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Edition #74

06/08/08 - 19/08/08 Made in Tasmania



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Objects At Rest Toil At Twilight For Nathan Hudson, lead vocalist of Sydney’s Faker, that moment of transition from light to dark has held a curious fascination. It’s no surprise e then that I spoke to him in the comfort of the mid-afternoon sun, as he took some time out from tossing around ideas for Faker’s next move…

“ r …we neve d aime kind of cl ngly, zi to be ama ingly k ball-brea ll… rock ‘n ro ”

So Nathan, how’s your fear of twilight going? Pretty good… I live in fear an hour a day, so it’s not that crippling. It was kind of something that was more real as a kid and, when I say “fear”, I mean a horrible, sinking feeling at that time of day and I’m not sure what that was. After a while it went… I enjoy it when daytime turns to night but when I can’t tell it kind of freaks me out. I know for me it meant I couldn’t play cricket anymore… Yeah… it would be okay when I was outdoors, it’s just an indoor thing not knowing whether it was day or night; kind of like that feeling you get when you’ve been awake all night and you sleep through the day and wake up and it’s night again – you go, “What is that?” – that’s the feeling you get during that time of day. Well I’m glad to hear you’ve reconciled it… so what’s the most hedonistic thing you’ve done lately in the name of rock and roll? God… I think my life lately… I dunno, I’m currently on

a farm at the beach… with the boys and this place is decked out with lights - enough to light up a festival. It’s not my place, somebody’s just handed us the keys and [invited] us to spend some time here… [We’re] doing that with guitars and a little bit of alcohol and just writing music. I wouldn’t call it hedonistic so much, but actually spending time writing music, it’s certainly an inspiring place without the pressure, for this week, of everything else… aside from the odd interview… we never kind of claimed to be amazingly, ball-breakingly rock ‘n roll [Laughs]

the new album] was apparently inspired by Huey Lewis and the News’s The Power of Love… I love that song and according to Nick it was inspired by that and I think the sentiment is definitely inspired by that… I’m a fan of the Back to the Future movies… during the writing period for the album I was reading all of Brett Easton Ellis’s back-catalogue and got to American Psycho and his description of Huey Lewis’s career is pretty f*cking awesome… I guess those references came from there a little…

I get a very distinctive late-eighties London thing from your music… I’m very much fan of Talking Heads from the US and what they do, certain textures, shapes and ideas for Be The Twilight were kind of inspired of having an understanding of what their goals and aims were as a band… and then Blur, who I really love… again, I wouldn’t discount the eighties England either… we wear our influences on our sleeve…

What was the last, most chaotic situation you’ve been in? I’m one of six kids so my family life is kind of chaos – the family that’s consistently late for a lot of things… being on tour, all these things… the centre to my life is playing music and I kind of have a home life… I spent a good five to six months before say, two months ago, with all my stuff in storage while living on the road… chaos is normal, I guess. If you’d asked what was the most un-chaotic moment in my life recently, I’d probably take great pleasure in finding that…

I mentioned the eighties because one of the songs [from

It’s probably right now on a farm on a beach in Sydney… Kind of! I’m about ten minute’s drive from the farm so I can be certain I’d be in range… [But] I feel a little disconnected from what I’m supposed to be doing so it’s not entirely peaceful… and then it’s confronting throwing ideas around and going “We’re gonna go away and come back with some solid ideas about what we’re gonna do next…” so your footing is never that sure until the… you kind of write music and until it’s recorded and packaged and sent out… it’s really hard to say that’s what I do… there’s a whole lot of theorising, like “Oh, I’m going to write this song…” actually, that doesn’t sound that chaotic… it’s kind of a different thing… FAKER PLAYS AT THE WREST POINT CASINO SEPTEMBER 13. THEIR NEW ALBUM, BE THE TWILIGHT, IS OUT NOW ON EMI RECORDS. CATCH THE REST OF THIS INTERVIEW AT SAUCE.NET. AU. CHRIS RATTRAY SAUCE #74



#74 - August 6 to August 19

Contents 3 4 5 6 8 9 10 11 12 13 14 15 16 17 18/19 20 21 22 23 24/25 26

Faker News / Fat Lip Column Andrew Swift Carpathian Invisible Boy The Whitlams & TSO Chris Cavill & The Long Weekend Toxic Lipstick CD Reviews Vardos Let The Cat Out / Candice Monique Gig Guide Vandalism Mark Dynamix Arts Sparks Hot Mod Miss Indy Illicit Eve Shihad Fashion Spread Street Fashion


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03 6331 0701 David Williams Chris Rattray Simon Hancock Lisa-Marie Rushton

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

Contributors Tom Butler, David Walker, Adam Ferguson, Christian MacDonald, Karlee Foster, Angela Miller, Steve Taushcke, Maeve MacGregor.

Next Edition Sauce #75 (August 20 to September 2) Deadline: Friday August 15 - 4PM



Looking for an opera album to wedge next to your dad’s Andrea Bocelli collection on the family CD shelf? Damon Albarn and Jamie Hewlett have got you covered. The Gorillaz masterminds will release Monkey: Journey to the West - via XL this winter. The album will be released under the title Journey to the West, with the artist’s name listed as Monkey. The album, which is produced by Damon Albarn, was recorded in London and Beijing over the last twelve months and features European and Chinese musicians and singers. It draws upon the music Albarn composed and visuals Jamie Hewlett produced for the Chinese opera production of the same name. The lyrics are based on ancient Chinese texts and performed in Mandarin. Many Australians will be familiar with the story line as it formed the basis of the legendary TV series Monkey Magic.

selection of producers, DJ and instrumentalists; the Australian contingent cross the musical divide from Hip Hop, dubstep and soul to techno, house and disco. MARCUS WYNWOOD’S EP LAUNCH

Marcus Wynwood’s new EP is to be launched at Maginty’s Irish Bar, Saturday August 16. Entry is free and there will be giveaways on the night. For more information go to:



WED July 23 The Turnaround - Hobart Style: Pop Punk The final guitars and bass were tracked for the upcoming six track EP. For guitar tones, we used a Peavey 6505 and an Orange AD30 head, both piped out of an Orange 4x12 quad box. 5 different mics were used to capture the tone we wanted. Bass was amplified with an Ampeg SVT 2 Pro, then piped out of a Mesa 4x12 stack. RED BULL MUSIC ACADEMY - AUS PARTICIPANTS ANNOUNCED

Not to be outdone, Australia is well represented at this year’s Academy. With participants selected from Perth, Sydney and Melbourne, the Barcelona Red Bull Music Academy should be bracing itself for a musical onslaught from the land down under! The participants chosen were Sydney’s Dizz 1 (aka Dave Norris), Melbourne’s NHJ (aka Jan Michalewicz) and Western Australia’s Ta-ku (aka Regan Mathews). A divergent

As you can imagine with Jamie Hewlett involved (the guy responsible for the Gorillaz videos and imaging) this is going to be a very visual project. The live version of Monkey: Journey to the West made its London debut at the Royal Opera House last week.

It’s the tenth year in a row that thousands of passionate, inspired music-people have applied to be part of the Red Bull Music Academy, which is set to go down this time in Barcelona, from September 21st – October 24th. Each year during the selection process, musicians, beat makers and vocalists apply after attending workshops in more than 40 countries. Subsequently, the Academy jury is illuminated on new developments in the style and location of the world’s talented young music makers. This year, new movements have included reggae purists discovering dark and lively dubstep rhythms, American mid-western hip hop heads turning toward French electro, and the worldwide dissolution of the term ‘new rave’.


MON July 28 Grrr - Launceston Style: What the? Grrr have three new songs about to be unleashed to the public. It will be available in the next few weeks. The songs were secretly recorded earlier this year. The final mix is now ready. Be prepared...

We’ve got a double pass to the Green Beats Festival at the Taroona Bowls Club, August 17 to give away! Write to with the answer the following question: Which band’s bio photo features on the Green Beats Festival MySpace page ?

THU July 31 Satanicus - Georgetown Style: Metal Pre-production is now finished, and the boys can’t wait to start tracking the real takes. The preproduction gives the band a great opportunity to experiment with cool ideas. It also helps with any final decisions as far as tempo and song length. The final recordings start Aug 23.

Competition closes Wednesday August 13.

More soon…


Non-Bogan Attempts Clarity The life of an independent muso is fraught with misunderstandings. Just because one plays rock ‘n roll in a pub, doesn’t necessarily mean you’re treading the wellworn path of the Barnseys of the world. Conversely, when you ask someone to “get ya Swift on” it doesn’t necessarily mean, well… you know. I cornered Andrew Swift to get him to clarify exactly what’s happening in his shadowy career… It’s 4:30pm, I’m feeling pretty tired in the day, what makes you feel tired in the day? Late night gigs! Being independent wears you out, trust me… the late nights; once you do a few in a row you can’t help but get to bed late every night, you know – your sleeping pattern changes and then you’ve gotta get up for work as well… yeah, it all catches up with you. That makes me tired in the day! So was that the inspiration for the song? No, it isn’t actually! [Laughs] The inspiration for the son g… a lot of people think it’s about going out and having a big night on the town or whatever – it’s fine for it to be interpreted that way, I like everyone to interpret songs in their own way – I was actually diving home one night from a gig towards the city and there was just this glow on the horizon, being all the city lights and everything, and it just sort of reminded me of a night light in a kid’s room, where the city is a night light, y’know? It’s the most straightforward song I think I’ve ever written! From the glow of city lights to the glow of a kid’s night light… that’s kind of a romantic image – to what extent does that sum you up as a person? It’s funny, I mean, I don’t have a lot of romance for the city. I do like it, but I could never live near the city. I always get frustrated when I’m driving in the city… and this song kind of is having a dig at the city, if anything, but… it is a romantic place, especially along the Yarra under the lights and everything… but yeah, look – I am a bit of a hopeless romantic but, you know, ya get that… I read somewhere that you’d been labelled as a “SNAB” – a Sensitive New Age Bogan… how do you respond to those allegations? [Laughs] Yes… it’s funny, I don’t know where they get this bogan thing from – I’ve had it mentioned twice, but the Sensitive New Age Bogan, I like that… [But] anyone who knows me knows that I’m not a bogan; I mean, I’m from an out-of-suburbs town… to me a bogan is like a wife-beater, workin’-on-ya-car on the weekend, drinkin’ beer, whereas that’s not me at all. I wouldn’t know the first thing about my car. I drive a little Hyundai… I actually took it as a compliment, in saying – in reference to the music – it was more along the

lines of pub-rock sort of music, which they’ve just sort of decided to label as “bogan rock” which is… fine by me. If you get a good pub song it’ll live on for years. Where’s the next Khe San coming from, could it be from Andrew Swift? That’s it, funnily I’ve never been a Barnesy fan or Cold Chisel fan; it’s funny that I get bogan comments though… I was checking out your MySpace page and came across some badges [you sell] that exhort me to “get my Swift on.” How exactly does one get one’s Swift on? There’s different ways to get your Swift on, I guess! Someone yelled it at me once during a gig and it sort of stuck. Somebody yelled, “Yeah, get ya Swift on!” and I thought, “That’s fantastic!” It’s been used – not by myself – but it’s been used in some sleazy terms, like, there’s been some drunk girls, you know, “Oh yeah… I wanna get my Swift on…” – these are the bogan ones, too! But it’s more like, get your Swift on your CD player… that’s what I was aiming for. Right. Is that what you tell those girls? Ah… it depends really. It depends on thee situation. Would that be a situation where you could say you’ve been cornered by shadows? [Laughs] Shadows can be very helpful… this is, ah, going downhill very quick… nah, look… you can get yourself in a tight corner there, and shadows come in handy sometimes… I really don’t know what to say to that…

s …shadow andy come in h s… sometime


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1 Saturday august 16 1 Sunday august 17 1 Monday august 18 1 Tuesday august 19

4 Letter Fish Fyah Walk (reggae) Freestate + The Stoics Andrew Swift Joe Piere G B Balding (finger pickin' blues)

9pm $10



10pm 9pm 8.30pm 9pm



…for the of people y t i r o j a m zy for I seem cra kind of living the t I do … a h t e l y t s life


Soft Talk Straight From the Edge of Hardcore Driving at night can be a lonesome pursuit, which is probably why so many people report being abducted by aliens at wacky hours of the morning. Fortunately, Carpathian’s lead singer, Marty, had completed his requisite overnight drive to their first tour destination with no close encounters to report. That just left me to probe Marty for the deeper answers behind Carpathian’s latest venture… What’s the most hardcore thing you’ve done lately? The drive from Melbourne to Surfer’s is pretty much twenty-two hours and I did most of that drive last night so that was pretty wild… what else have I done… I’ve sort of been living the boring life the last few weeks because I’ve been busy with the CD, just doing interviews and that sort of thing… I can’t think off the top of my head… When was the last time you felt isolated and why? Damn, that’s a good question… I guess for the part of the drive last night when I wasn’t driving I was just kind of lying in the back of my car looking up at the stars and I guess a majority of the record is kind of trying to understand my place in the universe as a whole – I’m not just in “society” or “humanity”, so I guess, last night, I was doing a lot of thinking about… space and if each star is a sun then there’s definitely gotta be other life out there and I guess that sort of led me to [start] thinking that we’re kind of isolated… That’s quite a large thing to tackle. How do you reconcile that feeling of isolation while being surrounded by six billion other people on this planet? [Laughs] I tend to ride my bike a lot – a road bike I get on and ride around the city most nights… when I’m riding my bike I write new lyrics and ideas for songs or whatever… I play a lot of X-Box – that’s really not isolating myself… my main thing is I have my own time and have a ride and explore the city and walk around…

To what extent do you find it’s easy to be isolated when… surrounded by so many people? I guess a lot of the record’s about people not really caring about anything apart from themselves. I feel like everybody sort of has that attitude… I fee like, you know, even when you’re surrounded by so many people – I know I do – I don’t know if everybody else sort of feels that it’s a bit isolated… I sort of just feel like nobody really cares about each other so like it’s easy to feel isolated when I’ve got that outlook on how people treat each other… It’s kind of a judgemental thing – I mean, what if everyone doesn’t care and you’re the only one that does… wouldn’t you be crazy to think any different? I ‘spose… I definitely care. I definitely care about like, all my friends and my family, and, you know, the fans of the band and the people that I meet… and it’s something that I’ve tried to put across in the record; you know, caring about each other, caring about the planet that we live on, caring about animals or caring about your body – sort of, drug-free references and that sort of thing… it’s an outlook that [not] the majority of people have, it’s definitely a minority that live the lifestyle that I do and that the band does so, I guess, for the majority of people I seem crazy for living the kind of lifestyle that I do. Is that the straight edge lifestyle? Yeah, the band’s straight edge and we’re all vegetarian and try to be as eco-friendly as possible like, with, you

know, the packaging for the new record and stuff like that… Yeah, I found that really interesting – it’s quite an aesthetically pleasing package style… is that an ultimate expression of your belief system? Something that I wanted to do with this artwork is make the artwork itself super-basic and make it look sort of isolated so I wanted to do something special with the packaging and, at the same time, I wanted to do something environmentally friendly so I spent a few nights racking my brains, searching the internet for different sorts of packaging and I came across a website for that packaging, which is called a Jake Box, from this company in Sweden. I contacted them and they’d never done anything in Australia before and they were really happy to work with us so yeah, it definitely worked out to our advantage and they were happy… On your MySpace page I found you guys indulging in some all-natural water sports – what’s the story behind that photograph? [Laughs] The Wet ‘n Wild photo was it? Yeah… a lot of the time the band doesn’t have much money. There’s not a lot of money to be made in the music that we do and the style of shows that we play so every now and then when we find ourselves with any amount of money we tend to spend it ridiculously, as fast as we can. So… the last time we were in Queensland… we went to Wet ‘n Wild, the band paid for everybody’s passes and we went and got wet and wild for the day! I think that photo cost us twenty-five dollars but we thought it was so funny

we had to do it. With being like, a straight edge band, we’re always encouraging… ourselves and people to find different ways to have fun and definitely jumping off things into the water… is definitely something the band’s into. Where does a lyric such as “overflowing with hatred, I cannot contain me, I feel violent, volatile, on the edge of destruction…” – where does that come from? How were you really feeling when you wrote those lyrics? Everybody has a boiling point; something that my Mum’s told me and something that I’ve always felt – once Mum drilled it into my head - I realised that I am pretty intolerant so, I guess, my intolerance levels are pretty easily peaked so… there was a point in my life where I realised that some of the people I associate with or some of the other bands that we’ve toured with… this is a point where I needed to write a record about how I feel about certain issues, and I guess that was the initiating point where I was overflowing with a lot of … hatred, I guess. It’s [about] being overwhelmed with a lot of issues that face people when you’re growing up and it’s a reference to being lost inside myself… CARPATHIAN PLAY AT THE BATMAN FAWLKNER, AUGUST 15, AND THE BRISBANE HOTEL, AUGUST 16. THEIR DEBUT ALBUM, ISOLATION, IS OUT NOW ON RESIST RECORDS. CATCH THE REST OF THIS INTERVIEW AT SAUCE.NET.AU.
















Tickets for Wrest Point & Country Club shows contact 1300 795 257 or *Over 18 show only







Visibly Folking in Public

Lonnie-based Invisible Boy are gearing up to play a swathe of dates around our little map of Tassie. DAVID WILLIAMS tracked down the elusive boys (and girl) to see what else they’ve been up to… Tell us a bit about the history of the band… Daniel: A few years ago I had given up music. It was kind of taking over my life in an unhealthy way. After quite some time it became clear that I was meant to be singing – not to get applause, but to give a gift. It really changed my approach. I played solo for a while, then teamed up with Ben… Mary: But they were soon seduced by the dulcet tones of Mary, who joined thinking they were going to be a cover band for weddings. Tim: I was drunk in a pub one night last year and saw them playing their tunes and I said to myself: “Self, these folks need a drummer.” Daniel: Ben knew Tim’s girlfriend’s aunty and, after much telephonic communication, managed to track down “the drummer in the pub.” My brother-in-law joined us on bass for six months and now we’re playing with my first-cousinonce-removed, Jon. I daresay Ben would tell the story differently… Ben: I was walking through Launceston and came across a raggedy bearded bloke who looked like he’d make a good disciple, so I said, “Come follow me” and Dan did. Then I came across a lady of the street… Daniel: Told you. So what’s been happening in the world of Invisible Boy? Mary: We’ve been recording our first full length album, getting locked in the studio at 1am, having to break down doors, arguing over whether The Swallow and the Old Hen Were Asked to Give Their Opinion is a good album name… All the regular stuff. Ben: I’ve been teaching Mary how to swear… Daniel: We were super chuffed to record with Carl Fidler… Ben: Mary’s been teaching me how to cook… Daniel: Hamish Clark is mixing as we speak… Ben: Tim’s been teaching me how to behave socially… Daniel: …and the brilliant people at creativemoo. com are doing the design. Check out our MySpace for a couple of new tunes. What are your main influences? Ben: Musically, I’d say Tommy Emmanuel, Ben Harper, Damian Rice, Tracey Chapman, U2, Chris Martin… Tim: Actually, I’d put Ben, Dan and Mary on my list. These guys write some of the best songs I’ve ever heard. Seriously. Daniel: I have recently been inspired by the life of William Wilberforce – I almost changed my surname. I also love a Bible story I first heard as a kid where some young fellas are threatened with execution if they don’t worship the king as a god. When everyone else bows down, they stay standing. I’d love to be so strong as to stand up when everyone else is giving up. How would you describe your music? Mary: Pretty much the best music we know. We call it folk-pop, folk music that chooses to be hopeful… Daniel: Differently-abled folk-pop. Ben: Acoustic positive folk-pop. How often do you practice? Mary: We get together every Monday night. This sometimes involves rehearsing. Daniel: Ben brings along seventeen new songs each week. I bring along one a month. You seem to get along quite well, do you ever fight? Mary: Ben swings between being cuddly and aggressive when tired. Ben: I start fights regularly, Dan avoids them, Tim finishes them, Mary commentates and Jon sits there passively. Mary: We love each other immensely and have lots of laughs together but we don’t always agree on everything. We eat a lot of meals together and spend hours on the road, so conflict is a part of who we are. Daniel: It’s kind of like how in an orchestra there are kettle drums, triangles, violins, cellos and French horns. They sound good together because they are all so different. But I bet the kettle drums sometimes think the triangles are soft and the triangles wish the kettle drums would shut up from time to time though, too. What other local artists do you admire? Mary: The Emma Fair Band, Adam Cousens, Reuben Ellenberger, Amy Kendall, The Stoics, Chantelle Hemelaar… Tim: I love ‘em all! Anybody with the intestinal fortitude to get a band together or perform as a solo artist or combo and drag their hunger8


drawn bums around the pubs and clubs of Tassie deserves a frickin’ gold medal as far as I’m concerned...

uper …we are s able approach y hardly an and have taff… security s

Do you have anything to say to the readers? Mary: Come and be our friend on MySpace and in real life – we are super approachable and have hardly any security staff. Tim: You are not what you think you are, but what you think, you are... Come see us play, have a natter and buy the album. Daniel: We reckon we are on this earth to make a difference, not just to collect houses and hangovers. That is why we sing. If you know the tune or would like to learn it, we’d love to meet you.


There’s Always Something ... WEDNESDAY AUGUST 6


Nathan Wheldon Foreign Films

Invisible Boy, Sarah Jane (EP Launch)


Ben Castles

Hamish & Sara FRIDAY AUGUST 8






Pocket Rocket

Victor Charlie Charlie



Hamish & Sara, Tash & Caz, Long Road Home

Andy & Julz Buff Star Deluxe



Ben Castles

Nathan Wheldon



Brief Illusion





Classic Rockers to Perform Rock Classics It’s a concept that was popularised by a little band known as Metallica with their S&M album, and now seminal Aussie pub rockers, The Whitlams, are set to rock the suburbs with a little help from their friends, the Tasmanian Symphony Orchestra this month. DAVID WILLIAMS spoke with Tim Freedman about this bold musical clash… You’ve been doing this type of show, with The Whitlams and a symphony orchestra for about four years now – I was just wondering whether you were sick of doing the same format? Well, we’ve done a thousand gigs and sixteen have been with orchestras, so that’s about point one of a percent of our shows, so I’d probably be more likely sick of the four-piece, quite frankly! Also, we did two in 2004 and we didn’t do it again until 2007 – we haven’t overdone it. In fact, we’ve really just done it in each state for one series of concerts. The only two we’ve missed out was the Melbourne Symphony and Tasmanian Symphony – they’re the two we’re working with on this tour. As for Tasmania, I’ve been down there with the four-piece… I’ve been down there and played solo at The Republic, and I even came down once just for the duo, with the drummer, Terepai, so it’s time for the IMAX 3D version. As an artist, what turns you on about taking rock ‘n roll music and interpreting it through an orchestra? It’s the power of the crescendos, you know – the power of the peaks and the syrupy, emotional sections… it just wrings the emotion and peaks out of every song. Also, it manages to be really powerful without being that loud, which is a new thing for most audiences these days… As the singer, there must be a different feeling on the stage when you’re interacting with that many people rather than just the three other guys… We actually play a little more carefully, if anything. We have to play a little softer so that the… the woman who’s playing second violin doesn’t complain to her union boss about getting hearing loss… yeah, I just ride on top of the big wave and I’m glad we get to do it down there, because, you know, it’s a big orchestra on a little island and we hope that people come along for it. The overall atmosphere, it’s not a rock ‘n roll atmosphere or a symphony atmosphere – it’s somewhere in-between… is that how it feels? For songs like You Sound Like Louie Burdett and Thank You, they move along just as raucously as they do in a pub so it covers the whole range of moods. What’s really good about it is that the arrangers, the composers, did very imaginative arrangements. The reason the concert has worked over here is because the orchestra thing is not a gimmick – it has actually quite challenging parts in various songs so it’s a real “meet the orchestra”… sorry, I’ve just got to see what this guy wants… [Pause] You’ve got heaps going on today, haven’t you? It’s just a silly day. We did… Today, Tonight and we’re off to do The Rugby League Footy show and it’s just different shows and different crews in different places… we haven’t been touring for a while so we’re not as organised as we usually are… takes a while to get into tour mode… So what are you doing with Today Tonight – are they doing an expose on you? Yeah, I revealed that I like playing the piano and doing lots of shows around the country – it’s a shocking, sensational headline! I think it’s a pretty nice touchy, feely story about a young fella who succeeds against the odds with a lot of personal tragedy… And what about after the performances, have you found the symphony orchestras have a lot of musicians who are up to standard in terms of

after-parties? Oh, there’s always five or six in every symphony orchestra that are happy to [imbibe]… musicians are musicians. They’re generally not quite as “loose” as the Australian Chamber Orchestra, but they’re not too shy either. Mind you, I haven’t worked with the Melbourne Symphony Orchestra and apparently I’m supposed to be scared of them… they’re from Melbourne so, you know… I might have to be… rather measured in my general demeanour…

DAVID WILLIAMS chatted further with Ben Northey, conductor for the Tasmanian Symphony Orchestra, about how the classical world is set to roll with that of rock … We sold out four shows in Sydney at the Opera House. Adelaide, Perth, and Brisbane; it’s pretty much been sold-out wherever it’s gone… they’re also doing two performances in Melbourne later this year… sorry – three, they sold out a third one! – you know, it’s just been a phenomenon with the orchestras… so, yeah… the show’s well-oiled and it works very well because… the songs are so strong. They lend themselves well to these kinds of orchestral arrangements… it doesn’t just sound like really good rock ‘n roll songs with an orchestra just superimposed on top of them… the arrangements are done in such as way as it’s much more homogenous than that – it’s really good fun!

es …sometim g yin you’re pla o the le d t second fid imes the et band; som taking ’s a r orchest re… the featu

Are they different orchestras that have been doing these performances? Yeah, they are – it’s always been the state orchestras, so the Sydney Symphony, the Melbourne Symphony, the Adelaide Symphony, West Australian Symphony and the Queensland Orchestra… [they’ve] always taken it on board… [the arrangers] are a large part of the reason why the show works so well. People like Peter Sculthorpe have done arrangements for this show… you know, Australia’s top-shelf composers and arrangers, and there’s another three or four who are in the same category as well. I think that’s what gives it a lot musical credibility as well. How’s it different for you as a conductor to be involved in this type of show rather than something straight classical? Oh look, it’s a very different feel up on the podium because when you’ve got a drum kit playing, really, the rhythmic responsibility in terms of keeping things together, goes from the conductor to the drums… there are times where the drummer and I are working together to establish tempos, synchronising certain things that change… but when the drums are playing, nothing I do is going to change where the rhythm is of the piece. So, I guess, the hardest thing for me is the style of the writing when it sort of crosses over into more pop-sounding, orchestral writing, and that’s like a different language for the orchestra, because they’re used to playing western classical music, there’s different articulations – styles that are harder to translate. The issue of getting everyone on the same page in terms of how they play certain phrases and that kind of thing; that becomes quite difficult because the orchestra’s used to being told to do something one way and the band is used to using their ears only and not reading notes… doing things their own way. I’m sort of the interpreter between these two seemingly disparate forces, you know? I find myself acting as a bridge between these two things but, you know the other thing is that… there

are a lot of pieces that are actually very orchestral in nature, so, for instance, the Sculthorpe arrangements, they’re absolutely gorgeous, and they’d stand alone in an orchestral concert without The Whitlams there… it’s an interesting skill. Sometimes you’re playing second fiddle to the band; sometimes the orchestra’s taking the feature. I see classical music as the pop music of time gone by… how do you get excited about being involved in music that is, on one level, outdated? Yeah, well some of it is. Not all classical music is written to be popular. I think that’s the other, important thing. Some, like you say, was the pop music of its day, but I wouldn’t it’s most of the classical repertoire. Certainly Mozart, maybe Heidin, and Strauss – these polkas and waltzes, they were probably the most “poppy” classical music ever got… it’s an art form. It’s a passion for the people who do it, even though it’s a commercial venture and you’re selling tickets and everybody wants to share it to as many people as possible, the actual reward from it comes from that you’re actually doing it at all, because… for me, it’s not even a choice I have to make, really… I think with most artists, that’s just sort of what

Thursday August 7

Wednesday August 13

Thursday August 7

Blu and Exile ( Los Angeles)

The Eddie O Show

Blu and Exile


( Eddo from the No No's

( Los Angeles)

DJ Grotesque

solo show)

mdusu&dameza DJ Grotesque $10 - 9pm

$10 - 9pm

8pm - Free Entry

Friday August 8

Friday August 15

DJ Rime

Chris Cavill Band ( Melb)


8.30pm $5

The Muddy Turds 9pm - $6

Saturday August 9

Saturday August 9

Vardos ( Melb)

Saturday August 16

Vardos (Melb)

Candice Monique and the

Stalker Pavillion

Optics ( Melb)

The Keds Of Ray Brower

9pm - $7

9pm - $5

Sunday August 10

Sunday August 17

Sunday chill with DJ 's


7.30pm - Free Entry

7.30pm - Free Entry

$5 Pizza

$5 Pizza

Candice Monique and the Optics ( Melb) 9pm - $7


Ben Northe

you do [Laughs]. That’s your calling… it’s high art; it’s inspiring when things come together to recapture the ideas of these great minds of the past. I think they’ve all got something to offer to modern audiences as well. The other thing is that, more and more, modern music is being performed these days – even the image of the orchestra is very old – there’s a lot of really cutting-edge stuff happening out there… not so much with traditional symphony orchestras all the time, but… there’s a lot of music of now that’s becoming really relevant. That’s also rewarding to do as well. There are a lot of rewards from performing the music and getting inside the minds of these composers. THE WHITLAMS, WITH THE TASMANIAN SYMPHONY ORCHESTRA, PLAY AT WREST POINT CASINO AUGUST 15. THE WHITLAMS RELEASE THEIR “BEST OF” ALBUM, TRUTH, BEAUTY & A PICTURE OF YOU, THIS MONTH. ALSO LOOK OUT FOR A FREE COPY OF THEIR LIVE IN CONCERT CD TO BE GIVEN AWAY WITH THE MERCURY IN SEPTEMBER. DAVID WILLIAMS

Alley Cat

The Alley Cat Bar 381 Elizabeth Street North Hobart 03 6231 2299 Wednesday Night Special 6pm - 9.30pm $10 Beaut Beer & Bonza Burger Night. Your choice of beef, chicken or vege Alley Cat Burger with chips and a 10oz. of Cascade Draught or Pale Ale.




Reggae Rocker Plays Roots and Leaves

Melbourne roots reggae rocker (try saying that five times with your mouth full of devon!), Chris Cavill, has recently filled out his act with the addition of drums and bass, which is something other rock bands have been doing for a while now. Chris revealed some of the secrets behind his recent EP, Clara’s Story, and why it needed the full band treatment… What is “Clara’s story” and why was it important to tell it? Early last year I moved into a terrace house in Carlton North, and one night after a few cold beers, my housemates and I had stumbled out the front, huddled together and looked up to our pad, only to see a title encrypted in the roof reading “Clara Cottage”. Later that year I recorded a five track EP with my percussionist Alena, and as each song had been created within Clara Cottage, it felt completely natural to title the record Clara’s Story. On your website it’s claimed that “as his journey with music progresses, so do the experiences and influences that encourage and shape his unique sound change…” – what was the last experience you had that triggered a change in your sound? Meeting the band! I started playing with John (drums) and Lucas (bass) only a few months ago and since then they’ve played a huge part in developing the rhythm section for The Long Weekend. Along with Alena, they have an ability to bring the absolute best out of my music, the songs I write and the way I play them live. With a full four-piece band now on the agenda, I am writing new songs with more drive and energy providing a bigger impact on the audience. How did the new line-up for your band, The Long Weekend, come about? Alena and I had been doing the duo thing for about twelve months, and there were some gigs within that period where we both felt that the sound needed to be bigger. Most solo or duo gigs have a tendency to be special as they provide an intimate environment for the audience, but there are other shows that need to be driven harder and the only way to do this is with a full sound. My desire to have percussion and drums in the same line-up has been around ever since I started listening to Ben Harper and The Innocent Criminals, so I have been fortunate enough to recruit some amazing talents. Together, we form Chris Cavill and The Long Weekend. What impact have they had on you, and you on them? Although we have only formed for a short time, the

…it was full of definitely thirteen everything ld possibly u o c s e k lo b get up to…

band’s ability to create an environment full of enjoyment and passion towards each other and the music has been a blessing. I can’t speak on behalf of the band, but their impact on me as a musician has been enormous. I am playing with a line-up too good to be true and with this rhythm section to die for, not only am I extremely grateful to play with these musicians, I am proud to be standing alongside them. They have literally brought my songs to life. What’s the best long weekend you’ve ever had and who was involved? Ha-ha… Sooooooooo many!! I laugh because through my friendship group I am quite renowned for taking long weekends, as I only work three to four days a week. There’s no way I could narrow it down to one but the most recent was a surf weekend down the coast for my 25th birthday. Not the longest of long weekends but it was definitely full of everything thirteen blokes could possibly get up to… Including my best mate passed out on a hotel toilet, a nudie run or two and one of the boys “taking one for the team”!






How has living in Melbourne further th expanded d d your life and how has this found expression in your music? It has opened my eyes to a very popular industry. It has made me realise that this is not something that just comes around and picks you up for the ride of your life. You have to work hard, book well in advance and be organised! As a musician, I am motivated to express these challenges in my music, as the ability to dream of success and what comes with it is a perfect writing tool. Who has had the most impact on you as a musician and how have they affected you? In recent times, it has been the up and coming local muso’s that always seem to be “that one step further ahead”. They are an inspiration to get to the next level and people I admire. On the other hand, my family and friends are the driving force behind the scenes. They keep me believing that this is real and can be done.

When was th the llastt ti time you ffelt like you’d truly Wh lt lik arrived “home?” Whether it is playing an amazing gig, swimming in a gorge up in the tropics, travelling or coming home to my beautiful girlfriend after a tour, it is during these moments that I truly feel at home - Far bound we have landed, come to the north from the south. Heaven oh think I’ve found, you know I think I have found it now - My Destination. Who are “your people” and where do you find them? Good question! My people are those who care for the world and the people that surround them. You can find them everywhere if you look hard enough. CHRIS CAVILL AND THE LONG WEEKEND PLAY AT THE ALLEY CAT BAR, AUGUST 15 AND ST MARY’S HOTEL, AUGUST 16. CHRIS RATTRAY


Boyf Loses Wood as Slutz Crack Phfatz Throwin’ down some phfat-ass booty beats isn’t so easy when ya Mum’s home. But when Mum’s down the pub on singles night, Toxic Lipstick strips down to their clown suits, get out behind the bike racks and start practicin’ their BITCHEN dance moves. Try to keep up… What are the top three things you like to do when Mum’s not home? 1. Swear heaps: Mum’ll fully cop us a clip round the ears if we chuck potty mouths heaps at home. Which sux, cos she swears like a shearer. So anyway, soon as she pisses off, we like to drop rude words left, right ‘n centre, which really helps with our creative process. 2. Steal her smokes: Mum’s lost most of her short-term memory after many hard years on the chronic. So she’s always leavin’ her winnie blues on the bench top when she heads down the pub for singles night. And cos Synth recently dumped her recent boyfriend Bevan, who looked like he was fully almost eighteen; there’s no one to buy us smokes anymore. So like we get all stoked cos we can chain smoke ‘n stuff. 3. Drop the bass: Mum always cracks a shit when we try to dump phfat booty beats in our bedroom. She reckons it makes her recent boyf Stefan lose his wood. But like we don’t even get why she cares if he has his stupid wood with him or not, cos she doesn’t even like trees. She hates gardening; all we have in our backyard is a hills hoist with a goon bag pegged on one corner. What do the words “plushie” and “furry” mean to you? Is a plushie like a slushie? Like a slurpie? Cos we effin’ love slurpies, but like once Cyndii was drinking one real quick cos like we mixed it with some passion pop when we were down the oval one night, but then she drank it too quick and got a brain freeze and a nose bleed. It was heaps embarrassing cos she was with her at the time recent boyf Darren, and he was like gross, you’re a gross slag and fully tried to pick up Synth, but then she was like eff off loser, and then he was like all nice to Cyndii again, and then they pashed heaps and her mouth was really cold from the slurpie and she had a blue tongue. And then she fully let him feel her up cos she reckoned he could have been the one, you know like when two become one? But like then she fully realised he was a dickhead and totally dumped him and he started goin’ out with Tracey Stampler who is a total slag with gross zits. Anyway, der, furry is like Cyndii’s cat, Turbo. Like covered in fur. Are you fucken dumb? What’s the best poop you’ve ever seen of your own or someone else’s, and what did you learn from it? Okay so once when I was on biology camp, I did this poo

across the whole path. I was like, oi, I’m gonna do a poo that stretches from one side of the path to the other. So I had to drop my load and kind of like walk at the same time so it came out like a big thick brown snake. But there wasn’t enough to go across the whole path. Also, another great poo I remember is when we played the Drowning Man festival, and Toecutter dumped an aqua turd, and cos he must fully get heaps of fibre in his diet, it floated on the water past our friend’s face, and she felt really sick!!! Also at that festival we were on a boat, and we wanted to do a poo. And it was sooooo dark, so we swam out into the ocean, but then we got scared that there might be a shark!! And then we couldn’t poo anymore!! We got scared shitless! And another time, I was at Myer, and this lady got intense, sudden diarrhoea, and it went everywhere, like all on the floor and everything!!! It smelled so bad I wanted to spew! She cried! When my cat was a kitten she did some pretty effed up poos… and then in Japan they have squat toilets, so they can get pretty fucken wrong if someone misses the bowl and then accidentally steps in it on the way out. Ker-rist!!! What is “Project Unko” and how does it feature in a Toxic Lipstick gig… if at all? Um, well basically it’s a giant golden turd that we burst out of when we played in Tokyo once. Cos like Japan has the Golden Temple and everyone is all like “wow, sweet, a fucken golden temple” and we were like a Golden Turd would be way sweeter, so we made it and it brought us much closer together. Describe to me what you look for in a man? Well definitely old enough to buy fags, and in possession of some sweet wheels: BMX or better. Um, yeah we guess some kind of total babe, shiny eyes, glossy coat… into making out by the bike racks and chiko rolls. Maybe a DJ? When was the last time you felt toxic and why? We reckon that time we shafted all that triple dipped brown acid at this massive rave. We were peakin’ so hard!!! We both ended up dropping our loads with the DJ when he dropped the bass! Talk about awkward! Luckily though the fumes were so effin’ toxic that when combined with the pure techno and epic rave stench, everyone got heaps higher!! So like everyone was peakin’, no control, throwin’ sweet moves on tha

…then we nd got spewed a h other’s lost in eac e ctals in th vomit fra oom!!!… chillout r

ure rave dancefloor… just wasted on the vibes of the pure gism!!! Anyway, then we spewed and got lost in each an we’re other’s vomit fractals in the chillout room!!! Man techno junkies!!! Guilty as charged!!! How many Japanese schoolgirls does it take to make a Spank Party? Heaps!! It’s so awesome, they all dress like unicorns and ponies, and wave cute flashing sparkly things in time to the music!! Spank is the funnest shop, they import all this awesome eighties and nineties sports and sleepwear, mainly in pastel shades. And all the Spank girls shop exclusively there, so at a Spank show, it’s just kawaii pastel en masse! There are different tribes too. Like last year, there was the neon bandaid tribe, where a whole group all had a neon bandaid artfully placed across the nose; a candy-in-the-hair tribe, where they all had a colourful sweets tacked to their hair; and a unicorn tribe, where they all had a pastel unicorn horn on their heads. This year’s tribal highlight had to be the doll head tribe, whose members each had a Barbie head perched amongst their pastel updos. Tokyo rules. But then in Osaka, everyone is heavily into slam-dancing and throwing parties with blood-splattered tatami mats and corpses in the dunny.

What happens, exactly, at a Spank Pa Party? Um...basically all these amazing pastel girls turn up and drink banana milk, and amazing eigh eighties music, punk d electro l l d iit’s ’ all ll run b h amazing cute and plays… and by these little girls in tutus and hightops, like doing the sound and the visuals and everything… and there is always a candy spread and pastel desserts on offer… and heaps of pretty visuals, lights and everything!! Everything is cute except for us. If Pony Pop Mitzi Twistie is your mutual secondbest friend, who is your first and what do they mean to you? Der, we’re each other’s mutual first best-friend. Guess what?? We’re gonna get a tour tat; it’s gonna be a love heart split in two, and one of us is gonna have “be fri”, and the other one will have “st ends”. Cos we’re befri stends. TOXIC LIPSTICK PLAYS THE BRISBANE HOTEL, AUGUST 9. GO THERE AND YOU CAN BE THEIR BEFRISTENDS TOO! CHRIS RATTRAY




Friday August 15 Blues in the Boatshed with the

Dudley Nightshades from 9pm IN THE BAR


Thursday Aug 7 - 9pm

At The Lark Distillery

Sara, Hamish & Nathan Wheldon

August 21, 7:30pm - 10:30pm

Friday Aug 8 - 9pm

free entry



Saturday Aug 9 - 9pm

Thursday’s Child

Sam Page

Sara & Hamish Sunday Aug 10 - 5pm

Dave McEldowney

Open Folk Group All welcome!!

Jonno Coleman

Thursday Aug 14 - 9pm


Adam Cousens

Friday Aug 15

(Feature Act) followed by

Open Mic

Bossa Vista Saturday August 17th- 5pm

Open Folk Group

@ Lark Distillery 14 Davey St, Hobart Ph: 6231 9088

All welcome!!






14 Brisbane Street, Launceston 6331 5346 SAUCE #74



The Switch is the debut LP from Canberra duo D’Opus & Roshambo. These guys have really been building a buzz for themselves over the past couple of years, with numerous interstate shows, festival slots, and even TV appearances. I first heard about this release on an internet forum, and as I’d heard their first EP, The Question, from 2006, I was well keen to check it out. I wasn’t disappointed, either. These guys have developed a really unique, yet still accessible sound – a benefit, I guess, of living in a city where people aren’t swamped with hip hop. In many ways, the sound is perfectly represented by the artwork; crisp and clean, with not too many things going on, yet enough there to not lack anything. D’Opus handles all the production, and he has a knack for blending funky samples with synths and electronic noises – usually elements that contradict each other, but in this case, sit really well together. As for Roshambo, his lyrics really suit the individual vibe of each track. From party tracks, to more subject-driven narratives, he displays great skill with the multis, yet never lets them get in the way of what he’s trying to say. Guests are well chosen for each track too; From US rapper Supastition on Leave Her Alone, to Canberra stalwart Axe Aklins on Treat My Mind and Bright City Lights (also ft. Carts2Deadly), each guest naturally fits their chosen track. My personal favourite is The Voyage (ft. Minky Faber), with its travelling-themed lyrics, and Minky Faber’s sweet vocals in the hooks. All in all, a dope album – Capital City represent! 8.5/10 TOM BUTLER MUPH & PLUTONIC …And Then Tomorrow Came I was going to write a short intro about how dope these guys are, how they’re deserved regular play on radio stations across Australia, how they’ve performed all over this country a ridiculous amount of times, how even before their three album-deep collaborative efforts, both guys were revered individually for their skill in their respective fields, but I thought it could be best summed up thus: if you like quality Australian music of any genre, yet don’t know who Muph & Plutonic are, I will forgive you on one condition - that you go and immediately purchase …And Then Tomorrow Came. This album is on another level. Plutonic Lab creates amazing soundscapes, where live instruments nestle amongst soul samples inconspicuously, and the drums always have you either nodding your head in agreement, or shaking from side to side in disbelief at their deep tones. From jazz to funk, sixties pop to reggae, Plutonic has a natural affinity with the subtle touches required to make the different genres he plays with feel authentic. Speaking of authentic, that’s probably the best word I could think of to describe Muph’s lyrics. Whether it’s personal subjects, or observations on the world around him, Muph manages to make you really see the story, and his writing and delivery style seem to perfectly encapsulate the “grown-man’s rap” theme of the album.

T O N I C ?

With sentimental tracks like Number 45, bangers like Beautiful Ugly & Today (ft. Eligh, The Grouch & The Tongue) and the indescribably sublime Don’t Worry About Nothin’, This album is a must have for hip hop heads – screw that, anyone into quality music. Get it before tomorrow comes! 9/10 TOM BUTLER

MOTLEY CRUE Saints of Los Angeles


DJ BITMAN Latin Bitman


It’s not every day that you get to check out contemporary music from Chile, which is why I was extremely intrigued to check out the latest release from Santiago’s own DJ Bitman, who is part of the expansive Latin electronica scene happening on the west coast of the USA. Formerly known as Bitman & Roban, this latest release is his second major album. Usually when I see “Latin-themed” music, it is usually someone not of Latin origin, who is exploring the music and culture of Latin America second-hand. However, this record is the exact opposite - someone from Latin America exploring the musical culture of American-styled music – hip hop, funk, and jazz. Bitman has a good grasp of these styles, and embellishes them with his South American flavour. Even though the album is called Latin Bitman, some tracks don’t feature any real elements of Latin American music, such as Me Gustan, which is very 1960’s jazz-sounding. My Computer is Funk, which (as the name suggests) is straight up 1970’s funk, and Tropilove (ft. Julian Peña & Tea Time) & Sra. Maria (ft. Tea Time & Rulo), which are both Caribbean in flavour (ska and dub respectively). Spanish-speaking MC’s, Jimmy Fernandez and Juan Sativo add very cool verses to El Diablo and La Raza; despite the fact that I don’t speak Spanish, the rhythms and cadence of their flows fit nicely with the beats. Overall, this release is a nice introduction to the world of bossa novas and clave patterns for anyone who wants to explore la Latina musica. 7/10 TOM BUTLER

ROCKET SCIENCE Different Like You Aussie outfit, Rocket Science, have come through some pretty harrowing times to bring this album to us. Just before the release of their last album, Eternal Holiday, front man, Roman Tucker, took a fall and cracked his skull, ending up in an induced coma with doctors predicting a limited recovery. But after proving them wrong, Roman and the band started writing and testing new music, but as things were looking good to go their label pulled the plug. Undeterred, the band took it unto themselves to record Different Like You. From the very start this record starts rocking with boppy drums and silky guitars in the stop-start Sinful Cowboy with Roman’s delivery giving the sound a distinctive punk edge, as it does the whole album. The familiar Psychic Man takes an AC/DC-like rock riff along for a journey in the Rocket Science rock garage. The savvy pop rock ditty With You I’ll Be Someone takes the edge off of the ripping beginning before the quasi title track Different Like Everybody Else screams into action to rip your head off. Weekly Dreams and Jukebox Junkie bring an experimental edge, before the pace is picked up in the eighties sounding Talking To Machines. Eighth track is the ode to psychedelic rock classics The Clones and has an ethereal chorus and an epic vibe, a song so good it makes the remainder of the album pale into insignificance. This album is an overall fine return to form for Rocket Science, though a pity The Clones overshadows most of it. 7/10 ADAM FERGUSON

With a band name like H.V.H., you’re going to be slightly sceptical on what they have to offer musically. Having recently seen the advertisement for the release in the latest Blunt magazine, describing it as the new blend of Australian metal-core – made me interested in what the band had to offer in the way of new. The first track, titled, strangely enough, Introduction, comes off as a one-minute instrumental of something you would see as apart of the Edward Scissorhands movie, like twisted theatrical/ circus music, leaving mixed impressions of what may come next. The second track, Forfeiture ignites into a typically pounding metal-core sound, but what makes the track not your standard metal-core song is the fact of an almost techno approach on keyboards using an underlay of synth effects. Furthermore, there are no repetitive breakdowns. It’s one of the standout tracks that shows the experimental creativity the band has in developing an ambient hardcore feel with melody and electronica. You could say the band is progressive post-hardcore. The EP features six tracks, all featuring a different take on hardcore music. The only drawback is two of the tracks are short, instrumental pieces. The five other remaining tracks though are impressive enough to make up for the nineteenand-a-half minutes of listening. If this release is anything to go by, fans of this music will certainly be eager for more, when their first full album is released. From first to last track the Melbourne six-piece have something creatively unique to bring to the hardcore/metal-core scene, which is surprisingly refreshing for a change. 7.5/10 DAVID WALKER

One of the sleaziest, outspoken, and controversial rock bands have risen from their graves to bring you their latest attempt at perhaps recapturing their glorious ‘85 – 90’s era. Surprisingly, all original members are still alive to bring you the band’s ninth offering, with much of the inspiration stemming from their 2001 autobiography The Dirt. With any band that’s gone on hiatus for over eight years, a new release is going to garner mixed comments of praise and hatred, but I don’t think it will change much for the Crue, what with their massive fan-base. I have never really gotten into the whole style of big-haired eighties rock acts and see this album as just another album recapturing their heyday and pleasing fans. The album really comes across as a bunch of forty-plus year old guys getting together, singing and playing about how bad-ass they used to be, and how they’re now older and wiser and know better – much like listening to a recovered alcoholic drivel on for forty-four minutes. Though the band’s wild days have subsided there’s still traces of remaining true to their image and sound, especially through songs, What’s it Gonna Take, and Goin’ Out Swingin’. One of the loudest quality rock songs and first single album title, Saints of Los Angeles, really shows how this band has the goods to rock the hell out of your ears. This release may not relive the Dr.Feelgood album days, but by f*ck, Motley Crue can bring on the feel-good rocking anthems. By far Motley Crue smears shit all over most of the modern bands trying to emulate their success. 6.5/10 DAVID WALKER


VIOLATOR Chemical Assault

The Seduction’s debut album, Betrayed, is a winner.

Violator is a band that many thrashheads may not be aware of, though the band released this album back in 2006 with two years on seeing a release through Earache records. The Brazilian quartet offer solid slabs of old-school thrash metal - something that would have propelled them to stardom if they started twenty years ago. Having said that, the band prefers to remain an underground band and only tour within their own country.

Their style of metal, grunge and Southern rock is easily identified on this CD. The songs are all quick with lots of harmonics with the guitar playing a great part. This energetic four-piece has made loads of progress since they last toured. Lots of different levelled screams and amazing drumming is what makes the band’s sound so unique. The breakdowns this band does are just phenomenal; different to any other metal breakdown I have heard before. The album is more than what I expected from the band and is a big improvement from when they toured Tasmania late last year. The CD contains eleven songs, all of which you would find easy to get up and mosh to. I can see this band going on for bigger and better things in the near future. The Seduction will be returning to Tasmania in October 2008. Be sure to check them out - the dates and venues have been booked and announced. The band has been touring the nation playing alongside such bands as The Devil Wears Prada. I believe the album was at a high so be sure to get your hands on a copy. It’s easily one of the best Australian metal albums. 8/10 CHRISTIAN MACDONALD

Having formed in 2002, the band has released one demo, one EP and two split albums which has never been given much appreciation despite a large fan base. Only now has the band been picked up through a reputable record company and is being released to the world to hear. From first to last track it’s absolutely your standard approach to thrash basics leaving any track hard to distinguish from one to the other. I’m not saying this is a bad release but if you compare it to the foremost originators, like Slayer or Testament, then they’re going to have to step their game up to become as elite. The only real standout moments of the band would be their guitarists Márcio Câmbito and Pedro Augusto who really push the angst out of the songs, ripping the fret-board at great speeds. Singer and bassist, Pedro Arjanco’s vocals seem mediocre and whiny and could be more severe if he threw his throat into it. He sounds borderline emo. As for the bass, it’s nothing fantastic. Drummer David Araya (no relation to front man Tom Araya of Slayer) has the galloping drumbeats of kick drums and hi-hats that doesn’t change much throughout the entire album; good drummer, mind you. 4.5/10 DAVID WALKER

Here’s one for the ladies. Ladies night @ Tonic


Wednesdays from 7pm. Why not get together with the girls for after-work drinks, including a complimentary glass of sparkling wine, this

W H A T ’ S

Wednesday? Or dance your night away with DJ Tim from 7.30 to 10.30pm.

Call 6335 5777

| 6777



WHAT’S THE STORY? With Sofia of Vardos We love stories – we love hearing them, reading them, watching them, and telling them. We frame our lives through stories, and what’s a song but a story set to music? We gave Fremantle’s Vardos the opportunity to tell us what’s their story… Behind your band name? It’s a Romany (gypsy) word meaning “caravans”, you know those cute wooden horse-drawn gypsy caravans. Alana was given a paper cut-out-and-stick-it-together-yourself version of one years ago and she and the then bass player decided to name the band after it.

“ orst

The w s trouble wa sted and being arre d ... imprisone

About how your band got together? Alana and friends in Freo, who were in a larger band, were inspired by Hungarian gypsy sounds to try it themselves- the electric bass player moved to upright, the keyboard player found an accordion in the attic. Alana ended up moving over east and met Sofia (me) at a Folk Festival where she was playing with another band.... About how you ended up in your role in the band? …and I tried to find them another accordion player but realised I wanted to be in the band! So eventually [I] had to leave the band I was in mostly. Of the last time you were in trouble with the law? The worst trouble was being arrested and imprisoned for busking in Crete, but that was over a decade ago. Of the last famous person you met? Esma Redzhepova, the Macedonian Queen of the Gypsies when she was in Australia on tour recently. Behind your most prized non-music related possession? A fluffy ginger cat; I was allowed to get him from the animal shelter after I broke my nose trying to make friends with a stray. Behind your most prized music-related possession? My grandmother’s piano; she died when I was quite young and when she chose to leave it to me out of hundreds of other siblings it made me think she believed in me as a musician and that I should persevere with music. We’ll be writing about your band in five years? First gypsy band in space? VARDOS PLAY AT BROOKFIELD VINEYARD, AUGUST 8, AND THE ALLEY CAT BAR, AUGUST 9. CHRIS RATTRAY



TURN THE DIAL TO 11 With Henry of Let The Cat Out Our lives are measured in moments. Sometimes those moments are soft and low, and other times they’re off the scale. Henry from Let the Cat Out dialled into some of the moments that have brought him to this point in time… 11 years ago… I was rattling around at school in year nine, playing in what was pretty much

a Metallica and Nirvana cover band, a long way from what I’m doing now! 11 months ago… We had just begun gigging Let The Cat Out in its current form, we started

as a funk/jazz quartet and got a vocalist (Jane McArthur) to do a run of gigs at the Rektango Courtyard in Salamanca. Then she stayed on. Those were some great gigs! 11 weeks ago… Well, I was on tour with Pete Cornelius, so the rest of the guys in Let The Cat

Out were recording and polishing their parts for our upcoming album “Get It Like That”.

11 days ago… We had just done a couple of great support gigs and had just finished the

tracking for the CD. So we’re on the way to mixing! 11 hours ago… Everyone was out last night doing gigs with other projects and bands, except me; I was at home in front of the fire with a bottle of red for once! 11 minutes ago… I was washing up with the rough mixes of the Let The Cat Out album playing. Yes, I am obsessed! LET THE CAT OUT PLAY AT THE REPUBLIC BAR, AUGUST 9.

The Biggest Impact… With Candice Monique

What album has had the biggest impact on you, both personally and as a musician, and why? Professionally, Plantation Lullabies by Me’shell Ndegeocello - it’s timeless, you couldn’t place when it was made by sound, it’s so unique. The rawness of the poetry inspired me - she is why I do spoken word in my shows - and the way the music was led by the bass is just so smooth, those harmonies, the spirituality behind the lyrics, I could go on all day… it’s just the bomb. The same could be said for Peace Beyond Passion - I love it. And personally, I’d have to say Acoustic Soul by India Arie. To hear someone sing their truth like that, it’s just beautiful. Voyage to India had the same effect on me. I listen to her when I need to reconnect with something real, [to] get… centred. I can only hope my music might do that for someone someday. Which gig has had the biggest impact on you, as a punter and that you’ve played, and why? As a punter, even I’m not much of a tech chick, I’d have to say that seeing Carl Cox from side stage the first time I toured with Big Day Out was unreal. Thousands of people all packed in and screaming to this dude on the decks yet totally in their own worlds at the same time, the energy in the room was incredible. It drove home for me what kind of impact music - any kind of music can have on people. Oh, and getting to see Van Hunt play live at Smith’s Olde Bar in Atlanta was mad… and seeing KRS 1 at this tiny little venue, Apache Cafe in Atlanta, was mad, I was like one metre from the stage, crazy. As for a gig I’ve played, supporting US Soul vocalist Rahsaan Patterson at the Prince of Whales in Melbourne was awesome, I played with my band, I was a backing vocalist with the other support band and his show was just unreal, he smoked and drank straight scotch the whole show and killed it! CANDICE MONIQUE AND THE OPTICS PLAY AT THE REPUBLIC BAR, AUGUST 8 AND THE ALLEY CAT BAR, AUGUST 9.












The Brisbane Hotel James Brook (solo)

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3 Brisbane St 6234 4920

20 King Street


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381 Elizabeth St 6231 2299

Margate 6267 2880

124 Davey Street

6225 0112


03 6224 9494


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Hotel SOHO

Irish Murphy’s Nathan Wheldon

James Hotel DJ PD 10.00-12.00 DJ Joycie 12.00-2.00 DJ Cam 2.00-Close

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Wrest Point

The Royal Oak Open Folk Group in the bar @ 5pm - All welcome!!

Batman Fawlkner Carpathian, Break Even, This… Future Chaos, & Sunday, Something Ruined

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Batman Fawkner Inn

21 Salamanca Place

35 Cameron St 6331 7222

6223 1119

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6335 5777

217 Sandy Bay Rd

6224 4444

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1st Floor 39 Salamanca Place 6224 8249

James Hotel 122 York Street

Raincheck Lounge

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392 -394 Elizabeth St. North Hobart

The Newstead Hotel

03 6234 5975

160 Elphin Rd 6331 1344

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Club Smash to Smash Clubs Globally Andy Van, Kam Denny, and Cassie Van make a formidable trio. With tireless energy and incessant beats, Vandalism are back in Australia for a brief tour before they once again embark on a rampage of worldwide dance destruction. DAVID WILLIAMS spoke with Andy about where they’ve been… and where they’re going… Tell me about the world trip you’ve just been on? We’re about to goon another one in three weeks… The one just went was Korea, over to Paris, then down to Athens, over to Mykanos… did gigs in Korea and three gigs in Mykanos… it was crazy… the biggest club in Seoul and the biggest club in Mykanos as well…

getting out as much as we can, you know, we’ve done gigs in all different places around Australia and in New Zealand and… we just wanna try and facilitate that more and more – you know, we’ve done gigs in Miami, up in Manchester and Dublin, we just wanna continue pushing that angle, you know…

What did you learn from your time overseas? It took us seventeen hours to travel from Paris to Mykanos because [of ] the airlines and slight cancellations and engineer strikes in Paris and… it was crazy, I learnt that, and I learnt that the clubbers in Seoul love partying really hard. We had all these crazy, modular type kids screaming and jumping around on stage, getting thrown off stage… it was crazy. Mykanos was very sort of, tribal and crazy – it was an outdoor gig – both of them were outdoor gigs, really vibed, and lots of Aussies came along for the big Aussie angle as well, so it was a really successful tour.

Is this the busiest you’ve ever been with this act? It kind of equals when we did Madison Avenue with Shane – we did six months of touring, but that was a lot more concentrated. We were sometimes doing two gigs, three gigs in a night… doing a gig at ten o’clock at night, then at midnight, and another one at two or one at eleven, one at three, one at five so that was absolutely bananas! At the moment we’re trying to do one strong gig… twenty minute live show with Cassie bustin’ them out – it works amazingly well. Its fun, and it’s good because the club angle… when it was Madison Avenue it was a lot more pop orientated, so this time it’s a lot more club orientated, which I love.

Where are you about to go? I’m loving the list… We’re doing gigs in Poland, London, Russia, then across to North America and doing about twelve gigs in the ‘States and Canada. Does that kind of daunt you a little bit? No, no, we just jump in the deep end, man, it’s really good - we love it, the clubs are being hugely responsive. We’ve got a big eight thousand people party in Canada, got a really, really big party in LA that we find out about this week… big gigs, onward and upwards! You go from doing the huge gigs to the smaller gigs in clubs here in Australia – how do you approach the two things, is it much the same? It is much the same… If a room’s got five thousand people in it or three hundred people in it, it’s still people having a party, jumping around and having a good time – that doesn’t particularly bother us. We just like doing good gigs – that’s what our hope in life is to do as many good gigs as we can and get ourselves out there, because we don’t wanna do the same gig each week like a residency, we’re not really into that vibe. We’re into

What do you like more about the club environment rather than the pop environment? Pop is disposable; you know what I mean? So you hear it at that time and then you’re gone… pop artists from around the world are kind of seen around the world when they’re popular and then they go… it’s a shame, but it’s very disposable, the pop industry – and not that I wanted to do pop the first time around anyway, it’s just Madison Avenue became so big it became pop… with Vandalism it’s been a three year steady build in club land with remixes, productions… Never Say Never was number one in Australia for eight weeks, and number one on the Kool Kuts in the UK… Smash Disco has done top ten around the world on dance charts… and that’s really something I think that’s good for us… it’s got longevity, you know…

…we had , razy all these c e kids yp modular t g and screamin nd on rou jumping a stage…


Do not miss your chance to see one of Australia’s finest live rock acts on tour:

British India

5 # ia r A W O N T U O s e v E Thi Presented by Triple J and Channel [V] N ation al Tour August 2008

Thursday 28 August LONNIES NIGHTCLUB Launceston Friday 28th & Saturday 29th August REPUBLIC BAR Hobart 16



New Name in the Long Distance Game Mark Dynamix has seen a wealth of dance-floors in his expansive career. You’d expect to see the same dynamic of undulating flesh sh from coast-to-coast, but not so as DAVID WILLIAMS discovered ered when he spoke to him about his new label and the freedoms ms afforded him under his new production name… …I was

What’s happening in Mark Dynamix land at the moment? A couple of things – the main things are I’ve changed my production name to MDX, just trying to differentiate between what I do when I’m producing as to what I do as a DJ… [I] can do a little more experimenting under the new name. That’s the main thing. The other thing is I just started up a label, put all this new music on, called Longdistance Recordings. You can find some information about that at longdistancerecordings. com… and there’ll be stuff on there from not only from myself but also from other Australian artists and some guys from Germany as well… we’ve got a single from Danny Bonnici from Nu Breed on there, Dave Basek from Byron Bay, and then we’ve got stuff from Chopstick and Jon-Jon… there’s all sorts of stuff on there, it will all be released over the next six months… Been to any good parties lately? I’ll tell you what I’m really enjoying my residency here at the moment. Chinese Laundry is just going off every Saturday night here in Sydney. We had Martin Eyerer play down there from Stuttgart – he’s pretty experimental, he plays some pretty out there stuff… I was thinking he might not go down so well, but it actually went down really well and people were screaming in the club, it was really good to see because the music was pretty minimal, but I’m all for pushing that sort of stuff so… yeah, we had him down and I played after him at the club and it was a good night. That was a couple of weeks ago… When you’re looking out at a sea of bodies, writhing and bumping and bouncing and all that… does it look different from one country to another in terms of the aesthetic? Yeah, totally! You’ll find that, even state-to-state here in Australia it differs as well. You know, some crowds together as a group, they’re just more proactive about what they’re doing… they’re more hyped up, their hands in the air, whistling and screaming for every tiny change in the music… you know, a hi-hat pattern suddenly

e thinking h go might not ell… down so w

changes and you’ve got people screaming…then other places it doesn’t happen. In Laundry it happens, it happens every week… it also happens in Family in Brisbane – it happens quite a lot there, butt t’s there are also places where it’s the complete opposite, you’re not njoying actually sure whether they’re enjoying stance, and it or not… In Adelaide, for instance, ople who’ve played I’ve heard this from other people there, even bands, they’re just not quite sure whether ot because they’re just the crowds are taking it or not really, really flat, but then I’ve spoken to the people in Adelaide and they’ve come homee and spoken to them in Oh no normal hours and they’re like “Oh no, I really loved that gig, it was great!” It’s like, “I’m really f*cking confused!” y’know?

You’ve mentioned some German references in a couple of things you’ve talked about so it seems like that has had a life-changing effect on you? It was just good to go there and see what happens on the other side of the world in term of clubs, and in terms of production and how it’s done, how people are running their own small little digital labels over there, and just trying to apply it to what I do here rather than just relying on the knowledge I’ve got from Ministry or from Vicious Vinyl so, yeah… it was just great to get over there, I mean, I had lots of fun as well just going to clubs, DJ’ing at a few places and I got to write some music with my most respected peers, so it was great… a really good experience and I hope to get over there again early next year. MARK DYNAMIX PLAYS SYRUB, AUGUST 23. CATCH THE REST OF THIS INTERVIEW AT SAUCE.NET.AU. DAVID WILLIAMS




Challenging Moves Guaranteed to Move Audience

Behind closed doors, The Second Echo Ensemble has been busy incubating a brand new show designed to let us in on our private foibles and public facades. I spoke with choreographer, Fin Kruckemeyer, about the evolution of This Much of Me… What’s the story behind this show? This Much Of Me is about those parts of ourselves we want to show, and the bits we feel we need to hide. On stage is a wall. On one side sits a kitchen, which is our home, where we can lounge and wash up and be very normal because we are not being watched. On the other is the open space where people interact in very public ways. They cover themselves in layers or admit their secrets.

How do you want the audience to feel after having seen it? The main thing is that, because most people haven’t seen integrated work, that they come out thinking about the art and the ideas themselves, and not the integrated ensemble. This has been the most exciting outcome from our other shows, in my opinion. So about this art and what it is saying, we want the audience to have read the emotion behind the movement, to understand the love, to relate to the annoyance, to ultimately see something that’s cluttered but which makes sense – in an emotional way, not so much a narrative one. Who are the Second Echo Ensemble and how did they come together? Four years ago I moved over from Adelaide and approached Cosmos about working with a crew of their young performers, people with various disabilities, because I was a part of a similar ensemble in Adelaide and it was a very important part of my life and the other performers’. Cosmos was great and over six months, a small ensemble of us created our first work. Then two years ago, we integrated it (with people from Is Theatre – now TTC), which was always my major goal, introducing four performers who I auditioned that don’t associate with having a disability. Most hadn’t had that much contact with those with (which is quite common), but the speed with which it stops being an issue is amazing. After a couple of rehearsals, we were all just people dancing, having arguments, making good work, making bad work, slowly building a show. Since then, we’ve toured to Victoria, got some pretty amazing funding, established a really good working relationship between Cosmos, TTC and the Second Echo Ensemble itself, been in two major festivals, and all just got really tight as a group of people doing the same thing. How much of you is present in This Much of Me? Me – a little bit. I choreograph the works and have the initial concepts. The group – heaps. All the concepts are chucked onto the floor and then everyone’s creating bits of work, critiquing each other’s stuff, laughing, scrounging costumes, all of that. It’s dance, not theatre, so what’s happening is quite abstract: you can read into it the performers’ actions as autobiography, as contrivance – it’s all in the perception really. I don’t

The Black Box @ Arts Alive 18th July 2008 Visual art, experimental installations, music, performance, circus, drinks, a cosy outside fire and a damn good crew of people! What more could one ask for in an event? The Arts Alive Artspace was literally transformed into a “Black Box” for the Manic Productions installation event. Audience members were invited to have a go at Roller-bowlers, juggling clubs and balls and general circus shenanigans on the dance floor early in the evening, while the community canvas soon filled with a variety of different painting and drawing styles from many different people, contributing to a beautifully collaborative finished product.

It hasn’t come from the group’s personal stories, but something larger, those insecurities and celebrations that everyone knows. How did it come about? Just as a show about showing. After our last work If I Jumped I’d Fly, that was very collective, we wanted to make a work that looked at lots of different moments, all playing out in the same space. Some work well together, some interrupt each other – a lot of lives, all existing in close proximity. Which is kind of what life is like today.

NORTHERN ARTS WRAP Brought to you by Manic Productions

Catfight presented an interactive “experimental industrial contortionism”, all rolled up into one big black box. A peep show with a difference, event goers were invited to put listening devices on their heads and peer through peep holes for a Catfight experience, while people in the lounge looked to the ceiling to see the Catfight Galaxy (oh, the pretty lights). Other performers on the night included Lisa as her alter ego “Saucy Sue”, the Emma Dilemma Show, Nolan & Alex’s circus show, with DJ’s Matty. C and Jim topping off the night with groovy move tunes.

e, …It’s danc re, so not theat s ppening i what’s ha tract… quite abs

want to o spoil it by saying who came up with what. How does Aurora’s Community Enrichment m factor into the production? Program Hugely.. It validates our group, by saying it is a fundable, worthy thing. It means we can make stronger work with better funded shows. It means if they go down well, then we can tour them. It makes people more interested in the product. It funds us as an arts group, not as a disability group, which is something of massive importance. How does dance contribute to the community? It’s funny, because my full-time job is writing plays, so words are everything I usually think about. But the thing I love watching the most, in terms of live performance, is dance. And the thing that I really think translates so well, with this crew, is dance. I’ve worked with different ensembles for years, using lots of different mediums – comedy, hip hop, theatre, writing. But Second Echo Ensemble does dance really well. Dance can look fake easily, like the performers are connected emotionally to what they’re supposed to be doing, because they’re all worried about perfect shapes and straight faces. But these guys are, I believe, true performers. You watch them and you feel what they’re feeling. It’s a really amazing group, in my opinion. Out of all the arts, I find dance to be the most inscrutable – how accessible is this show to a dance novice? Well, that follows my last response nicely. Yeah, just really true emotions. If people come in not trying to work things out (which can be hard when people go to live performance – there’s all this expectation about how we’re supposed to read a thing), and they just let themselves see stuff and recognise what it is to overhear your neighbours fighting, or to drive past a window and accidentally catch a couple washing up for one second and feel awkward but warm, then they’ll get it.

There was also a strange north-west coaster making use of the blackness of the event with a big piece of white chalk; the event became his canvas. Ten points for interactive-ness! How does the telling t of a story purely via movement affect the kinds of stories that can be told? It makes them eeveryman stories. I believe even written ones should ac access all personal histories of every audience member. memb Even if you aren’t that character, you know some part of their emotion. When you’re playing with such a broad palette of content – emotion: love, hate, anger, pride, embarrassment, self-consciousness – if those are the building blocks of your story, it will be understood (as long as it’s not fake – then we turn off ). What are your top three personal favourite shows you’ve seen, or been involved with, recently and why? Überraschung – by an Austrian company at the ASSITEJ Festival. Dance for children, but so simple and so well crafted (two dancers, a violinist, wheelbarrows and water), that all of us adults sitting there trying to be serious theatre people, were messed up. And the kids understood it way more than us of course. The Tragical Life of Cheeseboy – bit selfish, because I wrote it, but what the company Slingsby did with it was just amazing. Set in a travelling Dickensian tent, a narrator and his assistant tell a story to children, for everyone; a really great example of my words becoming something so much more, so beautiful, so visual. When The Rain Stops Falling – by Brink Productions, written by Andrew Bovell. The most affecting story I’ve seen for years. My wife Essie and I cried right through it – the most perfect tragedy in that by the end of it, you’re really laid bare. Complete headwreck.

All in all, the Full Moon event brought out the party animal in attendees, and sensory overload achieved by the Manic crew. Cheers to all those who helped put the gig on and big thanks to everyone who came to experience the “Black Box”. Drawing Jam @ Arts Alive Through the Gravity Project (http://, Melbourne artist Chay-Ya Clancy hosted the inaugural Drawing Jam at Arts Alive. Surrounded by the NAIDOC week Tasmanian Aboriginal Artists Project exhibition, a bit like a musical jam session, a group of visual artists gathered together for a evening of doodling and drawing and conversation. The night produced some wonderful work, and Chay-Ya took a piece of each artists’ work to collate into a ‘zine to send back to the artists via self addressed envelopes. The next Drawing Jam will be held 6-9pm again @ the Arts Alive Artspace on the 20th of August. Wizard @ The Oak This gig rocked so hard I don’t remember it and I went swimming in a fountain. Enough said. Coming Up: 16th August – Yuri and the Vostok 8pm @ Arts Alive Artspace (178a Charles St, Launceston). $5 entry. Also Bachelor of the Arts album launch. Hedwig and the Angry Inch – secret undisclosed private gig coming up, keep your ear to the ground.


6th September – Love for Africa Ball. Fundraiser for Care for Africa. Culture, entertainment and food. tickets available now.




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Arts Sparks REVIEW:


Tasmanian Theatre Company The Tasmanian Theatre Company is Tasmania’s first professional theatre company in the last eleven years, and Joanna Murray-Smith’s Bombshells was as good a kick off point as any to prove that the company is serious about creating a higher professional standard of theatre in Tasmania than has been seen for a very long time. Although there was one rather odd casting choice and since renovation the Backspace Theatre has been halved in size director Robert Jarman handled the cast very well and all involved produced an amazing range of energy, emotion and extravagance both in performance and in production design. The staging was often impeccable, and use of appropriate props made comic moments hilarious. The set was somewhat inductive of indifference and had little functional value until the part of the bride, but this barely seemed worth all the effort that must have been put in to the creation of the highly decorated textual backdrop. Bombshells was originally written by Joanna MurraySmith for the particular talents of one actress to play all six of the very different female roles. It is technically a series of monologues, but all are interconnected through a mention or an off-hand comment about a place or a person that involves at least two of the show’s characters. The monologues were well assembled and the show opened with a highly energetic, frantic and eye twitchingly funny performance from Mel King as Meryl, a stressed, routine-bound mother of three addicted to coffee and road rage. Jane Longhurst presented Tiggy, a divorcee who has concentrated her residual negative energy into a passionate love for cacti. It was excessively difficult to watch this particular part of Bombshells, for my sororital guilt kept telling me I shouldn’t be laughing at a woman who had suffered so much at the hands of her husband. But, I just couldn’t help myself, and the hilarity drove me close to tears. The strangest element of casting was that of Carmen Falk and her character, Mary. Despite being very well put together and obviously having undergone some dance or gymnastic training, Carmen was a good twenty years older than the high school talent show primadonna she portrayed. It was difficult to identify with her character because of this, but considering the age barrier between

the actress and her charge she definitely had one leg over the divide at least, and was young enough in spirit to partially compensate. After interval, the audience was introduced by the only professionally untrained, yet excessively entertaining actress in Bombshells, Bryony Geeves, to Theresa: the bride-to-be who, across ten minutes on the morning of her wedding, discovers her true love is not actually the man she’s about to marry: it’s the dress she’s about to get married in. Schandenfreude and chaos ensues as she attempts to escape from a situation that has carried her away in white silk and lace, a factor I believe must be one of the main reasons why two out of three marriages end in divorce these days. When Theresa and her fabulous gown leave the stage it is taken by the most memorable performance of the evening: Noreen Le M o t t e e ’ s exquisitely touching portrayal of Winsome the widow, who works for charity in reading for the blind and finds unexpected, but very welcome attention and variation to her mind numbing monotony from her assigned book buddy, the tall and handsome Patrick. Ending the show with zing, zip, zazz etc., was Fiona Stuart, and her portrayal of the over-the-hill recovered alcoholic pop star, Zoe, in one last-ditch effort at a comeback. The one thing that can be said about Fiona’s performance is that there’s no voice of a recovering alcoholic that could ever have that much beauty and glow about it. Her vocal talent was mesmerising and a thoroughly satisfying end to the evening. MAEVE MACGREGOR


Created by Alyd Taylor & Chris Jackson The AsteRisk Project comes under Mudlark’s Full Moon Project which, according to Artistic Director Carrie McLean, “…allows [Tasmanian emerging] artists to explore the boundaries of their art form and receive mentorship from a professional artist in a specialised field.” The AsteRisk Project, a thoroughly enjoyable venture into those silent spaces in life which hold moments of fear, coping, joy, disappointments and loneliness all cleverly intertwined with live performance, interactive media projections and a short film.

film entitled, The Note. It shared a tale of an office worker, played by Josiah Whyte, which emphasized the monotonous ruts life can dig us into. Whyte, with his amused ease in front of the camera, hits comedic moments with an oblivious innocence that is endearing. It is through his delivery, supported by a solid script and well-placed camera shots, where the tragedy of his story effectively smacks you in the face with a devastating truth. However, this truth, presented in a final scene, was so fleeting that I almost missed it. The Final Chapter, as its title suggests, revealed its purpose with a single monologue at the end of the evening. Tucked in between the others, this stage initially only presented moments of quick flashes of light along with sounds of thunder. Eventually Travis Hennessey appeared silhouetted in the corners, back dropped with a vast picturesque desert landscape projected on a screen in stark black, white and grays with Hennessey staged mainly in shadows; gorgeous. Hennessey, being the last man on earth, tells his tale through a heart-wrenching struggle with broken memories and madness. There were times in which the monologue felt drawn out and segmented, but Hennessey’s passion drove through these with elegance.

Set in a crescent moon fashion, the audience is placed on the floor in the center of four very different “stages”. The production moved randomly from stage to stage revealing unrelated stories through select moments in the character’s lives. This fragmented format could have run the risk of chopping up events and losing momentum, however with each “transition” the audience would look around to the other stages in inquisitive anticipation, ready to pick up the next I was hard pressed to chapter of each story line. think of a different The Warehouse? introduced first in the evening, venue to place this the shared with us the trials and triumphs of an unnamed production, character played by Daniel Lizotte. Starting literally intimate space at in dark shadows, the first five minutes, which felt Launceston College, like fifty, was painstakingly following him, “blind”, with the segments fumbling through this room of boxes. The audience sat almost bleeding into in complete silence as they watched Lizotte go from each other through the one box to another, reaching moments of desperation audience but without breaking the fourth wall. It really and frozen fear when he has to let go of one box to placed you within the segments as opposed to being venture out into the unknown only to find another. The an outside observer. I found the brick wall backdrop painstaking part did not come from a lack of talent by for the projections for The Warehouse? segments to be Lizotte, in fact, it was just the opposite. Finally finding an interesting choice of texture, much more effective the light, Lizotte’s character launches into a comedic than a flat screen, as it placed a tangible emphasis on journey. As his character adapted to his surroundings, the feeling of containment that was experienced by confronting various “life” trials and discoveries Lizotte’s character in the beginning of his life quest. along the way, Lizotte journeyed through moments of determination, disappointment and triumph Combining theatre with the use of projections and film, with a delightful innocence. Unable to resist this although innovative, was also what made the “work in lovable character, the audience was with Lizotte the progress” of this production most apparent. Seeing entire time, laughing, sympathizing and celebrating. the “play” and “pause” symbol in the top corner of the And he did all this, without saying a word. Lizotte’s projections in the Warehouse scene unfortunately also interactions with the animated projected backdrop, projected that the next slide or change in the scene was sometimes even literally “painting” his world, were going to occur. Glitches in audio levels, broken audio a joy to watch and the simple underscoring themes of within the film and jumped cues were distracting at those familiar life decisions were a perfect match for moments but were quickly shrugged off because the premise, performances and storylines were too engaging the presentation. to allow these glitches to pull from the production as a I was pleasantly shocked to find the first “words” whole. to be spoken by any characters was almost twenty minutes into the production, yet volumes had already If this was a mere “work in progress” exploration been shared. These were spoken by Clare Leonard produced by Mudlark, I am excited to see this work evolve in the piece called Coupling, which seemed to reflect and refine over time. Taylor and Jackson have raised the quiet times in our lives, the spaces between the the bar on pushing the boundaries of incorporating moments of action or interactions with others. Driven multimedia into productions while holding true to the by silence and simple everyday “fillers”, these scenes live theatre format. I hope to see more productions like sometimes felt like fillers in the show itself, allowing this and encourage Mudlark’s quest to continue these for breathers between the other storylines and held a explorative ventures in the future. I look forward to bit too long. However, Leonard filled these seemingly their next Full Moon Project exploration, Infraction, empty moments with a feeling of familiarity and opening in November. subtle grace. ANGELA MILLER

Interweaved with these was a short dark comedy




TA S S I E ’ S



Vehicle Graphics

Brett Lynch’s 1990 Honda Integra LS INTERIOR


6.5” JVC Coaxials

Suspension + Brakes full Air

6.5” JVC Splits

cylinder kit

2 x 10” Kenwood Subs

BOMZ Racing Strut bars

Rockford Fosgate Monoblock

Ingalls front camber kit

4 Channel Pioneer amp

97 integra steering rack

JVC EXAD 6.5 double din

Front ventilated rotors


Bendix Ulimate pads all round

2x8” head rest DVD screens


2x9” head rest DVD screens

X-force Muffler

Full Interior retrim and dye

SAAS pod filter

Autotechnica steering wheel

CAI 2” exhaust system

SAAS pedals and gear knob Indigo gauges Chrome bezel

DRIVER PROFILE How old are you? 22 Where do you live? Launceston Which car club are you in? Low4Sho And how long have you been in it? I’m a co-founder of the club which has been running for just under the year along with my brother and fiance When did you buy the car? Where? I bought the car about two years ago, from Western Australia stock as a rock Did you take out a loan, or pay cash? The car was paid for in cash What car did you have before this? A Toyota Camry Hatchback



What car would you like to have after this? A bagged Honda Accord (family car) What is your dream car? Honda NSX What did you get done to the car, first? And what after that, and so on? First up installed new tail lights followed by wheels and exhaust, kit and air bags followed by two tone paint job Got a funny story to tell about owning the car, or something that’s happened to you while in the car, or because you own the car? Saw a guy standing in front of my car taking photos of the number plate, he had a bible in his shirt pocket and looked at me in disgust And finally, why do you love your car? I love being seen in it and also love hearing peoples positive comments regarding the car

EXTERIOR JDM angels eye headlights VT Clear Side indicators Carbon Fibre Altezzas Vertex Front bar Vertex Rear bar Vertex Side Skirts Custom plates “SINN3R” Removed badges Removed spoiler 30/50% window tint 2 Tone paint Resprayed in Milano Red and Black


Local Hopeful to Rev the Crowd Among the many hopefuls to pursue the Tasmanian Miss Indy crown this year is Launceston local, she of the dazzling smile and amazing Sing-Star skills, Melissa Limb. Find out a little more about Melissa’s Miss Indy dreams and ambitions beyond the competition… Hi Melissa, what do you hope to get out of your Miss Indy experience? As always, I hope to meet some great girls, gain more confidence in front of a large crowd, and on top of it all have fun! Without giving away your secrets, how do you think you’ll wow the judges on the night? It all comes down to the walk and displaying confidence! A great big smile always helps as well as showing everyone your fun side.

“never u o Y … re know whe end you could up!… ”

To what extent do blondes have the most fun? I believe you really have to be one to know! What do you know of the last Tasmanian winner, Ms. Erin Deverell? I was lucky enough to be in the Miss Indy heat last year with Erin, she’s a gorgeous girl and I’m sure she did us proud at the Indy. How does it make you feel being admired by so many people when you’re on-stage? It is a real confidence boost to know you have people supporting you and cheering you on! It settles some of those nerves too. What’s the most daunting thing about modelling? Photo shoots in freezing cold water at the beach during the colder months aren’t too great, but they are worth it for the end results. What thrills you the most about modelling? The nervous/excited feeling I get just before going on stage! The crowd cheering and the music pumping - The atmosphere is just awesome. When was the last time you felt like you had total control of a room? A few weeks ago at a modelling competition final I was in. As soon as you walk out onto the stage, the focus is all on you! Which songs do you perform best on at Sing-Star and why? They would be Every Time We Touch by Cascada, and Stacy’s Mom by Fountains of Wayne. Let’s just say they have been well practiced on Sing-Star (as well as while driving along in the car)! You seem to have great skills as much behind a camera as you do in front of a camera – where do you want to go with that? I really enjoy all aspects of my modelling be it photo shoots, competitions or promotions work, but at this stage unfortunately I can only do it on a casual basis. My main focus is hospitality, but I’m just taking all the opportunities that come my way for either industry. You never know where you could end up! GET DOWN TO LONNIES, AUGUST 15 TO SUPPORT MELISSA AND ALL THE OTHER GIRLS IN THIS YEAR’S TASMANIAN MISS INDY COMPETITION! Photo by Reg Ashman







Photo by Jacqui Beven Photography




Fairy Tales From the Murder State The girls of Illicit Eve, formerly of Adelaide, have a lot to thank their childhood stories for. Just as fairy tales plumb the darker depths of the human psyche, so does their new album, Into the Woods. I probed vocalist, Emily Smart, for more insight into how the stories of her youth influenced the band’s latest venture…

e’s …I think h r ione an execut es in the but he liv woods …

What’s the significance behind the name of track seven off the new album, 11:11? That number seems to follow us around a little bit. The relevance – I don’t know if you’ve heard this saying: “Make a wish when you see 11:11 on a digital clock” – I think I grew up with it, I don’t know if everyone knows it or not, it’s one of those superstitious things that go around that’s really, really stupid… the song is more talking about people wishing for things that aren’t really worthwhile and sometimes getting them and thinking that this is why it’s a silly thing… I’ve heard that eleven, in numerology, is a really powerful number… I think it’s eleven and twenty-two… are apparently the most powerful numbers in numerology, so eleven’s pretty special… I’m not saying I don’t believe in that kind of thing… but it was more about the premise that bad people who think that they can wish for something and just have it fall in their laps… it comes from more of that premise more than from some [kind] of mystic [thing]…

shoes but she buys these, like, provocative red shoes which… you know, red is the colour of evil, basically, and seduction… so she basically has these shoes and she puts them on and goes to this dance and the shoes make her dance… she keeps dancing all night. Then, at the end of the night, her feet won’t stop dancing so she dances right out of the place and she dances right out into the woods, continues on for – in the book, the one that I had, it’s several years that she’s dancing! Eventually, she goes to a woodsman of some kind… I think he’s an executioner but he lives in the woods… and she asks him to cut her feet off… and then they dance off. Her feet dance off into the woods and she’s left with nubs for the rest of her life! She goes back to town and she’s sort of like an image of like how they should go to church and how they should not go against what their parents, or grandparents, tell them to do! It’s pretty dark, but… a lot of the fairy tales are, which is why we sort of went for that theme because our album’s a little bit dark and heavier and twisted than our last one, so…

The cover art for Into the Woods seems very evocative of fairy-tales and danger in a way – when was the last time you felt like you were I danger and how did you deal with it? Well, actually, two nights ago I was walking back from the tram and there was a guy standing on the side of the with this massive Rottweiler and he looked just road w really ccreepy and he had this black car parked on the side of the road too so he was parked in between, sort of, the wall and this car… this massive dog… and I had to walk between him, and I just kept thinking… he’s just waiting there, the dog will attack a person and he’ll just them into the car… you know, one of those random drag th things tthat just freak [you] out every now and then! I don’t kknow if I was in any actual danger but I felt like I was for a good couple of minutes. I kept looking behind my way home after that. me on m

I was really impressed by the art design of the album and what I saw on your website as well. I love that painted design. How did it come about? I met a guy on MySpace, which is a great tool for meeting people; he lives in Sydney and he’s just like a design/art student… he just wrote to me and said he’d just love to do something… at the time we didn’t have our album ready yet but I knew that we were close to doing it in a few months, so I said this is what we have in mind… we basically sent him a whole heap of photos. We went out to this place in Adelaide called Kuitpo Forest… we went out there about dusk and stayed there until darkness… it was actually quite freaky because some people started telling stories about how some girl had been found there dead recently – you know, Adelaide’s the… murder state… pretty much you can go anywhere and someone’s been murdered… in this particular story someone had been dumped there… so we were out in the middle of the night taking photos with the car lights shining through the trees… Oat used the photos but pretty much painted over them and added all this other stuff, crazy things in the trees… he’s so detailed; his work is just awesome.

was your favourite fairy-tale as a kid and what What w did it m mean to you? actually loved The Red Shoes. It’s not as well known as I actual some o of the others. I don’t know if you know it, but a lot stuff on the album there’s a sort of a hint of that… of… stu story… there’s a girl, she lives with her grandmother [who’s] really ill and she has to look after her and go to church… her grandmother’s also blind and she has to go church some new shoes because her shoes have got holes in buy som them… her grandmother takes over and says that she’s gotta get g these plain shoes – she sees these red ones window and she really wants to get those ones, in the w so she tells her grandmother that she’s got the other


VA DIEMEN VAN SE SEAMEN This aall female four-piece metal band formed d in lat late March of this year, playing gigs att prestigious venues such as Kings Meadows prest High School. Skipping covers, they went straight for the jugular of original material strai with the terminally annoying track, The Tor Torture Song, which, in their own words “wa “was utter bollocks.” They followed up thi this spirited debut with Blood Rotted and tw two other brand spankin’ new, yet to be tit titled, originals. A e’s Rock Series, Afer participating in Newstead College’s tthey began Launceston College’s program, am Write It Rock IIt Record It. Soon afterwards, they decided to participate rticipate iin the annual TasMusic Rock Challenge. They’ve knuckled nuckled d ar) and down and Katie (drums), Meg (vox), Jess (guitar) Sh Shannon (bass) are set to unleash their original brand of o oestro 08. oestrogen-fuelled metallic mayhem for Rock Challenge ’08.

TASMUSIC ROCK CHALLENGE ’08 The annual Rock Challenge blasts into Launceston, with the first heat kicking off at The Saloon Bar! Some of Tassie’s most well-loved bands had their first break at the Rock Challenge, so make sure you get down and check out the latest cream of Tassie’s talented crop. Not only will it rock your pants RIGHT OFF, but you could just be part of history as well! You’ll be able to say, “Yes, I was there to get a taste of Van Diemen Seamen, and I loved it!” LAUNCESTON HEAT High School - August 11 College - August 18




Topping the Charts With a New Sound







er one I rememb l singer Sea night the o and was s was there ut crashed o ’d e h d e t s wa es. the couch on one of




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Candice Monique & The Optics (melb)

When they’re not hamming it up in Vancouver or sampling the local cuisine in Italy, globe-trotting Kiwi quartet Shihad get to hang out with Rachel Hunter and friends in the well-heeled Hollywood Hills of Los Angeles. “We went around for a few parties at Rachel’s house up in the hills and they were pretty cool,” says guitarist-keyboardist Phil Knight of the New Zealandbred, Melbourne-based band’s six-month stint in LA recording their 2002 album Pacifier. “I remember one night the singer Seal was there and was so wasted he’d crashed out on one of the couches. Later on Rachel put on Guns ‘n’ Roses’ Appetite For Destruction because she’s an Auckland bogan from way back and her and [singer] Jonny [Toogood] were dancing around to it.” It’s one of many memorable flashbacks Knight has from his long tenure in Shihad, formed by Toogood and drummer Tom Larkin in Wellington in the late eighties. Of course, the group’s well-documented full circle homecoming saw them revert from the short-lived Pacifier moniker back to Shihad in 2004, a reclamation of both name and identity that invariably led to the jarring rock statement Love Is The New Hate, an album intended to remind fans of their nineties powerhouse sound. “We wanted and get back to our roots a bit,” says Knight of the record. “We wrote it pretty quickly as a reaction to the whole Pacifier experience and wanted to do something pretty instinctive and heavy. We felt we really needed to prove ourselves again and let everyone know who we were.”

the last album was very heavy and now we’ve come out with this,” laughs Knight. “But we spent two-anda-half years writing this record and it felt like we were experimenting more. We wrote all sorts of stuff, just anything that came out – lots of electronic stuff. “On Beautiful Machine and Rule The World I’d be mucking around in the practice room with one of my keyboards plugged into my guitar amp and I’d just make a loop. Then Jon might come in and have a smoke with [bassist] Karl [Kippenberger] and start jamming on it. And that’s how we came up with those songs.” Having already joined their 1999 chart-topper The General Electric as a number one album in New Zealand, Beautiful Machine was built in Brunswick, the former working class inner-Melbourne suburb where drummer Larkin designed a studio to shape Shihad’s accumulated forty-five demo tracks. The final mixing was completed in London by legendary mix master Alan Moulder (NIN, Jesus & Mary Chain, Smashing Pumpkins). “Alan would give us rough mixes of what he’d done and we thought it just sounded amazing!” says Knight. “We’ve been wanting to work with him for years – we’re just big fans of My Bloody Valentine’s Loveless album and we loved his stuff with Nine Inch Nails too.”

Three years on and their seventh album Beautiful Machine ranks as perhaps a symphonic pop flipside to the over-amped guitar crunch of past glories.


“We sort of made things difficult for ourselves because


soul - funk - blues - jazz - spoken word

LIVE @ REPUBLIC BAR Fri 8th August 10pm Tix. $10 call 1300 GET TIX (348 849)

or go to

myspace/candicemoniqueband SAUCE #74


Clothing by Photography by Zakk 24


Clothing by Photography by David Williams SAUCE #74




Amy 19

Natalie 17

Sophie 21

Taliah 17

Fave band: The Presets Fave TV show: Will and Grace How often do you buy the newspaper? Never Which radio station do you listen to most? Triple J What do you look at more - computer or TV? TV Where do you go the most on the internet? MySpace

Fave band: Underoath Fave TV show: Scrubs How often do you buy the newspaper? Never Which radio station do you listen to most? None What do you look at more - computer or TV? Computer Where do you go the most on the internet? MySpace

Fave band: The Veronicas Fave TV show: Home and Away How often do you buy the newspaper? Saturday Which radio station do you listen to most? Triple J What do you look at more - computer or TV? Computer Where do you go the most on the internet? MySpace

Fave band: Secondhand Serenada Fave TV show: Sex and The City How often do you buy the newspaper? Never Which radio station do you listen to most? 7LA What do you look at more - computer or TV? Computer Where do you go the most on the internet? MySpace


0 9 1 01 0 00 8 1 ts e k c Ti

u a . m o c . o s t . w w w or

It’s time. The Whitlams with the TSO

7pm Friday 15 August 2008 Wrest Point Entertainment Centre • Tickets $50/$75 The Tasmanian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and through Arts Tasmania by the Minister for Environment, Parks, Heritage and the Arts, and the Tasmanian Icon Program.



Sauce - Issue 74, 6-8-08  
Sauce - Issue 74, 6-8-08  

Tasmanian music and pop-culture, featuring Faker, Andrew Swift, Carpathian, Van She, The Whitlams and The TSO, Chris Cavill and The Long Wee...