Sauce - 62, 20-2-08

On the street every second Wednesday

Free Edition #62

20/02/08 - 4/03/08 Made in Tasmania

2

SAUCE #62

ROCK // THE DIRTBOMBS

We have you surrounded

By Dave Williams

Singer-guitarist of the group recently listed in Spin as one of the best live shows on the planet, the Dirtbombs’ Mick Collins could be forgiven for wanting to conserve his voice for the epic stint of touring that lay ahead, following the release of the Detroit rockers’ latest LP, We Have You Surrounded. Still, while having dinner with friends, he spared a bit of that voice for SAUCE, to speak on what they had in store for the audiences that lay ahead …

You’ve got about seventy gigs booked between Saturday night and the end of May. That’s a huge number of shows. What’s the first thing that you think of when you think about playing all those shows?

[Laughs] Will I have enough clean socks? That’s the honest truth …

What about the endurance of playing that many shows and keeping your performance up, and all that sort of stuff?

Well we’ve done it before. We’ve done some really extensive touring before, so it won’t be that bad. I do have a minor issue – I’m sort of worried if my voice will last. But I’m pretty confident, and that’s really … as much as the socks, I’m sort of worried … I’m not worried, but I do wonder if my voice will hold out.

“My first thought is, “Oh, do I have enough socks to last this whole tour?””

Do you have any special home remedies to look after your voice?

No, I just shut up. [Laughs] Although I have been practicing.

We’ve been practicing. We almost never practice before a tour – we’ve been practicing this time, and I have some vocal exercises that I’ve been doing, which I also never do.

What’s prompted you to practice for this tour, instead of others?

Well, the number of shows, again. It’s because it’s a lot of shows, all in a row. I thought, “Well, I’d better try and at least start getting it into shape this time,” as opposed to just waiting to see how long it will hold out. I’m going to see if I can go all the way without losing my voice.

How much will the sets vary from show to show?

Ah, we don’t know yet! [Laughs] We always try and do something different every show, and because we have so many new songs, we haven’t really thought about it. We’ve been playing just about every song on the LP – the new record, that is. We’ve been playing just about every song on it, so we’ll have at least that many new songs! [Laughs] It might change up quite a bit, but we don’t know. There’s always something. We might get a wild hair and play something we just heard on the radio, or some old 80s track just because we feel like it.

I read that you were voted “10th Best Live Act” in the States or something by Spin.

Yeah, Spin magazine voted us number ten on the list of “25 Best Live Acts In The World.”

You can let your ego go crazy on this one – what is it about the Dirtbombs live show that’s so engrossing, or that got you that accolade?

Well, I don’t know! [Laughs] I just like to think of it as … we’re putting on the show that we would want to go see, you know what I mean? If we had to pay to get in to see a show, what do we want to watch? And that’s the kind of show that we want to put on … We play that kind of hard show – we rock as hard as we would want to see [another band rock].

The new album, We Have You Surrounded, has just been released. How do you feel about it now, postbirth?

Well I think it’s the best record that we’ve ever done. I think it’s the best Dirtbombs record. It’s the one … I’m as proud of it as I was of Horndog Fest. But I think it’s the best record we’ve made – of all the Dirtbombs records, it’s the best one.

And what makes it the best to you?

Everything works, you know? The reason I was so proud of Horndog Fest was that it was the first record I had ever made where there was absolutely no input from anyone else. The album that came out was exactly the album I wanted, all the way down. Every bit of it, including the cover – all the cover art, all of the artwork on the album … Nothing happened on Horndog Fest that I didn’t sign off on. It wasn’t the best album, but it was the one I’m the most proud of, whereas with this one, everything on it is good. There are no warts! [Laughs] The Dirtbombs are especially known for Ultraglide in Black, and I was wondering, is this new CD, We Have You Surrounded, is this when you wanted to do this album? I read that Ultraglide in Black was brought out early, that body of work, because you wanted to do a particular song.

Yes, it was. But this wasn’t like that. Actually, it started because of another song … We Have You Surrounded was not actually on the list of LPs that I had planned to do, but it sort of expanded … it was originally going to be a five-song EP, but it expanded into a full-length … because of a song …

Well, actually, because the record label pointed out that I hadn’t recorded a new LP in four years! [Laughs] To listen to an MP3 of the full interview, go to www. sauce.net.au The Dirtbombs play The Brisbane Hotel, Hobart, on March 6th, with The Nation Blue, The Roobs and The Reactions.

SAUCE #62

3

ROCK // THE LAZYS

#62 - 20th Feb to 4th Mar

Contents 3 4 5 6 8 10 12 13 14 15

ROCK SALT // OPEN MIC NIGHT

Lazy is as lazy does ... Open Mic is

Reinvented

By Tom Wilson

The Dirtbombs The Lazys British India Sinic Porno / Harley Breen Diafrix Hannah / Gig Reviews Gig reviews / News Gig Guide Vishnudata / CD Reviews Infected Mushroom

Will Potter is the guy you love for introducing you to a great new artist, as well as the guy you might hate for allowing someone to butcher one of your favourite songs while you’re having a pint. But hey, nobody’s perfect. Especially not me. I spoke to Will about the evolution of The Royal Oak’s open mic night ...

By Tom Wilson

Contact Sauce

“… The crazy owner smashed him with a pool cue, so Matty punched him in the face and we left …”

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

David Williams david@sauce.net.au

Sub -Editor: Email:

Tom Wilson twilson@sauce.net.au

Graphic Design: Email:

Simon Hancock simon@sauce.net.au

Journalist: Email:

Chris Rattray crattray@sauce.net.au

What kind of lyrical subject matter do you explore on Nicotine Soul?

Basically just what we stand for – no fake bullshit.

Advertising: Email:

advertising@sauce.net.au

How would you describe the sound and vibe of this release?

It’s pretty raw – sounds like a broken-down chainsaw.

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

Contributors A Special thanks to our contributors: Lisa Howell, Shannon Stevens, David Walker, Richard Kemp, Lisa-Marie Rushton, Clara Murray, Dion Brooks, Adam Ferguson and Felix Blackler

Next Edition Deadline Friday 29th February Sauce #63 - 5th Mar to 19th March

In what ways has the Open Mic Night changed or evolved since it first started?

Well basically, when I first started the night there were only a limited number of musicians to play, but now I have at least a dozen musicians that are always willing to play. In the last few months [we’ve had] people from all over the state, as far as Hobart, calling and booking to secure a spot to play on the night. You could sort of look at it like a living, breathing thing – the more you feed it, the bigger it grows.

I was going to write this New South Wales rock troupe an awesome and well-written intro for the interview they did with us recently, but, frankly, I can’t be stuffed. Still, it’s good to know that there are lazier people than me in the world, and it just so happens that we spoke with Ant, from the band, before they rock-out-with-their-c*cks-out in Hobart and Launnie at the end of this month …

What plans do you have to do a full-length release?

Planning to get started on it this year (depending on how many million dollars our amazing (non-existent) record company will give us.

What do you think you’ll be getting up to after this current tour?

We plan on touring constantly until we can’t feel our legs.

I heard about an incident at a gig where your guitarist jumped up on a pool table … what was it that happened next?

Basically the crazy owner smashed him with a pool cue, so Matty punched him in the face and we left. It was weird but satisfying.

What annoying habits do each of you have?

Leon is up and down like a bride’s nightie, I’m freaked out by pretty much everything (including this interview), Matty is a germophobe and washes his hands about three-hundredand-seventy-six times a day, Tyler reeks pretty bad, and Willy gets drunk and talks to himself in the mirror.

What three albums would you want to be stranded on a desert island with?

Led Zeppelin 1, AC/DC Highway To Hell, and Meat Loaf – he is a f*cking badass.

Who are some of your musical heroes, and why?

50 Cent, Fergie and Kanye West – yay for cool radio 101! F*ck off.

What are some things you’re too f*cking Lazy to do right now?

We are in the studio at the moment and I have to do a poo. I know this is irrelevant, but f*ck it – I love Tasmania!

The Lazys play Hobart’s Brisbane Hotel on the 29th of February, and the James Hotel in Launceston on the 1st of March.

I understand that several performers from this night are now getting offered paid gigs. What can you tell me about these artists? What makes them unique?

Yes, that is true. I think when an up-and-coming musician or musicians have the confidence to take the stage and show people what they can do, they use the response and feedback from the crowd, and then take the next step. The uniqueness of the performances is that it is not just an age group from eighteen to twenty-five; it is eighteen to forty-five-year-olds, and they still rock out like they are eighteen. That is what makes the performers and the night unique.

To reiterate for those who still might not be familiar with the night, how does it work? What are the basic guidelines?

Easy; all you need to do if you would like to play is call the Royal Oak Hotel on 63 315 346 or myself on 0423 121 271 and book a timeslot, and then turn up on the night and play. The basic guidelines are no drum kits (percussion only) and play for halfan-hour – that’s about it. But if you fall off the stage because you are too pissed, then you can’t play!

The night is held on the last Wednesday of every month.

Why then? Why not weekly? Do you have any plans to put this on more frequently?

I planned the night on the last Wednesday because it gives more performers more time basically to sign up if they want to play, and me more time to organise it as well. I had thought about it being a weekly thing and observed other venues that had tried to do a similar thing weekly and it just not working for them, and when you hold such a night monthly there is more of a build-up for it, and a guarantee you will have more than five acts playing that night., without as many restrictions!

Open Mic Night is regularly held on the last Wednesday of every month at The Royal Oak in Launceston. Because of Launceston Cup, though, the next Open Mic Night is on Tuesday, 26th Feb.

REPUBLIC BAR & CAFE

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

FRIDAY 22ND FEBRUARY

4

SAUCE #62

SATURDAY 1ST MARCH

BRITISH INDIA

WHISKY GO GO’S

$18 pre/$20 door 10pm

$12 10PM

FEBRUARY

MARCH

Wednesday

20th

Thursday

21st

Friday

22nd

Saturday

23rd

Sunday

24th

Monday

25th

Tuesday

26th

Wednesday

27th

Thursday

28th

Friday

29th

Saturday

1st

Sunday

2nd

Monday

3rd

Tuesday

4th

JOE PIERE & GREG FRITH (sax) 9pm KATE MEEHAN $3 9pm BRITISH INDIA $18 pre/$20 door 10pm DIAFRIX + Alex The Kid $8/$5 conc. 10pm CAKE WALKING BABIES 9pm QUIZ NIGHT 8.15pm ROOM 409 9pm ANGIE BOXALL (farewell gig) 9pm JUDE ELLIOT 9pm SUGARTRAIN $3 9pm WHISKEY GO GO’S $12 10PM TBA CARL RUSH FREE 8:30PM G.B. BALDING FREE 9PM

ROCK SALT // BRITISH INDIA

Passing time with a hallucination

By Tom Wilson

Beachside hallucinations, botched interviews, bad hotels … life is never boring for British India’s Declan Melia, unless he happens to be stranded on a beach in W.A., which he certainly wasn’t when he spoke to SAUCE about getting two songs from Guillotine on the latest Hottest 100 (and then enduring a car crash of a live interview) and the best and worst parts of being on the road.

You’re in the middle of a tour now – is that right?

We’re constantly in the middle of tours, and at the end, and at the beginning of tours. We don’t really tour in the given way. Shows just pop up wherever we think that people will appreciate us playing. There’s no real order to this – it’s just four boys gallivanting around the country, really.

With that in mind, what are the best and worst things about being on the road as part of British India?

Well the best things are always the shows, I think, and perhaps the immediate hours thereafter. But the worst thing is, of course, being confined to horrible hotels and having horrible food at horrible hours of the evening, and horrible sleeping patterns. It’s not at all a normal life that you could relate to.

So with all of those horrible – and emphasis on the word “horrible” – conditions, when was the last time things went completely pear-shaped for you guys on tour?

Oh … I think more than anything, when you have a few days off but you don’t get a chance to go home … Like, for example, a few weeks ago in Perth, or throughout W.A., we had a few days off … there wasn’t much to do, and I kind of recall getting up at eleven o’clock or so and sitting on the beach and staring at the horizon from about midday till five … and becoming so bored I started to hallucinate.

“… Staring at the horizon from about midday till five … and becoming so bored I started to hallucinate.”

What did you see in these hallucinations?

I saw dark premonitions of the future … I won’t elaborate on them, because I’m terribly superstitious, and I don’t want to jinx it any further.

First of all, you guys managed to get two songs on the Hottest 100 – congratulations for that one, by the way.

Thank you very much, and if you could add at some stage that I thank anyone who might have voted for us … [Done – Tom] You were also saying online though that it was a little tarnished because of a botched-up interview with Triple J. Since, as you can probably tell now, I have lots of experience with bad interviews, I’m curious – what happened?

Well, I think a lot of people who have heard the interview and have perhaps known of British India’s reputation would immediately conclude that there were class C narcotics involved – the kind that you perhaps smoke – but that was not really the case … I just think that we got up there, and it was all quite exciting I suppose … there was a couple of hundred [people in the audience] … I think they were waiting for us, and we were waiting for them, and the initial questions weren’t quite the ones that we expected … yeah, it was just a comedy of errors, I suppose, and one that I hope I’m not too soon to repeat, really … especially in front of that many people.

They’re horrible, aren’t they? You walk away from it, and everyone sees it, and it’s an absolute car crash. I hate it when that happens!

It was a car crash! Yeah, it was … there was twisting metal and spinning wheels …

Looking back on Guillotine, you’ve got a bit of distance from it now obviously. What do you see as its strengths and, maybe, its weaknesses?

Its weakness is the performances; on a few songs, there’s not much emphasis on the playing, or enough … the playing is not strong enough. It doesn’t have enough guts, I suppose.

It’s built on shaky foundations. But its strengths, I think, are the melodies … both vocal melodies, guitar melodies and bass melodies … The songs are quite simply structured … the songs don’t attempt to be anything they’re not … And I didn’t realise this at the time of the recording, but I think the lyrics somehow must have resonated with a few people.

So what plans at this point do you guys have to follow it up?

Well we’ve written in its entirety a follow-up record, and we’re going to record it in about March … We’ll go back to Sydney with the same people, and hopefully it’ll only be age that has improved the playing … the budget and the studio will be much the same.

To listen to an MP3 of the full interview, go to www. sauce.net.au British India play the Republic Bar in Hobart on the 22nd of February, and Launceston’s James Hotel on the 23rd.

SAUCE #62

5

ROCK SALT // SONIC PORNO

Hosting an orgy of grunge Two guys with a thing for grunge who go to great pains to ensure that one of the most important elements of rock ‘n’ roll – onstage nudity – is always a part of their show, the aptly-named Sonic Porno is heading southward as part of the Grungefest tour; probably the best reason we’ve had to dig up our ripped jeans and flannelette shirts since Cobain died. Ladies, meet Tone and Joel … and just act like the camera isn’t there …

You guys are a two-piece. What have been some of the pros and cons of this, both in terms of how the band operates, and the sound that you guys create?

Tone: I think the advantage of playing as a two-piece is the ability to ad-lib, break into a cover verse mid-song, ride each other’s patterns and play on instinct. Many people have a preconceived notion of what a two-piece is supposed to sound like thanks to The White Stripes and Black Keys, so a common thing we get is “I can’t believe how massive your sound is.” I play an alternative tuning with a double E up top in a big fat gauge (a thick string bordering on a bass string), which fills it out nicely, and we also emphasise the floor toms on the kit so that, sonically, there is no lack of punch in our live sound. The schematics of travelling, touring and organising rehearsals is a lot easier with only two souls needing to agree to anything, and, of course, the skimpy band payments go a little further! Playing in a two-piece means that we both feel responsible to bring our A-game every single gig, whether we are playing to a thousand people at a festival or five people in a bowling alley. There is no room for error. The only downside is being asked by people if we have thought of adding a bass player, or why we don’t have one, or that we should have one. Anyone who makes this sort of comment is clearly listening with their eyes and not their ears. There are bands out there with two guitarists and a bass player who sound emptier than us.

Still, how much thought have you given to expanding from being a two-piece? [Yes, I’m a prick, leave me alone – Tom] Joel: None. Our labels would kill us. We have had guests from time to time, usually on vocals or dancers, but sonically we are extremely happy with where we are at. We played over a hundred shows last year without leaving Queensland, have headlined festivals and showcase events, have supported some big names and have had a bunch of JJJ airplay and media support, as well as a JJJ Unearthed Number One track; we have featured on compilations worldwide and are

By Tom Wilson

signed to a major UK label, the same label as Pennywise, Bad Religion and UK Assassins, with support in Australia from Waterfront records in Sydney and Alien Punk in Brissie, a clothes sponsor with Berserk Clothing and endorsements from Musicians Pro Shop and Red Bull … and we think of ourselves as a live act, not a novelty show. We put on an energetic show, and in Brisbane are respected for our work ethic and our live act. We don’t see a need to pander to someone’s uneducated perceptions of what a band should look like. Check out The Fumes, The Mess Hall, Wham, Milli Vanilli … okay, maybe not the last two.

What do you remember as being the first grunge bands you were exposed to? And to what extent do you think that influence has carried on into the music you make today?

Tone: I was, and still am a Nirvana freak. I also went through a crazy Pearl Jam phase, which led me on a journey back to bands such as Mudhoney, Dinosaur Jnr., Green River, Alice in Chains, Soundgarden, and Hole later on down the track. I grew up on a dose of earlier rock as well such as Black Sabbath, AC/DC, Sex Pistols and The Kinks, but am a big Mike Patton fan, so Faith No More was a big influence on my earlier vocal style, which has been described as part Ian Astbury from The Cult, part Cobain, part Patton. I think that the Seattle sound of the late 80s, early 90s was big on both of our songwriting styles, but the ethos of grunge – which was essentially play what you want, rebel against structure and don’t get repetitive or bored – has been more [of] an influence than drop-D tuning and flannelette shirts. Grunge also influences our on-stage antics; things can get broken, drum kits get trashed and a lot of moshing and stage-diving takes place. We have been known to invade the stage while another band is playing, and all have a common respect and love of the other band’s music. That’s the grunge way.

And the best part is it’s not a forced thing – it’s natural and genuine.

if there is anyone out there who would like to perform with us in Hobart and Launceston, please get in contact through our MySpace. Or just turn up at the show looking hot and we will probably get you all onstage anyway.

and joins nu-metal in the bargain bin at Virgin, we will be right here leading the grunge movement whilst all the current screamo players struggle to find their feet and jump on the bandwagon.

We received some rather interesting shots of you guys on stage with a … ahem … “skirt challenged” woman.

What was the story there?

Tone: We have been known to encourage nudity onstage, and for some reason get a lot of screaming girls at our gigs.

The photos we sent were actually a gig we played on the Gold Coast where we invited a stripper on stage to rock out with us and treat the blokes to some skin. Her name was Miss Lady Vee – I believe you can find her on Youtube at another one of the gigs she opened for us … I mean, she performed a little dance before we hit the stage. We have been known to add burlesque dancers, schoolgirl-uniformed hotties, costumed characters and other visual aids to our shows so that the crowd is thoroughly entertained. For the Tassie shows we are trying to find a stripper, a couple of hot girls in school uniform or a burlesque dancer to perform with us, so

What can you tell me about Grungefest? How did this come about? And will this just be a one-off thing?

Joel: Grungefest is a travelling sideshow of grunge-loving ratbags who don’t give a fuck about money, contracts, or keeping up with MTV. We are all passionate about what we play and are all friends on tour sharing backline, transport, hotels and other goodies. We paid our dues in small sheds, bedrooms and empty rooms before finding our feet and creating our own grunge scene based primarily in Brisbane, and we want to show the rest of the country that we haven’t forgotten where we came from. All of the bands on tour with us are not ashamed to call themselves a grunge band, despite the negative perception that the media killed grunge with back in the late 90s after Cobain was murdered

by Courtney. Hah. We all know that music comes around in cycles, so when all the emo crap has been flogged to death

Lastly, what do you look for in a good porno?

Joel: Ourselves and cleanly-shaven hotties. We will be shooting a private pornographic film at the after-party for both gigs in Tassie, so those interested ladies who would like to star in our next music video should wear their skimpiest, sexiest outfits to the gigs – come say “hi” and we’ll take it from there. Our after-parties are notorious for the debauchery and illegal activities that ensue, so if you would like to live the Porno lifestyle for an evening, you know where to find us.

“We will be shooting a private pornographic film at the after-party for both gigs in Tassie.”

And you can find them at the Brisbane Hotel in Hobart on the 14th of March, and Launceston’s Saloon on the 15th. www.myspace.com/sonicporno

COMEDY // HARLEY BREEN

If I’m not funny, blame dad His full name sounds like a motorbike crossed with some kind of fish, and he looks like a Big Brother contestant, but don’t hold it against him … Harley Breen is really a nice guy. Ahead of his stint at the State Final of Raw Comedy 2008, he shot the shit with Dave Williams on hecklers, observational comedy, and why his dad probably should have beat him more as a child …

How did you develop as a comedian? How did you first get into comedy? Were you a smart-arse at school?

Sure! [Laughs] Definitely! I was a little shit! I got into comedy because … I enjoy performing. I wanted to be an actor, but there was no work, and comedy was a more accessible thing. And developing in comedy is as simple as hanging out with other comedians, I think, and hanging out with people … sort of paying attention to what’s happening, and sort of just trying to write it down and make it happen on stage.

What was the first gig that you can remember doing, as a stand-up comedian?

First gig I ever did was doing a pub in Brisbane called the Queen’s Arms Hotel …

Oh, god …

Yeah! [Laughs] It was awesome! I got on the stage first, and the audience was … there was about anywhere between ten to fifteen comedians, two blokes sitting in the pub, and a woman in the corner that I’m fairly sure was a hooker … and that was it!

You didn’t find that out for sure …

No. Well, I didn’t have any money! [Laughs] I didn’t quite

By Dave Williams

ask! And I got onstage, and went, “Before I start, I just want everyone to know that most people get into comedy because they’ve been abused in some way in their past, either mentally, physically or sexually, and that’s why most comedians …,” and all the comedians stopped and looked at me and went “Who the hell is this?” And so I just [said], “I just want to say, if I’m not funny today, don’t blame me – blame my dad for not beating me as a child!”

[Laughs] That would have gone down well!

Oh, went down like a lead balloon! It was brilliant.

“… If I’m not funny today, don’t blame me – blame my dad for not beating me as a child!”

Would that coincide with the worst gig, or have you got a worst gig story too?

No, I reckon that’s up there with some of my best gigs!

[Laughs] It was a lot of fun! It got me noticed! All the comedians went “who the hell is this?”

How did you deal with your nerves back then?

I’ve been on stages a fair bit, and nerves are just sort of what they are. They either take over and cripple you, or they fuel your performance and make it go – it’s just which one you love. If I don’t get nervous before a gig, I get worried that the gig’s going to be shit, if that makes sense. I’m always nervous.

Just in general life?

Yeah. I’m nervous right now.

What about hecklers? Hecklers are kind of a profes-

sional obstacle. It’s definitely a part of the job. How do you see the role of the heckler in what you do?

I see the role of the heckler … as the same as the role of a murderer … f*ck off! [Laughs] I think they’re arseholes, but if they bring it, then I deal with it. I don’t know – I don’t like the idea that you can be on stage doing a performance and someone can just yell out “You’re shit,” and all of a sudden you’ve got to do something with it. I’d much rather just do my performance. But, on the occasion where people do, sometimes you can get some of your best comedy. But the worst thing for that is that the heckler thinks that he’s helped, or she’s helped, the performance. Not really, you know? But I’ve had some lovely times with hecklers – sometimes it’s amazing, other times you just go, “Listen, you’ve just got to leave, because you’re just far too drunk to talk anymore, and everyone else is not having a good time!” There are people like Ross Nobel who base themselves on working with the audience, and for them it’s brilliant.

What about material? Would you say you’re an observational sort of comedian? You don’t strike me as a “Oh, I’ve got a joke – two old men go into a pub … rah-rah-rah.” How do you see yourself?

See, “observational comedy” – I’ve always been confused as to what “observational comedy” is, because everything’s an observation. I suppose, in the definition of the joke, I’m a storyteller. A bit like the way I suppose Billy Connelly tells stories … I’m not trying to compare myself to Billy Connolly – that’d be a big mistake. [Laughs] But I tell stories about my life, and I tell stories about my friends and my family, or things that I’ve heard or been a part of, and put my warped, bent twist on it.

Harley Breen appears at the State Final of Raw Comedy 2008 at the University Of Tasmania Union Bar in Hobart on the 28th of February.

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

A GREAT PUB IN THE CENTRE OF LAUNCESTON Budget/Backpacker 124 George St Launceston (03) 6331 4015 6

SAUCE #62

Accomodation Rates from $15 per person

Live Entertainment 4 Nights A Week

Our Customers Say We Have The Best Meals In Town

SAUCE #62

7

HIP-HOP // DIAFRIX

Get in tha place

By Tom Wilson

wednesdays 20 February

MR MEANER 27 February

THE SMASHERS 5 March

DETOUR 12 March

INTERTIA A Melbourne hip-hop crew who serve up their style with no clichés (or sugar and salt, for that matter) yet have no trouble giving it flavour, Diafrix are heading southward, and you’d best head to the Republic Bar, because they’ll be In Tha Place very soon indeed. Momo spoke to SAUCE about blood diamonds and growing up in the suburbs …

Every album makes some kind of statement about its makers – a statement about who they are and what they’re about. With that in mind, what kind of statement do you think In Tha Place made about Diafrix?

I think the title says it all – “Diafrix in tha place!”

What’s been happening in the Melbourne scene recently? How would you rate the level of rising talent at the moment?

Mel city is known for its rising music scene, and the quality of music [is] growing more and more every year – from the likes of Midnight Juggernauts to ourselves.

When you’re not working on music, what do you normally get up to? Are you a man with a lot of hobbies?

We’re always trying to give back to the communities, so when we’re not performing we’re always helping out in local community events, and also hold workshops to try and inspire young minds and build their confidence the same way it was given to us six years ago, and if that’s not happening then we’re in the lab.

In what ways do you think your upbringing has shaped who you are, and what you rap about? What kind of kid were you as a teenager?

We both grew up in the western suburbs of Melbourne, which is known for its diversity in culture. So we are made up of not only our own roots but the people and cultures that surrounded us as teenagers in the early part of Diafrix. As we gained more experience in the industry we also established ourselves as young men.

Of all the songs you’ve written, which one stands out as the most personal for you, and why?

Kanakasi. The song has a positive message of hope. We wrote it as if we were writing it to ourselves from the future, if that doesn’t sound too up-front.

What was the last thing that inspired you to write?

We were out in Sydney doing the Lupe Fiasco gig, and we watched Blood Diamond. It made us boil with mad frustration, ‘cos the problem is a lot of young cats see these big rappers with all this bling-bling and think that shit is cool, and have no idea what families, kids and loved ones go through to provide for these materialistic whores. So we left the cinemas and hit the lab and let it flow.

What plans do you guys have to follow-up In Tha Place?

Keep your eyes open for Diafrix’ debut LP.

How did you guys first start working together? What was each of you involved in before Diafrix?

We just finished high school and got involved in a hip-hop workshop organised by front man Joelistics from TZU, which was held at our local community center. That was six years ago. We still remain very close mates

“We could have chosen to invite some honeys wearing just a bit of string, but that’s not our thing.”

There are, and always have been, a lot of clichés in the hip-hop world – the bling, the weed, spraying tags, the fact that any rap video ever made seems to have at least two scantily-clad women, et cetera et cetera. Of all the preconceptions people might have about Diafrix, what are some that are true, and what are some that aren’t?

We did our first film clip for In Tha Place last year. We could have chosen to invite some honeys wearing just a bit of string, but that’s not our thing, so we invited a whole lot of mates and had a party. We are who we are – no extra sugar or salt.

Diafrix play Hobart’s Republic Bar on the 23rd of February. www.myspace.com/diafrix

FLICKERFEST 17TH INTERNATIONAL CLIMATE CHANGE A KEY FOCUS OF 2008 TASMANIAN MOUNTAIN FESTIVAL SHORT FILM FESTIVAL Touring nationally until April 2008, Flickerfest, the Australian short film festival, will celebrate its 13th year on tour around the country by screening a variety Australian and international short films.

Flickerfest is pleased to provide a much-needed platform for short films giving movie lovers access to quality short films that would otherwise be impossible to see. Most short films screened on the tour are Australian premieres of multi-award-winning shorts that have screened to great acclaim at festivals around the world.

With over sixteen countries represented, Flickerfest is pleased to promote excellence not only in the art form of short films but also cultural diversity in storytelling. This year Flickerfest received a significant number of entries from Australia and beyond, exceeding 2007’s entries with numbers well into the 1300’s.

Flickerfest plays at Hobart’s State Cinema from the 20th to the 22nd of March. www.flickerfest.com.au 8

SAUCE #62

Climate Change has emerged as a key theme of Tasmania’s 2008 Mountain Festival from Friday 7th to Monday 24th March.

From the premiere of a large-scale music and dance work to a panel discussion by leading scientists the 2008 program strongly reflects shared concerns across artistic, scientific and grass roots communities about the impact of climate change on the island state.

Now in its sixth year, and firmly established as a key event of Tasmania’s artistic calendar, The Mountain Festival is expected to draw thousands of people to its packed program of free and ticketed events including exhibitions, theatre performances, forums, guided walks, workshops and children’s activities.

The unique biennial artistic celebration inspired by the natural environment takes place on and around Hobart’s magnificent landmark, Mount Wellington, and features the combined talents of dozens of leading visual and performing artists, scientists and hundreds of community members.

Full program details including bookings at www.mountainfestival.org

Fridays

FREAKS

LISA LOUD Lisa Loud is without doubt the “first lady of dance music.”

With a phenomenal career that has spanned fifteen years, Lisa is widely revered and admired as one of the UK’s top female DJs. With her extensive musical background and expertise, Lisa can ignite any party in the world, from the fashion glitterati of Milan to the discerning floors of Ibiza.

As a youngster Lisa was always a fan of dance music, enthusiastically following the likes of Motown and collecting 12”s by her early teens. However, her love affair with house music developed when fellow DJ and friend Paul Oakenfold persuaded her to jump on the other side of the decks and learn the craft of DJing. With a donation of records and Oakenfold’s confidence, Lisa soon became his protégé, opening up for him at legendary clubs such as Future in the Soundshaft and Spectrum at Heaven. These clubs are regarded throughout the world, alongside Danny Rampling’s smiley-faced Shoom, as the instigators of what has become the global clubbing industry.

As the scene soared its way through the 90s, a nation of eager club promoters was born. Lisa had already established herself as a respected talent, and her services as a DJ were in great demand – it was time for Lisa to spread her wings and embark upon new stomping ground! Lisa immediately became a regular fixture at parties hosted by the nation’s most charismatic promoters. With these feathers in Lisa’s cap the world was fast becoming her oyster.

Freaks were originally born in 1994, the brain child of Justin Harris and Luke Solomon. They began recording for Phono, home of Herbert and Swag and their first few releases, which came in three parts, saw them journey through filter disco (The Shrunken Head), quirky mid-tempo house (Journeys Through Happiness), and minimal techno (The Milwaukee Stance).

Then came the time to set up their own label, and they kicked off the Music For Freaks imprint by releasing a series of four twelve-inches, each with a collectable sleeve. MFF was also home for their albums Meanwhile Back At The Disco, The Beat Diaries and The Man Who Lived Underground, and tracks such as Turning Orange, The Creeps and Where Were You When The Lights Went Out have since become Freaks’ seminal records (one of which blasted out of the underground and even found itself in the top twenty in Belgium, no less).

Freaks has also garnered support from the likes of The Chemical Brothers, Arthur Baker and Derrick Carter, and throughout the years and the music, they have built a faithful and obsessive fanbase throughout Europe and Japan. So there came a point when Justin and Luke knew that Freaks wasn’t just about two blokes twiddling some knobs in a studio and hoping for the best. With the addition of Stella Attar, Diz, Rub, Jonny Rock and Sasha Darroch on drums, this had become the beginnings of a band with a purpose.

Freaks play Syrup in Hobart on the 22nd of February.

Lisa Loud plays Syrup in Hobart on the 1st of March.

SAUCE #62

9

ROCK SALT // HANNAH

ROCK SALT // SOUND HEIST

Pulling money out of your arts

By Tom Wilson

By Tom Wilson

Hannah frontman Chris admitted he was pretty buggered when he sat down for a chat with SAUCE recently – but then, with all that they’ve got on their plate at the moment, it’s understandable. Busily rehearsing ahead of a Melbourne trip to record a new EP – not to mention a coveted support slot for Gyroscope and Faker this month – Chris nevertheless took some time out to speak on arts grants and the new sound of Hannah …

I understand you guys are heading over to Melbourne to do some recording in April. Firstly, what are you guys going to aim for – an EP, or a full-length?

We’re going to try and get as many songs down as we possibly can, time-permitting. We want to allow one day to track, and at the moment it looks like about five or six … and then three days in mixing, and then a day’s mastering after that.

So yeah, probably five.

Why did you choose to do it in Melbourne, and not here?

Well, we got a grant from Arts Tas, and, like, we originally applied for a grant to do a full-length album up at Red Planet, but they sort of said to us that they think we’d be better off working in a bigger studio or something. I wasn’t sure of the reasoning behind it, but they said they’d be happy to give us the money, but go for a smaller, sharper product, I think.

The grant that you guys got – how much was it for?

I don’t know if I’m actually supposed to talk about it or not … what do you reckon?

Ballpark?

Ballpark? It was in-between five and ten thousand. We were happy with it … yeah, we got eight thousand.

Oh good – I finally got it out of you!

You had to push me! [Laughs] So how much of it do you plan on spending on the recording, and how much do you plan on spending on beer?

Ah … about fifty-fifty, I’d say. The problem is; Arts Tas … they’re sneaky little bastards … they’ve said we have to give them receipts for everything. So if you’ve got any ideas, you should let me know … It’s going to be good; we’re really going to be able to get the music side of things down pat, I think. It’ll give us a lot of time, and we’re recording to analogue as well.

Are these songs that you’ve already written, that you were practicing earlier today?

Yeah, yeah. We’re pretty tempted to just do all new songs, in the last sort of month or two, but we’re going to record them … I guess, ten tracks just at home, and then send them over to the guys, and see what they think the strongest are,

and then we’ll see if we agree or not, and then come up with a cohesive five-track EP, I guess.

What can you tell me about the sound of these tracks?

Is it in-keeping with what Hannah are known for? Or would you say it’s some kind of departure?

Yeah, I’d say it’s a departure, which is good. We just keep playing what we’re feeling and writing at the time, but from an audience member’s [perspective], I guess it’s always been like that. We started with the more sort of … the stuff we used to do, I sort of cringe … when we really started out, in the first month – I don’t know what style … the drop-D thing. We worked on some more acoustic ballads – more pop-rock. At the moment we’re writing … I don’t know, I’d call it, like, a blues-rock Paul Kelly … There’s a story, and people who listen to the lyrics like it, and it’s interesting for me to sing, because I’m singing about something, rather than … you know what the typical blues-rock stuff is … Not that that’s not valid, but I really like folk music and ballads and Bob Dylan and all that stuff, but I also like the rock and stuff, so I try and combine that, I guess.

The other big news is that you guys are supporting Faker and Gyroscope. This would be probably your biggest crowd that you’ve played in front of, wouldn’t you say?

Yeah, apparently they’re expecting a fair few guys to come along, so it’s good.

Shoot all Launnie musos Always ones for innovation – musical and otherwise – it should come as no surprise that the newly re-christened Sound Heist (formerly Cheeky Sound Chaser) are about to make another big and largely unexpected move – one that involves every willing artist in their hometown of Launceston. SAUCE spoke to trumpet maestro and jazz nut Monty about his plans to recreate what happened one day on a street in Harlem, fifty years ago .…

ran (vocals) and Maria (percussion, vocals) from the Stoics sitting in with us for a few sessions, and hopefully they will continue to. Bo sat in from The Nathan Wheldon band one night. Hank sat in from The Zac Lister band. It’s been fun – new things every week. Ciaran has a lot of range; he can change the feel of a track real quick. That’s what we want. The sound changes a great deal throughout the set.

Joel has just got more records, and we are looking at buying more next week. It would be great if we have the ability to completely change the set depending on the kind of crowd, time of day … whatever. We are also doing intermission sessions between sets. We had a jam last week on Chameleon

by Herbie Hancock after the first set, and Ciaran did a really nice slow piece before the show. It’s a cool way to open.

I understand that a shoot is being organised which will feature prominent Tasmanian musicians. What can you tell me about this? How did this come about?

I got the idea because of a documentary I watched called A Great Day in Harlem. It was about a photo shoot that took place in 1958 outside a brownstone apartment. All the jazz musicians from New York (some well known and some not) gathered outside this apartment to get a picture taken together. The photographer, Art Kane, thought he would have so many dramas assembling all these people together, but he didn’t. I think once people realised that it’s not every day that this kind of thing happens, they were going to be there on time. I’ve been talking with The Northern Club about a possible event afterwards, and I’m hoping Alan Moyle will do the shoot for us. We are sorting this out at the moment.

Musical fusion has always been a big part of Sound Heist. What are some other forms of instrumentation you’d be keen to incorporate in the future?

Keys for sure – [that’s what] we are looking into at the moment. I think Quinney has someone who is interested. We are also really keen on an acoustic guitar to be involved. All in good time though.

Who are some of the artists who will be featured in this?

I would like all local Launceston bands who play in all the bars around town to be part of it. It doesn’t matter what style of band they are, as long as they are a Launceston band. This way it may prompt Hobart and the coast to do their own as well. I’m hoping for about fifty or sixty people. The Embers, Mayfield, The Stoics, Kelly Collins, Shock Corridor, Nathan Wheldon and the Two Timers, Whoopee Band, Ben Castles … come one, come all. If you are part of the scene, then you are part of the photo.

You’ve just changed the band’s name, but what about the band’s sound? How has it evolved in the time since you started?

Yeah, we have changed it to Sound Heist. We’ve had Cia-

What plans do you guys have to do some recording?

Hopefully the gig on Saturday at the Northern Club. We’ll just do it live and check it out later.

Who do you regard as some of your musical heroes, and why?

Miles [Davis] – he’s the reason I started playing. He always moved ahead and took some chances even if he had to take harsh criticism from people – John Coltrane and Sonny Rollins for the same reason. D’angelo, for his insane effort on the album Voodoo. It’s a masterpiece. I fell in love with it instantly. Mike Woods, because if hadn’t met him then I wouldn’t know how to play anything and we wouldn’t be doing this interview right now.

Lastly, what do you most want to get accomplished this year – musically and personally?

One, do a nice recording with the group. Two, play a festival. Three, get this photo taken, and four, stay busy and not waste time.

The date for the photo, and gig to follow, will be announced soon. Stay tuned. Catch Sound Heist Saturday nights at The Northern Club, Launceston.

So what are your feelings about this? Are you kind of shitting your pants a bit?

Oh, nah. I haven’t really thought about it that much, because I don’t really listen to Gyroscope or Faker, but they’re doing really well – they’re getting heaps of radio play, and Seth, our bass player, really likes Faker, so I think he’s pretty excited to serve it up to the big guys, I guess. But yeah, I’m just looking forward to hearing what it sounds like through a big P.A. … just put on a bit of a show, and see if the punters dig us … if they don’t, that’s cool!

To listen to an MP3 of the full interview, go to www. sauce.net.au Hannah support Faker and Gyroscope at the Hobart Uni Bar on the 29th of February.

Gig Reviews The Embers, Mayfield, Alien Halfway to Forth Existence, Nathan Wheldon + Ciaran Van Den Berg JAMES HOTEL – 27/1/08

THE HUB – 19/1/2008

Mayfield + Summer Rock Blood Duster 39 BAR/CLUB – 8/2/08 School Teachers

To me, Alien Existence have to be about the only “rock band” left in Launnie who play a bit of old-school four-four rock. They’re a three-piece – my lucky number. They were first, and the sound was very good. The James crew is improving their live set-up; the sound guy got me in the circle game like twelve times. He was the MVP of the gig.

Ciaran turned dark poet on the Hub stage this night. He let his emotion rip, and the following set was an eclectic mix of Ciaran’s original songs and the major influences on it.

I couldn’t resist another Mayfield gig at Irish. The first was seminal. The second was the perfect musical experience.

Not just because of Mayfield either. It was the entire night itself. As you know, Newstead College had its Rock School this summer. All the cool teachers were there … but then they left!

Nathan Wheldon and The Two Timers were totally different to the last time I saw them play. A new line-up, new rhythm section, and a vast improvement on Wheldon’s Oz/Britpop sound. They were chunky as! That band has taken their sound to the next level.

12PM, and both bars were abuzz. With about two hundred people, but, thankfully, with room to move, Mayfield and The Embers had a face-off – still, they’re too different and have too much respect for each to compare. Mayfield funked it up for a set, and I feel violated – I’ve never been that dirty on the dance floor in ages. As you all know, Leo Martinez has rejoined The Embers. Did they miss him? Well, they’ve had to adapt, but with Michael and Leo together, The Embers are now complete again. And all in all, this was the most fun I’ve had reviewing in ages, and the James put on the best sound I’ve heard there.

A.J. FERGUSON

10

SAUCE #62

The most amazing thing was the young man playing a snare, tambourine and stomp box set-up alongside him. Ciaran belted out some raw and emotional tunes … he went off, actually.

The young man on the box was Dan Lizotte of Halfway to Forth. He and his brother Kyle on guitar make up one of the best new acts I’ve laid eyes on in recent times. Their technique is flawless.

Dan’s voice is powerful, yet soft and subtle when need be. Their set ranged from very classical, depression-era bluegrass to old-school reggae to more modern a capelladriven pop …

Halfway to Forth are going to be famous – there is no doubt about it. At twenty years old, and with the degree of respect that they have for music, the Lizotte brothers of Devonport are a must-see act before they surely leave us for the trappings of music stardom.

ADAM FERGUSON

IRISH MURPHY’S – 16/1/08

Mayfield have this aura about them. All of them have it. They are some of the best of the gigging musicians in Launnie, all in the same band. There were people dancing all over the joint. I even think there were two extremely hot German chicks dancing behind me. That’s because I was in front of Glenn – thanks man! Coz is totally in control of things on the bass. Dane is awesome and so talented. Carl was certainly full of beans. A high-energy performance is just what you need at a show like this, and Carl always delivers.

Oh, the Summer School teachers rocked up again. They went on to free-jam for like an hour (see the clip on Youtube). Anyone who thinks they are awesome and that they’re ready for the big time should come and see these guys in action – both acts for that matter. Come to a pub show of that standard and eat some humble pie!

A.J FERGUSON

Tonight, show-openers This Future Chaos are a very different band to the one so exhaustively bashed by some Deflection7 forum posters. The band’s progression is obvious even to those staying up the back who might not want to admit it – their new material is a step in a far more brutal direction than before. Playing sans keyboards, Zero Degrees Freedom’s set was a much more stripped-back, guitar-oriented affair than we have come to expect.

From Blood Duster’s first note, the room became a maelstrom of crushingly down-tuned riffage – band members and punters quite literally colliding head-on. Bulldozing through head-kicking anthems like Pornstorestiffi and Piss Stomper, Blood Duster’s set was like having your teeth kicked in by the hottest girl in the world (if you’re ainto that kind of thing) – it’s loud, violent and hurts like hell afterwards, but you may have just loved every minute of it. Their set felt less like individual songs, and more like a single deafening medley of the Duster’s trademark chaos – a short, controlled burst, like a midget having a pull. With some bands, it might be seen as a bad thing when you remember not individual moments of the show, but simply the event as a whole. But when you’re front and centre in a Blood Duster pit, that can be considered praiseworthy. A Blood Duster set is what it is, and it’s in a league of its own. Make no mistake; they have still got it, and TOM WILSON the song remains insane.

1 9www.saloon.com.au 1 C H A R L E03S6331S7355 T R E03E6331 T 2414 L A U Nhotel@saloon.com.au CESTON WEB:

PH:

FAX:

EMAIL:

Wednesday 27th Feb

LAUNCESTON CUP NIGHT + LEGENDARY UNI NIGHT Multi Band Night Featuring: The Gary Garys, Autopilot The Smashers , + DJ’s playing the best commercial music.

Upstairs Karaoke in The Loft on a new system Make Sure You Don't Miss The Biggest Party In Town!

Shouldn't You Be Here?

Friday Feb 29th

Crusty Demons Babes Search $500 prize money for the winner Saturday March 1st

The Official Crusty Demons After-Party with all the riders and crew Tickets available at the Crusty Demons show more info: www.saloon.com.au SAUCE #62

11

YOURBAR – BUT NOT FOR EVERYONE Sharp. Sleek. Sexy. The Yourbar motto says it all ... almost.

Upstairs, next to Barratts Music in George Street, the decor that greets you at Yourbar is sharp. Not sharp as in uncomfortable – actually, the opposite is true. Lounges and bench seats of soft leather mean it’s quite easy to forget how long you’ve been there, cocooned away from the hustle and bustle of the city below.

And you’d definitely say the place is sleek. It’s smooth, it’s lustrous, and the staff are slick, both in presentation and performance. Sexy? Certainly. There’s a hint of opulence, but it’s more an atmosphere of restrained, confident class.

As said earlier, the motto says it all, almost. This is because, in the coming weeks, Yourbar will also add “sounds” to the mix, with local DJ Chris Neobi laying down some sweet electronica and drum n bass starting Friday, February 29th.

Yourbar’s only weakness will, in turn, become a strength in the weeks to come. For Yourbar is an intimate venue, with limited space. What that means is that only a select group of people will be able to enjoy the finer things in life at any one time. According to co-owner Hui, Yourbar’s expecting to run a guest list in the future, so if you’re not already inside, or on the list, you’ll have to try your luck another time.

The verdict? Check this place out as soon as possible. There will be limited opportunities for all of you, and you should be trying to make the most of them.

CALL FOR BANDS – LOCALLY FAMOUS 2008 After the success of Locally Famous 2006 and 2007, the Northern National Youth Week Committee are calling for young local bands to perform at Locally Famous 2008.

Young people from Launceston, Dorset, West Tamar, George Town, Northern Midlands and Meander Valley Councils have come together to stage this event. The group has secured a headline artist from Sydney (to be announced) to perform on the night with four local bands.

Locally Famous will take place on Friday the 11th of April from 7pm to 10pm at the Door of Hope Auditorium. Tickets will be $15 prepaid (available from participating Councils close to the gig) and $18 at the door. Locally Famous is a drug and alcohol free event.

If your band is interested in performing they need to contact Janelle on 6323 3327 or email her at Janelle.Middleton@launceston.tas.gov.au for an application form. Bands must fill in the application form and provide a demo CD to be eligible for consideration. Applications close on the 7th of March.

MONKEY BAY BENEFIT CONCERT

An interview with Anneliese de Groot, event organiser,

by Tom Wilson.

I understand that this is a benefit gig to help out Malawi children in Africa. What can you tell me about the situation they’re in, that this gig will hopefully help them with?

Malawi is the third poorest country in the world so there is much general need, but, for orphans in particular, it’s almost impossible to break the cycle of poverty. The Back To School Foundation that this benefit is raising money for supports and tutors orphans between the ages of fourteen and twenty-four to give them the best possible chance of passing the exams necessary to undertake secondary school studies.

If they are successful then Back To School also covers the cost of their school fees. The funds currently being raised

160 Elphin Road L a u n c e s t o n TA S 7 2 5 0

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

are to build an orphanage to house students throughout the course of their education.

Alley Cat

What is your ultimate goal for this benefit gig? How much are you hoping to raise? And what percentage of the profits will go to this cause, after other costs are covered? Are the bands doing this for free?

I suppose I’m aiming for a really positive event. There are awful and deeply sad things going on all over the world, but there is also so much energy and big, big love, and that is what I’d rather focus on. I would be really grateful to raise $1000.

Everybody involved in the gig is doing so for free, so 100% of funds raised will go directly to Monkey Bay. The Monkey Bay Benefit concert kicks off at the Alley Cat Bar in Hobart on the 21st of February, featuring The Neon Lights, I Built A Flying Machine, Billy Whims, Adam Cousens and more.

HOBART FRINGE FESTIVAL – VERANDAH TRAVAGANZA The Hobart Fringe Festival’s Verandah Travaganza has returned in the lead-up to this year’s April Festival.

The ‘Ganza is just like a garage sale, though not in a garage, and the Fringe is seeking donations of anything and everything.

The Festival has received no state government funding for two years, and we are committed to bringing emerging and experimental art to Hobart audiences.

To do that, they need your help. Are you moving soon? It’s a great opportunity to cull your worldly goods. It’s also about time for a Summer/Autumn spring clean. They can pick up your donations.

To donate, call Rachel on 0409 344 679.

Gig Reviews Sam La More + Hook N Sling The Scientists Of Modern Born/Dead + Pisschrist SYRUP – 2/2/08 BRISBANE HOTEL – 13/1/08 Music + The Embers REPUBLIC BAR – 12/1/08

QUALITY ISN’T EXPENSIVE FENDER SQUIER BULLET STRAT AT

BARRATTS

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

A Fabulous Guitar Only $199

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

This gig started out tough and ended tough.

A reading from the Book of Syrup. Chapter 421 – The Annual Verse .

And the testament says thou shall come unto thee through the power of house. T’was on this night that the disciples of The Ministry were gathered at Syrup, to spread the word far and destroy all who heard their sound, through the fear of bass. The seas parted for the chosen – Sam LaMore and His Noblest, Hook ’n’ Sling.

Divine in their own right and with many a tale of their ongoing battles with the fluoro-clad ladies pointing cameras in their faces, they came together to launch the Annual and to make the innocent succumb through their remixes.

The crowds had gathered, clearly prepared to be cleansed by the chosen, and it is when Sam LaMore began that the full wrath of the night was realised. Pilgrims spilt onto the dancefloor and destroyed through remixed tracks by Dukes of Windsor and Daft Punk.

Trembling in his wake, Bishop Hook ’n’ Sling did don some cans upon his head and with one hand prepared his first drop. As he stood by his comrade, his holiness La More, the Sling whipped out the remixed Faster, Better, Stronger with a deep, shuddering bassline that turned the wild masses on their heads, making them all his holy bitches.

Not to be perturbed by the wrath already delivered, the local priest, Adam Turner took the disillusioned pilgrims through till the end. Solid nu-school house was the foundation, and the walls were rendered with breaks. Tonight the chosen have spoken, and the mortals shall bounce to their sound. Here be the sound of the future … thanks be to the house.

FELIX BLACKLER

12

SAUCE #62

I was on time for The Embers set. Phew.

I took up position in front of Stu’s bass amp. This is a fair indicator for spotting a handy (or not) sound guy; Stu sounded fat-as, and so the sound guy is a legend.

Apart from the chunky bass sound, particular punch was given to Michael’s side of the room (he plays trumpet in case you are retarded and haven’t seen them yet) and Joel’s mini-toms. Joel’s solo was damn good!

Actually, I think that pretty much describes his percussion all the time. Mark’s efforts in front-of-house are getting gutsier too.

The Republic was buzzing this slightly humid but rainy night.

It had to be like forty-five degrees in the room by the time TSOMM hit that bitch (you know you’ve done alright when people know you by initials!)

Everyone who could fit on that dance floor were there – so much so that my camera was playing up because it was so hot. Or was it because Mr. Black and Mr. White – which you may only address them as – were particularly f*cking smoking? Not sure. The Republic was turned into the electronic boutique for that hour or so.

The two main points to come from meeting them; one, they are remastering their debut release complete with special, super-duper, cool new songs (yay!), and two, they are pretty much game to remix anyone’s music (of real quality). So what are you doing? Call them!

ADAM FERGUSON

First to hit the stage was the youthful On Your Feet Soldier.

This was the first time I’d seen these brutal younglings, and they blew me away. The vocalist was demonically deep and raspy, pulling off all his lines with real attitude. The guitar and bass work was well played and nice and tight with their drummer. Awesome set, I was fully impressed.

The Ghost and The Storm Outside came on after a long setup period and launched into their polished set. They pulled no punches as usual, and put on a good show – Sam’s vocals audible even from the bar, over the rabble. These guys seem to just get tighter and tighter each time I see them. One of the best sets of theirs that I have witnessed.

Surprisingly, Born/Dead were on next. All the way from California, this power trio were crazily wicked. I loved every second. The two vocalists yelled their heads off, backing each other in parts to add to their punchy sound. The bass player’s picking fingers were a blur of movement (no wonder his arms were the size of a normal person’s legs).

The drummer was a maniac, flashing ‘round the kit a la Animal from The Muppets. They were worth the entry fee alone, and the crowd was loving it too.

Soon after, Pisschrist started setting up. This was the third time I’d seen these guys, and I’d go watch them again in a heartbeat.

With new backing vocals from the drummer and bassist, they sounded even tougher. The new songs they played showed a definite growth without straying too much from their sound. The frontman went off, jumping about and swinging the mike. The crowd slammed about and loved it. Bloody sick!

ROWAN MCINTOSH

THE LOFT 142 Liverpool Street Hobart

For Sale or

Lease Enquiries: 0416 328 079 www.myspace.com/theloft142

GIG GUIDE 20TH FEBRUARY - 4TH MARCH WEDNESDAY 20TH

WEDNESDAY 27TH

Curly’s Bar Mr. Meaner + Jim K + D2M

Curly’s Bar The Smashers + Jim K + D2M

Republic Bar & Café Joe Piere & Greg Frith (Sax) @ 9PM

Republic Bar & Café Angie Boxall (farewell gig) @ 9PM

Syrup Rewind @ 9PM

Syrup Rewind @ 9PM

HOBART

HOBART

LAUNCESTON The Barn Jazz Lounge @ 8PM

Saloon The Gary Garys + Autopilot + The Smashers + DJs

BURNIE

BURNIE

THURSDAY 21ST

THURSDAY 28TH

Stage Door the Café Viktor Zappner Swingtet + Greg Josephson + Bruce Innocent @ 7:30PM

Stage Door the Café Viktor Zappner Swingtet + Alex Howroyd + Matthew Ives @ 7:30PM

HOBART

HOBART

Alley Cat Bar Monkey Bay Benefit – The Neon Lights + I Built A Flying Machine + Billy Whims + Adam Cousens @ 8PM

Alley Cat Bar Three @ 9:30PM

Brisbane Hotel Hobart Underground Film with Andrew Harper Republic Bar & Café Kate Meehan @ 9PM

Brisbane Hotel Lance Cooper + Each Chains Republic Bar & Café Jude Elliot @ 9PM

Syrup Mesh – Adam Turner + Guests @ 9PM

Syrup Infected Mushroom (Israel) + Corney + Ellis D + J Mesh – Adam Turner + Guests @ 9PM

The Barn Jazz Lounge @ 8PM

UTAS Raw Comedy feat. Harley Breen @ 7:30PM

LAUNCESTON

LAUNCESTON

Royal Oak Zac Lister @ 9PM

Royal Oak Nathan Weldon and the Two Timers @ 9PM

BURNIE

BURNIE

FRIDAY 22ND

FRIDAY 29TH

Stage Door the Café Marcus Wynwood @ 8PM

Stage Door the Café Short Daze @ 8PM

HOBART

HOBART

Alley Cat Bar The Trolls @ 10PM

Alley Cat Bar Jesus and the Jedi + The Dudley Nightshades @ 9PM

Brisbane Hotel Batrider + Moe Grizzly + The Native Cats

Brisbane Hotel The Lazy’s + Turbo Deluxe + The Evening Dolls + Red Rival

Curly’s Bar Revival

Curly’s Bar Revival

Republic Bar & Café British India @ 10PM

Republic Bar & Café Sugartrain @ 9PM

Syrup Freaks (UK) + Adam Turner + Gillie Downstairs – Nick C + Reme @ 10PM

Syrup Pickle vs. Pitch Black – Corney + Wilco + Shad Downstairs – Nick C + Reme @ 10PM

The Barn Jazz Lounge @ 9PM

UTAS O-Week Invasion – Gyroscope + Faker + Hannah + Linc Le Fevre and the Insiders @ 6PM

LAUNCESTON Royal Oak Leo + Mick Attard @ 9:30PM The Hub Ejecter

LAUNCESTON James Hotel The Whiskey Go Go’s + Grand Rapids

SATURDAY 23RD

Royal Oak Sara and Andy @ 9:30PM

Stage Door the Café Blue Gum Jazz Band @ 8PM

The Hub Alex Byas

BURNIE

HOBART Alley Cat Bar The Bone Rattlers @ 10PM Brisbane Hotel New Renovations Celebration Party.

Hotel SOHO Ivan Gough Kellevie Bushland FRACTAL-VISION Open-Air Trance Festival Republic Bar & Café Diafrix @ 10PM Syrup Kir + Adam Turner + Gillie Downstairs – Naughts + Rolly + Billy Bob @ 9PM The Barn Jazz Lounge @ 9PM

LAUNCESTON James Hotel British India Royal Oak A Night On The Greenwood – Cats For Hands + Emma Wild + Zac Lister + Echo Blue @ 9PM The Hub Shock Corridor + The Muddy Turds

SUNDAY 24TH HOBART

FEBRUARY

Alley Cat Bar Chris Pickering (Bris) + James Parry @ 6:30PM

THURS 21ST

Zac Lister 9pm

FRI 22ND

Leo and Mick Attard 9:30pm

SAT 23RD

A Night on the Greenwood Feat. Cats For Hands, Emma Wild, Zac Lister & Echo Blue $8 cover, Boatshed 9pm

TUES 26TH

Open Mic Night (Tuesday due to L'ton cup) 9pm

Kellevie Bushland FRACTAL-VISION Open-Air Trance Festival

TUESDAY 26TH LAUNCESTON

TH E LAST W EDNES DAY

OF EVERY MONTH

Republic Bar & Café Room 409 @ 9PM Royal Oak Open Mic Night @ 9PM

OPEN 7 DAYS

Brisbane Hotel Vae Victis (Syd) + Give Up All Hope (U.K.) + The Ghost And The Storm Outside

Uni Bar Raw Comedy 2008

Venue Guide BURNIE Stage Door The Cafe 254 Mount St Upper Burnie 64322600

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

Republic Bar & Café Whiskey Go-Gos @ 10PM

Hotel Soho 124 Davey St 6234 5975

Syrup Lisa Loud (UK) + Gillie + Adam Turner Downstairs – Naughts + Rolly + Billy Bob @ 9PM

Syrup 1st Floor 39 Salamanca Place 6224 8249

LAUNCESTON James Hotel The Lazy’s + The Inches Royal Oak The Titz @ 9PM The Hub Forefront Hip-Hop

SUNDAY 2ND HOBART

Alley Cat Bar Dan Dinnen (Melb) + Hugh McGinley (Melb) + Melanie Gent @ 6:30PM Raincheck Lounge Acoustic Music @ 4PM Republic Bar & Café Merchants In Groove @ 9PM

MONDAY 3RD

HOBART

Sara and Andy 9:30pm

OPEN MIC NIGHT

Alley Cat Bar The No No’s @ 10PM

Republic Bar & Café Cake Walking Babies @ 9PM

FRI 29TH

GREAT FOOD

HOBART

Republic Bar & Café Carl Rush @ 8:30PM

HOBART

The Titz 9pm

Stage Door the Café Tazz Jazz @ 7:30PM

HOBART

Nathan Weldon & the Two Timers 9pm

SAT 1ST

BURNIE

Raincheck Lounge Acoustic Music @ 4PM

THURS 28TH

MARCH

SATURDAY 1ST

TUESDAY 4TH Republic Bar & Café G.B. Balding @ 9PM

WEDNESDAY 5TH HOBART

Republic Bar & Café The Flying Saucers @ 9PM Syrup Rewind @ 9PM

Moorilla Estate 655 Main Rd, Berriedale 6277 9900 www.moorilla.com.au Republic Bar 299 Elizabeth St 6234 6954 www.republicbar.com The Brisbane Hotel 3 Brisbane St 6234 4920 thebrisbanehotelhobart@gmail.com The Alley Cat Bar 381 Elizabeth St 6231 2299 LAUNCESTON James Hotel Reality Niteclub / James Bar 122 York St, 6334 7231 www.jameshotel.com.au The Hub 1 Tamar St 6334 9288 www.tamarbackpackers.com The Newstead Hotel 160 Elphin Rd 6331 1344 The Royal Oak 14 Brisbane St 6331 5346

14 Brisbane Street, Launceston 6331 5346

SAUCE #62

13

BANGERS & MASH // VISHNUDATA

Ride the magic trance unicorn Is it racist to say that someone just “looks Finnish”? Well, I hope not, because I just did, but come on – take one look at this trance DJ and tell me you don’t think the same thing. But it’s all about the music, after all, so I digress. Heading to our shores as part of the mammoth Fractal Festival later this month, I spoke to Valo Pellervo Lankinen – AKA Vishnudata …

What’s been going on in the Helsinki scene recently?

What sounds are popular?

To be exact, I have been away from Helsinki since September, so I don’t really know the latest trends up there.

What’s the story behind the name “Vishnudata”? Is there any specific meaning behind it?

The word, “Vishnuduta” refers to a “messenger of God, Vishnu” in Sanskrit. I found it in a book that I got from the Hare Krishnas the other day. I just thought it was nice name for an electronic music project if I changed one ‘u’ in the word to an ‘a’ to make it “Vishnudata.” “Data” refers to a collection of organised information, usually the results of experience, observation or experiment, or a set of premises. This may consist of numbers, words, or images, particularly as meaurements or observations of a set of variables.

What have you been working on in Vishnudata recently?

During my tour in Japan and Australia I have been working on

tracks for the upcoming album. It is planned to be released in September this year by a Helsinki-based record label, Space Boogie.

What has been happening with your other projects?

The psychedelic dub formation Dreadlock Tales got their debut album released last year on Cosmic Theatre Records.

There is currently a new album in the process. I have lately started working on a new techno/minimal project called “Electric Arc.”

By Tom Wilson

the music!

www.myspace.com/vishnudatabase What plans do you have to follow up your album from last year, Dreamforce?

As I mentioned above, I’m going to release a fresh album this year. The music again is an echo of transformation. The first single from “Electric Arc” will be most probably released on a compilation by a German digital indie label, “Welove:Minimal” from Hamburg.

“I wish I could afford having an entire circus with white electric goats, magic unicorns …”

What are your tools of the trade these days – both when making music, and performing live?

I started using Apple computers for music producing a good year ago. It has been my best year for music making so far! I use Logic 8 as a sequencer and for mixing, for live DJing Ableton Live and Traktor DJ. I also utilise any instrument and piece of hardware and madness. I wish I could afford having an entire circus with white electric goats, magic unicorns etc. touring with me for the show ... The possibilities and ways to create music are infinite – that’s what always keeps me excited about music.

What makes each of these projects unique from one another? And which do you spend the most time on?

All these projects focus on different genres of music. Lately I have spent most of my time on Vishnudata and Electric Arc. In Dreadlock Tales I prefer to work together with my fellow Kimmo Tyni, who is travelling in India now, and I am down here in Tasmania.

Ultimately, what are your plans for the rest of the year?

I will travel a bit more in Australia, Japan and maybe USA until sometime in June, then [I’m] returning to Finland for the beautiful summer, sweet girls and cold beers. I am planning to move to Berlin, Germany after the summer in Finland. I will work on music as time and space allows. There are definitely also other things besides rock ‘n’ roll in life that need attention for the balance. Everything flows, and all is connected ...

What is it about the trance genre that appeals to you?

It is the freedom to dance and to love the people, nature and

Vishnudata plays the Fractal Festival on the 24th of February.

CD REVIEWS VINYL PUSHER It’s All About House Music

Vinyl Pusher has started a new compilation series, bringing you the best in current house music, mixed by some of the best house DJs in Australia, with the name saying it all – It’s All About House Music. Alex Taylor and J Nitti mix this first installment, which includes a double-disc of thirty uplifting vocal and tribal house tracks, made possible by some of the best house labels in the world.

DJ Alex Taylor, who has pumped up the dance floors across Australia for over ten years, mixes the first CD. With his awesome versatility and a CV that reads like a who’s-who of Aussie dance party history, Alex plays a mix of chunky house and tough electro through to the smooth sounds of soulful deep house. Featured tracks include Migual Migs (So Far), Mo.ca feat. Michelle Weeks (Nobody) and the huge hit from Noir (All About House Music 2007) mixed by Peter Gelderblom.

J Nitti AKA Flippo mixes disc two, using his unique style of tribal with vocal house perfectly – think funky electro and minimal. He also contributes to the track listing with his up-and-coming Vinyl Pusher single release Xplode; a collaboration with vocalist Shirley Davis of Deepface.

With so many different sounds and styles on disc two, it’s hard to choose a number-one favourite. It includes the tracks Good Vibrations from Afro Deep, Talkin’ About House

by Jesse Garcia, Take Me To The Sun by Disco Freaks and Put Your Drink Down by Mr. V (Bob Sinclair remix).

LEONA LEWIS Spirit b b b b b d

AYREON 01011001

THE HITMEN Self-Titled

Yes, those reality shows are still managing to get the ratings and find talent after years of us being forced to put up with the so-called talent quests that grace our screens every year (you would think that by now they would have run out of not only new artists, but also viewers). Well, the English version of The X-Factor has managed to find another one; the difference is that, unlike many of her predecessors, she actually has some talent. Leona Lewis was crowned the winner of the U.K. reality show in late 2006 with her debut single being downloaded fifty thousand times in thirty minutes. But we are only just hearing about her with the release in Australia of her latest single Bleeding Love. This track was the biggest selling single in the U.K. in 2007 and we are beginning to see why. The track has managed to have an effect on us Aussies – having been number one in Australia’s ARIA countdown for many weeks and has received mass airplay on local stations.

Dutch mastermind and m u l t i - i n s t r u m e nt a l i s t Arjen Lucassen from past heavy metal band Vengeance brings us the seventh concept album from his current project Ayreon, and has brought several guests along for the ride. Some of the vocalists that appear on the double-disc CD include Tom Englund (Evergrey), Jonas Renske (Katatonia), Floor Jansen (After Forever), Simone Simons (Epica), Hansi Kursch (Blind Guardian) and many more. 01011001 – decoded, it means “Planet Y” – expresses the fight for emotional self and survival in a world that relies on technology to stay alive.

It spans a diverse range of genres, including classical, folk, electronica, industrial, progressive rock and power metal – something for all tastes.

Back possibly before some of the younger readers’ era, there was that popular and very Aussie style of rock. Nowhere else could possibly get away with this classic genre, and it produced bands like Men at Work, Cold Chisel and The Hoodoo Gurus. It also saw one band, The Hitmen, release an album in 1981, and it’s another one of those high-energy rock ‘n’ roll albums which has just been remastered for your listening pleasure.

However, the songs do begin to go downhill mildly after the first track. Repetition becomes a bit of a problem, with a few of the tracks sounding a bit too similar in a few aspects.

The First Time Ever I Saw Your Face is painfully slow – one of those typical power ballads that are meant to be “moving” to all that hear. The only moving it did for me was when I moved to change the track.

Don’t get me wrong; Leona Lewis has an incredible amount of talent, but I just feel as those some of the song choices for her album will be her downfall.

SHANNON STEVENS

I would highly recommend this CD to anyone craving some new hardcore dance party music.

The multitude of vocalists on the album can be overwhelming for some, especially having eight different vocalists trading lines on the first track of disc one. This continues through the entire album, taking the listener on a captivating journey. Though I found no track to be a standout, I did find vocalists Jorn Lande (Aguq de Annique), Jonas Renske (Katatonia) and Floor Jansen (After Forever) to have appealing moments. All vocalists and musicians performed exceptionally well in their individual parts, and all have something unique to show. Lucassen has allocated the right vocalists for each song, giving harmonious flow from track to track.

01011001 challenges the listener to understand its complexity and its concept. This is an album that may mature after several spins, but you would really need to be diverse in your music tastes, as this two-CD package puts you through an extensive mix of genre and vocal styles.

JOHN BUTLER One Small Step – Live and Solo

Ex-Helloween frontman Kai Hansen brings his signature sound with four-piece power metal band Gamma Ray’s ninth album. The band’s 1996 LP Land of the Free would have most fans agreeing that, being one of the band’s successful albums, a sequel to it could both expand and conclude the original classic.

The problem that may arise for this album is the twelveyear gap; this album works more as a fresh take of the 1996 original than anything else.

Hansen and Henjo Richter annihilate their fret-boards, playing technical, blistering solos and riffs alongside Dan Zimmermann and Dirk Schlachter’s pulsating drums and bass – the trademark sound of a band at the forefront of power metal. The album definitely has the influence of Hansen’s previous band Helloween, but manages to produce an album of higher quality. The best track on the album is Rain, as it has the heaviest riffs and great dual guitar melodies, with Opportunity being my least favourite.

Power metal doesn’t do much for my liking as far as its signature high-pitched vocals and lyrical content, but the complexity and speed of the music definitely grabs my attention. Hansen’s vocals go for a two-way approach, tackling both screams and ballad-like melodies, but unfortunately confusing the musical direction the band are heading for throughout a song. The musicianship is phenomenal, with very upbeat, energetic, strong, driven choruses very similar to those of Iron Maiden and Dragonforce. It’s just a shame it’s such a cheese-fest.

DAVID WALKER 14

SAUCE #62

No matter how young you are, most people should be able to find something likeable, with so many tracks to choose from. The live track Don’t Fear the Reaper is one that stands out with its catchy lyrics and hard rock-fuelled instrumental work. And with the track being live, the sound is much more captivating. Indeed, you can almost picture the band’s live set as it was back in the 80s.

The Hitmen probably would not suit most of the younger generation of music enthusiasts as it is a little past their time, but it is one album that the parents will easily be able to relate with – but if they start dancing I would advise removing the album from them as soon as possible for your own safety.

SHANNON STEVENS

DAVID WALKER

LISA-MARIE RUSHTON

GAMMA RAY Land Of The Free 2

The album is a two-disc set with over forty tracks, which include never-before-heard demos, b-sides and live tracks from the band. The typical overuse of percussion is apparent in a few of the tracks, including Death Grip, but that was popular back then, so it suits the style of the band.

After all, some things never change.

Following on from the massive success of Grand National comes John Butler’s latest release, One Small Step – Live and Solo, making this John Butler’s first solo album release since 1996. One Small Step – Live and Solo is a compilation of John Butler’s biggest hits, including Treat Your Mama, Zebra, Better Than and quite a few more. And it is all brought to you live in Denver USA, where it was recorded in June 2007.

All his fans know how funky John Butler is, but this album just shows how musically gifted he really is. Every song on the album is just that little bit different to what we have heard from his studio-released versions, adding an interesting diversity to these songs. Extended solos on the guitar, and also chants that get the crowd really going, both add to the feel of actually being at a live concert, which I believe therefore adds to the songs themselves.

John has also decided with this album that for every copy purchased, one dollar is donated to the Close The Gap Campaign, which is gathering funds towards better health and community services for the Aboriginal and Torres Straight Islanders.

With only eight tracks, it seems pretty short, but with each song going for an average of five minutes – and the diversity of them as a whole – it really makes for a great listen. A must-buy album for all the John Butler Trio fans out there.

MICHAEL MARSHALL

SAVES THE DAY Under The Boards

STEVE LAWLER Viva London

Sound the alarm! Saves the Day have released their second album!

This is minimal at its truest – random bleeps and squeaks that move along with a great-sounding bass line to pull it all together.

Both discs start with a darker sound, but always end up on the more upbeat side of minimal, and still holding that true underground sound of clubs throughout Europe, which is now moving into some of the more experimental clubs in Oz. Some of the tracks can sound as though they are moving into a more downbeat trance style, but it never loses itself as a minimal set.

This fresh release follows an intense year for the crew of Saves the Day. Under the Boards was their debut album last year – which, sadly, only managed to raise a few eyebrows. However, the group was kept busy by promoting themselves on tour, and has now released their follow-up. They are now turning heads with this delightful and intriguing compilation of refreshing new tracks, which are said to be part of a trilogy release by the group.

Every good recipe has a list of ingredients that go together to make it work, and these guys have created something for everyone to enjoy. Bubbly pop beats to delight your senses and have you up and grooving. An in-your–face, burly rock edge for extra attitude. Well-written lyrics, which are clearly delivered and defined, and alternating dispositions in each song, come together and help contribute to the overall balance of each track, and general appeal of the album.

I enjoyed most of the tracks on the album, but I felt there needed to be more thought put into the arrangement the tracks.

The variation of tempos and beats within each song takes away from the appeal of each track, especially ones that are a bit more low-key. I do recognise that it can help identify each song, but unfortunately, in trying to achieve this, they have ultimately let themselves down.

LISA HOWELL

There are a lot of artists on these discs who may never be household names, but it’s these artists who keep the majority of electronica from becoming mainstream, and we should be thankful for that. Tracks from Nils Nova (X-Rated), Deetron (Life Soundtrack), Mario Zar/Marco Berto (Infared) and Joel Mull (Sunny Hills) are some of the best-sounding tracks on the compilation.

Tracks from Steve Lawler (Violet and Courses For Horses) are also stand-out tracks that show why he’s the big name that he is. Lawler started out in the late 80s/early 90s with a love for deep house, which can be heard being brought through into the present day sets, giving them a good energy that can be taken onto the dance floor.

If you’re a fan of good-quality tunes – which are a bit on the darker side – this is a good compilation for your collection.

NEESHA PEACOCK

BANGERS AND MASH // INFECTED

Will you survive the infection?

By Dave Williams

What are you guys up to in the States at the moment?

You know, we’re in the middle of a vacation, building a new studio, chilling a bit, and preparing for touring the world, and the Australian tour is the first one.

When you say that you’re building a new studio, whereabouts, why, and does this mean that you’re basing yourselves more in the States these days than in Israel?

We’ve been based in L.A. for the last three-and-a-half years, so this is our place, and our old studio was here. We just tore it apart because we moved to a new place, and we built the new studio from scratch, so that’s why. We’re almost at the end of building our new studio.

You’ve got the tour coming up – whereabouts do you start?

I think we start in New Caledonia.

Have you ever been there before?

I’ve never been there. I’ve heard it’s a beautiful place, but I’ve never been there.

You end up down here in Hobart halfway through. What do you remember of your last trip to Tassie?

You know, I just remember good things from Hobart, and from the whole last Australian tour. I had a really good time.

The reaction of the crowd, the reaction over Infected Mushroom, the reception of the people … it’s a beautiful place, of course – I’ve been many times. You know, I’m always looking forward every year to go back to Australia, and we’re going to come with a lot of fire now, because we’re really well rested from this vacation.

You’ve got a new album coming out in the not-too-distant future. Have you got a date for that yet?

Hopefully, the new album’s going to come out in August. The majority of the new album is ready; we have already [got] nine tracks ready. We just stopped because the studio is just now being built, so we don’t have a studio now. But the album will come out in August. You’re going to hear most of the new material in the live show in Australia, but some of it of course is still hidden before the album comes out. But yeah, the new album is ninety-percent ready.

What sort of progression is there from Vicious Delicious to the new album? What will we be seeing?

I think this album … you heard it in Vicious Delicious, the heavy metal influence, I think this album goes even further.

More live recording – our drummer’s recorded live, so this album is a bit, you know … it’s kind of a continuance of Vicious Delicious. Kind of very diverse – more heavy metal, and very rocking on the dancefloor.

Why do you think it has gone in that direction – more rock and metal-influenced?

I don’t know, you know? It’s many things. Maybe living in the USA, being influenced by a lot of the rock bands over here, and maybe going back to our roots, because we originally come from that whole scene, you know? We grew up on Metallica, Pantera and all this stuff, so maybe getting back a little bit to that scene. But I don’t know – this is how we are feeling lately, and this is how we compose, you know?

So personally, what have you been doing on your holiday? Have you been going to theme parks and things like that? What have you been that?

No – a holiday for Infected Mushroom is not travelling. It’s being at home with the families, you know? Eating in restaurants, enjoying the space, staying in the house is a vacation for us, and I must say, this was one of the best vacations I’ve ever had for so many years, because usually when I’m on vacation, I work in my studio producing music. But this time I had no studio, so it was a real vacation. So it was really, well, necessary and deserved after the Brazilian tour, which was like a month and a half. Basically, we’re really well rested, and looking forward to going back.

To listen to an MP3 of the full interview, go to www. sauce.net.au Infected Mushroom play Syrup in Hobart on the 28th of February.

SAUCE #62

15