Sauce - Issue 63, 5-3-08

On the street every second Wednesday

Free Edition #63 05/03/08 - 19/03/08 Made in Tasmania

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2

SAUCE #63

METAL // PSYCROPTIC

Marching beyond the Symbols Of Failure

By Tom Wilson

When it came time for SAUCE to finally present the first ever death metal cover story in its four year history, a question was raised by this reviewer – even if only based on a list of all they’ve accomplished so far, was this first band going to be any other but Psycroptic? For nine years, they have proven that they are something beyond what many would ultimately expect of a death metal act; taking the esoteric creativity of drummer Dave Hayley’s lyrics and each other’s musical prowess and realising it with nigh-unmatched technicality, Psycroptic are, quite simply, a death metal force. About to start work on the follow-up to 2006’s Symbols Of Failure, Dave Hayley spoke to SAUCE while in Melbourne about the new material, joining Blood Duster, and the beginnings of his life in metal …

Would [being in Melbourne] have anything to do with this new recording I heard you guys are working on?

Ah, no. I’m actually back there on Friday, and I’ll start tracking the drums this Saturday coming.

So it’s all written, is that what you’re saying?

Yeah, it’s all written, and we enter the studio on Saturday to lay down the drums.

So when do you reckon we’ll be seeing this come out?

Probably not until later this year … actually, definitely not until later this year … it’s due to be mixed in May, so we have to have everything finished by then. I’d say, realistically, an October release.

At this stage, before mixing and everything, what sets this new material apart from what you guys did with Symbols Of Failure?

I’d say this is more … what’s the word I’m looking for? A bit more focused again. We spent a lot of time working on actual song composition – getting the structures as we wanted them. We probably spent more time trimming the fat too; instead of chucking in lots more riffs to fill it out, we kind of sat on stronger riffs for a longer time, if you know what I mean? So it’s probably more of the less-is-more approach, but it’s still … very much Psycroptic.

These changes, these differences – is that something that you might see as something that frustrated you a bit about Symbols Of Failure? Do you see that as a weakness of the album?

Honestly, no. To be honest, I don’t really ever listen to any previous material that I personally play on, so I don’t really listen to any of the Psycroptic albums or anything else for that matter. Once we’ve written it, and we’ve recorded it, that’s at its best, and that was a frame of mind that we were in at that point in time, so that’s that, as far as I’m concerned. Yeah, it’s not about trying to rectify anything or change anything, it’s just that that’s that, and this is going to be how we stand at the moment. Yeah.

How much input do you have with the lyrics and stuff?

Do you write those as well, or is that more the vocalist’s department?

No, I take care of the lyrics as well. It’s not a case of trying to be a control freak, saying “Oh, I must do this.” It’s more … I took over the lyric-writing duties on Symbols…, and it’s kind of just by default, you know? I started doing it, the other guys liked what I was writing, so I continued to do it. But I’m not opposed to anyone else writing the lyrics – it just turns out that I’ve handled it. I don’t know; maybe in the future I won’t do any lyric writing, and the other guys can take care of it. That’s just how it’s played out.

everything. I love sci-fi TV, movies and books and that sort of thing, but I also quite like anything kind of left-of-centre … out of the ordinary. Whether it’s reading certain essays by people … I suppose in the occult or something like that, but that’s not to say that my lyrics are anything about that … it’s just about topics that I find interesting.

Stimulating …

Yeah, yeah. Just stuff … whether or not you believe, or whether or not you fully agree with any of this stuff, it’s still interesting to read about it. But definitely more the sci-fi realm, you know? I do like to read fantasy books when I get the chance, as well as other … I’m reading a book at the moment about the

“It’s not about trying to rectify anything or change anything … this is going to be how we stand at the moment.”

What can you tell me about the new material from a lyrical standpoint? What kind of themes and subject matter are you dealing with on this upcoming stuff?

It’s still firmly rooted in kind of the sci-fi and esoteric realm … probably a little bit more veiled in some of the meanings. It’s not as direct. They’ve all got very firm and definitive meanings behind them all, but that’s to me, and they’re written in a way that people can kind of take what they will from them, you know? If someone thinks they’re about a certain subject, and they can relate to them, then awesome. But they’re probably a little more veiled – not as direct.

What inspires it? Are there certain pieces of art or films or writing that inspire that? Where does it come from?

It’s nothing specific, you know? It’s kind of just a melting pot of

makeup of the universe … anything that’s just a little bit out of the ordinary.

Let’s look back at the band’s beginnings, or rather your beginnings as a musician. What was it about death metal that first drew you towards the genre? What really struck a chord with you, pardon the pun?

That’s a hard one … I’ve kind of been into the more up-tempo, aggressive music ever since I was a kid – starting out with more of the hard rock stuff like Motley Crüe and Metallica, and then working my way up to Slayer and Sepultura … constantly finding new and exciting things. So I guess that I got into death metal because it was very new and exciting for me to listen to, you know? I was around the fourteen, fifteen sort of age mark – I started to heavily get into the genre. I was like, “Wow, this is amazing – what the hell is going on here?” I suppose it’s a

combination of the sheer intensity as well as the precision that did draw me into it, and that’s still what keeps me very interested in the style … the intensity and the aggression.

You’re also in Blood Duster now. How did you end up hooking up with them?

Well, they kicked their drummer out last September, and they just asked me whether I’d like to play for them, basically. They called me a week before the Napalm Death tour and said, “Do you want to do it?” And I said, “Yep, why not?”

That’s pretty much it.

You bastard – you got to tour with Napalm Death …

Yeah, it was a cool tour – not one of the best , but it was still pretty cool.

What about death metal (or otherwise) drummers?

Who are some that you’ve always looked up to, from a technical and musicianship standpoint?

Well, in the death metal genre, of course Derek Roddy and George Kollias … Derek being drummer from Hate Eternal … best known for playing in Hate Eternal, and George in Nile. So those are two players who I highly respect, and I’ve been fortunate enough to actually become friends with them, so it’s been a very good learning curve, as I’ve been able to trade ideas with them and that sort of thing. Outside the metal realm, I really like … the drummers that are kind of pushing the boundaries, whether it be of technicality of speed or sheer creativity, you know? Drummers who go that one step further.

If it’s from a technical standpoint, I’m surprised you didn’t mention Tomas Haake from Meshuggah.

Yeah, I wouldn’t say he’s been a massive influence on me directly, but his playing is phenomenal, and at some points incomprehensible [Laughs]. That is an area that I do want to look into …

Psycroptic play Hobart’s Brisbane Hotel on the 21st and 22nd of March.

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

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3

METAL // EMIGRATE

#63 - 5th to 18th March

Contents 3 4 5 6 8 9 10 11 12 13 14 15

Psycroptic Killswitch Engage / Emigrate Endless Nameless / Riot Act Baseball / Diesel Symbiosis Endless Nameless / Rory & The Riot Act Carl Cox / The Reactions Muscles Bridget Pross Gig Guide Review: BDO / MS Fest/ Soundscape CD Reviews

Contact Sauce

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

Advertising: Email:

advertising@sauce.net.au

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, Felix Blackler Neesha Peacock and Carole Whitehead.

Next Edition Deadline Friday 14th March Sauce #64 - 19th March to 1st April

Prepare for the emigration

By Tom Wilson

As guitarist for Germany’s industrial rock juggernaut Rammstein, Richard Z. Kruspe has surfed countless mosh pits in an inflatable boat, been spanked by a seven-foot-tall Snow White, and undoubtedly lost his eyebrows more than once to pyrotechnics that make Rammstein’s live show something you literally have to see to believe. But now, from his new home base in New York, the renowned axeman is changing projects, and changing language while he’s at it. On the release of his new project’s devastating self-titled debut, he told Tom Wilson why he chose to Emigrate …

How are you, mate?

[Laughs] I’m pretty good, thank you! It’s so funny that you’re from Tasmania, because one of my really dear friends come s from Tasmania … She’s from Tasmania, and she always talks about it.

“Nobody needs a second Rammstein.”

So where are you at the moment, Richard?

I’m actually in New York … spending the rest of my Christmas holidays here, but I’m back in the studio here, writing for the next Emigrate record. I’m going back in two weeks to Berlin, basically … with Rammstein in the studio, recording and writing a new Rammstein record too.

I’ve got to ask first up – why did you decide to push forward with Emigrate outside of Rammstein? Was it a case of you feeling that there were certain creative things that you couldn’t really do in Rammstein?

Actually, it was the opposite. I was doing too much in Rammstein basically … Normally, I do a hundred percent, but it was like two hundred percent Rammstein, and the speed that I have was basically too fast for the rhythm of the band.

It caused some problems in the band, so I had to kind of distance myself from the band to realise that it wasn’t really my speed, you know? I was kind of realising [that] I needed something else to balance myself out again, basically. So when I started with Emigrate, I was realising that, all of a sudden, I felt … I could go back to Rammstein and be just a guitar player, which I couldn’t really do before, basically.

All of the songs on Emigrate are sung in English. Why is this? It isn’t you native language, and that hasn’t exactly been a barrier for Rammstein in the past? Was this a conscious decision?

Yes, it was. Actually, it was and wasn’t, because I’m a big believer that the environment or culture or city has a big influence on the songs and the sound, and that was actually why we started in Rammstein to sing in German, because everything else I did in the past was kind of imitating something else that wasn’t really German at this time. So with Rammstein, it was a decision where we said, “OK, we want to be as authentic as possible, so let’s sing in German,” which everyone felt, like, “are you f*cking stupid? Nobody sings German in rock music!”

So when I started to write for Emigrate, I changed a lot of my writing basically in the beginning. With Rammstein, I always kind of wrote in a way of writing a soundtrack, you know? Not using the voice from Till in the beginning; just trying to fill up everything so that they [stand up] by themselves, basically.

With Emigrate, I was using my voice, in the beginning, more like

the old-style songwriting, basically. Since I was living here, and I was talking in English and doing all kinds of stuff in English, it was kind of natural to sing in English. It would be kind of awkward to sing in German in New York, because nobody could understand … It’s more based on English culture, I would say.

Thinking forward, if you do get to tour with Emigrate … Rammstein’s stage show is, in my opinion, one of the best in the world – would an Emigrate show have that kind of similar aspect to it, do you think?

I think that it would be definitely something … it wouldn’t be the same obviously, you know? Nobody needs a second Rammstein. It would be something different. I kind of think, knowing me, and knowing what I like about stage show, I’ll definitely create something else … which will also have a “show” involved, basically.

As far as the guitar tunings and the structure of the songs, while, of course, the vocals are wildly different than one might expect from a musician such as yourself, the guitar work does seem to share a lot in com-

mon with Rammstein material. Was it a case of you feeling like this was really appropriate? Or is that just the sound that you feel comfortable with making?

You know what? I was trying to change a little bit the sound, obviously. But at the end of the day, I’m still me, and the good thing about the record, if you listen to the whole record, in the beginning it shows you where I come from, and then it goes different ways, and has all different kind of sounds that I would not use in Rammstein. At the end of the day, you’re right; the sound is the sound, and the playing is the playing … When I started to play guitar, I was one of those guys who could not play other people’s stuff. I remember in the beginning … in the beginning, I was just too bad, actually … I wasn’t good enough to play the stuff. So then I was really interested in just writing my own stuff, and I guess, you have your style, and it’s really hard to get out of your style in a way, you know?

I’m still trying! [Laughs] To listen to an MP3 of the full interview, go to www. sauce.net.au

METAL // KILLSWITCH ENGAGE

Hit the killswitch once more On the day of our interview with Mike D of U.S. metalcore pioneers Killswitch Engage, the SAUCE office had just got the same news that we all eventually did that day last month – Heath Ledger had been found dead in Manhattan. And so, what would eventually be a discussion with the bassist about the latest album As Daylight Dies had to first take a turn into the territory of drug culture, and showbiz’ nasty tendency to kill the best while they’re still young …

There have been many deaths in the music and showbiz world that have really knocked us around. What’s one that really hit you?

Dimebag Darrell. That was a major blow. I remember, we were on tour with Slayer, and all that stuff went down … boy-oh-boy was it sad. I remember seeing … Slayer had some of the tougher guys in the industry working for them, and a lot of those dudes were breaking down crying, because they knew a lot of the roadies and a lot of the people involved with Damageplan at the time. It was a very sad thing.

“Dimebag Darrell. That was a major blow … dudes were breaking down crying …”

With all these rumours that it may have been drug-related … without naming names, is there much of a drug culture for you guys on the road? Is it just roadies smoking weed? Or have you guys come across people doing the harder stuff?

We definitely tend to stay away from anybody who’s doing hard stuff like that. It’s not even good to be in a relationship with a person [who’s doing that stuff]. It really creeps me out. You never know if they’re going to turn on you, or if they’ll steal from you. You have to keep them at arm’s length, to tell you the truth. I really haven’t come across too many people involved in that scene. Maybe I just hide my head in the sand, but most of the people that we deal with are genuinely nice, law-abiding citizens. [Laughs] That’s very un-rock ‘n’ roll!

I know! We’re the boring bunch, though. We’re the guys who don’t have parties and don’t do any of that stuff. Maybe that’s why we don’t know any of the cooler people.

Would this be to say that some of the guys you tour with are, dare I say, the “boring guys” behind the scenes? Who would you say are some of your favourite bands to tour with, and why?

To tour with? Mastodon!

[Laughs] Oh yes …

Maybe it’s because they are crazy. They’re kind of the opposite of us, yet still extremely nice. They’re some of the most genuine people ever, and yeah, I guess they are pretty off-the-wall, and they do some pretty nutty stuff. But maybe that’s why they’re so endearing to us. Maybe that’s why we like them so 4

SAUCE #63

By Tom Wilson much, because we can live vicariously through them! [Laughs] Not to mention that they are the toughest-looking bastards in the world. They look hard.

Oh yeah! [Laughs] You’re on tour at the moment, I assume. Where are you at the moment, mate?

We’re in Nashville Tennessee, and we’re on tour with Every Time I Die and Dillinger Escape Plan, and your local boys Parkway Drive.

Byron’s finest …

Yeah, good dudes. Everyone’s really, really nice, and gets along very well, and courteous … just a really good atmosphere.

What plans do you guys have to follow up As Daylight Dies?

No real plans yet. We’re still talking about touring until about August or so, at this point. We’re going to head over to where you guys are. Dubai immediately after – we’ve never been there before. Then we’re going to do a final Canadian tour, and then, I think we’re going to do some of those festivals that we’ve really done in Europe … Personally I have been writing; I write in little spurts here and there, whenever I’m home. I’m not the type of guy that can just write something; “OK, we have a week! Write everything you can possibly think of right now!” I really have to kind of sit on it for a while – write little spurts, and then go back to it later, and figure out if it was good or not. So yeah, it seems like I think I’m the only one writing right now … We’re one of those bands that can’t really write on the road. We kind of need to be either off the road writing, or on the road touring and that’s it.

We can’t really mix them up so well.

Looking back on As Daylight Dies, what parts of it are you most happy with? And what parts do you maybe want to amp-up a bit on the next release? Is there anything that you maybe weren’t happy with?

I mean, there’s always things in hindsight, 20/20, that you would change or make different or whatever. Records are all about capturing a point in time, and then just being left alone, I think. Whether there are good or bad points in the record, I feel like they just show off what happened at the immediate time you recorded it. At that point in the band’s life, we had had our first major break in five years. We had about nine months off before we started writing the record, where we could just get away from everything, clear our heads and not have to deal with any music biz stuff at all. It really helped.

We’d gotten back together, and there was just magic in the air, you know?

You hadn’t seen your grandmother or your relatives in quite a while, and getting back together with them, and sharing stories of how people are doing, and what they’ve been up to and stuff like that … I would love to write like that again, but it appears that we wouldn’t have enough time! It was very invigorating, and I think that was the best part about writing the record, was the break and then the getting back together kind of thing.

Killswitch Engage play the Soundwave Festival on the mainland in late February/early March.

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

BANGERS & MASH // TIEFSCHWARZ

Fizz of The Whiz

By David Williams

“The big minimal movement is a bit over …”

With more than a decade of experience in dance music, and the obvious DJing advantage of being Germans, dynamo duo Tiefschwarz are jet-setting straight for us with an armload of cutting-edge records and the kind of vitality that only comes after a well-earned break from touring. Ali Schwarz chatted to Dave Williams from his Berlin studio about the Deutschland sound … and how, despite this picture, he thinks minimal is over ...

What have you been doing lately? What’s been happening in your world?

Well, at the moment we’re in the studio, working on new productions, and yeah, coming to Australia next week, which is great … Kind of the usual stuff. We started DJing again; we had a break at the beginning of the year, just to refill our batteries and slow down a bit from the craziness of last year, which was insane. Like, we were touring like maniacs last year because of our tenth anniversary, and this year we decided to take it a bit slower, and spend more time in Berlin, more time in the studio. But still, we’re still working on tour, DJing and stuff like that, but a bit slower and [with] a bit more of an eye on the production side.

And what did you do on the weekend?

I was in one of my favourite clubs in the world, Robert Johnson in Frankfurt. That was on Friday, and on Saturday, I was in the south of Italy, and on Wednesday, we had a … we kind of helped Miss Kitten out for a show in Berlin – she was sick, so we were playing instead of her. You know, it was a normal week, but still three times playing! [Laughs] What’s happening in general in dance music in Germany at the moment?

Well, Germany is still on the top of the line, I would say. The dance music which comes out of Germany is still amazing. I mean, you know, it’s a constant development of house music, you know? The big minimal movement is a bit over – it’s still minimal, but … I would say it’s house music with a minimal perspective at the moment that especially happens in Berlin. But all different kinds of electronic dance music is happening. It’s very house-based, but techno is very strong at the moment … you know, crazy electronic music. And it’s not clear, you know? It’s hard to say it’s exactly this or that. What I can say is that it’s very house-based, and vocals are actually coming back, which I think is something really interesting at the moment.

Is that something that you’re incorporating into the production work that you’re currently working on?

In a way. One track is with vocals, and yeah … we always worked with vocals. It was just in the last years that it was not so … the people were not so interested in it. It was mainly instrumentals. But when I look back ten, twelve years ago, there were a lot of vocals around in house music. So for us, it’s nothing new, but after a long period of just instrumental tracks, I think it’s

interesting to have vocals back.

How much of the work that you’re doing at the moment, in terms of your own production, is towards the new album?

That’s a good question … of course, we always have it in the back of our minds. Like, we have it somewhere … but for us, it’s more important to deliver quality tracks, you know? And if we find the right format and the right concept around the new album, we’re definitely going to put it together. It’s more for us to do, like, singles at the moment. One, two, three, four, five singles – as much as we can do at the moment – and then we see in which direction we go, and then we decide “OK, let’s do an album.” As we took kind of a break from the studio last year, besides a few remixes and the compilation, we just have to … it’s more about singles. With the speed of internet, and the total change in the music industry, it doesn’t really matter if you come with an album or with a record. It’s more what you feel for yourself at the moment. So first of all, we love to … we enjoy to work in our new studio, and we want to just have an output, you know? It’s not so much important if it’s in album form at all – just five singles after another.

And which label, or which labels, do you have an interest in these days? Is there … For Music? Fine Records?

Souvenir? Or more? What’s the story?

We’re not working with For and Fine anymore; we separated last year, and we are going to release on our own label, like Souvenir.

I’ve got to ask – why did you decide to separate from For and Fine?

That was kind of a long process. It was just … we really wanted to create our own label, and to have the total freedom to fool around – to have our own platform. And that was actually the reason, you know? We’re still friends with them, and everything’s … you know, there’s not a big deal about it. It’s just like … we decided to be totally independent, and that’s why we founded our own label, and that’s, of course, the first interest; to release on your own label.

To listen to an MP3 of the full interview, go to www. sauce.net.au Tiefschwarz plays Syrup in Hobart on the 7th of March.

SAUCE #63

5

BREATH OF LIFE FESTIVAL

JIMMY BARNES TasMusic in conjunction with the Breath of Life Committee are pleased to announce a new and exciting music festival for Devonport.

“This event is all about showcasing the local talent along the Northwest Coast as well and teaching those students interested in the music industry how to put on an event. The TasMusic Kickstart Crew are the youth driving force behind this event” say TasMusic Northwest Manager, Dave Sykes.

“We are lucky to have secured the services of Diesel and Jimmy Barnes for this event who will be performing at Saturdays concert. Diesel will also be performing at a Gala Dinner to be held on the Friday evening.”

This 3 day event includes workshops March 6th, a Gala dinner March 7th and a 12 hour concert March 8th and will be held on the grounds of Reece High School.

“Students will have a chance to get involved, whether it’s at

the workshops, helping set up the dinner, in the kitchen or on stage” Mr Sykes said.

“It is also a great chance for talented local bands to perform on stage alongside accomplished Australian Artists”.

Bands such as Cruel Like That, Van Diemen, Dirty Harry & The Rockets, Novella, Breakfast Balcony and many more will be part of the 12 hour concert. The Burnie Youth Choir will also be performing at both the Gala Dinner and the 12 Hour Concert.

Breath of Life is being held to raise money and awareness for The Australian Lung Foundation and is close to the heart of Breath Of Life Chairman Hank Lizotte whose wife died of a lung related disease.

“This will be the biggest production event that TasMusic has put on and it’s a great challenge and a worthwhile cause. I hope that this will be the first of many.

We already have many sponsors on board embracing this worthwhile event” said Mr Sykes.

DIESEL The Breath Of Life Festival is, as well as supporting a very worthy cause, a unique event and an incredible opportunity for our local original music scene.

It is an integral part of local music industry body TasMusic’s ongoing strategic plan to develop a more sustainable, commercially viable local original music scene.

Over the past twelve months TasMusic has been working closely with around 30 new local bands and artists, assisting them with the development of their product (music).

Another exciting part of the festival will see for the first time in Tasmania, at least 3 major Record Companies and one Independent Label sending representatives over from the mainland to have a look at our local talent, something that even in Sydney or Melbourne would be considered quite an event.

“This is a unique opportunity for these great young artists, I spent over twenty years in Sydney working with that citys ongoing crop of “next big things” and getting any Record Company reps to come and see one new band was always very difficult, to have at least 4 coming to one concert to see so many

quality brand new unsigned artists is extraordinary.

Local bands such as Cruel Like That, My Escapade, Breakfast Balcony and Van Diemen could proudly and confidently showcase their wares on any stage in Sydney or Melbourne.

This event will put these artists well and truly on their radar.

“I’m also hoping that the Breath Of Life Festival goes a long way to proving to everyone in Tasmania that our locally produced artists are every bit as good as their national and international counterparts and they should come along and show their support and appreciation of their own”, David Sykes TasMusic’s State Manager and Event Manager for the Breath Of Life Festival said.

For more information about the concert and details of where to buy tickets visit www.breathoflifefestival.com.au

ROCK SALT // BASEBALL

Put another string in your bow

By Tom Wilson

Ah, the violin … the instrument some of us bagged-out kids for learning in high school, and yet, these days, an intriguing and ubiquitous sonic element that has found its way into the musical makeup of everything from locals The Voyeurs to Irish punk bands to the chaps (and chappettes) of Melbourne’s Baseball.

Heading down to launch their new LP at Hobart’s Brisbane Hotel this month, I spoke to the fabulously nicknamed Thick Passage (A.K.A. Cameron) about how this unique instrument came to be resting on his collarbone …

Animal Kingdom, your debut album … which you recorded on two-inch tape. In this digital age, that seems a little old-school. Why did you choose to do this?

It just happened to be that it was the format we were working with in the studio, and the people who run that studio were all good friends of ours for a long time, and they were analogue enthusiasts. I grew up in the seventies – late seventies, early eighties – and I have a passion for vinyl and all things analogue and all things I guess non-digital. It’s just something that I’ve grown up with, and I respect the people we were working with for those reasons, and I feel there’s a lot of warmth that can come off a tape that can’t been processed in a digital world.

Just don’t go all ultra-pretentious and insist on releasing something only on vinyl …

Yeah! [Laughs] Man, I’ve seen it happen many times. It’s like, “Dude, it’s a practically obsolete medium! How many people have got a record player?”

Yeah, yeah, true, true. You’ve got to be realistic at some point.

But I think, in the recording state, you can live in your own domain there, and not worry about the outside world. But if you’re going to put something out, and you want it to do well, the last thing I’d do is to put it out on vinyl … There are people who don’t want it to do well and just want to have that aesthetic, that’s all good. But I want people to hear this, so … [laughs] … the last thing I’m going to do is limit myself to vinyl!

So, Mr. Passage … or should I call you Mr. Thick?

“Thicky.”

I personally prefer Thicky, yeah …

[Laughs] [Laughs] How long have you been playing the violin?

Well I picked it up when I was thirty; I bought it in Egypt, in Cairo, in 2001. I was actually going out with Monica from the band back then, and we were travelling from Cairo to Calcutta by land. So we went through a lot of places through the Middle East – Iran and Pakistan. And I hadn’t played the violin before, and I was just playing in caves and deserts, and coffee houses 6

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and tea houses across the Middle East. I was playing … just picking up from people who were just coming across the table saying, “Hey, I can show you this.” And in the end, I came back to Australia, and a friend said to me, “Hey, you’re not playing the Western scales at all; you’re playing Arabian scales.” But I had no idea, dude – I had no idea whatsoever, and to this day I just play in semitones and Arabic scales, because it’s what I know, and it’s a natural thing for me, you know, from that experience of being in the Middle East.

I kind of thought that you [might have been] one of those “nerdy” kids in high school who played the violin when everyone else was playing the guitar …

No, not at all. I’m a drummer first off; I’ve been playing drums for twenty years, so my instinctual thing was, “let’s pick up a violin and just play it in rhythmic ways.” If I play a rhythm violin, it’s just chords … instead of me playing rhythm guitar, it’s just me playing the violin, but I’m just playing it in a rhythm way … just chugging along. All I’m doing is just playing fairly simple chords, but my main thing is my lyrics and singing, and that’s the main thing for me. I’ve got the rest of the band to do all the lyrical work around me, and I totally trust what they do because I have upmost respect for all of them. As individuals, as people, and as musicians, I have endless respect for those people. So I can just lay my trust in that they’ll come up with something great, and they do, every single time.

Clear this up for me – do drummers “do it with rhythm”? [Laughs] Do it with rhythm? Yeah, definitely, definitely. Just off the record, when I was going out with Monica, it was fantastic sex … [Laughs] Oh, please! Nah, that can’t be off the record! Let me print that! [Laughs] [Laughs] Well …

To listen to an MP3 of the full interview, go to www. sauce.net.au Baseball launch Animal Kingdom at the Brisbane Hotel in Hobart on the 13th of March.

“I feel there’s a lot of warmth that can come off a tape that can’t been processed in a digital world.”

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ROCK SALT // SYMBIOSIS

You just can’t get enough, can you?

By Tom Wilson

Just in case it’s been driving you nuts that you can’t remember the name of that band you liked who supported The Cat Empire, we’re coming to your rescue … and so are they, in fact. The band are returning to our state so soon after their first visit we barely realised they were gone, and I spoke to Symbiosis singer/guitarist/percussionist Micka Etheridge to find out why they were in such a hurry to get back to us …

You just came down to Tassie for the first time – how did the gigs go? What do you remember most?

The gigs were awesome! We were supporting The Cat Empire, so the crowds were pumped … and we got a really good reception too … so stoked! Cataract Gorge in Launceston was great, and we swam there all day.

“We didn’t want you guys to forget us, you see … and I’m craving brekkie at Fresh Café …”

You’re coming down again this month. Those two trips have come in pretty quick succession – why is this?

We didn’t want you guys to forget us, you see … and I’m craving brekky at Fresh Café.

You’re about to release your debut album. How long have you been working on this, and who with?

We made the album in one day with the most spectacular fancy dancing man, Andy Baldwin … no, actually the whole process took us about a year … finding the time between touring to record etc. We learnt heaps about what to do and what not to do!

What have been the most challenging aspects of creating this album?

When to say enough is enough is key, I reckon. Realising when the song sounds great, then leaving it there and signing off on it. We did have a couple of hurdles during some of the mixing, where we had to send some tracks over to New York (where Andy was at the time) – too much back-and-forth-ing. We wouldn’t do that again.

How would you describe the vibe and the flow of the album? Would you consider it a party album, or does it have deeper meaning behind it?

It’s totally vibe-ing and super cool – we’re really happy with it, for sure. It’s not a party album per se; I guess it’s an honest reflection of where Symbiosis as a band was at the time. Lots of light and shade, you know? If you guys can find the deeper meaning, let us know!

Symbiosis “commonly describes close and often longterm interactions between different biological species,” (thanks Wikipedia.) In what ways does this term reflect the band? How many different species make up the group?

It’s all about things living and working together, most often for mutual benefit. That sets a fairly fundamental building block for existence I reckon, and anyone who’s been worked in a group or a band would appreciate that. There’s five different species in our band, but it’s important we all get along … bugger being in one of those bands where you’re at each other’s throats all the time.

What can you tell me about the beginnings of Symbiosis? How did you guys form, and what was each of you doing beforehand?

Me and Fraz-z formed the band and have been mates and playing together for ages. It moved from a duo to a trio to a nine-headed party monster to the current five- piece. We wanted to simplify the sound and have more viability for touring and the like. Beforehand, Fraz-z and I both studied environmental science … Brooko was playing basketball for Australia, BergR and Dan were jamming with other bands.

What touring do you guys have coming up?

Our album tour starts in April – you guys are lucky to get the first peak of it. James Hotel on the 21st and The Republic Bar on the 22nd. Can’t wait!

Out of curiosity, what was the last CD each of you bought?

Our own, to check the PayPal option on our website worked!

As he said, Symbiosis plays Launceston’s James Hotel on the 21st, and Hobart’s Republic Bar on the 22nd. www.myspace.com/symbiosissounds

JW-JONES

TasMusic presents...

Thursday YOUTH EVENT 13 March The Peacock Theatre 7pm Friday BLUES GOSPEL JAZZ 14 March Queens Head Bar and Café 8pm Featuring: Dean Stevenson, Waiter (duo), George Begbie, Mayfield Friday ROCK & INDIE 14 March The Republic Bar and Café 8pm Featuring: Jordan Millar, The Embers, Nathan Wheldon & the Two Timers, Cruel Like That, Unleash the Nugget, Lincoln le Fevre and the Insiders, Bridget Pross Friday CABARET NIGHT 14 March The Alley Cat Bar 9pm Featuring: The Native Cats, Dave Graney Friday ROCK AND INDIE 14 March The Loft on Liverpool 9pm Featuring: Prairie Nischler, Joanie’s Plastic Sunday, Lakoda, The Trolls

JW-Jones has played throughout the world, and has been invited to share the stage with some of the biggest names in blues today; to play with (not open for) The Fabulous Thunderbirds, Junior Watson, Little Charlie & The Nightcats, Rusty Zinn, Rick Holmstrom, Rod Piazza & The Mighty Flyers, Anson Funderburgh & The Rockets, The Mannish Boys, the legendary Hubert Sumlin and many more.

2008 will welcome the bands fifth release with Northern Blues Music, Bluelisted, featuring the two most influential blues guitarists on the west coast; Little Charlie Baty and Junior Watson, playing together on the same tracks for the first time in a combined seventy-year career. This first time collaboration has been called “a recording of historic importance.”

JW-Jones plays Launceston’s Royal Oak on the 9th of March. www.jw-jones.com 8

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Friday TasMusic presents 14 March THE SCOPE ROCK + REEL SESSIONS 7pm The Peacock Theatre Featuring: Opto Magnus, Sam J Nicholson, Viva Computer, and film and photography.

Saturday TASMUSIC, AMPLIFIED, HORNII CD LAUNCH 15 March The Peacock Theatre 8pm Hosted by Andy Muirhead with A Fine Line, ABC 936 and Hornii Featuring: Joe Nuttall, Beatrix Bae Bouwman, Adam Cousens, EC4, Carl Fidler, Anthony Rochester, Tracy Redhead and Band Saturday ROCK & INDIE 15 March The Republic Bar and Café 8pm Featuring: Red Rival, The No No’s, The Evening Dolls, Ballpoint, Dirty Harry and the Rockets, HANNAH Saturday WORLD AND FOLK 15 March The Alleycat Bar 9pm Featuring: Dewayne, James Dilger (solo), Amy Kendell, Oberon Carter, Abbey Doggett, Roman Astra Sunday AMPLIFIED AFTERPARTY – ACOUSTIC AFTERNOON 16 March The Republic Bar and Café 2pm Featuring: Tracy Redhead and Band, Enola Fall, Beatrix Bae Bouwman, Adam Cousens, Carl Fidler, Mark Downie

ROCK SALT // RORY & THE RIOT ACT

Ready for some fun?

By Tom Wilson

OK, never seen these guys? Well, get over the fact that you hate them for thinking of that band name before you did and pay attention. They’re five lads from Hobart with an upbeat vibe, a forthcoming self-titled EP, and an objective to be “the funnest band in the world” …

So we had a chat with Dave. Yes, we know “funner” isn’t a word, but they’re nice fellas with nice music, so …

What has the band been up to recently? What have you been working on?

At the moment we’re focusing on writing new material, getting the release of our EP organised and getting better and tighter as a band.

What’s the story behind the name “Riot Act”? Is it as much a reference to a lackluster Pearl Jam album as one might think?

It’s got nothing to do with Pearl Jam. It comes from the expression “to read the riot act,” and was made up on the spot at our fist gig (which was at a benefit for the Huon Valley Environment Centre down at the Sandfly hall playing some folky blues jams.

I wasn’t actually there, but I heard it was rather pleasant.) We have been a little concerned about the name’s unoriginality, but it seems to fit, and has stuck. I personally like it because it’s simple and implies fun. A full title is perhaps like this; “Tas-

mania’s own Rory Campbell and the Riotous Counter-Action to the Winter Blues World Party Rock Band who quite likes, but isn’t particularly influenced by Pearl Jam.” What releases have you guys got in the pipeline?

We are going to launch our self-titled EP at the Alley Cat Bar on the 7th of March. We created it early last year with Anthony Rochester at the Winter Palace. It’s just been sitting around and used as a demo disc for ages. Recently prompted by it actually becoming an Edge Radio recommended album, we have turned it into a nice little sellable item (price to be decided).

Ultimately, what would you like to accomplish this year as a band?

Well, having a specific goal is a bit of an alien concept to us.

We’d like to play lots of gigs, do some more recording, organise a trip or two to the mainland, see what happens, try to evolve musically and diversify, generally get noticed and appreciated

“Diplomatically speaking, Rory is a tea-sipping, whinging pom …” by a lots of people, and other typical band-type stuff.

Time for one of my favourite questions – if Hollywood made a movie about Rory & The Riot Act, which actors would you get to play each of you, and why? And what would this movie be called?

A Bollywood musical made back in 1968, where a Californian cricket team who tours India [is] seeking enlightenment but runs into trouble with kung fu mobsters. The heroes would be Clint Eastwood as Jim and Charles Bronson as Locky, and they’d tote large cricket bats. Gregg Allman would be me and

Duane Allman would be Sam and they’d do the music. Rolf Harris would play Rory, and he’d be the narrator. It would be called Cuppa Tea Time. I refuse to say why.

What’s the most annoying habit each of you have?

Diplomatically speaking, Rory is a tea-sipping, whinging pom, but then again, it’s usually justified.

Rory & The Riot Act play the Alley Cat Bar in Hobart on the 7th of March, and again on the 3rd of April. www.myspace.com/roryandtheriotact

ROCK SALT // ENDLESS NAMELESS

Naming the nameless

By Tom Wilson

Ah, grunge – the genre that, despite the numerous proclamations of the world’s music press over the years, steadfastly refuses to die. Who do we have to thank for that? Well, a good place to start would be Endless Nameless, who are heading southward this month as part of the Grungefest tour. I spoke to Ash Nameless about karma, Hunter S. Thompson and having blatant disregard for his own safety…

Where are you at the moment? What have you been up to?

I’m not sure where I am at the moment, as last night was Valentine’s Day and I managed to get so drunk I ended up passing out with my girl sucking my nipple. Is that weird?

What has the band been working on recently?

Since Christmas we have been working on perfecting sculling Jack Daniels onstage, and also a few new tunes.

On your Myspace, you’ve highlighted a quote of Hunter S. Thompson, who calls the music business a “cruel and shallow money trench.” Is this something you’ve always felt? Or did it come from your own experiences?

Firstly, Hunter is a damn legend, and we are all big fans of his writing. The quote is just an example of him telling it how it is in a very provocative and crude fashion ... Something he did, and I do quite well. The only people making any money in this business are the so-called thieves and pimps from the quote, and Endless is more like a whore than a pimp …

Of all the tracks you guys have under your belts at the moment, what stand out as the most heartfelt and personal, and why?

Shit, that’s a tough one. Probably F*ck Karma because it deals with a situation that changed my life in many, many ways. It’s basically about how I did something pretty nasty and karma paid me back with twelve months of hell. Thanks karma, you bitch.

How would you guys describe your live show? What makes it unique?

Raucous, crazy, drunken … yeah, drunken. What makes it unique is no-one has a skinny, white, long-haired, tattooed front-man who has such blatant disregard for his own personal safety like we do ... Shit, I’m talking about myself in the third person again …

Endless Nameless play Hobart’s Brisbane Hotel on the 14th of March, and the Tasmania Hotel in Launceston on the 15th, as part of the Grungefest Tour. www.myspace.com/therealendlessnameless

WIN 3 DOUBLE PASSES TO SALMONELLA DUB

To win one of three double passes to Salmonella Dub’s show at the Hobart Uni Bar, email “Salmonella Dub” to competitions@sauce.net.au by 5pm on the 10th of March. Remember to include your name and contact phone number!

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BANGERS & MASH // CARL COX

After death, choose life

By Tom Wilson

In November 2007, around seven thousand Venezuelan dance music fans flocked to a highly anticipated set by Carl Cox, one of the world’s biggest DJs. Four of them never came home again.

Automatic gunfire rang out from the middle of the crowd in an apparent mob hit, and the punters fled, leaving bodies bleeding on the dancefloor and leaving a DJ with a very important question to ask himself regarding his future. Play on, or live in fear? Carl Cox has made his choice …

While, of course, I’m very well aware of who you are and what you do – you’ve had such an esteemed position in the international dance scene – I hadn’t looked up what you’d been doing for a while, and it’s funny that [earlier] you were mentioning incidents in festivals …

I’m sure you probably know where I’m heading here …

[Laughs] Caracas, Venezuela.

It’s weird that you said that with a chuckle, because I only just found out about it today, and saw the footage on YouTube … f*cking hell!

Yeah. It’s the worst atrocity that I’ve ever seen or witnessed at a club event or a dance event ever in my life, and to experience it was really tough, because … I’ve always played music for people to enjoy.

Even when I was a kid, eight years old, nine years old, I put a record on, people danced and smiled, [and] appreciated what I do.

The next thing I heard was this “bam-bam-bam, bambam”, and I thought it was fireworks All the way through nearly thirty-five years now, I get to Venezuela, there’s seven thousand people out there to see me play. I play for twenty minutes, so the anticipation in the crowd was at its highest level … everyone was just enjoying themselves for one moment in Venezuela’s history, where dance music has brought all these people together, and I felt very happy and very good about that, knowing that my life has some sort of meaning based on what it can do to get people to come together, and then the worst possible thing could happen.

The next thing I heard was this “bam-bam-bam, bam-bam”, and I thought it was fireworks. I didn’t think it was anything else. Guns going off in the room? No! Fireworks? Absolutely!

Meanwhile, I saw everyone kind of moving away from the people that got shot. Two got shot dead on purpose, and two got shot unintentionally in the crossfire, and seven got injured because of the people running and crushing everyone.

So I’m just standing there in disbelief, actually, seeing this all happen, and seeing the people on the floor, blood everywhere, this that and the other.

And I didn’t want to alarm people in the sense of me kind of ducking down straight away, turning the music off abruptly. So I kind of slowly got down, and slowly put the music down, and walked out.

Meanwhile, the stage manager was looking at me, frantically going “Get down! Get down! Get down!” I’m thinking “Why?” I must have been in shock, because if you see what happened with me [in footage on YouTube] it’s just because I didn’t believe it.

ONLINE: Carl speaks candidly on how the incident changed his perspective on his life, and what he does with it. To listen to an MP3 of the full interview, go to www. sauce.net.au www.myspace.com/djcarlcox

The thing about what happened here was, just before it all happened, there were fireworks going off, so when all that was happening, people had their phone cameras out … it was just amazing how it was all going, and everyone was going, “Yeah, this is going to be a great party!”

ROCK SALT // THE REACTIONS

Rejoice! It’s finally here!

By Dave Williams

“We just had so many problems with our record label, it just sort of got stuck.”

It’s been a long time coming, but garage rock fans can now rejoice, because The Reactions are finally bringing a new recording into the light of day – one that’s been recorded and ready to roll for more than two years. After all this time, it better be good – so go get it and see for yourself … but not before checking out this interview with singer-guitarist James Dilger …

So the new album that you have coming out soon – when are you looking to have that on shelves?

It gets back from manufacturing next week, so yeah, any time next week, or possibly the week after it’ll start getting into shops.

And what’s it called?

It’s called High Technology … Basically, a couple of years ago, we got a review for the last EP we did in … it’s like a Greek sort of fanzine; a garage rock sort of fanzine. And yeah, the translation that we got back from it was … I can’t remember the exact wording, but it basically said to us … “old school garage rock, using today’s high technology,” which we just thought was a bit funny, considering we recorded the EP in like a shed with only two microphones and that sort of thing. So yeah … it’s just a bit of an in-joke, if nothing else. It’s just a funny way to describe us, so …

What can you tell me about the sound of the record that you’ve got coming out?

I guess you might think, if you saw The Reactions sort of 2005/2006, when we had the four of us … it was recorded over that period. We only had the two guitars – Matt left in December 2006. We just had so many problems with our record label, it just sort of got stuck. It’s just basically … I guess that 60s-influenced garage rock, but it’s got a bit more … I guess 10

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a bit more of an Australian sort of underground sort of guitar sound to it.

What about lyrically? Is there an overall concept or theme for the album, or is it just a collection of songs that you guys have put together I guess over the last two to three years?

There wasn’t really any sort of theme. It was basically … because the songs were done over such a long period, with the first recordings taken from September 2005, we’ve actually put down half-a-dozen songs that we’ve been playing for the last twelve, eighteen months. So that was the old material.

The original idea was that the album was going to come out … we sort of wanted to do it as quickly as possible. So we recorded half-a-dozen songs in September ’05, which was basically consisting of half the set at that time. The idea was, for the rest of the album, we were just going to record some songs in the studio and not play them to death live, so that when the album came out, we’d have a whole bunch of new songs that people hadn’t heard.

The Reactions play Hobart’s Brisbane Hotel on the 6th of March, and James plays solo at the Alley Cat Bar on the 15th. To listen to an MP3 of the full interview, go to www.sauce.net.au

“I’m just standing there in disbelief, actually, seeing this all happen, and seeing the people on the floor, blood everywhere …”

BANGERS // MUSCLES

Flex your dance muscles

By Dave Williams

With tickets selling faster than contraband ice cream at fat camp, there sure are a lot of people keen on seeing this young lad flex his special brand of dance music at Hobart’s Republic Bar this month. Purveyor of dance music as manly as his moniker, SAUCE had a word to Muscles. Baring his pecs ‘cos he’s hard enough; Dave Willliams …

Is the name “Muscles” like one of those names … like, big guys get called “Tiny”, and a guy with red hair gets called “Blue”? How did you end up with the name “Muscles”?

I don’t know. I’ve just got heaps of cousins who go to the gym a lot … I’m in sports heaps myself, so I thought it was the perfect fit for the music; the music’s pretty manly and masculine, and it kind of just suits the whole vibe of the music I’m making.

So you’re a bit of a sports-lover … you play anything?

Ah, nothing. I played a bit of soccer in high school, but haven’t played since then.

You’re going to be doing an “unplugged” set in Melbourne soon. Can you tell me a bit about that?

I was just practicing about twenty minutes ago, trying to figure out what I’m going to do … the Hobart show’s not going to be like that, though – that’s going to be clubmode.

Yeah, I just thought I’d mix it up, try something different … and interpret my songs on the piano with no keyboards or laptop, and play some older songs [from] before the current album Guns Babes Lemonade, and play some new songs that I’ve been working on.

It reminds me of some sort of pop art title or something, the name of your album Guns Babes Lemonade – very pop culture. Where did that come from?

When I was writing the album, about three songs in, I started thinking about this story … it kind of felt like a movie, putting it together, and having so much energy in the music, [it was] kind of like an action movie, like Die Hard 2 or something … I felt like it would sound cool, a name like that, because I like guns and babes and lemonade and everything.

You enjoyed a lot of success in the last … how long would you say? Six months? Twelve months?

Yeah, it’s been since about … it’s been about a year now, I think – since the start of 2007. Ever since, it’s just been going crazy every week. It just kind of gets bigger and bigger, and getting asked to play some of the coolest festivals in Australia … it’s just been really, really cool.

What was the thing that was the big break, or the catalyst … setting things in a faster pace for you?

I don’t know … there wasn’t really one thing that just kind of made me explode or something; it was just every week, working harder, and kind of making new goals, and thinking, “OK, I

“I felt like it would sound cool … because I like guns and babes and lemonade …” want this DJ … I’m going to send my CD to this DJ and get him to listen to my music and see if he likes it, play a show with this band …” I think a lot of it came from playing live – I think I played twenty gigs last year, and just because of my setup being really simple and easy, they could chuck me on any stage … they could put me in any lineup . I’d play with hardcore bands and play to hip-hop MCs and electro DJs, and kind of built my audience from all these other genres.

You supported Daft Punk – did you get to talk with the guys much?

Ah … I said hello to them at the last Sydney show; I just kind of saw them walking around backstage. I don’t know … I’m not really, in general … of all the artists that I’ve supported, I’m kind of not really into meeting my idols and stuff. They’re just kind of regular people at the end of the day.

Muscles plays Hobart’s Republic Bar on the 19th of March.

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

AUSTIN TASMANIA MARCH 2008

Wed 12th - Republic Bar, Hobart Thur 13th - Irish Murphy’s, Launceston Fri 14th - Stage door the Cafe, Burnie Sun 16th - Lewisham Tavern special guest:

M.J Taylor

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ROCK SALT // BRIDGET PROSS

Putting the Tassie in Miami

By Tom Wilson

With summer behind us, it won’t be long before we’ll be rugging up in a similar fashion to Ms. Pross here. One place she definitely wouldn’t have needed her warming wears, however, was Miami – the land of Hawaii Five-O, and the place this Tassie-born artist chose to record her gorgeous debut LP. Why Miami? Well, the album is called I Wanted To … and that sounds like a good enough reason to me …

So you’re mainly based up in Melbourne?

Yeah, I’ve just recently moved over there. I think it’s been four months now …

Traitor. [Laughs] [Laughs] I am a traitor, but yeah … I went over there, [and] just moved from North Melbourne to Blackburn, which is out a little bit east in Melbourne, so I reckon the suburbs are nicer, to tell you the truth. But yeah, just recently moved there, and having a good time over there … I don’t spend much time in Melbourne, which is weird, because I’m always going somewhere!

[Laughs]

“I have a little sister, but she’s not that bad! [Laughs]” So you’re finding that you’re spending a lot of time on the road these days? More than usual?

Yeah, and on planes and stuff.

The album, I Wanted To – I’m holding it in my hands right now, and it’s a very sweet little package … I particularly like that inside shot of you actually. That’s a very cool photo – who took these?

Nick Kruge – he’s an American boy from Miami, actually. That’s where I recorded the album. He’s a singersongwriter himself, and he’s actually a jack-of-alltrades, which is amazing. When I was over doing some recordings, he said, “Oh, do you want some photos done?” And I’m like, “Yep, cool, let’s do it.” Just across the road, there was this house that was just getting built, and no one was there, so we just went in there, and that’s where that shot was taken.

So, Miami? Bloody hell – why Miami?

[Laughs] It’s “Tassie singer-songwriter to the land of Hawaii Five-O!” I know, it’s weird! I blow out about it all the time, but my boyfriend, Paul Bender, he actually was studying bass guitar, jazz bass guitar, for four years, so we were away from each other for four years …

SUCCESSFUL LAUNCH FOR YOURBAR

Jeez …

Yeah, it was pretty hard, but it’s alright now because he’s home. But I got a lot of songs out of it! [Laughs] My god, you’d have songs about lament and lonesomeness coming out of your ears at that stage.

Yep! You’ll have to pick them out from the album!

[Laughs] Well, here’s one … is he one to drive around in a blue Kombi van by any chance?

Oh yes – that’s him! [Laughs] There you go – you knew it!

DJ Chris Neobi launched Yourbar as an entertainment venue on Friday, the 1st of March, with a smooth set of deep house. Extremely versatile, but marvelously understated and humble, Chris is a well-respected DJ in both the north and the south of the state, skilled at playing sets specific to the crowd, environment or genre. It’s not unusual for Chris to be playing house at a funky bar one night, then pure drum-n-bass at a nightclub the night after.

On this night, it was not surprising that Neobi’s track selection was sublime, as he took the room on a gentle but funky ride. Whilst it was unusual for the DJ to play so close to the action, having that immediate feedback seemed to work well. So well, in fact, that Chris will be continuing to play upstairs, at Yourbar, every Friday night, from 10pm, from now on.

COLLECTOR’S CORNER CDs and DVDs

New + Second Hand 3 7 Wi l so n S t B u r n i e ph : 03 6431 6616

CHEAP GUITAR

QUALITY ISN’T EXPENSIVE STRINGS IN STOCK AT

BARRATTS

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

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

104 George St, Launceston 6331 9355 or help@barrattsmusic.com.au 12

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it was about my sis.” But she loves the song. She always says, “Bridge, sing that for me, now.” [Laughs] To listen to an MP3 of the full interview, go to www.sauce. net.au Bridget Pross plays Hobart’s Republic Bar on the 14th of March.

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

Does he dance like a hippie? Is he one of those people who just stands there and twirls around with his arms out like a helicopter?

Pretty much, yep. He goes to all the dance fests, that’s for sure.

Live music Woodfired pizzas Extensive bottleshop

In bare feet, of course …

He’s always in bare feet! But yeah … what were we talking about?

ph: 03 6331 1344 fax: 03 6331 2191 e: thenewsteadhotel@hotmail.com

I just heard the line [in Work Of Art] and I tried to get a mental picture of who it was about …

[I got an image] of this flea-bitten hippie with three-inch-fat dreadlocks! [Laughs] You know what? He hasn’t got dreadlocks, but I always tell him to grow them, because I reckon they would look wicked on him, because he’s kind of a hippie kind of a dude. He lives that kind of a lifestyle, but he has never grown dreads.

I have no idea, man.

Oh, yeah, I went over to Miami … So I just sort of saved my money and went over … first I was only sort of going over to see him, but then he’s like, “Well, why don’t you do some recordings with all my mates?”Because he’s at music school, and all of his friends are just absolutely amazing musicians … I was like, “OK, let’s do it.” We did six tracks, the first six tracks, and then went around Europe and had a look around Europe and lived in London for a while, and then came back home.

And then, about a year later, I went back to Miami to visit him again, and then we did another six tracks, and that’s what the album is, yeah. [Laughs] I actually really wanted to talk to you about the stories behind the songs – do you have a little sister who is armed to the teeth?

I have a little sister, but she’s not that bad! [Laughs] No, that song’s actually based around my sister, and yeah, so … Jesse loves that song, so it’s all good!

Yeah, because I thought, “Bloody hell, that seems a bit dark – seems a bit harsh!”

Yeah, it was back then, you know? I actually wrote that song when I was in grade eleven, so how old would I have been then …? Seventeen? I’m twenty-three now, so … it was a while ago, and that song just came out, you know, and I thought, “Wow, I really like this song.”

And I like to speak the truth, and … I wasn’t going to write and perform and record that song just because

GIG GUIDE 5TH - 19TH MARCH Alley Cat

SAT 8TH OF MARCH Adam Cousens10pm $4 SUN 9TH OF MARCH Ben Crombie, Sam Page, Lana Chilcott & David McEldowney 6.30pm FREE

FRI 14TH OF MARCH Amplified Festival Dave Graney supported by The Native Cats 9.30pm $18.50 pre sale / $20 door SAT 15TH OF MARCH Amplified Festival lineup: Dewayne, Amy Kendell, Abby Doggett, James Dilger and Oberon Carter 8pm $6 /$7

THURS 13TH OF MARCH Double C and T FREE 9.30pm

Curly’s Bar Detour + JimK + D2M

The Peacock Theatre Amplified – Youth Event @ 7PM

Republic Bar & Café Flying Saucers @ 9PM

381 Elizabeth Street North Hobart - ph: 03 6231 2299

FRI 7TH OF MARCH Riot Act 10pm $4

Republic Bar & Café Austin + MJ-Taylor @ 9PM

HOBART

The Alley Cat Bar THURS 6TH OF MARCH Trumps $4 9.30pm

WEDNESDAY 5TH

SUN 16TH OF MARCH Leila, Alex Duncan, Simone Taylor and Lakoda Acoustic 6.30pm acoustic FREE

Syrup Rewind @ 9PM UTAS Casey St. Jones – Hypnotist

THURSDAY 6TH

Stage Door the Café Viktor Zappner Swingtet + Yoly Torres @ 7:30PM

HOBART

Alley Cat Bar Trumps @ 9:30PM Brisbane Hotel The Dirtbombs + The Nation Blue + The Roobs + The Reactions Republic Bar & Café The National Living treasures @ 9PM Syrup Adam Turner + Guests @ 9PM

LAUNCESTON

James Hotel Student Night – Live Bands

FRIDAY 7TH BURNIE

Stage Door the Café Comedy – Tim Logan + Matt Burton + Cambo + Luke McGregor + Mick Lowenstein + guests @ 8PM

HOBART MARCH

Sara & Hamish

SATURDAY 8TH

THURSDAY 13TH

at 9pm

Brisbane Hotel Browny (Sydney City Trash) + Ciaran (The Stoics) + DJs

Victorian Blues n Roots band

Republic Bar & Café The Vasco Era + Red Riders + Linc @ 10PM

The Wolfe Gang at 9pm

Sara & Hamish

FRIDAY 14TH

SATURDAY 15TH

GREAT FOOD

Alley Cat Bar Riot Act @ 10PM

Syrup Tiefschwarz + Gillie + Adam Turner Downstairs – Nick C + Reme @ 10PM

at 9.30pm

LAUNCESTON

Mick Attard & Guest

Royal Oak Kelly Collins Band + Invisible Boy @ 9PM Yourbar Chris Neobi

at 9pm

SATURDAY 8TH

OPEN MIC NIGHT

TH E LAST W EDNES DAY

OF EVERY MONTH

OPEN 7 DAYS

14 Brisbane Street, Launceston 6331 5346

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 Hotel Soho 124 Davey St 6234 5975 Syrup 1st Floor 39 Salamanca Place 6224 8249 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

BURNIE

Stage Door the Café Hipnosis @ 8PM

DEVONPORT Reese High School Breath Of Life Festival – Jimmy Barnes + Diesel + Cruel Like That + Breakfast Balcony + Van Diemen + Dirty Harry and the Rockets + My Escapade + Novella + more @ 9:30AM

HOBART Alley Cat Bar Adam Cousens @ 10PM Brisbane Hotel Sydney City Trash (Recording Live Album) + Gene Bob & His Slaughterhouse Band + Hairyman + Liam Constable Republic Bar & Café Sugartrain @ 10PM Syrup Matt B + Gillie + Adam Turner Downstairs – Naughts + Rolly + Billy Bob

LAUNCESTON Royal Oak S&M @ 9:30PM

SUNDAY 9TH HOBART

Alley Cat Bar Ben Crombie + Sam Page + Lana Chilcott + David McEldowney @ 6:30PM Raincheck Lounge Live Acoustic Music Republic Bar & Café Merchants in Groove @ 9PM

LAUNCESTON Royal Oak Pete Cornelius + Canadian Bluesman JW-Jones @ 9PM

TUESDAY 11TH HOBART

Republic Bar & Café The Dave Mann Collective @ 9PM

WEDNESDAY 12TH BURNIE

Stage Door the Café Marita Mangano – soul rhythm vocalist from Brisbane @ 8PM

HOBART Curly’s Bar Intertia + JimK + D2M

The Newstead Hotel 160 Elphin Rd 6331 1344

Republic Bar & Café Merchants in Groove @ 9PM

The Royal Oak 14 Brisbane St 6331 5346

THURSDAY 13TH

Yourbar 106 George Street 6334 2490

Syrup Rewind @ 9PM

BURNIE

Stage Door the Café Viktor Zappner Swingtet + Doug Sheehan @ 7:30PM

HOBART Brisbane Hotel Baseball (Melb) + The Native Cats + Moe Grizzly

Syrup Adam Turner + Guests @ 9PM

LAUNCESTON Irish Murphy’s Austin B James Hotel Student Night – Live Bands

FRIDAY 14TH BURNIE

Stage Door the Café Austin B @ 8PM

HOBART Alley Cat Bar Amplified – Dave Graney + The Native Cats @ 9:30PM Brisbane Hotel Sonic Porno + Endless Nameless + Viva Computer + The Turnaround + Bumtuck The Peacock Theatre Amplified – Opto Magnus + Sam J Nicholson + Viva Computer + film and photography @ 7PM Queens Head Bar and Café Amplified –Dean Stevenson + Waiter (duo) + George Begbie + Mayfield @ 8PM Republic Bar & Café Amplified – Jordan Millar + The Embers + Nathan Wheldon & The Two Timers + Cruel Like That + Unleash the Nugget + Linc Le Fevre and the Insiders + Bridget Pross @ 8PM Syrup Matt B + Discotouch + St Nick Downstairs – Nick C + Reme @ 10PM The Loft Amplified – Prairie Nischler + Joanie’s Plastic Sunday + Lakoda + The Trolls @ 9PM

254 Mount St Upper Burnie 7320

“SEE YOU AT THE DOOR AT SOME STAGE” $10 entry unless otherwise stated

THURSDAY MARCH 6

Jazz Club '08 Viktor Zappner Swingtet featuring Yoly Torres from Burnie on vocals $7 @ 7:30pm

FRIDAY MARCH 7

Comedy @ Stage Door Featuring from Hobart Tim Logan, Matt Burton, Cambo, Luke MacGregor, Mick Lowenstein and guests 8:00pm

SATURDAY MARCH 8

Hipnosis Devonport belly dancing troupe 8:00pm

WEDNESDAY MARCH 12

LAUNCESTON James Hotel Symbiosis Royal Oak Mick Attard + Guest @ 9PM Yourbar Chris Neobi

SATURDAY 15TH BURNIE

Stage Door the Café Invisible Boy @ 8PM

HOBART Alley Cat Bar Amplified – Dewayne + James Dilger (solo) + Amy Kendell + Oberon Carter + Abbey Doggett + Roman Astra + The Reactions @ 9PM Brisbane Hotel Sonic Porno + Endless Nameless + Viva Computer + The Emma Dilemma Show Lewisham Tavern Austin The Peacock Theatre Amplified – Joe Nuttall + Beatrix Bae Bowman + Adam Cousens + EC4 + Carl Fidler + Anthony Rochester + Tracy Redhead and Band @ 8PM Republic Bar & Café Amplified – Red Rival + The No No’s + The Evening Dolls + Ballpoint + Dirty Harry and the Rockets + HANNAH @ 8PM Syrup Gillie + Adam Turner + St. Nick Downstairs – Naughts + Rolly + Billy Bob UTAS Salmonella Dub

LAUNCESTON Royal Oak Ben Castles @ 9:30PM

SUNDAY 16TH HOBART

Raincheck Lounge Live Acoustic Music Republic Bar & Café Amplified – Carl Fidler + Mark Downie + Adam Cousens + Enola Fall @ 7PM

MONDAY 17TH BURNIE

Stage Door the Café Paddy + Glori O’Brien @ 8PM

HOBART Republic Bar & Café Genavieve and Jessabel @ 9PM

TUESDAY 18TH HOBART

Republic Bar & Café Lakoda + 17 Hertz + Ambulance @ 8PM

WEDNESDAY 19TH HOBART

Republic Bar & Café Muscles @ 9PM Syrup Rewind @ 9PM

Marita Mangano Soul rhythm vocalist from Brisbane 8:00pm

THURSDAY MARCH 13

Jazz Club '08

Viktor Zappner Swingtet Featuring Doug Sheehan from Devonport on vocals $7 @ 7:30pm

FRIDAY MARCH 14 Austin B - Melbourne blues duo 8:00pm

SATURDAY MARCH 15 Invisible Boy - folk pop, 8:00pm

SUNDAY MARCH 16 Fashion Parade for

Danielle Larche Representing Australia in the Mrs Globe Pageant $20 - includes complimentary glass of wine from Barringwood Park Vineyard 5:00pm

MONDAY MARCH 17

Celebrate St Patrick’s Day The Irish Trio (Just the Two of Us) Paddy and Glori O'Brien 8:00pm stagedoor@keypoint.com.au SAUCE #63

13

FESTIVALS

Big Day Out

By Tom Wilson

FLEMINGTON RACECOURSE | MELBOURNE – JANUARY 2008

After witnessing some disturbingly brazen scalping on the train-ride out, I soon arrived at my first ever Big Day Out. Being held at a new location, I soon discovered that the harsh dirt of Flemington Racecourse didn’t leave much room to sit down, so instead I got busy with seeing some good bands. After all, that’s what we were all there for.

First off, a sweat-drenched set by Brotha Black, who was backed up by one of the strangest sights I’ve ever seen – an MC who looked like a fifty-year-old math professor, in full hiphop gear, break-dancing like a pro. Awesome.

I’m downright positive that Tasmanians have some kind of built-in radar to find each other in large groups. Flying solo for the festival, I was enjoying a beverage in the massive beer tent when a friendly-looking couple invited me to join them.

Wouldn’t you know it? They were from Launnie as well, and Ang and Dillon became my mosh buddies for the rest of the day. [I told you that I’d give you a mention!]

Regurgitator blazed through a classics-fueled set, all in full white tennis get-up. On my big list of life-experiences-Iprobably-won’t-have, I can now tick off hearing forty thousand people scream “I will lick your arsehole.” But it was the sub-two-minute punk jackhammer FSO that sealed the deal – Quan dedicating it to all the women who’ve been in bad relationships. Like Spiderbait, I see the ‘Gurge as an Australian festival staple – a day like this just wouldn’t be the same without them.

Slipping out of the beer tent after snapping some shots of what looked like the beginnings of a riot, I headed for the Essential Stage. An avid RATM fan, I was dead-set on catching Tom Morello’s side project, The Nightwatchman, for the first time. Unfortunately, “disappointment” doesn’t even begin to describe it. With an electric guitar in hand, Morello is one of rock’s finest players. Unplugged, I felt that he was merely another singer-songwriter with a head full of political ideals but without songs to make an impact. In short, his performance was boring, and the finale – a cover of Midnight Oil’s Beds Are Burning – was soulless and, to me, downright patronising. There were many others there that didn’t share my view, but I’m afraid I can’t shake the impression that this has been one of the most disappointing side-projects I’ve seen a musician undertake.

Well, she did – but was it for the best? Unfortunately, not in my eyes. Neglecting time-tested hits like All Is Full Of Love in favour of her disappointing latest album Volta, neither her set list or her voice seemed up to the task today, despite an impressive stage show featuring costumed dancers, one of those weird new instruments that looks like a radar screen with fridge magnets stuck to it, and about a metric ton of confetti.

After that, it was time to hit the mosh, as avant garde metallers Karnivool took to the stage. What the boys seemed to lack in on-stage energy, they made up for with their sound. Off-beat riff-stomps like Roquefort sent the crowd into a pogo-ing frenzy, though Themata – one of the band’s finest songs – was unfortunately tarnished by the crowd singing its beautiful chorus so loud that vocalist Ian Kenny went almost unheard.

Damn it – I paid to hear him, not everyone else! A little more vocal next time, please! Still, a cracking set.

“Good evening! We are Rage Against The Machine from Los Angeles California!”

Having just canceled a show in Sydney due to problems with her voice, rumours had been buzzing around all day as to whether or not Icelandic siren Bjork would be showing up.

Then, almost the whole festival turned their eyes to the next stage, and the massive red star banner behind it. Before long, Soviet-era choir music erupted from the PA, and as the crowd roared, four long-awaited men came onto the stage – four men we never thought we’d see play together again.

Time simply stopped.

While a little loose to start with, after Testify, the band soon hit their stride, and didn’t lose it. A better set could not have been asked for – the band bringing out hits few ever expected to hear live again. Know Your Enemy, Bullet In The Head, Tire Me ... but for this reviewer, it was People Of The Sun – and it absolutely killed. During Wake Up, Zac de la Rocha took a moment to praise the crowd for voting out Howard, getting massive applause. Much has been made of the unrest in the crowd during the set that night. What started as one drunken dickhead running around on the roof of the beer tent – with

The Soundscape Festival DOMAIN REGATTA GROUNDS | HOBART – JANUARY 2006 Applying their festival coordination techniques, the acts were alternated between the two main stages. Divided very well by the acres of grass and, more importantly, the bar, which was flowing with both cooling ales and friendly welcoming smiles; the festival had a constant hype of activity as punters wandered, strolled and later staggered between stages for the next dose of live musical madness. More importantly, one act seamlessly rolled into the other as equipment was dragged and setup while the backs of many were turned.

The Scientists of Modern Music, the poster boys of new electro rock, followed Unleash the Nugget. In my mind, the sound and pure genius of these two innovators was worthy of a later spot in the day, belting out a combination of thick bass tracks with 80s-style synths and distorted vocals that had your spine twisting and shivering in dance-stalled confusion.

Regardless, a strong crowd rocked out as the yin-yang combination in front poured endless amounts of energy and sweat into each song they played.

Switching back around, and Melbourne’s Red Eyes eased the mood as the sun intensified with their sweet, rolling reggae sounds. Lead singer El “Yoda” Witeri fed the crowd with his melodic Rasta-style lyrics, his shirt immediately removed as he strutted the stage declaring peace and love to the sunrinsed Hobartians.

Rolling back to the Derwent Stage, and one of the original Australian hip-hop greats were awaiting. The Resin Dogs hit Soundscape with tracks off their new album More, generating funky grooves and moves that tore half the crowd a new hole with some surprise MCs like Hau from Koolism. Heads were bobbing and toes were tapping as these boys dropped rhymes that spread like an Avian flu and had their hiatus from the scene over recent years barely noticed.

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SAUCE #63

the support of MC Hau, alongside RuC.L. and the sweetest of voices dropped on everything from soul to drum and bass, Steve Spacek. This would be a standout performance, and one which constituted me dropping my belongings and inhibitions as I fell to my knees, praising the stage presence as I screamed on behalf of all, “We are not worthy!”

By late afternoon, we had gulped down a musical cocktail of reggae, soul, electro-rock and hip-hop garnished with breakbeat influence. Still feeling more gluttonous than Augustus Gloop on a musical chocolate cruise, we sat back and indulged the next few hours with the tastes of Urthboy, Mia Dyson and one of the best reggae picks from New Zealand, Katchafire.

I took the next few acts as an opportunity to practice my grass starfish, as I stared across a darkening Hobart skyline as Grinspoon, followed by Blue King Brown and the original sounds of The Living End, met their fans with solid performances that demonstrated the pure talents and longevity of these Australian greats.

Almost drained in both physical and emotional energy, we visited the friendly faces at the bar for fuel as we hop-scotched our way to Kataylst. I was determined to jump like a madman and rub my hands with glee, knowing the grooves about to be launched from his latest album What’s Happening would fill the Derwent stage with sweet, sweet love. I almost fell backwards as, with no warning, we were again privileged to see

Thankfully it was soon resolved, and RATM returned to finish their set, and play the song everyone had been waiting for.

The experience of standing amongst a crowd of thousands screaming in one voice “fuck you I won’t do what you tell me” couldn’t have felt more righteous, and the band left the stage with fists in the air. It was triumphant.

With the final notes of Killing In The Name fading in the roar of the crowd, many punters made a beeline for Carl Cox. But there would be no raving for this journalist – battered, bruised, and smiling from ear-to-ear, my first ever Big Day Out experience had drawn to a close. And so, I joined the massive exodus – the almost Auschwitz-like herding of tired punters onto the train platform. Packed like sardines into the carriages, ears ringing, we began the long ride home.

By Felix Blackler

It was time to take a breath and wipe off the sweaty funk building on the brow as we crossed over for the Custom Kings. It was when Rose Pickles was played when my masculinity was thrown out over the Derwent and the strangers on either side became brothers in arms, as one of the most moving songs ever written turned us all so mushy.

As dusk billowed across the Regatta grounds, the heat was still in the wind, fuelled by love in the air as one of the big guns in the lineup, Spoon, took to the Domain. Acclaimed for their songwriting skills, I’ve got to admit, these guys were about as familiar to me as brussel sprouts. However, Soundscape so far had done me proud, and I embraced a new venture with open arms. Brit Daniel started strumming his guitar with a familiar face that made me ponder when I had lost the brain cells to recall some of their songs. It was only when The Underdog was played with pure conviction did a knowing smile cross my face with murmur of “oh yes ... is nice … is very nice.”

nothing but canvas holding him from a deadly fall – soon became dozens, while punters near the front swarmed over scaffolding and scaled trees in order to get a good view. RATM were forced off-stage, and an event organiser took the mike.

“Most of you have been fantastic. The dickheads up on the structure haven’t been! We need to get the people on the structure up there down on the ground; they’re endangering themselves and everyone beneath them! You people have got to turn around, and tell those people to get down!” The offending parties getting pelted with plastic bottles, and a bright red signal flare blazing through the sky and landing in the crowd (apparently igniting someone’s clothing), things were getting ugly.

As The Living End wrapped up, Soundscape was turned from rock to broken funk, as the biggest name in breakbeat, Krafty Kuts hit the stage with his lyrical miracle microphone killer; MC Dynamite. The crowd poured to the front as Krafty scratched and fader-ed his way into the night as Dynamite dropped some deep, shuddering lyrics over the top of some favourites such as Trika Technology.

An hour passed, and Soundscape had reached its inaugural conclusion. One of the finest of festival experiences and in the heart of Hobart, the day was nothing but a blazing success. Memories were made for the thousands that came, and created a talking point of good times for the following weeks.

The mix of music was incredible, the layout formidable, and the work down by the organisers … well, a complimented ending with more “-ibles” would not suffice. An Australia Day of bliss that left myself and many more with a sunburnt head of memories and one helluva raging headache.

Ph to by Tom Wilson Phot o

MS Fest 08

By Carole Whitehead

INVERESK SHOWGROUNDS – FEBRUARY 2008 A festival is an amazing thing to behold. Leaning back against a fence and just enjoying the people, as well as the music, can sometimes turn out to be just as fun as being crammed into a smaller-than-comfortable – and very sweaty – space deep within the heart of the mosh pit. As the sun burned the light skins of the Tasmanian folk, music was clearly being well absorbed by all. Audiences obviously preferred the breed of music they could bounce along to, and they left no beat un-bounced, so by the time the sun started falling in the sky, many eyes looked tired, but looked on to the timetable ahead, and jammed into the familiar space near the barrier once again, to continue the trend well into the evening.

Meanwhile, those who started their day in the dance tent were starting to emerge, and seemed startled that it was already late in the evening. As we all know by now, time in a dance-mosh stands almost perfectly still by those within. So the dancers joined the rockers, and vice-versa, for the various performances of the individual’s choice. It seemed the hardest decision of all stood with the clashing timetable of the lights and the beat of the big dance tent act, or rather the more typically Australian music that one could jump along to.

But, choices were made, and as the last ounce of music poured from the speakers, the crowds cheered in perfect unison – sadly MS Fest was over for another year.

CD REVIEWS TINA ARENA Songs of Love and Loss

FELIX DA HOUSECAT Virgo Banktro And The Movie Disco

It has been six years since the multi-ARIA awardwinning Tina Arena released her last album Just Me in Australia, and many things have happened for Tina in this time. Fame intensified for her overseas in France, where her album Un Autre Univers went platinum, and she was awarded Song of the Year. Her son Gabriel was born, Tina and her family began residing in England, where Tina agreed to a part in West End theatre and achieved glowing reviews for her role as Roxie in Chicago.

I was a bit surprised when I heard this album – not exactly sure if it was the DJ that had been responsible for Silver Screen Shower Scene found on the Ministry Of Sound Clubber’s Guide 2003. This has a 70s disco sound crossed with some cheesy electro of today’s standards that sounds like it should of stayed back in the 70s. It doesn’t really kick off as a dance album ‘til the last four tracks, and even then it’s still slow, and sounds like it was a bit rushed in the studio.

Now, her latest album has come out through EMI Australia.

Tina both hand-picked the collection and funded the recordings. It is a well thought-out collaboration of inspiring, alluring and powerful stories, which she both grew up with and matured around. The collection includes duets with friends, and remakes of hits by Diana Ross, Dusty Springfield and Carol King.

I think, from what I had heard about the artist, and heard previously from him, I was expecting an album that was a little more club-orientated, rather than a collection of songs that is something you might just lounge around and listen to. Track nine (Monkey Cage) and the last track (The Future Calls The Dawn) would have to be the most finished and polished-sounding tracks on the album, but the use of bad-sounding synths and wah-wah pedal guitar sounds Rather than tamper with a classic and destroy the just adds to the cheesiness. Out of the sixteen tracks, there originality, Tina commemorates each song, giving her own are five that don’t hit the two-minute mark, with weird little interpretation and style to each track – adding a modern conversations and skits that aren’t that interesting in the twist, a new-age sound, and an original approach. first place.

It is clear that Tina has an enormous voice and is a musical Overall, it’s not a very exciting album, and one that just talent who has continued to intensify, strengthen and keeps plodding along with no crescendo. mature over the years. There are few artists today who NEESHA PEACOCK could generate a collection of this sort. It is another great compilation to add to her extensive portfolio and resume.

LISA HOWELL

ALL TIME LOW So Wrong, It’s Right

PEREGRINE Stay Inside & Misbehave

The journey for All Time Low began in 2003, in the Baltimore County music scene. While still at school, Alex Gaskarth (vocals and guitar), Jack Barakat (guitar), Rian Dawson (drums), and Zach Merrick (bass) were all affiliated with different young local bands.

They joined forces, practicing during school hours, and together produced a number of catchy tracks.

How could you possibly go past an album where the cover states that one of the band members is in control of the “unnecessary noises” section of the music? A little humour goes a long way, and I think it gives you an insight into what the band is really like.

It was at this time they started regular live performances, and began appearing on countless tours alongside other up-and-coming bands. With a string of single and EP releases, they were signed to a label, and took off on the road to success. Their debut album is a compilation of twelve songs, and each song is equally fundamental to the overall diverse appeal of the album.

I describe their music style as forceful, jagged beats that penetrate through like flashes of light, accompanied by ingenious, confident lyrics, promptly delivered with bursts of energy and emotions. Yes, these guys have already accomplished a lot in their short career, and with youth on their side, backed up with talent, enthusiasm and passion to drive them, it is no wonder that their career continues to elevate to higher levels.

Well, the band in this case is Sydney’s Peregrine, who have just released their latest album Stay Inside & Misbehave.

Comprised of pop-infused indie-styled tracks, the album has already begun to do wonders for the band, with over 150,000 downloads of their song Everything’s Under Control.

The track possesses that mild doof-doof beat you have come to expect from bands of this ilk, but it is the vocals that differentiates this track from many others. Lead singer Brett Winterford has a husky tone in his voice, and when combined with the music, makes for interesting listening.

They even name a song after the “unnecessary noise” that Felix Akurangi makes (he is also responsible for the electric guitars and percussion for the band.) However, the track is by far not one of their best. A slow tempo with quite boring and lacklustre vocals just does not make for good listening.

The problem with the album is the inconsistency of the songs. Don’t get me wrong; there are a few outstanding With So Wrong, It’s Right, these guys show no signs of ones, but then there are some that really do the band no slowing down, and it only strengthens my belief that it’s justice. only the beginning for All Time Low. SHANNON STEVENS

LISA HOWELL

BULLET FOR MY VALENTINE Scream Aim Fire

ONEREPUBLIC Dreaming Out Loud OneRepublic is an American pop rock band formed in Colorado in 2003. Since 2003 to 2007 they have had one member change.

After releasing their first hit single Apologize, OneRepublic have drawn mainstream attention to themselves.

I first heard OneRepublic when they did a remix of Apologize with Timbaland, that’s when I started looking more into OneRepublic because I thought the lyrics were outstanding.

When I heard more of their songs I gladly looked into them, the lyrics are so deep and I reckon that a lot of people could find at least one song that will connect to them, as one did to me. You can tell that with the drums, bass and guitars are doing and that most of the songs will be rock but then the piano and cello come in and with all those put together the sound is just amazing and unique.

I found a majority of the songs on this album to be emotional and deep. I have to say that there are a few songs on this album that I didn’t really like that much, but I didn’t have to worry about that because there are many more songs that I did like. I have no doubt that most people have heard the Apologize remix with Timbaland and if you like that, then you definitely have to listen to the original Apologize because that song is brilliant. The first time I listened to this album I was speechless, I personally think it’s that great and that amazing, if you haven’t heard OneRepublic’s album you just have to.

LEANN KACZMARSKI

Welsh four-piece metalcore/rock act BFMV have finally unleashed their sophomore album – one that will give them the larger fanbase they deserve, and make them a band to look out for in 2008. Their sound takes a more energetic and aggressive approach, full of catchy tunes that will have every BFMV fan reaching for the repeat button.

Throughout the album you will notice the band’s influences – hints of Metallica, Iron Maiden, and Machine Head. Track Say Goodnight runs in the same vein of Metallica’s One, and, while not as remarkable as that classic, is all-in-all a great track. Lead singer and guitarist Matthew Tuck does, at times, emulate a young James Hetfield, yet with an underlying Welsh tone (if you can imagine that). Debuting on the Billboard charts at number four in Australia, the album’s title track Scream Aim Fire, being about the frontline of a war battlefield, is an obliterating volley of heavy, pounding drums and fast riffage, making it a great choice to start the album. Riffslammer Waking the Demon is a quick mood shift from softer track Hearts Burst Into Fire, showing the band’s diversity in songwriting and tempo.

This release of the album comes with a bonus DVD featuring the video for Scream Aim Fire along with footage of the band in the recording studio. BFMV’s music may not appeal to the straight metal fan, but if you can get past the bullshit of classing bands under a sub-genre of metal and seeing music as either good or bad, then there’s a chance you’ll let yourself enjoy this band.

DAVID WALKER

SAUCE #63

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