Sauce - Issue 66, 16-4-08

On the street every second Wednesday

Free Edition #66 16/04/08 - 29/04/08 Made in Tasmania

NEWS b CUT COPY “IN GHOST COLOURS” NATIONAL TOUR JUNE 2008

b 2 DAYS IN MARGATE – PIANO MARATHON AT BROOKFIELD VINEYARD – PLAYERS NEEDED

b THE BONE RATTLERS TO LAUNCH NEW EP

With the stardust having barely settled following the release of Cut Copy’s chart-topping sophomore album In Ghost Colours and having dazzled audiences with their appearance at the recent V Festival, come June the masters, purveyors and destroyers of indie-dance Cut Copy (Dan Whitford, Tim Hoey and Mitchell Scott) are set to embark on a fully-fledged run of national headline dates supported by two DFA special guests, happy house hero The Juan McLean (USA) and The Shocking Pinks (NZ).

Aim: Keep the piano playing for 2 ½ days How: Individuals, groups, bands, choirs (as long as a piano is playing.)

Is it just us, or do all Hobart bands like to launch their EPs at once? The Bone Rattlers will be breaking out their brand new EP at the Alley Cat Bar on Saturday the 19th of April, supported by fellow psychobilly practitioners The No-No’s.

Entry is $4, and things kick off at 10pm.

Coinciding with the forthcoming tour will be the official release of the epic sax-house anthem Hearts On Fire. Blazed out in its new album-version glory, Hearts On Fire will be accompanied by the additional remixing work of the Midnight Juggernauts, Holy Ghost! & Knightlife.

Saturday June 7th Wrest Point Entertainment Centre, Hobart Tickets on sale now from www.ticketek.com.au & ph: 132 849 and from Wrest Point Service Centre, ph: 1300 795 257 & www.inthemix.com.au Sunday June 8th The Batman Fawkner Inn, Launceston Tickets on sale now from www.ticketek.com.au & ph: 132 849 and from venue – ph: 03 6331 7222 & www.inthemix. com.au b BIRDS OF TOKYO ANNOUNCE NEW SINGLE & TOUR On April 14th, Silhouettic – the first single off the highly-anticipated second album from Birds of Tokyo – was released as a free download from www.birdsoftokyo.com Described by Adam Spark (the band’s guitarist and producer) as “darker, faster and harder”; the second installment in Birds of Tokyo’s discography is going to leave a few jaws on the floor.

To coincide with the free download release of Silhouettic, from their forthcoming yet-to-be-titled album, Birds of Tokyo are set to embark on the “Silhouettic Tour”, their first for 2008, this May. Birds of Tokyo – Thursday 22nd May Republic Bar, Hobart – 18+ show b ADIDAS ORIGINALS, OBESE RECORDS AND SAUCE MAGAZINE PRESENT BLOCK PARTY 5 – NATIONAL TOUR 2008 The Obese Records Block Party is back in 2008 and it’s bigger, better and further-reaching than ever before. Block Party has become renowned for unforgettable sets, incredible energy and a few surprises, and this year’s tour will prove no exception. Each show offers an extraordinary lineup, including performances from Pegz, Downsyde, Drapht, Muph & Plutonic, Chasm, Spit Syndicate, Bias B, Reason, Hyjak N Torcha, DJ Bonez, Tommy Illfigga, Jeswon, Dialectrix, DJ 2Buck, mdusu&dameza plus more to be announced.

Tickets are on sale now.

Block Party 5 – Hobart Uni Bar – May 30th – Pegz, Muph & Plutonic, Drapht, Hyjak N Torcha, Spit Syndicate, mdusu&dameza. Tickets: $35 + BF – www.moshtix.com. au, 1300 GET TIX (438 849), on your mobile www.moshtix. mobi, all Moshtix outlets, Ruffcut Records. b AGAINST ME! TO PLAY TASSIE Gainesville, Florida punks Against Me! will play Huon Quays in Hobart on the 2nd of May. They will be supported by Crime in Stereo, and tickets are available from Ruff Cut Records, Tommy Gun Records, Mojo Music, Red Hot CDs and www. resistrecords.com.

STUDIO DIARY

By Dave Venter – www.myspace.com/fatlipstudios 26th March This Future … Chaos – pre-production meeting, discussed plans for their next release planned for this year.

Mindset – sent them their final mixdown via email to the boys, now in Melbourne, to shop around to record labels, and to get gigs.

It’s approximately six weeks until I move the studio into a bigger, better location (still in Launnie, though.)

More gear, more things I can do, but bigger electricity bill (in the name of art!) Will keep you posted, and maybe share a few pics when it’s fitted out.

2nd April Follow By The Wayside (Mt. Roland) – finalised mixing of material. We’d previously recorded one track, adding to other material recorded interstate, for upcoming EP; lots of slap bass, with elements that remind me of Red Hot Chili Peppers. www.myspace.com/followbythewayside 6th/7th April Recorded The Turnaround – guitars on the Sunday, vocals on the Monday. Young band from Hobart – five tight songs with a punk/rock vibe, for an EP coming out soon. Stay tuned for these guys – www.myspace.com/ theturnaroundrock 8th April Recorded Mad Intentions from Burnie; college-aged band entering a track in the Triple J Unearthed competition. They remind me of Anberlin (US). Check out www.myspace.com/madintentions 2

SAUCE #66

Prizes: 1. Individual who plays the longest – $50 2. Most people on stage at one time – $50 (All have to be singing or playing an instrument along with piano) 3. Funniest performance – Meat tray.

4. Best audience participation – $50 5. Best Duet – $50 6. Most popular dinner music – $50 7. Best original poem read to gentle background music – $50 8. Most awake at 3AM – $100 All winners will get awards at end of festival concert and be asked to perform in concert on Sunday night.

Venue: Brookfield Vineyard – 62 672 880 Times: 25th April through to 27th April.

www.myspace.com/bonerattlers b LINCOLN LE FEVRE WINS AMPLIFIED AWARD AND ATTENDS SYDNEY MUSIC CONFERENCE Lincoln le Fevre recently attended APRA’s inaugural Song Summit Sydney (S3) music expo in Sydney from April 3rd-5th.

With over seven hundred entries, Lincoln was hand-picked

by Triple J with seven other winners from around Australia.

He took part in an exclusive songwriting masterclass hosted

by Triple J’s Lindsay “The Doctor” McDougall, and featuring The Shins frontman James Mercer, Josh Pyke and Sneaky Sound System’s Angus McDonald as guest songwriters.

Congratulations are also in order for taking home the 2008 Amplified Award for Best Producer/Engineer, and also being nominated for Best Songwriter.

b JAMES HOTEL NEW MANAGEMENT The James Hotel has been bought by the Harding Family, known for successfully transforming Launceston’s Irish Murphys into the iconic venue that it is today. Local identities Andrew Joyce and Shaun Spencer will be managing the James, with the doors opening on this new venture as of Wednesday, 16th April. What will be different? We expect a lot, but for details, check out the interview with Andrew Joyce next editon! b ALLEY CAT FILM NIGHTS + MUSIC VIDEO SCREENINGS Wide Angle Tasmania (W.A.T.), Tasmania’s screen resource centre, are pleased to announce regular monthly screenings of short films at The Alley Cat Bar, in North Hobart. The aim of this program is to encourage discussion, debate and appreciation for the work of emerging filmmakers. Anyone with an interest in film will be able to enjoy viewing works from around the state and around the country. W.A.T. is also calling for submissions of Tasmanian music video clips to show at a future screening at Hobart’s Alley Cat Bar. Just post to Space 123 Salamanca Arts Centre, 77 Salamanca Place, Hobart 7004, or drop in your copy in person (entrance via Wooby’s Lane). Phone 6223 8344 for more info.

DANCE - SYDN SYDNEY DNEY // PNAU

Sydney dance moguls to go stratospheric

By Tom Wilson

“We’re trying to get fit, because we’re playing an hour-and-a-half, man, and you know, even five minutes of our show is exhausting, so you can imagine an hourand-a-half. It’s pretty full-on.”

Something you realise five minutes into a conversation with Pnau’s Nick Littlemore is that he’s a fiercely intelligent guy, as I did late last year when I first interviewed him. Both he and creative partner Peter Mayes know exactly what they’re doing, and they’re very, very good at it – evidenced by the fact that Sir Elton John himself has called their 2007 self-titled album the best Australian record in some time, and is set to collaborate with them more in the future. Ahead of their show at Hobart Uni, he told me of what having lunch with an icon can mean for your career …

The last time you guys spoke to us, you were literally minutes away from going to have tea with Sir Elton John … What was that experience like?

It was pretty weird, man. Like, we went downstairs into the hotel. This butler guy … he took us upstairs, and the whole top floor of that hotel, it was all Elton’s people, and there was this desk, and this dude’s just sitting there with laptops and one of those specialist security headset things and all that. We walk in, and this old guy goes, “Oh, love your album, by the way.” We’re like, “Oh, OK.” And we walk through, and there’s Elton. He’s like, “Hi guys – how’re you doing?” And what transpired over the next hour-and-a-half was just this joy, and this sort of incredible spirit of this artist … all this kind of positivity and this energy. It was amazing, you know?

We just talked about art, and Venice – he brought up Venice, and I was like, “Oh, I went there last year with my girlfriend, and it’s the most beautiful place in the world.” We were talking about music and what we want to achieve, and he thinks we can be the biggest band in the world … just about our energy and our positivity and how it’s so refreshing to have honesty in music … He was quite honest about what he likes and dislikes, you know? … He was very brutal about stuff – if he didn’t like it, he’d just tell you straight off, you know? He wouldn’t pull any punches – he’d just be like, “Man, that’s shit. F*cking move on,” you know? It’s good. I mean, we’re

older now; we’re tough enough to kind of take that shit. But Elton was just like, “This is the best record I’ve heard in the longest time, and I want to work with you guys; I want to be a part of what you guys do. I think, if there’s any way I can help you be the biggest band in the world, I’m going to do that.”

Wow …

He calls me every couple of weeks. He called me the other day – I was in Byron, just after the show. We’re going to do some writing when I go back to London. He’s coming out here, but we’re going to be in London, because we’re going to go on BBC Radio, doing a tour and such and such festivals all around the bottom of England for nine weeks. Then we finish with Glastonbury, come back here for Splendour, then go back over to tour with Fatboy Slim.

God – exciting times, dude!

Yeah, man! You know, I’ve been doing this for ten years, and it’s finally … it’s weird, because everything’s falling into place, and we’re doing these shows, and every show so far has been sold out, and people are just going crazy for us.

And that’s just an added bonus, you know? We worked really hard making this record, and it’s so great … we were happy with it, and it’s just so great that everyone else is happy with it too, you know? You don’t know what the audience is going

to feel on these things.

I’ve got to ask, out of pure curiosity – when you say that Elton calls you, he’d obviously go through one of his secretaries or something, wouldn’t he? Like, “Hold the line, and I’ll put on Elton.” Or are you literally pulling your phone out and it’s like, “Caller I.D. – oh, that’s just Elton”? [Laughs] It’s withheld, because he’s always in New York or Atlanta or wherever. But yeah, I record them all on my phone, because he speaks so quickly, and I want to go back and sort of study the conversations.

He’s one of those guys who you really don’t want to ask to repeat himself … [Laughs] Yeah. I mean, I played it to my girlfriend, and she’s like, “Wow, you just say ‘yes’ to everything he says,” and I’m like, “It’s Elton John, OK!?! You’ve got to get it in perspective, you know? It’s not every day that Elton John calls you … well, it almost is, but you know …

Show-off! [Laughs] You’re touring with Breakbot … or is it “Beakbot”? [Spelling errors in press releases are wonderful things – Tom] Breakbot, man – we wrote a tune with him last night and it’s

f*cking killer, called Sixth Sense … [Singing] “Feels like a sixth sense / Feels just like innocence …” Yeah, it’s really cool, man.

He’s great. You should really get along early to see what he’s playing, or feel what he’s playing; it’s super-positive, great energy. It’s cool. And we just found him in Paris, you know?

I’ve been working with him for a while online – never met him in the flesh – and he came to our show in Paris the other week. We were playing this mad venue underneath the Alexander The Third bridge … they’d built this club … it was like five hundred metres long, this club. It was massive – this huge tunnel! And there was like seven projectors on this old wall, and just beautiful French people going crazy. It was really cool.

Out of curiosity, where are you at the moment, man?

Right now I’m at Peter’s apartment. We’re meant to be going for a swim. We’re trying to get fit, because we’re playing an hour-and-a-half, man, and you know, even five minutes of our show is exhausting, so you can imagine an hour-and-ahalf. It’s pretty full-on.

Pnau play Hobart Uni on the 19th of April.

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

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3

ROCK - MELBOURNE // THE PANICS

#66 - 16th April to 30th April

Contents 2 3 4 6 7 8 9 10 12 14 15

News / Fat Lip Column PNAU The Panics / Obsidian Aspect Devilrock Four / CD Reviews Vialka / Rory McLeod DJ Jorj / Ozzy / Die Roten Punkte Dr Willis Ballpoint / Breakfast Balcony / UTN Dave Callen / Gadgets Skin Deep / Sk8 Street Speak / Jordan Millar

Contact Sauce Phone: Advertising: Editorial:

03 6331 0701 advertising@sauce.net.au editorial@sauce.net.au

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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

Opinions expressed in Sauce are not necessarily those of the Editor or staff. Sauce Publishing accepts no liability for the accuracy of advertisements.

Contributors

Lisa Howell, Shannon Stevens, David Walker, Richard Kemp, Lisa-Marie Rushton, Clara Murray, Adam Ferguson, Felix Blackler, Neesha Peacock, Carole Whitehead, Jacob Virtue, Martina Fallows, Clara Murray, Jimmy McMacken, Matt Lebedzki and Richard Kemp.

Next Edition Deadline Friday 25th April Sauce #67 - 30th April - 13th May

Riding the album of the year

By Tom Wilson

There’s no trace of smugness in the voice of Panics guitarist Drew Wootton on the day we speak to him, but if there was, he could be forgiven; after all, he’s got a lot to be smug about. With last year’s Cruel Guards being crowned Album Of The Year by Triple J, the doors of opportunity are swinging open more than ever before. These are, indeed, exciting times for The Panics, and guess what? They’re going to be sharing them with you at the end of this month …

Triple J declared Cruel Guards “Album Of The Year.”

How have you guys milked that for your advantage?

[Laughs] We’ve had a lot of interest from other parties that have never bothered to call us before; different magazines, and radio. We’ve got Don’t Fight It on commercial radio simply because of that happening … and, you know, being on TV! [Laughs] That was never really on the cards. It felt like we were kind of noticed … it was a good one to win.

So you guys have got some international touring planned?

We’ve got some nice ones coming together now. There’s an agent in Germany who’s pretty keen for us to get over there in June, and while we were in the States and the U.K. we met agents that, you know … as soon as we get a record release over there, are willing to set something up straightaway. So definitely by the end of the year, we’re going to be spend-

ing more time overseas, which is going to be great – get the Cruel Guards around the world and see what other people think about it!

The Panics play Launceston’s Country Club Showroom on the 23rd of April, and UTAS in Hobart on the 24th.

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

I imagine it would make a really good comeback – if someone was disagreeing with something that you were doing musically, you could just come back and say, “Oh yeah? Well, we made Album Of The Year, so get f*cked!” [Laughs] [Laughs] We haven’t really had to use that one yet, which has been good. We must just be talking to nice people!

[Laughs] You can let your ego run wild here – what do you think it was about Cruel Guards that kind of clicked with people?

I don’t know … this is how wild my ego will go! [Laughs] I guess … we were using strings and orchestration – what I can gather from it, anyway – a bit differently from other people. They weren’t really sappy, over-the-top ballads, you know? You put them on there and layer it so it makes some sort of huge f*cking Bon Jovi thing. That’s not what we wanted to do. We like … music like Martin Denny … he’s an old composer … [Ennio] Morricone – people that had a different idea of exotic and strange sounds, but used with great melodies, and used for a good reason, you know what I mean? It wasn’t just to back it up or wash it out or make it sound big or anything like that. We wanted each little sound to be its own little part, you know?

“… Some sort of huge f*cking Bon Jovi thing. That’s not what we wanted to do …”

At this point, what plans do you guys have to follow it up?

We’re always writing, so we’re always going to be doing new stuff. We’ll probably have a couple of weeks after this tour of getting back into studio mode for a little bit, and nailing some stuff down. We’ve already got a couple of songs building at the moment. We’re always writing, so yeah, the next one is hopefully going to be a worldwide release … it could be really fun, having a bit more of a world sort of outlook on the release, and thinking about it in world terms rather than just [as an] Australian record, you know what I mean? Try to deliver on that world scale.

METAL - ADELAIDE // OBSIDIAN ASPECT

Annihilation of the wicked

By Tom Wilson

With lyrics dealing with everything from murder and mutilation to … well … boobies, and a sound like Napalm Death beating the shit out of Cannibal Corpse in the middle of a burning building, Adelaide’s Obsidian Aspect have set their sights on Tassie metalheads young and old as part of the “Anzac Annihilation” tour, headlined by Hobart noise terrorists M.S.I. We got in touch with Rufus to discuss the pros and cons of having a drummer made of wires and circuitry …

One distinct aspect of the band is your use of programmed drums, as opposed to a live drummer. What motivated this?

A lack of suitable drummers in Adelaide. We jammed with a few blokes but nothing worked out, so we started using the drum machine as a way to continue writing songs – and stuck with it because we still can’t find any drummers.

How much freedom does using a drum machine give you when it comes to the songwriting process?

It gives us complete freedom in the writing process. We

have a thirty-three-piece kit to play with, and we’re not limited by physical capabilities. Having said that, we don’t go overboard and try to keep it reasonable. [Laughs] And it doesn’t drink the beer rider.

What’s been happening in the Adelaide metal scene at the moment? How do you think it measures up to those in other cities around the country?

There are a lot of good bands around, but there seems to be a bit of a division in the scene that wasn’t there a few years back. The more extreme bands and the metalcore/hard-

core bands don’t really play together anymore, so we don’t get as broad an audience as we used to.

Last we heard, in September, you guys were working on your second LP. What stage is that at now?

It’s on hold at the moment. Our audio engineer has had trouble getting council approval for his new studio.

How would you describe this new material, in comparison to your self-titled debut and the Eat Flesh EP? Would you say your sound has remained consistent?

There has been a natural progression. Our newer material is probably a bit more technical, but without losing the chunk and groove.

What’s the story behind the name “Obsidian Aspect”?

In what ways does it reflect who you guys are and what you do?

It doesn’t mean a great deal … Originally we went with “Obsidian”, but found out later that this name was already taken. We already had a logo that everyone liked, so we added the “Aspect.”

What kind of themes and subject matter do the lyrics of Obsidian Aspect tend to dabble in?

We tend not to focus on any one subject. We have lyrics about everything from breasts to zombies, murder and mutilation to bad drivers, and all those things combined.

Recording Mixing Mastering Production Bookings Essential Call Dave Venter for a quote 0408 373 066 or email fatlipstudios@gmail.com

Launceston Studio www.myspace.com/fatlipstudios 4

SAUCE #66

You’re playing down here with some of our local misfits – M.S.I., Mephistopheles, On Your Feet Soldier and Three Victims. How would you guys rate the quality of extreme music down here, compared to the mainland?

We’ve played with M.S.I. and Three Victims before, and we have some good drunken memories of the experience.

From what we’ve heard, Tasmanian extreme music is up there with the best. It certainly fits in well with our musical tastes.

“We have lyrics about everything from breasts to zombies, murder and mutilation to bad drivers …”

After this tour, what will you guys be getting up to – both individually and as a band?

Our first priority is to finish our EP and release our album.

We’d like to follow that up with some more touring later in the year. Individually, our vocalist Phil would like to focus on playing computer games, Pete (guitar) plans to work on his impersonations of South Park characters, Ed (bass) wants to drink lots and grow his beard really long, and Matt (lead guitar) will continue to work, sleep and write music.

Obsidian Aspect unleash hell at Launceston’s Saloon on the 25th of April, licensed and all-ages shows at Hobart’s Brisbane Hotel on the 26th, and an all-ages show back at the Saloon on the 27th.

SAUCE #66

5

CD REVIEWS ELEANOR MCEVOY Love Must Be Tough

CELINE DION Taking Chances MinusI have some Celine albums from her early days, including one in her native (Canadian) French.

There are subtleties and beauty in many of those songs that I scramble to find on this album. Songs like With This Tear that weave a tale of grief for a mortallyunchallenged friend were in emo-like abundance on those early albums.

But sadly, through the entire ordeal of Taking Chances, no such oasis was to be found. The clichéd ornamentation on the drawn-out notes does not elicit a powerful emotional response in me as the listener.

Nor does the anguish presented in sudden vocal volume. It just grates, and makes me yearn for some peace and quiet, but, determined to see this review through, silence will have to wait for a wee while longer.

Celine can wear a story with her voice as if it were a poignant diary entry. She can, but on this album, she doesn’t. So I have to wonder if being, as she proclaims, a happily married missus and mama, the reason why the vocal gymnastics fail to reach me is because these lovelorn songs don’t reach her.

Now, any muso worth their cred should be able to wear the song of another as if it sprang from their own story, but, for Taking Chances, the themes, and the vocal urgency, all reek of false intentions. The cynically-chosen lurve anthems and aggressive production to pop the “pop button” create an experience I can only liken to audio flagellation – and though that may sound tantalising, believe me, it’s simply torture. But I won’t give up on Lady Dion. So, for me, it’s simply best just to forgive and forget that her latest album took the oh-so-commercial (non) chance to exist, and to soothe my offended ears with her earlier artistry.

On Love Must Be Tough, with a supporting cast of Ireland’s finest musicians in the form of the South King Street Band, Eleanor takes a retro ride back to the late fifties/early sixties and the birth of rock ‘n’ roll, replete with ragtime jazz trumpets, trombones and saxophones.

If you’re the person who likes music with a folk feel, then this album is for you – having said that, if you’re not one of those people, there’s not much appeal here.

Love Must Be Tough has emerged as a hybrid with mainly covers/interpretations also mixed with an original and a clutch of co-written numbers.

It was interesting to see how this album came out – taking into consideration Eleanor McEvoy’s background, I have to say that Love Must Be Tough has turned out better than I expected. I can see people who are fans of Eleanor or folk music listening to this album when they have had a long day and need something to which they can unwind and relax.

LEANN KACZMARSKI

NINE INCH NAILS Ghosts

The Balance series – can we not get enough of these? Every Balance CD I own is always a journey in its own. Never have I been let down by any, due to some of the amazing DJ/producers that blend music so passionately, with this edition being the 10.1 mixed

by Jimmy Van M.

A completely instrumental meditation on the sonic textures that have defined Trent Reznor; two discs of completely untitled material, playing out like the soundtrack to a movie never made ... a movie called Ghosts. Since Nine Inch Nails first started, it was never just Reznor’s inimitable vocals that made the songs – the distinctly dirty undercurrents of noise always played an equal role and, in a way, Ghosts is a twenty-seven-track acknowledgment of that fact.

Both CDs play out as a murky river of sound that gently veers through almost every distinct styling NIN has ever dabbled in (sans the buzzsaw riffage of tracks like Wish and March of the Pigs) – from the minefields of abrasive, dirty industrial bursts and the pulsing, ominous rhythms beneath them, to the chillingly minimal piano tinkers and melancholy strains that made songs like Hurt anthems for the ‘90s generation.

Whether pulling at the heartstrings or battering the ears with percussive volleys that wouldn’t be out of place on the soundtrack to a Bourne film, Ghosts is the kind of epic release we haven’t seen from Reznor since his immortal double-LP, The Fragile. For DJs who dabble in the darker sounds (re: Coven), this should be nothing short of ten Christmases at once, particularly since this is following the Year Zero remix CD. For those made apprehensive by the concept of this totally instrumental album – which was a ballsy move by anyone’s standards – have no fear; this is pure ambient gold.

The Devilrock Four are a band that does exactly what it says on the tin, so to speak. It’s rock ‘n’ roll at its purest, and if that sounds like your cup of tea, you’ll want to be First In Line when they hit our stages this month. We spoke to singer-guitarist Jonny Driver about fighting Toni Collette and exactly what music they play in hell …

What kind of feedback have you got from your debut First In Line?

We have been really happy with the response to the album.

We have seen our audience size grow a great deal since we’ve had a LP on offer in stores. We had been together for three years before we made the album, so our fan base was more than eager for a record, and from audience response and feedback via websites and reviews, I can say the majority is positive. Of course, as with any release, there are mixed reviews, but the good far outweighs the bad in our case.

What plans do you have to follow it up?

The band is extremely busy at the moment in Australia, and with our upcoming European tour in May/June, it looks like we will head into the studio around September to work on the second record. Most of it is already written – it is just finding the time that is the hard part.

From a lyrical standpoint, what inspired No Friend Of Mine? What is the song about? And how would you describe the lyrics of the Devilrock Four on the whole, in terms of themes and subject matter?

I’d love to tell you it is about one person, but alas, it isn’t. No Friend Of Mine refers to my relationship with the Australian music industry at the time, and the lack of interest that commercial radio and other mediums have for upcoming independent bands, especially rock bands. Sure, every band on the radio is called a rock band, but you’d be hard-pressed to find a real rock band on the airwaves these days. Fortunately, since writing that song, we have been better received in the media, so I should probably stop complaining.

Most of our songs are of the standard rock formula, about girls, travelling and just plain partying, but occasionally I go off on one of my rants about things and people that piss me off. Fortunately, Carl’s songs are far more positive, and things tend to even out.

You’re heading to Tassie this month. What new material will you be bringing down?

We will be touring a handful of songs from the next album we will do at the end of the year, but as we are touring Europe for the first time to promote First In Line this May, we will have to make sure the album tracks are as polished live as ever. We love playing Tassie, so I think we might just make time to play everything.

TOM WILSON

8 intergalactic monkeys out of 10

What do you remember about your last shows here?

What made them unique?

The last show we did in Tassie was a year ago for the 2007

PATRICK DUKE

PANICS WEDNESDAY

COUNTRY CLUB SHOWROOM*

Southern Roots Festival; we had a ball that show, playing to thousands of people and getting a great response. Getting to meet the Pixies, seeing Evan Dando drunkenly jump up and down on the roof of his hire car until he absolutely caned himself, getting in a fight with Toni Collette after she stole my dressing room … what a festival! Great memories.

“… Getting in a fight with To n i C o l l e t te a f te r s h e s to l e my dressing room … what a f e s t i va l ! ” Why do you think so many acts come out of Melbourne these days? Is it somehow more conducive of creativity than other cities, or is there something in the water?

Melbourne has a good base of venues that encourage live bands, especially young live bands. It is unlike any other city in Australia in that sense. I think more venues open up than close. Although, given our extensive touring in Oz in the last few years, I must say that other cities like Brisbane are following suit. We have been noticing big changes up there, and a lot of good bands are coming out of Queensland.

I think another reason Melbourne is flourishing musically is its close proximity to Tasmania. As you know, three-quarters of the Devilrock Four are from Tasmania, and most bands I know from Melbourne have some Tassie connection. Perhaps there is something in the water down there, and it’s just the limit of opportunity that draws them all to Melbourne. I know that’s what happened with me.

Since you call yourselves the “Devilrock Four”, I’m curious – what kind of music do you think they play in hell?

A duet with John Butler and Missy Higgins, with Maroon 5 as backing band. Without a doubt.

What have been the positive and negative aspects of being so frightfully ugly?

The good thing is we get invited to support a lot of bands on tour, as we make them look more attractive, going on after us and offstage to the ladies. Thankfully for us, girls are getting less picky by the day!

The Devilrock Four play Hobart’s Republic Bar on the 18th of April, and Launceston’s James Hotel on the 19th. www.myspace.com/thedevilrockfour

COG

the

23 APRIL

KASEY

CHAMBERS THURSDAY 3 JULY

THURSDAY 5 JUNE*

JAMES REYNE & MARK SEYMOUR FRIDAY 9 MAY COUNTRY CLUB SHOWROOM

*

SATURDAY 10 MAY* WREST POINT SHOWROOM

WREST POINT SHOWROOM

WREST POINT SHOWROOM

the

FRIDAY 4 JULY COUNTRY CLUB SHOWROOM

AUDREYS FRIDAY 13 JUNE

COUNTRY CLUB SHOWROOM*

SATURDAY 14 JUNE* WREST POINT SHOWROOM

Tickets for Wrest Point & Country Club shows contact 1300 795 257 www.wrestpoint.com.au or www.countryclubtasmania.com.au *Over 18 show only

6

SAUCE #66

By Tom Wilson

According to our research, in 1988 she became a violinist in the Irish National Symphony Orchestra, and remained there until 1992 when her song “A Woman’s Heart” inspired the title for, and appeared on, the “A Woman’s Heart” anthology album. It has since become the best selling album in Irish history. “A Woman’s Heart” stayed in the Top 10 for over a year.

JIMMY VAN M Balance 10.1

For some reason I remember being introduced to the song Cucuma by Stephan Bodzin, but it always seems to bend my mind every time I listen to it. It always makes you wonder what was going through the mind of this guy when he was producing such a warped song that has so many interesting eclectic sounds adorning the track. If you already know what Balance is about, it’s worth grabbing a copy. If you don’t, and have an interest in a more abstract sound in electronic music, it’s worth punching your ears with something a little different than the usual.

Sympathy for the devil

Eleanor McEvoy’s seventh album, Love Must Be Tough, is an entirely new twist on what she has done before.

CLARA MURRAY

This is a very progressive edition which does occasionally strip down to minimal, but consists of some effects and sounds that would really boggle the brain if infused with an “influenced” state of mind. With tracks with names such as Umek, Elite Force, Unkle and more, it’s different, yet brilliant to its own style. You could say it has a very spatial sound – what you would hear if you were sailing through space looking at planets and stars, for those who don’t understand the genre of minimal techno or progressive dance music. This music would be common for bush doofs and festivals with different styles, far away from the commercial ones.

ROCK - MELBOURNE // THE DEVILROCK FOUR

ROCK - FRANCE // VIALKA

French turbo-folk nomads head south

By Tom Wilson

ROCK – UNITED KINGDOM / SCOTLAND // RORY MCLEOD

Singing songs and eating fire

By Tom Wilson

“[Fire-eating] wasn’t my favourite job.”

“There is a telepathic connection, but at times this can work against us …”

Some people really can surprise you, can’t they? Take this bloke with the guitar here – would you believe he’s a singer-songwriter? Sure you would. Would you believe he’s coming down to play two shows in Tassie this month? Yeah, why not? OK – would you also believe he used to be a circus clown and fire-eater? Didn’t think so – and if you catch his performances, he might surprise you even more. SAUCE spoke to Rory McLeod …

In the press clippings that I went over when reading about you, one of them said “Rory McLeod has a profound disadvantage – for pigeon-holers and hacks – that he is so original it’s nigh impossible to compare him with anyone else.” Now, this poses a problem, because I’m both a pigeon-holer and a hack, so I’ll ask – how would you describe yourself as a musician?

OK … well, let’s see … I wear tap shoes, so it’s quite rhythmic – the music’s very rhythmic – and I make stories; I sing stories. I think of them as “dance stories,” that you can dance to if you feel like getting up and dancing. So I make songs, and they’re narratives. I’ve got songs about all kinds of people – I like to write songs about people, to keep the memories alive … I play spoons – I play various instruments to keep things interesting, from guitar to harmonicas to percussion. I sometimes pull out the trombone – it’s mainly for jamming with people.

I understand you used to be a circus clown and a fire eater. Is that true?

Yeah, yeah, in Mexico …

And now you’re a singer-songwriter. What a natural career progression! [Laughs]

Well, I made songs before I was in the circus, actually. I was a musician before I joined the circus; I was a musical clown, I suppose, with the circus. It’s all part of the same thing; storytelling, and hopefully making people feel good … take people on a journey with the stories.

I’ve always wanted to know this – how the hell do you swallow fire? … That’s not too difficult. The dangerous thing is using the petrol, which is toxic – it’s got lead in it – and siphoning the jeep to make the torches and keep them alight. So, for me, the problem was the toxicity of the petrol. To put them out in the mouth is no problem, because you’re using gravity and air and other things … Nah, the problem for me was the lead – you can get cancer of the belly and the mouth with the lead. And the aftertaste, the burping isn’t very nice – you just taste petrol. So it wasn’t my favourite job, especially if you’re doing it every day, or sometimes twice a day … It’s not clever – I don’t do it anymore.

Rory McLeod plays Launceston’s Royal Oak on the 16th of April, and the Brookfield Winery on the 17th.

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

It may be redundant to call nomadic turbo folk music “unique”, but that term still fits the French duo of Marylise Frecheville and Eric Boros like a glove. With their long-winding global hike dropping them on the stage of the Brisbane Hotel this month, SAUCE got in touch to find out more about Vialka …

I understand that the two of you first started out playing in a “striptease jazz-punk trio” – firstly, how did you go about incorporating striptease with jazz-punk?

And secondly, why did you become Vialka?

We used to play with a French guitarist named Titi, who created many layers of Velcro-ed costumes which we would strip off between each song (our last tour in Spain and Morocco in the summer had eight layers!). When we went our separate ways with Titi, we started Vialka, and have been going ever since.

Having seen footage of you playing Only The Wrong Survive live, there seems to be an interesting, almost telepathic connection between the two of you while playing. How much of a role does improvisation play in your live shows?

There is a telepathic connection, but at times this can work against us – conflict can easily arise, however this is often part of our driving force. Improvisation is a vital factor, but does play a much less important role than precision.

You released Plus Vite Que La Musique last year. What plans do you have to follow it up?

We’re returning to Beijing in early May to record an album of improvised compositions with Xiao He and other amazing Chinese musicians.

What do you think you’d like to do differently on your next recording?

Not much really – we love working with Bob Drake (who recorded, mixed, and mastered Curiosities Of Popular Customs and Plus Vite Que La Musique). Perhaps more instudio improvisation and unconventional instruments? Recording sessions in far-away lands?

It’s been said that “Vialka is not just a musical project, but a social scientific experiment.” What do you think this means?

We want to use Vialka as a tool for exchanging and collaborating with people around the world, examining modern media and communication in underground culture. Simply stated, to take the traditional role of the minstrel and revive it into something new.

You’ve toured extensively throughout the world.

Where are some of your favorite places to tour, and why?

Lately we’ve been focusing on countries where we have higher levels of interest, such as the UK, Israel, Ukraine, China (why these countries, we couldn’t say) – but have generally taken particular interest in places off the beaten path, no-go zones, and places with politically controversial governments.

In what ways is the music you make influenced by what you see and experience when travelling?

Our music is absolutely influenced by our travels and the people we meet, that’s what it should be for us – learning and expanding from direct experience.

What will you be doing after your show in Hobart?

I imagine that we will probably have a drink, chat a bit and go to sleep. It’s a long and tiring tour.

Vialka play Hobart’s Brisbane Hotel on the 20th of April. www.myspace.com/vialka

SAUCE #66

7

DANCE - MELBOURNE // DJ JORJ

Breaking all the rules

By Tom Wilson

For a guy who works for a cosmetics company and looks like a Calvin Klein model, the term “not just a pretty face” seems more than appropriate for Melbourne’s DJ Jorj, particularly when you hear his half of Deflected’s new compilation, Alumbra In The House. If it were a crime to break the “rules” of house music, he’d get the death penalty. But it isn’t, so Jorj was alive and well to speak to SAUCE …

I understand that a philosophy of yours is that “house music has no rules.” That said, what do you see as some of the rules that other DJs have been applying to house music, and why do you think it’s important to rebel against them?

Ooh, technical questions here! [Laughs] I don’t know. I mean, house music has become so broad at the moment – there’s electro-house, there’s commercial house, there’s US house. Everyone’s sort of splitting it up into different parts, you know? I think I play the right house, and then other people think that they play the right house. With the stuff that I play, I mean, by saying there’s no rules to it means that you can go from Latin jazzy stuff to disco to funk … you can mix it all up, and it all works. Electro sort of stays in the same … place, I guess. You can mix the electro with [house] … It depends on the club, it depends on the crowd, it depends on the playing.

You’re based in Melbourne. Melbourne seems to have

a very … the atmosphere there is very conducive of creativity, particularly in music. In what ways do you reckon the musical climate there has shaped who you are as a DJ? I’ve always found Melbourne the number one in the house scene, for what I do, so it hasn’t been too hard … House has always been sort of changing, but always staying the same at the same time, if that makes sense. We’ve always managed to be pretty up-to-date with what’s going on in the world, you know, in the style of music, so it hasn’t been too hard for me … I’ll try and answer your question correctly …

I’ve adapted to what’s been here, but then, I used to travel overseas every year, and listened to what was being played over there, and then coming back, so I’ve always been up to date with what’s been going on in that scene. Does that answer your question at all?

heading, as far as what trends are popular, and what’s kind of falling by the wayside?

Well, I’m not a psychic … [laughs] … but it seems to me to be a bit of a cycle at the moment … It looks like we’ve been going through the 80s which has re-vamped and turned into electro, and now it looks like the house is sort of coming back again. I’m hearing a lot of the 90s stuff that I used to play coming back – remixes of it. I think that quality house is coming back, because I think people are just getting sick of the 80s, again. I think it’s just another cycle that we’re going through, you know? Whether it’s going to be as strong as it was five, six years ago, or stronger or not, I can’t tell you. But I’ve never given up on it.

Alumbra In The House is out now.

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

Ah, hit and miss. [Laughs] On the whole, through your eyes, where do you see Australia’s dance music scene

“… I think people are just getting sick of the 80s, again.”

ROCK // DIE ROTEN PUNKTE

Controversial siblings headline the Freakshow

By Tom Wilson

Face paint … miniature guitars … a career marred by controversy of the worst kind … is there any better gig for the brother-sister duo of Die Roten Punkte than the Tasmanian Variety Freakshow, alongside sword-swallowers, glass eaters, contortionists and cabaret? No, there isn’t. We spoke to Otto Rot …

How has Berlin had an influence on what you guys do?

My sister Astrid and I moved to Berlin after our parents were killed by a lion that escaped from the zoo. Astrid took me to live in a squat in Kreutzberg. Everyone we knew was in a punk band, and so we started our own band.

How did you guys first start playing music together?

Astrid came home one day with a whole bunch of musical equipment and we just started jamming. I only found out years later that she stole the equipment and the van that belonged to Die Toten Hosen. She was fourteen years old.

What releases do you have out at the moment?

Our best-of CD Die Roten Fahrten (The Red Journeys) was released in Australia in 2006. We are recording our new CD, Super Muiskant (Super Musician) right now in Melbourne.

What motivated the use of makeup?

I love Robert Smith from The Cure. And I also had a lot of pimples when I was in school.

Otto, why do your guitars seem so awfully small? Is

DANCE - MELBOURNE // OZZY

Living the trance life

By Tom Wilson

Given that’s he’s spent the last decade running a label dedicated to trance music, when Melbourne DJ Ozzy tells you that the genre is more than just a style of music – it’s a lifestyle – you’d better take his word for it. He caught up with SAUCE ahead of his set at Psysessions in Hobart this month …

You’ve actually played in Israel before. What’s the club scene like over there? What was the gig like?

At the time Israel had one of the most energetic dance scenes on the planet. I was lucky enough to play alongside Mark Allen and Zoo B at one of the most intense parties I had ever been to. The club was called “Dynamo Dvash,” which means “sweet rocket” or something. From the time the club opened till stumps, the dance floor was absolutely ballistic. I also played at a few beach parties, but the standout was definitely that club gig!

You run Tribeadelic Recordings. What’s been happening on that front? What have you been working on?

Tribeadelic has a brand new compilation in the pipeline, with tracks from the usual suspects like Fractal Glider, Liquid, Legohead, Time Lock, Sinewave, Dark Nebula, newcomer to the label Short Circuit, as well as featuring a track from Tasmania’s own Quench (Formerly Mycosonic), who has also been officially signed to the label and is due to release his debut full-length album later on in the year.

How did you first get exposed to trance music? And how long was it before you started doing it yourself?

I’d been to a few outdoor parties and instantly fell in love with the whole scene. I had probably been to parties for about a year before I really started to understand the music. As a package, I first loved the parties, then the people, and eventually the music just grew on me.

What is it about psytrance that you dig?

As many people tell you, psytrance is more than just a genre; it’s definitely a lifestyle, for which I am forever grateful to have come across. You won’t find better people in any other walk of life. There is something special which connects us all, and psytrance has been a perfect catalyst in defining who and what we are to become. As well as it being some of the most danceable music on the planet, the wide range of frequencies offered in any track is certain to have an impact on the listener.

You’ve been DJing trance since ’97. How has the genre changed and evolved since then? Have the character-

there some specific reason for using smaller models?

Or are they normal-sized ones, and you’re just ten feet tall?

I have played big guitars before, but I like to sleep with my guitars, and I just found that it’s much easier to fit a small guitar in bed. I love my mini Flying-V but I get more sleep with my mini Les Paul because there are less pointy edges. I get less bruises with the Les Paul.

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

It’s the best rock ‘n’ roll show you’re ever gonna see. Our set has a lot of variety because we have such a lot of different influences. We listen to all sorts of things from The Ramones, Iggy Pop, The Hives and Nick Cave to New Order, Kraftwerk, and even The Pogues.

You’re playing the Tasmanian Variety Freakshow. At this point, how familiar are you with the nature of this gig? And how do you think Die Roten Punkte will suit a show featuring cabaret, sword swallowing and glass eating?

I can’t wait for this show. We have always fit into this world really well. There is actually a burlesque act from New York that use our music in one of their acts. Also, Astrid used to be friends with a fire eater before he died doing his act.

What level of audience participation do you have in your shows? Is there anything that’s out of bounds – either for you guys in your own performance, or in how the audience can react?

We teach everyone how to “Rock Bang.” That is something that is really catching on. At the Falls Festival, I saw people I had never met before Rock Banging all over the place.

I just can’t wait to rock Tasmania.

And they will do just that at the Tasmanian Variety Freakshow Launceston’s Polish Hall on the 26th of April, and Hobart’s Brisbane Hotel on the 27th. www.myspace.com/dierotenpunkte

istics that define trance changed in that time?

Shit, that’s a long time, hey? The characteristics haven’t changed so much, but there are definitely new elements which weren’t there a few years ago. Music is forever evolving, and psytrance, being such a modern and technological medium, you often feel it growing and expanding into other regions. Something that hasn’t changed in my time is people’s willingness to question the boundaries and genres of trance. When we started Tribeadelic we often had a small tag line on the flyers – “there may be walls, but there are no boundaries.”

As a DJ, what’s your most prized possession, and why?

It would have to be my music collection. After years of throwing events and gigging nationally and internationally, you come across many great producers, some of whom have been kind enough to share their music with me. The collection is still a work-in-progress.

You’re playing the Psysessions night at Halo – what can punters expect, in terms of sounds and vibes?

The sounds will be relentless, or, as we like to say in Melbourne, it will be “Full power, no shower, hour after hour.”

[Smiles] It will be a blend of psytrance, with rock elements, quirky samples, and will make you dance!

Ozzy plays Psysessions at Halo in Hobart on the 18th of April.

“… Psytrance is more than just a genre; it’s definitely a lifestyle …”

www.myspace.com/liquidpsy

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SAUCE #66

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DANCE - MELBOURNE // DR. WILLIS

House is in the Doctor

By Tom Wilson

It’d been a pretty rough morning-after for SAUCE’s intrepid journalist when he got on the phone with Dr. Willis – thankfully, it seems like that was something the two of them had in common. After a hard night launching the new Generationext album in Brisbane, the Melbourne DJ hit the café for a much-needed coffee to fuel a conversation about setting dance music trends, and where some of the best crowds are where you would least expect them to be …

You’re currently touring the latest Generationext release …

Yeah. We officially started it last night I guess. Done it in style – celebrities all around! [Laughs] How would you describe the sound of this compilation?

I guess what we try and do is a “journey,” I guess. So it’s starting off with the more electro/house sounds, and sort of go up to hard trance towards the end. So those three genres and everything in between.

Is that what you think makes the Generationext series unique in the compilation world?

Oh, totally. Well, it’s funny. The actual concept … the brand of the CD is like three years old now, and … it seems to be nowadays that the in thing for a lot of the bigger DJs to all be doing – the Armin Van Burens and Tiestos and Paul Van Dykes and all those guys – they’re all playing their sets like that nowadays. They start off pretty house-y, and then [move on to] tough trance, so yeah. So I guess we’re setting a few trends without even realising it, you know?

You’ve got quite a bit of international touring lined up for the next two months … excuse me just one second … [sculling water] … I’m still chugging the water to get

rid of this headache. I took my fiancé to a male stripper night last night … [Laughs] [Laughs] Ah, OK! I played at Family in Brisbane, which is pretty much the most prestigious club in Australia, and Thursday night I was in Darwin with Tommy Lee and those guys. I had Tommy in the DJ booth the whole time I was playing, giving me big support, and on the other side we had Nick D’Arcy, the guy that’s all over the news at the moment – the Olympic swimmer that punched the other one out – so it was quite an interesting night, yeah! [Laughs]

“… The best vibe for gigs that I’ve seen is Scotland. They’re nutters, all of them.”

You’re going to be heading from Singapore to London to Amsterdam … what are the best and worst parts of international touring?

Oh, it’s definitely the travel in-between – that’s probably the worst part. I mean, I don’t mind it, you know? It’s all part of it, what you’ve got to do to get there … There’s not really any worse parts, you know? I mean, I guess it’s a bit of a dream, really; all the hard work I’ve done the last ten years,

I can actually see that it’s all starting to pay off, I guess. It’s all starting to rinse out in the wash. It’s great, you know? I’ve just been booked for Love Parade as well, which is awesome, you know? It’s good – I’m really excited about it.

In your experience, travelling around the world playing, where would you say you get the best crowds, and why?

Well, the biggest crowds are in Holland – Dance Valley and those gigs. I wouldn’t necessarily say that the actual vibe of the crowd is the best; they’re a very hard crowd, the Dutch.

They don’t really go off. They still have a good time, and the gigs are still amazing, but the best vibe for gigs that I’ve seen is Scotland. They’re nutters, all of them – the girls, the guys. They’re just really responsive to every tune and the performance and the DJing – they’re just yelling out stuff the whole time, and they all get absolutely sloshed. So the best crowds are in Holland – they’re the biggest – and the most responsive [crowds] and the [best] vibe is probably in Scotland; Scotland and Ireland. Ireland’s pretty much the same too.

Dr Willis plays Syrup in Hobart with Scott Alert on the 25th of April.

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

SCOTT ALERT

For over ten years now, Scott Alert has been known as an innovator at the forefront of the Melbourne and Australian dance music scene. Since his humble beginnings as a DJ in 1993, Scott has consistently pushed the boundaries of sound and knowledge with the style that he has nurtured since its infancy – cutting-edge hard, energetic, deep and melodic trance.

UNDER NEW MANAGEMENT

After building his profile throughout 1995, Scott Alert was spreading his wings across the state dividers – launching himself to crowds in the intimate club surrounds of Sydney, Adelaide, Brisbane, Perth and New Zealand, as well as Adelaide’s “Stardust Festival” (in consecutive years) and “Enchanted Forest”, and Brisbane’s “System 6”. Throughout the years Scott Alert has also held down a number of residencies in some of Melbourne’s finest weekly clubbing institutions including “Hard Kandy”, “Xsive” and “Escape” on Fridays, “Flipside” and “Sunrise” Recoveries on Saturdays, “Deluxe” on Thursday and Fridays and “S.O.N Days” on Sundays. In 1999 Scott Alert teamed up with DJs Ajax and Krash, together forming the (now infamous) “Kandy Kollective” – Melbourne’s premier hard house, NRG and hard trance specialists and production team. That same year the trio gave birth to “Hard Kandy” – the home for approximately 1000-1500 punters each and every Friday.

DRUM N BASS BLISS PRESENTS:

GREG PACKER SATURDAY 24TH MAY

(PERTH, WA)

He has accumulated a fine history and to date, has played alongside some of the world’s rawest, talented and most renowned DJs/producers, including Tiesto, Captain Tinrib, Max Alien, Fergie, Yoji Biomehanika, Lab 4, Karim, Billy Bunter, Jon Doe, BK, Dave Lee, Dave Randall, Tidy Boys, as well as Brain Bashers, Rachel Auburn, John 00 Flemming, Chris C, Oliver Lieb, Tsuyoshi Suzuki, Nick Sentience, Tobias Lampe, Sven Van Hess, Nuw idol, DJ Tom, Taucher, Kevin NRG, Lenny D, Dave Angel, Mark NRG, Guru Josh, Quazar, 12” Thumpers, Stimulant DJs, Scot Project, Phil Reynolds, Jeff Mills, Paul Van Dyke and Derrick May. This condensed list highlights Scott Alert’s ability to hold his own in an international circuit. Scott Alert’s production work – portraying through his own tracks the same raw talent and hard-edged trance sound that has made this man so widely regarded and respected. In the last two years Scott Alert has teamed up in the studio with some production legends such as Jon Doe and Billy Bunter of Honey Pot Hard Records, John Truelove, Dave Randall, Krash and Ajax. All this has made Scott Alert a highly revered soul in Melbourne’s dance music community. This talented master of the morning ceremonies is constantly fresh and full of passion and even described by fans as an “emotion” rather than a DJ -– one “emotion” truly not to be missed.

Scott Alert plays Syrup in Hobart with Dr. Willis as part of the Generationext CD launch on the 25th of April.

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ROCK - HOBART // BALLPOINT

They suck, so loosen up

By Tom Wilson

They suck, so they say. But, we know better. We love therm. And you’re about to love them even more, because Hobart’s Ballpoint are finally set to officially launch their debut fulllength album. What to do? Get yourself to the Republic Bar pronto, and prepare to Get Loose. Jordan Hooper gave us the skinny.

Your debut LP has taken over a year to make. Why did it take so long?

Well, the actual making of the album didn’t take very long at all. We started recording on the St Patrick’s Day weekend ‘07 and we had it finished roughly three weeks later. It was the business of getting it released that was so time-consuming.

I went overseas for six months pretty much straight after we finished recording, so the original plan was to have it all ready to go for as soon as I got home last September. However, I think the other guys must have eaten pies instead of getting things organised, but it’s here now, and I think totally worth the wait for our fans. Big props to Disconnect Records, because without their help, we probably wouldn’t have had the album released this decade!

Interestingly, you managed to release this overseas before you could release it here. How did this happen?

And where did you release it overseas?

The album was released in Japan through INYAFACE Records, who look after a lot of cool bands from across the globe. We are one of those fairly tale cases in which we were found over Myspace. I thought it was spam at first!

Graham Pavey, who is an Australian living in Japan, acts as an agent for a bunch of Japanese punk rock record labels; [he] contacted us, explained who he was and who he represented. He thought we were marketable and was interested in licensing our music for the region of Japan. So we did some demos of new songs and sent them off. They liked them, and the rest is history, baby. INYAFACE work towards a strict deadline – they plan out their releases a year in advance, month by month. That’s why the album was available last year in Japan. We also figured that, whilst I was away, it would kind of be dead noise to release the album if we weren’t able to play shows and promote it.

What were the biggest challenges in creating this album, and how did you overcome them?

Time and money. I think we underestimated how long an album would take to record, and how much money it would cost to record. We had previously only recorded EPs, so this was quite a step up for us.

“We are also sucking with twice as many songs as we’ve previously sucked on!”

This time we had people who had invested in us, so we really needed and wanted to deliver a quality product, but we had to do this in the most cost-efficient way, which was very hard. How did we overcome this? Coffee.

In what ways do you think the sound of Ballpoint has evolved since your previous EPs? Stock standard question gets a stock standard answer [Lay off, I’m hungover – Tom]; like a fine wine, I think our sound has definitely matured with age. We’ve been playing our instruments for quite some time now, so I think everybody in the band has become a lot more confident on their instruments, and of their sound. It’s safe to say that everybody brought their A-game on the new album.

What touring will you be doing to support this album?

I personally won’t be doing any touring as I am back off to the US, chasing the endless summer. The other boys, however, will be touring their bums off with a replacement bassist.

What’s Ballpoint’s greatest strength?

I think our greatest strength is that we are all best mates and we have somehow managed to find a balance between not buying into the music biz politics nor taking our music too seriously, yet still seem to be achieving some pretty amazing things!

ROCK - BURNIE // BREAKFAST BALCONY

Rocking on the balcony

And what’s your greatest weakness?

We are fairly weak in the pectoral and bicep region … actually no, that’s just Lucas, Joe and I. Just kidding, but seriously, Craig is massive.

Here’s a weird question you can mull over – if every Ballpoint fan had to bring something to your upcoming shows – an actual physical object – what would be most suitable, and why? And on a scale of one to ten, how completely stupid and irrelevant is this question?

This question isn’t too bad, it’s provocative. In fact, it’s got me pretty well stumped. I think the most suitable and appropriate object at a Ballpoint show is a beer and a smile.

Given that your web site address is “ballpointsuck. com”, it has to be asked (well, it doesn’t really, but my editor told me I didn’t have enough questions) – with the release of your debut, how much do Ballpoint suck

at the moment? Do you suck more or less than you did before? And why?

Mate, we are sucking big time – sucking at a whole new level!

This time we are sucking not just in our own country; we are sucking internationally. We are also sucking with twice as many songs as we’ve previously sucked on! Might I also go on the record and say that we do suck that much that we couldn’t figure out how to reregister ballpointsuck.com, so don’t waste your time going there.

What a good note to finish an interview on – ah, the professionalism!

Damn straight! Ballpoint suck harder than ever before when they launch Get Loose at Hobart’s Republic Bar on the 25th of April. www.myspace.com/ballpoint

HIP-HOP - HOBART // UNLEASH THE NUGGET

By Tom Wilson

You’ll sweat ‘til ya wet

By Tom Wilson

They say they’ll make you sweat “like a pedophile on the Sesame Street set,” and sweat like that you shall, because Unleash The Nugget are about to drop a brand new bucket-load of bomb diggity at Hobart’s Republic Bar when they launch their brand new EP. SAUCE spoke to Anton …

You’re launching your new EP at the end of this month.

How long have you been working on this, and who with?

We started recording our EP on AFL grand final day last year and have finally just sent off the masters to be printed! Our sound engineer Alistair Campbell recorded and mixed it, we self-produced it, and got it mastered at Crystal Mastering Studios in Melbourne.

“Getting the Arts Funding was quite a process to go through, but was obviously helpful in the end, as money always is.”

Bless Tas Arts. Bless their cotton socks and thongs. With them picking up the tab for Burnie rockers Breakfast Balcony, the band could focus on the most important thing – making their debut selftitled EP something to be proud of. Ben Curtis told us how it all came together …

Your debut EP was partially funded by the Tas Arts Council. What did this funding enable you to do with this recording?

The funding basically enabled us to start recording. It covered all costs of the recording process, which then helped us get on with organising printing/pressing of the CD and concentrate more on the music than worrying about how much it was costing us. The Arts Council were very supportive, which was a huge help.

I understand you recorded it in Launceston. Who did you work on it with, and how long did it take?

We worked very closely with Dave Venter in Launceston at Fat Lip Studios and Dave Sykes of TasMusic (north-west coast) also had some input. We started work on the EP around July last year with some pre-production, and then began the recording in August. So from the recording to the final product, it took around eight months.

What were some of the challenges of making this EP happen?

Getting the Arts Funding was quite a process to go through, but was obviously helpful in the end, as money always is.

Also trying to discover our sound in the studio was something that was a challenge and enjoyable; we went through bazillions of different synths, pianos, strings and electric drum sounds to get the right combo, but were very happy with the result. We also seemed to leave lyric writing till the last minute for some reason; we would often stay up late writing lyrics for songs that we would be recording the next day, which I guess kept things interesting.

How are you distributing this release?

Presently we have locally distributed the EP around Tassie stores in Burnie, Devonport and Hobart and will make our way to Launceston soon. However, we are also in discussions with a label, which will obviously provide national distribution and more …

At this point, what plans do you guys have to do a fulllength?

We’re constantly working on new songs which will hopefully make way for a full-length. In the studio this time we actually recorded eight tracks, but narrowed the final EP down to just five, as these five flowed together, and seemed to capture the same theme/ideas. So the other songs might make it onto a full-length later down the track. Also the possibilities of a label coming together that we may join will have an effect on when we release a full-length.

10

SAUCE #66

How did you guys first start playing together? And how long did it take for your first songs to form? Did it come easily?

Three of us first started playing together as an acoustic act through college. When we started, we all had a few song ideas already formed, and they just flowed from there, so it was strangely easy to start writing the songs. We never had any interest in playing covers in the band; we all appreciated different music and were excited about what our own creations could sound like. About a year after initially forming, we found a drummer and bassist that just melded into our sound and made it something bigger and better. Through new members also came new song ideas, and we’re still writing about two songs a month.

How much time do you guys get to spend on the band at the moment? What other commitments do you have to juggle?

We all agree to have band practice at least three times a week, which is normally from seven till ten, so we’re trying to give the band as much energy as we can. All band members work at the moment, but normally the work is flexible around the band, which we’re very fortunate to have.

While this question might be akin to asking a parent which child is their favourite, what song on the EP are you most proud of, and why?

Most of us agree that Glint was so much more than we thought it would be. When we recorded it, it just shocked us slightly at how complete the sound was on the track. When we started putting some more crazy synths to the track, it just all seemed to fall together, which I guess is the exciting part of recording in the studio, when things surprise you, and you get more than you plan to.

After two-and-a-half years of music journalism, I’ve heard some pretty bizarre band names, and “Breakfast Balcony” is certainly right up there with the best of them. What’s the story behind the name?

I’d like to give you a crazy story of how a balcony fell on our head while we were having breakfast, which caused us to all gain musical interests, but the real story is; we went on a random word generator site on the internet which put those two words together. We liked the sound of it and thought it strangely suited our style of music, so Breakfast Balcony was born.

Breakfast Balcony’s debut EP is out now. www.myspace.com/breakfastbalcony

In the production process, what took the most effort, and why?

Getting the perfect take (it’s all very relative) and matching the sound we have in our head, because we are a bunch of perfectionists. One person has an idea of what they like/ want, while another has a different idea on what they want ... so there is a bit of compromising that takes place. Also we had a lot of all-nighters, so it was hard balancing our life commitments while producing this EP! But most of all, it took ages for Gilly to perfect his solo enough to bring people to a musically-induced orgasm.

And what took the least effort?

Hmmm ... the vibe ... the constitution ... well, it’s all effort, but you enjoy every bit so much that it’s all like a holiday in the Bahamas.

What can you tell me about these new tracks, in terms of their sound and vibe?

There is a fairly wide range of sounds and vibes on this EP. You’ll find a Eurovision-ish hip-hop pop song called The Next Big Thing that uses some synthetic sounds. The vibe is light-hearted except for a song called The Reaction, which is solely about James Dilger and his band The Reactions.

Wookiee is an absolute cracker. Who was this inspired by? Are you a big Star Wars fan? Or is it just about a girl in desperate need of a wax?

It’s about whatever you like ... I would have to say I am a big Star Wars fan, so my input is definitely grounded in the subject being about a wookiee. There are different interpretations of lyrics in that song, but that’s what we intended.

Why did you decide to go for an EP, instead of a fulllength?

If we tried to tackle an album then you may have been waiting for another year for an album launch ... but we have just received a grant from the government to record our album on the mainland later this year!

What touring will you be doing to support it?

The usual; we are in the process of organising gigs in the main states. Also some local gigs and some all-ages gigs In the time that UTN has been together, what’s been the most important lesson you guys have learned?

What was one experience that made you better musicians?

You have to keep at it and hold your focus on your dream.

Not to have big gaps between productive actions that will help the band move forward i.e. rehearsing regularly, gigs booked in, weekly writing sessions ...

Not one experience, but every shit gig we’ve ever had. They make you realise how important rehearsing and attention to detail is.

Lastly, when was the last time you unleashed a nugget?

“… It took ages for Gilly to perfect his solo enough to bring people to a musically-induced orgasm.”

Unleashing one’s inner-dickhead is a constant in all of our lives, but you’ll witness it at its finest on the 26th of April at the Republic Bar when we unleash our EP to you all!

This is usually the part where we reiterate what he says and call it at tag line, but will you just do as the man says? Cheers. www.myspace.com/unleashthenugget

Cheaper Than The Rest Shop 2, Ravenswood Shopping Centre (Behind Mission Store)

2nd Hand Furniture & Household Goods MENTION THIS AD FOR A 10% DISCOUNT!

SAUCE #66

11

COMEDY - MELBOURNE // DAVE CALLAN

Setting forward the doomsday clock

By Dave Williams

The title of Dave Callan’s latest show seems more than a little fitting, given it comes just weeks after half of us forgot to adjust our clocks and turned up to work an hour early. On the eve of bringing Daylight Savings For The Doomsday Clock to Tasmania as part of the Melbourne Comedy Festival Roadshow, the hairiest comedian in the land spoke to Dave Williams …

What have you been up to today?

Ah, because I do a late night radio shift on the weekend, I sleep during the daytime, so yeah … just a little bit of breakfast, and checking my email … The radio show on the weekend goes till about 6AM. I gave up caffeine this year, so I just stay up until 6AM, and I wake up at 2PM every day.

of my reading is that the people who are climate change deniers seem to be really horrible people; they seem to be verbally abusive of the scientists, and the people who say that it is happening seem to be really nice and kind of eventempered. So I’m kind of going with my intuition; suggesting that maybe there’s something behind it.

Last year you did a show called Dance Of The FlameRetardant Monkey. Are you the flame-retardant monkey?

Yeah, in a sense I am. In a sense it’s humanity as a whole.

We interviewed you last year, and you were interested at that time in doing a reality TV show, and trying to make it as weird as possible. Have you followed that up at all?

Actually, that was put on hiatus because of the preparations for a comedy festival. I think I was doing that Laugh Aid gig last year or something – towards the end of the year – so when I come into November/December, I start to gear up for the comedy festival in Adelaide, so I start to write exclusively on that sort of show. When that’s over, I’ll be able to put my other irons on the fire again.

And I understand that show had a lot of different multimedia elements to it.

Yeah, that’s right. It was something I started experimenting with last year; just the idea of including video and PowerPoint images to back up what I was saying and have a few laughs, so I’ll be continuing to do that this year with Daylight Savings for the Doomsday Clock. It’s just to break away from traditional stand-up.

Can you give us a little tease as to what the theme will be for this show?

Oh, it’s just really taking the piss out of reality TV by creating something that’s scripted, but it’s in the reality TV format.

You said that you added a few laughs with the visuals and the multimedia … was that because you were short on laughs? Or did you just really want to have your cup overflowing, so to speak?

You can do different kinds of jokes, if you have vision and you have video – you can experiment with the format a bit, and layer jokes on top of each other.

Subverting the medium …

Yeah, a little bit. It’s just a ridiculous medium anyway, so I think it really parodies itself quite well already.

Have you ever contemplated the thought of “If I was prime minister for a day …” or “If I was ruler of the world, what would I do”?

If I was ruler of the world, I’d probably get universal health care happening, and abolish child slavery – not a very funny answer, obviously, but it’s definitely what I’d do. And get the whole global warming thing reversed.

And yet, it’s so compelling. You can’t deny the ratings – people love seeing ordinary people.

That’s right. It’s the same [reason] why people buy gossip magazines – the tabloid ones. I think it’s because people just love to know what’s going on in other people’s heads, and sometimes they feel bad about the way they behave, and so they try and find a celebrity or somebody in the media who’s behaving worse than themselves to compare themselves to, so by comparison they don’t seem as bad.

If it’s true – I’m still holding out hope that it’s not.

Well, I’ve been doing a show about it – that the Doomsday Clock has been set forward because of global warming. You know, I think it’s certainly a positive and optimistic thing to hope it isn’t happening, but one thing I’ve noticed from all

Dave Callan appears at Hobart’s Theatre Royal on the 24th and 25th of April as part of the Melbourne Comedy Festival Roadshow.

254 Mount St Upper Burnie 7320

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

THURSDAY APRIL 17

Jazz Club '08 Viktor Zappner Swingtet Featuring Max Gourlay from Launceston on clarinet, violin and vocals, and Bob Partridge from Launceston on drums 7:30pm $7

FRIDAY APRIL 18

SPOTLIGHT - HOBART // GADGETS

Circus Oz performer steals his own show

By Tom Wilson

One can think of many good qualities of a robotic terrier like Erik The Dog. One, he doesn’t make messes on the carpet. Two, he doesn’t try and hump your leg (actually, he just might). Three, he can really make you miss the tragically short-lived O’Loghlin On Saturday Night, and four, he can make a comedy stage show like Joel Salom’s Gadgets something to get really, really excited about. Salom spoke to SAUCE about what he’s got in store for Hobart’s Theatre Royal this month …

You’ve performed in Circus Oz for many years. How did you first get started in this line of work? Was it a classic case of a young boy running away to join the circus?

I did a couple of years with Oz – performed in New York, Mexico, Hong Kong, America and Australia. It took years of developing my own material before working with them.

I started when I was fourteen, street-performing around Australia and eventually onto Europe, then comedy clubs, corporate work, festivals and bits of TV.

What future projects do you have lined up? What will you be doing next?

We finish our Australian tour in June, then Erik the Dog and I have a sweet gig with Virgin Atlantic in Hong Kong, followed

by Gadgets performing in Korea and Portugal. After that I may be heading off to work with another company for four months in Germany. Time will tell – it’s an unpredictable industry, but it’s a fun ride.

Lastly, in a nutshell, what can people expect from this show?

Belly laughs and a bloody good time for the whole family!

Gadgets hits Hobart’s Theatre Royal on the 22nd and 23rd of April. Bookings can be made at www.theatreroyal.com.au or 6233 2299

Featuring Sherry Palmer on vocals 8:00pm $7

What makes this show unique?

A robust and raunchy robot dog, juggling-triggered lasers and sounds, juggled semi-nudity in a fun-filled, live music driven, comedy extravaganza!

THURSDAY APRIL 24

Jazz Club '08 Viktor Zappner Swingtet

How long have you been working on this project? What have been the most challenging parts?

I’ve been working towards this for my whole career really – it takes so long to get a show off the ground. I have worked in other people’s shows, where I don’t have to worry about funding, management and all of that stuff. I was approached by a management company a couple of years ago, and they have made this tour possible. I am very grateful to them. Patience is an important skill in this industry.

featuring Wendy Moles from Hobart on vocals 7:30pm $7

FRIDAY APRIL 25

Gadgets features a guest performer in the shape of a remote-controlled terrier, Erik The Dog. What role does he play in this show? And this wouldn’t happen to be the same remote-controlled dog that used to be on O’Loghlin On Saturday Night, by any chance?

Buy a ticket and find out! Erik the Dog was on The O’Loghlin Show and is still a force to be reckoned with! He is the best part of the show, according to him.

What will your co-stars Jim Dunlop and Marko Simec be getting up to during this show? What roles do they play?

Jim and Marko are the best support line-up I have ever had.

They are simultaneously ripping it up on their instruments, making gags and looking stupid. It’s not as easy as you might think, especially the last one. Finding talented musicians who don’t mind laughing at themselves is a tricky business.

They are the backbone of the show.

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SAUCE #66

SATURDAY APRIL 19

CoolTrain

What can you tell me about the concept behind this new show, Gadgets? What is this show about?

This is a show that I have always wanted to do, and get huge satisfaction from doing now. The concepts behind Gadgets are all my ideas and gadgets that I have been working on for the last fifteen years.

What kinds of performance and stage elements feature in this show? Is it what we can expect from a guy with a circus background, or something different?

I’m not sure what you expect from a guy with a circus background. If you expect something that is technology-based, naturally funny and very exciting, then it’ll be what you expect and more. Our show is a lot more comedy-based than some circus companies; it’s certainly not serious arty-farty “Cirque Du So-To-Serious.”

Pugsley Buzzard Sydney, Harlem stride pianist 8:00pm $10

Invisible Boy Folk pop 8:00pm $7

“A robust and raunchy robot dog, juggling-triggered lasers and sounds, juggled semi-nudity ...”

SATURDAY APRIL 26

Deb Manskey Vocal & Songwriting Workshop - 3.00pm $15 & Performance - 8.00pm $15

stagedoor@keypoint.com.au

GIG GUIDE 16th April - 29th April WEDNESDAY 16TH HOBART Metz On The Bay Wednesday Sessions – DJ @ 9PM Republic Bar & Café Jordon Miller + Unleash The Nugget @ 9PM Syrup Rewind @ 10PM Victoria Tavern John & Craig

LAUNCESTON

“Give my people beer, Good beer, cheap beer, And there will be no Revolution among them” Queen Victoria 1819-1904

Now open Sundays 4pm onwards Live music 6 nights per week

Irish Murphy’s Kellie Collins + Alien Existence Royal Oak Rory McLeod (UK soloist) @ 9PM

THURSDAY 17TH BURNIE

FRIDAY 25TH

CHILL FAKTOR 3

Martin Martini and the Bone palace Orchestra

9.30pm $4

FRIDAY 18TH

9.30pm $16 pre sale / $20 door

The Hoodangers

SATURDAY 26TH

10pm $5

Anti Pulp-Mill concert

SATURDAY 19TH

The Bone Rattlers (EP launch) Support: The No No's $5

6-10.30pm

SUNDAY 27TH

Acoustic music afternoon 6.30pm FREE

SUNDAY 20TH

WEDNESDAY 30TH

The Charcoal Club

Wide Angle Film Night 7.30pm FREE

THURSDAY 24TH

Brookfield Vineyard Rory McLeod @ 7:30PM Republic Bar & Café Dutch Tilders @ 9PM Syrup Mesh – Adam Turner + Guests @ 10PM Victoria Tavern Jeremy Matcham

LAUNCESTON

Rory McLeod Nick Warren Open Mic Night PLUGGED IN

SATURDAY 19

L.B.C presents Dutch Tilders & Friends

In the boatshed at 9pm $3 cover $5 cover in Boatshed at 9pm

Open Folk Group 5pm ‘til late

Samuel Bester

FRIDAY 18TH

5pm ‘til late

OPEN MIC NIGHT

Republic Bar & Café Dave Robenson @ 9PM

Halo Psysessions – Ozzy (Tribeadelic) Republic Bar & Café Devilrock Four + The Inches @ 10PM Syrup La Casa – Matt B + Timo + Discotouch Downstairs – Nick C @ 10PM Victoria Tavern Vendetta

LAUNCESTON Irish Murphy’s The Rodgers Royal Oak Open Mic Night PLUGGED @ 9PM

SATURDAY 19TH BURNIE

OPEN 7 DAYS

14 Brisbane Street, Launceston 6331 5346

Irish Murphy’s The Gary Gary’s Royal Oak The Titz @ 9PM Saloon M.S.I. + Obsidian Aspect + Embodied + Three Victims @ 9:30PM Tonic Short Daze The Hub Nick Warren

Theatre Royal Gadgets @ 8PM

SATURDAY 26TH

LAUNCESTON

Stage Door the Café Deb Manskey @ 8PM

Irish Murphy’s Nathan Wheldon The Hub Open Mic

WEDNESDAY 23RD HOBART

Syrup Rewind @ 10PM Theatre Royal Gadgets @ 8PM Victoria Tavern John & Craig

Irish Murphy’s Glenn Moorehouse + Younger Dryas

Country Club Showroom The Panics

THURSDAY 24TH

BURNIE HOBART Alley Cat Bar Anti Pulp-Mill Concert @ 6PM Brookfield Vineyard Piano Marathon @ 12PM – 12AM Brisbane Hotel M.S.I. + Embodied (Vic) + Obsidian Aspect (S.A) + On Your Feet Soldier (A-A only) – ALL-AGES @ 3PM M.S.I. + Embodied (Vic) + Obsidian Aspect (S.A) + Three Victims (18+ Only) @ 9PM Republic Bar & Café Unleash The Nugget (EP Launch) + De Jah Groove @ 10PM Syrup DFD – Gillie + Adam Turner + Corney Downstairs – Tackyland – Naughts + Rolly + Billy Bob @ 9PM Victoria Tavern Ready or What

LAUNCESTON Irish Murphy’s Auto Pilot

HOBART

Polish Hall Tasmanian Variety Freak Show – Die Roten Punkte + The Emma Dilemma Show + Mayfield + The Devil Woman + Pointless Surgery + Samora Squid + The Human Bridge @ 7:30PM

Alley Cat Bar Martin Martini and the Bone Palace Orchestra @ 9:30PM

Royal Oak Mickey Josephson @ 9PM

Brisbane Hotel Urban Monk (Melb) + Draz

HOBART

BURNIE Stage Door the Café Viktor Zappner Swingtet + Wendy Moles @ 7:30PM

Republic Bar & Café Bumblebeez + DJ’s Oohee + Anna Lunoe @ 9PM Syrup Mesh – Adam Turner + Guests @ 10PM Theatre Royal 2008 Melbourne Comedy Festival Roadshow @ 8PM UTAS The Panics Victoria Tavern Jeremy Matcham

LAUNCESTON Irish Murphy’s Glenn & Jade James Hotel Uni Night – Live Bands + DJs

SUNDAY 27TH Alley Cat Bar Acoustic Music Afternoon @ 6:30PM Brookfield Vineyard Piano Marathon @ 12PM – 10PM Brisbane Hotel Tasmanian Variety Freak Show – Die Roten Punkte + The Emma Dilemma Show + Mayfield + The Devil Woman + Pointless Surgery + Samora Squid + The Human Bridge @ 7:30PM Raincheck Lounge Live Acoustic Music @ 4PM Republic Bar & Café De Jah Groove + Unleash The Nugget @ 9PM

LAUNCESTON Irish Murphy’s Ben Castles + Jesse Higgs + Max Beta Royal Oak Open Folk Group @ 5PM

Syrup DFD – Gillie + Adam Turner + Smithmonger (TCR, Supercharged UK) Downstairs – Tackyland – Naughts + Rolly + Billy Bob @ 9PM

Royal Oak Samuel Bester @ 9PM

BURNIE

Saloon M.S.I. + Obsidian Aspect + On Your Feet Soldier + Mephistopheles – ALLAGES @ 3PM

Victoria Tavern Ready or What

Stage Door the Café Invisible Boy @ 8PM

MONDAY 28TH

LAUNCESTON

HOBART

Royal Oak Dutch Tilders & Friends @ 9PM

Open Folk Group

OF EVERY MONTH

HOBART

Brisbane Hotel Boarding Party + Gene Bob & The Slaughterhouse Band + Whose is Bloody Whose + DJ BTC

James Hotel Devilrock Four + The Inches

Mickey Josephson

THE LAST WEDNESDAY

Irish Murphy’s Sara & Hamish

LAUNCESTON

In the Bar at 9pm

GREAT FOOD

Victoria Tavern Christian

Brookfield Vineyard Folk Night – Hot String Band @ 7:30PM

The Titz In the Bar at 9pm

SUNDAY 27

Republic Bar & Café Carl Rush @ 8:30PM

Republic Bar & Café Chimp Malitia + No Foto @ 9PM

Irish Murphy’s The Unit

In the Bar at 9pm

SATURDAY 26

LAUNCESTON

HOBART

Royal Oak Nick Warren (ex-Modus) @ 9PM

Republic Bar & Café The Basics @ 10PM

(Formerly of Modus) Solo at 9pm in the bar

FRIDAY 25

MONDAY 21ST

Metz On The Bay Wednesday Sessions – DJ @ 9PM

Alley Cat Bar The Bone Rattlers (EP launch) + The No No’s

FRIDAY 18

THURSDAY 24

Victoria Tavern Crikey

James Hotel Uni Night – Live Bands + DJs

UK soloist at 9pm

SUNDAY 20

Royal Oak Open Folk Group @ 5PM

Brisbane Hotel Willie Pete + Friends

Brisbane Hotel Bottles N Chains Demon Derby – Linc & The Insiders + The Turnaround

THURSDAY 17

Theatre Royal 2008 Melbourne Comedy Festival Roadshow @ 8PM

HOBART

9.30pm $16 pre sale / $20 door

APRIL WEDNESDAY 16

Irish Murphy’s Nathan Wheldon + Andy & Julz

LAUNCESTON

Irish Murphy’s Tash & Caz

Stage Door the Café CoolTrain + Sherry Palmer @ 8PM

Martin Martini and the Bone palace Orchestra

Republic Bar & Café New Retro Club @ 9PM

TUESDAY 22ND

Alley Cat Bar Chill Faktor 3 @ 9:30PM

Alley Cat Bar The Hoodangers @ 10PM

THURSDAY 17TH

Syrup Generationext CD Launch – Scott Alert + Dr. Willis + Locals Downstairs – Nick C @ 10PM

HOBART

HOBART

381 Elizabeth b th Street St t North N th H Hobart b t - ph: h 03 6231 623 2299

Raincheck Lounge Live Acoustic Music @ 4PM

LAUNCESTON

Stage Door the Café Pugsley Buzzard @ 8PM

The Alley Cat Bar

Republic Bar & Café Ballpoint + Andrew Swift & The Turnaround @ 10PM

Stage Door the Café Viktor Zappner Swingtet + Max Gourlay + Bob Partridge @ 7:30PM

BURNIE

Alley Cat

Brisbane Hotel Vialka + The French + We Are The Kicks + Essence of the Cool

SUNDAY 20TH HOBART Alley Cat Bar The Charcoal Club

FRIDAY 25TH

Alley Cat Bar Martin Martini and the Bone Palace Orchestra @ 9:30PM Brookfield Vineyard Piano Marathon @ 12PM Brisbane Hotel Ballpoint (CD Launch) + The Turnaround + Swifty (Melb) – ALL-AGES Enola Fall + Viva Computer + Ivy St – 18+

HOBART Victoria Tavern Christian

LAUNCESTON Irish Murphy’s Glenn Moorehouse

TUESDAY 29TH HOBART Republic Bar & Café Joe Piere @ 9PM

LAUNCESTON Irish Murphy’s Ben Castles

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 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 Wrest Point 410 Sandy Bay Road Sandy Bay 6225 0112 www.wrestpoint.com.au LAUNCESTON Batman Fawkner Inn 35 Cameron St 6331 7222 Country Club Country Club Ave Prospect 6335 5777 www.countryclubtasmania.com.au Irish Murphy’s 211 Brisbane St 6331 4440 www.irishmurphys.com.au James Hotel Reality Niteclub / James Bar 122 York St, 6334 7231 www.jameshotel.com.au Theatre Royal 29 Campbell Street, Hobart 6233 2299 www.theatreroyal.webcentral.com.au The Newstead Hotel 160 Elphin Rd 6331 1344 The Royal Oak 14 Brisbane St 6331 5346 SAUCE #66

13

SKIN DEEP sponsored by Tattoo Studio

SK8 WRAP BYJIMMY MCMACKEN It’s been a huge few months in Tasmanian skateboarding, with comps, demos, tours, exhibitions … you name it, it’s been happening. This week we had two of Nike Australia’s top skateboarders, Corbin Harris and Mike Martin in town, shooting photos for the next issue of the Skateboard Journal magazine, which will feature a full interview with Corbin, and should be jam-packed with Tassie action. While they were here they were also filming for an upcoming Nike video, so keep your eyes peeled for both of these, because I can’t disclose some of the tricks that went down, but believe me, they were amazing.

Tasmania must be the new black, because it certainly seems like the place to be lately. International skateboard team Almost graced our shores this month and did an in-store signing at Jimmy’s Skate and Street (which saw about two hundred kids jam into the shop) and skated Hobart and Launceston filming for their upcoming video. On the “Almost a Mappa Tassie Tour” were American pros Torey Pudwill and Cooper Wilt, Australian Skater Of The Year Lewis Marnell, and young Aussie ripper Shane “Nugget” O’Neill, Tassie’s own Chris “Dix” Smith, and, last but not least, one of skateboarding’s most charismatic and creative skateboarders, Canada’s Chris Haslam.

Bobby Godfrey recently returned (and, amazingly, in one piece) after a recent trip to Bathurst (that’s right, Bathurst) where he competed in Newton’s Playround, which was part of the IGA Downhill Skateboarding World Championships.

Competitors from all round the world including Brazil, Canada and Europe were competing at speeds of up to 95kmph.

Broken ribs, shoulders and elbows were just some of the carnage, so big congrats to Bobby for mixing it up with the world’s best and surviving.

In other competition news, Nick Simpson, Christian Rieper, Levi Adams, Ben Priseman and Brad Jones are in Sydney at the moment competing in the finals of the Junior Skateboarding Australia Championships. These boys had to qualify for this, so big-ups and good luck to all of them. The second annual Southern Shootout was on at Dover earlier this year, and this time around there was $1000 cash first prize, which makes it one of the richest competitions in Australia. In under-14s it was Ben Priseman that took out the gold, under-17s was Levi Adams, and in the open, which was a very intense final, it was Ben Smith 3rd, Anthony “Strawbs” Broadberry in 2nd and, taking out the money and the fame, was Sam Giles.

Talking of Sam Giles, he has certainly been making a name of himself lately, and along with Chris Smith, they have really been putting Tassie on the national skate map. Both of them are the latest members to the team at Jimmy’s Skate and Street, both are on the team at Globe and Ezekiel, and they both featured heavily in an Ezekiel road trip article in Skateboard Journal. Chris has one of the most amazing shots I have ever seen, skating a dam in Tassie, and Sam is now shooting for a future interview with the Skateboard Journal.

Also, check out a checkout on Blair Heath from Launnie in the latest Slam Magazine.

Corbin Harris - Waddamana pipes - Blunt to Fakie stevegourlayphoto.com

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SAUCE #66

Last Friday saw the opening of Four Wheels and a Camera, a skateboarding photography exhibition at Jimmy’s Skate and Street, curated by Duncan Ewington and featuring local skate photographers from all over the state, including James Da Costa, Jason Morey, Ryan Joyce, Duncan Ewington and Lewis Carney. The exhibition runs ‘til May 2nd, so be sure to get in and check it out. Skate or die.

Street Speak

Gary 32

Jenna 19

Sam 18

Dulcie 20

Favourite band?

Red Hot Chili Peppers Favourite TV show?

Gordon Ramsey’s Kitchen Nightmares How often do you buy the newspaper?

Once a week (Sun) What radio station do you listen to?

Triple J What do you look at most, a computer screen or a TV screen?

Computer Where do you mostly go on the internet?

Facebook If you were arrested, what would it most likely be for?

Music piracy If you could make a new law, what would it be?

Mandatory masseur sandals What’s the stupidest thing you’ve ever done?

Surfing on a wheelie-bin

Favourite band?

AFI Favourite TV show?

Family Guy How often do you buy the newspaper?

3 Times a week (Sat, Sun, Thu) What radio station do you listen to?

Triple J What do you look at most, a computer screen or a TV screen?

Computer Where do you mostly go on the internet?

Facebook If you were arrested, what would it most likely be for?

Too Drunk If you could make a new law, what would it be?

Casual dress at work What’s the stupidest thing you’ve ever done?

Forgot cue in high school musical

Favourite band?

Alexisonfire Favourite TV show?

Don’t watch TV How often do you buy the newspaper?

Once a year What radio station do you listen to?

Triple J What do you look at most, a computer screen or a TV screen?

Computer Where do you mostly go on the internet?

MySpace If you were arrested, what would it most likely be for?

Urinating in public If you could make a new law, what would it be?

Forks required at all times What’s the stupidest thing you’ve ever done?

Had my arse branded

Favourite band?

Slipknot Favourite TV show?

Grey’s Anatomy How often do you buy the newspaper?

Never What radio station do you listen to?

Triple J What do you look at most, a computer screen or a TV screen?

Computer Where do you mostly go on the internet?

Ebay If you were arrested, what would it most likely be for?

Public Nuisance If you could make a new law, what would it be?

Ban size ‘0’ What’s the stupidest thing you’ve ever done?

Cut all my hair off

Tech

ROCK – SYDNEY/HOBART// JORDAN MILLAR & THE QUESTION

Translating the lies

IPOD TOUCH

THE IPOD NANO, 8GB, THIRD GENERATION

By Tom Wilson

From the first time we spoke to a young Tassie-born singer-songwriter named Jordan Millar, we could tell that he had the talent and the drive to go on to big things, and it seems we were right (as always), because he’s currently back in the state with his band The Question to launch a debut full-length. He told us some Lies In Translation …

You’re launching your debut album. How long have you been working on this, and who did you work on it with?

We did the album with a great producer called Anton Hagop.

He’d worked on some big projects before (Silverchair, Powderfinger, Missy Higgins) so we trusted that he’d make it like we wanted. We went into the studio for eleven days in November and I co-produced it with him. But the album was really just a matter of execution for us. We’ve had most of the songs sitting around for over a year.

What can you tell me about the overall vibe and mood of this release? Would you say it’s a happy record? A wrist-slitter? What’s the go?

I’d say overall that it’s a happy record. It’s got its darker moments, and its jam band moments that we had to ensure stayed in there. But generally speaking, it’s a pop/rock record, kinda like Ben Harper or Dave Matthews Band etc.

Which song on the album is the most personal for you, and why?

That’s a tough one to answer, but I think the title track Lies In Translations is, really. That track is the most natural song I’ve ever written. I just sat down and twenty minutes later had the whole song finished, just as it is on the record. I think it kind of optimises our music and what we were trying to achieve with this record, which was to create something musical, yet something still accessible, which is exactly what all my favourite albums have been.

What were some of the inspirations that went into creating these songs, lyrically and musically?

Lyrically I’m not inspired by anyone in particular, but I’ve always loved cryptic lyricists that know what they want to say, but have a nice subtle way of saying it, so it’s not always obvious to the listener. This allows you then to interpret the lyrics in your own way. So in no track on the record is it screamingly obvious what the song is about, but if I explained it to you it would make perfect sense … maybe.

“… If I explained it to you it would make perfect sense … maybe.”

Musically, the inspiration came from a lot of Hendrix, a lot of John Mayer, a lot of Dave Matthews Band and a lot of Jamie Lidell … and a little bit of James Morrison … and Maroon 5 … it’s really a mix of everything because some of the songs I wrote in 2005 and some I wrote two weeks before we went in, so it’s an eclectic mix.

What touring will you be doing to promote this release?

We’ve already been playing everywhere in NSW for it and we’re down in Tassie now. But we have an August tour planned which will include the whole east coast of Australia as well as Tasmania.

Jordan Millar & The Question launch Lies In Translation at Hobart’s Republic Bar on the 16th of April. www.myspace.com/jordanmillar

Specs: Height: 110 mm (4.3 inches) Width: 61.8 mm (2.4 inches) Depth: 8 mm (0.31 inch) Weight: 120 grams (4.2 ounces)3.5-inch (diagonal) widescreen Multi-Touch display 480-by-320-pixel resolution at 163 pixels per inch I’ve been a fan of apple’s iPod for quite a while; I’ve been using my 3rd generation iPod now for about four years. The iPod Touch, though, makes my old iPod look like something from the 80s. It’s thinner, lighter, and has a gorgeous 3.5-inch colour multi-touch display with an amazing 480-by-320 pixels. The iPod Touch comes in three different capacities; 8gb, 16gb and the recently released 32gb model. Whilst the name iPod may make you think that it only plays back music, it does so much more than that; as well as music playback, the iPod Touch can play video and view photos.

Apple have also given the touch WiFi capability, so you can use the iTunes store to buy music, and download it straight to your iPod without a computer.

With this WiFi capability also comes the fully featured web browser Safari – this will let you check out most websites, and some of the good ones (like Facebook for example) also have custom pages made specifically for the iPod Touch (and iPhone). You can even watch videos straight from Youtube!

Even with all these features, battery life on the iPod touch is great; Apple claims a battery life of twenty-two hours for music playback, and five hours for video. With WiFi enabled, I got at least five/six hours surfing the web and Youtube and listening to music.

Apple’s multi-touch interface is a joy to use – the onscreen keyboard takes a little getting used to, but I was typing pretty easily on it within a few hours.

SIMON HANCOCK

Apple describes the iPod Nano, Third Generation, on their Australian site as “sleek and colourful” and being “dressed to impress,” and just like Nicole Kidman on Oscar night, ‘tis a very elegant gadget indeed, and with the anodised aluminum and stainless steel casing it is also surprisingly hardy for such a slip of a thing. Now as so many of you would already know, the iPod Nano is kind of like Robin to the big iPod’s Batman. It’s smaller and prettier but with less muscle gigabyte-wise (with a choice of 4GB or 8GB depending on how many dollars you want to hand over) but it still has super iPod powers and it is, of course, iTunes ready (free to download). Naturally you can import your own music, movies, podcasts and videos, manage your whole media library, and sync your iPod or iPhone with ease. Hooray for the superhero sidekick, and so much smaller and cuter too.

And it gets technologically tastier and tastier. My minty green trial player could play videos on its two-inch display, which features the densest pixel screen of any Apple product ever. Nevertheless, for all the sparkle and shine, there’s no denying that two inches is, well, very small. Therefore it doesn’t inspire me to snuggle up with a hot chocolate and the latest blockbuster movie. But it was ultra swish for swooshing through the album art to locate songs, and, although unfamiliar compared to its predecessor’s interface, the third-gen Nano also boasts an enhanced interface for browsing and viewing content – it was easy to navigate, and I hardly ever beached my mission.

The sound quality is excellent, and puts my current player to shame, and the battery life is almost magical. Being a noob and not reading the instructions, I failed to turn it off several times, only to suddenly detect that tinny sound of music that you get when there is a sonic leak from your headphones somewhere in your house, but not in your ears. Despite these unappreciated concerts in my bag and on the desk, it never ran flat. The interface is very Apple- and user-friendly, and although being new to the wheel of control, I soon became fond of giving it a nudge and a tickle so it would succumb to my bidding. [Jesus!

What were you doing with it? – Tom] Soon it became time to send the Nano back home to the editor. I must confess, I felt a pang. I have resisted iPods for years for fear of being sheep-like – obediently following the rest of the consumer flock to get their music branded. But from my brief tryst, I believe the reason for the reflexive reach for iPods by consumers is because they are simply the superior product in the portable music player market, and the Nano, as sidekick, is a sexy little number for cruising the soundtrack to your life.

CLARA MURRAY

SAUCE #66

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