

The satisfaction of making others dance whilst hearing good music is what drives me, and as many people will testify, it takes a pretty big bar tab to get me dancing. I’m the first to admit I’m a crap dancer. My entire repertoire is based around the bogan two-step. In the eight years I’ve been a DJ you could count the instances of me dancing on the fingers of one hand, and that’s certainly not from a lack of decent music. I give meaning to the old adage, “I don’t dance; I’m a DJ.” However I regularly dance in the privacy of my own lounge room when I’m mixing at home, so maybe with just the right amount of courage on board I could step out on the floor.

What are some tunes, tracks, or artists that have had the biggest impact on you over the years?

The thing that really reinstated my interest in dance was the Big Beat sound of the mid to late nineties, and of course at the top of the genre was Fatboy Slim. When I heard Better Living Through Chemistry the penny just dropped, and my love of electronic music was born. Amongst the first records I bought when I got decks was Pete Heller’s Big Love. It’s such a simple yet beautiful and melancholy track, it sends a shiver down my spine every time I hear it; it is still one of my all time favourite records. A label out of New York called Subliminal Records also played a big part in shaping my career, for several years I bought every release they put out, and their tunes were a prominent feature of all my sets. More recently a producer out of the UK, Ewan Pearson, I can credit with developing my love for electro. I had the honour of supporting him at Syrup in 2005 and he certainly lived up to my expectations. And he got me dancing!

Where are some of the craziest things happening right now in your musical world?

Afro-Latin rhythms are making their way into tougher, and tech-based house, which I’m loving at the moment. I’ve always loved Latin rhythms so to be able to fit this sound into a harder set is quite exciting for me. Also there’s a lot of great house producers coming out of the Netherlands, people like Funkerman, and Hardsoul that are putting a new twist on house.

What have you learnt about people from behind your decks?

That you can’t take them for granted, you’ve got to earn their respect on the dance floor.

Get Matt B’s respect when he supports Matt Nugent at Syrup on the 21 st of December.

… I’M THE FIRST A TO ADMIT I’M A CRAP DANCER. MY ENTIRE REPERTOIRE IS BASED AROUND N THE BOGAN TWO-STEP …

X-TREME SPORT

WAKEBOARDING DVD

SHOW US YOUR “MAP OF TASSIE DVD”

This flick was made from over thirty hours of raw footage dating back to 2005 featuring a whole bunch of different riders with different levels of ability. The locations include the Tamar River – where my dad’s old outboard tows us into homemade PVC rails and bed-frame-based kicker ramps – the Trevallyn Dam and Longford River – where Nick Freeman’s rig is loaded full of water containers and lead weights to give us the peakin’ wakes required to pull some slightly more technical tricks – and Blue Lake and Lake Barrington – where Scotty Knowles’ and Grant Bishop’s rides tow us around in what can mostly be described as an alcohol-induced style of riding (remember though, kids – alcohol and water don’t mix.)

Coming up with a title for the DVD was pretty easy; we wanted something that was distinctly Tasmanian, due to the local focus of the production, but also something that was a bit edgy. Map of Tassie … I think it fits. We did throw around a few different ideas for the cover, but in the end we went with the safe option of the actual Tasmanian map. I guess you could say that leaves our options open for the sequel!

The bonus section of the video is pretty rad; it features Mick on Australia’s Funniest Home Videos with a couple of classic rail spills, and an in-depth analysis (Roy & HG style).

Originally this was made as a bit of a home movie, with bands like Grinspoon and Disturbed rocking out on the soundtrack, but after showing it around to a bunch of mates, it was decided that it had too much going on to just sit it away in the cupboard for the grandkids one day. I then approached Adam Langridge form The Voyeurs about hooking us up with some tunes, and he worked tirelessly for the next couple of weeks putting together a load of tracks from not only his band but also other local rockers through his label Wraxrecords. To top it off, Joel from This Future … Chaos offered their stuff which added some hard-edged material, and the soundtrack was complete. The DVD was then re-shuffled to fit the new music, and it was ready to hit the shelves – currently available at Launceston Sport & Surf, Tamar Marine and my dad’s service stations at Beaconsfield.

We have been very lucky as far as exposure goes. Both Mick and myself contribute to Wake Magazine (Australia’s leading wakeboarding mag) through various articles about our experiences, and a comic we run in each issue called Barx. The guys have let us have ads to promote our

stuff which also includes our wake-inspired label – Kennell Boarding.

Although this DVD only features areas in the north of the state, there are already bits and pieces ready to go for the sequel, which include a new rail and the sinking of a boat – won’t give anymore away at this stage, but I think it should come together nicely. I am definitely planning on taking the show on the road over the next couple of summers to make the sequel more of a statewide thing, hopefully coming across some killer spots that are really secluded. I think Tassie has heaps to offer wakeboarding enthusiasts, and the crew from Wake Magazine are keen for us to promote the sport down here.

Wakeboarding is very much mainsteam in the U.S and in parts of mainland Australia, and is currently the fastest growing watersport in the world.

Hopefully our stuff can help elevate the profile of the sport down here, and who knows? Maybe even inspire young kids to grow up to be future world champs.

Head to the James Hotel in Launceston on Friday the 28th of December at 8:30pm for the official DVD launch, and the opening night for Kennell Boarding. The place will rock with plenty of the local bands featured on the DVD playing their tunes, including The Voyeurs, who will have their new album available for purchase on the night. There’ll be lucky door prizes of Kennell tees and DVDs, along with stacks of Barx calendars to give away. Map Of Tassie will be playing on the big screen, and discounted DVDs will be available for that night only.

Map Of Tassie will be launched at Launceston’s James Hotel on the 28th of December.

PAGE 29

MOHAWK

STAND DEFIANT S

SMILING AND WAVING POLITELY

By Chris Rattray B

F a band that’s all about the music rather than the message, veteran Hobart-based Stand Defiant steadfastly refuses to proselytise. However, despite this claim, outspoken vocalist, For M Mischa, has plenty to say. He opened up a can labelled “gonna whup your ass”, so stand up, bend over and receive defiantly, writes Chris Rattray.

H How’s the current tour going?

W Well we haven’t kicked it off yet – first shows are th this weekend in Launceston, then we hit Devonport fo for an all-ages and an over-age at Spurs on the 21st of December, a massive 18+ show in Hobart at the D B Brisbane Hotel on the 22nd, then a licensed all-ages afternoon show again at the Brisbane on the 23rd which we’re really psyched about, because it sees us teaming up with The Scandal for the first time in about a year.

Every song is different, and some are more fun to play than others by fluke more than design, but every song has its own personality and feel, and in a writing process you have to be aware of that, and ensure the song goes where it’s supposed to. I’m a firm believer [that] there is one way a song should go – you just have to find it. Once you’ve got that, expanding on it is easy.

So I guess we’ll wait and see what people think of them when they can hear them and read through the lyric sheet.

What is it that Stand Defiant are standing defiant against?

The universe, man. We have had a lot of shit thrown our way in this band, and we just keep doing what we do through it all, because it’s the only way we know how to get by.

What was it about punk music that made you want to play it?

The energy, melody and speed of punk that came out of the late 80s hardcore scene and into the 90s has always been the style of music that has gotten me excited and inspired.

We kind of grew into the name really, and I’m glad we have stuck with it, because things always get harder before they get easier and, right now, for me at least, shit is f*cked up, and it’s not the first time, and it probably won’t be the last.

There was a three-year wait between the last album and the next – how much longer until we hear a new album?

From the release of the split up to the release of Our Own Destruction, there was a two-year wait – general rule is [that] it takes two years to get anything done properly, so we’re all aiming for release for the new record before August 2008 at the latest.

It’s what keeps me awake at night writing riffs and melodies in my head; it’s what I’m listening to in my mind when I’m walking to work and my phone refuses to play the mp3s that are on it. It is me, I guess. It’s what I know, and where I am at right now – all I really care to know. As a band, we all have a lot of different influences – from death and black metal to punk, hardcore and thrash, to melodic rock and shit – anything that’s good really, so it’s rad that we can come together on a style we all know and love playing, and write songs we are proud of.

How are Stand Defiant likely to be victims of their own destruction?

That line came out of a song we did on the last EP called Laid to Waste. That is a song Reece wrote, and I came up with the lyrics one day when I was working to cut up fallen trees for firewood when I had nowhere to live and no money. Here I was on this beautiful plateau in the middle of Tasmania, and the only thing you could hear was the sound of chainsaws. It was really f*cking weird, and kind of sad.

We have about ten songs written, and I’m just finishing vocals on some, and, as a band, we’re still tweaking the other songs, but we’re ready to demo the bulk of the tracks ASAP, so keep an eye out for those within three months.We’re really looking forward to playing some of the new songs to our friends and people who don’t regularly come and see us. Plus it’s been a long break, so we’re all itching to get out and play again; it’s a good way to forget about all the bullshit in your life for halfan-hour and just play.

What were some of the new tracks inspired by?

A lot of bands or people will come out and say, “Man, punk is about the message.” I say “f*ck you”. You don’t need to play in a punk band to have a message or a socially aware idea or thought – that’s bullshit – just like not every punk rock song is about social equality or the need for a more educated and tolerant world.

It was really a comment on the way we, as consumers, live our lives, not really about us as a band. That being said, we all drink way too much. I’m passionate about drowning myself in vodka whenever I’m looking to escape, and, if it’s after a tour, you will find all four of us propping up a bar somewhere talking shit, so hey, who knows? In ten years we might all be dead anyway – self-fulfilling prophecy?

Honestly, if I couldn’t write songs about things that had affected me or the people around me on an emotional level, I don’t know where I’d be right now.

What’s the best and worst thing about the hardcore scene in Australia right now?

The best would be the amount of bands who have worked their arses off, and toured hard to break out in a massive way, both here and internationally. For example, the first couple of times we toured with Parkway [Drive], they were staying on my lounge room floor, and now they are the highest-selling independent band in Australia bar John “someone f*cking shoot me” Butler. That is f*cking amazing. Only thing is, when a trend gets set, the imitators start showing up, and slow the progression of the scene, until it kind of stagnates and burns itself out.

Those guys and us used to play to like thirty people every other Wednesday at Mobius when our band first started, so we’re all really relieved [that] they are back from their break, and can’t wait to see them!

How does the songwriting process work in Stand Defiant?

Generally it’s on a song-by-song basis; we’ll build a song around a collection of riffs or parts we like and mix it up until we’re all playing what we think we should be.

Another way that happens more commonly is Reece or Kenny or I will write a whole song – or most of one – then we’ll bring it to the band and work through the arrangements with Jay until we’re all happy with it.

These songs usually come together faster because the structure is laid out at the get-go, and it just requires us to learn our basic part, and then build on it as the song develops.

“

Of course, we have political songs – we live in an overpoliticised world and, at times, it is a very f*cked-up place to be, and to not point out some of the wrongs that are going on in it is doing yourself and your audience a disservice, I think.

Generally, though, the trend of the new material is a more personal account of the last year; writing the album has been a cathartic experience for all of us. I like to tell a story with a song, whether it is about me or us as a band, or someone or something wholly fictional.

There is a definite swing nationally away from metalcore, and

back into straight-up hardcore punk, but what happens with it remains to be seen. We’ve been doing what we do now long enough to not give a shit what anyone else is doing, so, for me, that’s also the good thing – bands who have stuck by what they do and rode out the trends.

How do you combat trendcore scenesters? Personally, I’d go with a blowtorch.

Man, I don’t know. Those kids come to our shows, so I hold them no ill-will – plus they are all so pretty [laughs]. Look, it’s the ones who are “scene” and sit in their rooms when there is a show on and bitch and moan that no cool bands come down that piss me off. Support your local scene, and it will interest bands in coming down. Simple as that.

To what extent do you think hardcore is in danger of becoming mainstream? Or has it already happened?

It happened probably a year or two ago in reality. Killing With a Smile [Parkway Drive’s debut] broke so many records for an independent release – let alone a hardcore release – so yeah, it’s happened, but shit, do you remember nu-metal? That’s what is in danger of happening, unless the bands keep ahead of their game; the good bands will – the others, well … I won’t miss them.

What can Stand Defiant to do remain ahead of the trends?

We have never been in front of, or behind, any trends. In fact, we have seen pop-punk, emo, metalcore and hardcore pass us by; we have smiled, waved politely, and gone back to doing what we do. F*ck the trends.

Do what you love doing ‘til your back’s f*cked and your fingers are raw from playing too much, and if that’s cool at the time, good luck to you. If you change because what you’re doing is not “in”, or isn’t getting the response you want, you’re making music for the wrong reasons … or you’re shit.

Either way, you’re basically f*cked. http://www.MySpace.com/standdefiantband Stand Defiant do what they do at Spurs in Devonport on the 21st of December (all-ages and licensed shows) and Hobart’s Brisbane Hotel on the 22nd and 23rd, joined by On Your Feet Soldier and Sunday Something Ruined.

… A LOT OF BANDS OR PEOPLE WILL COME OUT AND SAY, Y, “MAN, M PUNK IS ABOUT THE MESSAGE.” I SAY “F*CK YOU” …

“

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STREET FASHION

ED 19

BEN 21

DANIEL 19

What song’s stuck in your head?

This Ain’t An Arms Race.

What song’s stuck in your head?

Zebra – John Butler

Whatt song’s stuck in your head?

S The Saints Are Coming – U2 & Greenday

Wha at song’s stuck in your head?

What Robbbie Williams.

Robbie

What job do you think John Howard would be best suited for, now that he’s out of politics?

Gold, as he should retire.

What job do you think John Howard would be best suited for, now that he’s out of politics?

Kevin Rudd’s gardener.

What job do you think John Howard would be best suited for, now that he’s out of politics?

Check-out chick.

What job do you think John Howard would be best suited for, now that he’s out of politics?

Retirement.

Once a CD is beyond repair, what do you do with it?

Microwave it.

Once a CD is beyond repair, what do you do with it?

Keep it for memory’s sake.

Once a CD is beyond repair, what do you do with it?

Great coasters.

Once a CD is beyond repair, what do you do with it?

Throw it out.

What’s the worst thing you’ve ever been late for?

My birth.

What’s the worst thing you’ve ever been late for?

A wedding.

What’s the worst thing you’ve ever been late for?

The second day of last year’s Boxing Day Test.

What’s the worst thing you’ve ever been late for?

Parties.

In terms of fashion crimes, what’s a capital offence?

Sneakers and jeans.

In terms of fashion crimes, what’s a capital offence?

G-banger showing above jeans.

In terms of fashion crimes, what’s a capital offence?

Lyrcra.

In terms of fashion crimes, what’s a capital offence?

Overdoing it with black.

EMMA 22

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ANITA 18

JACK 18

BIANCA 23

JONO 22

What song’s stuck in your head?

Fall Out Boy.

What song’s stuck in your head?

Gimme More – Britney

Whatt song’s stuck in your head?

NYC beats.

What Wha at song’s stuck in your head?

Jingle Jinglle Bells.

What job do you think John Howard would be best suited for, now that he’s out of politics?

Retirement home.

What job do you think John Howard would be best suited for, now that he’s out of politics?

Fun-runner.

What job do you think John Howard would be best suited for, now that he’s out of politics?

A waiter.

What job do you think John Howard would be best suited for, now that he’s out of politics?

Work for me.

Once a CD is beyond repair, what do you do with it?

Throw it.

Once a CD is beyond repair, what do you do with it?

Chuck it at someone.

Once a CD is beyond repair, what do you do with it?

Chuck it.

Once a CD is beyond repair, what do you do with it? eBay.

What’s the worst thing you’ve ever been late for?

Christmas lunch (hung over).

What’s the worst thing you’ve ever been late for?

Plane.

What’s the worst thing you’ve ever been late for?

Work.

What’s the worst thing you’ve ever been late for?

Haven’t.

In terms of fashion crimes, what’s a capital offence?

Pink and red.

In terms of fashion crimes, what’s a capital offence?

Emos.

In terms of fashion crimes, what’s a capital offence?

What I’m wearing today.

In terms of fashion crimes, what’s a capital offence?

Thongs with jeans.

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