On the street every second Wednesday
Free Edition #72
09/07/08 - 22/07/08 Made in Tasmania
WEDNESDAY 9TH JULY
17HZ THE HIGHLOWS
THURSDAY 10TH JULY
SUNDAY 13TH JULY
TUESDAY 15TH JULY
BEN WELLS BAND WEDNESDAY 16TH JULY
CHARLES DU CANE IVY STREET
THURSDAY 17TH JULY
AMY KENDALL INVISIBLE BOY RAY MARTIANS
FRIDAY 18TH JULY
JORDAN MILLAR SUNDAY 20TH JULY
TUESDAY 22ND JULY
HOBART O A T
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PROUDLY SUPPORTED BY CASCADE GREEN
PUNK – LOS ANGELES // STRUNG OUT
Punk Veterans To Show You A Good Time
By Tom Wilson
You wouldn’t know it from looking at the front cover of this edition of SAUCE, but Jake Kiley – six-stringer for California’s Strung Out – definitely doesn’t have an axe to grind. Taking it easy at his pad in L.A. ahead of the band’s lap of the map down under, Kiley is everything you’d imagine a grown adult with a career in punk music would be; relaxed, friendly, and just plain happy. And he’s got every reason to be, because touring and playing to a worldwide fanbase is exactly what he wants to do in life … and he’s about to do it down here … Where are you at the moment, mate? I’m at home actually, right now – we’re in Los Angeles. We’ve got about two weeks off in between our tours right now; we just got done with the big U.S. tour, when we were out with Pennywise for a couple of weeks. Now we come over in about five or six days, so yeah, we’re looking forward to it. So what are you getting up to in your down-time? Oh, not much – we just kind of take it easy when we’re not touring. We keep a pretty busy touring schedule, so for our time off it’s kind of nice to just hang out and catch some movies, and just take it easy – have a few beers. When you’re about to head back out on a tour – especially one as big as the Australian one you’re going to do – what kind of preparation do you have to go through? Well, any time you go to an international country, you have to get, you know, your passport in order, and sometimes take a few passport photos for the visas to get in and all that, but generally not too much, you know? Our booking agent over there, they do a great job, and they set up all the arrangements all routed for us, and we’ve just got to get our own plane flights over, but yeah, that’s really not too much. Usually the agents take care of most of the dirty work. Have you guys toured with No Use For A Name before? Earlier in our career, when we were first starting out, we would play with them a lot more – over the last few years, we haven’t really had a chance to really do too much with
them, outside of the Warped Tour about three years ago – so we’re really looking forward to getting back together with those guys and having a good time. When it comes to playing live, particularly on tours this big – I’m assuming they’re stadium shows or big halls and stuff – what’s your favourite part of the whole process? Is it actually being on stage, or is it the first moment when you guys first come out? I enjoy just about everything about touring – I’ve always wanted to do it, so now I really enjoy … of course, playing the show is a good time, being able to connect with these
doing? Do you have a family history of a certain occupation? Was your dad a bricklayer or something? [Laughs] No, no! My parents really didn’t do too much – they were kind of just like hippies and stuff – and my grandparents, they were old-fashioned; my grandpa worked at the railroad company and stuff, and my grandma was a housewife. So we don’t have, like, a family business or anything … I wanted to create something that I could do [so] that I didn’t have to have a nine-to-five type of job, and I really don’t want to work my ass off just for someone else to get rich, so I don’t know. I really don’t know what else I’d want to do. I think, no matter what, I’d be doing something in the music
“… I really don’t want to work my ass off just for someone else to get rich …” kids from all these different areas and all these other parts of the world – it’s an amazing thing for us to get to play our songs for them. Also, when we’re in a town, I really like to take some time and go around and see some of the things … some of the tourist-y stuff, or just some of the cool museums; whatever an area has to offer. That really kind of makes the whole thing a bit more enjoyable than just going to the hotel and then going straight to the show or something like that. But sometimes you get a little tired, and you just need to take it easy, and just, you know, hang out at the hotel, rest up, and then give the show everything we have. You were saying that what you’re doing right now is what you’ve always wanted to do … I’m wondering – if you weren’t playing music, what do you think you’d be
field – maybe recording bands or, at some level, hopefully playing music. But who knows, you know? I feel really fortunate to have the chance to do this professionally, and I guess it never crosses my mind what else I’d want to do. Some of your latest press shots have you guys covered in blood, wielding axes and chainsaws … Yeah, that was fun. Who’s idea was that? Was that a homage to Evil Dead or something? I don’t know – it just seemed like a lot of fun to do it … we’d been discussing, like, doing some murder scene photos, where we were either dead, or it was somehow … almost mafia reenactments, almost – like crime scenes, where
people are just shot up and dead. And we’re hardly the first band to ever do something like that, but it’s just a lot of fun to kind of get into a character. We’re into horror movies and gore and all that stuff, so … yeah, it made it a bit more interesting than just standing around and posing like usual. Yeah, it was fun, for sure. I understand that Rob [Ramos, guitarist] has done some work in the film industry – is that correct? Yeah, yeah – he’s worked on a few movies over the years and stuff like that. So what role does he play in that? What does he actually do? I believe he does miscellaneous [stuff] – like setting up the lights … he arranges the lighting and stuff. He’s not exactly the lighting director, but he’s up there working with all the guys in the rigging and stuff, and they just arrange all the sets, and get all the lights correct, and when they need something new done, they go up and they change it. It’s pretty cool – I’m pretty amazed that he’s able to tour with the band and also do that on the side, because that’s just kind of a perfect thing to do on your off-time, and it’s a really good career to have. We’re stoked that Rob takes the time from doing that, because he could do that as a full-time employ, but he really loves the band a lot, so he dedicates most of his time to touring with us, which really makes me appreciate that all that much more. Strung Out play Hobart Uni on the 12th of July. To listen to the full interview, go to www.sauce.net.au SAUCE #72
NEWS #72 - 9th July to 22nd July
NEW FACE OF SLIPKNOT UNVEILED
Contents 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22
Strung Out News / Fat Lip Studio Diary / Gr8 Graf News Symbiosis Dan England Sara Jane All Fires The Fire / Amy Kendall / British Battlegrounds Gig Reviews Dominic Francis Dismember Gig Guide CD Reviews Snowman / Hindrum Screen / Chris Fraser Goodwill Azza Matazz / Cam / DJ Tim Travel Hot Mod Street Fashion / Wearable Art UTAS Exhibition Art Sparks
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For one day only, the laid-back members of the Taroona Bowls Club have handed over their bowling green to a music festival called “Green Beats,” to be held on the 17th of August.
On the 1st of this month, Slipknot, the Grammy Awardwinning, multi-platinum nine-man hard rock enigma unveiled its new imagery in an exclusive partnership with AOL Music. This highly anticipated debut has kick-started the launch of Slipknot’s new album, All Hope Is Gone, which is set for release on Roadrunner Records on August 26th. Masks are an integral part of the band’s identity, and to reflect this point, AOL Music’s Spinner.com hosted a retrospective photo gallery of Slipknot masks throughout their career, spanning all three previous albums and including the most recent controversial “Purgatory Masks.”
Their last studio album Vol. 3: The Subliminal Verses was released in May 2004, debuted at #2 on the Billboard Top 200 Chart, selling over 240,000 copies its first week and 1.5 million copies in the U.S. to date.
SUBSCRIBE TO THE FALLS FESTIVAL TICKET BALLOT
For further information please head to www.myspace.com/ greenbeatsmusicfestival
CATFIGHT – WATCH THIS! Midnight Oil’s incendiary 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 is the greatest Australian album of all time, according to a poll conducted by The Age’s weekly entertainment section, EG. The album topped offerings by some of Australia’s favourite acts, including AC/DC, INXS, Skyhooks, Paul Kelly, the Hoodoo Gurus and Crowded House, according the a panel of sixty experts comprising musicians, critics and broadcasters.
Midnight Oil, led by the country’s current arts and environment minister Peter Garrett, polled the most amount of votes (150), ahead of AC/DC (149).
For your best chance to get hold of tickets to the Falls Music & Arts Festival, all that you need to do is be a Falls Festival Subscriber and then enter yourself in the 2008 ballot (being a subscriber does not automatically mean that you are in the ballot – you do need to throw your hat in the ring for this year’s events). The Falls Subscriber Ballot is held to ensure that most of the tickets go straight to the hands of Falls Subscribers. The option to subscribe for the ticket ballot is available via the website until midnight on Wednesday the 27th of August. The first line-up announcement will be on the 13th of August. www.fallsfestival.com
5th July Deligma – Guy Jefferies, Simon Jefferies, Damien Gale, Dylan Smith – pre-production starts this weekend for the five-track EP. They are a progressive rock/metal band from Burnie/Devonport; strong influences from Cog, The Butterfly Effect, Deftones, Tool and Karnivool. This is going to be a challenging project. Progressive rock demands both pristine and aggressive sounds across the whole spectrum. It will involve some crazy time signatures, slick production and plenty of depth. Drums can be very intimate at one point, and then change into a huge wall of sound that rips through your speakers. The boys are very focused, and prepared for the work ahead. 4
Swaprock works on a simple concept based on points, not cash. Users simply list the items that they want to swap and place a points value on them. When another member wants a listed item, they simply pay the points value nominated, not cash. This way no money changes hands between members, avoiding any legal issues. These points are credited to your Swaprock account, so you can now spend them on any item, from any member. The more points you get, the more items you can request. Users then simply post the item out to the member who requested it, who only pays a $1 transaction fee to Swaprock to have a new CD, DVD or book delivered right to their doorstep.
Green Beats is on at the Taroona Bowls Club, Lower Green on Sunday August 17th from 12pm to 5:30pm (gates open at 11:30). It is a fully licensed 18+ event. Tickets are $36.50 + BF/$42 on the door and are available at Centretainment – Hobart and Launceston – or at the University Union Contact Centre.
FAT LIP STUDIOS
2nd July This Future ... Chaos – New track on Myspace. Today we tracked vocals for a new Chaos song called Sea Legs. Check them out at myspace.com/thisfuturechaos
Young salesman Julian Kershaw is the man behind Swaprock.com.au, a new website where users can swap all their unwanted DVDs, CDs, video games and books with other members of the site, only paying a $1 transaction fee to have it delivered right to their door. “It was an idea that just hit me when I was selling Hi-Fi equipment for a national retailer,” says Mr. Kershaw. “The company was giving away five free DVDs with a particular DVD player, but it turned out that many of the customers already owned them, and asked if they could swap them for other titles. I was happy to do this, but the retailer refused, which left a bad taste in the mouths of many customers as they felt they were being ‘jibbed.’ And that’s when it hit me! I wondered – how many Aussies like myself have a collection of DVDs, CDs, video games and even books they don’t want any more?”
Home-grown talents The Scientists of Modern Music are also set to take the stage, along with NSW rockers The Lazys. Also confirmed are Hobart three-piece Red Rival, Adam Cousens and band, and Sam Cole.
Maeve Macgregor, Richard Kemp, Leann Kaczmarski, Lisa-Marie Rushton, Chris Rattray, Ryan Farrington, Tabitha Fletcher, Hannah Keen, Kevin Gleeson, Dave Venter, David Quinn, Stuart Evans, Steve Tauschke, Jimmy McMacken, Joel Imber.
28th June Door of Hope – Youth United – A live recording for the Youth United Church at the Door of Hope complex in Launceston – great sounds, great playing. The band used a Pearl drum kit, Vox AC30 guitar amp and a Sansamp for the bass, which was all multi-tracked through the valve desk. Unfortunately a hard disk failure (argh!) brought the project to an end … the drive was brand new too! That’s a first for me. Ah well ... that’s life. A lot of time and effort went into that one. There’s another concert next month … try, try, try again ...
A local salesman’s efforts to help his customers have enraged a major entertainment label, caught the attention of international entrepreneurs and sent his web developer grey – all so that Australians can get stuff for $1 without illegal file sharing.
MIDNIGHT OIL’S 10-1 VOTED GREATEST OZ ALBUM OF ALL TIME
Sauce #73 (23rd July to 6th August) Deadline: Friday 1st August - 4PM
Headliners Muph and Plutonic will be detouring from the far north of Australia to include Green Beats on their new national album tour – And Then Tomorrow Came.
LOCAL SALESMAN UPSETS MAJOR RECORD LABELS
Opinions expressed in Sauce are not necessarily those of the Editor or staff. Sauce Publishing accepts no liability for the accuracy of advertisements.
GREEN BEATS SET TO BOWL YOU OVER
GR8 GRAF - Photos by Joel Imber
Sword-swallower, contortionist and sometimes-Turd, Samora Squid - Rhythm Guitar/Vocals/Keys/Loops, Matt Libido-Ski Drums/Synth/Theramin and Heath Skank - Lead Guitar have formed Catfight, an industrial/pop/metal/ dance act that is one of the more interesting and polished groups out there at the moment. Catfight play their first show in Hobart (18+) at The Brisbane Hotel on Saturday the 12th of July.
Comprised of catchy, edgy political anthems US Forces, Power and the Passion, Short Memory, Outside World and Read About It, the album struck a nerve with Australian audiences when it was released in 1982. It reached no. 3 on the charts and stayed there for more than three years, selling more than a quarter of a million copies. “With the spectre of the Cold War hanging over us, it was full of brooding and minor chords, but it worked because we played so hard and we didn’t let it ever get preachy,” said Midnight Oil’s Rob Hirst, who described the album as career-defining and the band’s creative peak. “We were hugely in debt at the time. If we didn’t have the success and support with it, I don’t know if we would have managed to go on.”
NEWS Smilie facing stiff competition from Queenslanders Tydi, The Stafford Brothers and Baby G.
WHO’S THE BEST DJ? Each year the announcement of Australia’s favourite DJs, club nights, events and producers is cause for heated debate and intense speculation among Australia’s dance music aficionados. Since its inception, the inthemix50 has established itself as the barometer for who’s hot (and who’s not) on the Australian club and festival scene. 2003-2005 saw Kid Kenobi take out consecutive titles, before the rise of electro catapulted Ajax to the top spot in 2006-2007. Initially the poll was heavily dominated by NSW identities, however in recent years inthemix50 has seen high-ranking Victorians such as Dirty South, John Course and Grant
SOUTH AUSTRALIAN MC BRINGS THE NOISE TO TASSIE
Punters can go online at www.inthemix.com.au/50 to vote on their favourite in the following categories: Local DJ, Club Night, Event/Festival, Local Producer, and International DJ Those who vote also go into the draw to win a home studio and Bluetooth stereo prize for wireless music streaming between Walkman, stereo and Notebook worth $3500. Voting closes on midnight, Sunday the 3rd of August, with results being announced on the 20th.
He will be hitting Hobart’s Brisbane Hotel on the 18th to play with Viva Computer and I Built A Flying Machine, and Arts Alive in Launceston on the 19th, with Viva Computer, Yuri & The Vostok, Hawaii and Whims & Bellows.
You can check him out at www.myspace.com/subsketch.
Mainland alternative hip-hop artist Subsketch is heading down to play two shows in Tassie this month.
HAPPY BIRTHDAY BRISBANE! Happy 1st birthday to The Brisbane Hotel in Hobart! There’s going to be a party, so check their ad, or the Gig Guide for details.
In a review of a Galvatrons gig in issue #70 of SAUCE, the reviewer incorrectly stated that the opening band was Melodic Candy. We would like to apologise for any offence or inconvenience.
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New Website. Tix Available Online REPUBLIC BAR & CAFE www.republicbar.com 299 Elizabeth St North Hobart Ph. 6234 6954 THURSDAY 10th JULY
FRIDAY 11TH JULY
SNOWMAN + BASEBALL SYMBIOSIS
SATURDAY 12TH JULY
GOOD BUDDHA + LET THE CAT OUT
JULY GIGS Wednesday 9th
Bone Rattlers + Lady Insane
Snowman + Baseball $15pre/$18door
Good Buddha + LET THE CAT OUT $10 pre/$12 door
Republic Quiz Night
The No No’s $4
4 Letter Fish
Clare Bowditch + Hot little Hands $22.50pre/$25door
Clare Bowditch + Hot little Hands $22.50pre/$25door
Cake Walking Babies
FRIDAY 18tH & SATURDAY 19TH JULY
+ HOT LITTLE HANDS
ROCK - MELBOURNE // SYMBIOSIS
Merging With Musical Elements By Tom Wilson
In the biological sense, “Symbiosis” is defined as “the living together of two dissimilar organisms, as in mutualism, commensalism, amensalism, or parasitism.” But we’ve got a better definition for you right here; “the living together of reggae, rock, gypsy, ska, soul and hip-hop” … and if that sounds like your bag, you’d better check out this Melbourne ensemble when they arrive on the back of their debut LP this month. Singer-guitarist Fraser “Z-Z” Montgomery merged with the dissimilar organism that is SAUCE … You guys have just released your album – how long has this been in the works? Who did you work on it with? We recorded the album over fourteen months, which was a lot longer than we expected, but that’s just the way it turned out. Our producer, Andy Baldwin, ended up moving to New York halfway through the year, and was then splitting his time between Melbourne and NYC, so that lengthened the process. In saying that, it gave us time to write new material for the album, and work harder on what we had. It also opened the door to work with a couple of other producers on certain tracks – being Mista Savona (who did Illzilla’s Melbourne Meets Kingston) and Noam Dishon (AKA Hattori Hanzo, who just produced and mixed most of Bliss N Eso’s new album). So it was a great experience and a full-on year, and we are stoked with the album, so that’s the main thing.
“…We struck the big last chord and the fireworks went off all down the river …” What was the most challenging part of creating this album, and why? And how did you overcome it? The most challenging part was selecting the songs, and more importantly choosing what not to put on the album. We wanted to choose a collection of tunes that represent what we do live, and the spectrum of styles we can play, but also form a cohesive album from start to finish. First and foremost, we wanted each song to stand up on its own, but we also wanted an edgier feel throughout the album that hasn’t been present in previous recordings and songs. There is still the melodic sunshine, but also a darker edge to balance it out. To what extent would you say that a track like Rise Up reflects the sound and musical vibe found on the rest of this album? Rise Up reflects a lot of what we do in its musical vibe and lyrics, but strictly speaking about musical styles, it does stray from a lot of our other material. When looking at the album the other day, we realised we could have actually split it in half and presented a side-A and side-B of rather contrasting styles – one side with the more rock-based songs like Rise Up and Runner, and the other with the more reggae, ska-based tunes. But I think bringing them together creates an exciting and dynamic tapestry of sounds to journey through. You guys recently worked with Bliss N Eso on their album Flying Colours. How did this come about? And what was it like working with those guys? Towards the end of last year, and early this year, they started working out of the same studio and with the same producers [as we were]. We were wrapping things up as they were getting into it – having said that, we never really got to hang out with them. Our days in the studio were our days, and theirs were theirs … and after spending that amount of time in the studio, when you have a day off, you usually don’t want to go near it. So I ended up playing acoustic guitar on the B-side version of Bullet and a Target, and then Noam (Hattori Hanzo) played them some of our songs, and they just loved it, and decided to use an older track of ours, Wishing Well, on the album, and turned it into a classic tune called $5 Steak. What was the last truly surreal or outrageous thing that’s happened at a Symbiosis gig, and how did you deal with it? The day we released our album in March, we played at the big Moomba Festival in Melbourne down by the Yarra. It was also our drummer’s birthday, and our hundredth gig with him, so there was a lot to celebrate. We played the night slot, and as we were drawing to the finale of our last song … we struck the big last chord and the fireworks went off all down the river and through the city. The crowd was going wild. Of course, the fireworks weren’t for us, but we couldn’t believe the timing of it. It was awesome just rocking out on this last chord like AC/DC with the fireworks cranking. It is like something KISS would orchestrate … definitely a rock star moment. Symbiosis play Hobart’s Republic Bar on the 11th of July. www.myspace.com/symbiosissounds 6
There’s Always Something ... WEDNESDAY 9TH JULY Sara Jane + The YoungerDryas
WEDNESDAY 16TH JULY Nathan Wheldon Emma Fair Band
THURSDAY 10THJULY Ben Castles
THURSDAY 17TH JULY Hamish & Sara
FRIDAY 11TH JULY The Gary Gary’s
FRIDAY 18TH JULY Victor Charlie Charlie
SATURDAY 12TH JULY Long Way Home
SATURDAY 19TH JULY PD Buffstar D-Lux
SUNDAY 13TH JULY Sara & Hamish Luke Parry Buffstar D-Lux MONDAY 14TH JULY Ben Castles TUESDAY 15TH JULY Kristy Tucker
SUNDAY 20TH JULY Andy & Julz + Tash & Caz Long Way Home MONDAY 21ST JULY Luke Parry TUESDAY 22ND JULY Nathan Wheldon
... Happening At Irish Murphy’s L I V E M U S I C 7 DAY S 3 BARS / FUNCTIONS AVAILABLE / RESTAURANT WOOD FIRED PIZZAS / LOG FIRES / ROOFTOP BAR OUTSIDE
211 BRISBANE ST LAUNCESTON 6331 4440
ROCK - BRISBANE // DAN ENGLAND
Riding Out A Year On The Road
By Tom Wilson
““Hang on – he’s way too hairy for a prostitute!””
Make no mistake – when promoters announced Dan England’s tour as “A Year on the Road,” they weren’t kidding. Since last November, the former Australian Idol star and his band The Thieves have been playing an average of five gigs a week, and his upcoming Tassie visit will prove no exception with a whopping eight dates this month. How’s he holding up? How did he manage to wind up in a converted brothel in Victoria? And did he just say he used to be a metal-head? In a rare moment of respite, England spoke to SAUCE … I understand you’re on a small break from a huge string of dates that started in November last year … Yeah – it’s been about eight months on the road now, and about a hundred-and-fifty-odd gigs. Yeah, we’ve got a couple of weeks off at the moment, so we’re doing absolutely nothing! [Laughs] Doing that many shows in that period of time, what kind of toll does that take on you after a while? It’s pretty full-on, you know? When you gig, by the time you get off-stage, you’ve been pumping with adrenaline for a couple of hours, and you are sort of pretty mentally exhausted by the end of it. But doing it every night, we average about five to seven hours in the car every day, ‘cos it’s a different town every night, you know? So it does get physically exhausting as well, but it’s something we all love to do – it makes up for it, and it helps you get through it. Do you have any tricks or tactics to keep your energy up? You just can’t get on it every night, you know? You’re in a band; people expect you to party every night, and you just have to behave yourself and crash out, ‘cos we’re doing an average of five gigs a week, so it’s like any sort of job – you can’t do it every night, you know? Since you started in November, of all the shows you’ve played, what stands out as both the best show that you’ve done, and the worst one, and why? I’d say the best place we probably played is in Darwin, I’d say. It’s got a really rocking music scene up there, and it just goes off – the pubs are packed every night, and people just really sort of appreciate it … I’d have to say that the worst one was probably in a place called Yallourn [laughs] in Victoria – it’s in the middle of a whole heap of power stations, and it’s an ex-brothel called The Powerhouse, and it is just a terrible venue! [Laughs] We actually pulled a good crowd, but as far as venues go, it’s horrible. Most of the crowd – you don’t think they turned up still thinking it was a brothel and going, “Hang on! That’s not a prostitute – that’s a hairy man!” [Laughs] Yeah! “Hang on – he’s way too hairy for a prostitute!” “He’s got a penis! Argh!” [Laughs] Yeah – it’s a lot of the power workers there, and it gets pretty rowdy, but yeah … the venue, it’s the sort of place you walk into and just go, “Yeah, I don’t want to touch
anything in here.” [Laughs] I’m sure if you ran an ultraviolet light over the walls, you’d come up with some surprises – the place would look like a Jackson Pollock painting! [Laughs] Yeah! Definitely! Have you got some good feedback from punters? Yeah, it’s been great, you know? The whole thing that I was on Australian Idol … I’m not your typical Idol, and people sort of turn up … some people turn up expecting an Idol show, but usually go away fairly happy with what they’ve got, because it’s certainly not your typical Idol show … I don’t sing to backing tracks – I play my own instruments, I write my own stuff. And you don’t have three people giving you shit when you finish … That’s exactly right! [Laughs] That always helps! [This album] Is this a new full-length? It’s another six-track – it’s an EP. Because it’s a fairly different direction – I’ve been writing with Jeff Lang, who’s a very heavy blues/roots player … I spent a good three months in the studio developing the album, so I just wanted to sort of test the waters with another EP and see how that goes, and then [get] back in the studio at the end of this tour to record the full-length. You said you’re doing something a bit different – in what ways would you say it’s different? It’s just a lot less commercial and just more “me” … Like I said, I had plenty of time to develop it – just a bit of a heavier vibe, and a bit of a rockier thing. I grew up on metal, and then fell in love with playing acoustic guitar, and it’s always come through in my playing a little bit, I suppose. My god! As a fellow metal-head, I must say – damn you! Come back to the flock! [Laughs] Return to the dark side! Dan England plays Hobart’s Brisbane Hotel on the 16th of July, the Midlands Hotel in Oatlands on the 18th, Brookfield Vineyard on the 19th, Hotel SOHO in Hobart on the 20th, Launceston’s Royal Oak on the 23rd, Stage Door the Café in Burnie on the 24th and 25th, and St. Mary’s Hotel on the 26th. To listen to the full interview, go to www.sauce.net.au SAUCE #72
ROCK - LAUNCESTON // SARA JANE
Exploring The Way We Feel By Tom Wilson
Given that her debut EP is called Troubled Minds, it should come as no surprise that the lyrics of this Launceston songstress explore some of our most familiar emotions – love and hate, happiness and sadness. What you might find surprising, however, is that she calls herself a “novice” … because we, for one, think she’s selling herself short, and we think you’ll agree. So, are you Tempted? SAUCE spoke to Sara Jane … How did you first get into music? Do you come from a musical family? I have been involved in music for as long as I can remember really. As soon as I could talk, I was singing. My mum always used to say that when I was little, if I wasn’t singing, I was asleep somewhere. My family is fairly musical. My grandmother had a great voice, and my brother plays drums and sings – it missed my parents though! [Laughs] But they are all highly musically-minded – they love watching bands plays and all that sort of thing. They are very supportive. Once I was a bit older (about eight or nine) I started singing and dancing lessons. I joined the local musical society and began doing productions, and was actively involved in music through school with concerts and competitions. I started piano lessons when I was about ten. It’s really the only one true thing I know!
“I have been involved in music for as long as I can remember …” How would you describe yourself as a songwriter? I am still quite a novice. I started writing through college and uni, but have really only developed a passion for writing in the last eighteen months. Jazz and blues are definitely a big influence to me – I think that is reflected a lot in my songs. My music is very lyrical and emotive, I guess you would say. I like to tell a story when I write. What kind of themes and subject matter do you deal with in your lyrics? My inspiration comes from aspects of life experiences. I tend to write about things that are going on around me – either in my own life, or that of my friends or family; themes such as relationships, love, hate, happiness, sadness, betrayals, growth and determination … those sorts of things! Tempted is a lovely number. What inspired it? Thank you! Ah … that love/hate thing again! I wrote that song at a really emotional time in my life. I guess it’s about not being tempted by the things that hold us back and make us weak, but by striving and reaching forward and changing our destiny … facing reality. [Laughs] That sounds so deep! How do you think you’ve evolved as an artist since you first started? Musically, I think we all [musicians] continue to learn and grow as we go along. It’s never-ending. I have been lucky enough to have worked with some great musicians who have taught me some valuable lessons about music and performing. As for writing, it’s also a continuous thing, and I am forever finding new ideas – as I experience new things and grow, so too does my writing! What bands or artists have had the biggest influence on you, and why? And what do you remember feeling when you first heard them? Oh, where to start? So many people … Eva Cassidy, for her bluesy melodies and the intensity she delivered through her music – the first time I heard her I remember thinking, “Where have you been all my life? I can’t believe I haven’t heard you before this!” Stevie Wonder, for his amazing feel and rhythm; this is one guy I would love to meet – just amazing! Ella Fitzgerald, for her impeccable phrasing and range – seriously, was there anything the woman couldn’t do? Missy Higgins and Coldplay; amazing lyrics, poetic and emotional – they are probably the most listened-to CDs of mine at the moment! And, of course, I can’t forget The Beatles – they had the simplest melodies and arrangements, but they were so down-to-earth and catchy. They always lighten my mood! There are so many others that have influenced me for so many different reasons – I could go on and on. You released an EP this year called Troubled Minds. How has it been received? And what plans do you have to follow it up? Well actually my EP hasn’t officially been released yet. Recording is done, and covers are being printed, but the official launch is on August 13th at Irish Murphy’s … a little plug! [Laughs] I have been playing original gigs over the past few months and the response has been really good, so I’m really excited about the launch, and hope that I continue to get good responses! After the release, I want to finish some more writing I have started, and work towards an album. I’ll keep you posted on that! Sara Jane plays Irish Murphy’s in Launceston on the 9th, 13th and 17th of July. www.myspace.com/sarajanemusic
HOBART - ROCK // ALL FIRES THE FIRE
Taking The Time To Get It Right
By Tom Wilson
When will The Longest Night come? Whenever it’s damn well ready! A musical collective currently shacked up in an Opossum Bay residence to work on their debut LP, All Fires The Fire are doing things on their own, and in their own way … and they’re not going to unleash their first salvo into the music world until they think it’s ready. But if you just can’t wait that long to hear some of it, you’re in luck, because the guys will be emerging from their creative cocoon to play the Alley Cat Bar, so SAUCE had a chat with Adam Ouston … You guys are currently doing some recording. What stage is that at now? We hoped that we’d get everything done in about five days, but the whole thing has grown with each new take. We’ve swamped ourselves with ideas, so even though, after five days, we’ve got most of the rhythm section done, there’s still a lot to do, but because we have our own equipment we have all the time in the world, really. When do you think you’ll be done? Hopefully we’ll have everything done by August, but because we’re doing it ourselves there’s no deadline. We want it to be right. Recording is the easy part, so we have an uphill battle ahead of us just to get the mixes right, but we get off on that kind of stuff. We’re all music nerds. What can you tell me about this material, in terms of its sound, and the subject matter dealt with in the lyrics? It’s a pretty eclectic collection of songs. Each of us comes from a very different place musically and geographically, so there’s a lot going on. The album we’re working on began with songs that had an obvious connection with each other, a very clear connection. As we’ve written more material, the whole scope of the band has changed, and now we find ourselves with a handful of songs that are like siblings – they come from the same parents, but each have their own personalities. In fact, we have too many songs; it’ll be difficult to decide which ones to include, and which ones to leave out. A triple-album is probably out of the question. We each have our favourites. It’s difficult to talk about the sound and the lyrics without sounding like wankers – which we probably already have. Also, talking about your unborn children is bad luck. Where are you recording it, and why did you choose to do it there?
We didn’t have to pay! A house at Opossum Bay. It has this great lounge room with totally dead air and an amazing view of Hobart across the river. We moved all the furniture out and all the gear in. It’s downstairs, and all the bedrooms et cetera are upstairs. It’s the perfect place to record. Sadly, the two cars that move us around are feeling the strain. We lived a very decadent lifestyle for a week. We got to know the local store owner – a nice guy named Robin. Say “hi” if you’re in the area.
What’s the story behind the name “All Fires The Fire”? How did you come up with it? And what does it mean to you? I think you answered your own question.
We’ll watch Hollow Man and get back to you. It’ll be a good opportunity to watch something with Kevin Bacon in it. Chris has seen it and thought there could have been much more voyeurism.
Purely because I’ve run out of ideas for questions, I’d like to know – if each of you could turn invisible, what would you get up to?
All Fires The Fire play Hobart’s Alley Cat Bar on the 11th of July.
What advantages did this location have over others? The aforementioned sympathy for our pockets, for starters – also it gave us the chance to get out of Dodge for a while and focus on the music. We forgot to take chargers for our mobile phones, and the place had no phone, so we were totally cut off. Except for Robin. Say “hi” if you’re in the area. What will this release most likely be called? And are you aiming for an EP or a full-length? Why? It’ll be called The Longest Night, partly because we began recording on winter solstice. We considered releasing an EP, then we adopted Magnetic Fields’ approach – release everything you have … well, almost everything.
“… Because we’re doing it ourselves there’s no deadline. We want it to be right.”
How did the band come together? What was each of you doing previously? Carl and Adam have been making music together for about five years, punctuated by long periods of travel and study. They met Chris and Pete on a cruise ship on which they, Adam and Carl were playing in the house band. Chris got up on stage and played some killer harp in B-flat, I think. It turned out everyone hailed from the same city. We spent the rest of the time dreaming up rock ‘n’ roll scenarios. We started as a purely conceptual band, and nothing much has changed.
ROCK - HOBART // AMY KENDALL
Singing From The Heart
By Tom Wilson
Amy Kendall first started writing music as a thirteen-year-old but, as she told SAUCE recently, it took a move to Tassie to kick things into gear. Something in the water down here? It certainly seems like it. Twelve years after she penned her first lyric, on the week she finished her first EP Hot Stars in a Cold Sky, and mere minutes before she and her partner headed up Ben Lomond for a high-altitude anniversary, she told us about the hardest song she’s ever had to write … What have you been working on recently – musically and otherwise? I’ve just finished recording my EP – we finished that this week, so we’re looking for an August or September release for that. Is this your debut release? Essentially, yeah.
Connection with the audience … the biggest part of being a storyteller is being able to feel that your audiences are feeling what you’re feeling … just making sure that your audience is hearing what you’re saying. You’re about to head up to Ben Lomond – what’s the occasion? What’s drawing you up there?
THE BIGGEST IMPACT ON …
Brad Harbeck of British Battlegrounds
[Laughs] My anniversary with my partner … We’re just going to head up and just play in the snow and go hiking … fun! Amy Kendall plays Irish Murphy’s in Hobart on the 17th of July. www.myspace.com/amyekendall
So how long have you been working on it? We started recording in December down at Huon Delta Studios in Pelverata, and I also have a studio set up at home – my partner’s an engineer – so we did all the overdubs and everything bar the bare bones here at home, which has been really good.
“…I’m no good at lying [laughs] so it’s all got to come from my heart …” What can you tell me about your songwriting on this release? What kind of thematic territory do you delve into with your lyrics? Lyrically, this EP covers a few broad subjects; we go from a lot about relationships and nature – life and love – right through to dealing with grief. Do you draw a lot of inspiration from personal experiences? Yeah, I do. My songwriting’s very much about storytelling, and I’m no good at lying [laughs] so it’s all got to come from my heart, and the songs here are about what inspires me around me, basically. What would you say is the most personal or the most close-to-the-bone song on the EP, and why? There’s a … this is a secret, Tom! [Laughs] There’s a secret song on the album, and that’s been, by far, the most difficult to record and release because I wrote it about my father, who passed away last July … But, failing that … the songs about grief are the hardest for me. So how do you think you’ve evolved as an artist since you first started making music? Oh, goodness! Well, I’ve been writing songs since I was about thirteen … I’m twenty-five now … I found that, when I moved to Tasmania, that was when my playing and my songwriting really kind of kicked off and hit a new level – just different inspirations, and new territory, I guess. What bands or artists would you say have had the biggest influence on you as a musician, and why? Growing up I heard a lot of Beatles right through the classical music from my parents, and listening to, as I hit my teen years, a lot of Joni Mitchell and Edie Brickell and Carol King and, of course, your popular artists at the time … Jewel was a big inspiration. And then, coming through to now, a lot of Australian music really floats my boat – Clair Bowditch, Paul Kelly, Josh Pike to sort of name a few. When it comes to music – both writing it, and performing it live – what’s most important to you, and why?
Three Launnie artists who think that 90s Britpop sounds better when it’s tackled from an alternative/experimental angle – British Battlegrounds are currently embroiled in the process of creating their debut EP … but that didn’t stop singer-guitarist Brad Harbeck from making The Biggest Impact on SAUCE recently … Tell us about the album that has had the biggest impact on you, both personally, and as a musician. For me it was (What’s The Story) Morning Glory by Oasis. I thought it was perfect. Actually, I still do. That album made me want to play guitar. I remember thinking that I’d found what The Beatles could’ve sounded like in the 90s, and that excited the hell out of me. I got really inspired listening to the songs on that album. It really did modernise my musical tastes; I’d only listen to The Beatles at that point in time. That changed after I listened to (What’s The Story). Tell us about the gig that has had the biggest impact on you, both personally, and as a musician – one you saw as a punter, and one you played yourself. One of the best gigs I ever saw was You Am I at the Saloon. Tim Rogers is one of the last true original rock stars. He had “thank you” taped to the back of his guitar – I thought that was brilliant. He was cocky, arrogant, drunk! But he put so much emotion into every song. I walked out of there buzzing. The best gig I’ve ever played was just recently at Irish Murphy’s in Hobart – our first “official” British Battlegrounds gig. We took a heap of friends down and it was mental – great atmosphere, great vibe. Apparently we sounded OK too. That helped. British Battlegrounds play Hobart’s Brisbane Hotel on the 10th of July and the Alley Cat Bar on the 17th of July. www.myspace.com/britishbattlegrounds SAUCE #72
Kara Grainger + Jeff Lang REPUBLIC BAR – 21/6/08
This gig pulled a big crowd at one of my favourite indoor venues – hardly surprising, given Jeff Lang’s reputation for excellence. I went along to check out Kara Grainger primarily – I had heard about her and listened to a few tracks online, but hadn’t seen her perform live. She was nice – nice like a cup of tea in the morning, or a walk in warm spring rain. Being an old roots, blues and soul lover, however, I tend to believe that, in order to play and sing the blues, you’ve got to have passion, and a shitload of life experience. Maybe to get that authentic, soulful, seductive, heart-wrenching sound, you have to have your heart broken numerous times; you have to know what it’s like to drink yourself into oblivion to try to forget, and maybe smoke a pack a day. Having said that, Kara is a beautiful girl and a talented musician and songwriter – well-recognised, and already on her way to fame. Jeff Lang was as solid as ever – his fingers a blur at times, and his energy was awe inspiring. The man is a demigod of the music world. His ability to play with no fixed setlist, and to react immediately to the vibe of the crowd thrills me. He is soundgasmic, beyond any doubt.
The Bedroom Philosopher + Josh Earl
JAMES HOTEL – 5/7/08
I got there at about eleven, and Nicky was already playing. Even though it had been billed as a solo tour, there were two other musicians on-stage with Nicky, a drummer and a double bassist. Later in the night they were joined by a female saxophonist. The crowd was awesome to be a part of – just hip and friendly people all having a great time. I’ve never seen Nicky play before – his set was mainly reggae, but had a tougher edge, and good dance beat in quite a few of his songs. He was such an entertainer – making the crowd absolutely go off by entering the crowd mid-set and making his way towards the bar with his other band members. Once there, he used the bottles behind the bar and his drumsticks to create a unique but extremely cool sound. He did this on the ice tray, ceiling and the glasses – it looked like he had the bar staff a little concerned, but they didn’t need to worry because Nicky had it all covered, leaving the bar for the stage with everything intact. At this stage the place was packed, and his exceptional performance had a well-deserved audience. The party continued, and just when we thought it was the end he returned to the stage and graced us with an encore of three more songs. It was a thoroughly awesome night.
ROYAL OAK – 5/7/08
I’m a massive fan of both of the gentleman that graced The Oak on Saturday night. Josh Earl was first up. His set was a mixture of some of the funniest anecdotes you’ll hear (his upbringing in Burnie, his job at “Scollingwood Scollege,” and life in Melbourne) and songs that then compliment the stories so damn well that you’ll be laughing like a schoolgirl upon their conclusion. Next up was The Bedroom Philosopher. His set was more song-orientated; less focus on anecdotes, more on songs laced with humor, such as the side-splitting Megan The Vegan, apparently about an old housemate who pushed him so far that he came home wearing a three-piece suit made entirely of meat. The songs are a journey – follow them to the end and you’ll get the pay-off. “Mr. T-Bone says kill the tofu …” The beauty of both these lads is that there are intricate melodies and great playing throughout the songs. They fine-tune these songs so that not only do you find yourself laughing at them, you also find yourself humming along afterwards. It was such a good night. BRAD HARBECK
John 00 Fleming SYRUP – 5/7/08
BRISBANE HOTEL – 5/7/08 I arrived late for this gig, but it was good to see a big turnout at the Brisbane; it has a good atmosphere for alternative gigs. Unfortunately, my late entrance meant that I missed Spreckenstein’s set; I was looking forward to seeing him perform his tunes with a couple of cohorts on board. The people I spoke to there seemed to enjoy it, so I can only go on that, and wait for the next chance to catch him. I’d been building up to Angelspit for a while now, as I couldn’t get to their gig last time they were down. I think a good summation was a friend’s comment – “You might as well put on a CD.” OK, they look good visually, and there is nothing wrong with what they were doing, but there was nothing really right. It was karaoke to me. I like industrial goth music, but this left me pretty deflated. They are tight, they do everything right, but in the end it just sounds “non-live.” I was struggling to catch vocals at times, but it was Angelspit’s sound guy, so I guess that is the sound they want. Still, in my eyes, there needs to be more injection of live instruments into their sound. Get a drummer, or a keyboard player – something that removes the reliance on the backing tracks. That would give their visual impact a hell of a lot more credibility. KEVIN GLEESON
JAMES HOTEL – 8/6/08 I must admit, I hadn’t heard a great deal about Sojourn. I knew they were Launceston lads who left in 2002, and I knew they were playing at the James – that was about it. They were supported on the night by Nathan Wheldon – he was good, not great.
The first second DJ John “00” Fleming spins his tables inside Syrup, the mood of the crowd changes. You can’t fool the electronic addicts in this club on a Saturday night. Fleming is undeniably a DJ of stellar calibre. He orchestrates such a smooth and clear-cut ninety-minute mix that you will find yourself craving more of his fresh, measured beats for days afterwards. It’s fresh because his music is clean, bright and inventive. It’s measured in that it is precise, deliberate and beautifully premeditated. His minimal electronic beats combine neat samples of his own unique sounds with a hard bassline you’d typically hear from Berlin DJs. Imagine listening to a great Berlin club compilation featuring the likes of Tobias Luetzenkirchen, Sébastien Léger and DJ Magda.
As for Sojourn … well, I was surprised. They played a set full of raw, guitar-driven tunes. The sound was exhilarating live. For me, a few of the songs did melt into one another – I had trouble distinguishing between them, but it was fun. Loud, and fun. You can’t really beat that. It’s young, uncompromising rock played with passion. It was a great atmosphere. The comparisons between Sojourn and Jet have to be highlighted, as there are many. Still, Sojourn sound a bit more raw – more fun, more rock. Good night. Good band. I’d go again.
With a constant smile on his face, it seems that Fleming enjoys riding the pulsing wave of his music as much as his audience does. Like the real “00,” he’s so full of charm and smoothness, it’s easy to forget he’s got a license to kill.
SATURDAY 26 JULY* COUNTRY CLUB SHOWROOM
As the saying goes, (and seeing as the Olympics are just around the corner, a sporting analogy seems OK) the “bar” just kept being raised. The Potbelleez were of international class, no doubt about it. But not only were they of international class, they were at the top end of that class, and every single person on the dance floor, and in the VIP, recognised it, and grooved down deep into their personal party place together. At first they didn’t play the tracks that had made them so popular – the ones with vocals – but it was all in the plan, it seems. They were just warming us up. After a few tracks, the night became truly beautiful when Blue MC stepped up to the mic. Along with Ilan Kidron, Blue MC was shockingly sensational. Hot as, too! Check out her Myspace – it’ll blow your mind, just like she did mine, and the rest of the crowd too, who she had eating out of her hand, especially with tracks like Are You With Me and Don’t Hold Back. Local star PD (who may soon have a remix coming out on a One Love compilation) was on after The Potbelleez, and it says a lot about him, and his skills as a producer, that the first three tracks he played were his own. And the crowd loved them, too. Lots and lots of love in the house that night.
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COUNTRY CLUB SHOWROOM*
WREST POINT ENTERTAINMENT CENTRE
SATURDAY 1 NOVEMBER
FRIDAY 15 AUGUST
FRIDAY 25 JULY WREST POINT SHOWROOM
It was one of those nights that people will talk about for a while. Lonnies was in fine form, as were the artists who performed there – the finest form it has seen this winter. Goodwill was in charge when I arrived, and the sounds were of an international standard; tough, dirty and great to dance to. He’s playing at Syrup, soon, as well, so I’d highly, recommend going along to that gig. I can’t remember where I saw him play last before this, but my overall impression is that he has really, really raised his skills, and his track selection is fresh ... awesome actually. The kind of tracks where you go “F*ck yeah” again and again.
LONNIES – 4/7/08
Live, Fleming’s music is directly accessible in both body and soul. When, at 1.30am, the in-house DJ finally leaves the turntables to the agent “00,” a packed crowd manifests its eagerness with rising cheers and larger-than-life moves. A spell descends quickly over the crowd as the music turns soft and smooth as silk, and a cold but firmly executed bass beat drives your moves. Fleming is not just a DJ. He is a conductor. When his hands are not whirling about his equipment coaxing forth a musical phenomenon, they mime the rhythm, indicating to the crowd what is to come.
The Potbelleez + Goodwill
SATURDAY S ATURDAY 1 13 3S SEPTEMBER EPTEMBER WREST POINT SHOWROOM* SHOW
Tickets for Wrest Point & Country Club shows contact 1300 795 257 www.wrestpoint.com.au or www.countryclubtasmania.com.au *Over 18 show only
ROCK - TASMANIA // DOMINIC FRANCIS
Step Into The Mind Of An Artist
By Tom Wilson
After our recent interview, the photo you see here of soloist Dominic Francis took on a whole new meaning. What was first just a picture of a guy we think you should know about became a study of contemplation. What was going through his head at that moment? What was he thinking about? His forthcoming album? His life in music? What effect both will have on the life he shares with his wife and daughters? Or all three? Dominic spoke his mind to SAUCE … What first prompted you to start making music? Do you come from a musical background? Firstly for the enjoyment and fun of creating – I find great satisfaction in tinkering on the guitar, and if it turns into something then that’s just a bonus! My musical background is quite broad. Going through school playing in numerous bands from rock to jazz, playing instruments such as bass guitar and trombone have certainly facilitated my understanding and appreciation of music.
“… I have never really understood personally how to respond to, or sum up, grief …” I understand you recently completed a full-length album. How long have you been working on this, and who with? The album really excites me. I have selected twelve tracks for it, and they were recorded and mixed during June this year at a private studio under the watch of Geoff Francis (no relation, just coincidental). I am really keen to get it out there as soon as possible, but obviously there are processes, like funding. I am aiming for the next six months, fingers crossed. When it’s ready to go I will have an official launch, so keep an eye out. How would you describe yourself as a songwriter, in terms of the feel and vibe of the music you create? My music is very honest. My songs tend to have strong and personal emotions attached which, at times, can leave me feeling quite transparent – that added with a hint of quirkiness within responses, and attempts to make sense of what is thrown at me each day. Guitar, harmonica and the occasional stomp are common methods used. What about as a lyricist? What themes and subject matter do you tend to delve into the most, and why? Love, grief, protest, and hope for the ugly bloke! Love and grief are very strong emotions, yet I have never really understood personally how to respond to, or sum up, grief, so it tends to be a theme that is explored regularly … and hope for the ugly bloke – I’m just singing my history! Of all the songs you’ve written, which stand out as the most personal and meaningful, and why? Definitely songs written for my wife and daughters – these songs contain that pure, old-fashioned gut spillin’ which I would like to be known for. At this point, do you think you’ll continue writing and performing on your own, or do you hope to collaborate with others? Why? At this stage my preference is to keep working alone. I guess that allows me the freedom to relax and enjoy my music without commitment to others. If any of my most respected artists were interested in collaborating, though, I’d have to consider it! Lastly, at this point in your life, both musically and otherwise, what’s most important to you, and why? The most important thing to me is my girls, because they give me purpose and direction. Creating positive experiences to share as a family is my constant focus. Dominic Francis plays Brookfield Vineyard on the 18th of July.
Friday 18th July
Leigh Barker Quartet
The Alley Cat Bar 381 Elizabeth Street North Hobart 03 6231 2299
Thursday 10th of July
Thursday 17th of July
Asking for It
$4 8.30pm Friday 18th of July Friday 11th of July
Leigh Barker Quintet
Charles du Cane
Let the Cat Out
The Love In
All Fires the Fire 9pm $5
Saturday 19th of July Tom Vincent
Saturday 12th of July
The Riot Act The Frets
Sunday 20th of July
Simon London 7pm Free Entry & $5 Pizzas
Sunday 13th of July
Sunday 20th July
Wednesday Night Special 6pm - 9.30pm $10 Beaut Beer & Bonza Burger Night. Your choice of beef, chicken or vege
Sunday Chill with Djs Free Entry & $5 Pizzas
Alley Cat Burger with chips and a 10oz. of Cascade Draught or Pale Ale.
METAL - STOCKHOLM // DISMEMBER
Headbang In The Streets!
By Lisa Bunger
“… The whole of Hobart will be headbanging in the streets!” Stockholm death metal gods are arriving in Hobart for one show only on their “Australia Burns” tour, and Martin Persson called in for a chat … Dismember will return to Australia – your second visit – but you’re visiting one unusual spot this time; Hobart, Tasmania. So, tell us your thoughts? [Laughs] We don’t know much except for this; it’s so far away ... who could have ever imagined we would fly from Stockholm Sweden to the Devil’s Island! I’ve been told it’s cold, so I guess we have three things in common – the cold, metal and beer, right? Sounds like my kind of place! You are one of the first ever Swedish metal bands to play here – I’m sure it’s going to make a lot of the fans happy. Oh yeah, we are looking forward to this one ... the whole of Hobart will be headbanging in the streets! We promise you guys one hell of a show for sure! How’s the response been to the new self-titled album?
It’s going fantastic – it’s for sure our most well-received album since the early days, and the shows have been very well received. We’re having a real blast, and so are the fans! The new album … it sounds like the monster albums of the early 90s when death metal, as a genre, was refreshing, and had some memorable writing ... We did the production with Nico from Entombed for this one ... Basically all we wanted was a new, fresh set of ears, but also to keep our trademark chainsaw guitars, and the results are very satisfying. We have two new members that have never played on a Dismember album before, so you could say the energy levels and determination was very, very high, and I think that shows throughout the album. It’s crushing but melodic. We have never changed our sound, or will ever do so, and we live by this motto – we will stick to it, and that’s what we are best at. We ain’t going to change for anybody.
After the rather dynamic and colourful album covers of the past years, you chose more calm, harmonic and simple artwork this time. What was it that made you do this? I think it’s been three times that we used Dan Seagrave to do the covers, and we just wanted to do something different ... So we met a guy when we toured in Australia last time in 2005 called Crane, who is an airbrush artist. He came to the Melbourne show and brought his portfolio, and he brought a really cool guitar he did for Trey of Morbid Angel with an Altars Of Madness airbrushed design. So we just stayed in touch, and we called him up for the new album. We said we wanted something like a mixture between 1916 by Motörhead and Strong Arm Of the Law by SAXON, and then he came up with it, and that’s how it went. With such a big back catalogue now, do you find it hard to choose what to play? Will we hear the old classics? Yes, we have a huge amount of songs now. We, as metal
fans, still go back to the first album, Like an Ever-Flowing Stream – we just can’t get away from it, you know? But we also must promote our new stuff too. We know what the fans want to hear, so we do our best to give them everything. You will get all the classics, don’t worry! But we will have a few surprises! Why do you think your band have survived for twenty years, where other bands have since broken up? ‘Cos we’re metal retards! [Laughs] We just love metal! We don’t do this for money – we do it mainly for the love of the music, and it’s purely that that has kept us together so long. Dismember play Hobart’s Brisbane Hotel on the 17th of July. www.myspace.com/dismemberofficial
GIG GUIDE - 9the July to 22nd July WEDNESDAY 9TH
Separatist (CD Launch)
Joycie @ 10PM
The Roobs + Red Rival +
+ Mephistopheles + This
HOBART Brookﬁeld Vineyard. 1640 Channel Highway. Margate. 7054. Ph 6267 2880
Licensed cafe open 7 days & late for all events
Friday 11th July
The Back Porch Boys Friday 18th July
Dominic Francis Saturday 19th July
Dan England & The Thieves Sunday 20th July
Dancer’s Delight All have meals available. www.brookﬁeldvineyard.com - info@brookﬁeldvineyard.com
Future Chaos + Sunday
Insiders + All Fires The Fire
Something Ruined + A So
Alley Cat Bar
+ Adam Cousens + DJ BTC
Republic Bar & Café
Called Hero – ALL-AGES
British Battlegrounds +
+ DJ No Requests + Soooz +
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Downstairs – Tackyland
Strung Out + No Use For A
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Name + The Scandal
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Alley Cat Bar
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14 Brisbane Street, Launceston 6331 5346
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LAUNCESTON Irish Murphy’s
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410 Sandy Bay Road Sandy Bay 6225 0112
124 Davey Street
03 6224 9494 www.hotelsoho.com.au
LAUNCESTON Batman Fawkner Inn 35 Cameron St 6331 7222
21 Salamanca Place 6223 1119
Country Club Ave Prospect 6335 5777
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HOBART The Trolls + My Blackson +
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5 Piece Drum Kit, 2 tom toms, bass drum, snare drum, high hat and crash cymbal. Includes seat and cow bell. Only 18months old. Originally bought for $1300. Will sell for $550. Please email Ralph at firstname.lastname@example.org if you are interested.
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6334 7231 Raincheck Lounge
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14 Brisbane St 6331 5346
299 Elizabeth St 6234 6954
CD REVIEWS ANTAGONIST These Cities, Our Graves Iiiiiiiiii
BAOBINGA & ID Big Monster Iiiiiiiiii
CYNDI LAUPER Bring Ya to the Brink Iiiiiiiiii
New Zealand hardcore five-piece Antagonist have, in their relatively young three-year career, toured with the elite of metal and hardcore, including U.S. heavyweights Unearth and Bleeding Through, and Australia’s Carpathian and Her Nightmare. Unfortunately, their debut album achieves absolutely nothing that hasn’t already been done in the hardcore world – serving up sub-three-minute splutters of vitriol, political messages and chugging breakdowns without a hint of dynamism.
Firstly I need to say that I really like where dance music is going at the moment. Producers don’t seem to be restricting themselves to a single sub-genre to the point where every track sounds identical, and Big Monster is a great example of this. Baobinga & ID manage to dip their toes into a heap of different styles including house, dubstep, electro and even drop in a taste of the currently very popular Baltimore club sound. The variety of styles isn’t really surprising, coming from a pair of producers who claim both the likes of My Bloody Valentine and The Pixies as inspiration.
“Girls just wanna have fun …” – sound familiar? It’s been nearly two decades since the release of her most famous track, and now, with years of experience in pumping out catchy tunes under her belt, Cyndi Lauper is once again stepping up to the plate with a whole new collection of songs.
In just over thirty minutes of blasting sound, the band cover topics like commercialism, female stereotypes and the sense of belonging in the world, but whenever it sounds like a valid point is being made, the backing vocals kick in and bring the songs down. Still, production-wise, the sound of this album is crystal clear – somewhat unusual for a first release – and the musicianship is undeniably tight
Standout tracks for me were Jump Up Get Hype featuring Virus Syndicate, a bouncy party track, The Machine, a big tear-out breaks track, and Jersey St., a wobbly excursion into four-on-the-floor electronic goodness. While there are some other great tracks on the album, these three are the ones that’ll be making their way into my set lists.
Maybe this album would be better represented live? I hope so, because it’s a shame that, on CD, each of the eleven tracks sound identical. DAVID WALKER
So, if what you’re after is an excursion through walls of synths and big drums, and you want to check out some of the songs that you’ll be hearing in nightclubs in the near future, this is definitely an album worth listening to. Staying true to your sound and trying to move forward with your style can be a tricky balancing act, but these guys manage to pull it off. DJ GROTESQUE
DRAPHT Brothers Grimm Iiiiiiiiii
Largely produced by Trials of Funkoars fame (with cuts from M-Phazes, Plutonic Lab and Simplex), the album is a banger, with even the more subdued tracks being driven by solid and punchy drums. All the producers have stayed on the organic tip, with sample-driven, horn-filled production being the order of the day – no synths to be found here! Lyrically, the album is quite diverse, with a wide range of subjects touched upon. Gone are the battle styles that were prevalent on Pale Rider and Who Am I; instead, we get subject-driven narratives that even non-hip-hop heads can easily get into. Tracks like Sound Man (about the pitfalls of rock ‘n’ roll sound engineers mixing hip-hop gigs) and lead single Jimmy Recard (where Drapht – AKA Paul Ridge – imagines life with a more dynamic name) make for interesting listening, and make for an album that’s quite different from the norm. These lighter-hearted tracks make for a nice contrast with deeper, more personal tracks like Lost, Insomnia and Falling.
FOREIGN BEGGARS Asylum Agenda IIIIIIIIII
VARIOUS ARTISTS Dutty Bass – Vol. 2 – Mixed by DJ K-Note Iiiiiiiiii Ever wondered why you can’t find that funky reggae remix of a wicked song that you heard at your local drinking hole? It could be that you’re looking in all the wrong places. Don’t bother wasting your time tracking down the single, hoping to get that longed-for remix – check out this album and you’re sure to be pleased! Dutty Bass Volume Two is a compilation of thirty-one tracks remixed by Canadian-born DJ K-Note, featuring a diverse mix of reggae-themed numbers from a plethora of top artists, including hit singles from Nelly Furtado, Rihanna and Sean Paul. K-Note has added new beats, slower tempos and mixed up the lyrics, meaning that your beloved songs now have an all new appeal and attraction, and I guarantee it will get your arse off the seat! The album flows well, with the lesser-known tracks interspersed between higher-profile songs in such a way as to never lose your attention. It was refreshing to hear hit songs revamped with a fresh new perspective and style. It seems that reggae is slowly making a comeback into the mainstream spotlight thanks to talented artists like DJ K-Note, and, if this is anything to go by, then bring it on! LISA HOWELL
Props to Drapht for trying something different – I think most will agree that the experiment is a resounding success.
Taking their band name from the main character of Mark Z. Danilewski’s first and bestselling novel, House Of Leaves, five-piece Johnny Truant is a difficult band to pigeonhole into a genre. It closely resembles metalcore with strong death metal lyrical characteristics – “deathcore,” I guess. This band takes its various influences and melds them into a complex and exotic new sound. Someone who doesn’t have much of a diverse and open mind on metal music will probably see this album as an overwhelming pile of cat shit. I, for one, don’t usually go much on this kind of experimental hardcore/metal, but surprisingly I found it not that bad of a listen, due to its unexpected song structure and non-mainstream approach – but a word of warning; this music is somewhat full-on. Lyrically, all ten songs deal with the topic of death – not in a slash-your-wrists suicidal way, but more in an exploration of it, and how it’s inevitable for us all. A maelstrom of sound and emotional strain twists you inside-out through each of the hellish landscapes the band draws us through. When the occasional mellow part of a song comes along, it’s a sigh of relief until, eventually, we are thrown back into the midst of hysterical fury. No Tears for the Creatures does have some bland moments, but the majority of what you hear is solid, carrying the impact of an eighteen-wheeler powering through your living room. There are no rainbows and fairy-floss anywhere with this album – it’s just one ferocious mauling to the throat. DAVID WALKER
The latest offering from the United Kingdom’s supergroup Foreign Beggars touches many bases, which seems to be the norm for any UK hip-hop artist these days. From the insane doubletime flows on Hold On featuring DVS and Skinnyman to the smooth wonderings of Where Did the Sun Go?, MCs Metropolis and Orifice Vulgatron definitely cover as many different aspects of being a lyricist as you can on one album. Being from the UK, there is a definite dance influence coming through in a fair bit of the production, like the house-influenced Hit That produced by 4Romain to the grimy drum-n-bass-fed Bollocks produced by Vex’d. Aside from the few guest tracks, production is handled mainly by the group’s own producer Dag Nabbbit – using lots of pianos, pads, the perfect vocal samples and smooth subbass, he has really provided a diverse bed of beats and moods for the lyricists to lie in. Lyric-wise, these two are a great combination. From the smoother sultry sounds of Metropolis to the harsher, often faster and more intense vibe of Vulgatron, they play off each other very well indeed, covering ground from the usual Braggadocio on tracks like What Goes Up and Astroscience to the horny barfly trappings of Hit That (Gash). Another refreshing aspect to this album is the diversity of featured artists – from the French flows of Rouge a Levres on Hit That to the awesome speed of Skinnyman and DVS on Hold On, this album has it all … Asylum Agenda – a different but refreshing effort from one of the UK’s hottest outfits.
SPIT SYNDICATE Towards The Light Iiiiiiiiii
JOHNNY TRUANT No Tears for the Creatures Iiiiiiiiii
Cyndi is proving that, while she may be a little older, some things don’t change; she is just as good as the day she started! But don’t take my word for it – go grab a copy and see for yourself, because these songs are going to be hitting the airwaves with a vengeance.
Arguably the busiest hiphop DJ in the country, “The Business Man” DJ Flagrant has released his latest mix CD installment … Homegrown Volume One. From the title it was pretty obvious that this disc was going to be laced with some quality Australian hiphop, and it didn’t disappoint. From the most core Australian hip-hop fan to someone new to the scene, looking for that little bit more, this disc has it all – from classics such as Mass MC’s The BBQ Song and Downsyde’s infectious El Questro to up-and-coming artists like A-Love’s Play it Cool and Autism’s Make Room (one of the angriest rappers in Australia, without doubt; he sounds like he would be at home fronting a heavy metal band just as easily as lacing heavy hip-hop tracks – not everybody’s cup of tea.) As you would expect from Flagrant, each track is well selected, crossing over the whole Australian hip-hop landscape, from funk-driven party tracks right over to darker introspective numbers, and the exclusive banger Homegrown Anthem featuring Phrase, NFA, Flagrant and newcomer Illy produced by M-Phazes, which was definitely a stand-out for me, with awesome production. The whole disc is seamlessly mixed together, with the perfect sprinkling of cuts, juggles and shout-outs. If you know somebody who is getting into Aussie hip-hop and would like to delve deeper in the fray, or a core head looking for some new tunes to bump to while throwing your homebrews down, this disc is definitely a must. JIMI HANDTRICKS
Drapht holds a unique place in Australian hiphop. At only twenty-four, he’s already dropped three full-length albums, and has contributed guest verses alongside Australia’s biggest acts. He also possesses one of the most unique voices in hip-hop – even the man himself has said that “you either love it or hate it.” On May 17th, he gave everyone another reason to love it, with the release of his third album, Brothers Grimm.
She has given her forever-individual style a touch-up, and, firmly grasping the direction the music industry has gone in her absence, she has produced an album that is up-todate, funky, and sets a whole new standard for her. It’s just a matter of time before the first couple of tracks on this album start pumping through the speakers at your favourite club – High and Mighty opening the proceedings with a bang; a sassy, up-beat techno track that had me both intrigued and eager to hear what was to come, proving (as if there was any doubt) that Lauper is still a diverse and unique artist with style often imitated but never bettered. Into the Nightlife is another great song, full of funky techno beats and dripping with dance appeal.
DJ FLAGRANT Homegrown Volume One IIIIIIIIII
HER NIGHTMARE Come Anarchy Come Ruin IIIIIIIIII With many hardcore/ metalcore bands taking the international music scene by storm, the popularity of this music seems ever-growing throughout Australia, and can be attributed to the success of Parkway Drive, I Killed The Prom Queen and Day Of Contempt. Melbourne five-piece Her Nightmare have, with Come Anarchy Come Ruin, come up with a typical remedy of crushing melody, anger and sincerity that many bands at the forefront of the genre have, unfortunately, already achieved. Touring with like-minded bands such as Parkway Drive, Most Precious Blood and Terror has ensured the band is going to be around to spread their blend of hardcore for a while. Straight from the first listen, Hatebreed, Terror and Madball come to mind because of their song structure, aggressiveness, and the politically-infused angst blasted throughout the lyrics, making Her Nightmare up there in the ranks of the hardcore scene. Musically however, you’re still just hearing chugging guitar leads, breakdowns, smashing cymbals, snare pounding and pummeling bass lines that, together, won’t seem like anything new to a hardcore/ metalcore fan. Still, with the production and recording handled by legendary engineer Zeuss (Shadows Fall, Hatebreed, Terror, Madball), Come Anarchy Come Ruin shows this band’s potential to keep the hardcore scene alive. If you don’t mind your music sounding like it could have come from twenty other bands, this could be a potentially winning addition to your CD collection. DAVID WALKER
Recently, some heads amongst the Australian hip-hop community have been saying that the music is starting to sound very same-y. Well, to quote Monty Python’s John Cleese, “… and now for something completely different” – Spit Syndicate, and their debut LP, Towards the Light. Production duties here are varied; producers including M-Phazes, Jase, Adit, Fame and American producer Ro Blvd, who’s work here is easily matched (and mostly surpassed) by his Australian counterparts. The album is incredibly melodic; both MCs half-sing some of their verses, and most tracks feature singers in the hooks, though standard MC guest slots are limited to Fame and Solo, from Sydney duo Horrorshow. Lyrically, Towards the Light seems split between three distinct moods; girls (Pick it Up, Blue Sky High, Leave in a Minute, All Summer Long – these guys love talking about the ladies!), “I’m the boss”-style bragging (good when done well, and done really well on tracks like Fresh Breath Music), and heartfelt stories – some social (Lucky Country), and some personal (On and On – Jimmy Nice’s verse is some real shit). It seems that SS are deliberately trying to blur genre lines – an idea they affirm in the hook of Bring it Home (One Day); “We do it for the cool kids, and the hip-hop kids, to the electro heads and the indie rock kids, to the rest of them ‘don’t fit in the box’ kids that tell us ‘Bring it home, double-S, we got you’.” If you like hip-hop (and like other genres as well) and are looking for something different, this is the album for you. TOM BUTLER
THE SWORD Gods Of The Earth IIIIIIIIII
VARIOUS ARTISTS Sweat It Out Volume One – Mixed by Ajax & Miami Horror Iiiiiiiiii When I see yet another double mix CD I generally give it a listen, but most don’t get a repeat play, so I was pleasantly surprised by the content of both the discs in the first installment of the new Sweat It Out mix series. It’s not that it breaks any new ground or is packed with exclusive releases – it’s more that it takes you on a quick spin through the popular club tunes of the last year without getting too serious. While the two discs are fairly similar, they do show off the subtle differences in taste between the two DJs. The first disc, mixed by Ajax, is a pop-filled, bouncy mix, with tracks from some of the hottest artists of the moment, including Bonde Do Role, Gameboy/Gamegirl, Digitalism and Calvin Harris. It’s fairly tongue-in-cheek, which seems to be the go in the dance music world at the moment. The second disc, mixed by Miami Horror – an upcoming producer/DJ of Gameboy/Gamegirl fame – is a bit more obscure, with more of a disco feel. It’s got some great tracks from the likes of Diplo, Midnight Juggernauts and Hot Chip. Whether you’re warming up for a night out or just putting a CD on to clean the house to, this is a great listen, and there’s only one thing left to ask ... “When’s Volume Two coming out?” DJ GROTESQUE
These days, it seems hard to come across a newage band that sounds unique and challenging, and while, on Gods of the Earth, this Texan quartet doesn’t bring anything surprisingly new, the thing that sets this band apart is their level of musicianship, and their impressive blend of the classic, vintage Black Sabbath-era tones with a late eighties Metallica sensibility, a sound they manage to make their own … and they do it so well. The songs featured on GOTE seem to come from the fundamental template made by Tony Iommi back in the Black Sabbath days, but is slightly more up-tempo, boasting the beefy, chugging guitars of old-school thrash and the harmonic squeals and speed scales of today’s metal. To make this album anything original, you would have to step back three decades in time, but it’s hard to pass up a band with an exceptional talent for recreating a classic era and fusing it with their own energetic input. The first single from the album, Fire Lances of the Ancient Hyperzephyrians, rips into full-throttle head-banging mayhem, with solid riffs, hammering bass and shattering drums. The only let-down of the album is J.D. Cronise’s vocals which, on most songs, are difficult to understand due to the way the tracks are mixed. The entire album could be featured as a soundtrack to a medieval mythology film, with the lyrical content delving into battles, goddesses, ruins, wizards, damsels and all other things Warhammer-ish. With a whole heap of stand-out tracks and talent, only time will tell if this album is merely a retrospective of Black Sabbath, or whether the band’s sound is a template of what’s to come. DAVID WALKER
ROCK - LAUNCESTON // HINDRUM
Eclectic Rockers Unleash The Beast
By Tom Wilson
“Did you ever see that porno starring Kurt Cobain and Paul McCartney? We were their love child.”
It’s finally here, ready for you to either play really loud or just slice cheese with – the incessantly dynamic debut full-length from Launceston rock experimentalists Hindrum, The Unfortunate Happening of Rashmort Toppins. Buy it, love it, go see them live because they’re sexy beasts – Nick, Dan and Cam shot the shit with SAUCE … Unless my eyes are playing tricks on me, in some recent live footage I saw – of you guys wearing pajamas, no less – your singer-guitarist is singing into an oldschool telephone handset. Why have you decided to do this? And what do you think this brings to the band’s sound? Nick: It’s a telephone loudspeaker system that Dan put together. Since he couldn’t dial out, he thought he’d replace the dialer with a speaker. The tone was cheap and nasty, which seemed appropriate for that particular track. Also, why emulate bass through a keyboard? What advantages does this have, in terms of the sounds you can create? Cam: Well, we had a bass, and we used it too, but we let our chief groupie, Pinky, inside the house – next thing you know he’s sold it for drug money, so we had to replace it. It was
toss between a lute, a banjo or a keyboard. It was a tough decision, but the clincher was that we owned neither a lute nor banjo, so the keyboard was the obvious choice. It doesn’t just fill out bass though; I mean, what bass player can play four octaves at a time with 678 different voicings at hand …? You recently finished work on your album. What was the best and worst thing about the process of creating it, and why? Dan: Producing it all ourselves was the best – trying to accept when it was finished was the worst. We were having so much fun that it was hard to know when to cut the umbilical cord. How would you describe this album, in terms of its vibe, and the subject matter dealt with in the lyrics?
Cam: The vibe varies from chord to chord, and the subject matter is consistently irrelevant. It does flow nicely though. What are some of the musical influences that have shaped the sound of Hindrum, and in what ways are they evident? Dan: Did you ever see that porno starring Kurt Cobain and Paul McCartney? We were their love child. The whole album is a tribute to our conception ... true story. What’s the best use for your album, other than actually using it? What are some practical uses for a Hindrum CD? Nick: Well, when it’s not in a player, it’s a good listener – it won’t talk back. And if you don’t use it, it won’t use you, which I feel is a good thing. Also, cheese slicing.
What shows will you be doing to promote this release? Dan: We’ll be playing as many live shows as the drunken bar staff will allow. We’ve got a bunch lined up around Launceston – check myspace.com/hindrum for upcoming dates. Just for the hell of it, if the three of you could be someone else for a day, who would you be, and why? And what would you get up to? Nick – Cam. Dan – Nick, while he’s Cam. Cam – The Grand Canyon. Hindrum rip Launceston’s Royal Oak a new one on the 11th of July. www.myspace.com/hindrum
ROCK - PERTH // SNOWMAN
Warping Minds And Breaking Bones
By Tom Wilson
“Perth is a boring town – it can be a big struggle to find entertainment, so you entertain yourselves …” If you’re a stranger to the sounds of Perth’s Snowman, one listen to their latest album The Horse, The Rat and The Swan will tell you that to put a label on the music they make is nigh-on impossible. With a sound born from boredom and shaped by isolation, Snowman are set to warp minds in Hobart this month. Frontman and multi-instrumentalist Joe McKee spoke to SAUCE … The Horse, The Rat and The Swan – you guys released that in May. How’s it been received? What are some of the best bits of feedback you’ve got about it? It’s been surprisingly positive, I suppose. It’s not a radiofriendly album, you know? Triple J and things like that haven’t been supporting it as well as other stuff, but it seems to be quite positive. The community radios seem to be taking a shine to it … it’s just been far more positive than what I imagined. I guess the first terms that started popping into my head when I was listening to Our Mother She Remembers – ‘cos I’m a music writer, so I, of course, have to categorise the shit out of everything – and came up with “avant garde, experimental rock, punk-y” … Shit, I don’t know – what would you call the music of Snowman?
“Post-apocalyptic” … I don’t know – that’s your job, isn’t it? It’s just something … it’s a translation of what’s rattling around in our collective headspace, and it’s a translation of the textures and colours and things into some sort of … I don’t know … semi-tangible sort of reality. But then, music isn’t really tangible, is it? It’s like a ghost … Yeah, I don’t know how to categorise it, but it would make my life easier if I could categorise it.
entertain yourselves, you know? You have to entertain yourselves, and we’ve been doing it since we were very young – we were thirteen or so when we started writing together. It’s been ten years, and it really is a case of … When you’re in Perth, there’re no labels wanting to put out this, that and the other … No one knew who the f*ck we were until we went over east, but we just locked ourselves away and wrote. I do think that isolation is a positive, yeah.
You guys come from Perth which, in terms of its geographical location, does kind of share a lot in common with Tasmania, in that relative isolation from other scenes – it’s not as integrated as it would be elsewhere. Do you think that that isolation might have contributed to how eclectic the music of Snowman is? To a degree … there is nothing else to do. Perth is a boring town – it can be a big struggle to find entertainment, so you
I understand Ross had a bit of a prang earlier this year – what happened there? He came off his motorcycle. Unfortunately he was drunk and he was over the limit, and he came off his motorcycle and f*cked his arm up and pulled tendons out and broke his elbow and all sorts of shit. So he’s got a metal plate in his arm now, but he’s healing … he can still play now. He has to have a bit of surgery before we go to London, and then I
think he’s done – I think he’s fine. But yeah, he was in pain for a little while. So how long was Snowman put on the back-burner while he was recovering? It was quite convenient timing. We’d just recorded the album, and that was quite a tense period of time, you know? So we needed to have a break, and it happened at the right time. So we had four months of not playing, which was good – we took time off the songs, and got a bit of a breather from what we do twenty-four-seven. So yeah, I think it was kind of a positive thing in the end. Snowman play Hobart’s Republic Bar on the 10th of July. To listen to the full interview, go to www.sauce.net.au SAUCE #72
DANCE - SYDNEY // CHRIS FRASER
Working On Both Sides Of Dance
By Stuart Evans
Having played the epic Houseparty at syrup recently It’s all about enjoying the moment for Chris Fraser. There are no frustrations. In fact, Fraser is upbeat as he talks about his current situation. “To be honest, I’m not frustrated about anything at all at the moment. I’m seriously happy. I’ve been remixing my arse off. I’ve got a CD with my name on it out now and I’ve just returned from playing at an awesome club in Fremantle. Things are about to ramp-up even more.” By nature, Fraser is an optimistic person. His radio background and his mix of Inaya Day’s Breakaway helped make him revered by both industry and punters. And with his Raw Volume 2 compilation released, his optimism is resolute. Despite Raw Volume 2 being released in Melbourne, it wasn’t going to be an easy sell. The Raw branding relates to dance music radio station Raw FM – broadcast in NSW and via satellite nationally. “The way the CD’s put together means it’s presented in such a way that it’s called Raw. The Raw FM brand is just an association. When I went to Western Australia I promoted the CD as Raw and not the radio station. There’s the link for the Raw FM website on the CD and if people want to check out the station they can get deeper into it by jumping online.” In 2006 Fraser rocketed to first place in the ACT DJ rankings. Just to prove his notoriety wasn’t limited to his home territory, he then finished 25th in the national InTheMix DJ rankings. “DJ rankings are a funny thing, as you love them and hate them. They’re great when you’re in them, and not so great when you’re not,” he says. He says 2007 was a transition year, as he left the ACT and took up residence in Sydney to become marketing manager at record label Central Station. No doubt there were some who said Fraser’s success couldn’t be replicated in the big smoke. They were mistaken. Though he juggles the role of producer, DJ and marketing manager, he enjoys all aspects and demands of his role. “For me it’s a challenge, although the marketing side of things isn’t really relevant to the DJ side of things. What it does mean is that I’m right across a range of music scenes and genres. I have to be active in a range of markets, and that’s the really exciting thing about working for Central Station. Luckily my music tastes are very broad and diverse, so that’s why I enjoy the challenge,” he says.
But even for the electronic die-hard, Fraser reckons that there comes a time when switching off the beats is a good thing. “You do need to give your ears a bit of a rest from repetitive beats every now and then. Generally speaking, I try to have a rest from electronic music at weekends, depending on my schedule that is. You need to have broad influences, as it’s important and healthy to get away from dance music.” The description of Fraser, as stated in his promotional documents, describes him as the bastard love child of Han Solo and Chewbacca. It doesn’t exactly portray Fraser in oil painting beauty.
“… It’s important and healthy to get away from dance music.” He laughs, “I don’t know where the Han Solo thing comes into it, as I don’t look like Harrison Ford. I can understand Chewbacca, purely for the facial hair. When I get a bit smashed, I’ve also been known to make Wookie noises,” he laughs Fraser admits that he is not a fan of putting words down on paper when talking about his music. “DJs should never admit to writing anything on their biography. I had to do a quick update on mine, and trying to say good things about yourself is totally f*cking bogus. I ended the paragraph with “and he’s certainly one of the most bearded DJs around”,” he laughs. Raw Volume 2 is out now. www.myspace.com/chrisfraserishere
SCREEN SLINGSHOT – TAKING TASSIE SHORT FILMS TO THE WORLD Wide Angle Tasmania (WAT) and the Australian Film Television and Radio School (AFTRS) have launched Slingshot – a new short film distribution partnership designed to assist Tasmanian filmmakers in taking their short films to the film festivals of the world. “This partnership is an exciting opportunity for Tasmanian filmmakers to access strategic knowledge of the world’s film festivals. We are delighted to establish this relationship with the AFTRS, and are thrilled that Screen Tasmania has decided to support this initiative” said Beverley Jefferson, General Manager of Wide Angle Tasmania. Through the generous support of Screen Tasmania, WAT and AFTRS will provide tailored advice and financial support for the marketing and distribution of a select group of Tasmanian short films in 2008. Ruth Saunders, AFTRS Sales and Distribution Manager, will be the primary consultant for Slingshot in a partnership between Australia’s national film school and Tasmania’s only not-for-profit screen resource organisation.
of Blue Rocket Production is a two-and-a-half-hour seminar that gives an overview of the dynamic changes within the industry and the impact upon the businesses of producers, broadcasters and distributors. It covers a variety of topics including: - The collapse of the free-to-air TV model - IPTV - Online and interactive entertainment - MMORPG’S - Mobile content - Developing so-called ‘cross platform’ content - Joost, Google Video, Babelgum and more - New players on the field - Future threats If you are interested in attending please email info@ wideangle.org.au or phone 03 6223 8344.
TROPFEST 2009 Just a little note that the signature items for Tropfest 2009 are “Spring” for Tropfest and “Squeeze” for Tropfest Jnr. Get your thinking caps on early!
Filmmakers will be asked to submit their existing marketing materials along with their films in three rounds in 2008. From each round up to four films will be selected to receive specialised support, and each filmmaker will then also receive a small cash grant to assist them in distributing their films to the most appropriate festivals worldwide.
For further information visit www.tropfest.com
SLINGSHOT SUBMISSION GUIDELINES
Filming produces a whole set of safety issues that are unique to the industry. In this one-day seminar you will learn some essential procedures that will help you to minimise dangers on set and on location. Please note that if there is enough demand, this course will be run in both Hobart and Launceston.
1. Film duration must be less than fifteen minutes. 2. The film must have been finished within 2007 or 2008. 3. Each film must be the original work of the Tasmanian resident filmmaker. 4. Each film must have the requisite individual, performer and location releases, and have obtained the necessary rights to any copyrighted materials used within the film. 5. Each film must be accompanied by a one-sentence synopsis, a one-paragraph synopsis, a one-page (maximum) Director’s Statement, including any relevant background notes, a high-resolution head shot of the director, and a selection of high-resolution production stills. 6. Each film must specify the shooting and finishing formats for the film. 7. Each film must be accompanied by a post-production script. 8. The filmmaker must specify which (if any) festivals/ screenings the film has already entered/received. 9. The filmmaker should provide a copy of any marketing strategies or materials that have already been developed. Third round closes 15th August 2008. All applications must be received by Wide Angle Tasmania by 4pm on each deadline day. For more information, email email@example.com
CHANGING MEDIA LANDSCAPE SEMINAR WITH DAVID GURNEY When: Friday 22nd August Time: 4.30pm – 7pm Where: Salamanca Arts Centre The Changing Media Landscape Seminar with David Gurney 16
FILM SAFETY SEMINAR WAT is seeking expressions of interest from filmmakers who want to undergo a basic film safety training course.
Express interest in this course by emailing info@wideangle. org.au
TV SHOWS NOW AVAILABLE ON iTUNES Apple recently announced that television programming from Australian networks including the ABC, Seven Network and Nine Network, along with US-produced programs from the American ABC, Disney Channel and MTV Networks is now available on the iTunes store in Australia. iTunes customers can now download shows including the Summer Heights High, McLeod’s Daughters and Sea Patrol, as well as US shows including Lost, Grey’s Anatomy and The Hills. “We’re thrilled to bring television programming to the iTunes store in Australia,” said Eddy Cue, Apple’s vice president of iTunes. “We’re off to a great start with shows from Australia’s top networks combined with favourites from the US, which customers in Australia will love being able to watch on their computer, iPod or on a widescreen TV with Apple TV.” Television shows are priced at A$2.99 (including GST) per episode on the iTunes Store in Australia. Television shows now available are: Desperate Housewives, Grey’s Anatomy, Lost, Scrubs, Summer Heights High, We Can Be Heroes, Double the Fist, Foreign Correspondent Postcards, Sleek Geeks, Surfing the Menu, Hannah Montana, The Suite Life of Zack and Cody, Cory in the House, Canal Road, McLeod’s Daughters, Sea
Patrol, Urban Magic, Blue’s Clues, The Hills, Laguna Beach, My Super Sweet Sixteen, South Park, Pimp My Ride
For more information and an application form please visit www.screentasmania.com
CALLING ALL ASPIRING FILMMAKERS 2008 DIGISPAA COMPETITION
AFTRS LOCATION SURVEY MANAGEMENT COURSE, 28th – 31st JULY
There’s only three months left until entries close on Friday 19th September for the 2008 DigiSPAA Competition and the SPAARTAN Award. All aspiring filmmakers eager for the opportunity to win prizes including $15,000 cash and $20,000 worth of post-production, plus a guaranteed screening on the Movie Extra channel and return trip to the Rotterdam Cinemart international feature film market, are encouraged to get the ball (and films) rolling. Established as a filmmaking competition in 2005, DigiSPAA, is recognised as the leading showcase for low-budget filmmaking in Australia and New Zealand. It’s a celebration of making a feature film at all costs, or no costs while remembering it’s all about the story. Eligible films need to be feature length, with a running time of at least seventy minutes, independently funded, digitally produced and completed to advanced post-production stage no earlier than 31st August 2007. Applications close on Friday September 19th, 2008. For full details, application form and guidelines go to www.spaa. org.au
PLACES AVAILABLE FOR TASMANIANS TO ATTEND ARISTA BUSINESS OF DEVELOPMENT NATIONAL CONFERENCE Screen Tasmania has announced that there are currently a limited number of subsidised places to attend the Arista Business of Development National Conference, to be held in Hobart from Monday 21st to Wednesday 23rd July 2008. Arista BOD is a seminar dedicated to a concentrated examination of script development in the film industry. It will look at a range of issues, both practical and theoretical. Participants will undertake a detailed practical guide to developing a story including how to read, understand and analyse screenplays and a step-by-step guide to highquality report writing. Practitioners who successfully complete this seminar will be favourably considered as potential script assessors and/or script editors for Screen Tasmania. Only those practitioners with genuine interest and ability in the particular area of expertise should apply.
Screen Tasmania has also announced that there are currently a limited number of subsidised places available for the AFTRS Location Survey Management course. This course will run over four days and is aimed at practitioners wanting to perform the role of Location Scout/Manager. The course will be delivered by an industry professional and is designed to develop skills relating to finding, documenting and managing a location for a film shoot – the processes of scouting, surveying, recording locations and assessing them for feasibility in terms of balancing cinematic potential and practicalities of filming. Practitioners who successfully complete this course will be favourably considered as potential Location Scouts for Screen Tasmania. Only those practitioners with genuine interest and ability in the particular area of expertise should apply. For more information and an application form please visit www.screentasmania.com
PASSIONATE APPRENTICES SCREENING ON SBS, WEDNESDAY 25th JULY Tune in to SBS on Wednesday night at 8pm to see the first episode of the Screen Tasmania-funded three-part documentary series, Passionate Apprentices. Down in Tasmania there’s a little valley under Sleeping Beauty Mountain, where no-one goes cold or hungry ... how’s it work for heaven’s sake? This new film by Roger Scholes (The Tale of Ruby Rose and Stories from the Stone Age) and Lynda House (Kokoda and Muriel’s Wedding) tells the story of a network of families living in the small towns and forests under Sleeping Beauty Mountain in the Huon Valley in Southern Tasmania. These people come from across the globe. Traditional practices continue alongside blended experience. Family craft secrets are traded. Passions are passed on. It’s not a fixed ideology – it’s a loose way of living.
DANCE - AUSTRALIA // GOODWILL
Party On With The Black Doctor By Tom Wilson
It’s strangely comforting to know that some things never change. Goodwill has been doing his thing for some time now – evidenced by his impressive standing in our country’s dance music hierarchy – so you’d expect him to be a man who’s focus on the responsibility of taking Sessions Five to the masses would be unwavering and absolute, and it is … but that’s not to say he isn’t getting on the piss with The Potbelleez every night, because he’s doing that too. He compared hangovers with SAUCE ahead of his set at Syrup … So when was the last time you had a really bad hangover? [Laughs] Ah, every morning after gigs with The Potbelleez on this tour … we’ve been partying pretty hard. We haven’t stopped, so … So how does Goodwill deal with a hangover? What’s the best cure you’ve found? Well, you start lying to yourself first, saying you’re not going to drink, but because there’s five of us on the road, there’s always one bad egg, and it’s always someone different that starts the party. How do I deal with it? Lots of Coca-Cola.
“With the success of the dance music scene comes a lot of egos …”
[Laughs] Way ahead of you, man! I’ve almost finished one of those big bottles! Good man! I call it “The Black Doctor!” Nice! This probably means I’m going to be a little sedate – a little chilled out – unlike the dude who interviewed you on that interview you’ve got on your MySpace [where Goodwill is constantly taken aback by the energy of a guy who’s seemingly chased fifty Red Bulls with a line of speed.] That was absolutely cringeworthy! [Laughs] It’s pretty funny, isn’t it? He’s obviously had way too much of the “Black Doctor.” [Laughs] Well the funny story behind that is that I actually made that whole thing up. That’s actually a dear friend of mine, Duncan – he’s an actor – and we staged that whole thing. We turned up on the day to do the interview … he’s one of my best mates, an actor/comedian guy, and we were going to do this silly thing where I interviewed myself with a splitscreen, but the technical guy on the day said, “No, you can’t do that.” It was too expensive to pull off. So we just wrote that script on the spot, so it’s actually a joke, but it’s been so effective, because everyone believes that he’s real, you know? So it’s excellent – achieving the result we wanted! What’s been going on in your life lately, outside of music? Obviously, you’re on tour, but has it all just been about the music, or have you been doing other stuff? It’s all been about the music for the last year, unfortunately. I wish I could say I had a bit of a richer lifestyle, but the last year’s all been about writing and finishing songs and touring and preparing overseas stuff. I’ve just taken on an agent overseas, and that sounds like a simple thing to do, but there’s so much work that goes into that, you know? So yeah, it’s all been about music – I’ve been living and breathing it every day for the last year! [Laughs] It’s been intense. So in music, and life – this is a very broad question – what’s making you happy, and what’s pissing you off? In music? What’s making me happy at the moment is that there’s so much Australian talent kicking arse, because there really is – it’s just on fire at the moment. What’s pissing me off is people taking themselves too seriously … Dance music is taking itself too seriously too – it f*cking pisses me off. Without naming names, what are some examples of this? Just when, you know, producers get the shits when they’re getting the piss taken out of them, or when something doesn’t go right – prima donnas and stuff – it’s just a waste of time, you know? This is dance music – it’s about hedonism, and it’s supposed to be about release and partying and fun. With the success of the dance music scene comes a lot of egos who think they can throw their weight around, and I just stand and laugh at it! [Laughs] There you go! You mixed Sessions Five with The Potbelleez. Did you guys split it? Like, you did your disc and they did theirs? A little bit … [We] sort of said, “Here’s the tracks we want,” and it sort of ended up pretty good. I don’t think there was much of a crossover at all. Normally, when I do them with John Course, there’s a lot of crossover, and we have to talk a lot, because we play very similar. I probably play a bit “tougher” than John, but yeah … we had to talk a lot. Looking back over the Sessions series so far … how many of them have you worked on? This is my second, but I’ve done about seven or eight CDs for Ministry. In terms of the Sessions series, in what ways do you think that Five represents an evolution of the series? What direction do you see the series heading in? Well, I’ve always said the same thing about Sessions – it’s sort of just a snapshot of what’s going on in clubland at the time. Because it’s a middle-of-the-year comp, it’s not the time of year when everyone’s buying compilations as presents or anything … [You can be] a bit more indulgent. Every year it evolves, because it’s just representing exactly what’s going on at the time, and obviously having The Potbelleez on it represents just how massive they are! [Laughs] Goodwill plays Syrup in Hobart on the 19th of July. To listen to the full interview, go to www.sauce.net.au
DJ PROFILE Azza Matazz & Wylie Kylie So, what’s your name then? DJ Azza Matazz and Wylie Kylie of course! We aren’t ones for tacky DJ names. What’ve you been up to lately? Just the usual shenanigans – boozing, perving and running amok! Just had some new ink done too. How long have you been DJing? Three times! We’re the new kids on the corner! What styles do you dabble in, and why? Electro-dance-rockin’ trash! The sort of stuff you dance to in your lounge room – what we wanted to hear when we went out. Hip-shakin’ baby-makin’ tunes! What do you like best about it? Booze, partying and having an awesome time. What sometimes pisses you off about it? Stupid requests and DJs who take themselves too seriously. What makes you downright awesome? Well we’re not sure that we are awesome, but Rod Stewart has been spreading some rumours that we’re the tits! Who’re some DJ heroes of yours, and why? Our musical heroes are all the bands that we’ve seen live that know how to make a party, like Daft Punk/ PNAU/Girl Talk/Architecture in Helsinki/Cut Copy/ Iggy Pop/Placebo/White Stripes/LCD Soundsystem/ The Roobs/The Scientists of Modern Music/The Whisky Go Go’s/Go! Team, and anything that will get us dancing. So, when and where can we catch you next? We are playing a set at the Brisbane Hotel’s first birthday party on the 19th of July – see you there! PS – look out for the next Red Light Disco.
TURN THE DIAL TO 11
DJ PROFILE – DJ TIM
James Hotel resident noisemaker Cam has been doing his thing for more than seven years, and it shows. Having survived the often-tricky graduation from vinyl to discs and shared the decks with everyone from TV Rock to John Course, Kid Kenobi and Dirty South, he chucked his favourite mix into the CDJ and turned the dial to 11 …
MUSIC T A S M A N I A
11 years ago … I had more brain cells than I do now! [Laughs] 11 months ago … I converted from vinyl to CDs, learning a new style of mixing.
Presents Thursday’s Child
11 weeks ago … I was styling a pair of knee-high boots for my partner. 11 hours ago … I was remixing the track Lollipop with a fellow DJ – together we are known as the group “Phat ‘n’ Ugly.”
What’ve you been up to lately? Operating DJ company Crossfade Sound Hire.
Five favourite tracks at the moment, and why?
How long have you been DJing? Ten years.
Out of Office – Insatiable – This track is awesome – great female vocal and a sick-arse bassline cutting in and out.
What styles do you dabble in, and why? Across the board – to appeal to all ages and types of function.
The Prodigy – Hyperspeed – This is a breaks track – don’t play too many of these, but can’t go wrong with The Prodigy – phat-as.
What do you like best about it? Knowing that my experience in matching music with people in given venues creates enjoyment, and having same acknowledged.
The Presets – This Boy’s In Love – This one has sentimental value; nothing I would play out in the club, but a good track to listen to at home. Jean Elan – Where’s Your Head At? – This one is a real new one; catchy tune, great vocal (of course) and fatas-f*ck bassline – awesome! Cam supports Sam La More at Launceston’s James Hotel on the 26th of July.
So, what’s your name then? Tim Victory.
11 Minutes Ago … I was being annoyed by my workmate while I was trying to write this.
Electric Boogaloo – This one is a bit of a favorite; great vocal with a hard, banging bassline, more electro than electro-house.
At The Lark Distillery
What sometimes pisses you off about it? The same song being requested by the same person several times after having played it. What makes you downright awesome? It’s the reward for the study of people and moods to produce what it is they wish to hear. Who’re some DJ heroes of yours, and why? No one in particular. So, when and where can we catch you next? Country Club Casino Launceston on Fridays, Saturdays and Mondays in the Tonic Bar.
July 17, 7:30pm - 10:30pm
free entry featuring:
Jonno Coleman (ejecter) Sam Cole Oberon Carter Simon London (WA) followed by
@ Lark Distillery 14 Davey St, Hobart Ph: 6231 9088
TRAVEL DIARY – ONCE UPON A TIME IN CHINA
So we left off last time in Hanoi City, Vietnam, heading to Halong Bay. What can I say? Halong Bay would have to be a wonder of this world, it is absolutely beautiful. A huge archipelago of islands, thousands and thousands of limestone islands reach high out of the jadegreen waters. Some of the islands are inhabited, but most not; many of the local population live in floating houses, making a living from fishing and selling snacks from rowboats to tourists. It was a three-day tour of blissful seafood-eating, kayaking, diving off the boat and cycling around islands – what a life, hey? After the tour it was back to Hanoi, and after saying goodbye to Jana, Eric and I were ready to set off on the next leg of our trip, into China to fly out of Hong Kong to Europe. Well, this was an experience ... it sounds simple enough – catch a train to the border then, after customs, a taxi to the local train station in Pxingang, China, then one change onto a sleeper train in Nanning, and on to Hong Kong … wrong! China is the most difficult country I have ever travelled in, and I have travelled a lot in my lifetime. God help the poor middle-aged arrogant traveler (who thinks the whole world speaks English) going to the Olympics! There we were, trying our best to speak to everyone in Chinese, phrase book in hand – all we wanted was an ATM, then a train ticket. No way – no-one would even talk to us. When we approached anyone, we were being waved away with a hand signal. So, we missed the train. Finally we found someone who was willing to help us. He kindly got us in a tuk-tuk, and to an ATM, and then to a bus station – which was all on the other side of town, so without this man, we would have gotten nowhere. So, with money and a bus ticket – although three times the price of the train ticket – we were happy. On the bus we met another lovely soul who this time spoke English – we soon realised that the only way to get around China was to find these lovely people. It was an interesting bus ride. The bus was stopped for what we thought would be a passport and papers check, but as five policemen got on the bus, one with video camera in hand, they all went straight to one man aboard. As they all searched and questioned the man, the story unfolded. A huge block of heroin was found on him, and after ten minutes that man and two others were escorted off the bus. Our friend then told us that if you are caught with over fifty grams of heroin, the punishment was death by shooting ... When we arrived in Nanning, our friend helped us find the local bus to get to the train station. When we arrived, plan B failed; the trains to Hong Kong were full for days ... so, after a lot of thought and procrastination, it was back to the bus station on another bus. Beautiful soul number three; we meet a lovely man on the bus who is Chinese but has lived in England for over twenty years. He and his two brothers, who are all in China on holidays (one brother is from Germany, and the other from the north of China), are heading to the bus station to catch a night bus to Hong Kong. When we arrive, he helps us to get a ticket on his bus. Then we all have dinner – they are like our grandfathers/minders (hilarious!). So, as this tale continues, we find it difficult again to get a bus from the Hong Kong border into the city. (For those who aren’t aware, Hong Kong is a separate entity with separate border control from the mainland – it is from the ex-English ruling of Hong Kong). But, finally we make it, with the help of yet another person. We find a place to stay, but when you come from cheap Vietnam and end up in a crummy place that is five times the price in Hong Kong, it kind of sucks! So, Hong Kong – it is a great city. However, for our cheap backpacking trip, it is not what we want, nor need. So we wait for our flight and jet to Rome. Enter Europe; it is way too expensive, but oh so beautiful. I have been to Rome before, nine years ago, and it is one of my favourite cities. We enjoy the beauty of the historic sights, eat, drink, eat and drink some more – oh, I love to eat and drink. After a few days of spending way too much in Rome, it is off to Spain, where we will be based for the summer ... tale to be continued … ANNA WALLACE
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INTERIOR Razo gear knob. Black leather re-trim. Isotta steering wheel. Isotta pedals. Isotta dead rest. False floor in light crème vinyl. 2x 150psi gauges.
6” Pioneer two-way speakers. 6” Pioneer three-way speakers. JVC EXAD DVD player. 19” LG Flatron monitor. 400w inverter. RCA to VGA converter. 2x ten-inch Pioneer subs. Four-channel Pioneer amp. Rockford Fosgate mono block. Custom enclosure.
Wearable Art Exhibition – UTAS School Of Visual And Performing Arts
Garments on display produced by students from Hobart and Launceston. Pictured is Josh Rogers, Alanvale TAFE student, who was invited to participate.
Favourite Band? Foo Fighters
Favourite Band? Dalcarpo
Fave TV Show NCIS
Fave TV Show Kyle Piccolo Comic Shop Therapist
How often do you buy the newspaper? Never.
How often do you buy the newspaper? Never.
What radio station do you listen to? None
What radio station do you listen to? WFUV (online)
What do you look at most – a computer screen, or a TV screen? Computer
What do you look at most – a computer screen, or a TV screen? Computer
Where do you mostly go on the internet? Facebook
Where do you mostly go on the internet? Gmail
Favourite Band? Hikaru Utada
Favourite Band? John Butler Trio
Fave TV Show Scrubs
Fave TV Show How I Met Your Mother
How often do you buy the newspaper? Never.
How often do you buy the newspaper? Weekly
What radio station do you listen to? ABC News
What radio station do you listen to? TripleJ
What do you look at most – a computer screen, or a TV screen? Computer
What do you look at most – a computer screen, or a TV screen? TV
Where do you mostly go on the internet? www.icanhascheezburger.com
Where do you mostly go on the internet? Google SAUCE #72
Arts Sparks The Flowering
Brutal Beauty by Craig Opie
EARL ARTS CENTRE
RUNNING TILL 29 JUNE – SIDESPACE GALLERY
But despite this, The Flowering never seemed to fully bloom. Donna Cameron performs all five characters of the play, with incredible vigour and switchblade-like character changes. But despite her doubtless talent as a writer and as an actress, the show does not dig as deep into human emotions as promised by Mudlark Theatre. Grotesque-style characters parody common stereotypes but they are presented as protagonists of complex undercurrents, in a tale that doesn’t make an awful amount of sense in the telling, and the final stunning set of ceramic art glow serenely on the stage. The central character is Chloe, the woman who hopes to save her alcoholic mother through her confessions. Frustratingly, the audience lacks a clear picture of this woman, of who she is and what she represents to her world. Is she loud, is she eccentric, is she shy, corporate, hippy, or welfare-bound? Not that a character needs a dossier of height, weight and hobbies to breathe on the stage, but a litany of memories still needs some substance of character from which to launch. So intricate are the details of her story that opportunities for the audience to perceive the actual character of Chloe are frugal. We know she is damaged, proven by how she launched into love, through sheer desire to love, with a con man. But we don’t know why. We are treated to her harrowing memories, but at the end of it, we only know what she has suffered, but she is still a two-dimensional character. The two drug-runners she ran away with are beautifully presented and forgivably clichéd. The offsider has that deft nasal twang of the larrikin. The pseudo-exotic boyfriend sounds not a little unlike The Count from Sesame Street, and acts as if he has been hanging with Brando on The Godfather. Her mother sounds like Patsy from Absolutely Fabulous, and with such extremes, the grotesque nature of the characters are enhanced. How Donna Cameron finds the tenacity to present each personality so passionately (without an interval) is a mystery she took with her back to Queensland. The Flowering may not have fully cultivated the emotions claimed, but it was a wonderful show to witness all the same. CLARA MURRAY
The Bullfight – Brutal Beauty is a narrative sequence of digital photographic works that follows the crescendo of the bullfight, from the early and more refined ritualistic elements of the process through to the entrance of the Matador (Spanish for “killer”) and the bloody mutilation of the bull. It is difficult not to be drawn in by the eyes of the bull and of the men in every image, and the solemnity amongst the crowd and participants is startling. Craig Opie is a technical master of his medium – the clarity and beauty of his images is indescribably well suited to their direct and bloody content. Coming from a background in film photography, it is evident that Opie searches for perfection in his imagery without the interference of digital manipulation, and this attention to detail pays off. The day of his exhibition opening at the Sidespace Gallery Opie was approached by the AACT (Against Animal Cruelty Tasmania) society. They asked if they could talk to him about his subject matter and place their anti-bullfighting leaflets in the gallery during his exhibition, and Opie held no objection, but that is not to say he shared the perspective of the AACT. On setting out for Spain in 2007, Opie had not intended to photograph the bullfight or support it in any way. Like many other people he believed at the time that the bullfight was slaughter, inhumane and bloodthirsty. It was not until he experienced the bullfight as a spectator in amongst an immense audience that Opie changed his mind about this controversial cultural activity. He describes his experiences of the bullfight as being more about art than sport, and more about a celebration than a sporting event. Opie recognises that while the bulls involved in the fight are mistreated and deprived of freedom, for an internationally enforced ban to be placed on bullfighting would, in a not dissimilar way, remove the freedom of culture of the Spanish people, and that the Spanish people themselves are not necessarily a violent or bloodthirsty lot. He repeated several times that, while in rural areas of Spain, he saw a very minimal amount of road kill or the mindless slaughter of wild animals – barely a scratch on the apparent penchant many Australian rural inhabitants have for shooting anything that stays still for long enough. He describes the power of the audience’s emotion, and their empathy for the bull, who is the centre of all proceedings and, in a sense, the artwork himself. Now, through the works included in The Bullfight – Brutal Beauty, Opie approaches the bullfight from a new perspective; although he is insistent that he does not support the celebration, he believes that the only people who can stop the bullfight, and who have the right, are the Spanish people themselves. Recent statistics published in the AACT’s leaflet Bullfighting: A Tradition of Tragedy have shown that 69% of the Spanish population have no interest in bullfighting, or are opposed to it – a drastic increase from 30% in the 90s. Far be it for anyone to be denied their own culture, but growing out of old traditions is not to be frowned on either. MAEVE MACGREGOR
CROSSING THE LINE – A Book’s Genesis When a book is published years after one has penned the first word, it is sometimes difficult to remember those early writing days. Where did the book’s idea come from? Who is the protagonist based on? How was the plot developed? This is especially difficult when the manuscript was re-drafted many times and when it’s taken years to find a publisher willing to invest in it. Such is the case with my 100th published book, a YA novel, Crossing the Line, due for release in August 2008, published by Ford Street and distributed by Macmillan Book Distribution. Described by fellow authors as “nail-biting,” “engrossing” and “profoundly sensitive”, the book is likely to garner a following as it is about a teenage girl who self-harms. In a recent ABC radio interview, Petrea King of Quest for Life stated that self-harm is prevalent in high schools all over Australia. So what does a sixty-year-old author know about self-harm? And life in a psychiatric hospital unit? And obsession – all of which feature in Crossing the Line? Time for a confession: as a teenager I self-harmed. Why, you ask? Why does anyone with a modicum of intelligence cut their skin? There are probably as many theories as there are girls who cut, but on reflection I think that self-harming results in physical pain which in turn relieves mental turmoil. I was a deeply unhappy child. I didn’t tell anyone what I was doing, but secretly I hoped someone would find out and ask why, and then I would be able to divulge the reasons for my depression. In my late teens I was admitted to a psychiatric hospital, and more recently I’ve been diagnosed with bipolar disorder. So it is that I have an understanding of mental illness, and empathy for those who suffer from it. I am well aware of patienttherapist transference, a kind of ‘love’ that therapy creates when a patient is revealing the deepest parts of herself and her life. Sophie, the seventeen-year-old protagonist in Crossing the Line, has been orphaned and then fostered, but when her story begins, she is moving into independent accommodation with two other teenagers. Her life has seen a series of abandonment, and already she is cutting when stressed. She is treated by a therapist, but when he fears she is suicidal, he puts her under the care of a psychiatrist in an adolescent hospital unit. It is this doctor who Sophie grows to ‘love’ and to stalk when she is eventually released back to the care of her housemates. SAUCE #72
BROUGHT TO YOU BY MANIC PRODUCTIONS
A daughter returns home to find her mother drinking herself to death. To save her, she decides to tell her mum the story of when she disappeared for six months at eighteen, where she was, and what she went through. This is the foundation for the critically acclaimed one-woman show written and performed by the esteemed Donna Cameron, brought to our island by Mudlark Theatre. The script, in many ways, was cohesive, with clearly defined characters, the performance visually breathtaking and vivid.
Northern Arts Wrap
Much of Crossing the Line is fictional, but obviously I have drawn on aspects of my own emotional life in writing the book. Doing so makes me feel vulnerable, but at the same time I am looking forward to being able to talk to young people – especially teenage girls – about how to cope with dangerous feelings. One high school I’ve approached to give a talk is reluctant to have me. The subjects of self-harm, obsession and stalking are scary for them. Teachers know their students experience these things; they don’t want to have the topic opened up. On the other hand, having personal experience, maturity and the wisdom of hindsight, I know that I – and my book -- can perhaps be a catalyst for informed discussion and hopefully I can provide alternative solutions to the students I address. When my only other YA novel, The Last Refuge, about children who are victims of domestic violence, was released, I spoke nationally and personally about the subject and was able to provide advice and information to help victims. It’s now early days in the life of Crossing the Line, which I hope will also provide bibliotherapy, but it’s also an exciting time, too! DIANNE BATES
Jema Lewandowski-Porter and Kirrawani Lewondowski-Porter perform for the Tasmanian Variety Freak Show Because SAUCE likes our local arts scene as much as us, they gave Manic this space to tell you what’s going on in the Launnie arts community. Although it is becoming more and more difficult to brave the streets outside your house, the local arts scene still has much to offer during the winter months. So don’t stay cooped up indoors in front of the idiot box – get out there and support the vibrant local arts scene we have pumping all year long. If you don’t know what Manic does, we would like to take this opportunity to introduce ourselves. Manic is a non- profit community organisation supporting young and emerging artists in Launceston. Manic is entirely run by a motivated group of young people with the aim of producing interesting and creative community events and to create support for emerging artists working in all different areas. Manic was established in 2005 by students from LC and has since run exciting projects such as a design gallery in the CBD which was open in 2006, visual art exhibitions, workshops and performance events. As a co-production with Emma Dilemma, Manic recently presented the much-talked-about Tasmanian Variety Freak Show in April at the Polish Hall and the Brisbane Hotel in Hobart. The Freak Show packed two-hundred-and-fifty punters into the venue for a night of mayhem and decadence. The night featured Otto and Astrid Rot as the punk duo Die Roten Punkte, straight from the gutters of Berlin, Samora Squid, the sword-swallowing stick insect, and local rockers Mayfield, along with many other crazy performers hand-picked from the wilds of Tasmania. From the guest appearance by Hedwig and her Angry Inch and people getting pierced live on stage to often offensive and obscene nudity, the night was hailed a resounding success. Launceston artists can be an inspiring bunch, and we plan to present their outrageous work as often as possible, so please come and support our events. Manic is presenting a full moon party on Saturday the 19th of July to promote local artists and to celebrate a winter’s full moon in style. Come check it out:
The Black Box – presented by Manic
Full moon party and art installation – a sensory overload featuring a range of visual and performance art, and a cheap bar – Sat 19th July 8-12pm @ Arts Alive Charles St, $5 on the door.
Some kind of delicious beverage? Not quite. It is a contemporary art exhibition coming up at The Hub. The exhibition features some of Launnie’s top emerging artists, and is curated by Manic board member Justin Chapman – opening 12th July @ 6pm – drinks and entertainment until late.
Launnie’s very own theatre company are presenting their latest work Asterisk as part of their full moon program. As-
terisk is a logic-defying new work from Chris Jackson and Alyd Taylor, and is devised around the grammatical symbol “*”. This show promises to be theatre on the edge – it is not to be missed. The full moon program is a mentoring program for emerging artists, which supports them to present new and experimental theatre works. As part of this program, Mudlark are hosting a directing workshop on the 12th of July with Robert Jarman – for more information, contact Carrie; firstname.lastname@example.org Asterisk – Fri 18th – Sat 19th July @ 8pm @ Launceston College – door sales only
Vicki West recently had her masters presentation at the Academy Gallery. Vicki’s work uses a range of natural materials such as bull kelp and Dodda vine to construct beautiful three-dimensional art pieces. Much of her work was displayed at the Koori Heritage Trust. E.Scape Gallery at St Mary’s recently hosted Launceston artist Ralf Haertel for a large-scale installation. Ralf’s work combines organic and industrial materials into a piece titled Unchain. This exhibition runs until the 27th of July. Also check out Arts Alive in the coming week for the NAIDOC Week exhibition and the launch of the Art-CARD project.
Launceston is lucky enough to be the home base of Tasdance, an internationally-recognised contemporary dance company. Tasdance is currently presenting its major season of Parenthesis at the Earl Arts Centre. Parenthesis is a new work by two choreographic geniuses Natalie Weir and Kate Denborough. The work is emotional and expressive, focusing on themes of motherhood and parenting. Kate has recently choreographed Frank Woodley’s one man show Possessed and her new work for Tasdance is highly physical, and has elements of theatre and comedy throughout. This show only runs until the 12th of July – tickets are available from the Theatre North box office.
Women on Top
Women’s Health recently held a women’s conference in Launceston, with the final night featuring a cabaret night presented by our very own queen of electro-trash Emma Dilemma. Featuring artists Tea for Two, The Human Bridge, Melbourne’s Sue-Ann Post and Mayfield’s very own hardcore belly dancers Vamp, the mostly female audience and all female performance troupe were thrilled to see Launceston cabaret at its finest. If you would like more information, or to join our mailing list, please email email@example.com
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INDUSTRY NIGHT THE SMASHERS FROM 10PM $5 BEER JUGS FROM 5PM A.P.L. POKER FROM 7:30PM $5 BEER JUGS FROM 5PM $4.00 Fridge NOTHING IN THE FRIDGE OVER $4.00 KICK YOUR HEELS BACK FOR FRIDAY KNOCK OFFS HAPPY HOUR FROM 5PM OPEN MIC $5 BEER JUGS FROM 5PM $20 SPIRIT JUGS ALL NIGHT
Mondays Hospitality Industry Night 7pm till late Wednesdays Ladies’ Night 5.30-7.30pm – all ladies receive a complimentary glass of sparkling wine Fridays Selected cocktails $10 7-9pm
W H A T ’ S
Sundays Live jazz 3-6pm Live acoustic entertainment Thursdays to Saturdays 7.30pm-10.30pm
Y O U R T O N I C ?
DJ Tim every Friday and Saturday 10.30pm till late Friday 25 July Monthly theme night – ‘Beijing Blitz’. Be part of the pre-Games hype with tantalising Beijing-style beverages and complimentary fortune cookies.
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