Sauce - Issue 20, 02-11-05

On the street 1st Wed every month

#20 02/11/05

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M A C Q U A R I E

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H O B A R T R I G H T

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F R I DAYS & S AT U R DAYS M I D N I G H T T I l 7 A M

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C A T H E D R A L ) I D

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S R E D A R T D ((ROGUE N 2 R E B DECEM

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ROCK SALT

Thirsty Merc G e t t i n g

What They Deserve

By Tom Wilson & David Williams

Sydney pop-rockers Thirsty Merc are a band on the move, and not just because they’re on tour. Currently taking their When the Weather is Fine tour around the country, the Merc are about to hit Tassie for two shows, including their first Launceston visit. In between playing live gigs and working on new material, a very optimistic Rai Thistlethwayte spoke to Sauce about their second Tasmanian visit, the ARIAs and how their music is making as much progress as their tour.

So, what have you been up to today?

I’ve been investing in a bit of gear for some mixed touring, 2nd album recording, some writing. So I’m just getting a new keyboard to put on top of the current keyboard setup that I’ve got. It’s just kinda set up so I can have more sound at my fingertips. And…what else have I been doing? I did an inspection on an apartment as well. I’m just getting into the property market on whatever level I can. So yeah, it sounds like a pretty involved day but it’s sort of been a bit cruisey. I’ve done an interview here and there as well. Also did a thing for…I think it was Saturday Disney, actually.

What did you do for them?

Just an interview. I don’t know, just showed my face and had a chat to some people there. It was pretty lighthearted. We’re currently in the middle of a six-week tour at the moment; we’ve got gigs on Thursday, Friday, Saturday. And we had the ARIAs on Sunday night, so we’re all sort of recovering from that still.

So you guys have been getting a fair bit of media coverage in the last few months especially. Does it seem like that to you?

Yeah, I mean. The whole ARIAs thing…the industry, there’s a bit of a summation of the year going down in music and the Australian acts have been busy. So if it’s going to happen any time in the year then now’s the time. We’re looking forward to getting a rehearsal in and just doing what we’ve always done which is just learning new tunes and trying new stuff. At the moment it’s just a bit of a juggling act between live gigs and the promotional side of it and all of that… So it’s good; it does feel like it’s busy at the moment actually. All facets of it really.

Now earlier I was going to ring, but I was told that you were recording. Is that right?

When was that? Today?

Yeah.

Ah…it might have been. I’m not sure. I’ve been doing recording on and off; I’ve got a home setup as well. Today’s been a bit busy… I’m sorry if someone told you I was recording so that it would look like I was doing something. But I’ve just been running around doing a few errands as well. So yeah, I don’t know what they told you…

So the stuff that you’re doing that you are recording; not necessarily today, but in your home setup, is that like at the demo stage?

I’ve got amps and all that at home. Like I’ve got a G5 with Logic and all that. It’s just something I’ve been working on and picking up on each time. I’ve been using Logic for like, six, seven years now. I’ve been recording on that. So yeah, just been doing the stuff that I’m doing at home that I’m working on. We’ve also had a few rehearsals lately which are just literally infused in the live set, in the hope that we can get comfortable with these live arrangements. So basically, record those tracks; they’ve got a real kind of groove embedded in there. That’s how we come to a lot of the final arrangements.

You said that you’ve been touring for the past six weeks.

We’ve done three and we’ve got three to go, so it’s a six-week tour.

How’s it been going for you?

Really well, really well. We’ve done some great theatres; we did Brisbane, and there was some great stuff there.

A lot of these buildings are really huge; they’re really nice inside, and the sound is always really good. It’s just set out perfectly for an audience to watch a band. I also like doing…we’ve done the smaller end as well, in regional areas. We did a thing in Tralgon the other night just outside Melbourne and that was awesome. We just packed a few hundred people into this tiny room and it was just nuts. The vibe that you can get in those kinds of things is another kind of energy as well. We also did the Metro theatre in Sydney and the Forum in Melbourne.

You cancelled one show at the Metro. What happened there?

I don’t know, actually. I think it was some booking thing between the agent and the manager. We haven’t actually heard what the reason was. I heard that maybe there was another band; I heard that the Strokes were going to be playing a gig that night. But I don’t know if they actually did. So yeah, that was the last thing I heard about that.

The new material – what are you writing about these days?

Um…a lot of stuff on the first album was kind of big, wacky guitar-pop kind of thing with lots of melodies and sort of day-to-day relationships kind of stuff. I mean obviously I’m still drawing on personal experiences and all that sort of thing. I think some of it is slightly less local and dealing with more mature themes. A song like “In

the Summertime” was written two years ago and that’s probably the most recent song that went on the other album. So two years of life and travelling, doing what you do and getting your heart bashed around a bit by various people and the whole personal growth of being a bit older and doing what we do and being a bit deeper in where we’re at. It leads to a bit more maturity to come out of the stuff. We don’t want to alienate any of the original influences that we had. Hopefully it doesn’t sound like we’re rehashing and of our old stuff, we’re just moving forward. So I probably take on a bit more of the world in this one. Still keep it to an honest lyrical outlook, I think; being Australian guys and doing what we’re doing.

Your brother had a few suggestions for you in terms of writing, didn’t he?

Yeah.

You’re coming back to Tassie. What are your feelings about that? I guess you’re probably going to say “yeah, can’t wait”.

Nah, Tassie’s great. Salamanca market on a Saturday or Sunday morning, or whatever day it is that they have a thing there, is one of our favourite things. We’ve been out jet-boating under the Tasman Bridge. Yeah, that was awesome last time we were there. The weather’s got this kind of London vibe going on. It makes you feel like you’re really in this quaint little place. The people are generally very warm and welcoming to what we were trying to do.

Um…it’s going to be good. Very much looking forward to it. We played in Devonport last time we were there as well. And we’re doing Launceston for the first time. I’m looking forward to that as well.

Two years of life and travelling, doing what you do and getting your heart bashed around a bit…

Are you taking it on board?

Yeah, I sort of have. He’s a perfect writer himself. He just writes a lot of stories and does a lot of illustration as well.

He’s more widely-read than I am. I guess he’s checked out the forms of literature a bit more than I have in a lot of ways. And he was just sort of saying “why don’t you write more about places?” and about states of mind; just trying to look outside a bit more I guess. Which is something that I’ve been trying to do as well.

Talking about London, you played in the UK earlier this year.

Yeah. About two months ago, we played over there doing some festivals.

And that was a way of introducing yourselves to the market over there, those sorts of things?

We basically…through our agent over there we got a gig at the Leeds festival so we just felt like we had to go there. And we were booked for some London shows.

We had a really wonderful time. I mean, if we were really going to have a go at overseas, we’d probably have to take a longer trip than the two weeks that we spent over there. But it was definitely a great thing musically, and professionally just seeing what was going on over there.

Watching Queens of the Stone Age from the side of the stage, and the Killers; amazing, amazing bands playing at these festivals.

Last time I talked to someone from the band, your manager had just gone to the States. You guys just got a record deal over there, or a distribution deal or something?

I think it’s Atlantic Records that’s going to be looking after us. We’re in the throes of getting a producer on board now, and we might be going for a double release as we’re obviously signed to an Australian company so we have to get everybody across. But there are a few guys up there who are championing it. So, yeah… I’ll know more literally in the next month or two, and I should have a bit more of a timeline and something might get released over there.

And is Tassie the last set of gigs on the tour?

No, we’ve got some top-end things. We’re going up to Cairns and doing Bundaberg and a whole lot of other things. I think we’re going with Trio for one gig…oh, that might be Forte actually. I don’t know.

What are your plans after the tour? Are you guys heading into the studio or what?

We’d like to. We’ve got three little stints of like three weeks; a block of four or five days each just going in and doing some stuff in our studio that our guitarist actually works at. He’s been working at it for years. We’ll get in there and be able to do a bunch of stuff there. That would be really good time off for the band. We’ve spent so much time touring and working on this first album, it’s going to be a great thing to do a new body of work, you know? It’s always exciting, that kind of stuff I think.

Thanks very much. Good luck with everything.

Thank you so much.

GIG Reviews Disco D

Freakshow

This Future... Chaos

Mashed 2

@ Syrup

By Dane Hunnerup

@ Lloyds

By Tom Wilson

@ the Batty

By Ryan Cooke

@ The James

By Tom Wilson

The rock scene in Launceston seems to be going from strength to strength, and tonight’s mega lineup at the Batty was no except - with Launnie nu-metaler’s Halfmast, metalcorer’s This Future…Chaos, rockers Spank Paddle and high school kids Finito.

A dedicated crowd of DJs and dance fans packed the Reality for the Ministry of Sound double bill on Saturday. While Dangerous Dan was a no-show – having to pull out due to commitments to his fashion label overseas – there weren’t many complaints about replacement Jamie Doom, joining Ajax at the decks.

BANG GANG I didn’t know show day eve was such a massive night out. We got down to Salamanca late and there was a few thousand people kicking around on a Wednesday night which is a pretty rare thing. The massive queue outside Syrup had me a bit worried but when we got upstairs I was relieved, it seems that they’ve got a good grasp on how many is too many now and it was a really comfortable mix of folks up there getting settled in for some Detroit madness.

For those who don’t know this stuff Disco D plays tunes from a school of music originating in Detroit (the birth place of a few dance music styles) called ghetto-tech.

I had heard about it before but hadn’t heard any tunes or sets of this stuff before. We got there in the nick of time to hear him start his set. It seemed pretty clear to me that the crowd didn’t know what to expect either, he started off by talking. Back in the day DJs used to introduce the tunes and talk to the crowd a lot. Nowadays this has gone by the wayside and MCs seem to be the go but Disco D took it back and started by talking. Then he scratched, then he played fifty cent.

Let it be known that it was a remix but he still played fifty cent. That he would drop something by fifty cent in a way demonstrates the response that you would expect to his set. On the podium in the back were a bunch of Surreal types getting into it and busting moves, the rest of the crowd showed an extremely mixed response. In a way I imagine that Disco D would have worked at Surreal and would have worked at Sirens for an entirely different reason and it seemed like Syrup was the middle ground for the night.

Hidden away on Lloyd’s upper level, something very unique was taking place. I rocked up about an hour late (whoops) to find Altruism freestyling to a crowd of weirdoes, nutters and utter freaks. Realising I was in my element, I got comfy.

And then…well…

Introduced as “Pointless Surgery”, a man was brought out in a wheelchair and proceeded to have steel nails jammed through his face.

“Welcome to Freakshow” someone said beside me.

Whoa. I picked the wrong night to get stoned.

A mix of quasi-punk music, rapping and out-there performance art, Freakshow was incredible. I have never seen anything like it before. And as someone who’s always looking for something a little left-of-centre, I’m really hoping that we’ll see events like that again.

I’m definitely a fan of The Muddy Turds – a two-piece rhythm act that sounded like Primus on crack. Plus having a girl dressed as Paris Hilton flash a nipple piercing – which she only just did in the loo – is always going to get my thumbs-up.

I came away from the gig feeling as though my horizons have just been expanded.

So did it freak me out? Hell yes.

Would I go again?

This was one of Finito’s first pub shows, but the band had shown a lot of promise in the Tasmusic Rock Challenge a few months earlier. Finito have a lot to improve on, but they played really well for their ages and showed a lot of potential.

A decent sized crowd greeted This Future…Chaos on stage, and from the word go Luke, Joel and troops had the crowd riveted and wanting more. Their interesting style - entitled ‘Chaoscore’, blew everyone away, and Luke’s screams and dark lyrics have come along way from his days fronting When Luck Fails.

TFC are a good example of the talent coming through the colleges at the moment, and they have a big future in front of them. Spank Paddle were on next, and they have come really far as a band in the last year or so.

A one-two punch of locals opened the night – Joycee and ESKay slowly pulling a stream of dance fans through the doors. I’m not really familiar with the DJ scene, so I couldn’t tell you what they played, but they definitely set a mood amid some very dedicated punters. By the time Ajax and Doom started cutting, the crowd had thickened considerably, and I found myself really digging their sound. The pair mixed spacious synths with some damn funky breaks, and by the 2:00 mark their vibe was painted on the walls.

Like I said, I walked in the door without a clue as to what the DJ scene is like. But when I finally bailed at around 4:00, I felt like I’d had one hell of an initiation. And big ups to Carlos for the joint.

This was the first show they had played in a while, and they didn’t disappoint - showing why they have such a great following here in Launnie with their obvious talent.

Last band on the bill, Halfmast, were far from their best - certain members of the band appeared to be pissed, completely off their face and could barely play. The only real highlight of the set was a loyal Halfmast fan joining the band on stage and singing the chorus of their last song ‘Sirens’. A great night, which ended with a bang.

eSKay

You bet your arse.

Wild Turkey

Missy Higgins

Spazzys

Vialka

@ Talosa

By Sarah Glover

@ The Saloon

By Ryan Cooke

@ Syrup

By Dane Hunnerup

@ The Republic

By Duncan Ewington

The sun rose over Tassie just in time for Missy Higgins’ outdoor concert at Talossa St Park on Wednesday the 19th of Oct. It was one of those classic, clear, balmy nights that we get every now and again. The picnic baskets and blankets saw the grass for the first time this season, and everyone was getting into the summer feel The vibe was great - family and young people all clambered to get a little patch of grass.

Melbourne’s very own The Spazzys finally made their Launceston debut, after playing in Hobart a few times over the last year or more. Supporting them on this night would be Launceston’s finest rock band, The Styles, and pop punkers The Belchers.

If there was any type of music that divides opinions more than any other I would hazard to say that it would be ‘Art-Core’. The debates about whether ‘art’ music is good, or skillful etc. etc. goes on and on and on until I can’t be bothered tuning in anymore. For the critics of Art-Core Vialka are certainly a band that puts down much of the opposition.

Once again it rolled around to Hobart show time.

This inevitably means three things in Hobart, it rains, there’s a public holiday for young and old, and the band Wild Turkey pulls into town on show eve in their ‘59 Hearse, to play a rowdy show at the Republic Bar, followed by a tour around regional Tas.

To start off the evening entertainment was Holly Throsby. She had a hard job standing there, with her guitar, playing her little heart out, but she seemed to love every minute of it. And of course there were the keen little beans who jumped to their feet, and swayed to her groovy tunes. Her mellow tunes were a great way to chill out with a glass of wine. Keep an eye out for this rising star - she has a lot going for her and we’re sure to see more of this cool cat over the next few years. Ben Lee jumped onto the stage with more enthusiasm than a 10 year old kid who has just drunk a whole jug of red cordial! He busted out some old tunes and introduced us to some new ones The crowed loved him and everyone was tapping their toes or jumping away with me in the mosh pit. Ben really loves what he does and that is so evident in the way he sings and just enjoys being able to bless others with his music..

Missy rocked onto the stage with style and grace and got straight into it. Just about everyone was on their feet dancing and singing to her tunes. Missy impressed me. I was a bit pessimistic going there - not really sure what to expect. Having listened to her music, she is very mellow and just sings and plays what she wants and what she is feeling. I really enjoyed the whole evening and they all complemented each other so well. Ben and Missy came onto the stage after calls of “encore” for about 5 minutes They played one of Ben’s songs together, which was rehearsed, but it was such a great way to end the evening.

It truly was a great night of Aussie music. I left with a smile on my face and a song stuck in my head.

The Belchers opened the evening with good mix of pop punk - vocalist Andy should be on Australian idol singing pop songs, because he’s far too talented to be playing punk. Anyway, the band debuted a few newer and more serious tracks, but it didn’t really suit them.

The Styles come on next after a short break, the Styles are another that have come along way and are still improving every time you see them. Leigh Action and co. tore up the stage and went wild; Luke was still able to play after he broke his guitar slack.

The Styles were in fine form and blew everyone away, the performance ended with Jono Brutal smashing his bass into the ground a number of times and Leigh Action doing his usual rock moves.

Last but not least the headliners graced us with their presence, and from the opener ‘Zombie Girl’, Lucy, Ally and Kat were on fire - not many bands can drop one of their big hits (‘Paco Doesn’t Love Me’) 2 songs into the set. Most people don’t think much of the Spazzy’s due to every song basically being a Ramones cover, but you have to look past that - they are really fun live and seem to have lots of fun.

Everyone’s favorites were played, including ‘Hey Hey Baby’ and the set closer ‘Retard’. The audience cheered for a encore and got what they wanted, with Kat on guitar Ally came up the front and led the band through a ripping version of ‘My Car Doesn’t Brake’ and then the girls broke into their biggest hit ‘My Boyfriends back’ which bought down the house. Great show, pity Launceston people didn’t believe so.

There had been hype about this tour months before it happened. Although we are getting more and more tourers here it is a rare occurrence for us to get a band that are truly international – to the point where the vocals are in another language, French in this case. Before they came I had heard some MP3s from their website and been under whelmed, the week before they arrived I heard their CD, still unimpressed. Then I saw them live.

Imagine if you will a woman. This woman is (vocally) the bastard offspring of Edith Piaf and Janis Joplin. Swinging between that wartime operatic trill to full on ballsy histrionics this woman had the soul with an undeniable Frenchness that was refreshing and intriguing. Take that voice and put it in a very compact frame behind a bizarre composite of bits of drum kit, imagine her playing that drum kit, in a wig and a pinafore, playing like a possessed devil and singing in the aforementioned way.

There you have half of Vialka.

The other half of this group, a fellow playing a baritone guitar with a home jigged rig of different pedals, sampling himself, laying down bass lines, laying down chords, soloing over the top and complementing the crazy lass to a tee.

Vialka were amazing to watch, much much more impressive than their recording. I guess you could call their music progressive turbo folk; you certainly couldn’t dance to it in any way other than an interpretive modern dance.

They were a sweet surprise and something I hope I have the fortune to see the likes of again.

Now if you haven’t seen Wild Turkey perform before you’ve been missing out. Like their name suggests, this trio belts out tunes to shake a tail feather to and wobble a turkey neck. Fuelled by Tequila, singer and guitarist Johnny M, double bassist Guy, and drummer Kirk have been playing mighty fine rockabilly all over Australia for a damn long time.

Already with two albums under their belt buckles they’ve just released their latest “Devil Riding Shotgun” which they played well into the night with great gusto.

In typical fashion the crowd was slow to warm up, but as the punkers filtered down from Trout, and the alcohol started to soak in, the tempo started to rise.

The dance floor filled, the barn dance began to blaze, and the roof was raised. Johnny was lifted into the crowd as his solo wailed, Guy slapped the bass hard, and Kirk smacked the skins like there was no tomorrow.

Having seen them play many times before I can definately say this show was the best one yet! (The copius pints of cascade draught and Turkey and dry had nothing to do with it either!).

I stumbled out the door stupidly grinning ear to ear after a great night, and wandered home via the food stop for the compulsory potato cake fix. I awoke the next day with a well earnt hangover and ringing ears, eagerly waiting for Wild Turkey’s next tour for the Moonah Cars Rock’N’Bowl.

The

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THE SCEAMING JETS with Spankpaddle

1st December @ 9pm TIX $26 @ THE DOOR

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“This is an artist you must listen to ... Steve pulls no punches and gives me hope ... If I were a rock star, I would be Steve Earle.”

- Michael Moore

ROCK SALT

Screamfeeder

Sticking to Their Guns

By David Williams

Sauce wanted to know - what makes Screamfeeder tick? We sought out guitarist/vocalist Tim Steward, in anticipation of their upcoming Tassie tour.

What have you been doing today?

I’ve been doing the tour artwork - making ads and stuff.

Fascinating. I manage the band so it’s pretty much a full time job. I had a bad night’s sleep so I’m a little tired, I

scope isn’t broad enough, but then at the same time you learn to make better and better music together, and the music becomes easier to make. Some days it almost writes itself, we just have to be there. We could almost literally sit back and open a lager, 2 hours later a song would be written! It’s not that simple all the time though.

With bands such as Powderfinger, George and Regurgitator as your peers, to what extent do you feel the band’s potential is yet to be fulfilled?

As far as commercial success goes those bands piss all over us, but as far as musical success and personal success doing music I’d have to say we’re all equal. We’ve got 7 or 8 albums out now - it’s a pretty good achievement. We function so well that I don’t think commercial success would change us, but we’re not gonna try and change what we do to achieve it.

Your most recent production has been the EP Delusions of Grandchildren, to what does the title refer?

Dean our drummer has an unusual habit of half listening to things, conversations and the like, then picking up phrases and twisting them around, really off the cuff and naturally - it’s hilarious! One time he said he was going to change his name “by tadpole”. He can also think of great nicknames for people. So it’s just one of his witticisms, doesn’t mean anything more than that.

What was the musical goal when you went into production for the EP? This is gonna sound really boring, but nothing really.

Our only goal was to actually play the songs all the way through, some of them were less than a week old. It was originally destined to be a single, so really it is one - a double a side perhaps (Blue and All the other times) with 5 b sides. B sides are always free reign to get whatever weird urges you have out of your system, so it’s a bit all over the place. There are tons of fuck ups all over it too.

But our favourite song now has become “modern mornings” which we’d NEVER played live, or even all the way through, before we recorded it.

had a big lentil dinner last night and it kept me up..

Screamfeeder was one of the Brisbane bands to emerge in the mid 90’s, how has the band changed since then?

Well like any band we’ve wandered left and right around our base sound.. in some ways it’s restrictive being in a band for a few years.. you can feel like your musical

Bands of all levels of success break up for a variety of reasons, what has kept Screamfeeder together?

We’re really good friends, and we enjoy writing and performing together, that’s about it really. We like being in the band, it’s fun, and a great outlet. God knows what else we’d be doing otherwise, but it’d be shit boring compared to this.

In September this year you played in Japan. What was that like?

It was wonderful.. amazing food, cheap and delicious, a lovely clean, interesting, busy crazy place. No one steals anything.. everyone leaves their bikes unlocked, and coffee comes in small cold cans from vending machines.

Japanese bands are all technically amazing, venues are all really clean and professionally run (after playing there’s always someone mopping the stage even as you’re packing up your gear). The audiences are mega polite and respectful, clapping politely, and then lapsing

Carus and The True Believers

God knows what else we’d be doing otherwise, but it’d be shit boring compared to this. into absolute silence. There’s certainly no drunken yelling - well only by our aussie mates there anyway.

You must have seen a lot in over ten years of touring with Screamfeeder – what’s the craziest thing you’ve ever seen on the road?

We hit a kangaroo once and wrote off the mini bus, had to spend 2 days holed up in a motel room in Wilcannia (central NSW) eating stale white bread. Some dude smashed the front window of our van in Ballarat one night, we drove back to Melbourne with freezing cold air blasting us. We’ve had a lot of near misses driving, so these days we tend to fly.. one time in Perth I had to take my amp apart and walk onto the plane carrying a speaker in each hand ‘cos the amp was 1Kg over weight. One time dean started kicking bins at the airport in Adelaide because his suitcase had gone to Perth. There are a million funny stories.. have a drink with us and we’ll try to remember some more..

What are your expectations of Tasmania, where you’ll play next month?

We haven’t been for a couple of years but we remember what it’s like. We’re professional, after the places we’ve played we can turn up anywhere and deal with anything.

I’m sure Tassie will be just fine, although Ben from Gentle Ben and his Sensitive Side got his nose broken in Hobart a couple of months ago - that’s not cricket.

The Brisbane music scene went through a resurgence in the ‘90s. What’s the mood like up there these days?

There are a lot of young bands who are really good, but I think a lot of them are really following trends too much.. let’s see how they develop. Aside from the young bands there isn’t a lot happening that is very exciting to be honest. Australian music in general is in a bit of a sad state I reckon.

After your shows in Tasmania, what’s next for Screamfeeder ?

We continue touring till the end of the year, then think about a new album next year, it’s about time.

Carus Can’t Stop

By Zara Dawtrey

With a solid Tasmanian fan base already in existence, boosted by regular gigs in the State’s south and a well-received performance at last year’s Falls Festival, Carus and The True Believers are back this month with their unique folk/reggae/rock/funk blend.

The past 12 months have seen the group undertake a schedule that could only be politely described as intense. They’d barely touched down from a 35-show, five-week jaunt across Europe when they embarked on the current 18-date national tour, with singer-songwriter Carus Thompson somehow fitting in an additional run of solo support acts for Pete Murray’s recent East Coast album launches. Next month will see the group hitting the road yet again, this time as The John Butler Trio’s opening act on their own much-anticipated national tour.

Time out for rest and recovery may be non-existent, but it’s this dedication to getting the music out there is starting to seriously pay off for Carus and The True Believers.

Insiders are tipping them as the independent group to watch, Triple J continues to give tracks from their latest release, The Breakdown EP, a respectable amount of time on the airwaves, and performances at such famed events as the Edinburgh Fringe Festival have brought the group international acclaim.

Carus himself has even been compared in recent months to the man he names as his single greatest inspiration, Paul Kelly.

Having started to write songs at the age of 12, the now26-year-old says it’s the constant quest to make good music that provides the motivation to keep it all going, that combined with a healthy dose of independent artist-related debt.

“I couldn’t stop even if I wanted to,” says Carus, “the guys with baseball bats would be at the door.

“Not really, but the people kind enough to lend me money are my friends, so I have to go out and work.’’

That recent first trip to Europe as a group was undeniably work-focused, with Carus and his band gigging on an almost daily basis for weeks, but, having survived the ordeal, the upside is that they’ve returned to Australia a much more tightly-knit unit.

I couldn’t stop even if I wanted to … the guys with baseball bats would be at the door.

“When you play together every night for three weeks, you learn to just do it,’’ says Carus, “it doesn’t matter if you’re tired, if you haven’t had a shower, if you’ve just driven 700kms… you definitely come out the other end a stronger band.

“With a tour like our European one, any problems you have as a group before it are straightened out by the end, that’s for sure.”

As well as allowing them to tighten up the performances, that same tour saw Carus and the band further explore ways to rock the folk genre.

“I was a bit worried about how the audiences in Europe would go because they know me more as a singer-songwriter guy, not a pretend rock star,’’ says Carus, “but it went down great.

“We don’t think we’re cool, we’re just there to get the room happening… and if I take my shirt off and jump off speakers to do that - thereby looking a little stupid - then so be it.’’

While fans can rest assured Carus’ acoustic talents will still be on show, they can also expect to see a more rocking performance this time round. ``I like to think we’re channeling a bit of Weddings, Parties, Anything, or Things of Stone and Wood – as in folk songs rocked out,” he says.

“And I love the way Australian bands rock out – you look at You Am I and AC/DC and it’s always done with a healthy amount of taking the piss.

“It’s about human beings, performance, energy – and everyone being equal.”

Despite the group’s rising profile, Carus insists that life in

the band remains pretty much the same as ever.

I don’t let myself do that now - but if it ever happens, I’m sure you’ll see a bloody good album.”

“We did have a couple of rock star moments in the UK and Europe, but it’s too expensive here,’’ he says, adding a “just kidding”.

“We still do everything ourselves - we don’t have a tour manager, we pack up our own stuff, and we get ourselves to the airport.

In the meantime, a long-standing commitment to playing regional areas as much as standard big city venues, coupled with a seemingly genuine appreciation of the State’s charms, means there’s unlikely to be too big a gap between visits.

“What spins me out is hanging out with people I admire as artists. The other night at the Republic Bar, hanging out with Tim Rogers, drinking beer and talking music, that was something I never thought I’d do, and that’s the coolest stuff, I reckon.”

Although he’s said in the past the best cure for writer’s block is to break up with a girl and get depressed – “happiness is much better for your state of mind, but not for your creativity” – it seems Carus is now firmly in possession of a much more positive outlook.

“We all love music, and when you’re raw and open, that’s when you write your best stuff. I used to be a lot more self-destructive and get a lot more depressed, and

“Tassie is absolutely awesome – there’s just a special vibe in the air, something unique. Hobart reminds me of what my hometown, Freemantle, used to be like before it got taken over by yuppies.

“Tasmanian audiences are lovely - they rock out, and they listen. They also really respect you for making the effort to come back. I think in a more regional area, a gig is more of an event. People pick a gig to go to, and everyone goes there, so it it’s more of a party atmosphere and you need to get everyone dancing and make sure everyone has good time. My friend, Simon Daly, who runs the Falls, was the first guy to tell me about how good Tassie is, that you should put in the time and keep coming back – and he was right.”

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ROCK SALT

The Embers B u r n i n g

By Tom Wilson Tom Wilson spoke to The Embers about the past fires that created the band, and why they will flare up again in the future.

How long have the Embers been together?

Different members of the Embers have been on musical benders for the past few years. 2005 has been the first opportunity that we have all been able to get together to create and perform as a band.

What kind of sound do you have?

Well, you could say we are a musical platypus. But really, this is a difficult question to answer because we don’t play within any one musical genre.

Drawing inspiration from our different backgrounds we have been able to use the embers as a melting pot of sound creation. So far, we have incorporated Celtic melodies, Spanish grooves, folky sensitivities, reggae dubs, drum ‘n’ bass and tribal rhythms.

Do you have any interesting comparisons to other acts?

No, we don’t compare ourselves to other acts.

How does being in The Embers affect your life?

Being in The Embers enhances our lives. As we are all socially retarded, it gives us all the opportunity to meet at least once a week to refine our interactive skills in a social environment. This way, if the opportunity arises where we are invited to a social affair, hopefully we shouldn’t be considered as speed humps disturbing the

Well, you could say we are a musical platypus

B r i g h t l y fluidity of normality.

What material do you have at the moment?

At present we have a set worth of original material that involves a variety of different instruments that generates The Embers’ sound.

How do you feel about your results in the National Campus Band Competition?

We were really happy with our results in the NCBC as coming second proved to us and others that we have something really good to offer the musical community in Tasmania, Australia and the WORLD!!!

How frequently do you play?

At the moment we have been playing gigs nearly every fortnight and get together regularly to jam and create new material for our gigs.

Where’s your venue to play?

Irish Murphy’s

favourite

What local acts do you like?

The Dead Abigails, The Rakes, Micky J, The Fat Band, Modus, Rocket Noodle, Hammerclit, The Chordweiners and The Thursday Band What kind of writing process do you have?

It’s an organic process that involves a whiteboard, butcher’s paper, textas, instruments, beer and a smoky room.

Where do you want to take The Embers?

To as many people and places as possible. Failing that, India and Nepal.

The Embers are playing at Irish Murphy’s on the 2nd of this month.

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ROCK SALT

Steve Earle

D o w n

“ C o p p e r h e a d

R o a d ” t o H e l l . . . a n d B a c k

By David Williams

We’re in trouble, it isn’t anything you want to just sit by and pretend isn’t happening There are many sides to Steve Earle. Perhaps most well known in Australia for the hit, “Copperhead Road”, Steve Earle is a legend on the US and world music scene, for his politically charged, rockin’ music.

For those who don’t know, Steve Earle has been, for the past two decades, one of the more compellingly engaged figures on the American cultural landscape. Steve is the author of best-selling works of fiction (“Doghouse Roses”), a playwright, and a well-known speaker and presence in a variety of left-leaning populist movements.

But it is in his persona as an exceedingly thoughtful, yet fun, country rocker that most people know him, and rightly so. His contribution to the merging of progressive country to the wider rock audience remains huge.

Indeed, there is every reason to believe that the entire genre of “alt. Country” would not exist without Earle’s ground-breaking extension of what used to be called “folk-rock.” His recorded work, from the classic 1986 Guitartown onward through such excitingly heartfelt/ redemptive works as Copperhead Road, I Feel Alright, El Corazon, Transcendental Blues, to the current The Revolution Starts…Now, represents an extraordinary catalogue of deeply personal music which compares favorably with such esteemed heroes as Neil Young, Bruce Springsteen, or even Bob Dylan.

Few artists have been able and/or willing to put themselves so consistently on the line, or to forthrightly speak their minds as Earle has, while continuing to maintain a commercial presence. On the heels of the controversial Jerusalem, which featured the much discussed “John Walker Blues,” a song which confounded Fox Newsies and other Patriot Actors by daring to actually imagine the so-called “American Taliban” as a human being, The Revolution Starts…Now, which features such no punchpulling tunes as “F the CC” (an ode to the Federal Communications Commission) and “Rich Man’s War” might just turn out to be Earle’s most popular work.

As rock narratives go, Steve’s journey from wiseass

The Roobs

H o b a r t ’ s

garage player to wiseass (but wise) national figure is difficult to match.

The back story, with its James Deanish archetypical aspect, is well-known to fans. Steve is from Texas, of course, where he was brought up in the don’tblink town of Schertz, outside of San Antonio. It wasn’t the easiest childhood, most of all for Steve’s parents, the charming, more than occasionally exasperated Jack and Barbara Earle. Much of this upset owed to the fact that Steve, the oldest of five, was a poster child for the sort of individual who nowadays gets diagnosed ADHD (with a heavy accent on the hyper) and given mountains of Ritalin. Back in the 1960’s however, people like Steve were just called noncompliant badasses.

Always looking for grown-ups (using this term loosely) who could teach him something he actually wanted to know, Steve joined up with many of the Texas troubadour legends of the time, people like Guy Clark (for whom he played bass), Jerry Jeff Walker, and the inimitable Townes Van Zandt. Most influential would be the dissolute Van Zandt, a world-class songwriter and self-destructive force, whom Earle calls----in one of his most quoted one-liners--- “a really good teacher and really bad role model.” The two men bonded in a hell-bent symbiosis of art and madness. One time, in an attempt to cure his drinking, Van Zandt had himself tied to a tree by the younger Earle. The truly demented thing was they both imagined this as a potentially effective treatment regimen. (It wasn’t: Van Zandt would wind up drinking himself to death). Never one to stint in the pursuit of anything, Steve, in addition to his drug use, would start marrying women in record fashion. In the words of one of his greatest songs, “Fearless Heart” he “fell in love a lot”. By the time he hit 40, he’d already been married an impressive six times, to five different women (Lou Anne Gill twice), which added up to two children and a hell of a lot of alimony.

After the release of the brutally underrated The Hard Way, Steve Earle entered his own kind of personal Hades.

Fired by MCA, he pawned most of guitars and moved to South Nashville, the black side of town, where he would spend the most of the next four years living the life of a street hustling drug addict, albeit one with some seri-

The word ‘rube’ actually comes from old-time American carny slang for a sucker or ‘mark’

s w e e t h e a r t s

o f

t h e

g a r a g e

By Zara Dawtrey Hobart band The Roobs may’ve only formed two years ago, but the garage rockers have already cultivated a strong following on the local scene and beyond. Having already released their first EP, Sweetheart of the Garage, earlier this year, the foursome (made up of Chonga McLagen – vocals, Aydn Hibberd – guitar, Emma Candy – bass, and Timmy Jack – drums) are now hard at work on a full-length album, while still managing to fit in those tight, raw performances they’ve built a reputation on.

Described as “high energy rock ‘n’ roll”, your sets consist of mostly original material – which Roobs member undertakes chief song-writing duties?

Originally Aydn wrote all the original material, but more recently Chonga and Emma have both been contributing, and our new drummer Timmy Jack Ray introduced the band to some complete songs he’d written, and is continuing to bring stuff into the garage to work on.

Pick a line from the lyrics of one of your songs and tell us about it: The song we mentioned, ‘A Little Bit More’, has a bit of

ous royalty checks still pouring in. Hanging with some local losers, playing Dr. Dre’s The Chronic over and over again, Steve Earle became one more of country music’s casualties. Every so often there would be Bigfoot-like sightings of him in the industry rags, usually looking gaunt and sneering. People wrung their hands about what a waste it all was, since Steve could have been such a massive star. Eventually, after a number of literally hair-raising car crashes and near death experiences with nasty drug providers, Steve got himself fitted for a bright orange jumpsuit in the County Jail where he’d stay for four months.

To say Earle was “a different man” when he got out of prison is stretching it some. According to almost everyone who knows him well, he was the same person: still a guy who rarely shut up (Steve himself says, “I’ll talk the ears off a wooden Indian”), still a guy with a head full of ideas. Kelley Looney, the bass player who has been a Duke longer than anyone says, “with Steve, things are always changing, but you kind of get used to that.”

There were differences though.

Mostly, Earle was straight, off junk and in a program, going to meetings nearly every day. Secondly, he was ready to play again.

Of course, the song didn’t exist then, and Chonga did freak a bit when he saw an unknown title on his songlist, but being the pro he is, he picked it up before the set started - so it wasn’t as big a shock as Aydn had planned!

What are you listening to at the moment? Who’re The Roobs most influenced by right now?

New stuff we’re listening to includes The Monsters, who are from Switzerland, and on their way to Oz in 2006, we really dig their garagey fuzztone rock, and the raw production.

Shock Records have put out some great compilations recently, too. One featuring a variety of new and classic Roobs faves is ‘The Rock ‘n’ Roll Disease’.

The Roobs’ musical influences are fairly unwavering.

We’re devoted to real Rock and Roll which comes from the guts and the heart. Bands like the MC5, Stooges, The New York Dolls, The Ramones and Radio Birdman defined a sound that’s still valid in a new millennium. Contemporary influences are more to do with production. We get off on a production sound that is really immediate and doesn’t distract or de-tract from the song, like The Hard Feelings’ ‘Anytime I Want’ ‘7’ single on Dropkick Records. The Mystery Girls and The Monsters are great examples too.

Steve Earle plays The Saloon, Launceston on Mon, 28th and UTAS (Hbt) Uni Bar, onTues 29th of November.

There are some who might wish Steve keep his rabble-rousing music to himself and simply turn out entire albums of tunes like “Fearless Heart.” Steve is sympathetic to this point of view. But for now he feels little choice. As an American patriot, what was someone with a songwriting gift like his to do in the age of Bush? “We’re in trouble, it isn’t anything you want to just sit by and pretend isn’t happening,” says the artist about his response to the current American place in the world.

It isn’t anything you really want to argue with either. Because first of all, Steve Earle has been around.

He has done his requisite hard

Mad Macka

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In Brisbane I played one set that decreased in strings each song until I was down to about 1 or 2 but of course the show didnt stop

C a t

By Rick Chesshire a funny story behind it. The lyric is actually ‘you wanna score a little bit more’. Chonga wrote it when he was giving up cigarettes. He got the inspiration when Aydn tried to freak him out, and as a stir wrote an extra song title, ‘A Little Bit More’, on the songlist for a show in our first summer playing.

traveling for his position as a cultural bard. He is no dilettante in what he loosely calls “The Revolution”. Indeed, he is a renaissance man of the Revolution, a process which doesn’t necessarily have anything to do with AK47s in the street or little red books written by Mao. The Revolution is a way to think, a way to live. Being up front in that number takes a little ego, that’s for sure. But it takes learning too --- life learning and book learning.

Mostly, though it takes heart. Heart is something Steve Earle, who still “falls in love a lot”, has plenty of.

G’day shaggas! It’s the Chesshire Cat here with my first ever interview for Sauce.

Are you excited? I am. I got to speak with the one and only Mad Macka!! Frontman for classic Aussie slob-punk bands like Scotch Thistle, The Onyas and The Egos. This bloke should not be missed when he arrives in Tassie with his mate Panhandler this month. I spoke to him about the new album Goin’ Slops, gladwrap, Powdermonkeys and all kinds of really interesting shit. Read on Saucy types!

So Macka, You’ve been down to Tassie several times with The Onyas. This time it’s just you and your mate, Panhandler. How long have you known him and has he played in any other bands??

Panhandler has been known to me for 15 years. He played in an early lineup of the ONYAS he’s also blown some harp on a South Australian tour of EGOS.

Where can we get the Goin’ Slops cd?? Which Label??

At the moment you can only get it at gigs and it’s on Breaststroke Records�What’s been the funniest touring/ gig moments? Too many to mention and I dont know what to classify as funny because there are a lot funny things that happen but that ONYAS gig the other night at the 610 CLub in Brisbane for the 4ZZZ benefit after drinking a few Sprite Zeros to warm goes pretty close.

As for the MAD MACKA and PANHANDLER show we haven’t done much touring yet so the only touring that we have done is Brisbane and Melbourne. In Brisbane I played one set that decreased in strings each song until I was down to about 1 or 2 but of course the show didn’t stop. And it doesnt help when the Handler has an asthma attack on stage either.

What has been the worst gig you have ever played and why?

There’s been quite a few of these as well. Probably the one at the Noosa Reef Hotel where I sat on the floor and played with one string again - that was back in 97 or maybe it was playing school dances in other previous groups in the early 90’s, but by the same token these were probably the best.

What kinda stuff will you two be frying up for us when you come to Tassie?? Is it acoustic stuff or what??

It’s not acoustic. It’s actually electric. When we recorded it was acoustic. We used Kat’s guitar (Kat Spazzy) because it was the best thing that sounded plugged straight into the desk. But when we play live we play electric it’s an electric guitar plugged into a Yamaha 212 and Panhandler plays straight into a microphone with a tinge of overdrive to the desk.

I’ve heard The Onyas might be playing at the Powdermonkeys last record launch in November. Any thoughts on Tim and the Powdermonkeys??

Tim was a seminal songwriter and performer and I remember when there was a time when I feared the POWDERMONKEYS as a force and a live band, still do. On their night they were the best.

Where was the ‘Goin’ Slops’ cd recorded??

At our house in Footscray that we lived in.

Will The Onyas be recording anything soon??

I doubt it. But Richard and I thought of 3 new song titles they being Schizo Toxins, Walt’s Head and the Stamping Bouncer.

The cover for ‘Goin’ Slops’ is classic. Who’s backyard was it??

Ours!

Everytime I’ve seen you play you’re either in your underpants or naked wrapped in Gladwrap. What will you be wearing for the Goin’ Slops gigs??

You must have seen someone else. Ha. If the weather down there isn’t too bad I reckon a pair of stubbies and thongs will be just fine. As for the Handler you have to ask him.

What are you listening to at the moment?

Go-Betweens “Ocean’s Apart” and a “Best of”, The Saints “Nothing is Straight in my House”, Black Flag Rollins era� MAD MACKA AND PANHANDLER�Saturday Hobart 26th Afternoon, Syrup�Saturday Night 26th Evening Royal Oak Launceston

BANGERS & MASH

Declan Lee

W e a r s

D J

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spoilt for choice!!

By David Williams Declan Lee has worn many hats in the dance music industry - as an event manager, as a DJ and as a producer. Wearing his DJ hat, Declan soon will pump out the tunes at a gig in Hobart. Sauce asked him, “Waaassssuuuuuppp??”

What have you been up to today?

For the last year I have been concentrating on our new company which is designed to run along side Sounds.

Called Egg, it’s a touring company basically but encorporates music management as well.

Tours we do or have done include: King Unique (Live Dex ‘n’ FX) Kraak and Smaak Paul Woolford (WeLove) Tiefschwarz (Fine Records Germany) Mark Knight (MOS/Toolroom Records) Ivan Smagghe (ill the DJ/Black Strobe) General Midi (Distinctive Records) Damian Lazarus (Crosstown Rebels) Moguai (Punx) Mike Monday (Kinky Vinyl) Ewan Pearson Ben Watt (EBTG/Buzzin Fly) Moonbootica (Moonbootique) Paul Harris (Dirty Vegas) Booka Shade (Get Physical) M.A.N.D.Y (Get Physical) Cut La Roc Deadly Avenger What about in the past month?

Concentrating on tours coming up over New Year’s and on a DJ front, concentrating on my residencies at Safari and Chinese Laundry in Sydney. Playing interstate when I can afford the time.

With years of experience, what’s giving you a buzz as a DJ these days?

I must say I am very excited about the music that coming out of places like Berlin… For the first time in a while I am really excited about the music ... And the fact that there’s so many great download sites popping up means music is even more accessible than before… I am simply

Gavin Keitel

What do you think are the qualities that give a DJ credibility?

Track selection is paramount.. anyone can play 2 hours of big tunes and think they are wonderful. The best dj’s are the ones that use records you never thought would work, place them in the right place and make them shine. That’s a real art… Of course clever mixing is always a plus but not essential. Some of the best sets of heard have been accompanied by some absolutely awful mixing!

You’ve done a lot of work as an event manager for Ministry of Sound. What was the highlight of this time and what is the one event you’d love to work on?

Most of the time I spent at MOS was Artist and Repertoire related.. Spent most of my time working on the Hussle Label and signing records for Australia and NZ ... I do more event based stuff now that I’m with sounds group.. We do weekly events and large scale events for renaissance and we love.. out here and working on those things is great..

What mood do you seek to create when you take to the decks?

No matter what you play lets face facts… nightclubs are for having fun in… I’d like to think I provide music that’s both interesting and fun.

No point playing bleeps and noises for 2 hours if it puts people to sleep..

What have been the highs and lows of your career so far?

Haven’t had too many lows to be honest.. its never that bad! I had a great time in july playing in Europe playing in berlin, Serbia and Ibiza… Sometimes you have to pinch yourself and you can feel very lucky that someones actually paying you to do this. I’ll never forget playing to 16,000 people on bondi beach in 2000 before sasha… need I say more…

Who could you say has had the biggest influence on your career?

Sounds clichéd but the music is the thing really. Its just constantly evolving and I just love it..

I’ve also been very lucky to have gathered some great friends all over the world that keep me inspired all the time..

You’re credited as a producer as well as a DJ – what’s going on with that side of things?

Not a lot to be honest.. I’ve just had a record that I did with Pocket (from Poxymusic) signed to Moonbootica’s label in Hamburg.. due for release in NOV which is quite exciting. Apart from that I haven’t been in the studio much… too busy with other peoples careers it seems!!

For the first time in a while, I am really excited about the music.

What are your favourite three tracks at the moment and why?

Can’t say I know… there’s so many… perhaps my fav producers? Trentemoller, Mike Monday and Ewan Pearson are always on the money.

With a lot of other kinds of music, a live performance commands the crowd’s attention. On the other hand, a DJ tends to set a vibe for the atmosphere of a club. It’s less direct. To what extent do you agree with that?

Sure, its certainly true. In many ways its very difficult as its not immediate and often people don’t even know they’re been persuaded to kick up their heels. People recognize very quickly when they are having a shite time whereas they could be having a brilliant time and not even realize how much the DJ influences that.

What music styles will you be playing in Hobart and how will it differ from what you play in other places?

Hard to pigeon hole really… I really like to play everything from electro to minimal german tech to deep and melodic house…

Hopefully just great music..

After Hobart, in terms of playing live as well as production, what’s next for you?

Really concentrating on our club nights in Sydney… we have music policies that we adore so we really want to make sure the punters hear upfront , fantastic stuff that they feel inspired by ... Not going to be spending much time in the studio as I’m really enjoying djing at the moment and there just aren’t enough hours in the day…

What will you be doing for Melbourne Cup day?

Sitting at a mates place on the beach in clovelly and definitely not betting… I am the worst punter on earth!!!

Declan Lee plays Syrup, Saturday 5th of November.

Hard To Pin Up or Down

By Tom Wilson & Dave Williams With 18 years of professional DJing behind him, starting out at age 16 in Darwin, and culminating in performances at his residencies at Melbourne’s Sunny, 161 and other important underground clubs, Gavin continues to hold some of Melbourne’s longest standing and influential residencies.

What have you been up to today?

Spent the whole day today mixing the next promotional CD for the Sunny parties I play for. It’s the 8th Birthday next party and I had to have the CD done by today so we can give it out on the night. I have also been preparing for Cup eve in Melbourne (Monday night) where I am doing the warm up for Digweed.

What about the past month?

This has been one of the busiest times I have ever had.

After the release of the ‘Electric’ CD I have been playing a lot and I am also about 2 months into a new job, which has been extremely challenging. I really need a holiday What are your plans for when you play in Hobart?

It really depends on how up for it the clubbers are. I’ll probably start with some deep tech house and see how far we can go.

How will it differ from what you play in Melbourne?

I intend to play exactly the same if I can, I’ll just do my best to read the room and push it as far as I can.

You’ve quoted as saying “You’ve got to give the dancefloor a bit of credit, instead of slamming out hit after hit”. How do you give a dancefloor credit?

Anyone can play hit after hit but I think a lot Djs would be surprised how clued up the average clubber is these days. If I can have people walk out of a venue at the end of the night and think they didn’t really know much of what they heard but had a great time then my job is done. There are a lot of people out there that like to hear new music and even better be exposed to a new sound.

You were the first artist to be featured in the new “Electric” CD compilation series, what did that mean to you?

I guess it was bit of an honor really. With the first CD in a new series there is always special considerations and obligations to take into account. Hopefully I managed to fulfill those whilst creating a fresh feel and sound for brand.

You’ve got to give the dancefloor a bit of credit, instead of slamming out hit after hit I get the feeling that when you play, you want to take the crowd on a journey, through the familiar and the strange. To what extent do you agree with that?

That would be pretty close to the truth only rather than the strange, more like new sounds.

What are your favourite three tracks at the moment and why?

A track off the new Misc. album called Metroland, its deep, melodic and timeless. I just used it to close the Sunny promo I just finished.

There is a track off the Egoexpress album called Everybody, it’s deep and driving and has all the elements that I like for a dark heaving dancefloor burner.

The last I have been belting for a few months now and it has always taken the roof off. The Oliver Koletzki tune

Der Muckenschwarm is the anthem of the year for me.

Is there any record you’d love to play but which is totally unsuitable for a club set?

That’s easy, Sebastien Tellier, La Ritournelle. It was used by Superpitcher as the closing record on his Today CD, it will go down as one of my top ten records of all time. If you can find it buy it, it’s a collectors item already.

What is the mood amongst the dance music scene in Melbourne these days?

My regular gigs have been fantastic, everybody has been very responsive and it has been a very rewarding year. As for the scene I couldn’t really tell you, I never go out socially, I’m not a big fan of nightclubs.

I feel that you have real passion for music, that you’re focussed on “the moment, the movement, the sound”. How early in your life was it that you felt this way and what do you remember feeling at that time?

Right from the start to be honest, collecting records and playing professionally is not something I have to go out of my way to do, it’s always been fun and I’m still enjoying what I do.

What will you be doing for Melbourne Cup day?

If I make it through the Digweed show in good shape I’ll head out for a ride on my dirt bike.

What about Christmas?

Seafood lunch with the family, life doesn’t get any better!

And New Year’s?

I am booked solid so I will try and get through without getting to sidetracked. Business as usual.

Gavin Keitel plays Syrup on Friday, 18th of November.

BANGERS & MASH

E P I C U R E @ Heat TASMANIA UNIVERSITY UNION PRESENTS

F R I D AY

1 8 T H

Black Market

N O V E M B E R

W I T H S P E C I A L G U E S T S S O P H I E K O H & E N O L A FA L L T U U B A R - U N I V E R S I T Y O F TA S M A N I A H O B A RT

Every Friday and Saturday night, the much-troubled HEAT Nightclub (located @ 121 Macquarie St, Hobart, right behind St David’s Cathedral) presents ‘Black Market’.

And, just as the name suggests, it’s a seedy, underground hangout for . . . well, almost everyone! Home And Away favourite Chris Hemsworth hung out at HEAT during a recent visit to Hobart – going off with those who can’t or won’t go home ‘til the early hours.

Doors open at midnight and don’t close before 7am (perfect for this writer), and my sources tell me the

TIXS ON SALE NOW:

$16.50 MEMBERS, $18.00 NON MEMBERS & MORE ON THE DOOR UNI CONTACT CENTRE: 6226 2495 LA ZENBYS ON LIVERPOOL: 6234 1154 E N TR E PO T A RT SUPPLIES – HUNTER ST CAMPUS: 6226 4313

New Album

“Main Street” In Stores Now

Unwind at...

1 4 3

Friday Nights Live Jazz From 8pm Ursula’s Wine & Tapas Bar 63 Brisbane Street, Launceston (near the Princess Theatre) Open from 12 til 2.30 and from 5pm Tuesday thru Saturday P: 6334 7033 | E: Diana@ursulas.com.au

place really cranks from 3am onwards. Plus, it’s safe, with the right people let in and the wrong ones kept out..

I promise to check it out first-hand, and report back next edition.

C H A R L E S S T R E E T L A U N C E S T O N P H : 6 3 3 1 6 8 4 6

BANGERS & MASH

Klaus Hill

In The Red Corner ...

By Tom Wilson Klaus “Heavyweight” Hill’s moniker comes from his father’s career as a boxer. But there’s more to it than that. With residencies spanning from South London to Hobart’s Halo, Hill is a DJ known for monstrous bass-lines and seriously heavy breaks. He went round-to-round with SAUCE Magazine about the scene, aspirations and what planet he wants to take “Title Fight” to next.

what would it be?

Nothing, it’s the best gig in Australia by miles and all the touring breaks internationals think that as well. It’s like a second home for me.

…It’s the best gig in Australia by miles and all the touring breaks internationals think that as well.

with, and why?

Too many, Depeche Mode , Trent Reznor, Brian Eno

Where do you want to take Title Fight next?

To Mars

Who are your favourite Tassie DJs? Willy, one of the Halo residents

Hill is playing Hobart’s Halo on the 26th of November.

Who are the people you’ve always wanted to work

What have you been up to today?

Just got of a plane from a gig in Canberra. Played at a festival called Stonefest, a few thousand pissed up students, great fun!

What kind of relationship do you have with Rennie Pilgrem and Meat Katie?

I have known both of them for years and are they are very, very good mates of mine.

Doing the residencies you do must keep you pretty busy. What do you do outside of music?

Read about post 1945 conflicts and play lots of computer games Why did you move to Sydney in 2003?

My wife is Australian, came out to meet her family spend some time here, was only supposed to 6 months, that was 2 years ago.

What differences can you see between the London and Aussie scenes?

People, London just has so many more people going out clubbing. It used to be the sound as well, Aussies liking it funky, UK darker, but that has changed a lot since I have been here.

You run three labels. What’s happening with them?

Title Fight is the main focus at the moment. I’m pushing some great new talent on them like Psure and Dopamine and we are getting the releases out there.

You’ve got a residence at Hobart’s Halo. If you could change anything about the vibe of your shows there,

Deekline And The Wizard

Bring Da’ Breakbeat & Bootybass Their music style draws on electro, the UK garage scenes, the UK bass scenes, Miami bass, hip-hop and breakbeat.

They have already captured interest from dance heavyweights notably MJ Cole, The Stanton Warriors, Plump DJs and Artful Dodger to name but a few with their initial release “4x4x4” and the “Ill Street/Truth You” EP and the release of the duo’s first album, “Breaks, Beats and Blondes”..

“Fresh, funky and fun-loving, “Breaks, Beats & Blondes” is an album that does that rare thing of maintaining street cred while appealing to ears that only bass and beats would never reach.” Album of month June issue 5/5 IDJ. DEEKLINE Deekline, aka Nick Annand, has earned his reputation in the dance scene, having worked with legends like Arthur Baker, Rennie Pilgrem, Donna Dee and Freq Nasty. This reputation is fully impounded with chart successes namely “Want You More” and commissioned remixes such as “Got Your Money”.

Deekline is also known for shaking up the whole nuskool scene and twisting out the fattest of bass lines wherever he is playing including the legendary club night Breakbeat Connection.

THE WIZARD The Wizard, aka Greg Fleming, is not only a producer but an engineer whose youth belies his formidable expertise..

Both New Order and the Chemical Brothers spotted his engineering talents and were quick to pick up on his expertise. Remarkably he has since put his own imprints on albums for the likes of X-Press 2, Britney Spears, The Prodigy, Placebo, Fatboy Slim and Usher.

And the list goes on. The Wizard has worked with the

that rare thing of maintaining street cred while appealing to ears that only bass and beats would never reach forefront of artists from the UK Breakbeat and Dance scenes imparting his talents onto rave pioneers The Ragga Twins and dance heavies such as Jeremy Sylester and Jon Carter. The Wizard is surely set to influence a wide range of genres (is anything out of this man’s grasp?!) including the now massive UK Grime sound and the most ground breaking of movements in house .

COMING SOON...

BASS KLEPH(Syd) vs NICK THAYER(Melb) Sat 12th Nov A 4 hour back 2 back breakbeat bonanza. $10 @ the door KLAUS"HEAVYWEIGHT"HILL + MC LOSTY(Syd) Sat 26th Nov Klaus returns for the 5th installment of Title Fight with MC Losty in tow. $8 @ the door Fri 2nd Dec

DEEKLINE & WIZARD(UK) Big bassline breaks with 2 of Botchit & Scarpers finest. $10 @ the door

DEXTER(Melb) Sat Australia's #1 turntablist is back.

10th Dec $15 tix from Ruffcut PAUL ARNOLD(UK) Chew The Fat! resident makes his hobart debut.

Sat 17th Dec $8 @ the door SOUL OF MAN(UK) Sat Finger Lickin' funksters.

31st Dec $29 tix from Ruffcut Friday 13th Jan

KRAFTY KUTS(UK) Trickatechnology. $34 tix from Ruffcut

@

Purdys mart Off collins

BANGERS & MASH

Ministry Of Sound

An nual To u r -

T h e D y n a mic Duo Return

By Tom Wilson It’s only November, and already Ministry of Sound duo Mark Dynamix and John Course are reflecting on 2005.

But they can be forgiven for being a bit early; they’ve had a busy year.

Together they carried the MOS Sessions Two tour on a twenty-two-date marathon around the country, hitting the decks in venues both urban and regional, including their first show in Alice Springs. Between them, they’ve mixed and recorded upcoming material, played under Canadian mountains, and witnessed the successes of several fellow DJs. Both were very optimistic about the shifts and rifts of house music in the last year. “2005 was a great year musically as electro finally took hold in the clubs here in Australia,” said Dynamix. “A minimal bassline driven sound which would have been deemed too underground for mainstream clubs last year could now be heard all over the place.”

Why? “This could be partly due to the fact that the electro sound in the last 12 months has been successfully merged with house, rock, progressive, techno and any other style you’d like to list, and it seemed like every man and his dog jumped on the electro bandwagon this year, as producers that were known for a completely different sound suddenly changed tact and started producing tracks with an electro edge.”

Course shared the view.

“I personally love the fact that the music we love is getting more exposure…It means that the tunes we play in clubs cross over quicker, but it also means that

the leading DJs work harder and move on to new music faster when playing at the best clubs.”

They weren’t short of individual highlights either. John Course played the Tsunami benefit show in Melbourne, and also got to watch the successes of two DJs – Kaz James and Grant Smillie – who share residencies with him at Melbourne’s One Love club. Course has also been busy in the studio cooking up originals and remixes under the name Electro Funk Lovers, with producer mrTimothy, He’ll be releasing them in the near future. And he has continued with his mix-up duties for the Nova radio stations, which he shares with Smillie.

Dynamix’s highlights started early; playing NYE at Harbour Beats in Sydney’s Luna Park. “Travelling by boat to the venue just before midnight, it was a fantastic way to bring in the New Year, zooming across Sydney Harbour, before playing to a truly excited crowd…I’m looking forward to doing it again.”

This year also saw his first visit to Canada, playing gigs in Vancouver and Whistler – the latter being a club set at the base of a mountain. “I was thrilled and also quite surprised to see so many Aussies in the crowd, in fact I think we outnumbered the locals - so cheers to all the friendly faces that came out to support one of their own.”

So did 2005 have any downsides? John Course could think of only one: jetlag.

“I have had something like 50 domestic flights to all over Australia throughout this year, not to mention the international ones…and I don’t really like flying!”

Dameza (HOBART)

Tassie DMC DJ Champ

By Zara Dawtrey A self-confessed metal-head before discovering the joys of the decks just a couple of years ago, Hobart’s dj Dameza recently competed in the DMC World DJ Championships in Melbourne, after battling eight of Tassie’s best at Halo to secure the Tasmanian crown.

The 21-year-old talks to SAUCE’s ZARA DAWTREY about what it’s taken to get to where he is, where the local scene’s at right now, and how he plans to secure the national title next year – and drink more free beer.

What did the State championship comp involve?

It involved competing at Halo with eight contestants. Six minutes each, judged on three categories. It wasn’t the first battle that I’ve been in, but it was actually the first I’ve won, so it was good for me in more ways than one, ’cause it was a real confidence booster. I was a metalhead for years, and the first time I actually saw scratching, etc. was at J-Macs house fuckin’ ages ago, and all the crazy sounds and patterns just made me flip and I was hooked. So then it was off to the boys at Ruffers (Ruffcut Records) for some decks, and I’ve never looked back since.

The national comp, held in Melbourne in September, must’ve been pretty intense – how did you prepare for it?

Practice, practice, beers with the boys, practice, practice, cigarettes, practice, practice, hi honey how was your day yeah that’s nice, practice, practice, practice, sleep, practice, practice, freak out about the comp, practice harder . . . etc.

How intimidating is it to perform in that kind of atmosphere?

It’s not overly intimidating because down here I’ve had the opportunity to play in front of reasonable crowds, so I’m used to the butterflies a bit I guess. But also, I think there was 1600 people there or something crazy, so you really gotta be ready for that rush of adrenaline, or sometimes it’s too much.

How would you describe your style? Who/what are you influenced/inspired by?

My style? Hmmm, scruff pimp? Shaolin dragon tail?

Drunken Monkey? Influences? Definitely influenced a lot.

By what? That’s for me to know and you to find out.

How did you get started? ’Bout two-and-a-half years ago, my flatmate had decks and I used to muck around a bit but nothing serious, until he bought a scratch record and I hijacked that shit, broke his fader, two needles, but I was on the way, well and truly. Grotesque taught me some stuff, but he likes to keep his shit to himself now . . . little bitch.

What are your thoughts on the scene in Tasmania right now? Where’s it headed?

Worldwide mate! Yeah it’s growing, slowly but surely, lots of heads coming to more gigs. The battles I think help open more people’s eyes to turntablism and they love it.

Good to see S.L.U.T Productions boys constantly feeding the local scene with fresh fodder. Keep your eyes and ears open . . .

What’s the best advice you’ve been given, musically speaking, and what advice would you give to those who’re just starting out?

Musically speaking, hmmm, in turntablism you definitely got to be original, and I’m definitely of the school of thought that the turntable should be looked at as a musical instrument that people can be extremely creative on, with the ability to develop their own styles, sounds, etc, and when you start out, practice, practice, practice, don’t worry about sleep or life in general, practice, practice (buy a solarium to combat that bitch of a dj tan) Practice, practice, don’t bite other peoples style, practice, practice.

What effect, if any, has the Tasmanian champion title had for you professionally?

I got a free T – Shirt!

Are you going to compete again next year?

No, I won’t be competing next year ill be winning next year, thank you very much, that will do nicely. Next comp I’m gonna drink more free beer, cause all the Melbourne dudes were on their game and snatched it up quicksmart. Oh well, the tricks of the trade I guess.

Practice, practice, practice. And buy a solarium to combat that bitch of a dj tan.

Finally, where and when can we next see you play, and what can we expect from your set?

Expect the unexpected, fast furious scratching, crazy mash-ups, genre bashing (except trance, sorry peanuts).

I play at Mobius occasionally, Syrup Smackdown, performing with Mdusu or Damaged Goods. And this holiday season, only for the low price of $350, I’ll come and do a set in your lounge room while we watch the cricket.

Yeah. Peace.

BANGERS & MASH

Recut

(LAUNCESTON)

Just Give Him The Cash

By Tom Wilson Known for his scratching technique, Recut is a regular of the Tassie scene. Tom Wilson fired off a few questions about how he saw things.

So what’s your main style, Roger?

I play a blend of Breaks, House & Techno.

…Encouraging each other is what it’s all about.

Why are you a DJ? Do you mean, what do I like about it? I DJ because I enjoy the music, and I like to try and introduce new music to the people that come to hear us play.

seen a lot of great DJ’s play which have been a big influence. I starting out playing techno, so I guess that has shaped the style of tek-funk that I play these days.

Musically, what’s been blowing your hair back?

I’ve been digging a lot of the new sounds coming out lately, from electro house to the fat funky breaks.

Where and when do you like to play most?

I like to play anywhere I can get a booking! I play every week at Lonnies night club which has been good, and I also like to play at Halo down in Hobart.

What do you want to do but haven’t been able to?

I really want to start producing my own tracks, but my finances have stopped that from happening!

What would you say has shaped you as a DJ?

Do you get much support and encouragement from others in the DJ scene?

Yeah the support is good, encouraging each other is what it’s all about.

Which local DJs do it for you?

All the local crew in Launceston and in Hobart are great, there are a few newer guys up here that have also been doing really well, keep up the good work!

What’s in the pipeline for Recut?

Not sure what is in the pipeline, hopefully get my own equipment to start producing and just continue having a good time and enjoy the music.

Recut cuts regularly at Lonnies and Halo.

Velure

Oh Velure…how beautiful you are. It’s hard to come away from their debut album “Care For Fading Embers” without thinking that. And singer Lynnelle would be the first to agree with you. A merging of trip-hop, dub and drum n bass, Velure’s sound is surprisingly personal; unusual for a band with a Mac G4 as a drum kit. Lynnelle spoke to SAUCE about the band, the sound, and the tragedy that almost spelled the end for the band.

What do you do during the day?

I work at a professional orchestra. So I run the auditions for them.

There must be a big contrast to your work with Velure.

Yeah it is, but for years I worked as a musician solely.

To take the focus off having to earn your income playing music is really nice as well.

It seems to be working out for you.

I don’t think I could work in a day environment that wasn’t to do with music. It’s just such a great combination, and the musicians that I work with are so beautiful, and they are all so supportive.

So what do you do in Velure?

I’m the singer, and I play accordion as well.

So what’s the writing dynamic in the band? Who does what?

We all contribute now. It didn’t start off that way when we started a few years ago. There were three of us that contributed to the writing. But now it’s really collaborative, and we do a lot of writing when we’re on tour.

You do a lot of writing especially on tour?

Yeah I think it’s a really good time to do it because you’re just in this concentrated period where you’re all together.

There’s lots of down time because you’ve got gigs at night and you’re in hotel rooms during the day, so we use that time really well when we just set up in one room and just collaborate and share ideas.

I’ve heard your music described as trip-hop, but to me that sort of reminds me of hip-hop on acid.

Rogue Trader

By Dave Williams

James Ash is now best known as a member of the Rogue Traders, with the hit, “Voodoo Child” off the recently released album, “Here Come The Drums”.

But he is more than just an overnight success. Looking at a career as long and varied as James Ash’s, it’s pretty weird to think that it all began in a mates’ London bedroom studio back in 1989.

In 2000, James finally got back together with old mate Steve D – and the ‘Rogue Traders’ were born. This time he went on to enjoy cross-over commercial success with the singles ‘Give in to me, ‘Stay’ and of course the infamous INXS collaboration ‘One of my Kind’. To coin an old phrase – the rest is history…

And what is that next phase? “World domination’, says James, then adds ‘No, Seriously…’

James Ash plays Lonnies in Launceston on December 2nd.

‘That was the critical moment I was exposed to Dance Music’, explains James, ‘Before that it had all been about Hip Hop and electronics’. Long term collaborator Steve D was to blame… ‘When Steve started putting all these records on, it just blew my head off. I knew then Dance music was something special’.

Now inspired and receiving DJ lessons from Steve, James began putting together mix tapes and basic tracks sequenced on his Commodore Amiga – but when James moved to Australia in 1992, his career really started taking off.

‘Soon after coming to Melbourne, I got involved in a radio station called Hitz FM – these guys were the first people to play dance music. I was lucky to be at the crest of that wave and soon was presenting a show and releasing my first track’.

That first track was ‘Thunderchild’, released on Melbourne’s famous Vicious Vinyl records – an instant club smash that was to force James into considering DJ / Producing as a real career option.

During the mid nineties, James got back together with long term UK collaborator Steve D, and formed the disco house act ‘Union State’. The duo released four singles including the club anthems ‘Retrosexual’, ‘The One’ and ‘Out to Getcha’ – all of which were licensed world wide, After joining Kiss FM in 1996, James’ DJing career really took off, and he was soon holding down residencies all over the city - everywhere from The Mansion to The Metro, and Q Bar to Chasers.

Meanwhile, back in the studio, James got working with

I’ve

By Tom Wilson & David Williams

James Ash

singer song writer Melinda Richards, and they formed the act ‘Elan’, releasing the classic single ‘Find Your Way’ – which went on to become the most played track ever on Kiss FM.

We’re all intact at the end of it.

A

B e a u t i f u l

That was very much our earlier influences; towards that style. But I think that we’ve worked really hard to carve our own sound. And it does incorporate some of that really down-beat vibe in it, but also we explore the whole drum n’ bass… I mean, God, we’re victims of the drum n’ bass age.

You must have a bit of a party atmosphere, having headlined the closing party for the Melbourne Fringe Festival. I can’t imagine you having a down-beat show.

Well we’ve got lots of material so we can sort of go to any environment and adapt to it, and we do kind of read

S o u n d the environment when we get to the space or when we are booked for a certain gig. But Fringe was definitely a crank-it-up moment so we did and people were up dancing and just having a great old time.

What is the setup, in terms of instruments and people on the stage?

There’s five people coming on the tour, and that’s the core group. But we can…we just did a gig up in Ballarat and that was just three of us. But the full lineup is [that] there are three work stations.

There’s Roy on the computer rig; he’s generating computer-driven beats. He’s doing some live dub effects through some of his equipment that he has, and he also plays the keyboard.

Then there’s Lachlan; he plays some analogue synthesisers, and he also plays melodica, and when I force him he does some backing vocals. And then there’s Dan; he plays electric guitar, again some old-school synths, and an MPC sampler and player. And Chris plays electric bass, and I play accordion and do vocals. So it’s a really amazing visual blend of the synthetic and organic elements of live performance I think.

You seem to be getting all the writing dreams from the start for a successful band, with Norwegian producer Eric Lloyd Walkoff producing your debut album all the way up to his sudden death. That must have been so upsetting on a personal level but also freaked you out professionally as well.

Absolutely. I mean, that was such a shock. He had such a clear idea of the concept for the album. And he was such a positive person that he gave so much in the time that we were working with him. So there were definitely artistic implications as well as emotional ones.

That’s why we titled the album “Care for Fading Embers”. We were on the brink of stuff; things could have gone either way for Velure.

But I think, coming through together in the end, we’re all really proud of the product, and really proud of the ensemble who have got through it all; you know, maintained this beautiful thing that we have which we all love, our friendships as well. We’re all intact at the end of it.

HIP HOP

RuC.L

don’t know if they’re going to release it in the UK or not.

This is just something I’ll be doing with the Invaders, just to release something over there, and have some more tracks up my sleeve. We probably will perform some of the tracks from “Straight Down the Line” as well, but it’s just an experiment really. And I just want to get more people featuring and just get a good feel for the UK market.

The Flava of RuCL

By Dave Williams

So what have you got on the go at the moment?

At the moment I’m recording the UK release; another album. Yeah, I’m working on that and I’m doing lots of shows around the place.

You’ve only just released “Straight Down the Line” That’s correct. Yeah. We’re still working on promoting that and doing a lot of shows and getting it out there to people, and touring.

So what will the UK album be composed of? “Straight Down the Line” and some other stuff?

We’re probably going to make a start on a clean page, actually. It’s more of an underground release, basically. It’s more kind of sample-based, rapper-sounding beats. For me it’s quite enjoyable because it’s not just about me doing rapping over the beats; really going for it.

Cool. I just don’t understand why you’re releasing a new album so quickly.

Well, that is mainly for the UK, and that market.

RuCL is a Melbourne MC, with Jamaican heritage, who’s rubbing shoulders with some of the biggest names in hip hop, including The Black Eyed Peas and Jurassic 5. With his album, “Straight Down The Line” hot off the press, RuC.L paused to speak with Dave Williams about another impending release planned just for the UK.

You don’t think they’ll get into “Straight Down the Line”?

I don’t know. I don’t actually mind writing new tracks; I love just keeping the momentum going. It could well be that they do get into “Straight Down the Line”, but we just wanted to do a different project and break into the underground, you know what I mean?

So is that through Universal as well?

I’m not quite sure about that one. Not at this stage, I

Because it’s quite ironic that you went to the UK to record “Straight Down the Line” and you’re recording the release, which is released in Australia, and then you’re recording the release for the UK in Australia. It’s back the front, huh?

Yeah. You never know. I may get over to the UK and record over there as well. At this stage I’m just writing, and we’ll take it from there.

Do you find yourself writing about things in similar themes? Do you find yourself writing about similar subjects?

All the kids get a taste of RuCL Ah, yes and no. What I think is good about releasing something in the UK and here is that it has a universal sound but I tend to talk more about my life here in Australia and having the Jamaican heritage, a lot of the West Indian community in other parts of the world can really relate. There’s a lot of background, you know? But the good thing too about going over there is that I got to scope out the scene over there and got a good feel for it. So I’m able to write about things that can relate to them as well.

The UK would probably be the second-biggest market that you could appeal to? Because you’ve got Shaggy and Sean Paul. Are you thinking of targeting those kinds of populations?

Yeah. I just want to make good music, really. All my Jamaican influences in dance floor music is always going to come out in my music.

But it must be good to have people who can relate to it.

Yeah. Definitely. I mean, for me, it was easy, because we could have just written a straight-up dance floor album or we could have written a straight-up hip-hop album.

But for me this is utilising all of my influences and skills that I’ve grown up with, and we both know that overseas there’s a lot of switching…the lyricists tend to use their Jamaican dialect or their West Indian dialect and their English dialect at the same time and mix it up to bring

Muph & Plutonic Signed to Obese Records, Muph & Plutonic are the label’s 2nd-highest-selling artists next to the Hilltop Hoods; not bad considering the pedigree of their competitors. Mixing ambient beats and soundscapes with thought-provoking and socially conscious lyrics, the duo hit the studio together and emerged with “Hunger Pains”.

I wanna do more with music than just entertain.

- MUPH

Rapper Muphin has rhymed since the early 90s, and his skills won him the 2001 Victorian Verbal Mechanics Freestyle Battle Competition.

In the years since he gigged hard, supporting internationals Sage Francis and J-Zone and also touring with homegrown talents Koolism and the Hilltop Hoods.

Described in press kits as reflective and conscious in his lyrics, Muphin wasn’t about to deny it. “I write about the things I see, I do, I feel and so forth knowing that someone is going to be able to relate to it.”

And he takes it seriously. “I wanna do more with music than just entertain.”

Plutonic Lab – known to this mother as Leigh Ryan – is an artist and producer with very broad horizons. His music ranges from ambient sound sculptures to futuristic hip-hop beats, the diversity of which is presented in art installations, films, performance soundtracks, and recordings on CD and vinyl.

In the past he has supported Pharcyde, Ozomatli, and DJ Shadow, working the decks in two separate live crews; Macronauts and Madlock.

Those at the 2001 Falls Festival may have also recognised him doing spots of electronic percussion for breaks crew NuBreed.

Plutonic Lab Productions can be found in recordings for over six different labels, and is distributed by Boston’s LandSpeed Records in the U.S. After Muph’s second LP, “More Than Music”, he ventured back into the studio with Plutonic Lab. Musically, Muph & Plutonic are a pairing reminiscent of the Master/ Blaster character from Mad Max 3; the collaboration of skills and weaknesses that create a powerful result. That result was “Hunger Pains”, their first release with Obese Records, which received a hell of a lot of rotation thanks to Triple J. Hopefully, “Hunger Pains” won’t be their last collaboration, because if album sales are anything to go by, hip-hop fans are hungry for more.

They recently sold out a show at Hobart’s Republic Bar; as in, they seriously sold it out, with a large crowd of punters stranded outside, unable to get in.

Hopefully, the same won’t happen in Launceston this New Year’s Eve. The duo are sharing the headlining mantle with Kid Kenobi at Funktion, playing the impressive Albert Hall. Their presence alone should guarantee a memorable night.

Muph & Plutonic play the Albert Hall this New Year’s Eve with Kid Kenobi, Modus & the Dead Abigails.

one style, but I don’t feel that it’s being properly introduced to Australia. And that’s big overseas. But I find that in Australia, that hasn’t been done, so someone’s got to do it, and I felt like that was an opportunity to represent something like that and get that kind of music out here as well.

On a different subject, you’ve had some big supports, like Jurassic 5 and that thing with the Black Eyed Peas. Did you get to spend much time with those guys? Did they mix with you much?

Yeah, it’s quite busy. Like, they work really hard. They’ll do a show and then straight after the show they’ll probably be in the studio in the actual arena.

They’ll have a studio set up and they’ll be working. But I did get to spend time with them; Fergie was really nice.

They watched the show and they were quite complimentary, and we got along really well with them. So…yeah, there was a bit of that.

What was the one thing that you took away from spending time with the Black Eyed Peas; from what they did or what they said? Does it give you a bit of inspiration? Or did you think “yes, I will do that” or “no, I won’t do that”?

Yeah…how they carry themselves professionally. Just the strength of the show and different ways of performing to the crowd and keeping them aware and entertained.

I learned a lot about that stuff. It’s interesting; being part of the tour made me feel good to be involved with them.

Just watching them, and how they perform as professionals, gave me a good insight into what it’s like behind the scenes as well.

There’s a lot of things to take from that. For us it was like, get there and do the show, and then…I took in all of their performances and saw how they performed.

So do you survive on what you make as a professional artist?

Um, yeah. Well what I actually do is do a sideshow with my mum, which is a show about traditional and contemporary Jamaican song and dance, and traditional storytelling. I learned percussion at an early age and went to the Jamaican school of music and all the traditional rhythms, so I’m able to join my mum and do this show.

That must be nice, but also a bit weird. You must have a fight every now and again…

It’s really good; mum’s really professional, and when we work together it’s Dixie & Ruben, not mother and son.

We worked that one out early in the piece so we could continue working. But it’s really good for my own music too because I get to do a dancehall number at the end and all the kids get a taste of RuCL.

By Tom Wilson

HIP HOP

Morganics

By Carlisle Rogers

Australian Odyssey

To me hip hop has always been a mongrel; it has always been a mix of different cultures.

Sydney-based Morganics has had a wide and varied career. As a hip hop artist he has performed on stages around the world. As an actor/ performer his renown is little less, and as a Director he has formidably made his mark in the fresh world of hip hop theatre over the past decade. His third solo album, Odyssey, is out now through Creative Vibes, and it is a gutsy, roots driven hip hop album drawing on a strange mélange of influences.

Odyssey is the product of a lot of rambling, a lot of rhyming, and more rambling. Recorded in the dusty aftermath of places like Numbulwar in Arnhem Land, Darwin, the Gold Coast hinterland, Brisbane, Albany, Adelaide, Sydney, Melbourne and every point in between, it is a distinctively Australian album.

“I recorded Odyssey on my laptop, mostly in hotel rooms. I recorded most of my vocals in a community called Numbulwar in Arnhem Land. That was a beautiful experience. The house we were staying in was right on the beach and very relaxing. The kids would jump in through the windows, so I got them to yell on some of the tracks. Everywhere I go I make beats.”

“I wanted to do an album that was different to my last one. Each album is just a recording of where you are at that time, and where your headspace is at and stuff like that. The last album was pretty uptempo, pretty energetic, pretty in your face style.

“I think, for a lot of the guys in jails, they take a little while to get used to the fact that there is somebody there who wants to hear their story, who wants to hear what they have to say.

To have that opportunity for what they have to say to be recorded and to be played on radio, or at least to their family and friends, gives them a great sense of pride. There is a real outlet for them there. When I worked in Long Bay for a little bit some of the stories were about loneliness, missing their partner and children. That project was set up particularly as an alternative…we were asking how can we use hip hop in a form where you don’t have to be saying, fuck you motherfucker. Let’s look to alternatives to the language of violence in a system where you’re working with guys in for violent crimes. I learned a lot out of too, it’s always a two-way street.

Morganics career in the limelight started when he was eleven with the Australian Theatre for Young People.

At thirteen he took up breakdancing. In ’95 he formed his first hip hop group, Hip-Hopera, and it wasn’t long before he was combining his two loves, hip hop music and culture, and theatre. Some people think, hip hop theatre, how weird is this,” says Morganics. “But for me it has been a natural journey along the way. I have been mixing it over many years.

After years of working with disadvantaged youth in communities all over Australia, from isolated Aboriginal communities to jails and community centres, Morganics is finally taking some time to do his own thing. “At the moment I’m pretty much focusing on my own stuff.

Back in ’96 we did a show called ‘The Bridge’ which was a hip hop play. I’ve done other shows like ‘Hip Hop Horse’ where we have mixed Indonesian traditional dance with hip hop. It wasn’t strictly narrative; it was more like a fusion of traditional dance with popping. I’ve done a number of projects over the years which have combined elements of hip hop and theatre. I guess my live shows tend to be quite theatrical.

I like to have the rawness and directness of hip hop with the dynamics that you get in theatre. It’s a natural journey. Then I did one called ‘Crouching B-Boy, Hidden Dreadlocks’. That one was straight up hip hop theatre. The next one I did after that was a two-man show with Wire MC called ‘Stereotype’, which was the last one that we did.”

I’m toning down and stepping away from the community work that I’ve been doing. I’m most interested in maintaining my relationship with communities I have been to, as opposed to establishing new relationships with different communities. That will allow me to focus on my own stuff.”

A series of live shows is planned to herald the new album and showcase Morganics’ ability to fuse his theatrical ambitions with his live hip hop shows. The show is going to be pretty cool actually; the Sydney and Melbourne shows particularly are going to be massive.

“I was with my old group MetaBass’n’Breath, and within Australian and certain places in the states we got to a good level and the group broke up in about ’98. I had done all the stuff that you have to do as an independent artist, flogging your own stuff and performing and spending every night of the week in clubs.

There’s me and Sister Native. She is an awesome singer, a gospel-style singer that can cover anything.

She rhymes as well, and in Tongan. We have a full show, but I have two dancers with me taking it back to the old school style. I remember I saw the She-Rockers in Amsterdam back in ’89, the UK crew supporting De La Soul and they had these two dancers with them back in the time when that was in.

Which is what I wanted it to be and I was happy that I hit one style throughout the album. For this one I just felt like doing a more mellow album generally. I wanted it to have more richer, earthier textures. More of a jazzy feel. I wanted it to really work as a journey through the whole album.”

That’s really what led me to the community work in a way. We talked about those sorts of ideas in the group. It was good to be able to walk the walk instead of just talking the talk. I’ve been juggling the two for the past six or seven years.

It’s not that I’m cutting off the community work, but at the moment I’m focused on doing my own stuff because the community stuff is very demanding in a different way. Groups like Ozomatli came out of a community centre.”

Working with these people with music gave Morganics a unique insight into their plight, honed his own conscience, and gave them hope. Some of the guys even got to record with him.

Soak @Kaos

Soak Offers a smoochy alternative to wining & dining @ Kaos

Kick back on our couches, enjoy some tapas or full cafe menu & choose from our fabulous wine, cocktail & spirits selection

Soak makes for a great private function space - so feel free to come & chat about your ideas for it’s use

Kaos now open Sundays 10am til 10pm All Day Breakfast

Funky tunes can be sampled from our house DJ’s - Chilli & Brent on Wednesday, Friday & Saturday nights from 10 till late

So I’ve got two dancers with me. I’ve got a guy called Blacker Conteh who teaches hip hop dancing down at Sydney Dance Company. There’s also B-Boy Rely, out of a crew called Gravity Warriors, is probably best known as the b-boy from Resin Dogs.

They’re choreographic stuff to a couple of the songs.

They will be on stage and we’ll be mixing it up. It’s going to be a big theatrical show.”

“To me hip hop has always been a mongrel; it has always been a mix of different cultures. That is what was exciting about it in the beginning. Now that it has gotten so big in the mainstream, it just reinforces more and more that you have to go back to the essence.”

SOAK it up ! soon... @ 237 Elizabeth Street Hobart p h : 0 3 6 2 3 1 5 6 9 9 | w w w. K a o s c a f e . c o m . a u

GIG Guide 02/11/05 - 06/12/05 WEDNESDAY 2ND

Ethol the Frog

DEVONPORT

Heat

Spurs/Warehouse

Bundy 8 Ball Calcutta every Wednesday HOBART Customs House Hotel

Fee

Black Market – every Friday & Saturday, midnight till 7am Kaos

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Kaos

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Republic Bar & Café

Durga Babies (supp: Dan Rumor Band) $8/$5 conc.

9pm LAUNCESTON Batman Fawkner Inn

DJ’s Earl and Patty in the Batty Bar $4.50 basics, $8 jugs of Boags Irish Murphy’s

Samuel Bester The Embers Saloon

Legendary Uni Night with live DJ and Karaoke in The Loft with DJ Loco.

THURSDAY 3RD DEVONPORT

Polish Club

Parkway Drive ALL AGES Republic Bar & Café

Bodyjar (supp: Subaudible Hum) $22 10pm Syrup

Downstairs 8pm: KO – Resident DJ’s MEZ, & Guests ‘Laying down the Khunks “O” Funk’ Downstairs 10.30pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs 11pm: BREAKEVEN – Presents Tone Boker (Byron Bay)+ resident DJ’s AdamTurner, Scott Woodhouse LAUNCESTON Batman Fawkner Inn

ROCKET NOODLE CD LAUNCH out the back (supp: Spankpaddle and The Belchers)

Spurs/Warehouse

Karaoke – win a trip to Melbourne!

Irish Murphy’s

HOBART

James Hotel

Uncle Lucy Carl Fidler

Customs House Hotel

Joel & Brett

Lonnies

Groove

Doctor Syntax Hotel

CLUB EDGE (EDGE RADIO AT THE SYNTAX) Republic Bar & Café

Bondi Cigars $15/$12 conc.

9pm Syrup

MESH – Hobarts oldest club night, breaks/drum+bass with resident Scott WoodHouse and guests LAUNCESTON Batman Fawkner Inn

Mark Stinson in the Batty Bar SUBAUDIBLE HUM(melb) out the back free entry Irish Murphy’s

Phil Picasso

Royal Oak

Ben Bastles P.B / Muddy Turds and innocent Cabbage (Melb) E.R $6 cover Saloon

Dance the Night Away with live DJ playing the best commercial music and Karaoke in The Loft with DJ Loco.

SATURDAY 5TH BURNIE Sirocco’s

Decks in the City with DJ Paul DEVONPORT

Uni Night with The GO Set and coverband 3some Royal Oak

Samuel Bester Saloon

Ladies Night with $3 Daiquiri’s for the Ladies and live DJ playing commercial tracks.

Carl Fidler

TUESDAY 8TH

FRIDAY 11TH

Jimmy Barnes

Doctor Syntax Hotel

Fuse 8.30pm Heat

Black Market – every Friday & Saturday, midnight till 7am Kaos

DEVONPORT

Republic Bar & Café

Bondi Cigars (Sydney)

Carus & the True Believers $8/$5 conc.

10pm

HOBART

Syrup

Upstairs 3pm: SATURDAY ARVO LIVE SESSIONS

HOBART

LAUNCESTON

Republic Bar & Café

G.B. Balding 8:30pm

LAUNCESTON Batman Fawkner Inn

Roundabout in the Batty Bar, free pool 10pm-close Irish Murphy’s

Batman Fawkner Inn

Breakwater in the Batty Bar til late

Spurs/Warehouse

Irish Murphy’s

Well Strung

James Hotel

Batman Fawkner Inn

S.I.N. on Tuesdays with Mark Stinson in the Batty Bar Irish Murphy’s

Big screen videos HOBART Entropy Heat

Black Market – every Friday & Saturday, midnight till 7am

Leigh Ratcliffe

Lonnies

Trivia Night in the Main Room $5,000 to be Won Commences at 7pm.

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

WEDNESDAY 9TH

Republic Bar & Café

Groove

Royal Oak

Mick and Leo Saloon Super Saturday, the Party Continues with live DJ playing commercial music, Saloon Pulse Dancers with the latest Hip Hop/Funk Dance moves and upstairs The Dance Party.

WYNYARD Rage At the Ranch

DEVONPORT Spurs/Warehouse

Bundy 8 Ball Calcutta every Wednesday HOBART Customs House Hotel

Garod Matchem Kaos

Soak @ Kaos: house

2-day musical festival featuring: Bodyjar + Ash Grunwald + Parkway Drive + Durga Babies + Dan Rumour Band + Zero Degrees Freedom and lottsa others

DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

SUNDAY 6TH

Syrup

Republic Bar & Café

Black Coffee 9pm

HOBART

SYRUP SMACK DOWN Hosted by MDUSU and DJ Gotesque Open Mic Night and DJ Battles+ Perfomances

by CONS + EPC & Groove Robbers

Doctor Syntax Hotel

LAUNCESTON

DEVONPORT Spurs/Warehouse

Sexual Chocolate (Melbourne)

JOE PIRERE, THE FOX AND THE HOUND, 5.30pm

Batman Fawkner Inn

Lewisham Tavern

Irish Murphy’s

Sundy side up (music, comedy & poetry) 8:30pm LAUNCESTON Batman Fawkner Inn

4PLAY in the Batty Bar til late Irish Murphy’s

Geale Bros Leigh Ratty ratcliffe Jessie Funkin Unbelieveable James Hotel

Open Dekz Night Bring your vinyl Lonnies

Ministry of Sound Annual Tour – John Course & Mark Dynamix (Supp: Joycie & Little Cam) 10pm $20

Pulse in the Batty Bar Jordan Miller Modus James Hotel

DJ Eskay Saloon

Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

Kaos

Republic 8th Birthday – Collard Greens & Gravy Fiona Boyes & the Fortune Tellers $7/$5 conc.

9:30pm Syrup

Downstairs 9pm: KO – Resident DJ’ Mez ‘Laying down the Khunks “O” Funk’ Downstairs 10.30pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs 11pm: LaCasa – Vocal and funky House with residents DJG, Mat B and Guests LAUNCESTON Batman Fawkner Inn

4PLAY out the back til late Distro

Carl Fidler Lonnies

Hermitude with Ozi Battla and Urthboy (the Herd) (Supp: DaMaGeD Goods & Yumi) $13 Royal Oak

Syrup

MESH – Hobarts oldest club night,

Black Market – every Friday & Saturday, midnight till 7am Kaos

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Hermitude (Supp: Damaged Goods & Attic Grooves) $17 10pm Syrup

Upstairs 3pm: SATURDAY ARVO LIVE SESSIONS – Rock out to LIVE BANDS BaseBall (Melb) Love the Bomb(Melb) Idiot Lust( Hbt) + Screening of Film “Sticky Carpet” 3pm to 8pm. Free Entry Downstairs10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s T.H.C.and Rolly Upstairs 11pm: The BEEZ NEEZ present DIRTY FKING DANCIN – the best of house, electro & breaks with resident DJ’s Gillie, Adam Turner, Modal and DSKO LAUNCESTON Batman Fawkner Inn

4PLAY out the back til late

Uni Night SCREAMFEEDER and Fell to Erin

Batman Fawkner Inn

Roundabout in the Batty Bar, free pool 10pm-close Irish Murphy’s

Leo

TUESDAY 15TH HOBART Republic Bar & Café

Rob Clark 9pm

LAUNCESTON Batman Fawkner Inn

Lonnies

Groove

Lewisham Tavern

The Unit

Customs House Hotel

Heat

Kaos

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

WEDNESDAY 16TH

Republic Bar & Café

DEVONPORT Spurs/Warehouse

Bundy 8 Ball Calcutta every Wednesday HOBART Customs House Hotel

Charles Kaos

Slide Devils 9pm Syrup

Batman Fawkner Inn

Pulse in the Batty Bar Irish Murphy’s

Screamfeeder (supp: Fell to Erin) $7/$5 conc.

10pm Syrup

Downstairs 8pm: KO – Resident DJ’ MEZ ‘Laying down the Khunks “O” Funk’ Downstairs 10.30: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs 11pm: LaCasa – Presents Gavin Kietel (Melb) +residents DJG +Gillie UTAS Uni Bar

Epicure (supp: Sophie Koh & Enola Fall) $16.50 members, $18.00 non-members LAUNCESTON Batman Fawkner Inn

Alphunumeric out the back til late Irish Murphy’s

TBC

Jesse The Rakes

James Hotel

James Hotel

Lonnies

DJ Randall

Groove

Saloon

Royal Oak

Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

THURSDAY 17TH

Spurs/Warehouse

Carl Fidler

Idle hands Saloon

Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

SATURDAY 19TH

Karaoke – win a trip to Melbourne!

BURNIE

HOBART

Decks in the City with DJ Paul

Customs House Hotel

Open Dekz Night Bring your vinyl

Big screen videos

Trivia Night in the Main Room $5,000 to be Won Commences at 7pm.

Sirocco’s

Peron & Amanda

DEVONPORT

Republic Bar & Café

Spurs/Warehouse

Laura Jean / Kess / Grand Salvo 9pm

Video Hits

Syrup

Customs House Hotel

James Hotel Spurs/Warehouse

Spurs/Warehouse

Saloon

Republic Bar & Café

Glenn Moorhouse Phil Picasso Leigh Ratcliffe The Rodgers

DEVONPORT

Black Market – every Friday & Saturday, midnight till 7am

DEVONPORT

Irish Murphy’s

FRIDAY 18TH

L.J.C Presents Eric Holroyd

Fiona Boyes

LAUNCESTON

Ladies Night with $3 Daiquiri’s for the Ladies and live DJ playing commercial tracks.

Royal Oak

LAUNCESTON

JOE PIRERE, THE FOX AND THE HOUND, 5.30pm

Saloon

TBA

Carl Fidler

Saloon

Doctor Syntax Hotel

Daniel Townsend P.B / live comedy act “Bogan” in E.R

Irish Murphy’s

The Stoics Super Saturday, the Party Continues with live DJ playing commercial music, Saloon Pulse Dancers with the latest Hip Hop/Funk Dance moves and upstairs DJ Loco with Karaoke.

Royal Oak

HOBART

MARGARIT-A-GO-GO! Margarita mayhem with 50’s,60’s, 70’s Retro DJ’s, Sven Gali

Royal Oak

James Hotel

S.I.N. on Tuesdays with Mark Stinson in the Batty Bar

Republic Bar & Café

DJ MacD Rippin it up in Reality

Stage Door The Café

DEVONPORT

LAUNCESTON

James Hotel

Kings of Mars 3pm, Cake Walking Babies 8:30pm

Michael Spiby, voice of The Badloves, with Andrew Legg at the grand piano. 8pm. $10.

Leigh Ratty Ratcliffe

Breakwater

Irish Murphy’s

Decks in the City with DJ Paul

Sirocco’s

Republic Quiz Night 8:15pm

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

HOBART

BURNIE

Son Del Sur (Cuban Salsa) $2 9pm

Irish Murphy’s

Saloon

Spurs/Warehouse

Republic Bar & Café

Republic Bar & Café

THE VOYEURS (L/ STON) 8.30pm

SUNDAY 13TH

SATURDAY 12TH

Peron & Amanda

4PLAY in the Batty Bar til late

Sow how

DEVONPORT

Customs House Hotel

HOBART

James Hotel

THURSDAY 10TH

HOBART

Doctor Syntax Hotel

Irish Murphy’s

Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

Karaoke – win a trip to Melbourne!

Batman Fawkner Inn

Republic Bar & Café Customs House Hotel

DJ MacD Rippin it up in Reality

Saloon

MONDAY 14TH

Heat

Republic Bar & Café

LAUNCESTON

Big Swifty

Royal Oak

James Hotel

Batman Fawkner Inn

Hipness Is 9pm

LAUNCESTON

Uni Night with 3 Some

Jesse

O’Keefe’s Hotel

Rob Richards

Customs House Hotel

Bass Kleph vs. Nick Thayer A four-hour back 2 back breakbeat bonanza. $10.

Irish Murphy’s

DEVONPORT

PARKWAY DRIVE (syd) STAND DEFIANT,THE GHOST & THE STORM UTSIDE,SOMETHING KILLS out the back

SPIN-FX and guests.

HOBART

Halo

HOBART

Republic Bar & Café

Pumpkin Heads

MONDAY 7TH

breaks/drum+bass with resident DJ SPINFX , Scott WoodHouse and guests.

Bondi Cigars

LAUNCESTON

HOBART

FRIDAY 4TH

Customs House Hotel

Wrest Point Entertainment Centre

Jason Niosi ( U.S blues guitarist)

Voodoo Lounge

Spurs/Warehouse

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Spurs/Warehouse

O’Keefe’s Hotel

Carus and the True Believers with The Dan Rumour Band + Durga Babies

Customs House Hotel James Hotel

SubAudible Hum (Melb) Innocent Cabbage (Melb) EndShow (Hbt) from 3pm to 8pm Free Entry Downstairs 10.30pm: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s.

Naughty. & Rolly Upstairs 11pm: The BEEZ NEEZ presents – DIRTY F*CKN DANCIN – house, electro & breaks, with resident, presents Declan Lee (Syd) DJ’s Gillie, Adam Turner, + Corney

MESH resident DJ

HOBART Pumpkin Heads

GIG Guide 02/11/05 - 06/12/05

Batman Fawkner Inn

Uncle Lucy in the Batty Bar Irish Murphy’s

Ben Castles Doctor Syntax Hotel

RAY MARTIANS 8.30pm Heat

Black Market – every Friday & Saturday, midnight till 7am

LAUNCESTON Batman Fawkner Inn

Roundabout in the Batty Bar, free pool 10pm til close Irish Murphy’s

Carl Fidler

Kaos

TUESDAY 22ND Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and HOBART Saturday 10-till late.

Republic Bar & Café Lewisham Tavern

Screamfeeder

Blue Flies 9pm

Republic Bar & Café

LAUNCESTON

Sugartrain $2 10pm Syrup

Upstairs 3pm: SATURDAY ARVO LIVE SESSIONS – Rock out to LIVE Bands Velure (Melb) +The Bad Luck Charms(Hbt)from 3pm to 8pm. Free Entry Downstairs 10.30: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Naughty and T.H.C. Upstairs 11pm: The BEEZ NEEZ – present DIRTY FKING DANCIN – house, electro & breaks with resident DJ’s Gillie, Adam Turner, Timo and Corney.

Wrest Point

Entertainment Centre Thirsty Merc LAUNCESTON Batman Fawkner Inn

Dirty Harry and the Rockets (multi band nite)

Trivia Night in the Main Room $5,000 to be Won Commences at 7pm.

WEDNESDAY 23RD DEVONPORT Spurs/Warehouse

Bundy 8 Ball Calcutta every Wednesday HOBART Customs House Hotel

Tim Davis Kaos

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Republic Bar & Café

DJ Gavin Keitel rippin it MARGARIT-A-GO-GO! up in Reality Margarita mayhem with 50’s,60’s, 70’s Retro Lonnies DJ’s, Sven Gali Groove LAUNCESTON

HOBART Doctor Syntax Hotel

JOE PIRERE, THE FOX AND THE HOUND, 5.30pm Republic Bar & Café

Sundy Side Up (music, comedy and poetry) 8:30pm LAUNCESTON

Pulse in the Batty Bar Irish Murphy’s

Republic Bar & Café

Joe Pirere 8:30pm

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Republic Bar & Café

Nick Barker (supp: Velour) $5 10pm Syrup

Downstairs 8pm: KO – Resident DJ MEZ ‘Laying down the Khunks “O” Funk’ Downstairs 10.30pm: BOOGIE – 70’s & 80’s FUNK with resident DJ’s Nick C and Duncan.

Upstairs 11pm: Pickle Residents DSKO, Liv, Tristan, Begsi = Hard Trance, NRG, Anthems & Techno LAUNCESTON Batman Fawkner Inn

Alphunumeric ou the back til late Irish Murphy’s

The Fabulous Picasso Bros James Hotel

Carl Fidler Lonnies

Groove

Republic Bar & Café

Syrup

Smoking Elmores 9pm LAUNCESTON

Ministry Of Sound Presents“The Annual” DJS Mark Dynamix and John Course

Batman Fawkner Inn

LAUNCESTON

Syrup

Upstairs 3pm: SATURDAY ARVO LIVE SESSIONS – Rock out to LIVE BANDS Mad Macca & Panhandler(Melb)+ The Roobs(Hbt) from 3pm to 6pm free Entry Downstairs 10.30: TACKYLAND – 70’s 80’s and 90’s RETRO with resident DJ’s Rolly and Naughty.

Upstairs 11pm: DIRTY F*CKN DANCIN house, electro & breaks with resident DJ’s Gillie, Adam Turner, Modal and DSKO LAUNCESTON

S.I.N. on tuesdays with Mark Stinson in the Batty Bar Carl Fidler Saloon

Trivia Night in the Main Room $5,000 to be Won Commences at 7pm.

WEDNESDAY 30TH DEVONPORT

Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

THURSDAY 24TH DEVONPORT Spurs/Warehouse

Karaoke – win a trip to Melbourne!

HOBART Customs House Hotel

MESH – Hobarts oldest club night, breaks/drum+bass with resident DJ SPINFX + Loki + Scott Woodhouse.

LAUNCESTON

Royal Oak

Drag Off! Boys and girls. Doors open 9pm, parade starts 10pm. $10 entry for contestants.

Registration form from Café Centro.

Irish Murphy’s

Well Strung

HOBART

Saloon

Customs House Hotel

Irish Murphy’s

Kaos

MacD Rippin it up in Reality

Café Centro

Lonnies

Bundy 8 Ball Calcutta every Wednesday

4PLAY out the back til late

James Hotel

Alphunumeric out the back til late

Spurs/Warehouse

Batman Fawkner Inn

Distro

Batman Fawkner Inn

Irish Murphy’s

Charles

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Republic Bar & Cafe

James Ash (Rogue Traders) Dance the Night Away with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

SATURDAY 3RD BURNIE Sirocco’s

Lonnies

Groove

Blue Healers 9pm

Royal Oak

LAUNCESTON

HOBART

Batman Fawkner Inn

Customs House Hotel

Mad Macka and Pan Handler

Pulse in the Batty Bar

Saloon

Super Saturday, the Party Continues with live DJ playing commercial music, Saloon Pulse Dancers with the latest Hip Hop/Funk Dance moves and upstairs DJ Loco with Karaoke

Samuel Bester The Voyeurs James Hotel

Carl Fidler

HOBART Doctor Syntax Hotel

DECEMBER

Lewisham Tavern

DEVONPORT

JOE PIRERE, THE FOX AND THE HOUND 6pm THURSDAY 1ST Nick Barker

Serontonin Heat

Black Market – every Friday & Saturday, midnight till 7am Kaos

Saloon

Legendary Uni Night with live DJ playing commercial music and Karaoke in The Loft with DJ Loco.

SUNDAY 27TH

Decks in the City with DJ Paul

Irish Murphy’s

Spurs/Warehouse

Customs House Hotel

Saloon

Syrup

HOBART

HOBART

HOBART

Republic Bar & Café

Leigh Ratcliffe

O’Keefe’s Hotel

MONDAY 21ST

Big screen videos

Australian Songwriters Association Showcase 2-6pm Tas Music Showcase 9-1am $5

Joel & Brett

James Hotel

Open Dekz Night Bring your vinyl Voodoo Lounge

Spurs/Warehouse

Republic Bar & Café

Kaos

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Karaoke – win a trip to Melbourne!

Amplified Showcase Leo and Mick 2:30-10pm House of Lions (African HOBART Saloon / Reggae) Dance the Night Away 10pm Customs House Hotel with Falls Festival Band Garod & Devo Selection trials, live DJ LAUNCESTON playing commercial LAUNCESTON music and Karaoke in Irish Murphy’s The Loft with DJ Loco. Steve Moore Batman Fawkner Inn Ahmad and Nick SCREAMING JETS $26 SATURDAY 26TH ON THE DOOR 9PM Ben Castles Alphanumeric BURNIE Irish Murphy’s James Hotel Phil Picasso Sirocco’s Open Dekz Night Decks in the City with Bring your vinyl Saloon DJ Paul Ladies Night with $3 Daiquiri’s for the Ladies O’Keefe’s Hotel DEVONPORT The Rakes and live DJ playing commercial tracks.

Spurs/Warehouse MONDAY 28TH Funken Unbelievable FRIDAY 2ND HOBART HOBART DEVONPORT

Robbie Elliot Dave Adams

Falls Festival Band Playoff (band list in the Mercury) 8:30pm

James Hotel

DEVONPORT

Batman Fawkner Inn

Irish Murphy’s

Idle Hands Leo Ben Castles 3 Sum

FRIDAY 25TH

Kaos Saloon

Syrup

SUNDAY 20TH

Ladies Night with $3 Daiquiri’s for the Ladies and live DJ playing commercial tracks.

Entropy S.I.N. on Tuesdays with Mark Stinson in the Heat Batty Bar Black Market – every Friday & Saturday, Irish Murphy’s midnight till 7am Jesse

James Hotel

Party Continues with live DJ playing commercial music, Saloon Pulse Dancers with the latest Hip Hop/Funk Dance moves and upstairs DJ Loco with Karaoke

Saloon

Customs House Hotel

Funkin Unbelieveable

Saloon Super Saturday, the

Uni Night with Nick Barker

Batman Fawkner Inn

Show No Mercy (washboard band) 9pm

Irish Murphy’s

James Hotel

Soak @ Kaos: house Huge Night, Don’t Miss DJs Chilli & Brent every it!

Wednesday, Friday and Saturday 10-till late.

TUESDAY 29TH

Republic Bar & Café

Republic Bar & Café

Soak @ Kaos: house DJs Chilli & Brent every Wednesday, Friday and Saturday 10-till late.

Syrup

Syrup Birthday Celebrations Saturday Arvo Sessions Well Hung Monkey Spankpaddle Voyeurs LAUNCESTON The Rodgers Lonnies

Groove Saloon

Super Saturday, the Party Continues with live DJ playing commercial music, Saloon Pulse Dancers with the latest Hip Hop/Funk Dance moves and upstairs DJ Loco with Karaoke.

SUNDAY 4TH LAUNCESTON Irish Murphy’s

Leo Robbie Elliot Jesse

Republic Quiz Night 8:15pm

Spurs/Warehouse

Big screen videos

WEDNESDAY 7TH

Doctor Syntax Hotel

LAUNCESTON

HOBART

DEVONPORT

Batman Fawkner Inn

Customs House Hotel

Spurs/Warehouse

Halo

Klaus “Heavyweight” Hill + MC Losty, $8

Roundabout in the Batty Bar, free pool 10pm-close

Heat

Irish Murphy’s

Black Market – every Friday & Saturday, midnight till 7am Kaos

Phil Picasso

Crikey Halo

Deekline & Wizard (UK) $10

Sirocco's Bar & Nightclub 64 Wilmot St Bur nie 6431 3133 Stage Door The Cafe 254 Mount St Upper Bur nie 64322600

Devonport Spurs/Warehouse 18 Kings St Devonport 64247851

Hobart Halo 37a Elizabeth St Mall Hobart 6234 6669 Lewisham Taver n 46 Scenic Drive Lewisham 6265 8144 Republic Bar 299 Elizabeth St North Hobart 6234 6954 www.republicbar.com Soak @ Kaos 237 Elizabeth St Hobart 6231 5699 Syrup 1st Floor 39 Salamanca Place Hobart 6224 8249 syrupclub@bigpond.com Uni Bar - Hobart Campus 1 Churchill Ave Sandy Bay 6226 2495 www.tuu.com.au

Launceston Cafi Centro 76 St John St Launceston 6331 3605

Bundy 8 Ball Calcutta every Wednesday HOBART

Irish Murphy’s 211 Brisbane St Launceston 6331 4440 James Hotel Reality Niteclub James Bar 122 York St Launceston 6334 7231 info@jameshotel.com.au

Lonnies Niteclub 107 Brisbane St Launceston 6334 7889 www.lonniesniteclub.com lonniesniteclub@yahoo.com Saloon Bar 191 Charles Street Launceston 63 317 355 The Batty The Batman Fawkner Inn 35 Cameron St Launceston 6331 7222 Ursulas on Brisbane 63 Brisbane St Launceston 6334 7033

Customs House Hotel Heat

Black Market – every Steve Earle in the Main Friday & Saturday, Room midnight till 7am Saloon

Burnie

Irish Murphy’s

Big Swifty

THE KRAVATS 8.30pm

@Venue Guide

Brett & co

To list your gig in the Gig Guide, email details to gigguide@sauceonline.net

Albums - Reviews MINISTRY OF SOUND THE 2006 ANNUAL

By Elona Bonnici

Ministry of Sound returns mixed by John Course and Mark Dynamix. Featuring T-Funk, Gorillaz, Rogue Traders, Mylo vs. M.S.M, Aaron Smith, L.R. Digitales, Axwell, Paris Avenue, Audio Bullys, Martin Solveg and Tom Novy. Super sleazy, designed to bring out the dance floor whore in every listener.

Mixed with such precision and clarity, Ministry of Sound does it again track after track. No wonder their fans keep going back for more, just like good sex.

From T-Funk featuring Inaya Day in “The Glamorous Life” to the high vibes of Martin Solveig’s “Everybody” and Funkshaker doing “Funkshaker”, get ready for the Groovehunter earthquake mix. A little commercial at times with some over-cooked pop, but they balance it out by bringing back some old classics such as D.ON. S featuring Technotronic’s “Pump up the Jam” and of course the reincarnated 80’s Mylo vs. Miami Sound Machine’s “Dr Pressure”. Dripping with the succulent sounds of synthesizers is Paul Mac with “It’s Not Me it’s You” featuring Ngalire and then the Dirty South gets there fingers dirty so to speak in the track “Sleazy” with a lot of electric dynamics to keep you happy.

MORGANICS ODYSSEY

By Elona Bonnici

Now this was recorded on Morganics’ laptop while he was cavorting around the country. One of Australia’s hip-hop artists who has performed around the world from Bondi to the Bronx, Morganics brings us his futuristic funk, then throws in some strings, a beat box and some Down Under MCs. And he has a sound, that is definitely all his own. Inspired by his trip from Arnhem Land to Melbourne, as track one “Jungle music” begins this audio journey on this album, there are parts of it that just don’t work. I don’t know exactly why this was the case; maybe the reference to flora and fauna in theory is a good idea, but for me when I’m getting my groove on, I like my hip hop a little more streetwise than outback. I don’t know. Imagine goths singing “Jesus Loves Me”; I mean, that’s not going to work either.

by Elona, Imogen, Carl + Ryan

BREAKS CO-OP THE SOUND INSIDE

By Elona Bonnici

This is the kind of album you take when you need metime. When the whole world goes to shit and you need to woo-saa-yourself out, you bring out this bad boy and suddenly like a magic bean all your problems suddenly drift away. This album has a very soothing melodic feel to it all the way through. Soul-sensitive, this acoustic wet dream will have you hooked on the first listen. It’s folk meets urban myth, soul that’s percussion-based, hypnotic strums and vocals so smooth it will butter your biscuit! First single “The Other Side”, which lays the soul-captivating direction of the album, with other tall poppies such as “Settle Down, Lay Me Down”, “Duet” and “Too Easily” all ake you swoon to this irristable tranquil theme that is maintained throughout the album. The Breaks Co-op have had a somewhat stagnant stage since 1997 debut “Roofers”. But they have been busy with both radio and television in the United Kingdom.

This New Zealand sun-baked pop reggae roots dub compilation will have you wanting to hear it again and again and again!

Well if it’s good, be greedy!

NOBODY BEATS THE BEATS

DROPS FROM ABOVE

By Elona Bonnici

There’s nothing like a big fat chunk of Jazzy house.

This intro opens with “Scratch Magic” then floats your dancing ass into “Cloud 9”, because Nobody Beats the Beats. With Little Brother treating you with lyrics that are so heated, I thought the track was going to bill me $4.95 per minute…but the pleasure was all mine.

OK, mind out of the gutter and back to the track “Wait a Minute (Yes Yes Y’All)” featuring Nick Nack, Black Thought, AD Jhai and Myron.

BOBAFLEX

APOLOGIZE FOR NOTHING

By Elona Bonnici

That’s my kind of album title; yeah, Bobaflex brings us hard rock like a sharp slap in your face! Beginning with track “Six Feet Underground”, with heavy riffage and then the anger management therapy of the track.

“You Think You’re Better than Me” is an angry ode to the ones who judge, with lyrics, like “so what I’ve been with a prostitute, I’ve been on meth for a week or two”. Yeah, it’s rock so hard and fast and dirty, you’ll wonder if the inspiration was Mr. Bungle with its hardcore screaming and then sanguine melodies.

Next up is the feisty “Bright Red Violent Sex”; for lovers of rough loving, this is gonna be your banging tune on this album. Bobaflex aims his lyrics straight for the “Bullseye” with this fast and slow track, with sinister laughs and somewhat manic chanting.

The catchy riffs of “Guns-a-Blazing” will have you screaming along and head-banging on all fours on the floor. Ha, definitely in a sphere of their own with their schizophrenic sound; but just like Ben Lee sings, that’s the way they like it.

I quote: “When we were shopping for a label and the 45-50 year-old guys were saying, “I don’t get it.” we knew we were on the right track,” Marty says. “You’re not supposed to fuckin’ get it, I’m glad you don’t get it. But the kids have always got it instantly!” So get on that damn floor and Apologize for Nothing; you might like it!

OZOMATLI LIVE AT THE FILLMORE

By Elona bonnici

The production and sound is awesome regardless of it being recorded on a laptop. No doubt Morganics fans will be impressed, yet it’s definitely a specialized style!

The production is superior, and the blending vocals of numerous MCs in this track are all about embracing the individual flava! “Supreme Being” takes you on a spiritual quest through this soft hip-hop odyssey, including the soft chimes of bells and cruisy rhythms.

“My Name’s Not 50 Cent but I’m Down With Change”, a sample of some of the ciphers that will have you smirking at their double entendres and biting lyrics.

“Get it Poppin’” with Nick Nack featuring Erick Sermon is a “two-step” number that will have you moving, grooving and pressing repeat. These beat-smiths do their thang and retain there street credibility throughout.

Yes people, Imma loving this album; it bites and scratches in all the right places.

What’s not to like?

Ozomatli fans, get prepared to be blown away by this 10-piece combo with their explosive sounds and high-energy noise works that begin with the first track “Dos Cosas Ciertas”, with manic drumming and an insanely hyped San Francisco audience.

“Believe” begins with some almost Hungarian chanting and humming, with bursts of electricguitars so wired it’s almost as if it plays itself possessed.

The trumpet dotted and smooth samba rhythms of “Who Discovered America?”. Then they double-barrel you with decks, scratches and some Holistic rap in “Eva” with a funked up intro and an almost climatic ending. “Saturday Night”, a hip-hop anthem, brings the party through the speakers and into wherever you may be, is an authentic party-starter. The bonus DVD has wicked sound, crystal clear, and the stage show looks unbelievable with dj’s, drummers, guitarists, more drummers and raw energy entertainers that just go off. I mean off-the-hook crowd love, roaring once the trumpet solos intervene, and jumping vocalists.

This is not just a band, not just a CD, not just a DVD. Ozomatli is the ultimate music experience!

THE BEACH ST.TROPEZ

THE HERD THE SUN NEVER SETS

By Elona Bonicci

Sydney is a lot of things that are True Blue, Dinky-Di Australian. So it comes as no surprise that Sydney is also home to hip hop crew The Herd. “The Sun Never Sets” is the Herd’s third album, and they’re making a lot of noise, just a little bit of trouble and then mixing it with some crazy beats. And then the accent…the accent that made Hoges a man, yes; the tantalizing treat of Aussie lingo in the rap flow. Being almost the Midnight Oil of Aussie hip-hop, The Herd maintain their radical topics with lyrics that are influenced by our society, politics and now “terrorism”, and some chunky beats that maintain their intellectual and street credibility. I have found this to be a diverse release, probably their strongest album to date. The first track, “Unpredictable”, brings us Battla spitting in Spanish and Urthboy in English; the rise and fall of anticipating beats building the tempo to a peak and keeping it sweet. “We Can’t Hear You” takes the piss out of anything that moves. This is why I like these boys; nothing is sacred. Next the maneuvering beats of effortless and mischievousness releases the funk like a man straight out of the brink... See, their wit is contagious, ladies and gentlemen; OK, contagious and the lowest form of wit, but I got a kick out of it~ SO GET IT IN TO YAAAAAAAAAAAAAAAAAAAAAA!!!!!

Need something different to go in your mp3?

Something devilishly digital and downright mindbending? Then you need to get your hands on the controversial Mr. Ozio. This digital electronic mixing, cutting and slicing through miniscule gaps between the notes will leave you sound-blasted. Dangerous drumming, heavy synth sounds, claps and that vinyl scratchy sound to filter through shocks of piano keys, maybe just to confuse or maybe to amuse you? Space-aged cyber moments journey through a computerized maze of futuristic sound. Produced, written and mixed by Quentin Dupieux and Sabastian, Mr Ozio takes a thousand-and-one chances, and another thousand-and-one beats, and redefines them into this electronic hallucination that at times makes you question this artist’s sanity. Trust me; when I say it’s out there, I mean it’s “OUT THERE”. “Scum Hotel” and “Moustache” will delightfully surprise you. This hyperactive, glitchy new phenomenon, well… it will open a part of your brain that you never thought existed. With its distorted sounds that are at times flustered by the chaotic rhythms, other star tracks that were interesting (no doubt), were (EE) and “Square Surf”. So Digi-Gods and Goddesses of the new millennium: embrace this digital age and get with Mr.Ozio.

“All Points on the Map”, being the star track, has fellow MCs such as Sister Native, Butterfly, Wire MC, Local Knowledge, Brothablack giving the track the adrenaline and zest the others are lacking.

By Elona bonnici

Petrol Records brings us another global delicacy with “St.Tropez” in the Beach series.

This time though they take you on yet another journey, to the decadent and exclusive St.Tropez. On track one, artist Kark Heinz Schafer welcomes you with “Kidnapping”, torturing you brutally with the teasingly tempting tunes. Bumchello brings us “Sarareve” with a sound that sashes along like a supermodel in-between catwalk shows.

Monsieur Blumberberg presents us with “Seherezade Mon Amour” which delivers all of your ambient desires; alluring jazz with brassy trumpets that swoon along like a summer breeze. You’ll find that in the track “Jacques Kiement Julienne”. The rhythmic “Countryside” swings you unawares from side to side with the sweet vocals designed to caress even the most loyal ear drum. The pulsating “Bachelor Party” is bass-induced and funkedup. This super tune will ease you into this electronic St.Tropez fantasy.

If reality has you daydreaming about exotic moments and heated encounters, you have no excuse: St.Tropez will win you over as you bathe your audio senses in this French paradise.

MR OZIO

By Elona Bonicci

LOTEK HI-FI MIXED BLESSINGS

By Elona Bonnici

As long as the “Dancehall” keeps coming I will be a very happy Vegemite. People take note: “Mixed Blessings” is an album that will demand your attention…it doesn’t request it, it sinks deep into your bones like some high priestess voodoo and rocks your body with ultimate ease. “Ram Dancehall” featuring Earl J, slowly beckons you into its lazy rhythms. Its Caribbean roots transcend, as it comes head-to-head with the classic UK club sound. It’s a tricky mix to master, but Lotek Hi-Fi does it effortlessly. “Blessings” is a soul reggae number enhanced by synths and deep deep vocals. “Dazzla Interlude” featuring Shlome is a little languid at times.

The romantic and oh-so-not-frantic pace of “Sticks and Stones” tells its story. “Move Ya Ting” featuring Roots Manuva and Sandra Melody will have you hooked. “Mixed Blessings” has everything from roots reggae, ragga-disco to da classic bounce. Dazzla is impressive, MCing with a voice so deep and dominating, he easily makes each track he performs his own with his personalized style.

A somewhat melancholy feel to it at times, yet the building of tempo and intuitive rolls of moods has you enraptured in this manicured sound, so if you like a little slow grinding, with a calypso beat and Caribbean rhythms…quality MCs, this could entice you to pick up your Jamaican rum and count your blessings!

PRAS MICHEL WIN LOSE OR DRAW

By Elona Bonnici

Former Fugee Pras is laying it all on the line with Win Lose or Draw. Staying true to his roots as always Pras is back with his dominant sounds. Beginning with the track “Win Lose or Draw”, Pras brings us high energy with flowing raps that ride the beat. Next up is “Dreamin”, blending rap and R&B into the kind of smooth compilation that is the urban norm.

A low-key beat with high-quality production comes at us next with “Light my Fire”. “Dancehall” brings us more culture than structure with calypso beats and Sean Paul’s raunchy Jamaican Tongue-lashings, giving this track and the track “For Love” that Caribbean feeling...you know what they say, those who feel it, know it! Actually, “For Love” was a U2 classic, and this surprise showcases Pras’ inventiveness. I love how he has re-created it. Wyclef Jean – fellow Fugee to Pras and Lauryn Hill – appears in “Angels Sing”; this throws another reggae spin, keeping the sound fresh. Akon brings us his unique African sound on “Mr.Martin”. This album is diverse and will impress. Pras stands alone, no longer under the shadows of Hill and Jean; he proves it track after track on this album.

Le Tigre This Island Remixes

By Imogen Dare

Excuse my mullet, but I’m here to give you a lesson at Electro School. Drum machine + Keyboard + Sampler + Computer ÷ between 3 chicks = Feminist Electro Punk; which is exactly what category Le Tigre aim to fall into. Add a dose of ‘peaches’ to the mix and serve up with a ‘chicks on speed’ record label and you too will be screaming lyrics to the mirror with true punk princess passion. This Island Remixes features stylized versions of Le Tigre favourites; Nanny Nanny Boo Boo, After Dark and of course, you hear it on the radio…TKO, to which peaches adds her spin of guitar grunge for a bit of grunt.

The CD is both feminine and dirty, smooth and nasty, danceable with the ability to mosh. If you’re as moody as me, and let’s face it all girls go through it, the spilt personality of these sounds makes our mood swings minor. Maths may not be my obsession but when the equation equals a sound like this I can’t help but get excited. This CD will give this island the mix up it’s needed for some time; move forward into the past. 80’s here comes Tassie.

Albums - Reviews Sigur Ros Takk

By Imogen Dare

by Elona, Imogen, Carl + Ryan

Children of Bodom Are You Dead Yet

By Ryan Cooke

Listening to Sigur Ros sends you into a dream like emotional state, floating along to find yourself lost in timeless peace, leaving you with an intense feeling of joy but not knowing whether to laugh or cry. Takk is a chillingly beautiful album to follow the success of their last album ( ), released in 2002, their music has un untampered beauty within in that finds its way into each listener with each song, even the silence’s between are moving and enough to make you shed a tear.

If you’re due for an emotional check up, this is your cure.

Finnish 5 piece, Children of Bodom, have unleashed their 5th studio album upon the world - entitled ‘Are You Dead Yet?’ - the follow up to 2003’s ‘Hate Crew Deathroll’. ‘Are You Dead Yet?’ is the first album with new guitarist Roope Ukk Latvala, replacing the departed Alexander ‘Ale’ Kuoppala. From the keyboard dominated opener, ‘Living Dead Beat’, the band doesn’t let up.

Interestingly, the band are quite comfortable to slow down the pace with ballad-like tracks such as ‘Punch Me I Bleed’ and ‘Next in Line’ – reminiscent of ‘Angel’s Don’t Kill’ from their previous album. Older COD fans may be a little disappointed cause most of the tracks sound a little procedural, but most metal fans should enjoy this album - it’s just straight up metal. Simple!

INSIDE IM DANCING

By Tom Wilson

By Carl Fidler

Hobart band Waiter pull out the big guns for their powerful debut album ‘Moving Objects’. It’s the perfect balance of soulful ballads and intense rock anthems, energetic and broody and beautifully recorded.

Sigur Ros – pronounced si-ur rose (the i is like the i in “hit”. “rose” is said very quickly) I’ll never forget the first time I saw a Sigur Ros film clip; I fell in love. If you’ve ever been up watching late night rage and caught a glimpse you would agree with me.

Their music seems to have a soundtrack appeal to it, which adds to the imagery they put to the song; so what happens when the image isn’t there and all you have it the sound?....it starts to make you the movie.

Waiter Moving Objects

DVD - Reviews

Together with George Goerss who produced their previous release, the In The Sand EP, and Anton Hagop (Silverchair, Powderfinger and Superjesus), Waiter have expertly created an atmosphere rich with lush harmonies and meandering guitars that weave and build into a crescendo of frenzied passion.

The playing is tastefully executed and provides a luxurious support for Stratos Roussos’ potent vocals which can change from humble and honest to powerfully charged in a nanosecond.

Waiter have also managed to do what so few bands bother with these days, take us on a journey through sound.

Michael (Steven Robertson) suffers from cerebral palsy, and lives a stifled, sheltered life in an institution. His nighunintelligible speech falls on deaf ears. He is a prisoner in his body. But his world is turned upside-down with the arrival of the rebellious Rory (James McEvoy), who can understand Michael’s speech. Soon, he becomes his interpreter and, more importantly, his friend. And slowly, he coaxes Michael out of his shell.

Forgoing Australian cinemas, Inside I’m Dancing is a genuinely funny and moving comedy from Ireland’s Damien O’Donnell. This is the kind of movie that the American’s would douse in sentimentality (My Left Foot notwithstanding) so it’s a relief to see a film like this made in Ireland. The grim realities of their world are shown with charming honesty, thanks largely to some truly stunning performances. For once I can describe a film as “heart-warming” without feeling ill.

Don’t hold back because it’s straight to DVD; this is a charming, thought-provoking film. If Billy Elliot floats your boat, then you’ll set sail with this.

The DVD comes with several deleted scenes, a very decent making-of doco and some extended sequences.

The music develops organically and the playlist is beautifully organised with a natural flow. ‘Moving Objects’ is a truly beautiful album and deserves the accolades I’m sure it will receive.

MICKEYBO & ME

By Tom Wilson

Nine Black Alps Everything

By Ryan Cooke

Parkway Drive Killing with a Smile

By Ryan Cooke

A few years back, rock came back in a big way when bands like the Strokes and The Vines exploded onto the scene. On the back of this, Nine Black Alps have come out with a record that successfully has bought together Rock, Garage and Punk and made it all work.

The Manchester quartet opens the album with ‘Get Your Guns’, which is just a huge bang, leaving the listener hungry for more. But, tracks like ‘Not Everyone’ and ‘Ironside’ leave the listener with the feeling that the band are perhaps stealing too much from the bands who have influenced them. The raw sound and energy of this album will keep the audience amused for hours though. I don’t believe this album will be well received in today’s environment, and probably should have been released around 1991.

One of the most talked about bands of 2005 - Byron Bay’s finest, Parkway Drive - have unleashed their masterpiece ‘Killing with a Smile’ upon the world - after traveling to Boston to record with acclaimed metalcore producer Adam Dutkiewicz of Killswitch Engage/Blood Has Been Shed fame. From the opening riff of ‘Gimme A D’, PWD have you by the balls. Some would consider the album just one big breakdown, but on tracks like ‘Guns for show, knives for a Pro’, ‘Blackout’ and ‘Mutiny’, the band really display their Swedish metal influences. Winston’s vocals are something else, he has taken to it the next level compared to the bands previous release. The real highlight of the album is the re-recorded version of ‘Smoke ‘Em if you got ‘Em’ which first appeared on their 2004 release ‘Don’t Close Your Eyes’. This is one of the must have albums of 2005, personally it will top my top 10 list of 2005.

Roadrunner United The All Star Sessions

The Bled Found in the Flood

By Ryan Cooke

By Ryan Cooke

The Shout Out Louds Howl Howl Gaff Gaff

By Carl Fidler

Über cool Indie Pop from Swedish sweethearts The Shout Out Louds. I knew I would like these guys as soon as I saw their debut single on Rage ‘The Come back’. Just the right amount of pop, well structured songs and borrowing from a pool of influences as far back as the Velvet Underground.

Amid melancholic odes to being a misfit and the ongoing pursuit of happiness, The Shout Out Louds still manage to make you smile with cheeky lyrics and cute instrumentation.

These guys are not afraid to sprinkle a little bit of dirt over a perfectly good ballad and the singer has the most wonderful ‘I can just about be bothered to sing’ vocal delivery.

If you combined Radiohead and Converge, you would come out with The Bled - beautiful lyrics with a backing track of chaos and mayhem. The Bled have come out at a time where metalcore is at its most popular stage.

From the opening blast of ‘Hotel Coral Essex’, The Bled are doing something right - they pull you in and won’t give up. The album is a mixed bag of material - you go from ballads such as ‘Antarctica’, ‘Daylight Bombings’ and ‘Millionaires’, into full-blown mayhem like ‘With an Urgency’. The closing number ‘I Don’t Keep with Liars Anymore’ is one of the strangest tracks I have ever heard, first few minutes are nothing special but then they are followed by 34 minutes of strings and what not.

One of the most original sounding albums I have ever heard, I highly recommend it to anyone.

Originally a stage play, Mickeybo & Me works well both as a buddy film and as an account of the violence that plagued Northern Ireland, using the youthful naivety of the protagonists to delightful effect. The division of catholic and protestant neighbourhoods is vividly realised, and the reality of the violence and chaos is vividly realised. Director Terry Loane has landed on his feet finding two very talented youngsters for his lead roles. They’re superb, particularly seeing that they’ve never acted before.

The DVD comes with deleted scenes and a few very superficial featurettes, though Terry Loane’s insights are quite interesting.

Howl Howl Gaff Gaff is sweet, charming and amusing, making great use of their rusty synths, twangy guitars and thumping beats. They’ll have you bouncing off the walls with a permanent grin.

In many ways, Mickeybo & Me is thought-provoking, but it fails to pack any kind of punch that would make it memorable. Still, as short-term entertainment, it’s hard to fault, and the cinematography is superb.

Crazy Penis A Night On Earth

MINDHUNTERS

By Carl Fidler

Crazy Penis have come a long way since their debut release in ‘98 ‘A Nice Hot Bath With...’.

Ever wondered what would ever happen if people like Joey Jordison (Slipknot), Max Cavalera (Soulfly/ Sepultura), Robert Flynn (Machine Head) and ex-Fear Factory guitarist Dino Cazares came together and produced than album together? The answer is one of the heaviest and most hard hitting albums in a long time. Roadrunner records brought together members of the best of their current and past roster of bands, split them into teams and watched the mayhem that broke out. Tracks like ‘The Dagger’ feature members of Killswtich Engage, Fear Factory and Machine Head, while ‘Dawn of the Golden Age’ features Dani Filth of Cradle of Filth on vocals, showing the range of styles this album has. What Roadrunner has on their hands here is one of the best albums in the last few years, sure to be a modern day classic. I recommend this album to anyone who enjoys anything harder.

In 1970s Belfast, two young boys – one catholic, one protestant – meet from other sides of the tracks in their local cinema. They are vastly different people, but soon become inseparable, using Butch Cassidy & the Sundance Kid as an escape from the turmoil of a neighbourhood made a warzone by the IRA. They lose themselves in the fantasy of the film, which carries them off on a quest to a better life in faroff Australia, on the run from their parents and, more importantly, the police.

Originally a duo with a quirky bent on funky house, they have developed into a 6 piece live dance act with a host of guest vocalists.

‘A Night On Earth’ is a collection of smooth, seductive and soulful tracks that can be described as intelligent funky house with solid roots in disco and acid jazz.

I played this disc at the Star Hotel to get a feel for how people received it and it was a success. Inspiring and motivating, punters wiggled their hips in a variety of chair dancing while staff eagerly cleaned and pollished to the light funky grooves.

This CD could be the soundtrack to this summer.

Perfect for the BBQ or getting the party started, or for the recovery after a massive night of clubbing.

By Tom Wilson

It’s final exam time for a group of FBI trainees, who are marooned in a mock-up city and asked to profile a simulated series of murders. But it’s only a matter of time before the situation gets out of hand. Fear and paranoia starts to mount up; the bodycount grows; and Christian Slater has his balls shattered in liquid nitrogen.

I smell dead careers!

With an ensemble of where-are-they-now actors, including Val Kilmer, Christian Slater and LL Cool J, Mindhunters is laughably bad, but it’s that quality that makes it appealing. Director Renny Harlin (Deep Blue Sea, Cliffhanger, Driven) is one of Hollywood’s biggest jokes, so it’s no wonder that this film went straight to DVD. But it’s still highly enjoyable B-grade shlock; like a three-dollar Rolex, it’s nothing to be proud of, but you still want to show it to your friends.

The DVD comes with the usual featurettes and trailers for some more B-movies; they look crap, but then, so did this, and I’m surprised how much fun I had with it.

Get some friends together, get drunk, throw this on, and laugh at Christian Slater getting his balls shattered. Hell, I did.

TOUR DIARY

The Cat Empire

U S To u r D i a r y

Week 1

Week 2

The confusing thing about crossing the dateline is trying to write down what you did in chronological order, because the day kind of occurs twice. Good luck deciphering this:

The City of San Francisco makes their parking inspectors, who cop a fair bit of flak as we all know, drive around in strange little golf buggies. Is this some sort of sick joke? Is their job not hard enough as it is, are they not on the receiving end of enough ridicule? The uniform sure doesn’t help them out either. Our opening act at the Independent was local live hip-hop act Crown City Rockers. From what I heard later on, they once had a far worse immigration experience than I did. They had a tour booked in Australia, had a problem with their VISAs on the way in. They were put in a detention centre for three days, then sent home and banned from the country for three years. Ouch. We had a really fun show that night, possibly the most together one we’ve had so far on the tour. Ollie’s solo in Soly just kept on building, like he’d ordered thousands of minions to build an elaborate musical structure in his image. Luckily enough

AU 7:00am Leave for Tullamarine 30 minutes early, citing “The traffic will be hell!”

AU 7:30am Arrive at Tullamarine 30 minutes early US 7:34am Touch down at LAX AU 7:45am Realise the wait for the airport shuttle is just as longterm as the parking itself.

AU 8:00am Meet everyone actually pretty much on time.

Get in line at check-in.

US 8:05am Get in line at immigration.

AU 8:20am Ollie arrives at Tullamarine, jumping straight to the front of the queue.

US 8:30am Get to front of queue at immigration. Arouse suspicion, and thus get hauled into “Secondary Screening”.

AU 8:45am Start gaffaing bags together before check-in so it looks like we have less. This saves us hundreds of dollars. US 9:00am The other guys have been kicked out of baggage claim. I’m not allowed to tell them what’s going on. Possibility of me being sent back home within the hour. (I should point out that I’ve had a haircut and a shave, so that’s not why I nearly got deported.)

AU 9:10am The funniest bag on the belt is a drum stool gaffaed to a keyboard. This still counts as one item, but is actually impossible to pick up.

US 9:15am Immigration call our agent in New York, requesting my I96 (or something) be faxed through. From this end of the conversation it sounds like Jordan knows about as much as I do about this stuff. If he can get onto Correne (currently on 2:15am Melbourne time) then I’m home free. I don’t expect the fax machine to spring to life any time soon.

AU 9:30am Suckered in by the billboards on the way into Tullamarine, I buy a tube of Travel Vegemite.

US 9:35am After my second trip to the water fountain, there’s a changeover of staff. New guy looks fairly easygoing in comparison to the heartless she-witch he replaced whose GHASTLY PIERCING SOULLESS STARE WILL HAUNT ME TO THE END OF MY DAYS. AU 9:45am Stock up on muffins, danishes, whatever you can get your hands on. They only feed you twice on the 14 hour flight to L.A and pretty much skip dinner.

US 9:50am New easy-going guy by this time has actually listened to my story and seems to be coming around to the idea of me walking outside on this side of the Pacific.

AU 10:00am Check-in is delayed. Harry has bought some Ugg boots. I grab a GST-free copy of New Scientist. Feeling liberated by the 9%ish that I saved off the cover price, I splash out and buy some spearmint Extra.

US 10:05am A note gets delivered from the band that says they have no idea what is going on, but they’re off to the hotel and hopefully they’ll see me soon. The delivery guy is told to tell them to wait, because “We’ll be done in three minutes.” Things are looking good.

AU 10:07am Board the QF93 running express from Malvern to South Yarra then stopping all stations to Richmond then running express from Melbourne to Los Angeles.

US 10:08am Stamp. Stamp. “Have a good day.” Freedom. Fuck yeah. I have a feeling the phrase “I’m the bass player” garnered some sort of sympathy vote.

After that near-catastrophe we had a great first show at the El Rey Theatre. According to one of The Kills it has “tiers at the side” and looks like a “sea of people” from the stage. The tide was a little lower at our show, but it was a great night, considering we’ve only done one “big” show since London. Matthew McConaughey has some fairly out-there dance moves. Backstage, we were surprised to find our room full of Beautiful Girls. THE Beautiful Girls. Always a fun bunch to run into on tour. If you don’t see those guys for a few months at least one of them will have either much more or much less hair than you remember. Enter the tour bus. We will be driving coast to coast in a maroon Provost XL. It has twelve bunks on board, and the general idea is that we don’t sleep in hotels anymore. We also have a full-time driver who, amusingly, is named Wayne Carey. The obvious benefits are: - You NEVER have to check out of hotels in the morning.

- The serious long-haul drives can be accomplished overnight, and when you wake up you’re in the next town.

- No band or crew needs to drive, freeing up the crew to spend more time hanging out and drinking and gambling with the band. Awesome. Mission Beach is the California that you think could only exist in your mind.

A long, straight beach stretches out in both directions, with people rollerskating and riding past on bikes with huge Wonder Years-style handlebars. When night falls, groups congregate on the beach in designated bonfire zones for some serious Point-Break-esque partying.

Nestled right in the thick of it all is Canes. What a place for a gig. We got a nice crowd in and surprised even ourselves a few times in the set, especially that samba thing that happened in In My Pocket. After the show some locals recommended we head to Roberto’s, a 24hour mexican place a few blocks away, also known as Regretto’s a few hours after you finish eating. It is there that we were introduced to the Californian Burrito, which contains French Fries and weighs about 2kg when it comes out. Nobody was really hungry again until about 18 hours later. Wayne Carey got behind the wheel at 4am and we headed off for San Francisco. (I never thought I’d truthfully say that sentence.)

Week 3

Week 4

Chicago. The home of the blues, the Blues Brothers, Oprah and Jerry Springer. When we turned up to soundcheck at the Cubby Bear (located right across the road from Wrigley Field, home of the Chicago Cubs), it turned out there was an NFL game on. We sat around and took part in the local pastime: drinking beer, watching sport and swearing. The show turned out to be another notvery-full-looking room that turned into a full-blown party when we started playing. Later on, Harry, in an effort to combine drinking with work, managed to spill an entire glass of bourbon into one of our merchandise boxes.

It was such an expertly-delivered spill that it managed not to land entirely on one t-shirt, but in fact across the shoulders of ALL of them. He didn’t seem too worried: “In my experience, bourbon doesn’t make clothes smell at all.”

Philadelphia: the home of the philly cheese steak. Previously on the tour diary we took you behind the lines of the steak war being waged between neighbours Geno’s Steaks and Pat’s Steaks. Now we show you the other side of town, where a third party known as “Jim’s” is fighting the steak fight in their own unique way. The queue zigzagged through the shop, into the street and around the corner. It’s like U.S Immigration in there. And the place looked that full ALL day. The cheese and the steak at Jim’s must have been truly sublime. We opted instead for a less-populous place up the road. It was pretty good. A bit too juicy, impossible to eat standing up I assume, but these guys get 10/10 for decor. Red and off-off-off-white tiles. Can you smell the onions?

We decided the only way to see Chicago was from the top of a freakin’ tall building, in particular the artist formerly known as the world’s tallest freakin’ building: Sears Tower. You can’t help but be impressed by the stats: 1730 feet tall, 110 stories, 2232 steps, 43000 miles of telephone cable. “Now THAT’s what I call a long distance call!” We all got horrendously sick of that joke.

Later on, we saw a tour group being shown around the city on Segways. I may sound like a Luddite five years from now, but those things look silly and won’t take off.

The off-road ones the cops ride around on are pretty badass, but even I could outrun one of those.

The next day we drove to Ann Arbor for our show at the Blind Pig, which is a venue with a mighty impressive history. There was a band from Seattle touring through there back in 1990, and they were having a pretty horrible tour and decided they weren’t going to continue.

The reception at their show at the Blind Pig was so impressive that it changed their minds, and they continued on to become one of the most influential bands ever.

They were called Nirvana. The stickiness of the carpet and the amount of graffiti in the band room have clearly multiplied by a staggering amount since then. Here’s one of my favourites: “Dave Matthews peed on me.”

We assume this is a reference to the Dave Matthews Band river dump story. They were travelling in a tour bus not unlike the one we are in now. These buses have a tank that stores everything that gets flushed down the toilet. The driver usually chooses an appropriate place to dump this along the way, but unfortunately Dave Matthews’ driver chose the wrong spot. There was a boat full of people on the river directly under the bridge when he let it fly. A sticky situation for everyone involved, but forever cemented in the annals of rock touring and legal history.

Will and I were still energetic enough to keep laying the foundations and reinforcing everything as the colossus of Rhodes climbed toward the sky.

From there we had a two-day journey to Boulder, Colorado. We stopped around halfway, in Salt Lake City, Utah. All I really know about the place is that it was founded by Mormons, there is not much alcohol around, and as the name suggests it is situated near a salt lake.

We didn’t learn much more, spending the whole night parked outside shopping mall. That’s the only place you can really park a bus like ours. Wayne Carey came back at about 5am to continue the drive to Boulder, 5344 feet above sea level, in the Rocky Mountains of Colorado. It is a big college town, and a bit of an earthy-natural-newage town judging by some of the crazy shit we found at the supermarket. The guy in front of me in the queue bought two wheatgrass shots and a cinnamon scroll.

They kind of cancel each other out, don’t they? Boulder sure was a little easier on the eye than Salt Lake City.

They have trees and a creek, and other such mountaintowny things. Our competition for the night was a reknowned Grateful Dead covers band who were playing one of their three sold-out nights. This is the land where the jam bands run free.

“What’s this one?”

“Albacore.”

“Ahh.” It was a fish I’d heard of, but I couldn’t get its similarity in look and texture to raw chicken out of my head.

I slapped on a few more slices of pickled ginger and some more wasabi and hoped for the best. This is when things started getting weird.

The lights began to dim around me. They continued to dim past the point of accidentally-leaning-on-the-dimmer. Then the mirror ball sprang to life and the stars began swimming all around us. The wizened chef behind the bar pulled out a MIDI saxophone and started playing a barely-recognisable Happy Birthday. Everyone else in the restaurant seemed as shocked as I was. He bowed, everyone applauded, the lights came up, and he went back to the kitchen.

When we came out on stage the crowd went bananas.

It was like a gig in Melbourne or something. As soon as we started playing, they were all shakin’ it like there was no tomorrow. People started requesting songs, singing along (often to songs they didn’t really know – always fun to watch from the stage), a few free spirits jumped up on stage, a security guard jumped up to catch them and pretty much wound up dancing too, and some guy lined up six Coronas for us on the front of the stage. Some of the intra-band communication left a little to be desired, but with a crowd like that it was hard not to have an awesome time up there.

When we pulled up out the front of the House of Blues there was a mega queue out the front when the doors opened, which looked promising, but it turned out they were all there for Steve Winwood. Their bus was just as big, but slightly less clean than ours. We were in the (smaller) Cambridge Room up the front, playing a fairly early gig, finishing up in time for the iPod night that started at 10:30. For those unfamiliar, that’s when everyone brings their mp3 players along and pours their digitallyencoded heart out one track at a time. Really loud.

When we stepped out of the bus in D.C, we realised we were surrounded by a quite alarming number of tour buses. The collective noun for such a situation is a “shitload” of tour buses. There were five buses, two semis, a mini van and a Hummer. The four punk bands that did the early all ages show were all out of there by 9pm, and the doors were to open for our show at 10pm. Surprisingly, it all ran extremely smoothly and we went on stage right on time for The Cat Empire’s 400th gig. Will has been keeping count all these years, and we’re pretty sure the 9:30 Club was number 400. We’ve missed out on all the other multiples of 100, only realising a few months later when Will updated his gig list. The next day in Washington we somehow got aboard Air Force One. Well, one of them anyway. When in Rome…

Adam Duritz proved himself something of a prophet once again, for it was Raining in Baltimore. Once known as the 8x10 Club, the Funk Box has changed its name, again, to the 8x10 Club. Stone Gato, purveyors of violinised, Guatemalafied funky rock, opened the evening.

That’s right, gato means cat in Italian or Spanish or something, so it’s another cat band. We’ve had an overwhelming number of royalty-related bands share the stage with the Empire (Custom Kings, King Curly, Crown City Rockers) but as far as I can remember this is the first other cat band. It was a zoological extravaganza when we played at WoZone in Adelaide on the same night as The Bird and 2Dogs. And I’ll never forget that time we threw a Cat amongst The Pigeons live on stage. They got their revenge, but it took a lot to convince them to let the Cat out of the bag.

The Middle East is a venue in Cambridge, a suitably university-sounding town near Boston, which has a name that allows for some amusing signage backstage: “There is to be no stage diving in the Middle East.”

“There is to be no moshing in the Middle East.”

“No drinks are to be taken out of the Middle East, including water.”

“Wireless internet now available in the Middle East.”

Back to the gig. It was a good one. Ace felafels upstairs. The “Nirvana” brand water backstage seemed like a far-too-blatant attempt at aligning water with rock.

Even the font was the same. And it smelt, unpleasantly, like teen spirit. Another overnight drive took us to New York, and a day off.

Hundreds of people were marching back and forth across the same stretch of sidewalk in front of the Virgin Megastore at Union Square. They were all holding orange arrows above their heads, carrying messages like “Insecure Follower”, “Grooming not a Strong Priority” and “Not Into Ideas”, with the arrows all aimed at total strangers that they were following. One of them told me they were filming an anti-smoking commercial for truth. com, but I checked and that wasn’t quite the right URL. One of the signs took it a bit far though: “Group Conformist.” That’s a bit of a strange accusation, coming from one of the fifty people holding an orange sign.

Much has been made of the recent smoking ban in clubs in New York. As a non-smoker, I’m one of the people who thinks this is a good idea. If you do actually smoke you’re taking your nostrils into your own hands (if that makes sense), but if you don’t smoke there’s nothing worse than getting home from a gig or a night out and all you can smell is other people’s cigarettes. We went to a bar called Cellar, or something like that, and it was deserted apart from our group in one corner. Even the “OPEN BAR” sign out the front, which for me usually translates to “free drinks courtesy of the birthday girl’s parents”, didn’t entice anyone. Are more people realising that standing around drinking isn’t as fun as standing around smoking? Maybe. Even the DJ had to step outside for a cigarette. Is the smoking ban affecting bar population on a Tuesday night, and therefore citywide sobriety levels? Possibly. But when the weather gets really cold again, there may be a boom in the winter clothing industry to service the new what-am-I-goingto-wear-when-I-step-out-into-the-cold-for-a-ciggie market.

Harry plotted an explosive start to the show at Irving Plaza.

HARRY: Hey man do you want to do something funny?

RYAN: Sure, what is it?

HARRY: I’m gonna play a trumpet fanfare and announce the exalted presence of His Highness the Maharajah of Banababanagah. All you have to do is step out on the balcony and wave.

RYAN: (laughs for a while) hahah...

HARRY is serious RYAN: Er, nah man I’m not up for it.

Harry repeated this conversation with pretty much everyone else and eventually he found a taker in Jumps.

Rhodesy faded out the house music, which got the crowd’s attention. The trumpet fanfare REALLY got their attention. When Harry announced the exalted presence of His Highness the Maharajah of Banababanagah, people even started clapping. Then Jumps stepped out with his hoodie and sunglasses on and waved to the people.

That’s when it started to look like something weird was going on. The house music came back up, and people returned to their conversations. New York crowds are just awesome. We had our fair share of old friends out there too. All in all, a great gig to finish off the U.S leg.

We had a fairly big night at a bar around the corner, and after a few hours we started to wonder why we hadn’t seen our bus driver yet. Hoss gave him a call.

HOSS: G’day Wayne.

WAYNE CAREY: Oh hey. there?

How you guys doin’ back

He had been back to the bus, didn’t see a single person, assumed we were all asleep, and started driving! He was about 30 blocks away when Hoss called. Wayne Carey picked us up, and insisted on taking us to White Castle, the archetypal stoner-munchie-hangout, on the way out of town. They sell small burgers. Not small enough to be REALLY cool, just kinda small. Somehow Will and Ollie both got through 10 of them. This has more to do with the 10 Burgers meal option than their actual hunger levels at the time. You can get 4 burgers, or you can get 10. If I may go out on a limb for a minute, this 4 or 10 culture is what’s wrong with America. People eat too much bad food because it’s easier that way. We stopped at a Cinnabon last week and, disgusted by the size of the Cinnabons (enormous cinnamon scroll-typethings with lots of icing) themselves, I thought maybe the mini Cinnabons might be the answer. They are sold in packs of 6. Six mini Cinnabons actually gives you more Cinnabon than a Cinnabon.

RYAN: So I have to get six of these?

CINNAGIRL: Yes. RYAN: Wow. Can I just have two?

CINNAGIRL: No. I probably would have been willing to pay for six and only be given two, but I didn’t go down that road. You have to buy six. Anyhow, here’s my one-sentence review of White Castle: “Man, you must have to be REALLY stoned to enjoy that.”

T P

Horrorscopes

8

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Wed Thu fri sat Fri

2 Nov 3 Nov 4 Nov 5 nov 11 nov

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18 nov 24 nov

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25 nov 26 nov

november 2005 Durga Babies (support Dan Rumor Band) 9pm $8/$5 9pm $15/12 10pm $22 10pm $8/$5 9:30pm $7/$5 collard greens& gravy, fiona boyes & the fortune tellers (supp: fell to erin) 10pm $7/$5 8:30pm

Bondi Cigars body Jar (supp: subaudible hum) carus & the True Believers republic 8th Birthday screem feeder falls festival band playoff see mercury for band list nick barker (supp: velour) tas music showcase

10pm $5 9pm $5

HARD BOILED

No Use For A Name

By Tom Wilson & David Williams

Punk four-piece No Use For A Name rank as one of the biggest and most respected acts in the punk scene. Emerging from San Jose California over a decade ago, they have done a lot to earn their stripes, and hot on the heels of new album “Keep Them Confused”, No Use For A Name headed back down under…and for the first time, made a stop in Tassie, playing at Huon Quays last month. Tony Sly spoke to us about music, family life and how much he owes his mum.

So what are you looking forward to most about your upcoming shows in Australia?

We haven’t been there in a couple of years and we’ve had some great shows up there. We’re going to Perth for the first time…and Tasmania …

What are you looking forward to most about visiting our beautiful state?

I really like the fact that we are touring in a van when we’re over there because it’s so different than when you’re touring on a bus…you get to know your bandmates I guess. Because when you’re on a bus you kind of separate yourself.

Do you ever spend time together as a band when you’re not actually playing together?

We don’t spend a lot of time together when we’re not on the road but when we’re on the road it’s very concentrated time; 24 hours a day.

Where did you play where the crowd reacted outside your expectations? What did they do?

It’s hard to say. We found that people [In Japan] don’t really applaud between songs – it’s very brief. We found out later that it was just so they could understand what we were saying between songs. Australian crowds are very similar to Californian crowds.

What do you like the crowds to do at your shows? Go mental? Sing the songs along with you?

Ah, singing along to the songs is always good for the egos…it’s really rewarding to write the song and then travel halfway across the planet and have people singing your songs back to you. You don’t really expect it, but it’s very rewarding.

When your bass player Chris left to join the Foo Fighters back in 1999, how did the band feel about it then compared to now?

Well back then we were just starting to tour, so we were a bit devastated. He was like, “I’ve joined the Foo Fighters”, and we were like “what?” I was just like “well, if he’d tried out with a hundred other guys he would have beaten them all out” because he’s that good. We still talk to each other. It’s not really that weird.

Were you pissed off, or felt betrayed at all?

At first, because we had to find a replacement, and for a week going in. After a couple of months though, when we had David, it was like, well, David’s a great guitar player as well.

How did Dave’s addition change the band?

Well, he’s been with us for six years now. He’s got a very positive attitude. I’m not a negative person, but he’s always positive.

Your latest album is a more diverse album than previous recordings. What mindset did you and the band have when you entered the studio?

I was doing a lot of recording in my house, and I was thinking that now I’m a bit older I wanted to write some lyrics that really meant something, so that was my first intent. My second was to make a record that you can listen to, and not every song sounds the same.

…It’s really rewarding to… travel halfway across the planet and have people singing your songs back to you. to thank your mother. Or do you wonder what might have happened if you’d received that keyboard?

Ah, both I guess. Actually, I should thank my mom for that, because that pushed me in the way of punk rock. It was easy to learn punk rock songs on my guitar. I thank her for that.

Do you think there might be a place in punk rock in the future for piano?

Ah, well, we put one on the record now, so…not so much in the future. Depends how it’s used really.

You’re set to release a DVD and live EP next year.

What can your fans expect to see here?

We’re basically trying to put something together that’s a brief history of the band that also has a live performance video. Basically it’s a bunch of backstage bullshit and a live performance and all the videos that we’ve done.

After your tour of Australia and New Zealand, what then?

We’re going to take off for holidays, then January we start up again on the US tour, then back to Europe in the spring. That’s all we know now. We’re putting out another EP next year too.

Do you find it hard to still write new material after being together for over a decade?

Sure, the more you write the less options you have. It does get harder, but you feel that you have to reinvent yourself every time. I wouldn’t want to do something that’s just completely monotonous.

What is important to you now that you’re older and more mature?

My daughter, my wife…my family in general. It’s very difficult to leave home now. But it’s not like there’s no spark going on because when we get on stage we feel like we’re kids.

For your first birthday, instead of an electric keyboard, your mother bought you your first guitar. All these years later, do you ever look back and want

This Future... Chaos (Launceston)

By Ryan Cooke

Over the last 15 or so years the Tasmusic Rock Chal-

I believe you are about to record a demo at Traxx stu-

Do you feel the band may need to relocation inter-

What does the future hold for TFC?

lenge has opened the door for many up and coming

dio, how do you think that will go and when do you

state to have a shot at success?

Heavier songs, more shows and a debut Album.

bands to perform in front of a large crowd. One of

plan on laying down your debut E.P?

Not at all we are going to hit the mainland scene at the

the shining lights of this years shows were Launce-

I think it will go well. We are currently compiling all of our

end of 2006 but I think there is more chance of getting

Anyone you would like to thank?

ston College’s ‘This Future… Chaos’. I spoke to lead

recordings together to make an E.P it will be out at the

noticed in a less cluttered metal scene.

Umm... Everyone who has helped or even shown inter-

guitarist Joel about relocating, Chaoscore and being

end of the year.

pigeon holed a school band.

TFC did pretty well in the 2005 Tasmusic Rock Challenge, do you think this may give you a better foot in the door than other acts or do you think maybe this will place a label on you as a school band?

I definitely think that it has been just the boost we needed to get noticed and as for the (college band) label I believe people will forget that in time.

Your call your style ‘Chaoscore’, what makes your style so different from everything else coming through at the moment?

Well Chaoscore is like “let’s make really heavy music and mix it with whatever the fuck we feel like at the time”.

There are just so many bands that are just doing the straight forward Metalcore It is good to have a fresh new sound!

As a band you list such bands as Atreyu, Norma Jean and the Dillinger Escape Plan as influences, who do you personally influence your style? ... ATREYU and AVENGED SEVENFOLD mainly but I also take a lot of inspiration from bands like The Bled and Everytime I die.

Do believe it’s harder for TFC to get shows because of your unique style and heavier feel and approach?

At first I did but we have been getting a few shows and really getting noticed so I think the heavy approach and unique style has helped us gain recognition.

est in us!!!

HARD BOILED

A Dozen Furies

By Ryan Cooke

In Early 2004, MTV put out a call for unsigned metal bands to submit their demo to take part in a reality TV show in which the winner would get the chance to play the 2005 Ozzfest tour. The world got introduced to Marc and his band A Dozen Furies who went on to win the opportunity to play beside bands like Iron Maiden, Black Sabbath and more on the 2005 Tour.

I spoke to Keith about the pressures of touring and prison.

Did Ozzfest 2005 live up to your expectations?

How did you feel knowing you were on the same traveling circus as metal greats Iron Maiden and Ozzy Osbourne?

Yeah it did, it was great to share a venue with those bands and be on the same bill as some of the bands that we grew up listening to.

Each of your songs is different in style and seems to show a different influence, which personally has influenced your style?

We have a wide range of influences so it’s hard to say who personally influenced our style. Dr. Octagon is a big influence for me personally.

What do you think of the amount of Metal-core acts that seem to be coming through at the moment?

Are you guy’s glad you got discovered when you did?

There are so many bands that fall in the metal-core category, personally I don’t like the labels that get placed on some bands that fall between metal and hardcore etc. It’s still just music in the end and a lot of people are turned off by the label and don’t even give a band a chance. I’m glad we got discovered when we did just for the fact that it seems that there are more bands than fans, so if you’re not versatile and a lillte different, then you won’t last very long.

You’re currently on the road with Dez Fafara’s Devildriver and Gwar - How are you finding it performing with such an esteemed acts?

It’s an honor to share the stage with those two bands as well as Mensrea. We just go out every night and throwdown and try to get the crowd involved.

It’s still just music in the end and a lot of people are turned off by the label and don’t even give a band a chance.

METAL / HARDCORE IN NOVEMBER

By Ryan Cooke

Anyone who went to either of the Gyroscope shows last week in Launceston or Hobart would have witnessed the carnage left by Melbourne’s Behind Crimson Eyes. One of the most memorable performances I have seen.

Locally, everyone seems to be hitting the studio. Something Kills are due to finally drop their debut EP in November at some stage - hopefully before the shows with Byron Bay’s Parkway Drive. Launceston’s This Future…

Chaos and Zero Degrees Freedom have both been up at TAFE Traxx Studio in Newnham laying down tracks for a new release. Former Hobart band The Nation Blue have scored the national support slot for the Foo Fighters. The recently disbanded Up To Our Necks are set to finally release their last recording, entitled ‘In Blood,’ in the next few weeks on 7” vinyl. As reported in a previous column, it seems the Hot Lies have pulled out of playing any shows soon in Tasmania, which is sad - I hope they realize how much Tassie needs to see them. Hobart death metallers MSI recently played their first show in almost 6 months, to launch their new album “Dream The Serenade”. Be sure to pick up one of these babies early to get the double disc version with the bonus live DVD. Internationally, Finnish gods Nightwish have parted ways with vocalist Tarja Turunen, reasons for the departure are unclear at the present time, but statements from the band its seems like a mutual decision. New York noise terrorist’s Terror have announced that they will be entering the studio with producer Zeuss (Throwdown, Hatebreed, Shadows Fall) to begin work on their next album early next year. Anyone who was lucky enough to catch Killswitch Engage at any of the Taste of Chaos shows last month may have noticed the lack of guitarist Adam Dutkiewicz on stage - Adam had to withdraw from the tour due to recurring back problem that has bothered him on the last few tours. It has now become apparent that Adam will need back surgery. Former Fear Factory guitarist Dino Cazares has been writing songs and recording demos with drummer Tim Yeung, who was in NILE and HATE ETERNAL - Roadrunner Records are said to be interested in releasing future release from this group. The music industry doesn’t seem to be able to keep new releases under wraps with the new Slipknot and Rammstein releases being leaked online.

In tour news, Frankston Punkers/metallers 28 Days will join bands like Parkway Drive, MSI, Zero Degrees Freedom and Bodyjar on the bill of Rage at the Ranch - which is to be held on the November long weekend just outside of Wynyard. Disconnect Records have announced they will be busy over the summer bringing acts like In Name and Blood, Away from Now and My Disco, all bands should be playing shows both in Launceston and Hobart - check gig guides. And in case you have had your head in the sand, goth rockers AFI have been announced to be touring Australia in early 2005 as part as the national tour of the Big Day Out.

Ryans Recommended Albums

Did you find you had more pressure when you recorded your debut album ‘A Concept from Fire’ after the success of your E.P ‘Rip the Stars Down’?

No, we were really excited to record this album. We had so many new ideas that we wanted to lay down and see how our new material was going to sound. We had only played it live, so recording the new stuff was going to be a new experience for ADF.

This Future…Chaos – Demo 2005 – Independent

When should we expect to see ADF touching down in Australia?

Hopefully by the first of the year, we know of a couple tours going over there and really hope to jump on them.

Blood Duster – Blood Duster – High Voltage Records

What is next for A Dozen Furies?

Total World Domination or Prison…

Johnny Truant - In the Library of Horrific Events – Undergroove Records The Ghost and the Storm Outside - The Rains… - Independent Megadeth - Rust in Peace – Capitol Records Atreyu - The Curse – Victory Records

Comeback Kid - Wake the Dead – Victory Records Metallica – Master of Puppets – Atlantic Records Day of Contempt - See Through the Lies – Resist Records

GAMES

Technology on the Horizon

By Jason Collins While moving house recently I pondered the fact of not being able to review a couple of games this month due to time constraints and that everything is still packed in boxes. Moving is a pain in the arse, which got me to thinking about the new technology about to hit the console market and how Gamers are going to be moving from trusty ‘old’ PS2’s , Xbox’s and Gamecubes to the upcoming uber consoles.

Now that technical specs and designs are finalised we can have a preview of these new Super Next Generation Consoles and what features we can expect, the upcoming titles and support competing for your gaming dollar.

Let’s introduce the ‘players’ in this Next Next Gen Console Battle:

SONY PLAYSTATION 3 (codename CELL)

MICROSOFT XBOX 360 (codename XENON)

NINTENDO REVOLUTION

These specs are leaked by a person known only as Han Solo as there are no official specs available from Nintendo themselves.

Here are the official technical specifications for the PS3, taken directly from Sony: CPU Cell Processor PowerPC-base Core @3.2GHz 1 VMX vector unit per core 512KB L2 cache 7 x SPE @3.2GHz 7 x 128b 128 SIMD GPRs 7 x 256KB SRAM for SPE * 1 of 8 SPEs reserved for redundancy total floating point performance: 218 GFLOPS GPU RSX @550MHz 1.8 TFLOPS floating point performance Full HD (up to 1080p) x 2 channels Multi-way programmable parallel floating point shader pipelines Sound Dolby 5.1ch, DTS, LPCM, etc. (Cell- base processing) Memory 256MB XDR Main RAM @3.2GHz 256MB GDDR3 VRAM @700MHz System Bandwidth Main RAM 25.6GB/s VRAM 22.4GB/s RSX 20GB/s (write) + 15GB/s (read) SB< 2.5GB/s (write) + 2.5GB/s (read) System Floating Point Performance 2 TFLOPS Storage Detachable 2.5” HDD slot x 1 I/O USB Front x 4, Rear x 2 (USB2.0) Memory Stick standard/Duo, PRO x 1 SD standard/mini x 1 CompactFlash (Type I, II) x 1 Communication Ethernet (10BASE-T, 100BASE-TX, 1000BASE-T) x 3 (input x 1 + output x 2) Wi-Fi IEEE 802.11 b/g Bluetooth 2.0 (EDR) Controller Bluetooth (up to 7) USB 2.0 (wired) Wi-Fi (PSP) Network (over IP) AV Output Screen size: 480i, 480p, 720p, 1080i, 1080p HDMI: HDMI out x 2 Analog: AV MULTI OUT x 1 Digital audio: DIGITAL OUT (OPTICAL) x 1 Disc Media CD PlayStation CD-ROM, PlayStation 2 CD-ROM, CD-DA, CD-DA (ROM), CD-R, CD-RW, SACD, SACD Hybrid (CD layer), SACD HD, DualDisc, DualDisc (audio side), DualDisc (DVD side) DVD: PlayStation 2 DVD-ROM, PlayStation 3 DVD-ROM, DVD-Video, DVDROM, DVD-R, DVD-RW, DVD+R, DVD+RW

Xbox 360 System Performance Specifications Custom IBM PowerPC-based CPUThree symmetrical cores running at 3.2 GHz each Two hardware threads per core; six hardware threads total VMX-128 vector unit per core; three total 128 VMX-128 registers per hardware thread 1 MB L2 cache

tom” PowerPC 2.5 GHz CPU, with 256 KB L1 cache and 1 MB of L2 cache

CPU Game Math Performance9 billion dot product operations per second

next to 512MB of system RAM. The custom ATI GPU solution is rumored to

Custom ATI Graphics Processor10 MB of embedded DRAM 48-way parallel floating-point dynamically scheduled shader pipelines 48-way parallel floating-point dynamicallyscheduled shader pipelines Unified shader architecture

consist of a RN520 600MHz core, backed with 256MB of RAM and “32 paral-

Polygon Performance500 million triangles per second

2048x1268), Solo says that HD support has not yet been decided (which fits

Pixel Fill Rate16 gigasamples per second fill rate using 4x MSAA

with Nintendo’s own comments).

Shader Performance48 billion shader operations per second Memory512 MB of GDDR3 RAM 700 MHz of DDR Unified memory architecture Memory Bandwidth22.4 GB/s memory interface bus bandwidth 256 GB/s memory bandwidth to EDRAM 21.6 GB/s front-side bus

The brains of the console are rumored to be a single dual-threaded IBM “cus-

(L3 cache is rumored). The system will also sport a Physical Processing Chip (PPU) with 32MB of dedicated RAM, while the CPU itself will saddled up

lel floating-point dynamically scheduled shader pipelines.” While the output will theoretically be capable of putting out 1080p resolution (higher even, at

I’m not particularly inclined to deeply assess how such a configuration would stack up to the Xbox 360 or the PS3, but Solo wrote that he thinks it “would be on par with Xbox360, though PS3 could have an edge in the CPU area. In the GPU area the Revolution beats PS3, and technically would match Xbox 360.”

Overall System Floating-Point Performance1 teraflop StorageDetachable and upgradeable 20GB hard drive 12x dual-layer DVD-ROM Memory Unit support starting at 64 MB

Nintendo may have the right idea. As publishers demand more and more games go cross-platform, a single-core system that’s easy on developers may be the best way to ensure plenty of cross-platform support, without

I/OSupport for up to four wireless game controllers Three USB 2.0 ports Two memory unit slots

burning too much money on console architecture that may only be used for

Optimized for OnlineInstant, out-of-the-box access to Xbox Live features with broadband service, including Xbox Live Marketplace for downloadable content, gamer profile for digital identity, and voice chat to talk to friends while playing games, watching movies, or listening to music Built-in Ethernet port Wi-Fi ready: 802.11a, 802.11b, and 802.11g Video camera ready

360 and the PS3, most titles will be cross-platform, and will not necessarily

Digital Media SupportSupport for DVD-Video, DVD-ROM, DVD-R/RW, DVD+R/RW, CD-DA, CD-ROM, CD-R, CD-RW, WMA CD, MP3 CD, JPEG Photo CD • Ability to stream media from portable music devices, digital cameras and Windows XP-based PCs Ability to rip music to the Xbox 360 hard drive Custom playlists in every game Built-in Media Center Extender for Windows XP Media Center Edition 2005 Interactive, full-screen 3-D visualizers High-Definition Game SupportAll games supported at 16:9, 720p, and 1080i, anti-aliasing Standard-definition and high-definition video output supported

Perhaps I was preparing myself for a letdown, or something truly abysmal,

Audio Multi-channel surround sound output Supports 48KHz 16-bit audio 320 independent decompression channels 32-bit audio processing Over 256 audio channels

exclusive games. While we expect to see exclusive titles for both the Xbox

take advantage of the multi-core optimizations for the Xbox 360, or Sony’s Cell architecture. Keep in mind that Gabe Newell recently said that the Xbox’s CPU performs like a 1.7GHz P3 on unoptimized code.

but these specs don’t look too shabby to me. Of course, specs alone can’t define how fun a console is or how developer-friendly the various tools will be. However, for a company that seems to really want to downplay polygon counts as a way to measure a console, these specs aren’t exactly anything to apologize for.

All specs aside it is a very exciting time for gamers where the consumer will ultimately decide who will win this next console war with their hard earned cash at the cash register. So shed a tear for your faithful XBOX, PS2 or Gamecube as releases for these ‘old’ consoles will diminish in the coming months as support ramps up for the new console kids on the block.

TRAVEL BUG

Two Salty

These are some excerpts taken from my journal Hitch hiking from Byron to Melbourne (Sept/October 2005)

By Ingrid

on the road again ..

Disorganized, spontaneous. Never well packed or equipped, things dangling from my pack, tied on by headscarves & old ribbon. This freedom of running away is intoxicating, zips undone, old Boots. Stones that lodge themselves under the heel that I’d swear. Stop. Put my shit down on the ground and use it as an excuse to sit.

No one knowing where you are or telling you anything, or having opinions or judgments or demands… roll up my jeans and brown my legs in the sun. Just you Close my eyes. and you’re stripped bare. Breathing sweetly in the air.. no material possessions or jobs or anything but for this sweet addiction for the air. Scratch the dust from my eyes. smile. hot, scruffy, and feeling just so happy.

of this heat -on the road, windows down. Shane starts right off the bat, abusing the social Security System.

Tells us he’s just been being treated for skin cancer- that his health pension has been cut. He is passionate about his politics & apologises for ranting.. I stifle a giggle in the back, as he continues, “and I’m sitting here with this little fuckin’ pea hangin’ of me ear, complanin” he swivels his head to show us a scar where the cancer was cut out… “hideous God-damn disease.”

So it is a red wine afternoon and stories whilst perched on milk crates at Shane’s place- His very own commune SERENDIPIDY, a few caravans & an empty bus shell in the bush. “I’d go back there in a second… God willing” (referring to Egypt) of riding on the back of a motorbike through the streets of Cairo to get weed. Afterwards

Twilight and Aaron and I leave Newcastle, the old house where I’ve stayed this last little while. the bicycle with Mia’s baby seat attached that holds my basket perfectly loaded up each morn like a mule. Adios Amigos as the next leg of our journey begins. Naomi tucks a bag of nuts under my arm. Aaron has his guitar. It is warm & we have cashews but it goes unspoken, that we are cutting it a little fine to be getting a lift before dark.

It only takes a few minutes before our packs touch new seats… inching further towards our destination, the highway to Sydney… Again we are dropped off on the side of the road. Picked up. Dropped off. We get there. ( the highway) But it is dark, the sun has eluded us. Damn it. We stick our thumbs out from beneath the lamplight, mere silhouettes as car headlights of on- coming traffic speed by..

No love. But since we are opposite a train station…

Hitchin’ the train…

Thursday 6th October (Byron) The moon it is skinny here tonight as it hangs like a cradle.

We make our own sand beds down here on the beach and the light from the lighthouse swoops in an arc over the sea. I make a pillow out of the sand and lay my jacket over the top…

Byron- Ballina, heading South…

Waking early, sand embedded in my ears. nose. eyelashes. I open my eyes to hot sun, bare belly and breasts. … a topless pregnant woman is sun bathing a few metres away. I try not to stare Her limbs; so brown and lean, belly oval like an egg. She wanders lazily into the sea that is warm… and Melbourne feels far away.

Hitching to the outskirts of town, we make it 20ks out of Byron. Az is playing guitar, we are in good spirits as Simone pulls up in her old Blue bird – she drops us at Ballina. By the side of the bitumen road burning up- petticoat sticking to skin the waiting game. Before we can get too sweaty and uncomfortable, Shane rocks in… Az jumps in the front, I crawl in the back, knees buried in an old red cardigan hanging from his seat. Happy to be out

we leaf through a pile of letters he has written to John Howard, (the better ones evolving into poetry) that he stores in a shoebox under a lime green mattress. wine dizzy

Sunbaking on Rosebud’s balcony in Paddington.

La did daaaahh Lounging back in Rosie’s Designer Recliner Limbs brown and clean. The sun is fierce and I have to admit I am very content Sure it ain’t always designer recliners on balconies in Paddington, but beat up dirt roads are wonderful too… the smell of eucalyptus or midnight train rides with nutty Turks/ skinny dipping, pissy in the vampire hours… I have whittled my things down sufficiently so they now fit in one small backpack & a woven basket. A few days in Sydney is enough, so bloody expensive! Besides, Az has work commitments in Melbs and has to be back by Saturday, (two days time…) we will hitch it tomorrow. Leaving early

Syd- Melbourne in a day So Somehow we got back in one piece in one day. Leaving Redfern early, we get a cab over to Rosie’s- to grab my journal, before getting a train & a bus to the highway.

The day is for dancing/ people wave from their windows

two girls get out to help us with the guitar and grab my jacket Camill and Leonie. Melbourne girls who have been on a chaotic op-shopping mission all the way down the coast. Backseat of wigs and plastic bits, broken 70s sunnies, Bits of fabric and the odd scraps of wallpaper. The smell of Bo wafts to my nose, mixed with perfume and incense and a bag of open tobacco on the dash. “sorry about her driving bro.” Camill apologises on behalf of Leonie “But we gotta get to the op shop, before they shut.” Warm and strong . Car thick with girl scent.

Which op-shop I ask? “Oh dunno, jus’ one in the next town. I’m Looking for Sunglasses & I want a brooch to pin to my vest.” 40mins later and we pull into Ulmarra.

We all get out walk around, “What?! No op Shop!” Leonie is unimpressed. “It’s the end of the world bro. I swear a few years ago, every single would have an op shop…Look at that sculpture.” She waves her hand in an arc. “Fucking Consumerism… turning everything commercial”

Newcastle- 2weeks later “get on, up there” our Turkish train driver- Sezai. points to the drivers carriage, “Quickly be fore he see’s, I can take ya, I’m headed to Sydney … the train is empty.”

Az & I get on and pull out of the station. It is a dark beautiful sky tonight and the windows are so big up the front, “Do you guys smoke… ?” Sezai asks. Aaron nods, ‘yea … ?.”

“Cause I’m dying for a cigarette …” We grin and I open the window as Aaron rolls a ciggie & Sezai goes on to explain he is Muslim and fasting. No water / food / cigarettes between 4am-6pm (and… what about after 6 ? ) “Oh man, I go nuts! I eat & smoke anything I can get me hands on!” Sezai grins at us wickedly from his seat, “the missus is making me a roast, it’ll be ready when I get home… Hey do you guys want some chocolate?” he switches on the overhead light and tosses us a plastic bag, the train curves its way around the lake… silver in the moonlight. Chocolate wrapper laps.

Made it to Sydney …Suncream on nipples

that are wound down in this heat…

Some young guys from Bondi pick us up & we throw our stuff in back of their Ute Pete in his old Falcon who spent the last month in Darwin. All leathery tan skin & toothy smile. Then Bob, (deaf in one ear) who drives a very nice landrover, smokes a pipe and plays Billy Conelly tapes much too loud..Mark in his Peters Icecream truck… One time truck driver and graffiti artist… It’s surprising to learn that these truckie’s traveled in such style.. all leather cream interior, Dvd player & stereo. His foot on the dash Mark is lounged back back, stretches of road like an arm.

6pm. & Melbourne town looms on the horizon. We slide down from the truck, our bags thud to the ground. Pulling a jumper over our singlets, the journey draws to a close. For now. Nothing more /nor less than some fat blisters on the ankle, an old brown bag of sandwich crusts. Two salty smiles… & some pistachio shells.

PROFILES HOT MOD OF THE MONTH

Leigh Thomas's

2003 Model Honda Civic Sedan www.platinumcarclub.com.au

Thanks Interior Gadgetry Honda Civic Custom Flooring ‘Civic’ Emblem Door Plates

Tony at The Car Artist, Brett Roy Paint and Panel, James and Scotty at Speedy

Chrome Door Handles

Tyres, all the Platinum boys, the crew

Silver Dash Surround

at Lonniesniteclub, all the team at

Stereo Components Honda CD Player

Video Ezy, all my uni mates, Boz Posse basketball team, all the family.. Also, a big

Engine

Pioneer TS-C160R 5.25’ Pro Series Splits

shout out to David at sauce magazine!!

4 Cyl U Multi-point injected 1.7L

Special

And last but not least, Chelsea!!

Rolling Stock 19x8inch Lowenhart LDR Rims Federal Tyres 215/35/R19 Suspension Compressed Super-Low King Springs Exterior Full Custom VIP Style Bodykit Smoked Tail lights Euro Style Black Halo Headlights Legal-Limit Tinted Windows STYLIN Number Plates Debadged

Don’t Want Your Party To Be A Disaster?

Get The Box! Available at:

L’ton City Council | L’ton Police Station | Red Herring (L’ton) www.partysafetas.org

So, these guys will join: Dear Auntie Dilemma,

The Dandy Warhols, Hoodoo Gurus, Ozomatli, The Shins, Wolfmother, Pete Murray, The Zutons, Sarah Blasko, The Beautiful Girls, End of Fashion,

I suck. Oh, and I’m fat. And ugly. So is my boyfriend/teacher/boss/fellow fat ugly sucker. I think everyone hates me because, well, to be blunt, I’m a bitch who seems to have slept my way to the middle despite the fact that I’m not even pretty enough to be fiddled with by Uncle Friendly. It’s the truth. So, what say you - oh, thats right - I dont care.

Regards, Daygo Nah, Inveresk

Line-up Update

The White Buffalo, The Mess Hall, Evermore, Dallas Crane,

The latest bands to be added are:

Dear Daygo Nah, I don’t care either Aunty Dilemma

The Grates, The Vasco Era,

Dear Aunty Dilemma,

Ugly Duckling, The Cat Empire, Eric Bibb, The Rolling Blackout, Kelley Stoltz, Little Birdy, Ash Grunwald, Mia Dyson, Katalyst, Offcuts, Dappled Cities Fly, Youth Group, Dan Sultan and Scott Wilson, True Live andRob Sawyers

Lior, Matt Walker and Ashley Davies, 67 Special, TZU, Faker, Hoodoo Gurus, The Zutons, Sarah Blasko, End of Fashion, The White Buffalo, The Mess Hall, Evermore, Dallas Crane, Lior, Matt Walker and Ashley Davies, 67 Special.

My tampon string keeps hanging below my mini mini skirt. Whatever shall I do?

Sheree, Penguin.

Dear Sheree, I have a couple of suggestions for you. a) wear underpants, slutface. b) simply open the flaps, up pops the string, off with the problem!

Easy isn’t it? Once you know how.

On Ya! Aunty Dilemma

PROFILES BARTENDER OF THE MONTH

Kurt Collins Soak@Kaos

Elizabeth St Hobart, Next Door To Kaos 03 62315699 How long have you done this work?

I’ve been working in hospitality for about 9 years now, bow only recently started having a go at bar work.

How did you get started? In bar work?

Well I’ve been working at kaos café for 4 years, the bar has been open now for nearly 2, so i guess i just slipped into the bar when they needed me, its become a regular thing now.

What training have you had?

Haven’t done any formal training, so i guess I’ve picked up a lot of things by myself, and watching some of the other guys around town.

Where have you worked before?

No where in a bar, shame really cause it’s a great profession, people really love it when u are pouring them

drinks, (responsibly of course) What do you enjoy most about bartending?

People would have to say the hours, but I’m a night owl so the hours don’t faze me, I guess I love the job cause I’ve got a lot of regulars that come to see me and that’s kinda nice.

And dislike?

Cleaning up at the end of the shift, particularly the stocking of the grog fridge.

What are some of your favourite licensed premises and why?

In this industry a social life isn’t that common, so I don’t get out that much, but I do enjoy T42, especially in summer.

What is your favourite drink?

Love inventing my own, come and try my FRUSTRATION, although I do enjoy a nice NY cosmo.

What drink do like most to make and why?

I like make Long Island Ice tea, because they are so simple.

Describe your ultimate bar.

My ultimate bar would be purple, because I love the colour, lots of mirrors and sofa’s.

Have you had a bartender mentor or someone you admire in the industry?

No, not really, although Shae (my bar chick) has heaps of good ideas. Try her “BABY CHE”. yum.

What makes a great bartender?

I think confidence makes a good bar tender, and great hair. LOL Tell us one of your bartending secrets.

I don’t have any secrets really, but I love the gossip.

Advice for aspiring bartenders?

Get your own ideas together, be creative.

To make things better, Tassie bars should have more ... Couches and comfortable stools to sit on.

And less ... ?

Smelly people.

SHOWCASING JAPAN’S FRESHEST ANIME

SEASON COMMENCING FROM NOV 10 AT THE STATE CINEMA

375 Elizabeth St. Nth Hobart 6234 6318 www.statecinema.com.au

GHOST IN THE SHELL 2029 – A female cybernetic government agent, Major Motoko Kusanagi, and the Internal Bureau of Investigations are hot on the trail of "The Puppet Master", a mysterious and threatening computer virus capable of infiltrating human hosts.

Together, with her fellow agents from Section 9, they embark on a high-tech race against time to capture the omnipresent entity.

MILLENNIUM ACTRESS TV interviewer Genya Tachibana has tracked down its most famous star, Chiyoko Fujiwara, who has been a recluse since she left acting some 30 years ago. Tachibana delivers a key to her, and it causes her to reflect on her career; as she's telling the story, Tachibana and his long-suffering cameraman are drawn in. The key was given to her as a teenager by a painter and revolutionary that she helped to escape the police. She becomes an actress because it will make it possible to track him down.

ESCAFLOWNE: THE MOVIE It is the year 2032 and the line between humans and machines has been blurred almost beyond distinction. Humans have forgotten that they are human and those that are left coexist with cyborgs (human spirits inhabiting entirely mechanised bodies) and dolls (robots with no human elements at all). Batou is a cyborg. His body is artificial; the only remnants left of his humanity are traces of his brain… and the memories of a woman called The Major.

Appleseed is a high-octane, action-packed race against time as the future of civilization hangs in the balance. Based on the internationally successful comic series by Masamune Shirow, Appleseed is a high-octane, action-packed race against time as the future of civilization hangs in the balance. Post World War III, governments construct the perfect city administered by Biodroids. Life in Olympus is carefully controlled and monitored - and some of its human population have had enough.

Will they ruin the dream of paradise?

Gaia is a mythical realm ruled by sword and sorcery and immersed in blood and violence. Thrust into a conflict she doesn't quite understand, Hitomi helps aid the young Prince Van as they embark upon their journey of discovery. The battle over the legendary suit of dragon armour, Escaflowne, has begun.

SPOTLIGHT

Sunscreen :

National Music Video Competition Showcases Announced The organizers of the first ever SunScreen music video clip competition have been overwhelmed with the response. The first 8 clips to be showcased have been selected and will be streaming on www.fasterlouder. com.au They are: Song: Artist: Director:

ANNOYING SONG Man Bites God Chris Tomkins

Song: Artists: Director: Song: Artist: Director:

DEXTER & SINISTRA Karma County Sean Kennedy TIGHT ROPE WALKER Epicure Mark Molloy

Song: Artist: Directors:

SAILOR GIRL Holidays On Ice Dominique Dinel & Robertino Zambrano

GOLDEN SHAKE

Justin Murphy Director: Travis Hogg

USE ME

Kid Courageous Director: Nathan Martin

FAR AWAY CASTLE- Sunwrae Director: Colin Chee BAD LUCK

Earl Gray Director: Adam van Rooijen

Log on to www.fasterlouder.com.au and register your vote for which clip you think should win $10,000 worth of equipment and services to go towards the creation of their next clip. All voters go into the draw to win a three day, all expenses paid trip for you and nine mates to a beach house on the NSW North Coast. Also up for grabs each week is a double pass to Festival Of The Sun www.fotsun.com SunScreen is a national competition to uncover Australia’s future ARIA Award winning music video creators!

SunScreen was created to give Australian independent artists and music video makers the chance to showcase

their videos to Australian audiences, minus the competition of massive budgets and major label promotion teams.

For seven weeks prior to Festival Of The Sun, four entries per week will be selected and featured on www. fasterlouder.com.au. www.fasterlouder.com.au is fast becoming one of Australia’s premiere music sites with over 70,000 visitors last month. The general public can log on, view the entries and vote for their favorite clip.

Each week, the two clips with the most votes from those four featured will be added to a list of clips to be screened in between sets from some of Australia’s hottest up and coming artists including Sarah Blasko, Gerling, Ash Grunwald, iOTA and the Lizard Men, on stage at Port Macquarie’s Festival Of The Sun www.fotsun. com , with the winning clip being announced on site, at the festival.

Competition Guidelines: • Entry is $25. Entry forms can be downloaded from www.fotsun.com and www.redrug.com.au just click on the SunScreen logo.

• All entries to sunscreen must be funded independently and kept within a budget of $10,000 or less.

Art in Tasmania The annual Wychwood Garden Australian Garden Open Garden Scheme

Nov 4-7 Wychwood, Mole Creek (near Deloraine), Tasmania in conjunction with the annual huge Deloraine Arts and Crafts Fair The Scarecrow from Ecosalve by Monika Zechetmayr (Ph. D.-Dr.) Rosevears, TAS Materials: from the Ecosalve as well as Plastik, Surveyers’ tapes, crushed beer cans, juwelery beats, head consists of two aluminium hub caps.

Sticky Carpet : Films, Bombs & Baseball

By Zara Dawtrey Anyone looking for some decent Saturday afternoon entertainment on November 12 may want to head down to Syrup (39 Salamanca Place, Hobart), where the regular Arvo Session will be offering patrons something a little bit out of the ordinary.

Already boasting some pretty positive reviews interstate, feature-length documentary Sticky Carpet is being screened at 3.30pm, with an intermission to allow drink replenishments. Directed by Mark Butcher and Buffytufnel, the rockumentary focuses on Melbourne’s underground music scene over a one-year period, and features dozens of performances from bands including the Dirty Three, Cosmic Psychos and Rowland S. Howard. Local musicians take note, though, Sticky Carpet comes with a warning - ‘This film is unsuitable for anyone who is under the impression that they are going to become a rock star’.

After the final credits have rolled, a full program of live music gets underway. Idiot Lust start it off at 5.30pm, followed by Melbourne’s Love The Bomb at about 6.15pm, and main attraction Baseball can be heard from 7pm onwards. Also based in Melbourne, Baseball started to evolve into a group in Scotland in winter, 2002. The last three years have seen the foursome embark on two European tours, three Japanese tours and a visit to Taiwan. Surviving several line-up changes, today’s Baseball is Thick Passage (lead vocals, rhythm violin), Monika Fikerle (bass and drums), Ben Butcher (guitar, vocals) and Evelyn Morris (drums, vocals).

If the film and the music still aren’t enough of an enticement, an additional happy hour has also been included in the Session, with the first from 3pm – 4.30pm, followed by the second from 6pm – 7pm, and entry remains free as usual.

Catalogue Out Now 6- 1 8 G EO RG E S T L AU N C ES TON TO LL FR E E: 1 30 0 8 89 69 0

• Entries must have been filmed no earlier than June 2004 • Entrants can be of any age or sex.

• Flim clips must be sent to SunScreen Music Video Festival PO Box 1695 Potts Point NSW 1335 accompanied by an entry form, signed terms and conditions and entry fee.

Prizes: • Winners will be given a complete filmmakers package for their next music video to the value of $10,000.00.

Including camera hire, film stock, facilities hire and processing so you’ll be ready to walk straight into production on your next winning film clip.

• Audience voters have the chance to win three fun filled days for themselves and nine friends in a luxury beach house, in a secret location on the NSW North Coast. This prize includes three nights accommodation, surfing lessons, meals, travel and entry to Festival Of The Sun. • Double pass to Festival Of The Sun each month to winning to voting participants. www.fotsun.com

SPOTLIGHT

Midnight Madness

By Sam Eddy

At The Long Gallery

Not enough stencilling, maybe, as all the food was devoured.

Controversy, idealism, good art, crap art, recognised and unrecognised as the long galley filled with people braving smoke machines and art covered walls. I was getting drunker feeling stranger, trying to piece out the scratch of Only The Lonely. Lost in a haze of smoke, hallucinogenic, I saw a television under the guise of a man and the MPG lama mumble in-conjunction, the opening.

This was not only an art exhibition but also the beginning step in crossing art, music and performance as an event.

With so many major galleries and artists so focused on the acts of decency, ass wiping and grovelling it was refreshing to experience, see and be part of something that was what it was.

Where is the line of creativity drawn and who has the right to draw that line? We are all artists and we all produce art. Who's to say that what you produce is less relevant thank anyone elseâ&#x20AC;&#x2122;s.

The Sale gave emerging artists a chance to exhibit alongside the more known, a chance at least to get their names and ideas across. Surrealism, realism, abstract, sculpture and photography all muddled together in a free hang.

Clouds hovered low against the Hobart nightline, exposing sun in the evening, 7.00pm. Drinking, calming, daylight savings. I arrived in Hobart earlier that day, down for an exhibition that I was also a part of.

The MPG Midnight Madness sale, everything will be hung! Everyone will be displayed! No commercial galley politics! No labels! No selection process! Going cheap, Everyone as an equal, the Ivan Stringer mandate, as over forty artists from the north attempted at least to cross the big divide that is north and south.

Surfboard wearing men, the clit, special effects, heaps of alcohol with plenty of art to fill the large space of the long gallery. A man walked around grumbling this is crap, others came and consumed the alcohol, others sat outside consuming free alcohol, smoking corporate made cigarettes complaining aloud, as seems to be the trend.

As an event it seemed a little rough around the edges and things could have been better organised. But the chaos that ensued layed down well with the three previous and successful MPG events that have included everything from interpretative dance pieces to revolution speeches, drunkenness and illicit behaviour.

Controversy, complaints, backroom stress, missing funds, drunkenness, sexual tension exploded as Hammerclit rounded up the night with a fist to the face of a heckler, blood poured, he had an orgasm, the neighbours made noise complaints, a car crash, and only a couple of works sold. As a sale it probably failed but as an event it succeeded in paving the way for a new type of exhibition, away from the straight, stale openings, while pulling a crowd almost unheard of for an independent art event. Chaotic, violent, and good fun, not everything appealed or suited everyoneâ&#x20AC;&#x2122;s aesthetic values but was that the point?

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XTREME SPORT

James Thorp Bodyboarding Association of Tasmania President

By Jesse Pettigrew

the next few years there will lots of opportunity for people to get that comp experience.

Where will there be competitions in 2006?

We are planning on having a bit of a state tour next year with hopefully at least one comp on every coast. Then around September/October we will have the state final and a pro tour event on the south, same as what happened this year, but better!!!.

Why are you taking up the stressful job of not only organising the competitions but also reinventing competition in Tasmania?

Hey James tell us a little about yourself?

Well, I’m 21, live at Clifton Beach, studying engineering at uni, and president of BAT. Who is behind the new layout of body boarding Tasmania?

We’ve got Tom Webster as secretary, Paul Hutchins as treasurer/media director, George Bignall as head judge, and Hamish ‘Omlette’ Wilkinson as head marshall.

What are your thoughts on the way body boarding is going in Tasmania compared to mainland Australia on a competition basis?

As far as competitions go, although we haven�t had state

titles for a while before the recent one, we have hosted 2 pro tour events and a national titles in the last two years.

So Tassie is on the map as far as national competitions go. What we have lacked is club and state based competition, which is what has really propelled the competitive success of riders in states such as QLD and NSW. Hopefully next year and beyond we will be able to improve on that.

We haven�t had state comps for a while, and everyone was getting pretty keen to get them going again. Richie Halley handed me over the BAT files, and since then its been all go. The amont of work that Richie did for Tasmanian Bodyboarding was insane, you don't realize the time and effort he put in until you try it yourself. Luckily now we�ve got Tom and Paul plus heaps of other guys all keen to help out, so its not too stressful.

When do you feel that Tasmania will have the competition experience to match other states at a national level?

Like I said before it�s the club and state based competition that really improves competition skills. Hopefully in

How do you feel the Tasmanian open and Tasmanian state team selections competitions on the 8th and 9th of October 2005 went?

Well its incredible it went at all, we had some last minute sponsorship from the state government, and without

their help the event wouldn�t have happened. Despite the low event status, we still had guys make the trek to Tassie for the pro tour, and now its on the map we can build on it for years to come. The state titles was great, we had over $3000 worth of prizes and a big turnout.

In general how do you feel Tasmanian body boarding is going?

There�s a big crew at the moment all keen on bodyboarding which is what the sport needs. Plus there�s some younger guys coming through the ranks with some real talent, such as Matt Jack and AJ. Things are looking good for the future.

Where do you hope body boarding in Tasmania will be in five years?

Hopefully we�ll have a high status pro event running every year, plus heaps of state competitions and club based competition, with every kid who owns a booger going in comps. The groms of today will be leading the charge, and we should see some seriously good bodyboarders coming out of this state.

What can other people do to help?

The more people we have involved the better. Anyone who�s interested in helping out with the comps, or has any ideas regarding Bodyboarding Tasmania can check out the website www.frozenhole.com and get in contact.

Well be holding a meeting in the near future, and all are welcome, so stay tuned for details.

Although this isn't James Thorp, you can check out more pics like this at Tassie's Bodyboarding website, www.frozenhole.com

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1 Since his early beginnings behind the decks in 1996, Sydney based Kid Kenobi has steadily risen to his current place as the busiest DJ on Australian shores, now widely regarded as the home of the most booming breaks scene in the world.

Having won the top spot in the Technics inthemix50 every year since its inception, it’s evident that Kid Kenobi’s popularity shows no signs of waning. Some people said he couldn’t do it 3 years running, but Kid Kenobi has proved once and for all that he’s Australia’s favourite DJ. End of story! Complimenting these awards are endless residencies and guest spots around the country where the Kid plays to consistently packed out houses, often to the point of hungry punters being turned away.

1 By combining their experiences and musical inspiration, Melbourne’s Muphin and Plutonic Lab are doing their bit to widen the boundaries of Australian hiphop with the release of their first joint-album ‘Hunger Pains’.

Muphin has proved himself a consummate all rounder, winning the 2001 Victorian Verbal Mechanics Freestyle Battle Competition and since then performing countless live shows. In constant motion like a pendulum swinging, from subject to story, Muphin’s music reveals the skeleton of a good man giving everything to music with the hope of bettering himself. Over the years he has worked with some of Australia’s most established and well-respected beat craftsmen.

Joining Kid Kenobi for the show is one of Australia’s top rappers, MC Shureshock, who will be adding his own special flavour to the night. Shureshock would be best known as front man for Zephyr Timbre, but he also works regularly with top national DJs such as Bexta, DB Chills, Greg Packer and, of course, Kid Kenobi. He is able to cross genres and styles effortlessly, incorporating hip-hop, ragga, house and drum ‘n’ bass rap styles with melodic vocal hooks.

Producer and musician Plutonic Lab, otherwise known as Leigh Ryan, has musical tastes ranging from ambient sound sculptures to futuristic hip-hop beats, the diversity of which is presented in art installations, films, performance soundtracks, and recordings on CD and vinyl. Over the years he has toured extensively including shows in Asia and Australia.

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1 The Dead Abigails formed in 2001 with a shared vision to write and play music that sounded like no-one else. In 2002, just one year later, they had secured an international tour, and performed in front of 30 000 instant fans in England.

1 Since breaking out of the garage in 2004 with singer Ahmad Reeve out in front, alternative rockers Modus have established a solid reputation as one Tassie’s tightest and most promising new original bands.

In 2003 they won Triple J's Unearthed competition, in Tasmania, and began touring nationally, supporting bands such as Grinspoon, Super Jesus and The Whitlams.

2003 also saw the release of their 6 track EP, "Code".

The ever evolving modus sound is a shimmering rush of guitars and melodic vocals, powered by a punchy and imaginative rhythm section, with an intense live show bursting with raw positive energy and impressive musicianship.

After a series of national tours in 2004, The Dead Abigails were awarded an ALMA (Australian Live Music Award) for best live Tasmanian act and were Oz Music ambassadors.

“Our music conveys every aspect of our lives”, says drummer Anthony Beveridge, “and our musical styles can blend and vary just like moods and emotions. But however different some songs may appear, there is always an underlying connection that is unmistakably modus.”

Also in 2004, The Dead Abigails evolved greatly with the departure of keyboardist Jason Whatley, with the band now producing a stronger rock sound.

Having recently secured interstate management, The Dead Abigails are about to launch their DVD and commence another national tour.

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