Sauce - Issue 58, 27-12-07

On the street every second Wednesday

Edition #58 27/12/07 - 8/01/08 Made in Tasmania

PAGE 2

BANGERS & MASH

GREEN VELVET G

SON OF A PREACHER MAN

By Cyclone B

G Green Velvet is an enigma in the dance music underground. He is more than a DJ, more than a producer. Chicago’s Curtis Jones is a performance artist. An auteur. Although S Shake And Pop is currently a favourite with electro-house DJs, Jones has escaped the dance media’s glare. Indeed, he’s followed elusive US electronic stalwarts like Underground R Resistance’s “Mad” Mike Banks in disavowing interviews.

F Fortunately, the amiable Mr Jones has made an exception as he contemplates his first Australian tour in three years. (In case you’re wondering, he’ll DJ and sing.) It’s not that Jones is suspicious of the press, let alone precious. Rather, he worries about yo the “format” of the interview and, with editing, the potential for misunderstandings. After all, what Curtis has to say can’t th be readily reduced to a quote.

The Chi-town veteran unwittingly cracked the mainstream at the beginning of the 2000s with his ubiquitous hit La La Land. Green Velvet’s second album of “techno punk”, Whatever, and the accompanying live show attracted unprecedented attention.

All that transpired the same year Felix Da Housecat, also from Chicago, ushered in “electroclash.” But since La La Land, Jones has experienced a profound life change – as visitors to his MySpace will be aware. He’s not so much a born again Christian as the prodigal son – a sheep returned to its flock.

I WAS BROUGHT UP CHRISTIAN CH HRI … THERE GOT A POINT IN MY LIFE WHERE RE I STARTED TO LOSE MY WAY

Jones was in the throes of his spiritual rebirth when last Down Under. “I was going through a lot of things, but people just didn’t ask,” he recalls. “They ask now since I have a MySpace page and I put the blogs up and so they have a better idea.

“Essentially my life has changed, as far as me being very spiritual, but, at the same time, I love techno and stuff like that, so I still do the techno music.”

The British music press reported that Jones vowed to God that he’d clean up his life during a bad trip – the producer feared that he’d mistakenly ingested GHB. Curtis maintains that it was actually a gradual reassessment of his lifestyle. “It was a process,” he enlightens. “God called me and it was that process of getting into a place where I just started living right and had the understanding.

“So it was a process – and it is a process even today.”

Was he surprised to discover himself in that place?

“No, not really, because I was brought up Christian. I was always thinking a certain way and always trying to do things the right way. There got a point in my life where I started to lose my way and started doing things which I knew weren’t the right things for me to do – be it drugs or drinking or having a lot of girlfriends [laughs]. I finally got to this place where it just wasn’t me. So I started to make my way back and started doing those things which I really feel are the right things for me to be doing in my heart.”

Jones is comfortable discussing his faith – he’s not affiliated with a particular church – but, justifiably, wary of being mocked. The man who recorded the riveting Preacher Man doesn’t wish to proselytise. Many a US DJ is devout – spirituality and religiosity both permeate house – yet, especially in secular Australia, club kids feel uneasy about such matters. Curtis is sensitive to cultural differences. He doesn’t want to “overwhelm” fans. At any rate, he’s not lost his sense of humour. Possibly he appreciates that others are on their own journey.

Jones has alluded to emerging from a “darkness,” but he doesn’t harbour regrets.

“I can’t live a life of regrets, because all those things that have happened in my life have made me the person I am today. Now I do have the wisdom and the understanding and, of course, I would have done things differently. But to go back – I don’t look at it like that.

“I’m just thankful that I finally got here to where I’m at today and that I do have some wisdom and a positive and good outlook on life.”

In fact, clubbers have misconstrued Green Velvet’s music in the past. La La Land dealt with the dangers of ecstasy – it was never meant to be a subversive pro-drug anthem. “A lot of times people just think of it as ‘the party song,’” Curtis says.

A “troubled” Jones wrote Flash after witnessing underage ravers sampling drugs. “The funny thing about it is I’ve always done Christian-type songs, in a way,” he laughs.

Jones remains a maverick. He gravitated towards the unusual as a kid. Curtis was into the British sci-fi series Doctor Who – ultra-underground in the US. He loved its theme, in addition to the “tacky” sets. “It was just so out-there,” he laughs loudly.

at the University of California in Berkeley but grew progressively disenchanted with the corporate realities of his career choice. Nevertheless, he values that academic background. “I’ll always be a so-called intellectual – always trying to figure something out. That’s still true today, because of how I look at things now. Even though I’m looking at it in a more spiritual way, I’m still just trying to think things out and get some understanding.”

Back in Chicago, Jones, who’d tinkered with music as an undergraduate, began producing house seriously in the early ‘90s. Ironically, it was just as the US contingent was losing ground to Europe. Jones’ initial success was as Cajmere with Brighter Days, featuring Dajae. He developed a stable.

First came Cajual Records, then Relief. Jones fostered his peers – among them DJ Sneak. He’d likewise create the best techno – or electro – never to emanate from Detroit with Green Velvet. Influenced by industrial music, Jones introduced his dark alter-ego in 1993 with Preacher Man. Six years on, he delivered Green Velvet’s debut LP, Constant Chaos.

Green Velvet rapped and, early, wore his trademark green wig for theatrical gigs.

The most recent Green Velvet full-length was the slept-on Walk In Love of two years ago. In the interim, Jones has again crafted soulful house as Cajmere, reuniting with Dajae for Say U Will. He’s planning another Green Velvet album. And, while on a spiritual path, Curtis will carry on making music for everyone – including lovers of Shake And Pop. “I’ll do really spiritual songs and then I’ll just do really fun songs – and, to me, Shake And Pop is one of those fun songs. It’s good clean fun! I really like doing songs like that, and I like doing songs that have a message to them, and then I like doing songs which are inspiring and uplifting and all that. But, for the most part, as long as they’re positive and have something to ‘em, that’s basically what it’s about for me.”

Of late Jones has aired Love Peace, Not War in response to the Iraq War. He predicts that Hillary Clinton will be the next American President. However, the Middle East conflict will only widen – the US ultimately facing down Russia and new superpower China in a war to end all wars.

Jones despairs over the decline of US democracy. Dwindling public support has not ended the Iraq War. Civil liberties have been abolished in the US, ostensibly in its citizens’ interests. As he sees it, the politicians have ominous agendas. “Even if it’s a Democrat, it just seems like, for whatever reason, this war has to go on.”

And this accounts for why Jones is dedicated to electronic music – and why, through that, he endorses young producers unleashing their minimal, electro and house. It’s a positive force in an otherwise bleak world. “Love is the message,” Jones extols. Electronica spreads that message. “The thing I really love about electronic music is it’s always been about love and peace – and I just hope and pray that continues.”

Before committing to music, Jones was preparing to be a chemical engineer. Jones embarked on an MA

Green Velvet plays Syrup in Hobart on the 4th of January with Moguai.

CONTENTS

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4-14

ROCK SALT

9

THE CAGE

10

MOHAWK

15-22

BANGERS AND MASH

Adver tising Reps.

16

GIGS, DVD, SOFTWARE

adver tising@sauce.net.au

19

SKIN DEEP

20

CD REVIEWS

22

STREET FASHION

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

Gavin Mace Lisa Rushton

Opinions expressed in Sauce are not necessarily those of the Editor or staff.

Next Edition Deadline : 4th Januar y 08 Sauce #59, 9th January - 22nd Januar y Special Thanks To Our Contributors: Ryan Farrington, Clara Murray, Dave Walker, Michael Marshall, Carlisle Rogers, Steve Tauschke, Alex Barwick, Brett Spinks, and David Quinn.

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ROCK SALT

FAKER

AS FAKE AS CHRISTMAS

By Tom Wilson B

W their second album, Be The Twilight, out now, Faker has, apparently, welcomed a fifth member. However, as Tom Wilson discovered, this new member is not all he seems. He With ccaught up with drummer, Paul Berryman, and together they faked the following…

W What kind of stuff do you have to take care of before yyou go on the road?

I don’t know… a clean bag of washing? We’ve just finished recording so we have to know how to play all the songs… there’s a big period post-recording [where th you’re] mixing, mastering, that sort of thing… you’re not playing a lot so you have to have a bit of an intensive – try and remember how you recorded all those songs and how those bits went, after having recorded them, and also try and remember how to play all the old songs too. We’re doing a bit of rehearsal before flying out for this one.

Is this new material – a new sound for Faker?

To a degree – we’ve sort of evolved a little bit, I think. Not quite as straight up as the last one was, just experimenting with a few different sounds – that sort of thing.

You guys are playing the Big Day Out next year – is there a band on the bill you’ll be playing alongside that will turn you into a blubbering fanboy?

[Laughs] I don’t know! Maybe… we’ll have to wait and see.

There could be a few of those bands. We listened to a lot of LCD Soundsystem while making the album so we’ll be keen to check him out. And… who else is playing…

Rage Against the Machine…

Yeah, they’ll be pretty good… I remember seeing them play the Big Day Out ages ago… It was like, the biggest crowd reaction I’ve ever seen at any Big Day Out since then - we [saw two thousand] people jumping up and down, it was amazing. It was like watching water… it was pretty good.

What’s the best crowd you’ve had?

With Faker, in particular, I remember the first Big day Out we played a couple of years ago – it was at the Gold Coast – and I think everyone was quite nervous. Everyone got into town and we made Bloody Maries all night and got quite drunk the night before because we were so excited to be doing it. We were first on the next day, pretty hungover and tired but still quite excited. I remember before we went on people started chanting out the front – that was pretty cool! At that stage we were a band that not many people had heard of so that was pretty exciting.

a mysterious fifth member mentioned! Tell me about “Skunk”…

Skunk on MySpace?! He lived in my backyard while recording the album so we made him an honorary member… [Laughs] He used to come visit us all the time. We were just mucking around one night and so we decided to add him. It’s funny – we’ve got a new keyboard player and guitarist whose going to be touring with us – we’ve already done a couple of shows with him already – he’s had people coming up to him going “Are you Skunk? Are you Skunk?” [Laughs]…

… SKUNK KU ON MySpace?!

H HE LIVED IN MY BACKYARD WHILE RECORDING THE ALBUM SO WE MADE ARY HIM AN HONORARY MEMBER …

So why have you guys taken on another member – is this a permanent thing?

It could evolve into something that but for the time being there’s a lot of keyboard and second guitar parts on the album that we needed to cover… to make it sound right. So we found Dizzy and he’s gonna be helping us out on this tour and the Big Day Out and hopefully all of the touring we’ll be doing the next year or so. http://www.faker.com.au/ http://www.Myspace.com/fakertheband Faker play at Melbourne’s Big Day Out. To listen to this interview in mp3 format, go to www.sauce.net.au.

You guys are a four-piece, but on your MySpace there’s

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 PAGE 4

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

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

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FEATURE

WHERE DO YOU GET

A AUSTRALIA AND UK’S BEST FOLK U SINGERS COME TO S TAMAR VALLEY T A Australia and the UK’s leading folk singers will be coming to Northern Tasmania for the Tamar Valley co Folk Festival, to be held at George Town in January.

F Phil Manning and Nick Charles from Victoria, and Bob P Fox from the UK are just three of the internationally F acclaimed folk and blues artists participating in the ac Festival.

F

Phil Manning is a founding member of the band Chain, the only Australian blues band to have a number one national hit with their song Black ‘n Blue in 1971. Manning has supported significant international acts, from the Rolling Stones and Pink Floyd to B. B. King.

Nick Charles is world renowned for his unique finger-style guitar playing. He was awarded Male Blues Artist of the Year in 2006 by the Melbourne Blues Appreciation Society. Winning this internationally recognised award gave Nick a place in the International Blue Challenge in Memphis, U.S.A. Bob Fox is described as “one of the best folk-singing voices in England”. His consecutive nomination as Best Folk Singer in the BBC Folk Awards in 2003 and 2004 reflects his international prestige.

The 2008 Tamar Valley Folk Festival will be the 17th Festival. It started in 1992 and grew from a casual gathering of members of the George Town Folk Club to the three-day festival attracting international acts that it is today.

Other artists attending include harmonious Queensland duo Cloudstreet, New Zealander Kath Tait, and popular Melbourne folk rock band Milk.

Additional camping area is provided in George Town over the weekend of the Festival.

Tamar Valley Folk Festival 18 – 20 January, 2008 George Town (multiple venues) Weekend Tickets: $60.00 Day Tickets: $30.00

ROCK SALT

DAN ENGLAND

THE DECONSTRUCTION OF ...

By Tom Wilson B

Y know the man, you know the hair, but you haven’t heard him sound quite like this before. Past Australian Idol luminary and singer-songwriter, Dan England is bringing his new You bband The Thieves to our shores for a string of acoustic sets next month. We got in touch to talk New Year’s resolutions and dreadlocks.

L Looking back on it, how did the whole Australian Idol experience change you – both as a performer, Id aand as a person?

It hasn’t really changed me as a person, but it definitely m made me a more seasoned performer.

You’re touring with a new band, “The Thieves”. How did this come about? What did each of the band members do previously?

The Thieves were auditioned by the label, and then we had a few rehearsals together, and we all gelled really well as a group.

What can you tell me about the production process of The Deconstruction of Dan England? How long were you working on it? And who did you work on it with?

I have been developing the new EP over the last year with

Michael Stangel (Jellyfish Music), and writing with Jeff Lang.

It has been a huge learning experience for me to work with people of this calibre.

It’s been said that, on this EP, you “tread the line of rock and blues with honesty, desperation, in every lyric and note.” What do you think they meant by “desperation”?

And to what extent do you think it’s accurate?

I feel that this represents the new songs that I am singing – they have a lot of meaning, and there is more of myself in this album. As I grow as a musician and person, so does the level of my songwriting.

Who are some figures in the Australian music scene that you really look up to, and why?

Hard-working seasoned veterans of the music industry, such as Ian Moss, Jeff Land and Mark Lizzotte.

What about outside of music? As you were growing up, who do you think had the biggest influence on you? And how would you describe that influence?

I am lucky to have such a great family and friend-base around me – they have always been supportive, and pushed me to be what I am today.

Let’s go for some nice, broad questions. Firstly, what scares you, and why?

Bears … because they eat people. I don’t know – that’s a hard one.

got no chance of following through with?

I took a New Year’s resolution a few years ago not to have New Year’s resolutions, because I never followed through with them.

Lastly, let’s talk dreadlocks. What advice can you give those aspiring to get dreads on their heads?

I say do what makes you feel comfortable, but remember – having dreads doesn’t mean you don’t have to look after your hair. A lot of work goes into maintaining them.

And what gives you hope?

Not having bears in Australia! Just kidding – once again, my network of family and friends around me.

Dan England plays Launceston’s James Hotel on the 3rd of January, Hobart’s Republic Bar on the 4th, the Bark Mill Tavern in Swansea on the 5th, and Stage Door The Café in Burnie on the 6th.

What’s a New Year’s resolution you might make that you’ve

www.Myspace.com/danenglandlive

ROCK SALT

IT HAS BEEN A HUGE LEARNING EXPERIENCE FOR ME TO WORK WITH PEOPLE OF THIS CALIBER.

CARUS & THE TRUE BELIEVERS

THREE BOXES AND A LONG, LONG ROAD

By Tom Wilson B

“ “Are we there yet?” There are many downsides to the noble and necessary art of touring. Fatigue. Smelly feet. Making flights. Endless car rides. Still, if you find yourself riding in th the same van as Carus & The True Believers, you have one thing to be thankful for – at least you’re not playing “I Spy”, as Carus explained recently …

W What have you been doing for the last two weeks, m musically and otherwise?

I’ I’ve been on the road touring Oz with our Roots R Roadshow Tour, which has featured me and the band, L Loren & The Grow Your Owns and Rob Sawyer. Thirty ddates from WA, through SA, VIC, NSW, and QLD. Very sorry we didn’t make it to Tassie – we did last year, but this time we’ve got nine people on the road and we couldn’t make it work with flights. The shows have been great though. We had four hundred in Melbourne and four hundred in Perth. Good crowds in Sydney, and we’ve got fingers crossed for the last week. It’s been great to have our own mini-festival on the road.

Loren and Rob have been killing it! If you go to www.youtube. com/carusandttbs, you can check out a mini-doco of the tour.

– A song I wrote for a friend who passed away when I was nineteen. It’s always intense, sometimes for different reasons – but it always moves me.

At this stage, what plans do you have to follow up Three Boxes? What writing have you been doing?

I have actually been writing quite a bit. The whole process of Three Boxes really pushed me to lift my songwriting up a notch, and now I feel a lot more confident and adept with the craft of it. I have a new tune called Creature of Habit which feels like it could be a winner, and a couple of other promising ones too.

I’m having heaps of ideas at the moment, but when I am on the road I find it hard to write … Things will flow a bit after this Roots Roadshow tour finishes, and hopefully I’ll have a couple more newies to play for the crew in Tassie. I am starting to think about a follow-up. It’s all a bit hazy at this stage – Loren and I have actually talked about doing a record together too.

So I’ll just have to keep writing and see what forms these new tunes will be released in. I am sure that I am getting better at songwriting though, so that’s encouraging.

IM MIGHT END U KILLING US UP … CARUS AS A COOK DOESN’T NT BODE WELL. L.

Looking back on that album, I understand that one of the tracks was written in empathy to Van Nguyen, who, as we all know, was executed in Singapore in 2005. How have you feelings about that changed over time?

I still feel exactly the same about that song and the whole incident. It’s just such a sad story. When I play the songs, I still feel the same level of empathy and depth of feeling. I think it was something that needed to be recorded, in a respectful way – I think I’ve done that.

Of all the songs you’ve written, which ones would you say are closest to your heart, and why?

The songs where you are writing about your own experiences are usually the most emotionally intense. I’ve penned a lot of love songs in my time and a fair few break-up songs too. I’ve had just as much chaos as anyone else out there has in the course of a long-term relationship, but, with me, the hiccups are recorded for all time in a tune. As time passes, you perhaps lose the emotional intensity that you were feeling when you originally wrote the song, and it just becomes only a song – a bit of a window to another emotional space I guess. One song that still resonates, and won’t ever stop, I don’t think, is Thrown

As was shown in a video on your MySpace, you guys spend a lot of time on the road. What are some of the best and worst parts of touring?

The best thing is the different experiences you have, and the travel you get to do. We spent half the year in Europe, which was pretty cool, and I try to never lose sight of how lucky I am to travel for free. The hardest thing is what touring does to your personal relationships – it just makes things very hard. It’s hard to connect with someone when you are away all the time, then you’re just back for a week or so, and it can wreak havoc with

their lives and routines. You also always seem to be away when they need you too. It sucks.

What are some ways you and the band kill time during long road trips? Charades? I Spy? Rob Sawyer has actually said on this tour that we are the most boring band in the world when it comes to long trips. We just sit there and think, listen to a bit of music, and occasionally dissect the last gig. Bedge listens to his iPod a fair bit, and I do interviews sometimes.

What have been the best and worst gigs you’ve ever played, and why?

Most gigs are good. I believe something good comes from every

gig you play, no matter how small. But Yamba the other night was pretty hard. Only about twenty people – we managed to spice things up, though, by getting Loren’s bass player Luke up to do a version of The Band’s The Weight. Last East Coast Blues Festival, though, we had an amazing gig on the big stage – eight thousand people into it, and just a great vibe. We were grinning after that gig.

If you could get anything for Christmas, what would you want the most, and why?

A packed-out Tasmanian tour … I know it would be a late Christmas present, but a good one. It feels like time for a cranking Tassie tour. [It’s] great to be able to play a bit more around the island too. [I’ve] never done four shows in Tassie before, so [I’m] looking forward to it.

What’s a New Year’s Resolution you might make that you’ve got no chance of following through with?

I’ve already told my partner that I’d learn to cook. I like to think that I will follow through, but I might end up killing us too. Carus as a cook doesn’t bode well.

What are your plans for 2008? What would you most like to get accomplished?

I think I’ll be looking at doing a new record, touring Europe and the U.K. again (probably twice), and trying to get over to Canada or Japan or something. I’d just like to continue building – [I’d] love to get ten thousand-plus copies of Three Boxes out there and know that our fan base is really consolidated there. We have sold five thousand copies of Three Boxes already, so I think it should happen. Keep writing, keep playing music, keep performing, and taking it to the people. That’s my life pretty much!

Carus plays the Lewisham Tavern on the 1st of January, Hobart’s Republic Bar on the 2nd, Stage Door The Café in Burnie on the 3rd, and Launceston’s James Hotel on the 4th. www.myspace.com/carusthompson

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 5

Finally, for those who are right into DIY, The APRA People’s Stage will feature talent hand-picked from thousands of festival-goers to bring you the finest in (as yet) undiscovered talent – it’s your fifteen minutes baby!

Helipad

Bus Stop

Wine Bar Marion Markets

RSTF Voluntary Breath Testing

Skate Ramp The Village

Bar

Walking Tracks Stage

Disabled Facilities

Gravel Roads

Drinking Water Points

Save a Mate (SAM)

Main Arena

LOONGANA LANE

Security Hut

St Johns

Forest

A

Campgrounds

ILL KH

PL

Showers

E

Emergency Assembly Point

Be WA Y G

PARADIS E

DU

EAG LE HA W

AN

YL LIF FE

For more information, check out the Falls Festival website at: www.fallsfestival.com.

The Village

Conservation Area Please Keep out

P No Access

»

Black Rebel Motorcycle Club

E

Bonde Do Rolê

forest

Paul Kelly

BI NA LO N

The Pipettes

œ

CLOU DY CLO SE

Kings of Leon

But you probably know all this already, don’t you? In fact, you’re probably already packing up your Combi, getting your djembes out, and burning as much patchouli as you possibly can…

Toilets

Weaved through extravagant hand-made theatres, the Village houses high quality short performances across theatre, magic shows, puppetry, film, music, dancing and games. It’s an extraordinary cornucopia of creativity, art, theatre, colour and fun. The Village opens its wonderland doors on Saturday 29th Dec at 8pm running to 1am; on the 30th & 31st from 12noon to 6pm and then later from 1am - 4am.

29 ach 30 th: 1 Ac 1st th + 0am cess : 7 31 am st 7p » - 2 : 7a m pm m 7p m C

FEATURE

In the Falls Cinema you can expect to see Feel Like Going Home, The Thin Green Line, Paris Je t’aime, Howl’s Moving Castle & Soul of A Man and more. Enjoy Films in the Field from 10pm on 30th and 31st in the field stage arena featuring fantastic Tasmanian productions.

AL LE Y

THIS YEAR’S LINE-UP INCLUDES:

Yes, seriously folks, The Village really comes alive in the wee hours of the morning. You’ll also find yoga at 10am and tai chi at 11am on the 30th and 31st December

LEY

FESTIVAL

Attending comedians to test the funny of your bone include: Adam Hills, Tripod, Justin Hamilton, Kent Valentine, Dave Thorton, and Matt Burton.

NA L

FALLS

MUSIC AND ARTS IN MARION BAY Back again to entertain, amuse, and inspire, the Falls Arts and Music Festival at Marion Bay stars over sixty performers this year!

They’re backed up by a host of comedians and, to kick it all off, the Falls offers a selection of fine films to fill your time and ease into the festival. All this plus performances in the Falls Arts Village and on The APRA People’s Stage means this year’s festival is going to be bigger and better than ever!

MARION BAY MAIN ARENA

Q

family camping area

Kev Carmody The Paper Scissors Whiskey Go Go’s Neville Staple’s Specials Clare Bowditch and The Feeding Set Cut Off Your Hands The Beautiful Girls Old Man River

WED 26TH DEC (BOXING DAY)

OPEN MIC NIGHT

Operator Please Lior Jeff Lang Little Red The Cops

FRI

28TH DEC THE RESISTANCE

SAT

29TH DEC IDLE HANDS

MON 31ST DEC SHAKUBULA

(IN PUBLIC BAR)

Regurgitator The Herd

SAT

5TH JAN DANNI THOMAS

& BEN CASTLES

The Scientists of Modern Music

Bridget Pross Nathan Weldon and the Two-Timers Dirty Harry and the Rockets

ph: 03 6234 8600 email: shop@ruffcut-records.com

www.ruffcut-records.com PAGE 6

OPEN MIC NIGHT

THE LAST WEDNESDAY

OPEN 7 DAYS

OF EVERY MONTH 14 Brisbane Street, Launceston 6331 5346

ELAS NO STEKCIT

33A ELIZABETH ST MALL HOBART

GREAT FOOD

TICKETS ON SALE

The Panic

Tribeadelic Gathering

The Soundscape Festival

Melbourne - 29th dec - 1st jan

Domain Regatta Grounds 26th January

Qbert Halo - 29th December

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

PitchBlack Christmas Party:

Msfest 2008 16th February

Organ Donors(UK) / Nik Fish(Syd) Sat Dec 15th @Halo

Southern Roots

Stanton Warriors

Malente

Halo - 4th January

Halo - 18th of January

Dj Perplex

Krafty Kuts

Halo - 19th January

Halo - 26th of January

Botanical Gardens - 23rd march

Juggling & Circus Equipment available here!

Stage

d Foo

Wine Bar

main arena

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Info Booth Apra’s Peoples Stage

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field stage

Conservation Area Please Keep out

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KLE C

D WARRATA HR

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RD MAR Y B UN BR

EL WI CH

MARION BAY SITE MAP

Dukes of Windsor

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Girl Talk

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The Mess Hall

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Blackalicious The Go! Team

Arena Gates

Food

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Toilets

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Angus and Julia Stone

av e a St J o M at hns e( SA M)

Busdriver

Bar E Toke FTPOS n Bo oth

Mattafix

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RD PA RED

Toli e

José González

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Gotye

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Built To Spill D ER

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The Waifs

main arena

Midnight Juggernauts

REGGAE

KATCHAFIRE

BURNING UP THE RIM

By Tom Wilson B

Aside from sheep and Velcro gloves, A Katchafire K t h is one of New Zealand’s most successful exports. Their steady rise from family-based cover band to original worldtouring powerhouse of reggae has spawned numerous imitators all over the globe. As flattery goes, that’s pretty sincere, writes Tom Wilson.

Apparently New Zealand owns more Bob Marley records per head of population than any other country – why do you think that’s the case?

I think it’s a big part to do with the indigenous culture here, the Maori people. I think a lot of what Bob sings about and talks about in his songs, you know, the messages of political struggle, go hand-in-hand with a lot of what our people here went through and what a lot of indigenous cultures went through around the world, and I think that’s a big part of it, eh?

The music of Katchafire is branded Aotearoa reggae – how does it differ from that of other kinds of reggae?

My thinking is that there’s a lot more unique forms of reggae here. People have taken from a lot of different musical genres and backgrounds and fused them all together and you see that roots, or reggae… a lot of the bands here have heavy influences of roots, and I think that’s what makes it interesting. You know, different artists throw on or take [from] different genres – all their inspirations coming through.

That’s what I think is unique, you know, we’ve been around the world touring on reggae circuits, festivals and stuff in the UK and US and a lot of the bands sound the same and I can’t say that for New Zealand; a lot of the bands here are unique and have their own sound and own identity and so on. It’s just an observation – I’m not biased. There’re a lot of awesome bands out there, but for a concentrated, little small part of the world there’s definitely some awesome music coming out of here.

… FOR A CO CONCENTRATED, LITTLE SMALL PART OF THE WORLD THERE’S DEFINITELY SOME AWESOME MUSIC T COMING OUT OF HERE …

How is New Zealand’s geographical location reflected in its musical output – do you think the music that comes out of the country is very different because of that?

I definitely think that, as a whole, the musical output is very unique. There’s a lot of indigenous cultures around the South Pacific rim and they all get into reggae like the Marianas, the Tongans, the Fijians, New Caledonia, all the way into Japan and Hawaii and stuff, it’s unreal! There’s a new kind of sound emerging and where it’s going to come from is the South Pacific.

You guys have performed alongside some of the bands you’ve played covers of - what were some of the best experiences you’ve had doing this?

We’ve played with The Wailers, Damien Marley… I think Alpha Blondy was a big eye opener for the boys… UB40… we didn’t get a chance to open for them but we went and watched them as a band – that’s first concert we’ve been to as a band outside of our own!

That was awesome… there’s a lot of names, we probably wouldn’t get [to cover] them all. The Wailers were pretty awesome to play with… yeah.

Do you think the day will come when you hear up and coming bands covering Katchafire tunes?

[Laughs] There already are, man! There’s a lot of cover bands all through Hawaii and Guam, even bands in Mexico playing our music and covers… in LA there was a cover band playing our music – it’s already happening! It’s very flattering – a few of the up and coming bands used to play our covers here, too!

Catch Katchafire on Australia Day, January 26th, in Hobart for The Soundscape Festival.

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

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 7

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THURSDAY DECEMBER 27

Jazz Club '07 Bailey's Blokes, from Hobart, featuring Christine Bailey (vocals), Paul Martin (saxes, clarinet), Neil Levis (keyboards), Terry Patterson (drums/washboard), 7:30PM $10

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CHIODOS C HIODOS

SICK PUPPIES

By Steve Tauschke

Carrying significantly more weight than their disposable TV snack-sounding name, American post-hardcore bruisers Chiodos bring their strong work ethic to Australia this summer as part of the multi-city Soundwave festival. SAUCE speaks with singer, Craig Owens...

Such was Chiodos’ commitment to performing live in their formative years, the Michigan sextet once attempted four shows in 24 hours.

“We tried to schedule it so we played first on one bill, middle on another and last on the other one and then a late night show with more like a party vibe,” explains singer and bundle of energy Craig Owens on the phone from South Carolina. “We only made it to three but we were trying to work as hard as we possibly could and play to as many people as possible.”

Forming in Davison, Michigan in 2001 originally as the Chiodos Bros, the band’s lust for relentless touring saw them undertake more than a dozen DIY tours throughout the US in their early days “playing to anybody, to five people, in hole in the wall venues, houses, basements, bedrooms, shacks, garages.” Owens concedes it was an exhausting work rate that by 2004 had resulted in serious health consequences.

“I almost passed away a few years ago during that process,” he confides. “I was stricken with pneumonia and was in the hospital for four months. I was partying too much and not taking care of myself. I was a young rebel kid [who] thought couldn’t be touched. I’m six foot two and 160 pounds but back then I was six two and 90 pounds. I had to learn how to walk and sing again - all that stuff.

“Being on your death bed was pretty intense. I learned that I wasn’t invincible and that music could literally kill me.

But the thing that really got me to that point was a flyer for our next show I had at the edge of my hospital bed and I could see it at the end of my feet. I kept asking the doctor ‘when can I play, I don’t want to lose my fan base’. I had chest tubes in and wasn’t even walking at the time.”

Despite losing ten percent capacity in his left lung, Owens is otherwise healthy and now mid-way through yet another headlining US tour promoting Bone Palace Ballet, the band’s second full length album for indie label Equal Vision following 2005’s All’s Well That Ends Well.

“I really feel like any fan of Chiodos really got the new record and they really proved that by picking it up and coming along to the shows and screaming it out louder than some of the old stuff,” says Owens. “This past three years is what this record sounds like, you know, the bands that we’ve been touring with and the bands we’ve been listening to, the emotions we’ve felt, the moods we’ve had, the success, the negativity, all of that, it’s all there.”

“It’s just awesome to be able to grow with our fans. I mean I don’t want any perks, I just live selflessly, modestly and just play music. This is my therapy, it’s the only way that I can live and I think I can speak a lot for the other guys too, we’re here for a reason and this is what we love. We don’t want to be the biggest band in the world, we’ve never wanted that. This is just how we chose to live to make a living with our best friends doing what it is we believe we do best as individuals and sharing it with other people.”

Chiodos are set to share their back catalogue and energised live show with Australian fans during their inaugural visit down under on this summer’s Soundwave festival.

“We are so excited, never have we gotten such a response from a country that we’ve never been to. We just can’t wait to get down there and feel the welcome!”

Chiodos perform at Soundwave in February / March 2008.

PAGE 9

MOHAWK

THE OFFSPRING

SPRINGING INTO THE FUTURE

By Steve Tauschke B

Having survived the 90s nu-punk sitcom intact, American veterans The Offspring are currently hunkering down to finish off their as-yet-untitled eighth album with ballsy uberH pproducer Bob Rock (Metallica, The Cult, Motley Crue). Singer Dexter Holland tells Steve Tauschke the 2008-bound record will mark the quartet’s first studio release since Splinter five years ago and will coincide with their headlining slot here on this summer’s Soundwave festival.

a

Hey Dexter, so how’s the recording coming along?

H Well, we’re working really hard to finish it up, most of the W music is recorded and we’re kind of doing vocals and I have m few fe songs to finish up with the lyrics.

difference, it’s that it sounds really big but in a good way not in an overwhelming way.

So how does a band as big as The Offspring avoid becoming a caricature, a cartoon figure?

Right, well, we’ve always been careful about selecting what we wanted to do. I think not becoming over-exposed was the main thing.

We were always cautious about that because I think you can just hear too much from a band, whether it’s on the radio or on TV. You want to be just one step under the radar!

When you write songs, who are they for?

Haha! Well, you gotta write for yourself. If you’re really trying to aim at someone then something in it won’t be true and people will pick up on that. But I try to make things a little more universal, I mean I could write about molecular biology and it would be true but, you know. Doing a song like Self Esteem, that was not an experience that happened necessarily just to me, it was sort of combination of maybe stuff in my past and also things that were going on with friends but it was just one of those things that people seemed to be able to really relate to.

Do you keep a low profile when you’re off the road, what do you tend to get up to?

Everybody has their thing. Greg our bass player is really into golf, Noodles just really loves playing guitar, that’s his main thing, I know he likes fishing a lot too, and I like flying aeroplanes. I got my pilot’s licence about ten years ago.

I spoke to your bassist Greg around the time Smash came out and he mentioned that you normally conceive songs in your head then take them to the band... is that still the way you work?

Yeah, pretty much. I actually carry a little pocket tape recorder with me and when I get an idea in my head I just kind of hum it in there and so I have a collection of little ideas. Then I start to sort them out and eventually come in with the band and we turn on the amps and see how it sounds.

… THIS T IS ACTUALLY A LITTLE L RUSSIAN FIGHTER JET THAT DOES LOOPS AND ROLLS AND ND DOGFIGHTS AND D ALL ALL THAT CRAZY STUFF! FF …

Do ideas come to you at the strangest moments?

They kind of do. It’s weird; you can be in the produce section in the supermarket. Haha. You know like Pretty Fly... and the part where it goes ‘uno, dos, tres, cuatro, cino, cino, seis’, we were in South America doing interviews and the guy had a microphone and was saying ‘testing one, two, three’. He was saying it sort of like that, ‘uno, dos, tres’ and he almost said it rhythmically and for me the light bulbs went off and I thought I should use something like that in a song.

You’re working with Bob Rock on this album, he doesn’t seem like a good fit for The Offspring.

Bob was not on the radar for me at all and I didn’t know that he’d ever worked with a band like us before. I forget who talked to who but he was interested and I went to go meet him, in Hawaii which was a nice bonus, and it’s been really great working with him. He started out mixing right, so his chops are fantastic. He can make anything sound good.

MOHAWK

Have you deviated from the blueprint on this next record?

I always make sure we don’t get too far from what we’re known for. On every record, I think we sort of try to return to that but it always comes out a little bit different just because we’re different people and we’re playing through different amps and all that. I don’t think anyone’s going to be shocked by the album. If there’s a

… THIS IS ACTUALLY A LITTLE RUSSIAN FIGHTER JET THAT DOES RU LOOPS AND ROLLS AND DOGFIGHTS AND ALL THAT CRAZY STUFF! …

What do you fly?

I have a little jet called a Citation, a little private jet by Cessna that seats six people. It’s really cool. I really like flying and believe it or not I actually have an instructor rating. But the crazy thing is I bought a little plane last year called an L39, which is a Russian military plane that they had over there just collecting dust and people began importing them and putting them back together. So this is actually a little Russian fighter jet that does loops and rolls and dogfights and all that crazy stuff!

You’re heading back to Australia for this summer’s Soundwave festival... how long has it been since we saw you out here?

I was thinking about that. I think it was in ‘04 so about three years but it doesn’t seem like that long because we’ve come out to Australia like every other year. We come out every time we do a record but it’s been a little longer this time. Hopefully people still know who we are out there!

The Offspring headline the Soundwave festival in February.

CRACKWHORE

ONCE YOU TASTE THE CRACK, YOU’LL BE COMIN’ BACK

By Tom Wilson

H Hailing from the same gutters that spewed forth Aussie rock legends like The Divinyls, Melbourne’s Crackwhore will leave you strung-out by the side of the road with your panties aaround your ankles and a strange itching sensation in your crotch. Sounds like an ideal night out, writes Tom Wilson…

O let’s get this question out of the way – what does OK, the name “Crackwhore” say about the band? When people hear that name, what would you like them to think?

Stacy: I suppose the name “Crackwhore” stands out. It’s a name you won’t forget in a hurry. The name tells you we’re not here to mess around. Most of our music is “Riot Grrl,” and about how the ignorant bystander pisses us off. Remember an old bastard named Harold Holt? ... Yeah, that was the last guy to f*ck us around. Where is he now?

Tell me about the song On Your Knees. What’s the song about? What inspired it?

Stacy: On your Knees was inspired by reading too much Cathy Acker. It’s kind of a turn-around on the woman being the provider for the man. A very feminist style of song – if you listen to the lyrics a little harder you will see that. We have had another song, Suck Me – that song was banned from a local Melbourne radio station, and a few complaints were written in from housewives. I quite like that, despite the fact that all she heard was “suck my c*ck, honey, suck my c*ck,” and couldn’t see past those lyrics! Maybe we could have ruled the world together? Maybe not …

A reviewer at one of your live shows once wrote that you “howled like you were giving birth to a Volvo.” (There’s an image!) While that might be a bit of a tool-ish thing to say, do you agree with what he’s written at all?

Stacy: Yeah, if only I lived in Adelaide … Some people may have taken his review as offensive, but I kind of like it. It took a bit of effort to come up with the ways he described my style of singing. I find it hard to describe it myself! So I guess “howling like I was giving birth to a Volvo” isn’t such a bad analogy. It’s loud. It’s raw. It’s aggressive and sexy. That’s me.

What plans do you guys have to follow up the self-titled album you put out in April? What musical direction do you think you’ll be heading in?

We’ve got a fantastic Brisbane-based label, Turkey Neck Records, who will continue to release Crackwhore stuff ... at least domestically. Other bands including Kamikazi’s, Pineapples From The Dawn Of Time and the The Busymen also share our label. We changed the lineup recently this year to include Cinta on drums; she offers us a harder, faster sound, but still has a sharp enough technique to maintain our garage rock ‘n’ roll vibe. Damn, she can make some noise ... Not bad for such a small package!

PAGE 10

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

Stacy: Chrissie Amphlett is my all-time role model. Can’t say I’ve ever peed on stage, but her distinct vocals and absolute presence on stage is an awesome power, and I’d love to have that same passion. It hasn’t been just her style to influence me, but if it wasn’t for bands like The Divinyls building the female lead singer as a tough, strong independent member, paving the way for bands like Crackwhore, it would be harder for us, I imagine. Other influences are as varied as Souxie & the Banshees, Rose Tattoo, X-Ray Spex and The Stooges.

A little while ago, I got ripped into for mentioning that a local band was an “all-girl rock band”, basically implying that the gender of the musicians shouldn’t be considered important by those listening to their music. Personally, I think this is horse shit – I think it is noticeable, because both the way they sing and the way they perform is, ultimately, different to a male equivalent (not better or worse, just different). You’re both a woman and a rock vocalist – what are your thoughts on this?

James: I see quite a distinct difference in gendered bands! It’s easy for female bands today to get involved in local arts/music scenes. But this was not always the case! Rock ‘n’ roll music has always been a patriarchal construct. Many up-and-coming women musicians today have the chance to develop in a more even playing field between the genders in the music scene.

I’m sure these same females would have felt a tremendous difference in opportunities and respect within the scene even ten years ago. The concept of the hard-edged female rock sound is relatively recent. A couple of years ago, a female band would be associated with gender politics and sexual identity even if the music and lyrics they were creating were apolitical in nature. Today it is possible to be female to play great hardedged rock ‘n’ roll just for the sake of it. Today “Joe Public” can watch a band comprised of females without the old fashioned stigma of watching female performers and classifying them as “marginalised” exclusively because of their gender.

What does Crackwhore bring to rock ‘n’ roll that other garage rock bands don’t?

We got a definite punk influence that is clearly apparent to any geezer who comes along to our shows. But we have been careful since Crackwhore’s inception to maintain the rock ‘n’ roll vibe rather than the punk/thrash sound. This has been an important ideal in the development of the band; nice and sleazy rock ‘n’ roll, rather than a hard, fast, thrashier sound.

Crackwhore likes to take its time. Everybody who has come out to see us knows it well – “first taste of the ‘Crack, you’ll be comin’ back!”

You’re playing New Year’s Eve down here. What have been some of your best and worst NYEs? Any hazy memories of things that really shouldn’t have happened?

We have played at our local pub over the past three years, and are pumped to play The Brisbane Hotel for a change of scenery, and kick some Hobart ass. We are really psyched about playing with Tassie locals The Roobs – a great band we have heard lots about. Tassie has a great history of bands. We are all well versed in local bands – She Rats, Sabotage, Vodka Party and even Asking For It! What’s a resolution you might make that, in all honesty, won’t have a chance of being followed through with?

I WANNA GET MYSELF MY YSE A VERONICA OR TWO … THEN I’M GONNA DO SOME S TO T NASTY THINGS THEM.

Stacy: I think I’m supposed to make this resolution while I’m drunk on NYE, aren’t I? What are your plans for next year?

We would like to visit most of the east coast, including Brisbane and Sydney. [We’ve] been planning to get there for a while, and I think they need a taste of what the Whores can give them – an old-fashioned whore-down. We also plan on releasing a single with some of our new songs to keep the punters happy.

James: I wanna get myself a Veronica or two … then I’m gonna do some nasty things to them.

Get your first taste of the Crack at Hobart’s Brisbane Hotel on the 31st of December. www.Myspace.com/crackwhorerocks

SHEER EXCELLENCE IN ROCK AND ROLL THE RADIATORS CELEBRATING 30 YEARS OF LIVE PERFORMANCE!!!!!!!!

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With the rigors of touring they still remain " The Hardest Working Rock Band In Australia " Like an excellent bottle of wine these guys have matured with age to produce the finest rock and roll ever heard.

EXPERIENCE COUNTS and 30 years and still going strong is "EXPERIENCE".

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Brisbane Hotel Ambulance + Chi-Roh Curly’s Bar Mr. Meaner Republic Bar & Café The Sign @ 9PM Syrup Rewind @ 9PM

The Metz Scott Woodhouse + Grotesque + Dave Webber

LAUNCESTON Irish Murphy’s Shock Corridor

Royal Oak Open Mic Night

THURSDAY 27TH BURNIE

Stage Door the Café Bailey’s Blokes – Christine Bailey + Paul Martin + Neil Levis + Terry Patterson @ 7:30PM

HOBART

Alley Cat Bar EC4 + Carl Fidler + The Digital 3 @ 8:30PM

Republic Bar & Café Dan England & The Thieves + Dean Stevenson @ 10PM

Raincheck Lounge Live Acoustic Music @ 4PM

Syrup Moguai (Germany) + Green Velvet (USA) + Adam Turner + Gillie Nick C + Reme – Downstairs @ 8PM

Republic Bar & Café Cake Walking Babies @ 9PM

LAUNCESTON

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James Hotel Carus & Loren

39 Bar Elf Tranzporter + DJ Wasabi + DJ Ray + Mynse @ 9PM

Tonic Bridget Pross

Alley Cat Bar The Frisky Feline Cabaret – Joel Salom + The Birdman + The Pitts + Oz Star Airlines @ 9PM Brisbane Hotel The Roobs + Crackwhore + Roadkill Curly’s Bar Disco Magic Party – DJ Dixie + Gillie + D2M + Jim K + Samex Marion Bay Falls Festival

Republic Bar & Café Sugartrain @ 9PM

FRIDAY 28TH HOBART

LAUNCESTON

Republic Bar & Café Kobya & Band (African Reggae) @ 10PM Syrup Pickle vs. Pitch Black – Corney + Wilco + Shad Nick C + Reme – Downstairs @ 8PM

Lonnies Buff Star DLUX + Selecta + Matty C + Soundwave + Jackhammer

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SATURDAY 5TH HOBART

Alley Cat Bar Mei Lai Swan + Lucien Simon @ 9PM Brisbane Hotel The Scandal + Your Demise + Ride the Tiger Curly’s Bar Club Dance – Grotesque + D2M + JimK + Samex

Syrup DFD – Adam Turner + Gillie + Corney Tackyland – Downstairs @ 9PM

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TUESDAY 1ST HOBART

Alley Cat Bar Lonely Residence @ 8:30PM

The Hub Adam Cousens + Foreign Films @ 9:30PM

Royal Oak The Resistance

WEDNESDAY 2ND HOBART

Alley Cat Bar Abbey Doggett + Oberon Carter @ 5PM

HOBART

Alley Cat Bar Black Swan + Sam Nicholson + Lucien Simon @ 9PM Brisbane Hotel Orodruin + Moe Grizzly + The Special Students + Soundtracks will Dissolve Curly’s Bar Club Dance – Grotesque + D2M + JimK + Samex Halo Qbert Republic Bar & Café Snapback + Bone Daddies @ 10PM Syrup DFD – Gillie + Adam Turner + Corney Tackyland – Downstairs @ 9PM The Loft Kaotic – Oz Hip-Hop

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SUNDAY 30TH

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SUNDAY 6TH BURNIE

Republic Bar & Café G. B. Balding @ 9PM

Stage Door the Café Dan England & The Thieves @ 8PM

Stage Door the Café Andy Farrell Trio @ 7:30PM

"Her songs have depth and humour...she is blindingly talented"

Bark Mill Tavern Dan England & The Thieves

The Hub Open Mic @ 6PM

SATURDAY 29TH BURNIE

9PM-12 SOLO

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REBUBLIC BAR TUES 15TH JANUARY

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Republic Bar & Café Elf Transporter + DJ Wasabi (Combat Wombat) + Mynse + DJ Ray @ 10PM

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James Hotel “Map Of Tassie” – Wakeboarding DVD Launch

26th DEC - 8th JAN

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MONDAY 7TH HOBART

Republic Bar & Café Adam Cousens @ 9PM

TUESDAY 8TH HOBART

James Hotel Dan England & The Thieves

Republic Bar & Café Simon Astley (CD Launch) @ 9PM

The Hub Forefront Hip-Hop

The Hub Open Mic Night @ 6PM

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HOBART Curly ’s Bar 112 Murray St 6234 5112 w w w.curlysbar.com.au R aincheck Lounge 392-394 Elizabeth Street 6234 5975 Republic Bar 299 Elizabeth Street 6234 6954 w w w.republicbar.com The Brisbane Hotel 3 Brisbane St 6234 4920 thebrisbanehotelhobar t@gmail.com Syrup 1st Floor 39 Salamanca Place 6224 8249 The Lof t 142 Liverpool Street 62316552 Metz on The Bay 217 Sandy Bay Road Sandy bay 6224 4444

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Syrup Rewind @ 9PM

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The Metz Wednesday Sessions – DJ @ 9PM

Stage Door the Café Gaye Clarke @ 7:30PM

Republic Bar & Café Blue Flies @ 9PM

HOBART

BARRATTS

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

Lonnies Niteclub 107 Brisbane St Launceston 6334 7889 w w w.lonniesniteclub.com James Hotel Realit y N iteclub / James Bar 122 York St Launceston 6334 7231 w w w.jameshotel.com.au

CHEAP GUITAR

The Royal Oak 14 Brisbane St Launceston 6331 5346

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

S aloon 191 Charles Street Launceston w w w.saloon.com.au 6331 7355

QUALITY ISN’T EXPENSIVE STRINGS IN STOCK AT

Proller 121 Collins Street Hobar t 0418 366 241

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

The Hub 1Tamar Street Launceston 6334 9288 39 Bar Batman Fawk ner I nn 35 Cameron Street 6331 7222

ROCK SALT

MEI LAI SWAN M

UNEARTHED IN THE BURNING HEART OF THE MORNING TREE U

By Tom Wilson B

W a six (and a half) song count on her debut EP, The Morning Tree, Mei Lai Swan could be accused of doing things in half measures. But with a haunting talent for strings, With this displaced Victorian has found the music at the heart of Australia. It has given her a fullness of expression – so much so that she was Unearthed by Triple J within days of th ssubmitting her songs. Tom fiddled as Mei Lai Swan burned with passionate answers …

H How did you first start playing the cello, and how has your playing evolved in the time since? Were you h classically trained? cl I’ve only been playing cello for about five or six years, I’ although I was classically trained on the violin from the al age ag of eight. It was a neck accident that gave me the good excuse to make the switch to cello, and while it’s similar, it’s still a pretty different beast. I’ve tried to be more experimental with the cello, and while my playing has evolved a lot over the last five to six years, I’d say I’ve still got a long journey ahead.

You released The Morning Tree in September. What kind of feedback have you got in the time since? What was one review or statement made about the EP that stuck out for you, and why?

I’ve had a lot of really great feedback since I released the EP in September. When I was recording it, I didn’t consider that it was a very “mainstream” sort of sound, so I’ve been happily surprised by the attention it’s received. In fact, I put a few of the tracks up on Triple J Unearthed after they’d been mastered in June, and within a week was chosen to be a Feature Artist – that was a lot more than I’d expected, and so soon.

What plans do you have to follow it up? How far off is a fulllength album?

I’m currently writing songs for a full-length album, which I’m hoping to record some time in the New Year. I made the happy and sad decision to take on full-time work in community development in Alice Springs for a little while, so that’s where I’m at until midnext year. In the meantime I’m playing “weekender” gigs interstate and writing a host of new songs, but as soon as I can, I’ll be hitting the road again ...

Interestingly, The Morning Tree is said to feature six-and-a-half tracks. Why a half? What are they talking about here? And was this something you intended to do from the beginning?

I thought six-and-a-half tracks was a less embarrassing way of saying “not quite seven...” When I was recording, the EP was going to be six tracks. The intro track was actually the intro to the song Come As You Are, but after I’d recorded it I decided that it would work well as the intro to the EP. So it looks like there’s seven tracks listed on the CD. But I didn’t think the intro really deserved to be called a song – so six-and-a-half it became.

I found the track All That Falls to be absolutely sublime. What can you tell me about the lyrics? What is the song about? And what kind of headspace were you in when you wrote it?

I wrote All That Falls maybe three years ago when I was living in a share house in Brunswick after I’d been through a bit of a rough time. The song’s about the quiet comfort of night, about finding that quiet space within yourself, and being able to feel that, no

PAGE 14

matter what the situation is, that’s okay. In fact, I realised recently that a lot of my songs are about the same thing, just in different guises. I think I often write as a comfort or a celebration about the very simple, daily emotions that we all go through – the little things, the night time, loneliness, the beauty of being imperfect.

You’ve done some work composing for film, theatre, and even the circus. What can you tell me about the work you did here?

What plans do you have to do some more in the future?

I’ve been doing music for theatre since I was a student, and just happened to fall into it. A lot of the work I’ve done composing has been for friends in theatre and film. I did audition once for the Circus Oz band (I got on the short list, but didn’t quite make it), and later ended up well engaged with the very vibrant community circus in Alice Springs, Circus Us – almost Circus Oz! At one stage I was thinking quite seriously about doing more composition work, but since then I’ve been spending more time writing songs and performing. It’s certainly still in future plans though, as it’s a different sort of creative work that I love. If someone asked me to work on a project that inspired me, I’d definitely say yes.

There’s an old joke that goes “How do you get a cello to sound beautiful? You sell it and buy a violin.” What are your thoughts on this? In other words, what do you see as the cello’s strengths as an instrument?

I haven’t heard that joke before, but it’s a good one! Especially since I did exactly the opposite and sold a violin to buy a cello ... and I love the cello – the depth and warmth of its sound, and it just feels good to play. I also think the cello’s a very versatile instrument – you can play it both as a bass and as a melodic instrument. I’ve never met anyone who doesn’t like the cello, and after teaching both the violin and cello to beginners, I can definitely say the cello has a sweeter sound!

One publication called you a “one-of-a-kind, multi-skilled iceberg.” What do you think they meant by “iceberg”? Is there more to you than can be seen on the surface? Or do you have a penchant for sinking “unsinkable” ocean liners?

I did find that a bit of an odd but kind of quirky comment at the time. I thought maybe they were referring to the amount of time I’ve spent floating around in the ocean. But as for more of me than can be seen on the surface – well, yes and no. I’d have no trouble laying claim to multiple personalities, and being a little insatiable, but it just depends on how long you’re around to find out what’s there.

Mei Lai Swan plays in Hobart at The Alley Cat and The Oyster Cove Inn, January 5th and 6th respectively. www.myspace.com/meilaiswan

… I THINK I OFTEN WRITE AS A COMFORT COM OR A CELEBRATION ABOUT THE VERY SIMPLE, DAILY EMOTIONS THAT WE ALL GO THROUGH - T THE HE LITTLE THINGS …

URBAN POETRY

DJ PERPLEX D

TWO TIMING THE DMCS

By Chris Rattray B

It’s not that perplexing that DJ Perplex took out the Oz DMC title for a second year in a row recently. Chris Rattray got all hands on decks with Perplex to find out more…

How’s it feel to have been crowned Australian DMC Champ the second time in a row?

Winning twice was really great. It justified all the time I spent getting good at DJing! And it has certainly opened doors in terms of being seen and heard. It’s a steppingstone in my DJ career for sure. But on the flipside, I find that people pigeonhole me just as a turntablist, whereas, I am most definitely an all round DJ and work on my club sets as much as my turntablism.

… OUTDOING MYSELF AND UPPING THE ANTE ON THIS YEAR’S SET WILL BE THE HARDEST PART …

How much longer do you think you can maintain this winning streak?

Well I haven’t decided whether or not I’m going to defend my title a third time. I don’t think maintaining my winning streak in Australia will be the real challenge.

Outdoing myself and upping the ante on this year’s set will be the hardest part. Having said that, I have a much better perspective on the whole game now, at home and overseas. I’m in the best position yet to come through and smash it, you know, really do well at the OZ DMC’s and the DMC’S World Finals.

To what do you attribute your success?

Custom-made records! Plutonic Lab and myself produced the record I used to battle with this year. We built the routine from scratch. With all original sounds, a lot of midi/synth work from Plutonic and even some classic Aussie rock I got re-recorded. It was a totally different way of putting a DMC set together. It’s been the trend overseas for a few years now and it worked well for me.

It ends up being more personal doing it this way and also much more entertaining.

What was it about turntablism that provided the spark that made you think this was something you wanted to do in your life?

Well I’m a Hip Hop head first and foremost and that’s how I came across Battle DJing. I was also inspired by local DJ’s - Melbourne has some of the worlds dopest. Back in the early 2000s, guys like DJ Jred and Selekt were killing it around the time I started. They did an all turntablism show on Kiss FM that I used to tape every week.

Are there any artists you’re keeping your eyes on who might take your DMC Champion crown next year?

Yep there’s this one guy, DJ B.2WO from Melbourne who is really killer. He’s definitely on some international standard tip. If anybody’s gonna come test its him!

What was it about turntablism that provided the spark that made you think this was something you wanted to do in your life?

Well I’m a Hip Hop head first and foremost and that’s how I came across Battle DJing. I was also inspired by local DJs - Melbourne has some of the worlds dopest. Back in the early 2000s, guys like DJ Jred and Selekt were killing it around the time I started. They did an all turntablism show on Kiss FM that I used to tape every week.

Describe the first gig you ever played and what it was like for you?

The first gig I did was in 2002 at the Prahran skate bowl.

I remember I was really happy my first show was in a park coz that’s where Hip Hop DJing got its start. I did a turntablism showcase with another dude I was cutting with at the time. It was real basic but the crowd loved it!

When was the last time a piece of music moved you, what was it, and where were you?

That would be the break from the famed Skull Snaps record. I love that piece of music. It’s been used countless times throughout the history of hip hop. Most recently Jazzy Jeff flipped it on his album with the track Super Jean with Jean Gray. Go check that one out.

What other forms of art do you look to for inspiration?

Photography. I take a lot of pictures. Especially this year I’ve done a lot of travel photography in countries like Spain, France and Morocco. Seeing all these different cultures on the other side of the world is a big inspiration for me.

What’s next for DJ Perplex in 2008?

It’s going to be a busy year. I got one of many Mixtapes almost finished. It’s called Ears Up and its killer! I just started DJing for A-Love, Australia’s dopest Female MC. We’ll be touring next year in March. Also keep an ear out for assorted Perplex productions later in the year - 12”s, more tapes and maybe an album with Bread’n’Butta! http://www.myspace.com/perplexdj DJ Perplex plays Halo in Hobart, January 18th.

PAGE 15

ARCHITECTURE IN HELSINKI UTAS – 7/12/07

GIG REVIEWS

NICK MURPHY & SHYLO MOS ANNUAL REPUBLIC BAR – 24/12/07 AND CRESCENT HOTEL – 25/12/07

The crowd closed the gap between themselves and the stage quite quickly, as Architecture In Helsinki began checking their instruments. As the music started and the band began singing, it seemed as if the crowd all knew the lyrics.

The Crescent on Sunday turned out to be a perfect, sunny afternoon performance, following an equally good (but not as loose) show on election night at the Republic. Nick Murphy (of The Anyones) and Shylo are an extremely well-drilled band, obviously attentive to each other’s playing – a rare Once again the band’s line-up has changed, as they have quality, I think, and one which served to build momentum right added a bass guitarist, and a couple of touring members have throughout their long set. been fully included in the band. So Architecture In Helsinki now stands as a six-piece.

The sound? Utterly contemporary – but think The Shins (for beguiling melody), Beach Boys (for lush harmony); Byrds Playing their very happy tunes – all the while grinning ear- (for light, country sensibility) and, for me, maybe even some to-ear – this infectious happiness swept over the crowd, and XTC (for edge). All this, loaded with rich (but not cloying) in no time at all had everyone dancing and jumping along. I psychedelia. Bliss, really. have never witnessed such onstage cheerfulness, but it really seemed to add to the mood and the concert.

Nick Murphy’s imposing physical presence belied his sweet vocals and entertaining personality. And the band! Jeff Samin’s Between songs, instruments were traded, and I believe by the unerring harmonies, gorgeous guitars and extreme level of end of the night most instruments had been played by at least commitment were a revelation. five different people.

Rohan Brooks on drums was simply wonderful (especially as This was amazing to see – a group of people with such the show built and climaxed). obvious musical ambidexterity, in the one band.

Daniel Rolfe padded effortlessly over a very smart-looking Playing many of their songs from their most recent album Vox bass (and added skilfully to the voices). Dave Roses’ Places Like This, and also a fair amount of tunes from their percussion, keyboard and vocals lent great atmosphere to previous records, they danced well into the night.

Murphy’s strong songs – neatly, rousingly arranged.

As they left the stage, I noticed they had not played their latest singles. But, sure enough, as the crowd screamed for more, they returned to play those numbers made so famous of late.

It was a huge pleasure to see such a highly able group of musicians so plainly “engaged” in the service of these instantly compelling songs. From the trippy opener Elated to the rolling, buoyant groove of Windows & Doors, to the Monkees-channeling, radio-friendly corkers like Second This is a band that is amazing to watch perform – anyone Son, to sing-along crowd-pleasers like The Cake Song, these looking for a great night should catch them next time. highly contemporary numbers – and these two irresistible performances – evidenced real talent.

SYRUP – 14/12/07

DVD REVIEW

THE BRISBANE HOTEL – 15/12/07

My senses, suffering from dollops of pounding house music, bandannas and scantily clad women led me through the doors of Syrup. The ferocious T-Rex held me back from mauling the first sight of clustered cookie-cut clubbers, demanding to know how to tell them apart as Gillie brought back reality with sweet supporting sounds of chunky house.

The funk was well laid on the floor as John Course, relishing in his return began to blow some heavy splurge across the turntables. My hips began to gyrate in the most sickly of fashions to the disgrace of my comrades as Course felt the need to hit us with the likes of Axwell, Sharam and Arman van Halen.

The undertones of electro clashed with rocky vibes were moulded together like a healthy fungus. The club was full, the arms high and the smell of body odor tearing out of every pore in sight as the night rolled on.

With bouncing mitts of mixing power, Goodwill took to the tables like a lion on a helpless animal, although the animals did not cower in fear but embraced the deep throbbing vibe that these two Australian stalwarts served up on their plates of madness.

More tracks from the album were delivered with more conviction then Judge Judy, and without stopping for air, the masses gave more and more to their beloved DJs.

Staring down the barrel that was a night of psy-trance, the Brisbane Hotel was going to prove to be one helluva venue for the delivery of pure magic weaved by one of the worldís greats, Hallucinogen.

Now I had heard that these guys were amazing and for the growing psy-trance fans out in Hobart, it was a pull for little old Hobart that someone had to part a great sea in the middle of nowhere to secure.

Once over the pure joy of seeing these guys in my home town, we trekked our way into The Brisbane, which was already loaded with people ready to explore the darkest and weirdest of sounds that has so many people looking at psy-trance with that perplexed look on the face, only to mouth the words; ìwell what the fuck was that?î The support made up of Corney, Ozzy and Simon Ponsford was killing it across the night and the pace in the room had us all going beyond our means, both at the bar and on the dance floor.

Sphongle hit The Brisbane hard opening with Harder, Better, Faster Stronger Faster followed by tracks that held serious heavy undertones but were melodic enough to evoke a broad range of emotions, whether they were joy from the sweet build ups or pure anger at the munter in front who just jumped all over my new shoes.

The Annual proved to be a consistent night of deep, heavy and pure unadulterated tunes that showed the majority were out with pride, expressing their love of Course and Goodwill’s dedication to the sound and the Annualís consistent mix of house music for the masses.

The brain was hit by some serious mixing and carefully orchestrated tracks, which brought smiles on the faces of those who had heard it all before, and fear on the minds of those dragged along for a whole new experience.

FELIX BLACKLER

MICHAEL TAYLOR

PHIL EVERLEY

CAROLE WHITEHEAD

HALLUCINOGEN

SOFTWARE REVIEW

VACANCY SONY PICTURES Amy and David Fox are an unhappy couple whose wrong turn on a backwater road leaves their lives in as much jeopardy as their marriage. After a car breakdown, they find an isolated motel in which to rest. However, when David starts viewing some disturbing unmarked videos on the dilapidated TV in their room, he discovers that he and his estranged wife are about to become the stars of the motel manager’s latest homemade snuff movie. With cameras watching their every move, it’s going to be a long night for Amy and David in Nimrod Antal’s Vacancy.

Described as a “Hitchcockian thriller”, Vacancy is a Hostellite alternative for those who have a moral aversion to gore for gore’s sake. Kate Beckinsale’s Amy and Luke Wilson’s David are believably strained as they return late at night from a family function where they’ve had to maintain a façade of happiness. Their façade mirrors that of the motel where they find dubious sanctuary, where everyone seems to be in on the amateur snuff hobby. The action starts relatively quickly once Amy and David settle in, so to speak, and the film does an adequate job of creating tension with shadowed figures at windows, duplicitous characters and the like.

The small cast and isolated location creates an appropriately claustrophobic atmosphere. However, as the action ramps up, no character displays any noticeable generosity of intelligence. These lapses in judgement are necessary to advance the story but skew the predictability factor solidly towards the “seen it all before” side of things”. That being said, my viewing companion for this film spent most of her time shuddering in my armpit for the duration of the film, so for the less experienced horror-thriller viewer it may prove to be a short and intense shot of pants-wetting terror. There was probably more terror to be had in my armpit, but the film is to be commended for its restrained violence where most of the gore occurs off-screen, earning the director his “Hitchcockian” comparison.

With a running time of only 85 minutes, the film doesn’t outstay its welcome. However, as most frequent travellers will tell you, most hotel rooms start to look the same after a while. Thus a night in with Amy and David in Vacancy is probably best left as a rental rather than a purchase.

6.5 hidden cameras out of 10.

CHRIS RATTRAY

PAGE 16

FINAL CUT EXPRESS 4 – MAC OSX

Video editing systems are really becoming a dime a dozen these days. Hell, my mobile phone has a basic video editor built in!

And it is easy to see why - the internet has given us all the ability to become our own little Spielbergs and Coppolas and sites like YouTube give a forum for anyone with a video camera to have their say about the world, or to videotape themselves dancing in their bedroom. It appears there is no accounting for taste.

Final Cut has always been recognized as one of the top editing systems on the market. Many feature films are cut on it and on a system built for editing it is one of the most powerful and user friendly tools on the market – if you happen to have a few grand kicking around to buy it. If you don’t, then Final Cut Express is a fantastic option.

Removing some of the really high end features of Final Cut Pro, but still using the basic editing system and the fairly easyto-learn interface, Final Cut Express is a good intermediate editing solution for the home consumer. It bridges the gap between the absolutely basic editing programs like iMovie or Windows Movie Maker and the top end editing systems like Avid and Final Cut Pro. In fact, Final Cut Express could really be looked on as a tutorial piece for those wanting to move up to the top-of-the-line editing systems.

It performs the basics of non-linear editing with no real problems and, in a fantastic move by the creators, it allows the editor to deal with multiple formats of video in the one project.

In the past, on other programs, it has been the case that if you wanted to edit footage of a different file type, format, or codec, you would need to either edit them in separate projects, or spend large amounts of time converting your footage from one format to another. Final Cut Express, however, now allows different formats to be used concurrently and as such really speeds up your workflow.

Another feature of note is the addition of the capability to edit H264 format video. One of the major issues in working in High Definition video on hard disk cameras has been that the format has not been well supported. Therefore it has made the value of hard disk cameras for most users questionable.

Now that there is an affordable editing program with good features that supports the format, High-Def hard-disk is finally a going concern.

In the consumer level market of editing software there is a lot of choice. Many cameras come free with some form of software, and iMovie for Mac users is becoming more powerful but is still limiting. Final Cut Express is a fantastic jumping-on point to true non-linear editing and combined with Livetype (which is bundled with it) it is a good value package.

4 film reels out of 5.

DAVID QUINN

SPENDING THE NIGHT WITH YOU

By Chris Rattray

D Despite the name, Fi Claus is not one of Santa’s distant relatives. However, she is a ggift, and with the release of her new single, I’ll Be Spending, she reveals why she’s bbeing hailed as Australia’s newest “alt pop-rock treasure” to Chris Rattray.

S who will you be spending all your time with this So Christmas/New C Year’s, where will you be, and what will you be doing?

This year, I’ll be having two Christmases. Like one isn’t enough for over-indulging. I might suddenly need a retaining wall between me and my little pink dress for January shows. One is a party with certain very fun peoples in Sydney the week prior, then one near Brisbane with my immediate rellies: my fam are going up to a German restaurant called King Ludwig’s. Why a German restaurant? That’s because one side of Dad’s heritage is German, as you may have guessed. When people get onto heritage listings I tend to say I’m a bit of a Euro-mutt. A combo of border country between England and Scotland, German, and Irish… plus an unknown eighth as Mum’s mother was adopted. My brother, who lives in San Diego, theorises that the unknown eighth may be Jewish, as he has been very attracted to a few Jewish women… but I’m not sure that’s quite sufficient evidence. Oh, and I tend to leave New Year’s to the last minute - that one’s TBC. What’s the story behind your new single, I’ll Be Spending, and how does Lygon Street factor into it?

Hmm. Talk about wanting to let cats out of bags. Note to self: learn to write less obvious lyrical content. So I met this boy in Melbourne… and was walking along Lygon Street to get a tram

make you or the police who you call about it feel cheery. I studied anatomy at Uni, but I never saw a knee without other parts of the leg attached. I had to watch it for twenty minutes ‘til the police were able to arrive and take over. Thought I was doing OK until I got home and had to lie down because a bit of shock made my head spin… which is not so festive.

How many Friday nights home alone did it take to become the multi-instrumentalist extraordinaire you are today?

Thanks for the title. That’s very kind of you. Practising mostly happens in the day. Mostly. Friday nights are spent going to see bands and discovering new instruments I would like to play… except rare ones like one night I was at home alone in Carlton, and wrote the song called Friday Song, which is now on my MySpace page.

If I was a fly on your wall in your home, what’s the most interesting thing I might possibly hear?

Hmm… Depends heavily on your interests. Maybe that the morning I wrote the song Fly on My Wall in the second Carlton share house I lived in, one of my housemates told me the main melody in the verses was sung by a bird next to our house in the hour or so before I woke up. So I ripped that tune off a tweety bird.

Lucky they can’t register with APRA.

… ONE OF MY HOUSEMATES TOLD ME T THE HE MAIN MELODY IN THE VERSES WAS SUNG BY A BIRD NEXT TO OUR HOUSE SE IN THE HOUR OR SO BEFORE I WOKE UP … to go see a band with him… and was wearing an overcoat and tiny new shoes. Well – smaller boots than I usually wear with that skirt anyways… Unbridled optimism about how things could go is what that song is all about. Let’s keep it cheery and not tell the rest of the story.

As an obvious relative of Santa, what kind of special favours do you get?

Lets see… I let my share house friends register the landline, so Claus is not in the phone book, and my parents get a silent number.

A lot of prank calls in December. Not quite as many as my aunt though – her name is Sandra Claus… S Claus in the telephone listings. Incidentally, she and her hubby Walter used to live in Tassie. He was brought up on a raspberry and dairy property. Dad tells stories of fresh raspberries smothered in thick fresh cream on toast for breakfast when he visited them as a kid… which would look quite Christmassy, come to think of it. I’m really looking forward to this first Tassie tour!

What random fact for the day would you share with us this festive season?

I don’t recommend finding a human knee in the Brisbane River.

Did that when I was out walking on the floating walkway near New Farm one Saturday afternoon a few months back. Doesn’t

Aside from answering interview questions, what makes a perfect day for Fi Claus?

Pretty much all the things I wrote in my song Perfect Day (also on MySpace) I think; the endless search for someone to love actually ending in just that… driving in the city involving more smiles than frowns… and a few extra sleeping hours time-travelled into the day, so you could go to a good gig… then go out… and not miss the day. I do like interviews too, by the way, because they often involve meeting new people, which is one of my favourite things about touring.

URBAN POETRY

ROCK SALT

FI CLAUS F

DJ D STRAY

KING OF CARDBOARD OUT ON HIS OWN

By Chris Rattray

The T DJ formerly known as HiPPiE of Copious Crew has strayed from the pack – his solo album, Cardboard Crown King under the name of DJ Stray will be released shortly. But it’s a just ju one of many upcoming projects for this talented deckmeister, writes Chris Rattray…

T Tell us about your solo mixtape coming out very so soon? ll the h mixtape will now be released free alongside my Well instrumental album, which will cost two dollars. I have been making beats for over five years and always wanted to release a bare beats CD for MCs to practise and battle with. So after finishing the mixtape I thought it would be good to release them both in one case at a small price. It isn’t your average mixtape as it’s not mixed down by any DJ, (in fact there’s not a scratch on it so to speak) and the tracks are not full tracks but just one verse recordings using my verses off my up coming album and mixed to well known beats. My favourite verse on the mixtape would have to be the third, it’s a verse I used in the Tasmainiak track Tas in Winter and I just love the flow of it.

To what extent is the mixtape a taste of your forthcoming EP, Cardboard Crown King?

The mixtape itself is meant to be a sort of sampler for the album or a preview in a sense. Some of the verses on the mixtape are taken directly from tracks on my album. I did this mainly through an idea from Skurge from EPC. He is looking to release a mixtape very soon structured very much the same way but with full tracks I think. So in a manner of speaking I asked to use his idea.

What was the impetus to strike out and do your own thing apart from the rest of the Copious Crew?

Copious sort of made it a rule when we first started to always do some kind of solo work so we can always be creative even if the other guys are not there. And plus, sometimes, you just make music that you want to use on your own or that the other guys aren’t feeling. So it just sort of makes sense to us.

Describe some of the seminal experiences that made you realise being an MC was something you wanted to do?

I started out in music being a singer/songwriter playing acoustic guitar and even released an album in 2003 showcasing my acoustic songs. But during the time I was making that album I was also working with two guys in a group called 3mad playing hip-hop around Devonport and Ulverstone and was also

working in radio producing the ads. So I was naturally moving in that direction and my lyric writing was always based around a rhyming structure. So after learning to produce I began to make beats and started spitting over them.

What were some of the defining moments for you in 2007?

Well Copious getting some airplay on Triple J for Unearthed was pretty cool and at the last Homebrew Copious held an hour set showcasing all of our solo works and ending the show for the night. It’s been a big year for Copious and myself so it’s hard to state them all.

Looking forward, where will Stray and the Copious Crew be this time next year?

Next year will be all about getting CDs on shelves for Copious and its members. Covert, Sporatik and myself will all have albums coming out sometime next year and we’re also working on a full-length album for Copious as well, so we’re gonna be flat out doing that. But we’re also looking to expand the number of venues that we play at as well and even looking to make some trips to the mainland for some shows.

What other projects will you be working on?

At the moment I’m also working with a very cable MC, Livewire, the second half of Verses Lyrical. We plan to do a little EP and have it out some time next year. But with this release I would like to do more singing than rapping and let Livewire show why she is one of the best MCs in Tassie.

Where do you play regularly and when can we see you play next?

At the moment The Brisbane - it seems to be the new home for Tassie hip-hop and we’ve been playing there on and off amongst a few other places. We are approaching other venues and publicans to see if they’re interested in showcasing some Tassie hip-hop and have a few things in the works at the moment but nothing is confirmed yet. http://www.Myspace.com/ahimsahippie

WE CAN ALWAYS BE CREATIVE EVEN …W N IF THE OTHER GUYS ARE NOT THERE …

TH

What are three of your favourite bijoux things and why?

It depends whether you go on the translation meaning cute things or gems… but this is a rock interview so lets go gem: my favourite gem is the royal blue sapphire, I like the way the sky turns into a huge one of these in the last few moments of sunset, and I can’t go past any good melodic rock as a favourite thing. Especially when it’s not just a bunch of chords with a melody over it – my favourite music has melodies coming at you from every instrument – even the drums, plus interlocking vocal melodies instead of a the harmony just following the main melody around note for note.

I think that way of thinking comes from an early background in orchestras (playing violin), where you didn’t hear plain cords – all five main sections of the orchestra played interlocking melodies.

I think this sort of thing happens on my new single, I’ll Be Spending, which makes me very happy, especially Andy’s amazing “elephants running through the jungle” drums.

By this time next year, what will you have achieved personally and professionally?

By this time next year, I will have released not only the first two iTunes singles Come Home and I’ll Be Spending, [but] my debut album, Bijoux, will also take its first public breaths in the second half of 2008, and I will have done at least two major Australian tours.

This makes me very happy personally, and as far as how things go professionally - I will endeavour to remain as professional as possible at shows… within reason. This I’ll Be Spending Launch Tour will be a solo one, so I will not have Andy and James encouraging me [another cheeky smile].

Fi Claus plays The Hub in Launceston on January 11th followed by The Republic Bar in Hobart January 11th. Her new

Republic Bar & Cafe

299 Elizabeth St North Hobart Ph. 6234 6954 www.republicbar.com FRIDAY 11TH JANUARY

Archie Roach & Ruby Hunter

$25/$20 conc. 10:00pm

SUNDAY 13TH JANUARY

Ruby Hunter & Archie Roach

$20/$15 conc. 2:30pm

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DECEMBER/JANUARY THE SIGN 9:00pm THE STOICS (Launceston) + Zac Lister Band 9:00pm KOBYA & BAND (African Reggae) $3 10:00pm SNAPBACK + Bone Daddies $3 10:00pm CAKE WALKING BABIES 9:00pm NYE with SUGARTRAIN $10 9:00pm G. B. BALDING (Finger Picking Blues) 9:00pm CARUS + LOREN $10 9:00pm ESHAK'S FULA (African Music) $3 9:00pm DAN ENGLAND & THE THIEVES + Dean Stevenson $12 10:00pm ELF TRANZPORTER + DJ Wasabi (Combat Wombat) + Mynse + DJ Ray $10 10:00pm MERCHANTS IN GROOVE 9:00pm ADAM COUSENS 9:00pm SIMON ASTLEY (CD LAUNCH) 9:00pm BLUE FLIES 9:00pm SUGARCANE COLLINS + Damian Neil + Adam Wales $5 9:00pm ARCHIE ROACH & Ruby Hunter + Dwyane $25/$20 conc. 10:00pm PAGE 17

ROCK SALT

SIMON ASTLEY S

TOOL - SIZE MATTERS NOT

By Chris Rattray B

B Born in Perth, raised in Devonport, and forged in Melbourne, Simon Astley is soon to follow up his debut EP, Shopping Mall, with a full-on, honest to goodness full length aalbum… which is more than can be said for his penis, as Chris Rattray discovered.

W What was the best thing about growing up in Devonport?

D The best thing about growing up in Devonport was T the quiet life and being able to be so connected with th yyour friends and family due to the short distances in travel tr and the quiet traffic.

If you were here tonight, what would you do?

I would be catching up with my family and friends and probably having a BBQ and a few drinks.

What’s the best Shopping Mall you’ve ever been to and why?

The best one would be Highpoint Shopping Centre in Melbourne, the reason being that that’s where the photos for the front cover of the Shopping Mall EP were shot and the visions of the Shopping Mall I wanted for photos was exactly what Highpoint looked like inside and I had never been to Highpoint Shopping Centre previous to that… scary!

… IT GRABS THEIR ATTENTION AND IS A GREAT TOOL TO HAVE UP YOUR SLEEVE TO WAKE PEOPLE UP! P!

What gives you butterflies?

Beautiful women, great melodic moments in songs especially when heard for the first time - and the excitement Why launch the album in Hobart, seeing as you’re a selfproclaimed Melbourne-based musician? of getting up on stage and playing a gig.

I’m actually launching my CD in a few cities including Hobart and Launceston in Tasmania and also Melbourne, So how’s the small penis thing working for you?

Ha ha, it’s a long story! The song is a talking point I will Sydney and Adelaide. I decided to do it that way to really promote the CD and give cities an opportunity to be a part give it that. of it. I am originally from Tasmania so to do a launch down It’s a very catchy song – to what extent was it your here means a lot. intent to have people singing, “I’ve got a very small What were some of your personal highlights in 2007? penis” in public?

I had no idea when I first wrote it that people would be Definitely finishing the album, having the song Shopping singing it all the time and requesting it so much. I had no Mall on a compilation CD in the UK and being able to play idea when I first wrote it that people would be singing it many great gigs in great venues. all the time and requesting it so much. The funny thing is that people get caught out singing in places they wish they What does the New Year hold in store for Simon Astley? didn’t get caught singing it in.

I have a busy year ahead for me. [I’ll be] touring around What are your three favourite tracks on the new album Australia playing gigs to promote my Sofa So Good CD and recording my next CD with producer/singer songwriter and why?

Better Place to Hide, because it has that laid-back approach Monique Brumby. to it and it has a universal meaning to the lyrics which most people can relate to in relationships. Recognise, because http://simonastley.com of its up-tempo feel and that it is very diverse and was a song I wrote out of my comfort zone to how I normally Simon Astley launches his new album Sofa So Good at th write. Small Penis, because I had fun writing it and I have Hobart’s The Loft on January 10 and Launceston’s th fun watching people’s faces when I perform the song live, The Hub January 18 . it grabs their attention and is a great tool to have up your sleeve to wake people up!

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R E N R U T M R A E D B A B E W E T V N A E D R B , N Z A I E R M D A D N A A Z Z BA Tickets strictly limited

$33 plus BF available from: Raincheck Lounge - North Hobart, Luxe Flowers - City, Brew - Sandy Bay or from the bar PAGE 18

Supported by the Tattoo tto Studio

INTERVIEW WITH

AVERY FROM TATTOO STUDIO

lace yo Where’s the most… ah … “intimate” place you’ve ever had to tattoo someone? And what design did they get?

Just close to the girly bits – just boy’s names and butterflies; nothing out of the ordinary really, so sorry, no special stories.

How did you get into tattooing?

Bought the business, learned from there.

Are there any sorts of designs that you’re sick of doing?

Chinese symbols.

What designs are popular now?

Bigger stuff for boys and for girls, old-school designs.

What’s the story behind the first tattoo you ever got?

Not much really, just liked it, but it’s long gone now. Got it covered years ago.

Which of your tattoos has the most meaning? Why did you get it?

I have my best friend who got killed fifteen years ago.

I have a dude on a motorbike and a headstone with his name in it.

Which is your least favourite, and why?

This f*cken gay blue tiger on my left arm … What the?

Don’t know what I was thinkin’ that day. Anyway, [it’s] soon to be covered.

What’s the strangest tattoo someone’s asked you to do?

Mate, how long do you have? Tattooed that many strange things – sperm with eyes, Spongebob Squarepants and all his mates … you name it, just about done it all …

What are some of the pros and cons that people should think about when considering getting a tattoo?

Hygiene first, and make sure you pick what you want, ‘cause it’s there to stay.

What’s the hardest thing about being a tattooist?

It takes a few years just to learn people’s skin. Everyone has different skin, and you learn how to work the skin. Everyone has a different canvas – [it’s a] bit hard to explain unless you’re in the business.

What changes have you seen in the popularity of tattoos over the last couple of years?

More bigger designs, and people aren’t worried what other people think so much anymore. Planning full sleeves instead of just filling arms up with random designs, so there has been a lot more planning, which is cool.

performing at The Republic Bar With special guests Genevieve Little

AT THE ALLEY CAT BAR

AT THE ALLEY CAT BAR

s l i fluff, whiskers, a t ping pong,

9PM START New album ‘All The Things We Never Say’ in stores now and available on iTunes. www.blanchedubois.com.au | www.myspace.com/blancheduboismusic

TICKETS $17 PRE SALE / $20 AT THE DOOR (INCLUDES A FREE GLASS OF CHAMPERS)

381 ELIZABETH ST NORTH HOBART 03 62312299 PAGE 19

DAMN ARMS The Live Artex 8/10

BEST OF THE FORTNIGHT

Damn Arms’ debut release, The Live Artex, plays out all the sweet and confusing dichotomies of what the kids are calling “disco punk”, and the Melbourne four-piece has produced an impressively ar arranged angry playground of ten electronic indie rock tracks la lasting over fifty minutes.

TUNNEL TRANCE FORCE Australia Vol. 05, Mixed and compiled by DJ J Dean 10/10 This is a brilliant German hard trance compilation – in my opinion, the best of 2007.

Not only are there fifty tracks spread over two CDs but eighty minutes of them on the first disc and seventy-nine on the second makes for a jam-packed hard trance holiday!

I found myself turning up the stereo numerous times whilst listening to this release; it flows just like a proper mix should.

Th quality of the album is elicited from the band’s sharp purpose The an clarity. Each hollow keyboard tone, foreboding guitar hook and an distorted, reverberated, monotone word is calculated and and de delivered precisely. And with no surprise either; Damn Arms are th years into a hard-working and hard-touring existence. three

Although this is only the fifth TTF volume for Australia, the exact same release in Europe is its forty-third instalment: you’d think they’d know what they’re doing by now, and believe me, they do!

The two discs are, as was hinted at by their play times, entirely packed with trance, hard trance, and hardstyle - and with only seven tracks over both discs lasting more than five minutes, this compilation is likely to keep you entertained for its entirety!

There’s no favourite track of mine on this compilation; they’re pretty much ALL brilliant! If I absolutely HAD to choose one, CMR’s Lost Vision would be it. The mixes are extremely well laid-out on both discs; there are the

JOHN DIGWEED Transitions Vol. 3 8/10

Q Quasi-darlings of the electronic indie scene, Damn Arms hha have toured with the likes of Midnight Juggernauts, The ((I (International) Noise Conspiracy and Klaxon, and while it’s ccl clear they have picked up traits from influences such as these, th have managed to produce a sound that is clearly their they ow own. appropriate ppropriat climax li and anti-climax phases at exactly the right times.

The producers were very well picked and the mastering is pretty much perfect. The second disc is more trance than hard trance - but in its entirety, it’s a hard trance compilation. If you’re even a slight fan of this genre, you shouldn’t hesitate to buy this album. It’s German (hard) trance at its best.

ALEX BARWICK

It all adds up to a great first album for the band. If you’re into either eighties retro-rocking or pulsating DJ beats, you might find a happy middle ground here; if you like both, Damn Arms is probably for you. The Live Artex is the aural version of neon lights throbbing in a night sky; screaming, synthetic and driven, and very effective.

BRETT SPINKS

LAURA (Re)Capitulate 8/10

HELLOWEEN Gambling With the Devil 4/10

KASKADE Bring The Night 7/10

(Re)Capitulate is the latest offering from Melbourne noisemakers Laura, and it’s a live recording by one of Australia’s best gang of sound explorers at the Hi-Fi Bar in Melbourne.

For those who are thinking, “Who is Helloween?” they are a five piece 80’s pioneering power metal band from Germany, with this album being the twelfth studio release for them.

American DJ/record producer Kaskade has proven himself again – his taste in house music can’t really be faulted.

Whether his selections work in harmony with each other is another story though.

“Noise” is really the best way to describe Laura – it’s how they describe themselves (their MySpace address is even lauranoise). (Re) Capitulate features seven smashing songs from a six-piece making a racket with drums and keyboards and synthesisers, a cello, and a couple guitars for thirty-seven minutes. It’s loud, it’s cacophonous, it’s post-rock and it’s noise. But, most importantly, it’s noise that tells a story. It’s hard, deep and convincing, and written and performed with a whole lot of thought and meaning as it’s rearguard.

The album begins with a spoken word track from Biff Byford (Saxon) until the next track takes a journey into speed riff central.

Andres Deris’s vocals bear a striking similarity to Rob Halford’s (Judas Priest) shrieking vocals at times, mixed with the recognizable Helloween chorus sound from previous albums.

Album Cover Not Available

(Re)Capitulate journeys in and out of situations and scenarios, a ride of emotion – and all with very few words. Despite the fact that Laura doesn’t generally use the standard song-writing implement of singing (with the exception of a track or two), they have no struggle in connecting the audience with what they are trying to say.

And that’s perhaps the beauty of Laura, and (Re)Capitulate. It’s hard work for the band – and at times the listener – but it is rewarding, simply because it’s brilliant music. Intense, jagged and raw; at times breath-takingly pretty, at others confrontingly hideous; bubblegum pop it ain’t, but it’s music that the band believes in, and has worked hard at.

Haunting and daunting, (Re)Capitulate is a superb offering and if you’ve never heard the band, it’s worth sticking your ear into to check them out.

BRETT SPINKS

PAUL VAN DYK

In Between 9/10 Legendary German DJ Paul van Dyk serves up this latest collection of his own songs in a blissful mix.

It seemed to me from the first few tracks as though he’d done away with the trance that made his household (trancehold?) name, instead opting to weave a mix of genres with only slight glimmerings here and there of his trance history. With this being his sixth album, you could have well expected that he’d change his style after a while.

Essentially though, he stays true to his promise of giving a trance addict their fix. It’s only the first five tracks that you have to skip through before getting what you bought the CD for. Seventeen tracks all up makes for a good effort, and PvD doesn’t hesitate to apply his talent to all of them.

Don’t get me wrong, the first five tracks are very enjoyable to listen to. The only reason I would suggest skipping them is that if you were to buy a Paul van Dyk album, you’d do it for his name - which of course exemplifies the trance genre.

The vocalist for the second track, the punchy, vocal-driven house of White Lies is actually none other than Jessica Sutta of the Pussycat Dolls – there’s a bit of trivia for you.

Far Away is an example of the quintessential PvD trance, in this collaboration with Guiseppe Ottavani. It’s my favourite of the album due to the nostalgic familiarity of van Dyk’s older works. Their second collaboration on this album, La Dolce Vita, is also worthy of note.

The guitar work is similar to that of Iron Maiden with a modernised approach such as Dragonforce but still keeping their underlying 80’s metal sound. As Long As I Fall is the first single release, which will only be available for download. The song also has an accompanying video clip.

Another strong contender for single, and better song in all, would have been Paint A New World, with its full-on rampage of riffs, rolling drum beats and a catchy chorus. It’s easily the best track on the album along with The Bells Of The 7 Hells. The worst song on the album would have to go to Can Do It – it’s something you would hear as a motivational working group theme song and it’s torture!

The album is very well produced and has some great musicianship but overall the 80’s vibe aspect has worn thin, but with some modern guitar sounds and good production it makes for a better listening experience. Has the bands line-up changed over the years? Not really. Helloween’s just keeping to what they know best, the sound they created, which undoubtedly influences today’s power/speed metal bands.

DAVID WALKER

SOFT TIGERS Gospel Ambitions 8.5/10 Gospel Ambitions from Sydney outfit Soft Tigers is a collection of often-unstructured indiepop songs about everything from ice-cream to industrial development to high-school crushes. They walk a fine line between silliness and serious storytelling, and do it wonderfully.

Soft Tigers have the ultimate post-modern outlook (“nihilism with a smile”, as one anthropologist describes it). They have a knack for writing songs that laugh off the most serious issues, and then heart-wrenching songs with lyrics telling a meaningless narrative about a fight – and then they throw in songs like Mr. Ice-Cream a popular radio hit about, well, an ice-cream man; and Karate, which is a faux-hip-hop track about, well, karate.

A trivial song about graffiti clean up ends with the solemn, afterthought love song epilogue, “This is not me. This really is not me. There must be something more up my sleeve. There must be something more.”

Combining your usual arrangement of guitars and drums with electronic gear and sampling, Soft Tigers have a very distinct sound. Vocally they are all over the show, with songs sung in soft whispers, low mumbles, hollers and speak-singing. But, it’s all so very delightful. They are light and happy and sad, playing with bursts of energy, pauses of troubled thought – and it’s all drenched in wonder and curiosity.

From the get-go, it’s hard to fault the whole hour of mixing, technically – except for that small issue of the tracks not fitting well with each other. There is only one track on this album – track four, entitled Sorry (Dirty South Mix) that is of Kaskade’s own invention. The first track, Funk 2 Night, was remixed by himself admittedly, but generally his own production has not been lent to this album very much.

I was actually a little disappointed that this was the case.

There were no faults in Sorry that I could find; however it seemed to get a longer play time than was deserved of it.

Generally, the first half of the album is harder edged tech/ electro stuff, while the second half has a funkier vibe.

The only problem I found was that the mix never progressed to anything. It changed genres a few times, but didn’t build up to any kind of climax. It just plodded along in its monotonous way, giving the impression that the songs were in the wrong order or that not much thought had been put into their selection, relative to a complete mix.

Diggers doesn’t disappoint with this dishing out of deep house.

Just by looking at the vital statistics of this album, you can tell that it’s good value. One disc, twenty tracks, and a total play time of over seventy-seven minutes – much easier to part with your cash for than the “10-track, half-hour”, half-baked efforts that you see so commonly lining the shelves. If you like deep house with an electro twist, this album is for you.

The majority of the mix goes very smoothly, and it’s usually only after a couple of tracks have come and gone that it’s possible to tell that there’s a completely different song playing; as any good DJ will be able to achieve such a thing, it’s something to be respected.

This compilation/mix starts out very energetically (relative to the rest of the mix), but goes a little downhill from there. There was no real build-up of energy that I could pick. By track eleven, there’s a faint hint of tribal house sneaking into the mix along with the addition of more electro-influenced tracks, but that’s about as far as this mix dares to venture.

By far, the best track was the eighteenth: Silverlake Pills (Gui Boratto Remix) by Adam Freeland. The last track, Save Me by Guy J, almost moves into trance. Digweed’s name was associated with trance for quite a while as one half of the outfit Sasha and Digweed, but there isn’t much of that history left in this release. Otherwise, he would have called it “Tranceitions”, perhaps…

ALEX BARWICK

BIOMECHANICAL Cannibalised 3/10 Biomechanical is a progressive metal quintet hailing from London founded by front man John K. in 2001. The band’s sound consists of shattering hard riffs with a backbone of complex rhythm structure to all their songs. John K’s vocals are a distorted screech of craziness and amazement with at times an operatic soaring vocal here and there.

Shortly after completion of the album four members of the band decided to quit, leaving John K. to find new band members. The new line-up consists of drummer, Jonno Lodge, guitarists Gus Drax and Chris Van Hayden, and ex-Dragonforce bassist Adrian Lambert. Mixed by Chris Tsangarides (Judas Priest) the album’s sound combines a diverse range of elements from thrash, power metal to heavy melodic death metal. It’s a defi nite combination of ear bashing noise that can be over the top and hard to digest with the first listening.

Even though the band has gone through a completely different line-up, this album manages to keep the heavy rawness and aggression of their previous albums. The band definitely doesn’t take the modern trend of metalcore or classic metal trends but rather creates an extreme version of bands such as Pantera and Meshuggah with a no-boundaries approach. Cannibalism is for those who like their music full of complexity with a distinct mix of several sub-genres of metal music together.

All up, Kaskade manages to mix a whole bunch of housebased genres together, perfect for playing on the days when the sun sets late.

The album is set for a release date sometime in February 2008 through Earache records.

ALEX BARWICK

DAVID WALKER

SOILWORK Sworn to a Great Divide 9/10

WAX TAILOR Hope & Sorrow 9/10

S.T.A.G.D. would have to be one of the most anticipated albums of the year for fans of European metal.

For those of you who enjoy the likes of DJ Shadow, Edan, RJD2 and other leftfield trip hop acts, Wax Tailor is, indeed, tailored to your needs.

When Peter Wichers, key songwriter/lead guitarist, left the band in 2005 to pursue being a producer, I was skeptical as to whether the band would go through a major change of direction with permanent new member Daniel Antonsson (Pathos, Dimension Zero) on lead guitar duties.

The band’s sound hasn’t been altered too much keeping the Gothenburg metal sound that incorporates power-groove aspects of the 70-80s European metal period. Diehard fans will know that, yes, Soilwork have changed their musical approach especially with the vocals as compared to The Chainheart Machine-days producing a more melodic approach. With this latest offering it mixes the whole band’s album catalogue with parts off A Predator’s Portrait and Stabbing The Drama offering a blend of melodic brutality and speed.

First single release Exile is one of the catchiest songs to come off the album displaying great driven guitar hooks that will have fans greeting new guitarist Antonsson with open arms. The band’s name has no relevance to cultivation, but means working their way up from the ground, which is what this band has done with their seventh release. Vocalist Bjorn “Speed” Strid has expanded his vocal abilities by producing some soaring harmonic control but combined with his trademark thrash vocal style, with all vocal tracks recorded by Devin Townsend of Strapping Young Lad fame.

Armed with a sampler and an abundance of well-picked vinyl, French hip hop producer, Wax Tailor, and his guest vocalists and rappers bring a smooth, abstract collision of genres.

I can appreciate the art of seemingly collecting random vinyl samples from unusual musical genres and spewing them out over a beat to create something that leaves your brain struggling to pull together the pieces, especially when it’s done this well.

There’s plenty of haunting organ and strings, along with swaying flute samples, all brought together with tight breakbeat drums, creating an overall vibe that feels somewhere between a soundtrack to Scooby Doo and Fight Club.

France is often known for its rugged, boom bap beats.

It seems that the culture is still heavily influenced by the 90s hip hop sound, so it’s great to hear some good disjointed trip hop coming out of France that actually holds your attention. Standout tracks for me were House of Wax featuring the Others; To Dry Up featuring Charlotte Savary and Beyond Words.

It’s good to see that not all of the old stalwarts have abandoned trance.

Soft Tigers are incessantly cheeky, often dorky, and always plain obnoxious, but with a sweetness that makes you want to support them – even if they’re going in the complete wrong direction. They’ve got the right ambitions.

For fans of the Gothenburg metal scene, I suggest you buy this album and crank up track five, The Pittsburgh Syndrome, a guaranteed neighbourhood-disturber.

I really rate this album - a great effort from simply a man with a sampler and a few friends with amazing voices.

ALEX BARWICK

BRETT SPINKS

DAVID WALKER

RYAN FARRINGTON

PAGE 20

NOT JUST A DJ

By Chris Rattray B

F From youngling, to learner, to master of his craft, Kid Kenobi’s music on the dance fl floor surrounds us and binds us…but mostly uplifts us. Branching out more and more, K Kenobi is more than just a DJ these days, writes Chris Rattray.

T what extent is Kid Kenobi “just a DJ/band”?

To Well, that was a quote from a new remix I’ve done with W Jono Fernandez (as JFKK) called Thou Shalt Kill by Dan Jo L Le Sac Vs Scroobius Pip. It’s a funny commentary on tti bbands on ridiculous pedestals no matter how great they putting are or were. It’s pretty funny.

As evidenced by your video on YouTube, Round the Globe and Back Again, you also indulged in some snowboarding and surfing on your world tour – what was the most adventurous thing you got up to?

I’m not much of an extreme sports type fella. I prefer safe things like walks. Ha-ha. I did a five day trek in the Scottish Highlands this year as well as doing the Inca Trail to Machu Picchu in Peru.

Both were amazing.

You’re playing New Year’s Eve in Sydney with an icon of the scene, Vanilla Ice – what will you possibly do next that is cooler than that?

Ha-ha, not much. I was a big Vanilla Ice fan when I was thirteen or fourteen so this is going to be a personal milestone for me. I’m honestly not sure if this is supposed to be a serious gig or not, but it seems like it will be a lot of fun either way. Judging by the reactions everyone wants to come! Bring back the nineties!

BANGERS & MASH

What’s the mix of your life right now in terms of the various disciplines you cover (writing, producing, DJing)?

It’s been very one-sided for a while now – gigging, travelling, gigging, and travelling. I’m going to put more time into production next year so I’ll be touring less and will thus be able

PEGZ Pegz’ descriptive ability to simplify the complex and Pe his hi insightful approach to global themes has formed the essence of his back catalogue. His 2000 debut self-titled es EP E spawned the underground anthems Everyshow and Fatter, while his second release in 2002, a collaborative Fa 12” 12 with Task Force, broke new ground for Oz hip-hop in the UK. Pegz’ debut full-length LP, Capricorn Cat, sold so out across Australia and was widely acclaimed as one on of 2003’s best hip-hop releases.

On O his critically heralded 2005 album, Axis, Pegz gained feature album status on Triple J and dozens of community stations across Australia, including the prominent 4ZZZ and FBI. The soul-searching What Would Happen and the warmly reminiscent Back Then have become seminal showpieces for a movement in Australian music that is swiftly gaining enraptured public attention.

The people that will be coming to hear you play will already know why they’re going to see you – so what about the people that don’t know of your talents, what can they expect from your set?

Lots of fun, energy, a mix of sounds, and MC Shureshock going fully mentalist on the mic.

Apparently your itinerary last year read like a Lonely Planet guidebook but with better nightlife recommendations – which destinations were the highlights for you and why?

Too many to mention. Brazil was great because of its fresh up-and-coming vibe. San Francisco was awesome because of the open mindedness of the people. London is always great because of the crazy ex-pat support. New Zealand is a personal fave because their outlook on music is still very rooted in black sounds like reggae and soul, and China was fun because it was such a new experience and a real cultural challenge trying to work out where they were coming from musically.

URBAN POETRY

BANGERS & MASH

KID KENOBI K

… DOMINOS D ARE A LITTLE TLE PRECOCIOUS …

Since Axis, Pegz has toured the country relentlessly, building on an already committed following with his magnetic and energetic live performances. This period has also witnessed

the gestation of Burn City, his astonishing new album. Hundreds of hours crafting verses and hooks, with production by scene legends Jase (Nubreed), Plutonic Lab (Muph & Plutonic) and Suffa (Hilltop Hoods), have formed what will be the final solo album from this stalwart of the Australian hip-hop scene.

Having achieved a personal benchmark with Burn City, Pegz will shift focus moving forward, feeling the time has come for collaborative work. After a gruelling touring schedule to promote the new album, Pegz will turn his attention to a number of new fields, unveiling a new group in early 2008 and leaning more towards production, taking time to support other artists in their creative endeavours.

Throughout this stellar career, Pegz has simultaneously built Obese Records into Australia’s most successful independent label and a guiding foundation of the Australian hip-hop movement. It is clear that the impact of Pegz will be felt for generations to come.’

Pegz plays Launceston’s James Hotel on the 19th of January.

to get a proper production routine down during the week. I’m really looking forward to it.

Which do you find the most satisfying and why?

I think production for me right now because it’s becoming a real challenge for me to nail it on my own without working with anyone else. I’ve also got a lot of things I want to express that go beyond dance floors or clubs, which I feel DJing can limit you to. I’m really looking forward to really saying something beyond just dance music, as well as writing some solid dance tunes.

The Bump video features an intricate series of domino stunts – what was the inspiration and were there any horror stories during set-up?

That was the brainchild of one Andrew Jackson at EMI. I was lucky enough just to walk in and film my bit. I think they had a bit of a hard time with the dominos though. You know, the usual hurdles domino players have to overcome – like dominos not falling down, falling down at the wrong time, that sort of thing.

Dominos are a little precocious.

What’s 2008 hold in store for Kid Kenobi?

As I mentioned above, cutting down on being away for extended periods of time, not taking on as much DJ work, and becoming really studio focused. It’s going to be a big challenge but I’m really looking forward to it. It will be a nice change. The gym, yoga, and less beer will also form the basis of my New Year’s resolutions. Who said I put on a bit of weight in 2007! Never.

Kid Kenobi plays MS Fest on the 16th of February at the Inveresk Showgrounds, Launceston.

PNAU

ELTON JOHN LOVES THEM

By Tom Wilson

PNAU’s Nick Littlemore has been rehearsing vigorously – so vigorously in fact, that he’s slipped a disk. But that hardly matters when Sir Elton John’s slipping copies of your disk out to all and sundry, writes Tom Wilson.

Whose idea was it to put an addictive online game on your website?

My brother – he’s done all the visual content for the whole album. I worked quite closely with him to develop it [but]… this is his baby. Initially, James and I sat down and really talked about it, but he’s really come through with it and worked so hard on it. It’s really a labour of love. It’s for an independent record label, so there’s no f*cking money.

But that didn’t mean, for us, that we weren’t going to do a job that wasn’t as good as anything else, bands or labels or anything. And really thinking about what great music culture is all about, it’s really about giving everything on every level – not just musically, not just performatively, not just visually, but everything all tied in at once.

We really liked the idea that suddenly there was a culture that had re-emerged where art f*cking meant something and people bothered more than just having two dicks on the front of a record cover going “We’re cool!” you know? - like we wanted to take people to another f*cking galaxy. That’s what music always meant to us as kids and we wanted to give that back to people who are kids now.

I remember sneaking out when I was fourteen and going to these crazy hedonistic acid parties full of absolute freaks – real live, living crazy weird people. And it was the funnest thing that I ever did and it really shaped my existence more than anything else and it was all about colour and light and sound.

And we just wanted to reintroduce that into the world because it seems to have been lost. In today’s world, everything seems so controlled – and, I don’t want to sound jaded, but – so contrived.

I’ve been working in the music press for two years, constantly every day I’m surrounded by all the newest stuff and if you don’t get distance you do get jaded with it…

I just think people put a lot of time into the one aspect, but people rarely put a lot of time into all the aspects. I mean, we’re very guilty of it ourselves, and we’ll be the first people to admit it…

On the record before, again – a f*cking total write-off man.

It is complete concept, like art that really moves me, like Duchamp – he’s gotta be the best artist that this planet’s ever f*cking seen because is artwork works on every level – intellectually, spiritually, conceptually, f*cking visually, and emotionally....

You’re perfectly allowed to go on rants when I agree with everything you say…

You know, yesterday, I was in physio and I got a call, and it was Elton John. He was like, “Hey man, really love your record.” So in about fifteen minutes I’m going to his hotel and we’re having lunch, so, you know… I am a little bit ranty today but I’m having a pretty crazy time right now. It’s not every day someone like that calls you up and says, “Come on, let’s have a chat about music…”

… IN TODAY’S WORLD, EVERYTHING EVER SEEMS SO CONTROLLED – AND, CO I DON’T WANT TO SOUND JADED, BUT T – SO CONTRIVED. I needed that; it pulled me through… he loves the record, dude.

He went in and bought about forty copies and he’s giving it out to all these people. He’s couriered it to the Scissor Sisters, he had dinner with Toni Colette the other night and all he could talk about was PNAU and he gave her a copy of the album and she’s represented by my agent as well, so that’s how it all kind of fell into place… Music’s an amazing thing man, it’s the ultimate coupling, it can bring people together like nothing else… http://www.Myspace.com/pnaupnau To listen to the full interview in mp3 format, go to www.sauce. net.au.

Pnau play at Melbourne’s Big Day Out.

I mean, it was okay; there were a couple of good cuts on it, whatever. But we didn’t really give a f*ck about it and we didn’t follow through, in any sense. And we learned so much from that.

The only way you learn things through life, and I try and teach my girlfriend and anyone in my life, when I try and take things on-board… but really, you learn from your mistakes. We had to do that record to know that we needed to make a record people f*cking cared about. The greatest record I had as a kid was Meat Beat Manifesto, Satyricon, because as a record, in its entirety it plays beautifully.

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STREET FASHION

CALHOUN 17

NIKKI 26

DION 30

REBECCA 17

What’s the best gift you gave this year?

Singstar!

What’s Whaat’s the best gift you gave this year?

Legoo and Transformers.

What’s Wh hat’s the best gift you gave this year?

Lovve.

Love.

What are your plans for New Year’s Eve? Go out, have fun.

What are your plans for New Year’s Eve? Falls Festival.

What are your plans for New Year’s Eve? Gentle inebriation.

What are your plans for New Year’s Eve? Work :(

What New Year’s resolutions will you break in 2008?

Get more gigs for the band…

What New Year’s resolutions will you break in 2008?

Drink less…

What New Year’s resolutions will you break in 2008?

All seventeen.

What New Year’s resolutions will you break in 2008?

Being tidy.

Who’s an upcoming artist we should listen out for?

The Maginot Line.

Who’s an upcoming artist we should listen out for?

Imogen Heap.

Who’s an upcoming artist we should listen out for?

Technotronic.

Who’s an upcoming artist we should listen out for?

Call to Arms.

What’s your hot fashion tip for the New Year?

Tight clothes.

What’s your hot fashion tip for the New Year?

Stop wearing fluro!

What’s your hot fashion tip for the New Year?

Fluro is for council workers.

What’s your hot fashion tip for the New Year?

Be yourself… and vests.

BANGERS & MASH

THE ASTON SHUFFLE T

W WELCOMING THE DANCE C CHALLENGED WITH OPEN ARMS

By Dodgy Williams B

W Ministry of Sound took the lads of The Aston Shuffle under their wing, it lead them to do When what most of us dream – stick it to the day job and get on with art, writes David Williams… w

S what’s been going on in your world lately?

So A A lot of things actually – lots of DJing, lots of music stuff – the th three of us have all left our full-time jobs and… made the transition into doing this full-time… it’s been very th scar scary bbut at the same time really exciting. It’s good to be in a position where maybe you can have a go at doing something like this as well.

What was it that motivated you to take that step?

The good guys at Ministry of Sound have taken us under their wing – they’ve got a vision for us and given us incredible opportunities…to take it even further I think. With them being very successful commercially and being a clubbing brand it gives you a certain kind of security to make you think you’re making the right decision, but with someone lesser known or less successful you might think the other way if you know what I mean. Being associated with them makes you feel a lot more secure in doing something like that…

You talk about their vision for you - have you had any apprehension at becoming “manufactured” in a way?

You definitely think that but I think my only apprehension would be in terms of a career or money situation because I think unless you’re very successful you can’t make a career or lifestyle out of it. But I think where things are going musically and what we do as a sound and who we are is going that way – not so much in a commercial sort of sense but in an out there, sort of successful sort of sense… if that makes sense…

…not at all.

[Laughs] Like commercial music’s a lot more underground…

I think we do come from a more underground background but it’s more working in a commercial sort of sense. I have no apprehensions about it at all, really. Just keeping my wife happy with money every week – that’s the hard thing!

When I think of the name, The Aston Shuffle, I think of the boards they’d cut out with the shoes to tell you to move to the left and the right – have you got an “Aston Shuffle” shuffle?

I think we do but we’re still developing that at the moment. I think it’s about just moving yourself and being retarded, really.

I think that’s The Aston Shuffle, definitely. The idea we had for it, the kind of concept, was a 1930’s swing-dancing sort of couple, like that’s where the “shuffle” came from and the Aston was a mash-up of a couple of suburbs we were living in at the time so we needed a name there and then for a remix we did and we thought shuffling was kid of cool – our music’s sort of “ghetto shuffley” and we just needed a first name to go with the shuffle. http://www.Myspace.com/theastonshuffle To listen to the full interview in mp3 format, go to www. sauce.net.au.

BANGERS & MASH

What’s the best gift you gave this year?

Friendship.

FIREFOX F

PULLING THE SEX SHOOTER’S TRIGGER P By B Tom Wilson

Firefox make records – apparently that’s all they do, but it’s the how they do it that ensures F their th recent releases, Sex Shooter and Pull my Trigger, blaze up the dance chart. It’s all about finding the right person for the right job to help pull it off, writes Tom Wilson… a

So what have you been working on?

S I’m always working hard – got three different artists I’ on three different record labels constantly on the go so always working on new tracks, working on remixes – al just finished a mix CD… at the moment, just trying to ju down so I’ve got a bit of time for myself for Christmas. wind do I’m even DJing on Boxing Day so it’s straight after I have the family Christmas lunch I’m straight on a plane – crazy but, you’ve gotta do what you’ve gotta do.

Kylie J – why did you choose to work with her specifically?

Well, she absolutely pulled off a blinder with Sex Shooter, which was the first Firefox single, and we just wanted someone who sounded really sexy and would do the original track justice.

We actually didn’t know that much about her and we spoke to a friend and they said “there’s this girl here, she can sort of sing.” So we said, “Send her down,” and she came in and sang two or three lines while we were sitting on our chairs behind the mixing desk and we just went, “Oh my god!” We try and give everyone a chance to have a sing to us if they want and if they sound any good we slot them in to the right project and sometimes it’s like a big puzzle and you’ve got to grab the right person for the right project and pull them in. We needed a vocal for that and she just sounded perfect right on the day and we just went, “Okay… sing the song.” And she nailed it! It was sort of obvious to use her next for Pull my Trigger. We wrote Pull my Trigger basically to be a strong follow-up in a similar direction to Sex Shooter. We definitely pulled that off and she definitely helped with that.

With titles like Pull my Trigger and Sex Shooter, am I seeing some sort of Hemmingway-esque fixation on firearms – sex and guns?

Well, Prince wrote the original Sex Shooter – maybe he had the obsession with it and we’ve just backed up his initial feel.

The actual chorus of Pull my Trigger was written by a friend of mine and, if you want to break it down, he wasn’t thinking of Sex Shooter - he wasn’t thinking of anything at all! It was actually deemed for another project, and I came in and said, “Oh my god, that chorus is the follow-up to Sex Shooter!” I wrote the verse. With Andy from Firefox we produced the track and Kylie sang it – so it’s actually a bit of a collaborative effort all ‘round.

… JUST J KEEPING MY WIFE HAPPY WITH MONEY EVERY ERY WEEK – THAT’S THE HARD THING! PAGE 22

One thing I’ve always wanted to know – why do DJs and DJ collectives such as yourself tend to only release single tracks as opposed to working on an EP or album – is there a specific reason?

Good question – There’s a few reasons. One of them is that dance albums do not sell. To put away six to twelve months of

W DEFINITELY PULLED … WE T THAT OFF AND SHE WITH DEFINITELY HELPED WITH THAT. your life to put an album together [when] everyone’s telling you dance albums don’t sell and you look at TV Rock which sold four hundred copies, and the first Rogue Traders album which sold two hundred and fifty copies when it was dance… you just go, “Do I really want to [put all that time away] for something that won’t sell?” But, having said that, Firefox is certainly an album project and we’ve got eight tracks already in demo stage now, working towards an album. So, an album’s always on the cards – an album’s on the contract so we’ve got to do one! singles tend to be more easily digestible by the public in dance music. It’s more compilation albums and singles sales – that’s one of the reasons, and it’s an important reason. But, absolutely, albums are where everything sort of ends up at the end of the day. You’re working towards that. Whether you always get there or you don’t is another story. http://www.Myspace.com/wearefirefox To listen to this interview in mp3 format, go to www.sauce. net.au.

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