Sauce - Issue 88, 18-2-09

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. ISSUE 88 . FEB 18 - MAR 03 2009 . TASMANIA’S STREET PRESS

It’s what Sundays were made for.

SUNDAY 15TH FEB JAM JAR - OPEN STAGE JAZZ NIGHT FOR ALL COMERS WITH A HOUSE BAND SUNDAY 22ND FEB TEA FOR TILLY QUARTET SUNDAY 1ST MAR THUS FAR...

Weekends at Irish Murphy’s Hobart

FRIDAY 20TH NICK & TOM WOLFE, BIG SWIFTY SATURDAY 21ST MICHAEL CLENNETT, DAMAGE CONTROL FRIDAY 27TH SAMBO, DR FINK SATURDAY 28TH JOHN HARWOOD, SEROTONIN

The best bands. Your favourite tunes.

Every Friday and Saturday night on the waterfront.

HOBART | 21 Salamanca Place

Sunday through Thursday, growing new music and nurturing good times

Growing in February AMY KENDALL GRETEL AND THE TERAMACHI DARLINGTON LANA CHILCOTT MARITA MANGANO GEORGE BEGBIE See Gig Guide for details

6223 1119 | www.irishmurphys.com.au

EDSPACE

NEWS

#88- February 18 to March 03

Contents: 4

Contents / News

5

Ian Carey

6

DJ Rebel D / Top Shelf

7

Koolism

8

Alex Kidd

9

Separatist / Super Massive

10

Freya Hanley / My Disco

11

Kiss Whisky / Amplified 09

13

Basement Jaxx

14

Binge Drinking

15

Entertainment Guide

I let him off.

16

Nine Inch Nails / Greenfingers

18

CD Reviews

19

Cinecism

20

Gig Reviews

21

Zzapped

22

Arts

The day before, my life changed in an instant as my son, Logan Flynn, literally plopped into the world!

I went from not-Dad to Dad, and it really was like the last episode of Coupling season four (minus the live audience), when Steve looks down the camera (representing a POV shot of his newborn) and has that “Oh my!” moment. Everyone congratulates me, but the person that needs the most congratulations is my partner, Clara. She did all the hard work! Oh my!

23

Hot Mods

24

ROFLMAO

25

Festivals

26

Street Fashion

Sauce Team: Hobart: General Manager - Advertising:

David Williams Email: david@sauce.net.au Phone: 0400 940 699

LONNY TUNES The Royal Oak’s new original music night, Lonny Tunes, kicked off on Thursday, 12 February.

The festival will be on 1 March 12-4pm at the Royal Park/Regatta Grounds.

0 For more info: www.climatelaunceston.com

The night featured the talents of Guthrie, Halfway to Forth, Mic Attard, and Tess Kasper.

SONS OF LEE MARVIN Melbourne’s own slayers of garage, gonzo n roll SONS OF LEE MARVIN - bring their double drummer, good time show to Tasmania. Hot off the release of their 2nd album ‘ The Death of Romance’, SONS OF LEE MARVIN hit the Hobart streets for the first time. You can dance, cry, high five, slap your tits til you go blue in the face, just don’t miss this.

0 27 February @ Brisbane Hotel, Hobart

Catch The Stoics, Kasper, Jean Hodgson and Fiona Brown at the next Lonny Tunes, Thursday, 26 February, and keep your ears peeled every fortnight for new Lonny Tunes lineups!

Or, for those with digital ears, search for “Lonny Tunes” on Facebook and join the group to stay informed.

0 Lonny Tunes Every Thursday fortnight @ The Royal Oak, Launceston It’s amazing how life can change in an instant, eh? This last fortnight’s seen people’s lives ruined by the inferno in Victoria, for example. One potential interviewee for this issue had to apologise for not getting his questions back to me because, as he informed me last Monday, Feb 9, “my house is about to burn down.”

Speaking of hard work, the last week’s been amazing and exhausting and amazingly exhausting but, with a lot of help from friends and family (thank you, one and all), you can see the fruits of our labour right here in this issue. We still have tickets to be won in The International competition on page 19, and the jackpot for the Car Registration competition has gone to fourteen! See the details on this page and enter!

Also, feel free to write in and let us know what you liked and didn’t like about this issue, or any issues you’ve read. Send your email to the address below.

Who knows, if I’m not changing a nappy, I might get back to you! sCHRIS RATTRAY chris@sauce.net.au

TONI CHILDS Hot on the release of her new album, Keep the Faith, Grammy-nominee Toni Childs is in the midst of an Australian tour. Presented by the North Esk Rowing Club, the American singer-songwriter will be playing two shows in Launceston next month.

With hits sprinkled throughout the past three decades, this will be a show all ages can enjoy. Tickets are on sale now from Mojo Music.

0 3 & 4 March @ The Boathouse on Northbank, 55 Lindsay Street, Launceston BUSHFIRE RELIEF CONCERTS After such a great tragedy, the music communities in both Hobart and Launceston have put their heads and bands together in support of the victims of the Victorian Bushfires.

A NEW ALBUM? YEAH YEAH YEAH! The Yeah Yeah Yeahs are back and this time It’s Blitz!

That’s right, the new album will hit the shelves and the online stores from April 10. Their all-new experimental sound will be first heard from February 23 when the lead single Zero makes it to the airwaves.

According to the band, the new album is inspired by 70’s disco collaborations between Giorgio Moroder and Donna Summer, Joy Division and Karen O’s love of dancing. A newer sound, but still the same band the fans love!

0 www.yeahyeahyeahs.com JOE LALLY GOES SOLO Founding member of the band Fugazi, Joe Lally now returns to Australia with solo material after Fugazi took an indefinate hiatus in 2003. Continuing in a similar vein as his work with the band as bass player, Joe’s work features heavy bass and unique driving rhythms.

With great acts such as Freya Hanley, Linc LeFevre and Joe Piere in Hobart and Glann & Jade, Sara Jane & Dave and Leigh Ratcliff in Launceston, it’s certainly worth checking out, especially in support of such a worth cause.

0 Launceston: A Night of Relief, 19 February @ Lonnies Niteclub from 7:30pm. Tickets $10.

0 Hobart: Bushfire Benefit Day, 22 February @ The Republic Bar and Café from 1pm. Tickets $15.

Backed by Sydney sibling duo Gallucci, he will be touring around the country throughout March.

0 11 March @ Brisbane Hotel, Hobart.

ACT ON CLIMATE CHANGE Launceston band Invisible Boy will be playing at “Act on Climate Change”, a free festival in Royal Park featuring music, free activities, short films and info stalls.

The two artists have also gained success and acclaim in each of their respective solo projects and together promise a magical night.

0 6 March @ The Republic Bar, Hobart

SALLY DASTEY & SAM LOHS TEAM UP From award winning and internationally acclaimed bands, Sally Daster (Tiddas) and Sam Lohs (Fruit) have teamed up to perform in Hobart, separately and together.

Launceston: Production Office Phone: 03 6331 0701 Editor: Chris Rattray Email: chris@sauce.net.au Art Director: Simon Hancock Email: simon@sauce.net.au

SAUCE STICKER WINNER

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

Contributors: Meegan May, Clara Murray, Carl Fidler, Glenn Moorehouse, Mischa Calcagno, Clara Murray, Cyclone, Dane Hunnerup, Steve Tauschke, David Walker, Trent Saunders, Belle Mcquattie, Martyn Palmer, Lalani Hyatt, Erin Lawler, David Walker, Nick Hay, Tiarne Double, Justin Heazlewood, Mick Lowenstein, Brad Harbeck, Anita Antolini.

Next Edition: Sauce #89 - 04/03/09 to 17/03/09 Ad Artwork Deadline 27/02/09 @ 3pm

EG 4897

IS THIS YOUR REGO? YOU WIN! If this is your car, email a pic of yourself in front of your rego to competitions@sauce.net.au, with STICKER WINNER in the subject line by Friday 27th of February @ 5pm to win some CDs or DVDs! If you don’t get to us in time, the prize will JACKPOT, so next edition there will be DVDs to be won. And so on …

fourteen!

CDs or

Get a SAUCE sticker (email chris@sauce.net.au with your postal address and CAR STICKER in the subject line if you want one!) and whack it on your vehicle! Check each edition of SAUCE to see if you’ve won. It’s that easy!

SEE THE BIGGER PICTURE…

ACT ON

392 - 394 Elizabeth St. North Hobart Ph: 03 6234 5975

Thu r s d ay 2 6 t h F eb r u ar y

Photo: Jeff McClint ock

FAMILY ACTIVITIES FREE RICKSHAW RIDES

Rickshaw driver and passengers in Banglad esh flood

SHORT FILMS INFO STALLS

ROYAL PARK/REGATTA GROUNDS SUN 1ST MARCH 2009 12 – 4 PM CONTACT 6331 6770 or 0437 741 677 FOR MORE INFO WWW.CLIMATELAUNCESTON.COM MAKEPOVERTYHISTORY THIS EVENT IS ORGANISED BY A GROUP OF PEOPLE IN TASMANIA WHO ARE CONCERNED ABOUT THE IMPACTS OF CLIMATE CHANGE.

4

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

Devonport Centre Book i ngs: 03 Entertainment 6420 2900 or www. decc. net. au D e v onp o r t E n t er t ai n men t C en t re

Thursday 26th February PH: 6420 2900 Fr i d ay 2 7 t h F eb r u ar y t Po i nHotel t - H o b ar t WrestWres Point Casino

Friday 27th February PH: 6221 1700

Book i ngs: (03) 6221 1700 or www. wrestpoint. com. au

Sat u rd ay 2 8 t h F eb r u ar y Country Cou n t r y C l Club u b - L auResort n ces t o n

Saturday 28th February PH: 6225 7092

Book i ngs: (03) 6225 7092 or www. countr yclubtasmania. com. au WWW.SAUCE.NET.AU

DANCE - EUROPE // IAN CAREY

Shakin’, Not Stirred

School is back and Ian Carey has just the trick for those back to university blues with his current dance hit Get Shaky, just one of the many vibey tracks that he will bring to Launceston as part of his Australian tour.

Carey’s “beat the school blues” advice shines from the dance hit lyrics, and I quote:

when not on tour. Family and music were always linked for Ian Carey, as seen by his own unique childhood.

“baby get shaky after school, oooh ooh there you ooh there you, baby go crazy break the rules.”

Ian Carey’s father was a sound engineer, who took his son with him on school holidays, touring America from east to west for music acts like Kool and The Gang, and The Duke Ellington Orchestra. By the time he was eight years old Ian Carey could mic a stage for a concert, and by high school he was a drummer. It was during his college days when he was working at a record shop that he discovered dance music.

It’s stirring stuff.

Get Shaky features vocals by Kelly Barnes of LA band Ragsy. There is a distinctive echo of Loveschool by The Divinyls with less vocal pouting than Chryssie Amphlett but all the attitude, and Carey’s – to quote one of the hundreds lauding the track on Youtube - vibey beats. Carey is clearly a musician who knows how to dissertate on education and the message as interpreted by us is thus: 1. Baby doesn’t get shaky until after school.

2. From this we deduce Baby does value her education and has attended her classes.

3. Now that Baby is primed with knowledge she needs to unwind.

4. With Carey in the house, Baby can shake it up.

5. Now she’s clear to break the rules and Baby is doubtless, going by the signature flair for funky bass, that with Ian Carey and his new single, Baby is going to go crazy and DANCE. 6. You can be like Baby and refresh after a long day by grabbing some Get Shaky action when Ian turns his tables in our Tassie direction.

No wonder Baby is charting so well in Australia. She mixes work and play with a knack for the shaken and not stirred.

This is reflected in the priorities that emerge in the life of Ian Carey who is a devoted husband and father and retreats to his home in Spain to reinvigorate his music,

Already a part of the graffiti-writing scene in Baltimore, MD he met hip-hop DJs which led him to his next passion; he put down the spray can and bought some turntables. He started DJing and played mostly hiphop. As his style and skills grew he made his very first vocal production (with Jason Papillon as Soul Providers), Rise. It was a crossover hit and went gold in the UK. It wasn’t long before Ian decided to move to Europe as it was more convenient to be closer to where the pulse of dance music scene beats the strongest.

During this time in Europe he perfected his signature “funky bassline” which saw demand for his sexy productions, remixes. he is an ztrip frid 23 especially Guns for gloryToday +ballpoint/ internationally recognized player in the house scene. sundis 25/ aust day wild Ian Carey rapidly26 becoming infamous as amarmalade house craftsman worthy of notice and getting shaky over.

31 dirt river radio sCLARA MURRAY

Get trembling at...

0 27 February @ Hotel New York, Launceston 0 8 March @ Future Music Festival, Melbourne

Tix Available Online www.republicbar.com FRIDAY FEBRUARY 20

Carey puts baby in the corner

REPUBLIC BAR & CAFE

299 Elizabeth St North Hobart Ph. 6234 6954

SUNDAY FEBRUARY 22

FRIDAY FEBRUARY 27

FRIDAY FEBRUARY 28

REPUBLIC BUSHFIRE BENEFIT · auction · raffles · gold coin BBQ

MIKE NOGA

& THE GENTLEMAN OF FORTUNE + DAVEY LANE (YOU AM I) 9PM $PRICE

All funds raised to go to the Red Cross Bushfire Appeal

1PM - 12AM $15/ $10 CONC.

Freya Hanley the Trolls Warbash avenue Chi Roh Lovista Cake walking babies Linc le FevRE Joe Piere Abby Dogget Rod Fritz G B Balding Prarie Shagpile the blackberrys

Wednesday, 18 February

SUGARCAIN COLLINS

Thursday, 19 February

4 LETTER FISH

Friday, 20 February

MIKE NOGA & THE GENTLEMAN OF FORTUNE + DAVEY LANE (YOU AM I)

Saturday, 21 February

DALLAS FRASCA

Sunday, 22 February

REPUBLIC BUSHFIRE BENEFIT

Monday, 23 February

Quiz Night

8:15pm

Tuesday, 24 February

PATRICK & RUTH BERECHREE

9pm

WWW.SAUCE.NET.AU

8pm $4

$10/15 $15/10 CONC.

EUGENE HIDEAWAY BRIDGES (USA)

10PM

$12/15

KOOLISM 10PM

$22/25

Wednesday, 25 February

FULA WITH ESHAK

$3

9pm

Thursday, 26 February

SUPER MASSIVE (SYD) + PRAIRIE

$4

9pm

Friday, 27 February

EUGENE HIDEAWAY BRIDGES (USA)

$12/15

10PM

Saturday, 28 February

KOOLISM

$22/25

10pm

9pm

10pm 1PM - 12AM

. ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

5

OFF THE SHELF

Hola citizens of the beautiful isle and welcome to the latest instalment of Off The Shelf. Normally I would prattle on about how cool the vibe is or how great the bands have been but there’s a lot to get through and even now we’re wasting time!

Over the next three weeks Top Shelf at Irish is presenting an exciting mix of music. A fine Launceston act, an alterna-pop Sydney group and an up and coming band ready to make their mark are all due to give us some great performances and with such varying styles between them it should make for a new experience every week.

First up is Nathan Wheldon and The Two Timers who are appearing tonight, Wednesday February 18, after a successful summer of shows that has seen them establish themselves as one of the State’s finest live acts. The Two Timers following has really blossomed of late due to a run of solid performances throughout the state, including the Falls Festival, and a string of singalong hits combining catchy melodies and relatable lyrics. Frankie will open the show at 9:30pm with her sweet tunes so come down early and get settled in for an awesome night.

DJ PROFILE: DJ REBEL D

“I was introduced to my first software (Virtual DJ) when I was about 14. Ever since then its grown on me!” says DJ Rebel D, recalling his first exposure to the tools of his trade. “I’ve been DJing for about five years all up now - three years professionally and. as of last year, [I’ve] been doing live performances!”

What was the pivotal moment that made you realise being a DJ was for you?

As soon as I found out I was touring all of South America, that was when I thought, man! I’m only 19 and I have the oppurtunity to visit some of the most beautiful places in the world. Then I find out Europe and India are next on the list, so I’m stoked as! Can’t wait for that.

Who have been your influences in this regard?

Well, there’s just so many to mention but I’ll name the main ones! First off my manager, Eddie! He’s been a great help. Also my main man, Yoji. What a guy! and the boys from Kamui (Dom and Pat) and, of course, my partner in crime in the producing world, Jesse. Five of the best people you’ll ever meet!

What have been some of the key albums, tracks, or artists that have steered you down this path?

The key tracks that have steered me down this path would have been the release of the dirty tech. trance track, Funky Analog and Broken Fuse. That was number one for so many weeks up in South America! They couldn’t get enough of it, and because of that track I have to finish all these other ones for my next tour. So I was pretty happy with that. Also being featured in the EP over in Europe with some big headling producers, Sasha F, Hardstyle Mafia, and Zany, just to name a few from that EP release.

Why did they have such an impact on you, do you think?

Who knows! I’m guessing they love my style but then again… who doesnt! It’s probably because I got a little bit of help from a big artist over in South America, so yeah - shout outs to Sebastion Morxx, he started me off and I finished the rest!

How about festivals or performances you’ve been to – which ones made the greatest impression on you and why?

I’d have to say Defcon music festival in Melbourne, only because it’s my home town, and when you play in front of thousands of people, you get recognised. So walking down the street and at the beach, hasn’t been easy for me lately, getting greeted from left right and center! But hey, gotta love the attention.

What’s the weirdest thing or request anyone’s ever asked of you in your capacity as a DJ?

I was doing a show up in Adelaide. It was an electro night and it was PACKED! Everyone was rockin’. I was pretty much playing some dirty banging electro tracks. I dont know how this girl got on stage, but anyway here’s what she said, “Hi, can you please play Gimme More by Britney Spears?” I just stopped and looked at her and said, “Sweetheart, I’m a DJ not a jukebox!” But. coz I love my crowd, I actually played a dirty electro remix of that track so it could still flow off my set! That would have been the wierdest request to date. I don’t usually get hassled on the decks. I’d love to tell you about the other experience of the “wierdest thing” that happened to me while performing, but I’m afraid I got to keep it G-rated. But if you see me at the clubs, ask me about it and I’ll share my little stories with you!

What or who do you think is going to be big this year?

This year I have many things jam packed in my schedule so I have a big year planned for me! Also looking forward to another Sensation White in Melbourne!

That’s going to be massive! I was there at the start of this year. It was the best experience of my life! 50,000 people all in white, what a night! Let’s hope to see more of ID&T’s events in Australia! sCHRIS RATTRAY We can only hope! Catch Rebel D… 0 13 March 2009 @ The Loft

Wednesday February 25 is Launceston Cup night. This means plenty of partying and dancing the night away, and to assist you in this endeavour will be new wave act, Super Massive. The Sydney based group featuring Glenn Abbott (drummer/song writer of Machine Gun Fellatio fame) took home the Best Alternative Artist Award at the MusicOz Awards as well as remaining in the top five on the Triple J Unearthed Dance chart for two months. Check them out at www.myspace.com/ supermassivesounds.

Younger Dryas have been busy of late in the studio with Dave Venter recording their debut release due later this year. Wednesday March 4 they will take to the Top Shelf stage to deliver the sound of roots/blues and give us a taste of what’s to come down the track.

Unfortunately, two weeks ago, Novella were unable to make it for their show so a huge thanks to The Dog Line for jumping in at the last minute and making the night cook. Mick Attard was superb as ever. It’s hard to fault the guy really. Good songs, good voice, good guy.

Last wednesday, February 11, saw Black Japan play their first show (technically) supported by Nathan Wheldon. It was a great night and a big thank you to all of you who came along and supported us. We hope to release some more information soon. One of those “when I know, you’ll know” vibes. Nathan cruised through his set of pop then invited Two Timers/Stoics drummer, Beau, onstage at which point the night kicked into gear.

Shout out to Luka, Ratty, and Jase. Congrats to Chris (daddy) [Thanks! – Ed]. sCARL FIDLER & GLENN MOOREHOUSE Reach for the Top Shelf!

0 Every Wednesday night @ Irish Murphy’s, L’ton Photography by Toni M. 6

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

WWW.SAUCE.NET.AU

HIP HOP - AUSTRALIA // KOOLISM

Ahead of the Kurve

ASA and The Greenhouse present Wax Lyrical at Irish Murphy’s

Tuesday 3rd March

y e l l A Cat The Alley Cat Bar 381 Elizabeth Street North Hobart 03 6231 2299

“…now I’m gonna put a f*cking band together...”

Friday 20th of February

Ariel Indi Jade Lance Devlan Prairie Nischler 9pm - 11pm FREE ENTRY

DJ Russ Jones

@ THE GREENHOUSE

Irish Murphy’s

Friday 27th of February

21 Salamanca Place, Hobart Ph: 6223 1119 DJ and producer DanielSan (Daniel J Elleson) first met the oWhen other half of the Koolism duo, front man and lyricist Hau (Langomi-

IN THE BOATSHED

Saturday, 21 February @ 9pm

L.B.C Presents Sugarcane Collins

Saturday, 21 February @ 9pm

L.B.C Presents Anni Piper Band IN THE PUBLIC BAR

Wednesday, 18 February @ 9pm

Luke Parry Thursday, 19 February @ 9pm

Marita Mangano and Bill Kelly Friday, 20 February @ 9pm

Mick Attard Saturday, 21 February @ 9pm

Ben Castles Wednesday, 25 February @ 9pm

Jerome Hillier Thursday, 26 February @ 9pm

Lonny Tunes feat.

The Stoics, Kasper, Jean Hodgson and Fiona Brown Saturday 28 February @ 9pm

Sara & Dave

GREAT FOOD

OPEN MIC NIGHT

THE LAST WEDNESDAY

OF EVERY MONTH

OPEN 7 DAYS

14 Brisbane Street, Launceston 6331 5346

WWW.SAUCE.NET.AU

e-Hau Latukefu), they were going head-to-head in the final of an underage rap competition. It was then he realised that “my friend and I were pretty crap and that those guys were amazingly talented.” So when the opportunity came to work with Hau and his cousins a few years later, Dan sent off a cassette of some of his sounds and “we were kind of on the same page. I hooked up with them and was just really absorbed into them and their whole world, their family and the whole [Tongan] culture and everything – and I loved it… Since then we’ve had this habit of constantly hanging out with each other and making music, that was just fun for us.

And it just progressed from there.” Flash forward seventeen years later and the Koolism boys are still producing their own brand of Aussie hiphop and are now bringing those hot jams to Tasmania.

With a new album, titled The ‘Umu, on the horizon, Tassie fans can expect to hear a few new tunes at their gig in Hobart, but shouldn’t expect some kind of cutting-edge high-tech sound full of computers and electronica, but also shouldn’t hope for much of a live band either, Dan explains “Well I’d say that modern computing really distracted me for a long time, and I had a really good phase with it and a lot of it still interests me, but it took a lot of the fun out of it. They are a great tool, but I way overdosed on computers because I got in there really early and always tried the new stuff and just geeked out too hard on computers.

They can be good but I’m sort of halfway. I’m a halfanalogue, half-digital head.” In fact you can see some of Koolism’s more low-tech ways of doing things through their YouTube video series, ‘The Jam Hot Sessions’, which is posted on their MySpace. They feature a behind the scenes look at the creation of the hit track, one of which features DanielSan busting out the percussive water glasses.

As for a live band, DanielSan was quoted as saying that the guitar was nothing more than “the mainstream dickhead’s angst outlet valve”, and although since trying to learn the bass guitar he has gained a better appreciation for it, he didn’t like the way a live band shaped the band’s sound, having had experience touring with a seven-piece band in ’94. “The shows we were playing were very band and funk orientated and we actually didn’t like that cos we were really mega hip-hop and that was a really small theme and there was definitely not that much in the way of live shows and we really wanted to put that out there to really

sort of stand by what we thought was really cool and different.”

“At the same time, nowadays actually this sort of mechanism of hip-hop, this as a vehicle, has taken the place of guitar. Anything can be used, actually.”

He recognizes that Aussie hip-hop is becoming more and more mainstream, moving away from the die-hard underground hip-hop scene, being a part of the few is what excited them. “The thing was no one else really knew about it. But now we’ve all done that to death and it’s like those were the good times and nothing now remotely compares to it even though now it has broader appeal and some mainstream success for some people and whatnot, that was never a part of that whole thing – I’m not interested in that. I enjoyed that we were doing something different, underground and new and it’s still what I’m trying to do.” So how does Koolism plan to stay ahead of the curve? “When everybody else starts doing it and it becomes popular,” he laughs, “that’s when I’ll think, ‘OK, now I’m gonna put a f*cking band together.’” sMEEGAN MAY & CHRIS RATTRAY

Until Koolism: The Band, you can check out their regular hip-hop jams...

0 28 February 2009 @ The Republic Bar, Hobart

Super Massive plus Kiss Whisky UPCOMING SHOWS:

Friday 20th of February DJ Russ Jones Saturday 21st of February Peter Joseph Head + Milk Teddy + Billy Whims + Sam J Nicholson Thursday 26th of February Syrevilo + Crystal Campbell and the Middle C Friday 27th of February Super Massive + Kiss Whisky WEDNESDAY NIGHT SPECIAL 6PM - 9.30PM $10 Beaut Beer & Bonza Burger Night. Your choice of beef, chicken or vege Alley Cat Burger with a 10oz. of Cascade Draught or Pale Ale. . ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

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DANCE - UK // ALEX KIDD

Dance Addiction a Lifelong Obsession

o

“My days of growing up are distant yet treasured memories,” says Alex, distantly. “I spent a lot of my younger days in different countries, my parents split up and my dad moved from place to place so I used to visit him all over. It was about the time he moved to Holland that I started to really get into music. I lived on a staple diet of Prince and Cyprus Hill whilst my older brother and sister were textbook ravers, going out to the biggest events and living the dream and the whole culture they embraced themselves in seemed so appealing. Bear in mind I was about twelve so sneaking into raves and DJing at any party that I could plug my decks in to was just part of me growing up. I gained a massive insight into the music and different underground scenes from being in Holland a lot of the time, attending acid techno squat parties and being a vinyl junkie in Amsterdam’s top hot spots. My addiction to the scene was [preeminent] and once I got a job in a record shop back home in Manchester when I was 15, the next twelve years have just been non stop go. Crazy times!”

What was the pivotal moment that made you realise being a DJ was for you?

I’ve been a DJ in my head since I was ten years old, ever since I heard techno for the very first time. Everything else that has built on from there has been a mix of fate and luck.

Who have been your influences in this regard?

Musically I’d say I was inspired by a lot of drum and bass artists in the old days because that was the genre I followed the most. Goldie and Micky Finn were my idols. I think in the techno scene it was Carl Cox that made me realise what techno was all about and Dave Clark who took my techno virginity. I suppose in life there have been a few people that have really influenced me into doing what I do, from my brother and his mates who used to play me their mix tapes from the clubs I was too young to get into, to Annabelle, a.k.a. Fallen Angel, who has always guided me and helped me along the way in the early days. Sarge from Spin Inn was also a mentor of some sorts in the early days although he is one mad cookie to say the least so I don’t know how much of his advice would have been good - but still, by getting me on board at the record shop he gave me a good opportunity which I used to its fullest potential and that helped me get on my feet regarding the basic learnings of the industry.

What have been some of the key albums, tracks, or artists that have steered you down this path?

Well in the hard dance world I used to be a fan of Lab 4 and Tinrib and of course Bunter and BK, but to be fair I

know all these guys on a personal level or as mates now so even though I don’t play their music any more (with the exception of BK), I still respect their legendary status of shaping the scene that I have become a part of. All the stuff that Bunter and Jon Doe used to do was the bee’s knees especially the D and Toast series.

I was never a huge fan of Tidy, I got past all of the hype and marketing pretty quickly and tried to stand out with a more diverse and left of field sound when I was starting out. Being Northern based, my scene was dominated with the bouncey and accessible side of hard house which for all its fun, it was pretty novelty and didn’t have enough depth for me to really get into.

So I hammered all the stuff from London and European producers and back in those days a move like that was that was considered as pioneering stuff! It wasn’t long before I got onto the EDM and Scot Project sound and then I was hooked on a whole new hard language.

Hard trance from Germany soon led me to hardstyle from Holland. In my scene I used to break records and genres that no one else had ever heard because I had access to all the newest and freshest vinyl from around the world courtesy of my job in the record shop and my regular visits to Amsterdam’s record shops when I was over there visiting my old man. I was the first ‘hard house’ DJ in the UK to be playing Hennes and Cold Second Trip and Ard Und Jorn - 16. This is going back the best part of ten years ago now. Happy days Why did they have such an impact on you, do you think?

The Europeans have an ear for detail and raw talent

and creativity that puts most of the UK producers to shame. The UK stuff I did play back in the day was the hardest, freshest and most experimental forms of nrg stlye music that was around. Now when I listen back to some of the old stuff that had an impact on me, it’s amazing to hear that whilst production values have increased significantly, the ideas and concepts behind these tunes are still outstanding and have stood the test of time.

How about festivals or performances you’ve been to – which ones made the greatest impression on you and why?

The only place I have been to that I haven’t played at which has really stood out to me is Sensation Black in Holland. I went to check it out after my set in Dance Valley. It was incredible and I don’t know how else I can describe it because whatever I say won’t do it justice. Other than that, there have been loads of big gigs and performances that have meant a lot to me.

From Kiddstock to Dance Valley, Kiddfecitous Ibiza to Qdance Sydney, WonderLake in Russia to Heaven in Taiwan. There are so many memories and at the end of it all, that’s all we have, memories, so it’s vital to treasure them.

What’s the most recent track you’ve heard that you can’t stop listening to and why?

A bit of everything. A remix that my protege Kidd Kaos has made of Bob Sinclair - I Feel For You Baby. It’s cheeky but very catchy.

What’s the weirdest thing or request anyone’s ever asked of you in your capacity as a DJ? I don’t know if this is the wierdest thing ever but it was recent so it springs to mind. I was asked to DJ at a friend of a friend’s brother’s funeral. It was very f*cking wierd and strange to say the least. Hundreds of people were in the function room grieving with pictures of the young lad that had died all over the walls. So I’m trying to not make a big deal because I just want to do my good deed and get out of there but then I didn’t realise that the family there thought of me as a huge celebrity because their son was a big fan of mine and apparently I was his number one DJ. So they make this big announcement on the mic that “Superstar DJ Akex Kidd has come to send Mark off in style!” and everyone commences this bizarre fuss and commotion over me and began asking me to stop playing the mellow and sombre music I had opted for. They all wanted me to bang out some heavy tunage and so there I am, at a funeral, playing hardstyle. very surreal and I suppose you had to be there, or not, as the case may be.

What or who do you think is going to be big this year?

Kidd Kaos, check out www.kiddkaos.com - he is the future! sCHRIS RATTRAY

You’ve got to be Kidding!

0 27 February 2009 @ Syrup, Hobart

A Night Of Relief VICTORIAN BUSHFIRES FUNDRAISER THURSDAY 19TH FEBRUARY FROM 7.30PM AT LONNIES NITECLUB 107 BRISBANE ST. LAUNCESTON

O Week 09 / Mid Week Metz DATE: Wednesday 25/2/09 / Every Wednesday during Uni

ON THE DAY: This is a big night for us and all the Uni students. We run

MUSIC INFO: Camo vs Woodhouse 6pm / Beats by Camo & Woodhous OTHER INFO:

OWEDWEEK 09 25TH FEBRUARY MID WEEK METZ

CAMO VS WOODHOUSE @ 6PM 7pm – 9pm $8 Beer Jugs, $5 Metz Breads, $10 Pizzas 9pm – 11pm $4 Basic SpiritS

following people are donating USUAL The STUFF TO INCLUDE SOMEWHERE: www.themetz.com.au, 217 S their music and themselves for the night:

ARTWORK FEEL: Not sure, as mentioned I have also attached • Glenn and however, Jade

• Sara Jane and Dave • Jules, Heidi, Coz and Randall are playing Jazz • Leigh Ratcliffe • Then Randall will be playing some sweet chilled out beats to end the night

(EVERY WED DURING UNI) • Mick from the Star is donating food and nibbles.

• Fosters, Brown Foreman and Vok beverages will be donating drinks.

• Lonnies will be donating all bar takings and door/ticket sales.

• The Lonnies staff are working for free.

BEATS BY CAMO & WOODHOUSE FROM 8PM Tickets are $10 either on the door on the night. or from Lonnies: 6334 7889.

www.themetz.com.au, 217 Sandy Bay Road, Restaurant – Café – Bar, Phone 6224 4444 8

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

WWW.SAUCE.NET.AU

DEATH METAL - HOBART // SEPARATIST

Death to Parochialism!

The world of Hobart’s death metallers, Separatist is expanding. “It’s all going really well for us at the moment,” says Sam to Stand Defiant’s Mischa. “2008 was a huge year, with the release of our album getting the attention of our recently aquired booking agency Welkin Entertainment from Melbourne and Adelaide’s Truth Inc. Records, who have signed us up for the release of our next album, which we are currently writing.

There are so many bands doing heavy right now, how do you keep ahead of the curve?

To be honest, it can be a real pain in the hiney, because there is so many bands out there now that are all doing exactly the same thing for exactly the same reasons, that reason being of course to fit in with the current trend and hopefully score some scene points. Death metal has been something everyone in our band has been passionate about for a long time. We have only in the last two years been able to tie that in with our music, but we don’t write our songs to be popular and to have kids come up to us, flicking their fringes asking for our autographs, we write death metal because it’s what we love, and we are lucky enough to be one of the bands that are getting noticed for that.

How was the writing process for The Motionless Apocalypse?

Most of the songs on The Motionless Apocalypse weren’t written with an album in mind, they were written before plans to record a full length came about, obviously when we decided we wanted to record an album we started writing more specifically for the album, and from a lyrical point of view the themes of all the songs changed to fit the concept of the album. The actual recording process took a really long time, not because we were perfectionists, but simply because after recording the drums, we just didn’t have time to do it for several months afterwards, which is

IVQ - WHAT’S THE STORY? With Malina Hamilton-Smith & Glenn Abbott of Super Massive Super Massive features more prior members of the defunct Machine Gun Fellatio not named Pinky Beecroft than ever before! Super Massive’s vox-woman/interpretive dancer and one-third of the obligatory non-former members of Machine Gun Fellatio, Malina Hamilton-Smith, opened up a can of What’s the Story? on my ass…

Behind your band name?

Glenn came up with the name. It was an observation he had of modern consumer culture’s obsession with bigger and better - these days you seem to see signs in every shop window that say something like “Super Sale”, “Massive Clearance”... and decided that the two words that kept appearing were “Super” and “Massive”, so he thought he’d put them together, for the biggest, most superlative adjective of all. It’s also a good reflection of the size of our sound, which is fairly monstrous, but in a good way.

About how the band got together?

Glenn and I first met in 2000. I was playing bass in a band called The Green Light that supported Glenn’s old band, Machine Gun Fellatio at The Hopetoun in Sydney, and after that we got to know each other through the music scene. In 2003 Glenn put together a side project called The Bryan Ferrysexual Experience and asked me to come on board as a dancer, guest singer and choreographer for some crazy, Elvis-moviestyle, Afro-Haiitian gogo dancing. We toured the east coast for two years and put out an EP. Glenn and I started writing together for BFSE and realised that what we were writing was a whole separate project in itself, with its own distinctive sound. When The Bryan Ferrysexual Experience and Machine Gun Fellatio both broke up mid ‘05, we really started working together on Super Massive in earnest. We wrote together for a year, then starting looking for people to join us. Our guitarist Marc Malouf has been with us for a year WWW.SAUCE.NET.AU

Tasmania it’s a little bit different, somehow it seems a lot harder to gain acceptance from local punters than it does from the interstate people. I’m not sure why that is, but it can certainly grow to be a bit of a chip on the shoulder at times.

a shame, had we been quicker our album would have probably been labeled a 2007 release rather than 2008.

As a band that was new to the idea of recording a full length, we pretty much just sat back and went with whatever came our way, because we really had no idea what to expect. Thankfully it all turned out all right!

How are you finding acceptance of your music in Tasmania as compared to the mainland?

The mainland has been great to us so far in terms of acceptance, we never seem to get bad reviews from the local punters, local bands from cities that we’ve played in take us to their houses, give us places to sleep and oft times provide us with food, and most importantly, they sincerely enjoy our music. These people are the people that make touring as much fun as it is. Within

and a half now, and our bassplayer Dan Bruce came on board with us in October last year. We started out with friends filling in on their roles until we found the people who gelled.

Of the first gig you ever played together?

The first gig Super Massive played was an electro rock night called Hot Chips at The Lansdowne, Sydney, with Loveshark and his solo project The Stoner Funk Orchestra headlining. We got a good crowd and were touched on the dough, in true Sydney style.

Of the last time you experienced anything super or massive?

This year’s Sydney Festival first night. The crowd was massive. Double last year’s turn out at least. We couldn’t get anywhere near Santogold and the crowd for Grace Jones was like the crowd gathered round Big Ben for New Year’s Eve in London. Millions! Never seen so many people in Australia all out and about like that. It was a great night.

Of the last time you were in trouble with the law?

We never get caught. Currently on the run. We’ll probably get pulled up at Tasmanian customs with a piece of fruit in a bag on a fruit fly misdemeanour. We have a raging plague of it at our studio at the moment.

We are currently the Osama Bin Laden of fruit fly. We don’t know what to do. We may have to give up on the compost bin.

Of the last famous person you met?

The last, most famous person we met was Rufus Wainwright and his guitarist Spookyghost, who’s not really a celebrity but is an amazing sound artist and toured with David Bowie on his Reality tour. We were playing a Super Massive show up in Byron Bay at the Beach Hotel and Rufus and his band were in Byron for a night off. They caught our show and came up to us, bought a CD and told us they loved the show.

They invited us to come watch their show at the State Theatre and hang out with them afterwards for a party,

How do you feel when interstate bands receive top billing over locals?

Honestly, supporting interstate bands in a local show, no matter how obscure or unknown they might be down here, has never been a problem for me, I have always had immense respect for bands that were getting out there and playing shows outside of their home state, especially when they find it in themselves to play in Tasmania which most bands don’t. Any band that is making the effort to get their music heard outside of their home town deserves as much support as they can get, and Separatist have always been a band that is happy to give that support wherever needed. sMISCHA CALCAGNO Get some chook in ya!

0 20 February @ The Brisbane Hotel, Hobart (w/ The Red Shore, On Your Feet Soldier, Sound A Surrender) 0 7 March @ The Brisbane Hotel, Hobart (w/ Psycroptic, Stand Defiant, Ghost and the Storm Outside, On Your Feet Soldier)

which we did. Their show was fantastic. Glenn enjoyed chatting with Spookyghost about working with Bowie, and then we bumped into Rai Thistlethwaite from Thirsty Merc on the way out. Oh yeah, and Sarah Blasko was sitting in front of us. It was a celebrity fest.

Behind your most prized non-music related possession?

Glenn’s most prized possession is his 1960 FB Holden.

It’s in immaculate condition. Still has plastic on the seats and tags on the dash. Looks the same as it was when it was driven off the showroom floor, and pretty much lives in the garage 364 days of the year. He likes the look of the tail fins.

Behind your most prized music-related possession?

The music-related possession I’m most fond of is a ticket stub autographed by Beth Gibbons of Portishead.

I went to see her Rustin’ Man show in London in 2002.

Her performance was exquisite and I was in a bit of an awe daze. I was walking out through the corridor and she suddenly appeared coming the other way with a couple of security guards. A guy beside me asked for an autograph and I wasn’t going to ask but the guy said, “I think this girl wants one too” and Beth just took the ticket from my hand, placed it on my chest and leaned in towards me all coy and giggling and wrote “Thank you for coming, Beth Gibbons” on my ticket. I didn’t know that she was a lesbian! If ever I had a chance to turn..

We’ll be writing about your band in five years?

Optimistically, headlining the Boiler Room at Big Day Out for the fifth year in a row. Pessimistically, playing a cha cha on the deck of a cruise ship to cashed-up elderly waiting for God’s call, for the fifth year in a row.

Cha Cha with Super Massive…

0 26 February @ The Republic Bar, Hobart 0 27 February 2009 @ The Alley Cat Bar, Hobart . ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

9

DEEP INSIDE Ben of My Disco

TRACKBACK With Freya Hanley

The reproductive art-rock of My Disco promises a world between the spaces of notes. That’s pretty deep and meaningful.

Just like Ben, of My Disco, who I found to be a man of few, though well-chosen and enunciated words. Like a voice, or warm kitten, shot into me from a burning bush, we got Deep Inside Ben...

What was the last, deepest conversation you ever had - who was it with and what was it about?

It was with God, and i asked him “Jesus, I hope you are coming back soon.”

What did you learn about yourself or your life?

Through this conversation with God? Nothing yet… answer is still pending.

With her second release, Quiver, shooting straight through the hearts of all who hear, Freya Hanley brings her gentle folk-jazz melodies and ballads down to our shores this February. We ran through the tracklist of her latest to see what more we could extract from Freya...

Quiver: What do you do on those days when the muse has fled and your quiver is out of new arrows?

I drink cups of tea, eat M&M’s and read a good book.

And I bake cakes.

Describe to me the most profound insight you ever gained from any source – film, music, TV, supernatural phenomena…?

That the truth is out there. From The X-Files.

How do you give meaning to your life?

My deep and intense involvement with music. and my relationship with Jesus.

Do things happen for a reason, or are you the reason things happen?

A little bit of both, I reckon.

Who are you when you’re alone at night, with nobody to pretend for?

Chris Cornell with the modern day hair cut of David Grohl.

To what extent do you feel in touch with some other, intangible aspect of life?

To a great extent. See above answers in relation to God. Is it even important to feel some kind of connection to a greater cosmic whole?

Yes. Without this, nothing can ever permeate the

Cow For Sale: Would you ever consider going to market for a llama instead?

Well I (who is not me in the song) have always adored Llamas and they were long heralded as my favorite animal so if I had the space and time I would definitely consider the purchase. The woman in the song (as in the fairy-tale) had to sell her cow at the market because she was so poor, and when Jack came home with magic beans instead of money I’m sure that Llamas were the furthest thing from her mind (magic beans, hey Jack?).

Catalogue Bride: What is your view on Catalogue Brides when women are advertised as wives like junk mail?

I think it is a sad reflection of the lowest a western man can bow to in our society. And even sadder for the women who are stripped of all other opportunities in life. It was a bit audacious to use such a sombre and messed up concept to illustrate my feelings from a bitter break up - but it worked for me at the time because I needed to let my frustration out and it definitely helped to entertain myself using some darker humour.

Perfect Skin: To what extent is it important to cleanse, tone and moisturise to have perfect skin or are my metrosexual buddies having me on?

Metaphorically and physically speaking, your skin would be much better off if you look after the your internal health. It’s cheaper and you don’t have to get out of bed as early to do it! (M&M’s probably don’t help that much, so please overlook the hypocrisy).

Bar Fly: Touring you must have seen your share of that pub bound creature the bar fly – who was the last most memorable bar fly you’ve encountered and why?

I have to say they tend to blend in to each other a bit.

There was a recent incident in a beer garden where a man climbed up a tree, stripped down to a bright red mankini and proceeded to hump a branch of a tree 5 meters above a howling crowd. I still come across plenty of alcohol induced stupidity but the tradtional bar fly - the old man who sits at the bar from 10am opening time and drinks his nose into a red shining beacon of light - is a bit of a figment of my past now.

They were generally present at the first gigs I did at bars on the outskirts of town.

To what extent are you always looking to the heavens for inspiration and what do you see?

I don’t really look up there for inspiration as much as I think the inspiration, for better or worse, kind of drops from the heavens and imposes itself upon us. In other words I feel like the elements affect us whether we like it or not and they take us all on a pretty turmultuous ride sometimes. It’s in those times I have more subject matter to draw upon. And I like to aknowledge their input!

Belly Full: How can your band tell when you’ve had a Belly Full after a long day?

When I forget all the lyrics to my songs at a gig – that is usually a tell tale sign. Unfortunately the audience can tell too… Watch out for any mumbling… sCLARA MURRAY Listen carefully to Freya!

0 21 February @ The Lewisham Tavern 0 22 February @ The Republic Bar, Hobart QUIVER IS OUT NOW. 10

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

greater human context.

Who is the deepest person in your band and why?

Liam. He is the tallest.

What have you learned about yourself in answering these questions?

That I cannot write and watch Entertainment Tonight! at the same time. Too distracting.

Permeate the greater human context with My Disco!

0 28 February @ The Brisbane Hotel, Hobart

Wednesday, 18 February Nathan Wheldon & The Two Timers Frankie Wednesday, 25 February - Cup Night Super Massive (Syd)

THE BEST OF TASMANIA’S

ORIGINAL MUSIC EVERY WEDNESDAY

Wednesday, 4 March The Younger Dryas Mick Attard

There ’ s Always Something ...

Thursday February 19 GLENN & JADE Friday February 20 LONG WAY HOME Saturday February 21 IN LIMBO Sunday January 22 BEN CASTLES, NATHAN WHELDON, TWO STRUNG,< VCC Monday February 23 CIARAN VAN DEN BERG Tuesday February 24 NATHAN WHELDON

Thursday February 26 PAZ N WHITTY Friday February 27 THE GARY GARY’S Saturday February 28 THE UNIT Sunday March 1 SARA & DAVE GLENN MOOREHOUSE PADDY DUKE Monday March 2 BEN CASTLES Tuesday March 3 PHIL PICASSO

... Happening At Irish Murphy’s L I V E M U S I C 7 DAY S 3 BARS / FUNCTIONS AVAILABLE / RESTAURANT WOOD FIRED PIZZAS / LOG FIRES / ROOFTOP BAR OUTSIDE

211 BRISBANE ST LAUNCESTON 6331 4440 WWW.SAUCE.NET.AU

THE BIGGEST IMPACT With Zane Pinner of Kiss Whisky

INDUSTRY - TASMANIA // AMPLIFIED AWARDS

Tas Bands Get LOUD

For more info…

0 www.arts.tas.gov.au/amplified

The Amplified Awards have provided Tasmanian bands a great deal of exposure and kudos over the last few years, and this year there’s even more happening. “It’s a program designed to provide opportunity, training and recognition to the practitioners within the Tasmanian contemporary music industry,” says Project Coordinator, Dane Hunnerup. “Practically this means that we’re providing money for people to put on their own shows/events/ products to promote Tasmanian music this year, we’re also doing an awards night, a conference and a compilation release again.”

How do the Awards contribute to furthering Tasmanian artists?

It’s about recognition. Our last two winners have been Jordan Millar and The Scientists of Modern Music.

Following Jordan’s win he competed at the Perisher Blue New Talent Competition and with his two awards in hand he moved to Sydney where he has brought together a great band - The Question - and has since been touring with Brian McFadden and has been carving a place into Sydney’s scene. The Scientists of Modern Music were noticed at a showcasing performance in ‘06 by Rubber Records’ David Vodicka who promptly signed them. Following their award last year TSOMM have since had a massive festival season, have signed on to Sony ATV for publishing and have secured Matt Bonner - the manager of TZU to work with them. A pretty good run I reckon for both of our previous big winners.

What do people need to do to be considered for

“I’ve been playing guitar and writing songs since I was about eleven,” says Zane on his early musical leanings, “but it was only ever for my own pleasure and the sensations that come with making music. I’ve never been tutored, I can’t read music and I don’t know theory. I’ve always believed that you should work honestly with whatever you have. I played in a few bands around Launceston years ago but my priorities were more about writing and making film and for the past five years I’ve been performing as a VJ in Tassie and Victoria. In these past six months, I’ve started putting my music out there and it’s both cathartic and extremely satisfying.

From nine to five, I work as a film editor and a screenwriter on an animated TV series.”

What album has had the biggest impact on you, both personally and as a musician, and why?

Different albums affect you in different ways – some standouts for me are Opiate by Tool, King for a Day Fool for a Lifetime by Faith No More, The Soft Parade by The Doors and Is This It? by the Strokes. All of these albums made me think about the possibilities of music differently and still get regular spins. More recently, the song Woman and Man by Ween made me really excited about music again and lead me to playing gigs.

Which gig has had the biggest impact on you, as a punter and that you’ve played, and why?

The Dirty Three at Tattersall’s, Hobart, 2000. It was this really intimate show where people were sitting on the floor and kneeling on the stage. It was incredible how much emotion that guy brings out in an audience.

I remember this big burly bloke in a wife-beater with tears dripping into his beer - I don’t think he even realised he was crying.

What impact do you hope your music will have on people?

For me it’s all about telling stories and trying to transport a listener to a particular place, time or feeling, something from your life or from theirs. If you can write a song that resonates with somebody then that’s as good as it gets.

What’s an example of the impact you’ve made on people through your music?

Teaching the value of creative expression, how important imagination can be and how it should be a part of all our lives. My little nephew can play guitar and keyboard and he’s only nine. He has the performing bug already and he understands that music is an emotional experience.

Who in your life has been the greatest influence on you? To what extent did they lead by example, or did you learn from their mistakes?

I think everyone that we meet and everything that we experience influences us to some degree. I’ve been heavily influenced by Charles Bukowski and Jim Morrison, two very different men who were uncompromising in the pursuit of their art.

No compromises!

0 23 February @ The Greenhouse (Irish Murphy’s Hobart) 0 27 February @ The Alley Cat, Hobart (w/ Super Massive) www.myspace.com/kisswhisky

an Amplified Award?

For the awards, the CD, the grants and a couple of other things (which I’ll talk about below) people can get the all-in-one application form from our website www. arts.tas.gov.au/amplified which is due on or before 06/03/2009. If people are applying for a grant they need to come and visit me or have a good chat on the phone so I can help with the application. People can get me on (03) 6237 6318, dane.hunnerup@artsatwork. com.au or by dropping in to 146 Elizabeth Street, Hobart - the new Arts Tas office.

Anything else you’d like to tell us?

Yeah, there are two new components at Amplified this year that we’re stoked about. The first is called ‘Next Step’ - and it’s an opportunity for people to have one-on-one access with our travelling speakers and VIPs in a couple of ways, the first is a drinks function and the second is called ‘The Hot Seat’. The Hot Seat is kind of like speed dating, where you get ten minutes

with industry professionals across all fields to present a piece of your work - and this might be playing a song to a top producer for critical comment, showing your bio to a top publicist for feedback, it might be chatting with a band psychologist about the best way to communicate within your band or playing a song to a radio plugger so they can tell you what stations and shows you might get a spin on.

The second new element is called ‘My Music: My Business’ - and this is an opportunity for managers, aspiring managers or self managed artists to take part in three half day sessions, in May, July and September to learn more about the business of music, how to look after some of the mechanics of band work and getting the business end up to scratch. There will also be some unique advantages to being involved in this program, I’m not gonna leak those now but suffice to say, this will be a beneficial program to be a part of.

DANCE - UK // BASEMENT JAXX

Appealing Sounds Underground â&#x20AC;&#x153;â&#x20AC;ŚI like stuff that has a bit of sexiness to it...â&#x20AC;?

OPEN 7 DAYS

One of dance musicâ&#x20AC;&#x2122;s best loved acts is plotting a comeback for 2009. Three years on from Crazy Itch oRadio, Basement Jaxx â&#x20AC;&#x201C; Simon Ratcliffe and Felix Buxton â&#x20AC;&#x201C; will present their fifth album. But, first, theyâ&#x20AC;&#x2122;ll

tour Australia again with a new live show. â&#x20AC;&#x153;We gotta finish the album in the next three weeks, and then weâ&#x20AC;&#x2122;ve got February to rehearse the show, so hopefully weâ&#x20AC;&#x2122;ll be bringing you lots of new music,â&#x20AC;? says Ratcliffe, ordering a breakfast latte in his local cafe.

Basement Jaxx are survivors. They outlasted the backlash to a corporate dance culture at the end of the â&#x20AC;&#x2DC;90s. Indeed, The Jaxx recast themselves by sagely pre-empting the 2000sâ&#x20AC;&#x2122; hybridisation. The Brits were established in underground house circles when they put out their debut, Remedy, in 1999. Theyâ&#x20AC;&#x2122;d developed Atlantic Jaxx Recordings earlier in the decade with cult club tracks like Flylife.

Together with Daft Punk, The Jaxx brought a new energy â&#x20AC;&#x201C; and eccentricity â&#x20AC;&#x201C; to house. Even the US pioneers gave them props. Basement Jaxx consolidated their crossover status with Rooty, comprising the ubiquitous Whereâ&#x20AC;&#x2122;s Your Head At. On 2003â&#x20AC;&#x2122;s rebellious Kish Kash they moved away from â&#x20AC;&#x2DC;funky houseâ&#x20AC;&#x2122;, creating a punky urban mash-up â&#x20AC;&#x201C; reconciling garage with two-step. Grime MC Dizzee Rascal featured alongside Goth Queen Siouxsie Sioux. The Jaxx won a Grammy for the album but, ironically, lost their US deal. They then returned with the underrated Crazy Itch Radio. Buxton, tapping into surging regional music subcultures, had discovered Eastern European folkdance (he assembled the comp Gypsy Beats And Balkan Bangers with DJ Russ Jones) and this permeated the album. Once more, Basement Jaxx chose unusual vocalists, among them Swedish R&B chick Robyn, whoâ&#x20AC;&#x2122;s since reinvented herself as an electro starlet.

She sang the Balkan-flavoured Hey U, the duoâ&#x20AC;&#x2122;s most recent single. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s a slight pity that more people didnâ&#x20AC;&#x2122;t hear the track we did with her â&#x20AC;&#x2DC;cause I think itâ&#x20AC;&#x2122;s really good,â&#x20AC;? Ratcliffe regrets. He wonâ&#x20AC;&#x2122;t accept credit for Robynâ&#x20AC;&#x2122;s reappearance on the pop scene.

More than The Chemical Brothers, Basement Jaxx have maintained their credibility. Like Madonna, The Chemicals often seem to be chasing â&#x20AC;&#x2DC;coolâ&#x20AC;&#x2122; associations (was anyone convinced by their Klaxons collab?), yet The Jaxx are cutting-edge. Ratcliffe is unable â&#x20AC;&#x201C; rather than reluctant â&#x20AC;&#x201C; to describe the vibe of their upcoming LP. â&#x20AC;&#x153;I canâ&#x20AC;&#x2122;t really tell you because we havenâ&#x20AC;&#x2122;t gone for one sound,â&#x20AC;? he explains. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s lots of songs, thereâ&#x20AC;&#x2122;s lots of music â&#x20AC;&#x201C; weâ&#x20AC;&#x2122;ve got a double-albumâ&#x20AC;&#x2122;s worth of music.

WWW.SAUCE.NET.AU

Weâ&#x20AC;&#x2122;ve gotta try to work out whether we can release two records or just one.â&#x20AC;?

Basement Jaxx have reportedly liaised with Aussie Sam Sparro â&#x20AC;&#x201C; and Ratcliffe rattles off other guests: Yoko Ono, Yo Majesty!, Santogold... However, they were unable to lure a dance icon. â&#x20AC;&#x153;The one person who we were trying to get for this album, as we did for the last album, was Grace Jones. Sheâ&#x20AC;&#x2122;s still eluding us.

Sheâ&#x20AC;&#x2122;s hard to pin down.â&#x20AC;?

Basement Jaxx travelled to New York as well as to Berlin to record. And it could be Berlin that provides a clue as to their sound in 2009. Ratcliffe has long harboured a strange fascination for the German city â&#x20AC;&#x201C; ever since viewing the film Christiane F (and reading the book on which itâ&#x20AC;&#x2122;s based) â&#x20AC;&#x201C; but The Jaxx were attracted as much to Berlinâ&#x20AC;&#x2122;s electronica. â&#x20AC;&#x153;We just thought, Weâ&#x20AC;&#x2122;ll go and check it out, get away somewhere, go and check out a different city. I really loved Berlin. The modern minimalist sound is something that intrigued us â&#x20AC;&#x2DC;cause itâ&#x20AC;&#x2122;s very different to what weâ&#x20AC;&#x2122;re known for doing â&#x20AC;&#x201C; [with] the space they have in their sound â&#x20AC;&#x201C; and we went there just to try to get an idea of why they do that and how.â&#x20AC;? Basement Jaxx feel vindicated â&#x20AC;&#x153;to an extentâ&#x20AC;? by the now common cross-fertilisation in dance, but itâ&#x20AC;&#x2122;s generated challenges. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s made it harder to know what to do next, â&#x20AC;&#x2DC;cause a lot of people are doing what we used to do ten years ago. But itâ&#x20AC;&#x2122;s really good that people are doing that.â&#x20AC;?

Aside from remixing, Basement Jaxx have also produced artists over the years. â&#x20AC;&#x153;We do get asked to work with people a lot,â&#x20AC;? Ratcliffe affirms. They collaborated with the â&#x20AC;&#x2DC;NSyncer JC Chasez. Their last major client was zany â&#x20AC;&#x2DC;80s divette Cyndi Lauper, whose dance Bring Ya To The Brink was favourably contrasted to Madonnaâ&#x20AC;&#x2122;s try-hard Hard Candy. â&#x20AC;&#x153;We were honoured to work with her,â&#x20AC;? Ratcliffe raves of Lauper. â&#x20AC;&#x153;Sheâ&#x20AC;&#x2122;s a real character.

Sheâ&#x20AC;&#x2122;s got a really strong Queens accent. Sheâ&#x20AC;&#x2122;s a bit of a nutter!â&#x20AC;? Otherwise, The Jaxx have been surprisingly lowkey. Theyâ&#x20AC;&#x2122;ve circulated club music of their own on

Atlantic Jaxx. And they remixed Adeleâ&#x20AC;&#x2122;s Cold Shoulder.

Ratcliffe, Basement Jaxxâ&#x20AC;&#x2122;s studio boffin (Buxton is the ideas man), is looking forward to more remixing after their album is completed. In the past Ratcliffe has expressed boredom with contemporary dance, Buxton also being the DJ (and enthusiast) of the pair, but in 2009 the former is sanguine. The Jaxx not touring as a live entity last year, theyâ&#x20AC;&#x2122;ve both re-embraced DJing. Still, ask Ratcliffe what heâ&#x20AC;&#x2122;s currently listening to and he doesnâ&#x20AC;&#x2122;t immediately cite a dance artist. â&#x20AC;&#x153;Iâ&#x20AC;&#x2122;ve been listening to a guy called Geraint Watkins who used to play with [English rocker] Nick Lowe. Heâ&#x20AC;&#x2122;s a kind of bluegrass-y musician. I think heâ&#x20AC;&#x2122;s Welsh, funnily enough, but his music is Louisiana-influenced.

With dance music, I listen to all kinds of stuff. [But] thereâ&#x20AC;&#x2122;s just so much music out there â&#x20AC;&#x201C; too much music! Itâ&#x20AC;&#x2122;s so easy to do stuff... Itâ&#x20AC;&#x2122;s shitloads of dance music â&#x20AC;&#x201C; and itâ&#x20AC;&#x2122;s overwhelming.â&#x20AC;?

Ratcliffe rationalises his occasional ambivalence. â&#x20AC;&#x153;Both me and Felix have always been critical of [dance music] â&#x20AC;&#x2DC;cause, in the world weâ&#x20AC;&#x2122;re in, itâ&#x20AC;&#x2122;s good to be critical. Thereâ&#x20AC;&#x2122;s a laziness, and a lot of back-patting, in [dance], so itâ&#x20AC;&#x2122;s good to be honest and to have high standards in music and in what you do. Thatâ&#x20AC;&#x2122;s why weâ&#x20AC;&#x2122;ve always been quite critical of dance music, because we want it to be as good as possible â&#x20AC;&#x201C; â&#x20AC;&#x2DC;cause it can be a beautiful thing when itâ&#x20AC;&#x2122;s really good. I like the Baltimore stuff. I like stuff thatâ&#x20AC;&#x2122;s made with an underground approach. Itâ&#x20AC;&#x2122;s not been overproduced and that [music] has attitude and itâ&#x20AC;&#x2122;s not too musical â&#x20AC;&#x201C; I like stuff that has a bit of sexiness to it. Some dance music becomes too rigid â&#x20AC;&#x201C; too clinical. So, yeah, Iâ&#x20AC;&#x2122;m excited about dance music. But, at the same time, Iâ&#x20AC;&#x2122;m just overwhelmed by how much of it there is, and how easy it is to make a decent-sounding record, so weâ&#x20AC;&#x2122;re striving to do different things with it.â&#x20AC;? sCYCLONE Get Jaxxed!

0 8 March 2009 @ Flemington Racecourse, Melbourne

MONDAYS / TUESDAYS Industry Night t #FFS #VDLFUT o "OZ TUVCCJFT GSPN PVS GSJEHF GPS

WEDNESDAY - UNI NIGHT (POOB IBWF B CJH OJHIU 8F XJMM mMM ZPV VQ t 1BFMMB IE t 4BOHSJB +VHT t QN o QN $PDLUBJMT t 4DIPPOFST ! P[ QSJDFT

THURSDAY -BEJFT /JHIU (JSMT MFBWF UIF CPZT BU IPNF BOE DPNF JO GPS B TUJGG POF t $PTNPT

FRIDAY t 'SFF 5BQBT CFUXFFO QN BOE QN XJUI FWFSZ ESJOL

SATURDAY / SUNDAY -B[Z "GUFSOPPOT t 4DIPPOFST ! P[ QSJDFT QN o QN RELAX JO PVS DPVDIFT VQTUBJST PS UIF TVOOZ DPVSUZBSE Got a FUNCTION? 8F DBO DBUFS GPS BOZ CVEHFU

Corner of Burnett & Elizabeth St, North Hobart Opposite The Republic Bar s INFO ONBA COM AU . ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

13

GET ON THE SAUCE! – CONTRIBUTERS WANTED Want to do stuff for SAUCE? This is your chance to satisfy your dream of being involved in Tassie’s Street Press, SAUCE! We need writers, photographers, socialites, and social heavies to lend their talents to help add that zest to your street press!

Want to write a CD Review? Go for it!

Want to go check out gigs, write about it and snap some pix? Do it!

How about games, DVDs, or movies? We want it!

If you have any ideas about what we can do for you and you can do with us or we can do for us that you want to do with me, and so forth, please write to the Editor: chris@sauce.net.au - Put “SAUCE CONTRIBUTORS” in the subject line of your email, lest we may lose it under the growing tide of Russian bride submissions and Nigerian scam invitations.

Please include your name, contact number, and indicate your area(s) of interest and we’ll take it from there.

SAUCE - get on it to get in it.

BINGE DRINKING NO FUN FOR ANYONE Some healthwise tips for when you’re on the sauce...

Sometimes as young Australians we can feel a little targeted when it comes to moralistic ad campaigns aimed at our vices like drinking or smoking.

But as much as we hate to admit it, for some people binge drinking is a problem. It can sometimes ruin a good night instead of making it better.

Take a person I know (who shall definitely remain anonymous), who managed to spend the entirety of their MS Fest experience passed out in the First Aid tent, after copious amounts of vodka shots! Though this example is a harmless way of how drinking a little too much can impact on your enjoyment of a rock show or a night dancing, unfortunately a few too many can have much more disastrous consequences.

Working in a pub, I also saw a guy stumble in after said festival with a ripped and bloody t-shirt and a few scrapes and bruises. He told me how a group of fairly young guys had seemingly jumped him out of nowhere and started beating him up.

Though there was probably more to that story, it’s clear that alcohol related violence is an occurrence. The statistics are pretty staggering, with alcohol causing around 3,000 deaths and 65,000 hospitalisations per year, not all from violence obviously.

Drinking can lead to people doing stupid or dangerous things, including driving, and it can also leave you vulnerable to other people’s stupid or dangerous acts.

For the younger generation, we tend to be drinking at high levels that put us at risk for short-term dangers like accidents or violence.

People aged between 15 and 24 account for 52% of alcohol related serious injuries and 32 % of alcohol related assaults. A large percentage for such a small age bracket, it’s clear that there seems to be something stopping the message getting through.

Or perhaps, as the research keeps telling us, alcohol really is negatively affecting our brain, causing us to exhibit antisocial behaviour and make unsafe sex choices and increase negative physical and mental conditions.

Though this may sound like fun, but when you miss an entire festival, or you wake up with no money and a black eye or worse - in hospital, perhaps it’s time to rethink the eighth round of shots.

No one is trying to harsh your buzz, just trying to reduce the hangover and help you and others enjoy a good and safe night out (like the ones in our gig guide, on page 15). sMEEGAN MAY

For more info, check out: 0 www.drinkingnightmare.gov.au Statistics provided by the National Binge Drinking Campaign.

14

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

WWW.SAUCE.NET.AU

ENTERTAINMENT GUIDE Wednesday, 18 February sHobart Bellerive Beach Park Clarence Jazz Festival The Brisbane Hotel Space Raven The Greenhouse @ Irish Murphy’s Mischa’s Show The Republic Bar Sugarcain Collins $4 9pm sLaunceston Hotel New York Front Bar The Royal Oak Luke Parry in the bar @ 9ish Top Shelf @ Irish Murphy’s Nathan Wheldon and the Two Timers, Frankie Thursday, 19 February sHobart Rosny Barn Clarence Jazz Festival The Projection Project 9pm Rosny Farm Clarence Jazz Festival Syrup Mashup Da’Town w/ DJ Stirlo & Guests The Brisbane Hotel Bill and Alana The Greenhouse @ Irish Murphy’s Amy Kendall, Gretel and the Teramachi, Darlington

103 Elizabeth St Hobart 03 6231 5578

The Loft THE COMICS’ PLAYGROUND 7:30pm The Republic Bar 4 Letter Fish 9pm sLaunceston

"Tasmania's own"

REDLINE Coach Services STUDENT FARES Up to 18 years of age 60 cents per sector on all services Over 18 years of age 50% discount applies (Launceston – Hobart $17.30)

Adults Advance Return* Hobart to Launceston $62.10 Save $15.50!! (*Conditions Apply)

Reservations/Credit Card Payments 1300 360 000

Brookfield Vineyard. 1640 Channel Highway.

Margate. 7054. Ph 6267 2880

Licensed cafe open 7 days & late for all events

Friday, February 20 Folk Night Friday, February 27 Andrea Watson & Michael Maass Saturday, February 28 Jan Person

Winnie Atwell Tribute

Sunday, March 1 Folk Night

All have meals available. www.brookfieldvineyard.com - info@brookfieldvineyard.com WWW.SAUCE.NET.AU

Hotel New York Uni Night, Victor Charlie Charlie, DJ Doctor J Irish Murphy’s (LST) GLENN & JADE Lonnies Niteclub Bushfires Fundraiser $10 7:30pm

Lonnies Niteclub Ralph Australian Swimsuit Model of the Year FINAL The Mersh (The Commercial Hotel) Hard Drive The Royal Oak Mick Attard in the bar @9 Saturday, 21 February

Wednesday, 25 February

sHobart

sHobart

Bellerive Boardwalk Clarence Jazz Festival

The Brisbane Hotel Drive West Today, Anthony Rochester, Manchester Mourning $5

Irish Murphy’s (HBT) Michael Clennett, Damage control Lewisham Tavern Freya Hanley and That Brutal Moon 8:30pm Syrup Dirty F’king Dancing DJs: Kir, Gillie + Parkey The Alley Cat Bar Peter Head, Milk Teddy, Billy Whims & Sam J Nicholson The Brisbane Hotel Mustang (Vic) + Honeytrap (Vic) + The Roobs The Loft DIAMONDS OF BURLESQUE 8:00pm The Republic Bar Dallas Frasca $10pre/$12door 10pm

The Republic Bar Fula With Eshak $3 9pm sLaunceston Hotel New York Front Bar Lonnies Niteclub Launceston Cup Night

Top Shelf @ Irish Murphy’s Cup Night: Super Massive

Hotel New York DJ Randall 10:00-12:00, DJ Doctor J 12:00-2:00, DJ Roger Charles 2:00-Close Irish Murphy’s (LST) IN LIMBO The Mersh (The Commercial Hotel) Off The Cuff

Bellerive Boardwalk Clarence Jazz Festival

Good Vibrations Various

Brookfield Vineyard Folk Night

sHobart Bellerive Boardwalk Clarence Jazz Festival The Alley Cat Bar

Syrup La Casa - DJs: Matt B, Discotouch, Timo

The Greenhouse @ Irish Murphy’s Mensch and the Willigers

The Alley Cat Bar DJ Russ Jones

The Republic Bar Bushfie Benefit w/ Freya Hanley and That Brutal Moon + others $5 8:30pm

Irish Murphy’s (LST) LONG WAY HOME

The Metz O-Week w. Camo vs Woodhouse 8pm

sLaunceston

sHeirrison Island

Hotel New York DJ Roger Charles 10:00-12:00, DJ Doctor J 12:00-2:00 DJ Randall 2:00-Close

The Loft DONT FORGET THE LYRICS KARAOKE HOSTED BY LOCAL COMEDIANS PRIZES! Gold coin donation 7:00pm

The Royal Oak Jerome Hillier in the bar @ 8ish

sHobart

Country Club The Whitlams 38.5 8.30pm

The Greenhouse @ Irish Murphy’s Hayley Couper, Ejector, Joni’s Plastic Sunday

Wrest Point The Whitlams 38.5 8.30pm

Sunday, 22 February

sLaunceston

sLaunceston

Good Vibrations Various

Friday, 20 February

The Republic Bar Mike Noga and the The Gentlemen Of Fortune

The Greenhouse @ Irish Murphy’s Lana Chilcott, Marita Mangano, George Begbie The Republic Bar Patrick & Ruth Berechree 9pm

sGold Coast

The Royal Oak Marita Mangano and Bill Kelly in the bar @ 9ish

The Brisbane Hotel 18+ The Red Shore + On Your Feet Soldier + Separatist + Sound A Surrender ALL AGES: The Red Shore + On Your Feet Soldier + Separatist + Sound A Surrender

sHobart

Irish Murphy’s (LST) NATHAN WHELDON

The Royal Oak Ben Castles in the bar/ In the Boatshed L.B.C present Sugarcane Collins @ 9ish (cover charge)

Irish Murphy’s (HBT) Nick & Tom Wolfe, Big Swifty

Tuesday, 24 February

sLaunceston Irish Murphy’s (LST) BEN CASTLES, NATHAN WHELDON, TWO STRUNG, VCC Monday, 23 February sHobart The Greenhouse @ Irish Murphy’s Dan Hennessy, Kiss Whisky The Republic Bar Quiz Night 8:15pm sLaunceston Irish Murphy’s (LST) CIAREN VANDEN BERG

Thursday, 26 February sHobart Syrup Mashup Da’Town w/ DJ Stirlo & Guests The Brisbane Hotel Damo Suzuki (Ger) + + Paint Your Golden Face + Brian Ritchie

The Republic Bar Eugine Hideaway Bridges (USA) $12pre/$15door 10pm Wrest Point Akmal 33.5 8pm sLaunceston Hotel New York Ian Carey Irish Murphy’s (LST) THE GARY GARYS The Mersh (The Commercial Hotel) DJ Skip The Royal Oak L.B.C presents Anni Piper Band in the Boatshed (cover charge) Saturday, 28 February sHobart

Syrup Dirty F’king Dancing DJs: Kir, Gillie + Corney The Alley Cat Bar The Brisbane Hotel My Disco (Vic) + The Native Cats + Ivy St The Republic Bar Koolism $22 pre/$25door 10pm sLaunceston Country Club Akmal 33.5 8pm Hotel New York DJ Luke Warren 10:00-12:00 DJ PD 12:00-2:00 DJ Cam 2:00-Close Irish Murphy’s (LST) THE UNIT The Mersh (The Commercial Hotel) Rob Richards The Royal Oak Sara and Dave in the bar @9 Sunday, 1 March sHobart

The Loft IMPRO-VICE COMEDY 7:30pm

Hobart Regatta Grounds Climate Change Festival

The Republic Bar Super Massive (SYD) + Prairie $4 9pm

The Alley Cat Bar The No Nos sLaunceston

Hotel New York Uni Night Long Way Home, DJ Doctor J

Irish Murphy’s (LST) SARA & DAVE, GLENN MOOREHOUSE, PADDY DUKE

Irish Murphy’s (LST) PAZ N WITTY

Monday, 2 March

The Royal Oak Lonny Tunes featuring The Stoics, Kasper, Jean Hodgson and Fiona Brown in the bar @ 9ish Friday, 27 February sHobart Brookfield Vineyard Andrea Watson & Valange Khozo Irish Murphy’s (HBT) Sambo, Dr Fink Syrup Alex Kidd The Alley Cat Bar Super Massive & Kiss Whisky The Brisbane Hotel Sons of Lee Marvin (Vic) + The Bone Rattlers + Linc Le Fevre The Loft THE NO NO’S + supports 9:00pm

Launceston Studio www.myspace.com/fatlipstudios

Irish Murphy’s (HBT) John Harwood, Serotonin

Brookfield Vineyard Jan Preston. Winnie Atwell Tribute $35

The Mersh (The Commercial Hotel) Karaoke

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

Brookfield Vineyard Jan Preston & Michael Maass $35

The Greenhouse @ Irish Murphy’s Abbey Doggett, Trumps

sLaunceston

Recording Mixing Mastering Production

sHobart The Backspace Theatre The Short Back and Sideshow sLaunceston Irish Murphy’s (LST) BEN CASTLES Tuesday, 3 March sHobart The Greenhouse @ Irish Murphy’s ASA & Wax Lyrical presents: Ariel, Indi Jade, Lance Devlan, & Prairie Nischler sLaunceston Irish Murphy’s (LST) PHIL PICASSO The Boathouse on Northbank Toni Childs

The Biggest Variety Of Comedy In Tassie!

Stand up, Sketch, Physical, Musical Comedy, Burlesque, Sitcom.

Next Show: Monday March 2nd

@ The Backspace Theatre Sackville St Hobart

FACEBOOK GROUP: SHORT BACK AND SIDESHOW

Venue Guide HOBART Brookfield Vineyard 1640 Channel Highway Margate 6267 2880 Hotel SOHO 124 Davey Street 6224 9494 www.hotelsoho.com.au Irish Murphy’s 21 Salamanca Place 6223 1119 irishmurphys.com.au The Loft 142 Liverpool St Hobart 7000 (03) 6231 6552 www.myspace.com/ theloft142 The Metz on the Bay 217 Sandy Bay Road 6224 4444 www.themetz.com.au

Wrest Point Entertainment Centre 410 Sandy Bay Road 6225 0112 wrestpoint.com.au LAUNCESTON The Commercial Hotel 27 George Street 6331 3868 Irish Murphy’s 211 Brisbane Street 6331 4440 www.irishmurphys. com.au Hotel New York 122 York Street 6334 7231 Lonnies 107 Brisbane Street 6334 7889 www.lonniesniteclub. com

The New Sydney Hotel The Royal Oak 87 Bathurst Street 14 Brisbane Street 6234 4516 6331 5346 www.myspace.com/ Syrup leapinlimpout 1st Floor 39 Salamanca Place 6224 8249 www.syrupclub.com The Republic Bar 299 Elizabeth Street 6234 6954 www.republicbar.com The Brisbane Hotel 3 Brisbane Street 6234 4920 www.myspace.com/ thebrisbanehotel The Alley Cat Bar 381 Elizabeth Street 6231 2299 www.myspace.com/ thealleycatbar . ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

15

INDUSTRIAL - USA // NINE INCH NAILS

Nine Inch Army Marches Across Oz

GREEN FINGERS All the freshest produce from The Greenhouse, Irish Murphy’s, Hobart.

guru, scientologist and now Nine Inch Nails bassist - Justin oSession Meldal-Johnsen says being a part of NIN is akin to joining an army, a very large army! And with Major General Trent Reznor at the helm of this industrial-rock powerhouse, there’s never a dull moment for the Los Angeles veterans who’ve just wrapped up a North American tour in preparation for their Soundwave and sideshow here in February.

Hey Justin, how’s the preparation coming along for this upcoming Australian tour?

This is a peculiar situation for us because we have the departure of two band members now which is a really rare thing in the 18 years that NIN has been around.

Long time drummer Josh Freese had his third child just last week he thought he would retire from the road a bit and focus on family life. And Alessandro (Cortini), our keyboard player, all of a sudden decided to take the same moment to bow out so he can really focus on his solo project. So we wish those guys well and we’ve found a new drummer in very short order, this young fellow named Ilan Ruben and so we’re doing rehearsals with him.

the dots to other points in the NIN catalogue and make them personal. For me, it became a thing where I started doing that several weeks into the Lights In The Sky tour last spring. I found myself being part of an army all of a sudden, part of a gang.

So we’ll be seeing the band here as a quartet?

Well, we had this whole scenario where we were curious what to do with the vacancy left by Alessandro.

What we opted to do was not find a replacement for him and continue on as a four piece which is myself on bass mainly and also guitar and keyboards, Trent playing guitar and keyboards and singing, Robin Finck playing guitar and Ruben playing drums. So we’re doing a re-rendering of the whole catalogue which is 80-plus songs.

He wants his band members to do what myself and Robin Finck have done and that’s care about every part of it. You know, when the lights are being designed for the big tour and we’re setting it all up on a big sound stage and the crew are hanging all these LED curtains and laser-guided thingo’s, we’re all there arms folded making suggestions and assessments and running around taking notes.

How will you compensate for Alessandro’s parts on stage ... will they be pre-programmed?

What we’re trying to do is use even less preprogrammed stuff so it’s quite a trick. We’re going to be incorporating technology that is far-reaching but the intention is that it will be played as much as possible by human hands - and played in new ways that the fans won’t necessarily expect. They’ll hear the songs but the renderings of them might have a different sound, especially on the older material for instance. And this decision on our part requires that we all become very busy very quickly with several weeks of technical and musical rehearsals.

All of all the people you’ve worked with, Beck and Garbage among others, what are some of the challenges performing with NIN? Well, for me it was becoming a member of NIN. There are not too many opportunities where you get asked to join a band with a very keenly defined identity that’s been honed over an 18 year period to a very distilled and pure thing. So that involved a process of phases; phase one perhaps being simply getting to know the guys and phase two learning the songs with their own challenges. But phase three is something that took quite a bit longer and to be perfectly frank with you it’s something I would call surrendering to the songs and owning them as if they were my own songs. I knew I had to do this and I knew it right from the first show.

So which NIN era did you most connection with?

I’m just like a fan and I had an entry point and it was the (2007) album Year Zero. It’s a concept album which is to a large extent a political statement to some degree and for some reason it spoke to my core. In the feel and overall dynamic of it I found I could connect

And is Trent a general of that army in the true sense of the word?

Oh yeah, it’s a benevolent dictatorship I suppose. It’s not a democracy. But Trent, what surprised me about him as a persona and as a musician and businessman was how amenable he is to hearing people very completely and considering ideas without any sort of natural rejection.

Trent lets people flex their mental muscle and I’m grateful. As a person he tends to vacillate in terms of how he regards perfection. Part of this opportunity of trimming us down to a four-piece and going to Australia to debut the new line-up is figuring out a way to be well-rehearsed without sounding canned - and it’s a bit of trick.

So how do you do that?

You learn and learn and learn and study and study and study and drill until your fingers bleed. Then you get physical with the songs and have Trent make last minute suggestions like ‘OK Justin forget the bass, you’re playing keyboards on that song now’. So upsetting the apple cart is a way of getting a band in shape and the good band leaders like Trent Reznor do it that way and they don’t necessarily know they’re doing it. They rehearse to perfection and then they find out ways to break it down to more emotive or random or chaotic forms. And that’s what Trent wants out of this coming tour and band incarnation.

As many of you will know we’re going hard at it at the Greenhouse. We’ve recently had our First Harvest and are delighted to let you know that Joni’s Plastic Sunday took out the trophy and are heading to SingSing Studios in April to record an EP. Also Dali Bob and the Paper Band took out the cigar and will be tracking at Stormy’s Room Studio very shortly.

their last four songs and folks were grinning with it.

Also of note from that show is a watch band called Syrevilo. We’re seeing a few folks go the road of the jump ska sound and these guys, although not with quite the same right hook as bands like The Trolls, have certainly brought a tasty dish to the table, flavour enhanced with the sweetness of their front man singer.

And of course the man with the curls to make your grandma jealous, Mr James Parry, ex-Mad Uncle front man returning from his overseas jaunt with more tunes and more directions in tow.

As part of our vision for the summer months we’ve opened up Mondays as well at The Greenhouse and are now cranking out original Tassie music five nights a week. You can catch another Monday at The G House with Dan Hennessy and Kiss Whisky on the 23rd.

Another certain stand-out for the season was first time to Hobart Launcestonian Frankie Andrew. Man this girl has got something special going on, was great to see her down here and we’re certainly keen to have her back a whole lot more. And of course The Frets who just keep upping the rock.

It’s been an interesting fortnight for us, as we all know this time of year is usually marked by a bit of festival fatigue but we’ve been able to pull out some corkers anyway. Of note was a jumping double set on Sunday the 8th with MIQ and Stevie, man if you like groove you gotta check these guys out and in particular the powerhouse that is Stevie when she gets on a role.

We’ve got some more pungent players hitting the Greeny in the next fortnight as well, if you haven’t seen local girl Gretel Templeton crooning out yet you gotta do it, especially now as you can catch her with her sweet new ensemble, Gretel and the Teramachi on the 19/02.

Wednesday the 11th featured the debut release launch for local boys Beaverjam with their EP Apricotica.

These fellas have got a juicy thing going on, with a packed pub they jilted through their irregular set with uncommon asides to the audience and a fresh way of engaging, a bit like Jane’s Addiction in some ways and with a good shot of deprecating humour. With a full and appreciative crowd they really brought it up in

Keep your ears peeled for our March gig guide featuring the debut of La Vista and the Hobart debut of Launceston big band – Fat Smalls. sTHE GREENHOUSE FERTILISER 0 Get seedy in The Greeenhouse, every Sunday Thursday night @ Irish Murphy’s, Hobart.

sSTEVE TAUSCHKE Nine Inch Nails are on tour in Australia right now!

0 Check tour.nin.com for tour details.

hepatitis C info line 1300 437 222

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

Heyo folks, thought we’d let you know that this is the first of what’s going to be a regular column on the Sauce of what’s been happening at Irish Murphy’s Hobart’s The Greenhouse.

You’re delving into the back catalogue in Australia I believe, playing tracks from Pretty Hate Machine and The Downward Spiral?

Yeah, there’s a bit of older stuff definitely. We need to bring back some of that older Nine Inch Nails material that hasn’t seen the light of day in quite a while. And we’re looking at a few unreleased tracks that might see the light of day on stage too. We just haven’t sussed it out yet. It’s just a matter of hearing how they sound and if we like them, they’ll get played.

1300 HEP ABC 16

BEAVERJAM

THE FRETS

Think you may have been at risk of hepatitis C? Are you living with hepatitis C? Need some info or just a chat, give us a call on our confidential information and support line: 1300 437 222 or send us an email: hepc@tascahrd.org.au www.tascahrd.org.au Mon to Fri 9am -5pm (Tues 12:30pm - 5pm) WWW.SAUCE.NET.AU

ANDREW KENNEDY Running Stumbling Bumbling Bursting

IRRELEVANT New Guilt

JORIS VOORN BALANCE /014

RESIN DOGS More or Less

This CD from Brisbane singer songwriter Andrew Kennedy is classic pop with a little soft rock thrown in.

Sydney based quintet Irrelevant have a strong Australian following and hard working ethic. Unlike Australian hardcore genre giants Parkway Drive and I Killed The Prom Queen, the band have yet to reach the heights of commercial success and over their career preferred to remain as an underground band that performs as a support for the larger acts, such as The Used who they played alongside on one of their Australian tours.

Spread over two discs and featuring over 100 songs (probably more) seamlessly mixed together - this album is one step ahead in the direction of ‘the future of dance music.’ Disc one, the ‘Mizuiro Mix’ straddles the line between tech, breaks, electro and everything in between. It’s mostly dark and menacing and perfect for a 2am hands in the air underground gathering of girls, glowsticks and gaga. No big names here, But then again, who cares when the music is this good?

I’m pretty sure I’m capable of appreciating a good beat or great lyrics, or any of the myriad other things that make songs enjoyable. Unfortunately for me, this album had none of those. I have never wished for the distraction of the internet, but on the other hand, I’ve never had such an organised desk or laptop.

Having released two EP’s and two albums all produced in Australia, New Guilt is the band’s first overseas recording, produced, recorded and mixed by Brian McTernan of Salad Days Studio in Baltimore. He’s made an impressive contribution to the band’s sound bringing out the splattering vocals of Damian Sutherland and eye gouging rumbling riffs from guitarists Nick Groenestyn and Scott Westerweller.

Album opener Battlecry, is a satisfactory song, but it was the following track, Shatter The Days that hit me like a blockbuster to the ribcage, a song that would be a definite crowd pleaser. Fire And Brimstone and From Fear To Failure are tracks full of all the jaw ripping energy needed for catchy hardcore songs, full of Harry Nibbs’ growling bass and Michael Anderson’s shattering drum beatings.

Featuring various cuts provided here Minilogue, Tadeo, Solomun and Model 500 to name just a few, this is full throttle, in your face pure evil. It just gets harder, darker and more epic as each track goes onto the next.

It’s not happy so if you have had a real sh***y day and need a pick me up music hit, then best put on some Mika instead. Disc two takes things down a notch with a more downtempo and chilled mix, perfect with a glass of the best pinot and a plate of garlic prawns in a Jacuzzi. Featuring appearances by Len Faki, Imps, Nova Nova and Feline 9 the Midori mix rides a wave of minimal tech, downbeat jazz, electronica and experimental to simply amazing effect. It’s one of the most aurally stunning listening experiences I have ever had, and provides a nice side dish to the brooding clubbing darkness of disc one, kind of like having a refreshing raspberry mixed vodka after ten straight shots of absinthe.

The lyrics, sickly sweet and perhaps a tad self-absorbed are very well vocalised, but a little too syrupy for this reviewer.

The use of a few expletives in Suicide Tuesday are almost cringeworthy, a bit like swearing in front of a teacher in sixth grade. The message is there, ‘Tuesdays suck‘, but the delivery lacks internal fortitude.

The lyrics of tracks such as Accommodate You are obviously well thought-out, demonstrating a sound vocabulary and the enunciation is spot on.

The artist’s vocal range and strength is admirable. Any tutor at Uni would be proud of this effort. Then follows Ain’t Seen Nothing Yet, a song all about bitterness, hurt, revenge, and generally being pissed off with someone, but again I felt it lacked guts and grunt.

On the whole, the guitar work is very nice, proficient, and in some tracks such as Little Trooper, delicate and pleasant, blending nicely with the lullaby style singing.

In other tracks the drumming, percussion and strings are clashing with the singing, and overly hard driven guitar, giving the impression of ‘trying to be rock’ but not quite getting there.

5/10 LALANI HYATT

Is the new album irrelevant? Not really if you are a supporter of the driving Aussie hardcore scene, then clearly New Guilt will be a relevant album for your collection.

6/10 DAVID WALKER

More or Less is a remixed re-release of 2007’s More, with each track passed to a different producer. Public consensus seems to be that it’s a good idea, and stands on its own two feet as a solid release. But, if this is an improvement on More, then I can guarantee that I am never going to hunt it down. If there is one thing hip hop should never be, it’s boring. And this is a boring album.

Definition almost managed to catch my attention, in that I vaguely remember hearing it somewhere else, but this particular remix does nothing for the song.

2SIDES may just be the worst song on the album, with its hideously repetitive chorus. Coming With The Sound was the only track that I came close to enjoying, but only by ignoring the vocals and focussing on Plutonic’s beats.

If there’s anyone out there that can tell me why this is supposed to be ‘good music’, I’d be grateful, because quite frankly, listening to this album may have been the most agonising hour of my life.

Never boring and essential listening - Joris Voorn is the man, and this is the future people.

9/10 TRENT SAUNDERS

2/10 BELLE MCQUATTIE

Friday February 20 Hard Drive Saturday February 21 Off The Cuff Friday February 27 DJ Skip Saturday February 28 Rob Richards

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. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

WWW.SAUCE.NET.AU

CINECISM THRILLER // THE INTERNATIONAL

Clive Owen Averts Economic Crisis?

Clive Owen isn’t about to claim that The International is a message movie. “No it’s not,” he says. “It’s a cracking good thriller that happens to be set in the world of international banking. But you could say that’s very timely…”

NEWS LAUNCESTON FILM NIGHT Wide Angle Tasmania has set up a film night in Launceston on the last Wednesday of each month at 99 Elphin Rd, Newstead.

This month’s program features the award-winning Hell’s Gates by local filmmaker Jonathon auf der Heide.

0 The next film night takes place 25 February.

SCREENPLAY READINGS Wide Angle is proud to present the first of its Screenplay Reading series with two short film scripts by Tasmanian writers Vince Bailey and Kryz Woodhouse.

Three Guys by Kryz Woodhouse features Shaun Wilson, Tim Logan and Ben Winckle.

Number Thirty-One To Go by Vince Bailey features Damian Brockie, Jarrod O’Donnell Adams, Jeff Michel and Jemma Gates.

Jane Binning is generously giving her time to cast and direct the readings.

0 6pm, 18 February @ The Backspace Theatre, Hobart

It is indeed. As the world’s financial system tries to recover from an unprecedented downturn the ethics and dealings of some of the big players on the money markets have been under intense scrutiny and called into question. And The International focuses on the shady dealings of a European based bank that is seeking big profits at any cost and is prepared to go to any lengths in order to cover its tracks.

“And one of the questions that the film does ask is ‘maybe we should think about where our money is and what some of these institutions are doing with our money?’ In that sense, the global financial collapse has made our film very topical.” These days Owen admits that he’s drawn to a project by one over-riding factor – the director who is attached to it. And in this case, the director was Tom Tykwer, an innovative filmmaker that Owen has long admired from afar. “I’ve loved Tom’s work,” he explains. “From Run, Lola, Run to Heaven and through to Perfume. And to be honest, it used to be the script that I looked for first, but these days it’s the director and Tom is one of the best and I jumped at the chance to work with him. Plus the fact that the script was excellent and you can’t turn it down. It’s as simple as that.”

The script, by Eric Singer, was taught and gripping and Owen was reminded of classic thrillers from the Seventies like All The President’s Men and Three Days of the Condor. “And I love those films when you have people who are going up against the system and everything is stacked against them. The International reminded me of that in a good way. My character is a

guy who knows that there is something terribly wrong but he also knows that he’s not just up against this very powerful bank, he’s up against all the political connections that they have. Their power spreads far and wide and the deeper he gets into it the more he begins to realise just how influential they are.”

Owen plays Loius Salinger, a former Scotland Yard detective now working for Interpol, who has been tracking the shady dealings of a European banking house that is involved in brokering illegal arms deals and exerting influence in unstable Third World countries. “He’s obsessive and he’s driven by rage,” explains Owen. “He’s tried to nail these same people before, when he was working with Scotland Yard, and he failed. It’s very personal for him. He won’t give up – whatever the cost.” His only real ally is Manhattan Assistant District Attorney Eleanor Whitman – played

by Naomi Watts – who believes Salinger even when he lacks the hard evidence to link the bank with the murder of one of his colleagues and a former bank employee.

As the high stakes investigation switches from Berlin to Milan to New York, Salinger, and Whitman put their own lives at risk to expose corruption and abuses of power at the very highest levels. “I’ve known Naomi for quite a while and I’ve always wanted to work with her,” says Owen of his co-star. “She’s lovely and a really great actress and she’s also very easy to work with. It was an absolute pleasure to work with her.”

Whilst Owen is reluctant to describe the film as an action thriller, he does acknowledge that The International features some spectacular thrills,

including one extraordinary, memorable sequence set in the famous Guggenheim Museum in the heart of New York City. “Isn’t that fantastic?” he beams. “It’s the most amazing sequence and Tom did a brilliant job. When I first read the script, which describes this incredible, balletic shoot out at the Guggenheim I thought ‘how on Earth will he do that?’ Well, he did it and I think it looks incredible. “We actually filmed in the real museum for two or three days and then we built sets that were exact replicas of the Guggenheim and filmed the main shoot out there. And I defy anyone to tell the difference. “We had to build two different sets at the studio in Berlin – one was the Rotunda (the centre-piece of the museum) and we had to do that outside in a place that was a bit like an air hangar and that was built exactly to scale. And the other set was the lobby of the museum. I think it worked spectacularly well.”

“But for me, The International isn’t an action movie.

It just has this explosive violence in this incredible setting, which is part of the movie. But it’s not an action movie and Louis Salinger is not an action hero.

Part of my job is to make people feel that it is really happening. Louis actually spends most of the time panicking in that place and trying to keep it together.

He’s not there being a cool action hero.” s MARTYN PALMER

0 THE INTERNATIONAL IS OUT NOW. THE INTERNATIONAL TICKETS GIVE AWAY! The International, starring Clive Owen and Naomi Watts, is set for release in Tasmania on 19 February, and we have FIVE INSEASON PASSES to giveaway!

Write to chris@sauce.net.au with YES I WANT TO SEE THE INTERNATIONAL FOR FREE in the subject line. Please provide your full postal address and a contact phone number so we can inform you of the good news, and be sure to check out SAUCE #88, due out Wednesday, 18 February for an interview with the star, Clive Owen!

IRON MAIDEN: FLIGHT 666 Iron Maiden, in association with EMI Records, will release a feature length documentary film into cinemas worldwide on April 21.

Iron Maiden: Flight 666 follows the band on the first leg of their Somewhere Back In Time World Tour in February and March of 2008 as they embarked on the most ambitious and adventurous tour in rock history.

The band flew in a specially customised Boeing 757 airliner with their crew and 12 tons of music and stage equipment on board, playing 23 sold out stadium and arena shows in Asia, Australia and North, Central and South America in just 45 days.

They played in 13 countries, also landing in Azerbaijan and Papua New Guinea en route for fuel stops, travelling 70,000km and performing to almost half a million fans – a schedule that was only made possible by having their own “magic carpet” enabling them to go where they wanted with all the key elements of band, crew and equipment on board one plane, which was christened Ed Force One, piloted by lead singer and Airline Captain, Bruce Dickinson.

For information on the release of Iron Maiden: Flight 666, teasers, trailers and news from the current tour visit: 0 www.ironmaiden.com

Entries close, Friday 27 February!

WWW.SAUCE.NET.AU

. ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

19

SOUNDCHECK - out and about in the hottest venues BLEEDING THROUGH, BETWEEN THE BURIED AND ME, ON YOUR FEET SOLDIER @ The Brisbane Hotel, 21 January

With a slow but promising parade of black t-shirts, fringes and everything depicted within the metalcore persona, Hobart five-piece band On Your Feet Soldier started the carnage of sound for the night. The crowd seemed to be appreciate the brooding blend of metal and hardcore that the band was playing, which warmed up all the stomp dancers and moshers ready for the further sounds of mayhem.

US group Between The Buried And Me kicked off the performance they’re known for - their unsuspecting, surprising blend of sound from death-core to psychedelic Pink Floyd parts with other styles thrown in, all within the one song. With the first song finished, there seemed to be technical glitches with guitarist Paul Waggoner’s guitar pedals. With much distress in the crowd growing anxious to hear the band play more, after nearly twenty minutes passing, the band threw the crowd into a frenzy by going without the pedal effect and unleashing in to songs mostly off their recent album, Colors.

Californian band Bleeding Through were the infinite highlight of the night playing songs off their latest and greatest album, Declaration and previous album, The Truth. With the majority doing circle pits and erratic stomp dancing, the crowd was highly absorbed in the band’s strong and flawless performance. The bands were even nice enough to sign stuff for fans afterwards (I scored an autograph on a pin-up picture of keyboardist, Marta Peterson!).

In all, stellar performances from all bands on the night. sDAVID WALKER Photography by Jesse Hunniford.

20

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

THE BARONS OF TANG & THE AGENCY DUB COLLECTIVE @ The Alley Cat Bar, 31 January

Not knowing what to expect from a band describing their sound as ‘Grindcore/Tango/Dutchpop/Gypsy’ I went to see The Barons of Tang with an open, if somewhat apprehensive, mind.

In the ambience of The Alley Cat, Melbourne’s Agency Dub Collective opened up with two instrumental sets, which I have to say went off to a painfully slow and repetitive start, with the first couple of songs taking far too long and hardly changing pace. However, even if it was (as they admitted) more of a jam session than a show, their soft reggae tunes were performed well by boys who really knew their way around their instruments. By the start of their second set the pace had picked up and they finally started having some fun.

Finally, The Barons of Tang got to setting up their piano accordions, tubas, and various percussion apparatuses. From the first blow of the tuba to the last pirate-scream they had everyone in a twisting, jumping frenzy. The instrumental lineup worked brilliantly as they blasted us with their gypsy magic complete with ear-melting guitar and drum solos, and all the while the shirtless lead singer/double bass player stared down his besotted crowd.

DIESEL @ The Republic Bar, December 14

CARL COX @ Syrup, 14 February

From the drop of DJ Kir’s first track, you could tell that the visit of CARL COX to Syrup was a very special affair indeed!!

A brilliant afternoon’s entertainment at The Republic Bar saw many people looking a little wobbly and weary.

Then, as dinner was digesting and an early night seemed like a sensible idea, Mark Lizotte - aka Diesel hit the stage. Evidently there would be no nodding off.

Suddenly, the place was filled by hard core fans and lovers of rock.

The first thing to strike me was the incredible amount of equipment and gadgetry this band utilises. I guess when you have toured the nation and done some big venues you need the best, and they have it. Diesel started with some of the tender, soul-driven songs which Lizotte’s voice carries so well. He sings with passion and perfectly pitched notes, in a charismatic style very much his own.

Need Your Fire is a classic Diesel love song, well received by the glazed-eyed girls sandwiched in front. Early in the set, Mark swapped a guitar for a banjo, looked down at it as he slung the strap over his shoulder and muttered something about it “looking a bit like a f*ckn guitar, well we’ll give it a go eh?” and he did, very skilfully.

It was one of the most consistently hardcore sets I’ve seen in a long time, it felt like every song had more momentum than the last, and if the music slowed down it was only to speed up again. If anything, this intimate show was like being at a weird dress up party.

If you can see them, do.

The tunes cranked up and we were treated to some solid raw rock and achingly good soul; hard-driven music, so loud I thought my eardrums may start bleeding. Diesel is probably to young to be called a legend, but has unquestionably earned that status in the world of rock and soul.

sERIN LAWLER

sLALANI HYATT

The atmosphere was just different. And as the crowd filed in, and the dance floor started to fill up, Gillie took to the decks, with the latest versions of some classic House tracks, many that the ‘older’ clubbers on the dance floor remembered from ‘back in the day’.

After Gillie, it was the turn of Ministry of Sound guest DJ Goodwill. Usually known for his Ministry of Sound compilations, Goodwill played a tougher Tech House set which pumped up the crowd even more for the eminent appearance of the Godfather of Techno.

With a packed dance floor, and to rapturous applause and whistles, Carl Cox took to the decks at about 2am. What followed was a three hour set of the best techno the world has to offer!! Tribal rhythms, rolling basslines, soaring synths, and a few brilliant remixes of well known tunes (including a Soulwax remix of The Chemical Brothers), were the order of the night, and Carl Cox provided this and so much more!

A true professional showman, Coxy bounced around in the DJ booth, got on the mic to hype the crowd up, and radiated excitement. The eager crowd lapped it up, and reciprocated with even more furious dancing, whistling and cheering. The vibe was absolutely electric, just like the good ol’ days!

Afterwards, Carl handed control of the dance floor over to DJ Corney, who continued to wow the crowd for hours with his trademark elec-tech. Yet another great night at Syrup! sPETER MAYHEW

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games, gadgets, and other digital distractions: zzappped@sauce.net.au RPG // XBOX 360

Fable II: Knothole Island

Hooray for downloadable content! It’s like your favourite game but with more levels! Or in this case it’s like your game that you’ve finished and now they’d like you to spend more money on something you already have...

TIARNE’s FINAL SCORES GAMEPLAY: 40%

0 More of the same so not a disappointment if you’re only looking for a new stomping ground.

GRAPHICS: 70%

Since the 2008 release of Fable 2 a few months ago adventurers have been gambling and roaming somewhat aimlessly as a has-been hero tying up loose ends of quests and spending their hard earned cash. The seasons of Knothole Island have been ruled by mystical totems. Each year brave and nimble townsfolk would dare enter the treacherous temple to retrieve the totems to change the weather, and then put them back for next time. The continuing tradition of returning the totems to the temple and the townsfolk losing their bravest to retrieve them left it in perpetual winter. Upon completing your quest you are rewarded and gain reknown and your good/evil alignment is affected depending on your choices.

Knothole Island has been opened up for some more questing fun. New costumes, new weapons and new gifts are available from the townspeople and environs

of Knobhole- er, I mean Knothole with the premium edition. There are premium and free editions ready to download onto your eager ‘box which means a choice of being frugal and actually spending your Microsoft credits on a full arcade game for the same amount; or you can opt to get the shiny deluxe version which means you will have costumes and gifts accessible.

This is a considerably useless area other than new get-up, some reasonable goodies and a new zone to traipse around in and smack up incredibly familiar yet supposedly new enemies.

A bit of dungeon hacking never goes astray in RPG’s, however the enemies and puzzles haven’t upped any kind of ante and it’s fairly mediocre except it’s a different location - a bit like a holiday. Same shit, different - oh, I’m in Hawaii, no wait, it’s only Knothole. The only character that I feel has been

improved is the submarine operater NPC who seems to be chattier than most and has some funny ramblings and remarks.

Another perk of this new bashing ground is the cosmetic potions that you can get. You can gain tall or short potions and also fatness and thinner potions.

So if your character requires some less height and more rotundness that solution is only a potion drop away. Since my character lost it’s dog I feel that depression has caused severe obesity which has now been miraculously solved by Knothole’s serum. No longer do you have to watch your waistline and munch on flacid celery for some nutrition. You can now happily chow down on just about anything you want with no consequence after. Yay for roleplaying with someone else’s hips! sTIARNE DOUBLE

0 Not much variation from the original but the weather changes are pretty.

SOUND: 50%

0 Not really stunning on the ol`ear drums and lacking a proper overture for the area.

PLAYABILITY: 50%

0 Not much chop if you were looking expecting something fantastic, however enjoyable as any other quest.

OVERALL: 55%

0 About as entertaining as turning your chair in your office for a different view.

0 FABLE II: KNOTHOLE ISLAND IS AVAILABLE NOW FOR XBOX 360.

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21

ARTS - HOBART // THE PROJECTION PROJECT

Play it Again, Unplanned “The Projection project is a series of works for Double Bass, Sampler, Vibraphone and Fender Rhodes featuring myself and Kelly Ottaway accompanied by video footage,” explains Hamish Stevenson-Elliott. “The Project draws on a mix of the compositional ideas I’ve been developing over the past couple of years. Last year we opened The Barn series at the Clarence Jazz festival with trio “Three” which was a ‘free project’ where we deliberately didn’t come with concepts for the music, the idea being to present a series of spontaneous compositions. The Projection Project is really an extension of that idea with the pieces this time developed from some predetermined frameworks to set up stronger directions for the mood of the improvisation. The sampling unit I’m using can capture live audio and loop; so in many ways it’s still a trio performance, my favourite format to work in.”

After working with the Andy Young Quartet, which was the vision and baby of respected jazz muso Andy Young, what was it like to strike out on your own, as the lone composer of The Projection Project?

I’ve always been a composer; I don’t really differentiate composition and improvising, my compositions are improvisations that I’ve held onto rather than let disappear into the air. Some of the ideas used in the Projection Project will be things that I’ve been tweaking for years now. When I was playing in Melbourne I ran a quartet that featured guitarist Steve Magnusson which I composed all the music for, so this project is an opportunity for me to continue that process. Since being in Hobart I have been very fortunate to work with so many excellent musicians and have learnt a lot.

How would you describe these new works?

Each piece has been developed to explore the ideas that come from the bass when I’m focussed on just letting the most expressive aspects of playing come out in the music. The continuity of the pieces is a sense of minimalist composition with a melancholy, I love the way that even just two notes on the double bass can create such a visual image and narrative. That’s where the idea of using video came from, when I’m playing this sort of music my mind’s full of pictures not a literal language.

Tell us about the video footage that was filmed for The Projection Project - is it just you and Kelly Ottaway kicking some sweet, sweet jazz or something designed to visually mesh with the music?

I want the video footage to be a subtle element to the performance so I’ve kept the footage more evocative than literal. I’ve found that the stronger video makes it hard for an audience to focus on the subtleties of the music. For this type of minimalist improvising I think that’s especially important.

Apparently you first studied electric bass before being won over by the double bass... what sort of music did you used to play with your mates after school before you unplugged and sprung for the upright?

I learnt tunes so I could learn how to play, but always wanted to play original music. Simon Russell and I were best friends through High School and College and wrote heaps of tunes together. We had a band called Greedy Goblin that played at Round Midnight, the Wheatsheaf and The Brisbane that played all our own stuff. I’ve never really changed that way of approaching music, I’ve always wanted to play my own stuff.

As a composer, you have conceived of these works on your own, to what extent was it difficult to hand over some creative control

“…wild like a storm or calm as sleep...” to Kelly Ottaway who brings along his own interpretations and improvisation?

Kelly and I have been working creatively for a few years now and have done a lot of free improvising and original composition projects. He’s a very gifted natural improviser and exceptional musician, so there’s no difficulty in handing him anything. In this project no voice is more important than any other and all the pieces have been developed with the Rhodes and Vibraphone in mind. I thrive on throwing out an idea to build on and hearing where someone else can take it.

What have been the audience reactions to your work?

The concert last year as “Three” with Kelly and Mark Joseph was very successful as was the entire contemporary series at The Barn. There can be a very strong audience for improvisation in Hobart; I just played with Fiona Burnett and David Jones for the Mona Foma festival which was so well received and had to turn away dozens of people. When “Three” had a residency at Lizbon here in Hobart we had so much positive response from people, especially from visiting Europeans and Americans, who were often surprised to find that this type of improvised music was happening here and that we were local.

hoping to inspire?

Playing this sort of music is an incredible feeling, that knife edge of improvisation where everything can tip, be wild like a storm or calm as sleep is what makes me want to play music like this for the rest of my life.

It’d be nice to think that through being there at the performance people could get even a glimpse of this, and hopefully a lot more than that.

How does The Projection Project fit in the whole spectrum of the festival?

Last year was the first year of the Contemporary Series at The Barn which had been until then focussed on music from the 1965 eras. The Festival now represents a far wider spectrum of Jazz through to the present day. There are three contemporary nights at The Barn this year; The Projection Project on the 19th, Contemporary Bop from Express Trane on the 20th and MIQ on the 21st and heaps of other concerts from Latin Jazz to Big Bands on the Boardwalk stages. sCLARA MURRAY

Catch The Projection Project as part of the Clarence Jazz Festival…

0 19 February @ Rosny Farm

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. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

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. ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

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COMEDY - AUSTRALIA // AKMAL

STRANGER THAN MICKTION

It’s like Jake and the Fat Man, if Jake’s name was Mick. On a plane. Mick and the Fat Man on a Plane.

The Laughter Code

It was in the late 80s that a young man by the name of Akmal Selah found himself studying the performing arts course in what was then known as the TSIT in Launceston. “I didn’t actually finish the course; I only did about eight months and then I dropped out. So it didn’t really help me much,” he laughs. “But everything you do in life affects what you do on stage, everything is taken in somehow, every experience is reflected on stage somehow.”

Of his routine, he says he prefers a mix of the topical and classic, “but the stuff that’s topical doesn’t last long. And I’m afraid I’m really lazy, I’m just lazy!” he laughs again. “I came up with a great joke… a great routine about the Cronulla riots, but that lasted only six or seven months at the most and then it would just stop being funny, that’s it.”

I don’t get to go on planes that often, so when I do it still has a bit of a novelty factor for me. Even though I don’t do it too often I still, like everyone else on board, find the safety demonstration to be a bit tedious. They could really jazz it up a bit. A song and some dance moves might help. Especially if you want people to remember it. Dance moves would really cement it in people’s heads. Remember the Macarena? See what I mean? So in the event of an emergency, you will hear this music, the strip lighting will flash with the beat, everyone grab a partner. The safety card thing would need to detail the moves, so that might have to be upgraded, but perhaps short courses during the obligatory flight delay times might circumvent this. I still get concerned every time they do the life jacket demo and they point out the little tubes to top it up. It implies that most of them have holes in them. What’s with the silly accessories on them as well? I often think of myself bobbing up and down in the middle of Bass Strait among the wreckage, madly topping my life jacket up as I slip under the waves and then heroically calming the other survivors, by calling for help with the handy attached whistle. Just in case the flaming wreck of an aeroplane is overlooked by the coastguard.

spilled over into half of mine. It was… uncomfortable.

Then the hostess chick came by and asked if we could put the armrest down for take off. I couldn’t even see the armrest. The guy had no hope of manipulating it, so the challenge of putting the armrest down fell to me. Oh joy. After some apologising and a little awkward wriggling, I got the armrest and managed to wrench down past the man’s bulk. It wasn’t pleasant, for either of us. The effect was that of trying to comb a jellyfish. Not good. So I settled in to the far end of my seat and occupied myself with my book. Halfway through the flight, the guy falls asleep and kind of lolls in my direction and takes up even more of my seat. I end up curled up in one corner of my already cramped seat, looking like I was camping in a cave made of fat man. I’ve never looked forward to the food trolley so much in my life. I was sure the smell of Pringles would galvanize him out of slumber. Nup. So as I type this from my padded cell in seat 8D flight DJ767, I’d appreciate it if someone could come and top up my life jacket…

True story. sMICK LOWENSTEIN

As a former largish guy, I’ve nothing against fat people, but there’s got to be some sort of system for really large people in airline seats. I unfortunately had to sit next to quite a large bloke on my last plane ride. He took up every last millimetre of his seat and some of him

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. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

Place your seats in the upright position and prepare for The Short Back and Sideshow!

0 2 March @ The Backspace Theatre, Hobart

“They say comedy is tragedy plus time,” he continues, “but it’s also distance as well. Like you know, when September 11 happened for example, we could probably make fun of it sooner than the Americans could, because there’s a little bit more distance there.

So we’re not as affected by it. So that time, comedy, comedy plus time and distance as well. What’s funny can vary according to people’s prejudices and opinions about things or what they hold sacred. You can’t really please everybody, you’ve just basically gotta do what you feel is funny and hope you’re right.”

But one man’s funny is another man’s offense, something that Akmal is more than accustomed to in his time in the spotlight. “I can just let my mouth go without thinking sometimes and that’s usually a good thing to do, but occasionally the wrong thing will come out,” he reveals. “I had a gig for the Australian Arabic Doctors Association and the Egyptian ambassador was in the audience, and I didn’t know this. So I was doing my act and talking about Egypt and the President, you know when you go to Egypt you see the President’s picture everywhere and he’s not an attractive man – I don’t know what he’s like as a politician, but he’s no male model. I can’t remember what I said exactly, but people just freaked out, so serious and tapping their glasses, trying to get me to stop. And this was a really high-class function, people had paid like $400 a ticket, and I was only just part of the entertainment, they had all sorts of stuff and all these important people, and they’re telling me off so I just became more and more

angry and started telling them off, you know – ‘Shut up you idiots!’ Because I’ve got that kind of kamikaze attitude, if I’m going down, I’m going to take everyone down with me. And then I told them to get f*cked, walked off stage and half the room just left in protest, and dinner hadn’t even been served yet. And people were coming up to me wanting to punch me out, telling me I was mentally ill, that I need a psychiatrist.

And then I found out I was being followed for a while apparently. So you can sometime say the wrong thing and the audience just turns. You can feel them turning, and sometimes you can’t get them back.”

It’s the difference between being laughed with and being laughed at, “and I’ve had both,” he says, “and being laughed with is much more pleasant. Although, a laugh’s a laugh I guess. At least they’re talking about you, you know Oscar Wilde’s ‘the worst thing other than being talked about is not being talked about’.

Even if they’re saying bad things, you’ve left an impression.” sCHRIS RATTRAY Let Akmal impres you 0 27 February @ Wrest Point, Hobart 0 28 February @ Country Club, Launceston

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FESTIVALS

THE SOUNDSCAPE FESTIVAL @ Hobart Regatta Grounds, 17 January This was, for me, the standout, the highlight music event for the Summer (so far …)

I, and many thousands of other people seriously (but not too seriously) enjoyed some of the best musicians to come out of Australia, and the juiciest chunks of sets.

The highlight of this highlight, for me (again), were the co-headliners - two of my favourite bands, Cut Copy and (especially) Pnau.

Launching with Wild Strawberries, Pnau were all show, complete with dancing fruit and weird little creatures.

Funny as, and typical of the great, fun atmosphere of the day.

Nick Littlemore got half his gear off. He told me at the Mobius afterparty he was a bit embarrassed he did it, again, but I told him it’s got be done. And he (very obviously) enjoys every minute of it and the love that the crowd throws at him!

He spread his arms like wings and seemed to adsorb energy from the crowd. And they kept feeding him. I was bouncing the vintage springs out of an armrest of an old, very bouncy couch throughout the set. Man, those armrests have a lot of give - apologies to the lovely person who had their head between my legs. Oi! We didnt touch! (Not that I can remember anyway) and anyway, I was at the couch first!

Really loved the set up too, for the event, with DJ’s in the tent playing in between the sets of the bands.

The crowd went from one end of the site to the other, like waves going back and forth, and it kept the mood pumping. You never had to choose what to see.

I have to give it to the crowd at this particular event.

Didn’t see a problem all day. Everyone was just really excited and happy … and friendly.

This truly was a redneck-free event! Oops did I say redneck? I meant bogan. Mwohahahaha! sANITA ANTOLINI Photography by David Williams.

MSFEST @ Inveresk Showgrounds, Launceston, 7 February Look, to be honest, MS Fest is for the kids. Get in, get dirty, get naked (in some cases) and go nuts without your parents ever knowing what you get up to. For the older generation(s), it’s more about the music, well it is for me, anyway. I have little desire to cover myself in mud and run around with a glowing lightsabre. My MS Fest was spent enjoying and appreciating the vast array of talent that was on hand. The organisers should be congratulated for being able to pull such bands to little ol’ Tassie. It is impressive that we are able to do such a thing for such a worthwhile cause.

The highlights of MS Fest for me included a few surprises. I caught a glimpse of The Scientests Of Modern Music, complete with make-shift dancers and was quite impressed. They have a perfect sound for an outdoor festival. They played on the dance stage, but, they really worked well, great sound, great engery. It was captivating and really pulled me in.

Unfortunately, they were playing at the same time as The Presets and I was keen too see what all the fuss was about. I will admit, I’m not a big Presets fan, but, WOW! What a show! They’ve finally got some big songs that everyone can shout along with.

Impressively good live drumming and a great light show capped off what I did suspect I wouldn’t be one bit interested in. The power of sound, eh?

Then, finally, came what I was waiting for all day, The Living End. Chris Cheney is all fingers on a guitar that he can just manipulate, it’s astonishing. He did mention that he had spent all day drinking and the constant flashy showmanship that sometimes takes some coaxing from him was oozing out from every pore. His guitar playing should be taught in schools, it’s technicality combinded with the sing-a-long anthems of Second Solution, All Torn Down and White Noise really blew the roof off MS Fest. It was a great way to finish the night.

Honorable mentions go to Cog, Faker, and Josh Pyke, but, unfortunately I wasn’t listening intently enough to make a decision on their prowess either way. In conclusion, it was a good day/night full of good tunes and good music. For the record, I went home clean, which is more than I can say for a lot of other very messy muddy people. Bring on next year! sBRAD HARBECK Photography by Simon Hancock.

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. ISSUE 87 . FEBRUARY 18 -MARCH 03 2009

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BY HANNAH

Name: Amy Age: 19 Last piece of music you heard?

White Noise - Living End How did it make you feel?

Amazing What’s the best festival you’ve been to this summer? MS Fest!!

Why? Just made you feel good!

Name: Emily Age: 19 Last piece of music you heard?

Poker Face - Lady Gaga How did it make you feel? Woke me up!

What’s the best festival you’ve been to this summer? Haven’t been to one, but rocked out at MS Fest 2008!

Why? It was awesome!

Name: Amee Age: 18 Last piece of music you heard?

Burn - Jessica Maulbauy How did it make you feel?

Like going out!

What’s the best festival you’ve been to this summer? MS Fest !

Why? It went off!

Name: Tom Age: 18 Last piece of music you heard?

Rootless Tree – Damien Rice How did it make you feel?

Not bad.

What’s the best festival you’ve been to this summer? MS Fest!

Why? ...secret!

K U S T O M K U LT U R E C L O T H I N G & ACCESSORIES D I C K I E S , L U C K Y- 1 3 & L O T S M O R E !

Claire Clarke’s new single Shut Your Mouth is out March 28!

0 www.myspace.com/claireclarke 26

. ISSUE 88 . FEBRUARY 18 - MARCH 03 2009

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