Sauce - Issue 46, 11-7-07

On the street every second Wednesday

Issue #46 11/07/07 - 24/07/07 Made in Tasmania

upcoming GIGS

regular EVENTS

14 JUL @ 5:00 PM Transfiction, Lacerta and Solar Thorn, 5pm till 9pm. All ages event.

14 JUL @ 10:00 PM TasAlien Present ELEKTRODELIC 20 JUL @ 8:00 PM YOUR DEMISE, WOOF WOOF, THE TURNAROUND 21 JUL @ 8:00 PM SHOCK CORRIDOR, THE OVERVIEW, THE FRETS, THE SHITKICKS 25 JUL @ 8:00 PM "a cup of tea" (unofficial) Breakfastaz Pre-Party 27 JUL @ 8:00 PM Lucien Simon Presents A Night Of Theatre And Music 28 JUL @ 8:00 PM Merchants In Groove - Funk Fusion + Supports 4 AUG @ 8:00 PM The Cityscape Riot@the Loft Hobart 4 AUG @ 8:00 PM A Silent Fiction, Jonestown Syndicate (A/a) 10 AUG @ 8:00 PM The Embers CD Launch (+18) 11 AUG @ 8:00 PM Dirty Harry & The Rockets + Supports, Old School Rock & Roll 2 SEP @ 8:00 PM Homebrew Hip-Hop + Mainland Guests

WEDNESDAYS Jazz/Lounge - Guest DJ’s THURSDAYS Bump in the Night – Project Weekend + Shammie + guests FRIDAYS Electric Boogaloo – Texas + Quality + Pilot SATURDAYS Bass Invaders – Carlos + Texas + Pilot + Outlaw SUNDAYS Comedy Night - “Impro-Vice” @ 7.30pm

FREE PRIVATE FUNCTION ROOM We cater for any private function. Capacity 600 people, comfortably. Contact venue for more info.

drink SPECIALS $5 Basic Spirits $10 Jugs of Beer

WANTED BANDS!

22 SEP Phetsta Vs Greg Packer (Drum-N-Bass) + suppts Scott Woodhouse and Outlaw

PROMOTERS?

band AREA & BAR 4 LEASE?

Promoter wanted 4 weekend gigs. New in-house PA - bigger & better!

Enquiries: www.myspace.com/theloft142 or 0416 328 079

Where is The Loft? Right here!

L

Tickets available from Ruffcut Records, Centretainment and the Venue

THE RED PA I N T I N GS

ROCK SALT

Suffering In The Endless Pursuit Of Art

By David Williams

because the Australian music industry is one of those things that doesn’t really support the sort of stuff that I’m doing.

And if they do support it, it’s going to be a win-lose, and I’m always going to lose and they’re going to win, so I have to take a really hard road with the people that I have. At the end of the day, I’m not really complaining about it – it’s just a shame that it can’t be a bit easier. Like, today, a fucking lighting rig fell on one of our crew and chopped her finger off – we had to rush her to fucking Melbourne so she could have plastic surgery and shit. Yesterday our van blew up – we blew up the motor on the way to the gig. Ah, the list goes on, man – it’s crazy! [Laughs] Wow. You’re really doing it tough, man.

Oh, man, I’m sure every band is – it’s just my story, because I’m dealing with it. I don’t know what other people are going through, but this tour is difficult. The strangest thing though?

I don’t know if this means anything, but every time we do an animal march, and we’ve done four so far, it just stops raining and the fucking sun shines. I shit you not. We just get into these animal marches, and then when we finish them, twenty minutes later, it starts raining again.

We’ll have to test this hypothesis or observation when you come down here.

I’m sure it’s just coincidence, hey. I don’t know – it’s just like, “Oh, that’s kind of cool!” [Laughs] I reckon there is more to life than what we can see and what we can touch. How do you feel about that?

That’d be amazing. I hope so – I really do. I mean, honestly man, life today is fucking crazy. To have a crew member go through that on my tour – fucking devastating. I’ve just been sitting in a café, actually, crying. I just can’t handle it.

Like, I can handle it – I’ve just got to get through this day. I need to get out of Albury – I’m sick of being here … We’re a bit financially fucked, and the venue offered us three days’ accommodation, so we’re trying to take it up. I’m just like, “I want to get out of here. I want to head to Melbourne. I want to get to Tassie. Get the tour done, and then go to the studio and start recording a fucking album.” I’ve got so much to say on this album, finally.

You’ve just released Feed The Wolf, and you’re now looking at an LP already?

Yeah. We have never released an album.

I’ve just been sitting in a café, actually, crying. I just can’t handle it … I’m sick of being here.

Is that something that you’re looking to do in the near future? Or another EP? Yeah. We’re trying to get fans to pre-order the album, and that will pay for production. We don’t want to sign to anyone, because it’s just stupid. I was saying earlier, it’s always winlose. I’m getting completely fucking shitted-on about it. I’ll stick to my guns and see what happens, I guess.

What happened to the final leg of the Robot Trilogy Tour? There was a bit of controversy around that, wasn’t there?

Yeah. We were just traveling around in robots, and in the end we let people kick the shit out of them.

It was a comment, though, wasn’t it? “Robot Trilogy” was a comment, wasn’t it?

Oh, man, everything that we do symbolises something; something with the band or not. But yeah, that was pretty crazy.

Sometimes, life just doesn’t play fair, and bad things happen to people who don’t deserve it. In the midst of a tour riddled with accidents and potholes of bad luck are The Red Paintings – a musical collective who’s belief in the virtues of unrestrained creativity should make for an experience never before seen in Tasmania … that is, if fate allows them to actually make it here. An understandably morose singer/ guitarist Trash McSweeney spoke to me about the Animal Rebellion tour, the chaotic tendencies of the Red Paintings’ performance, and how art should never be restrained.

You’re doing the “Animal Rebellion Tour”, and it’s not rebelling against animals. Could you tell me a little bit about the concept?

We’re just basically saying that human beings are neglecting the environment, and the number one thing they will think about is themselves and not animals, and I was trying to bring some unity to that, and have a bit of an awareness in my march and in the release … so that’s really what it’s about. We’re going to bring it to Tassie as well.

So how does that manifest itself in how you present the show – the visuals and all that sort of stuff.

The Red Paintings are a community band. We bring or harness local artists; like the CBD Art Gallery in Brisbane for instance. We work with them at the moment, and they brought in all their artists, and we just collaborated together over three weeks, making these huge animal heads … I gave them creative freedom in what they wanted to create; say, a praying mantis or a rabbit – it was up to that artist to create

that. And in the end, we made an ark, forty-five heads, a Noah’s outfit – the whole lot. So it’s a group effort, not just some three-piece band running around going “me-me-meme”, it’s actually like all of us together.

And what actually happens on stage during your shows?

I understand that’s pretty unique and interesting.

Yeah … how do I put it? It’s like an installation, I guess – you walk into a Red Paintings show on this tour, and you walk into a forest, and the forest reveals a moon crossing over the stage, and we have human canvases dressed as wolves.

And we have painters that we’ve auditioned stand on stage and paint the experience. All the band’s dressed up … and just playing music, I guess.

You’ve had some pretty crazy shows on this tour so far.

Can you tell me about the Byron Bay gig?

Byron Bay we didn’t play on this tour, but we played Byron Bay once, [and] someone did this big turd on the canvas,

claiming that was their artwork. And the band didn’t really want me to take the canvas home, but I put it in the car, and I thought that was pretty good.

I understand some people … a young woman wanted to paint herself?

Yeah – she painted her vagina in front of me. [Laughs] She got the red paint and started painting her vagina, and I was like, “Woah”, and the tour manager threw her out. At the same show, someone grabbed a statue and threw it through a window. Our shows are like circuses – like freakshows, man. We get strange people roll up, and we have no control over them. And I don’t really want to have control over them.

The whole idea is that our shows … they’re reckless, you know? It’s about fucking freedom, man, and that’s how I do it – I try and get young kids and I put heads on them and put them in venues so they can see the show, and their ears can open up to what the live circuit … what’s happening.

Just trying to do something fucking real, man, it’s just hard,

What was the comment – the robot aspect of it?

I was recording the Destroy The Robots EP; I felt like I was being treated like a robot, with my music – and my music was never about that. And I churned that whole concept, or that reality, into a stage show, and metaphorically built robots with fans on Sundays in Brisbane.

We built them all together, and then we marched a couple of cities, going broke on the tour, just because this was something we would really love to do.

Treated like a robot by who?

It was like, “You’re not putting this song on the internet” – they wouldn’t let us put a certain song on there that I really loved, that I put on Feed The Wolf – it’s got an opera singer and stuff. It’s called Destroy The Humans. That’s on this EP, because I was told I couldn’t put it on the last one. I was told about certain riffs, “Don’t play them like this – do this”. I was like, “No – that’s how I feel them. Those are the colours I see in the song.” “Oh, well, we’re producers, and we’re putting our names on this – we want it like this.” And that turned out to be the worst production on a release that I thought I’d ever done, because I wasn’t allowed to produce it as such … Why work with an artist if you don’t one-hundred-percent-believe what he does?

The Red Paintings play at Hobart’s Republic Bar on July 12th, appear instore at Aroma Records on the 13th, then play Launceston’s James Hotel on the 14th.

To listen to the full interview, go to www.sauce.net.au PAGE 3

TH E RO O BS

ROCK SALT

Spend Some Time With Love’s Young Nightmare

By David Williams As individual musicians, members of The Roobs have been playing in Tasmanian venues in various bands since the late 80s/early 90s. Now, they’ve just finished recording an album, and are busy in the studio doing post-production on their first long-player – tentatively titled Love’s Young Nightmare. I spoke to guitarist Aydn Hibberd about drummer Timmy Jack Ray’s influence on the band, and, of course, the forthcoming album …

What have The Roobs been up to lately, apart from scoring a great support gig with the Celibate Rifles and the Cosmic Psychos?

Lately, we’ve been spending a lot of time on the final stages of the album that we’re working on.

That’s Love’s Young Nightmare? Still got that title?

That’s our working title, but it probably won’t be called that in the long run. But who knows? We haven’t got to that point with it yet. So yeah, just working a lot on that. All the recording’s finished and stuff.

We’re just working on the mix, a song at a time, to give each song its own treatment, you know? Treat each song as a little entity in itself, so that they all get what’s right for themselves as a song, and then we’ll work on continuity when we get to the mastering stage.

They all need a little bit of love.

Well that’s it. They all need to be treated as their own separate sort of thing, you know?

How different do you think that the new LP … how different is it going to sound to the 2005 EP Sweetheart Of The Garage?

It’ll sound fairly different, production-wise. There’s one or two songs that we re-did, just because we thought that they really merited a better treatment. And I guess, apart from having the opportunity to spend a lot more time on the recording and the production this time around, we’ve also got Timmy Jack in the band.

The band really sort of evolved into a much different sort of band after he joined. That’s the other reason why a couple of those songs from Sweetheart… we’re going again, because once T.J. joined the band, they sort of took on a different light, you know?

What difference has he made? What influence has he had?

Well … T.J. is a very competent drummer. He played with The Powdermonkeys for the entirety of their career; that’s when I first played with T.J. He’s also played with Chonga in the Surfin’ Poobars years ago before that. And he’s just a

really great, very skilled drummer, and on top of that, he’s also a good songwriter. And he’s brought a few songs into the band … He’s written while he’s been in the band, as well as bringing a couple in that I guess he had when he started.

The single that came out a month or two ago was one of Timmy Jack’s songs – that was Love The Taste. And he’s got three or four songs on the album. I guess, while he’s made an influence, it hasn’t been to change the band into a different style of band, because he really came in and knew exactly what we were about, and just fitted right in.

… With regard to power and tightness and performance, he’s really added an extra dimension, and stepped up the level of intensity …

But musically, and with regard to power and tightness and performance, he’s really added an extra dimension, and stepped up the level of intensity, you know?

Excuse the cliché, but it all sounds good.

[Laughs] Yeah, it’s been great having T.J. in the band. It’s been a real step in the right direction. And I mean, he’s been in the band for a couple of years now, so he’s very comfortable with it.

One of the things that is great for us is that we’ve all known each other for a hell of a long time, and we’re all really, really good friends. That just lends itself to us really enjoying what we’re doing.

New venues seem to be popping up almost monthly in Hobart at the moment. What effect do you think that competition is going to have on the Hobart original music scene?

Ah … I don’t know. In one way, competition is always a good thing. In another way, Hobart is a very small place, and you almost need to centralise an alternative music scene to be able to make it feasible.

I haven’t had a lot of experience, and, generally, we haven’t had a lot of experience with a lot of the newer venues around town, because we haven’t been playing that much, and when we do play in Hobart, we usually play at the Trout – which, as I understand it, is having a few problems at the moment.

We haven’t played there for a while because we’ve been concentrating on the recording.

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

CHA RL ES DU CA N E

ROCK SALT

Beatnik From The Waist Down

By Tom Wilson After a string of shows in Melbourne, Hobart’s Charles Du Cane will be returning home to lend his gravel-voiced talents to the opening of the Brisbane Hotel this month.

You’ve been playing shows in Melbourne. What are the audiences there like compared to those back home?

The bigger audiences have been really responsive ... I played this one great show in Northcote with a burlesque puppeteer, a midget circus troupe and a light show.

Awesome. How long have you been playing music?

When did you get started, and what prompted you to first pick up an instrument?

I’ve been writing for twelve years, recording for ten or so.

I’ve got seven or eight albums of stuff that nobody will ever hear, but Tomahawk’s the first thing that Rose has chosen to put out.

I’ve been a practising song and dance man since the age of thirteen, when I starred in the Campbell Town Repertory Society’s production of Cats.

What’s the greatest lesson you’ve ever learned?

“It doesn’t matter what you do in the bedroom, just as long as you don’t do it in the streets and frighten the horses ...”

I played this one great show in Northcote with a burlesque puppeteer, a midget circus troupe and a light show.

You’ve been described as a “cross between a choirboy and a beatnik”. How much of you is a choirboy, and how much is a beatnik?

I’ve been described as having “the face of a choirboy, Beatnik from the waist down.”

One thing about you that’s certainly nothing like a choirboy is your voice, which seems very harsh. To what extent is this intentional? Why? Sometimes I’ll give it a nudge in the right direction with a bottle of scotch or something, but for the most part, it just does its own thing. It’s the one I was born with.

It’s been said that you make music both in a comic manner, and in a serious one. How different is the music you make in each of these two tones?

It’s one and the same. I’m completely serious about everything I’ve ever done.

Your official website is simply a black and white figure shot of you. Why is this? And what other work have you done in photography?

I’m not sure – I think it’s just that Rose hasn’t finished designing the website yet.

Charles Du Cane plays the opening party for The Brisbane Hotel in Hobart on the 15th of July.

Debut album Tomahawk in stores August.

PAGE 4

Contents 3-13

Rock Salt

14

Hard Boiled / News

15

Gig Reviews

16-17

Gig Guide

18

CD Reviews

19-22

Bangers & Mash

23

Hip Hop

27

Digital Music News / Games

28

Film

29

Spotlight

30

Street Fashion / Toon

Phone: Advertising: Editorial:

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

Editor David Williams

david@sauce.net.au

Graphic Design Simon Hancock

shancock@sauce.net.au

Sub Editor Tom Wilson

twilson@sauce.net.au

Contributors: Adam Ferguson, Shannon Stevens, Emma Dilemma, Nicky Wilson, Chris Rattray, Ryan Cooke, Ryan Farrington, Ian Murtagh, Felix Blackler, Patrick Duke, Nicole Calabria, Steve Tausche, Dave Hernyk, Clara Murray, Carole Whitehead, Nita Walker.

Deadlines Sauce #47, 24th July - 8th August DEADLINE: 20th July

Opinions expressed in Sauce are not necessarily those of the editor, publisher or staff.

L UCY

Rock N Roll Meets Paradise Lost ROCK SALT

By Tom Wilson Before I even heard a note of the music of Hobart three-piece Lucy, the concept of them alone seemed utterly enticing. What do you get when you combine the influences of stoner-rock troupe Queens Of The Stone Age with Muse, and then throw in a healthy dose of epic poetry courtesy of Milton’s Paradise Lost? On the 13th and 14th of this month, the boys will show you …

You guys formed earlier this year. What did each of you do beforehand? Did you each come from other bands?

We have been together for about three years, but only seriously for about twelve months. Previously, Az was a solo artist, while Chris and Andy have been playing in some form or another over the last five years.

What material have you written so far?

Our material has changed dramatically over the past three years, and is continuing to evolve. Currently our sound is a blend of rock and electro.

What plans do you have to do some recording, and when?

Currently we are doing pre-production for our first album.

This is due for release late this year, or early next year. We’re looking forward to taking that next step.

Where have you been playing shows recently?

The Trout, the Republic, and the Uni Bar. You hail from Hobart. What are some of the other local bands that you look up to, musically?

Enola Fall has a big influence on Az. Joe seems to capture a real sense of melancholy that absorbs the listener. Also,

you can’t escape the influence that Fell to Erin has had on the Hobart music scene. More recently, it’s nice to see the Scientist of Modern Music doing well.

Az threw up off the top of a ten-story Vietnamese hotel into a pool of tourists. It took about five seconds to impact.

Some of the bands and artists you’ve listed as influences include Muse, Queens Of The Stone Age and Jeff Buckley. What is it about these three artists that has struck such a chord with you (pardon the pun)?

Muse is a band that we all listened to before we were in Lucy, and thus became a major influence. They use a huge dynamic range, and have a big sound as a three-piece.

That is something that we try to emulate. Queens of the Stone have such raw energy – that’s important. Jeff was a big influence on Az. He wrote with such emotion!

What gigs do you have coming up?

We’re playing at Curly’s on Friday the 13th, supported by Grindstone and the Reactions, and Saturday the 14th at the opening for The Brisbane.

the voice). And shots of mystery spirits.

What’s the most “rock” thing you’ve ever done?

Az threw up off the top of a ten-story Vietnamese hotel into a pool of tourists. It took about five seconds to impact.

And finally, why did three guys decide to give themselves a girl’s name?

The first song that we wrote as a band was called Lucy.

It was a song based on the fallen angel Lucifer, from the epic poem Paradise Lost, and his transformation as he fell into hell.

That is quite possibly the coolest thing I’ve ever heard.

What would be in the perfect rider?

A slab of Cascade Draft, and some pineapple juice (good for

Lucy play at Curly’s Bar in Hobart on Friday the 13th, and the opening of the Brisbane Hotel on Saturday the 14th of July.

H A L F MAS T

At Last, Find Out What Pig Urine Tastes Like!

ROCK SALT

By Tom Wilson What happens when four musicians drink twelve thousand beers over the course of six years? Well … you’ll ask the band questions about their latest album, and wind up finding out about the inter-species mating habits of pagans. Is that a bad thing? When it’s Launceston-based punk-rock noisemakers Halfmast, it’s definitely not.

What has the band been up to in the last month?

Not much, being winter and all; couple of gigs here and there, extreme winter sports like skeleton, drinking beer – the usual stuff. How ‘bout yourself?

Hmmm?

Ask your mums. How was 6 Years, 12,000 Beers received? What kind of feedback did you get?

We were pretty happy with it – [we’ve sold] a fair few copies, so I guess it’s gone done pretty well. The songs were a collection of what we have produced over the years, so I guess it was a “best of” as such. [Laughs] We did all the tracking ourselves, and worked pretty hard on it over a twelve-month period. The main reason for that was because we didn’t want a very over-produced sound, which I think we achieved. Hamish Clark and Micah did a great job with the mixing too. It was a great learning experience for all of us.

What plans do you have to follow it up?

We’re writing a few tunes at the moment, so who knows? No immediate plans as yet, but definitely something we will be looking at in the next twelve months. I guess the big goal would be to produce a release that is maybe a bit more of a cohesive unit, rather than just a selection of songs like 6 Years … 12,000 Beers. We’ll probably try to spend a bit more time on developing each song, rather than just pump them out; try to produce a more mature product, you know?

If it was a real beer – which, frankly, I hope it isn’t – what would Halfmast Draft taste like? Boags? Radiator

water? Pig urine?

Nectar of the gods – sweet and juicy on your lips, with a full-bodied palette … a touch of oak. Aw shit, I don’t know. A couple of the guys made home brew for a while; cheap, but not that tasty. Tell me, what does pig urine taste like?

Did you know that, back in the day, pagans use to root horses before they slayed them? Damn Pagans.

ROCK SALT

What has been the best live show you’ve ever played, and why?

The best ones are usually pretty hazy. One of our personal favorites is where some kid got all his teeth kicked out, or there was this one time where Hag shat himself mid-set. We usually have a good time at all of our shows; we try not to take ourselves too seriously. No use crying over split milk.

Or spilt poo, for that matter. Generally speaking, what makes a good night on the town?

Good music, great people, lots of beer, Nintendo. Cheap

distilled to its essence, a band unhinged and unabashed.

The Return Of The Dirt

“This album is (bassist) Dean (Turner) saying ‘let’s go make some noise at Birdland’,” laughs Adalita whose early 90s Magic Dirt precursor The Jims Jims often tackled feedback-soaked Velvet Underground covers. “He’s got lots of interesting and crazy ideas about noisy and experimental stuff and he’s really on fire at the moment. So this is kind of beginning of that side of things.”

Let’s call it “long service leave”. Magic Dirt’s first career holiday from the well-worn albumtour-album cycle finally arrived at the end of 2005. Feeling drained, and perhaps preempting the possible onset of meltdown, the Melbourne quartet agreed, for the first time in fifteen years, to down tools and step back from their collective rock work station.

After three albums in six years with Warner, a period Adalita admits was “a lot of fun”, Magic Dirt eventually parted with the label, taking a full year off to relax and live a regular life.

“We enjoy making records and touring but we were just tired,” she says. “Especially the last six or so years where we were doing the full-on album and promotional campaigns with the major (label) where you think you can stop but then you just push yourself and do some more. So the break was kind of a pragmatic decision.”

And what makes a crap one?

Making out with what you think is a chick and then finding out it’s not. [That] hasn’t happened yet, but I’m guessing it would suck balls. And wankers – stupid wankers.

Or when you’re playing with other bands that take themselves too seriously; “We want this, we want that, we’re going to play five encores!” Not a big fan of that. Just chill out.

Half-Mast play with Shock Corridor, Tokyo Gun Club and Tom Bombadil at Launceston’s Gunners Arms on the 20th of July.

What gigs do you have lined up for the next month?

We are heading to sunny Melbourne in August with the Belchers for DFFW records – should be good times. Hope to check out the zoo while we’re over there; I hear they have bison. Do you know any places we can stay? Maybe we could stay at the zoo. They do that, you know – sleeping with the monkeys and bears and shit. Not like bestiality or anything

MA GI C DI RT

“We were kind of feeling a little burnt-out there,” confides singer, guitarist and principal songwriter Adalita Srsen on the phone. “We decided it would be good to get away from everything and just return to a bit of normality and get refreshed again. We were not having that much fun at the end there.”

grog is always a plus, and free da’s.

Vinegar. What are you hoping to get done as a band by the end of the year?

No goals as yet – band-wise, that is. World domination, our own set of trading cards … Hag wants to start a fishing show with Andy from The Belchers. They want to call it Hook, Line & Stinker. But yeah, not much – just cruising along, playing the odd gig.

By Steve Tauschke

it was a happy jamboree of improvising and work-shopping. I think we’re more efficient now; we’ll play a song twice and if it’s shit we’ll chuck it out. I think we’ve simplified everything a little more and we do things a lot quicker now. We’ve got the next record pretty much written already.”

With said efficiency borne largely from experience – all band members are now in their mid-30s (“the body gives out much quicker and earlier in the night now”) – Magic Dirt’s new in-house label, Emergency has given them a framework for an unshackled approach without corporate demands.

Spending part of 2006’s downtime tinkering with her songwriting, Adalita and band re-emerged recently with a pair of mini-albums, Beast and Roky’s Room.

“That’s why I called it Beast because it just feels like that, like the animal’s out of the cage, you know, shakin’ the hair out,” enthuses Adalita of the self-produced 7-tracker. “I think you can get caught in the whole maelstrom of promo, you know, you have a stylist and a makeup artist fussing around you and there’s all this pressure to look good and get it done right and sell records. Everything kind of swirls around you and the next thing you know you’ve got eye liner on where you normally wouldn’t wear it and some frilly shirt.”

“I just wrote a lot of riffs and ideas and put them all down on a four-track,” Adalita says, who until the recordings hadn’t sung for a year. “I brought them into rehearsal and basically

The uninhibited jazz-rock wig-outs on Beast’s sister release, Roky’s Room (inspired the by the recent film on 60s Texan rock nutter Roky Erikson) presents Magic Dirt vocal-less and

PAGE 6

– we’ll leave that to the pros. Did you know that, back in the day, pagans use to root horses before they slayed them?

Damn Pagans.

Birdland, the fabled inner-Melbourne studio where Magic Dirt cut almost half their back catalogue, including 90s classics Life Was Better and Young And Full of the Devil, remains a sentimental haunt for the band who plan to return there for the next long player.

I think we’re more efficient now; we’ll play a song twice and if it’s shit we’ll chuck it out.

“It’s a beautiful building with those gargoyles - it should be a monument,” says Adalita of the studio’s original gothic site overlooking Prahran’s hip Chapel street. “I have so many memories from that building, chasing (house producer) Lindsay (Gravina) on the rooftop, so many great times!”

Released within a fortnight of each other and featuring Adalita’s artwork, both min-albums represent a return to Magic Dirt’s grassroots in an age where Myspace may well be the DIY ethic in technological disguise, repackaged for a new generation. “It’s just like wearing another dress.”

“With what’s online and this indie surge that’s happening at the moment, it seems like the right place to be for us. I think we’ll just chill out with it for a while and see where it takes us.

We’ll just go with the flow, go with the party.”

Magic Dirt play Hobart’s Republic Bar on July 13th and 14th.

MACROMANTICS O CS

TICKETS ON SALE!

Friday August ug gust 1 10th 0th @ H Halo alo plus Danielsan

The Beautiful Girls Uni Bar - Friday 21st of July

33A ELIZABETH ST MALL HOBART

(Koolism)

PSYSESSIONS TOM COSM ((NZ))

Nik Fish

PLUS: Shammie / EllisD s / Cruse C use / Pharma a a Psy sy

Halo - Saturday 21st of July

ph. 03 6234 8600 email. shop@ruffcut-records.com www.ruffcut-records.com

www.cosm.co.nz

$8 before midnight - $10 after midnight

Midnight Juggernauts $15 ON THE DOOR

Republic Bar - Friday 10th of August

UNDERAGE SHOW TO BE ANNOUNCED

FRIDAY 27TH JU JULY U LY

11PM 1 1 P M START S TA R T

HALO

Republic Bar & Cafe

299 Elizabeth St North Hobart Ph. 6234 6954 www.republicbar.com FRIDAY 13TH & SATURDAY 14TH JULY

Magic Dirt

+ SONS OF THE SUN $19.80 $19 PRE / $22 DOOR - 10PM

SATURDAY 21ST JULY

Zulya $15 PRESALE / $18 DOOR - 9PM + THE CHILDREN OF THE UNDERGROUND $12 - 10PM

Kaiser Chiefs Yours Truly, Angry Mob

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JULY Y

P.D. HALE & BAND $3 9:00pm THE RED PAINTINGS $10 9:00pm MAGIC DIRT + SONS OF THE SUN $19.80pre/$22door 10:00pm MAGIC DIRT + SONS OF THE SUN $19.80pre/$22door 10:00pm MERCHANTS IN GROOVE 9:00pm MANIC MONDAY 9:00pm CARLOS BUTROS 9:00pm THE NO NO'S CD LAUNCH 9:00pm SON DEL SUR $3 9:00pm SUGARTRAIN $3 10:00pm ZULYA + THE CHILDREN OF THE UNDERGROUND $12 10:00pm 4 LETTER FISH 9:00pm JOE PIERE 8:30pm TRUMPS 9:00pm

Arcade Fire Neon Bible

TICKETS ON SALE:

Locally owned and independent

John Butler Trio $51 Crowded House $90

81 Brisbane Street Launceston 6334 5677

Albert Hall - Aug 14

Rod Laver, Melb - Nov 8

Magic Dirt $22

Priscilla $51

Batman Fawkner - Jul 12

Regent, Melb - from Oct 2

Expatriate $12

Phantom $99

James Hotel - Jul 28

Princess Thtr, Melb

* CD’s * T-shirts * Ticketek Agent * Accessories

* Music DVD’s * Concert Tickets * Gift Vouchers * Cafe

In store now! $22

In store now! $22

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FRIDAY 13TH JULY

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SATURDAY 21ST JULY

THE BEAUTIFUL GIRLS

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PO W DERF I N GE R ( TA S M A N I A N E X C L US I V E )

Checking In To The Hotel Existence ROCK SALT

By David Williams

By now you will have already heard of the sixth Powderfinger album, at least by way of controversy.

You will be aware of the alarm bells set off by the song Black Tears and its depictions of events in indigenous Australia. That’s old news. But what about the album itself? What did it feel like for one of Australia’s most respected bands to create music once more, within the same walls that had once held The Rolling Stones, The Doors and Led Zeppelin? A sleepy Bernard Fanning spoke to me from his kitchen about Dream Days At The Hotel Existence.

CHEAP GUITAR

QUALITY ISN’T EXPENSIVE STRINGS IN STOCK AT

POWDERFINGER WITH SILVERCHAIR AHEAD OF THEIR TOUR LATER THIS YEAR In terms of songwriting, what differences do you see between the music of Bernard Fanning and the music of Powderfinger, especially in terms of the new record?

My songs are probably a little bit more compact, I would say; a bit shorter. My idea, with my record, was to try to make songs that were really … for want of a better word, beautiful and fragile. That’s what I wanted. Not fragile in the sense that they were about to fall apart, but fragile from the point of view that they were coming from, where they had a bit of a vulnerability to them, whereas I don’t think Powderfinger’s music has ever really been like that – it’s always had a pretty strong backbeat or something. I don’t know – I don’t really think about it that much. I know that there was a really conscious effort by the rest of the band to steer away from my style of writing for this record.

[Laughs] That must have been a funny thing to feel.

Well it was, actually. Initially, it was pretty … it was a weird thing … … For people to be reacting against you?

Yeah, I suppose so. And that was a weird thing, because I went and made a record; it wasn’t as if I was doing anything to anybody, you know. I understand why they wanted to get away from Tea & Sympathy, because they didn’t want a Powderfinger record to be compared to it or whatever. But yeah – it took a bit of getting used to. It was certainly a shift in dynamic of how the band wrote this time.

Because you and Darren have done most of the songwriting previously, and then taken it to the band, yeah?

Well, I suppose in general that’s kind of the way that it worked. The ideas that were generated at home morphed solid – the song ideas usually came from me or Darren, and then the band got their hands on it, and massaged it. But this time, it was more writing in little groups of two or three, and doing it that way, instead of the five of us standing together, trying to belt out a song.

Was Dream Days a fun album to make?

I would say “no” from my perspective … no, it didn’t feel like a lot of fun to me. [Laughs] There was a lot of getting used to each other again, initially. I mean, of course there was fun in doing it. But overall, the process was initially quite strained, in terms of trying to work out where we were going, and what we were doing. We’d had a year or more … a year by the time we got back together to write, where we’d all gone and done completely different things, and we hadn’t really seen each other that much.

And that would have been the first time in a long time that that had happened …

Well, it was the first time since the band started, so … yeah … It was a pretty big change for everybody, but that’s really what we wanted – it’s really what we needed. I think that if we hadn’t done it by now, we probably would have split up.

The boredom … too much of the same …

Yeah – just the routine … and also, the subservience to the all-dominating Powderfinger. [Laughs] You know? It contributed to a few of our relationships going south, and things like that as well. I think we probably, in the past, maybe put too much emphasis on it.

there was a really conscious effort by the rest of the band to steer away from my style of writing for this record.

I guess it’s just a case of live and learn, as much as you can.

Yeah, that’s right.

Was it a dream realised for you to record it at Studio 1?

I’d never really thought about it, you know? To be honest, I knew that that was a really famous studio and stuff – that it had a lot of history and all that. But I don’t pay a lot of attention to those things.

I always find it funny when people go on about “so-andso recorded here” and “so-and-so recorded here” – well, great! So what? How do you see that?

Yeah, it’s not that big a deal. I mean, the experience that you have at any studio is dependent on your frame of mind and the people that are around you.

There’s those little things … I mean, sure, if you recorded in Abbey Road, you’d be pretty conscious of the fact that you’re making a record somewhere where – for me – some of my favourite records have been made. So I suppose that’s different. And I love Led Zeppelin, don’t get me wrong, and I really love the Rolling Stones … I don’t know – you’re kind of too focused on just trying to get your own shit done to be worrying about whether Keith was having his blood changed between takes! [Laughs] Talking about the medical things, I heard someone was having a kidney stone during the recording process!

Yeah, Rob, our bloody producer – he was the sickest producer in the world, in the month that we were there!

[Laughs] He had bronchitis when we arrived, then he had a

kidney stone, and then he threw his back out! [Laughs] It’s just like, “oh, fucking hell!”

He was obviously committed to what he was doing to work through all that!

Yeah, exactly. He was an absolute trooper in that sense. I mean, anyone who was half-sensible probably would have just gone, “You know what? I need a couple of weeks to get my shit together.” But it would have been different I suppose if we were an American band from L.A. or something like that; we weren’t on the other side of the world with this schedule we had to keep, you know?

Did he have any good stories to tell about his time with the Foo Fighters?

No, he didn’t talk much about that stuff. He talked a little bit about Elliot Smith, but that was mainly because I ask him, I suppose; some of us asked him. And that was really interesting, talking to him about [that], because Rob was really good friends with him, as his producer, and he’d kind of played in his band a few times.

Rob’s wife was his manager as well, so they were really closely connected to him. That was interesting, just talking about their recording.

The engineer that made our record has been Rob’s engineer for quite a while as well. Between both of them, it was interesting talking about projects they’d done before.

You also had an amazing experience with Benmont Tench, where he heard in your music a sound that had influenced his own, which must have been a pretty magic moment for you.

It was … He was just a fabulous guy, really. He just made us feel completely at ease. I kind of jokingly asked Rob to look up Benmont and see if he could play keys for us, and he said, “Yeah, that’s a great idea.” Like, “fucking hell, I was just joking, actually!” [Laughs] He just got in touch with him, and he checked out our songs.

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I think he probably rang around and asked a few people, “Hey, what’s the story with Powderfinger? Are they any good?

Or are they just some flash-in-the-pan, bullshit band?” And he got the thumbs-up … so that was great.

ONLINE: I get my arse kicked in a competition with Bernard over who was the biggest KISS fan growing up. Listen to the full interview at www.sauce.net.au Powderfinger play with Silverchair at Hobart’s Derwent Entertainment Centre on the 29th of September.

GUNNERS ARMS

Pizza & Beer

10

$

(One pot per pizza) 23 LAWRENCE ST. L’TON - 6331 3891 PAGE 11

THE BEAUTI F U L GI R LS

ROCK SALT

Transcending To The Top Of The Ziggurat

By David Williams In the wake of the release of the new album Ziggurats (reviewed this issue) it’s fair to say that more than one Beautiful Girls fan had their first listen and wondered whether or not they’d been given the wrong CD. But skinsman Bruce Braybrooke made no apologies when he spoke to me ahead of their late-July tour. Far from it – he was trying to reach the heavens …

Here’s a question for you – is playing music something that you’ve got to do, or is it something that you want to do?

Um … [Laughs] I’d say it’s both. Yeah, definitely both.

a few years back. The dynamic … well, it just seems like a new band, really. There’s a fresh feeling. Everyone’s communicating really well – everyone’s on the same page musically.

You haven’t built up any baggage yet.

Some artists [say] if they don’t take photos, if they don’t paint, then they become alcoholic, drug addict freaks.

Yeah. You know, I think it changes all the time, but I know I’ve definitely felt like that in the past.

But generally I’ve always played music, so luckily I’ve never really found out what would happen if I didn’t play music, you know? But I reckon, yeah – it does keep you sane … or insane, relatively. I’m not sure.

Yeah, exactly. There was probably a little bit of baggage going on before … yeah, it’s nice.

Now I’ve read that your addition to the band has been one of the major influences in turning the musical direction of The Beautiful Girls towards a harder,

… When you make music, and put a bunch of songs together, the role of that is to try and reach for the heavens …

He was in the band for six years, and it is a pretty full-time sort of job. It’s a bit hard to get your own projects going; he had a few interests, and they always got put on the backburner, you know? At some point, you’ve got to go and do them, don’t you?

And you never quite get there, which is what happens with Ziggurats – they were kind of a symbol of man’s inability to transcend himself, really. Does that make sense?

The Beautiful Girls play at the University of Tasmania in Sandy Bay on the 20th of July, and Launceston’s Saloon on the 21st.

And who has replaced Clay? And how is that different?

How has that changed the dynamic or the sound of the band?

Well it’s a guy called Pauley B – he was playing in George

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

OUT TA L O N N I E

D AV E C A L ANDRA

By David Williams Ahead of the second Outta Lonnie gig at the Worker’s Club next month, we went fishing for details and ended up on the phone with one of the instigators – Merujan.

… It’s all kind of come together from sourcing all these different people to hold a gig …

What sort of styles can people expect when they go along?

Really diverse. I did the sound for the last one, and I was quite impressed by the varying styles that there were.

A bit of acoustic? A bit of rock? What are we talking about?

Yeah. There were solo acts, and then there were bands, trios – everything from your mellow, soft acoustic act to your almost nineties-take-off metal act, with Black Dollar. So for the next one which is coming up in a month’s time – August the 10th – there’s going to be three acoustic acts, or three solo artists, and five bands.

You’re playing in one of the bands. Which band are you playing in, and what are you doing?

No, I’m not playing in a band, but playing at Outta Lonnie … this one coming up anyway. We’re working as a group of four of us on some new tunes, but again, they’re very primitive PAGE 10

at the moment.

What’s the name of the band?

Ah, there is no name at the moment – we haven’t yet agreed on anything. We were throwing a few names around the other night.

I’ll give you one if you want.

Yeah? What is it?

Oh, I’ll have to think about it …

You think about it! We’ll think about it too!

The Return Of The Alchemist

By Tom Wilson

ROCK SALT

ROCK SALT

Multi-Band Gig Comes In From The ‘Burbs

I thought it was more to do with the fact that all the bands on the bill have to come from the Launceston area?

No, not at all. It just started because it was a gig that was actually out of Launceston city, and St. Leonards, so I believe.

And just the way things worked out … yeah, I think it was more a case of right-place-right-time and everything …

Although, probably from my being there – and this is all conjecture – and him knowing my capabilities, probably gave him the freedom to be able to think further along the lines of the way he wanted to.

So how does that relate to the music? Or how does that represent the album?

Well, in a way, the album is like a Ziggurat, because I guess, when you make music, and put a bunch of songs together, the role of that is to try and reach for the heavens, so to speak.

Another shuffle? Can you tell me about it?

Yeah. Our bass player, Clay, has gone off to sunnier pastures … greener pastures. Yeah, basically, he just wanted to do his own thing, so he’s gone off to do his own thing. It’s pretty simple, really.

And the bands – is there a general style that’s common throughout all of them? Are they all punk? All metal? Or is there a variety?

It’s very diverse. Basically, it came about – the whole Outta Lonnie – Nick Chugg … wanted to perform, and didn’t really think anywhere would take him on. So he basically started up a gig of his own. It was called “Outta Lonnie” because the first few gigs were held outside Launceston – at the St. Leonard’s pub, I think it was.

Matt was looking to do that anyway – I know Matty, with the former lineup, he was starting to feel a bit limited.

What are Ziggurats?

Ziggurats are kind of like pyramids … they’re pyramid-looking structures; not quite temples, but something basically built to strive to the heavens.

Now you’re the newest member of the band …

Ah, now I’m not the newest member! There’s a newer one, so I’ve moved up the order!

So, Outta Lonnie … why the bands who have been selected?

It’s just a bit of a … the connections that have been made so far, through the people who have been involved. I myself have been roped into it, along with many other people.

rockier sound. Will you take credit for that?

Ah, I don’t know about that – I might get crucified for that. Um … yeah … I think all these things sort of happened … shall we say [in sync] … I’d just joined the band.

One of the most intriguing and well-traveled singer-songwriters I’ve ever had the privilege of meeting, Dave Calandra is back in Tasmania, currently in the middle of a two-week tour taking him to bars and cafes around the state. He reflected on his debut Alchemy, his recent touring, and his plans for a new recording.

You’re in Tasmania at the moment. How have the shows gone so far?

I just arrived a few hours ago ... it was a bumpy flight, but it is great to be down here again.

What memories did you take away from your last visit here?

I played at the Falmouth Festival on the east coast last December, and made some good friends up there. We went surfing and had a great weekend.

I also met a good crew up in the north-west, and I’m looking forward to catching up with them again on this tour.

So where’s the event going to be held?

It’s August the 10th, and it’s at the Worker’s Club – that’s where the last large event was as well. That was, again, about three acoustic acts, and three or four bands as well last time.

Two weeks seems like a very long time to be playing shows in one state (not that we’re complaining). Was there a particular reason for this?

There are actually a lot of gigs down here compared to NSW, and a lot less driving! I’ve had to turn down a few gigs because there wasn’t enough time. You guys have a good scene going.

So I guess, in this case … instead of “Outta Lonnie”, it’s going to be “Inter Lonnie”?

Yeah – “Inter Lonnie” … I think it’s just that the name has stuck. Not that the name has too much relevance, but potentially … we were discussing what the whole main vision of this Outta Lonnie thing is, and it’s more about … in a way, what TasMusic does, but getting people almost a bit more involved. TasMusic does a great job in what they do …

What other traveling have you done recently?

I played at the Wintermoon Festival up in Queensland a month ago. The festival site is set in a tropical rainforest, with a pristine mountain river running through it ... I played there last year also. I think it’s my favourite Australian festival.

But they do a lot of the organising themselves, don’t they? So I guess, in this case, it’s the bands actually doing the promoting.

Yeah … I’ve kind of blamed Nick’s contagious enthusiasm when it comes to this whole Outta Lonnie thing, and how he’s able to rope people in to be part of it [Laughs] – whether it be bands, or whether it be people who help with the gig, or the venue even.

So it’s all kind of come together from sourcing all these different people to hold a gig. And the last night went down pretty good for a first main gig.

What lessons do you reckon you’ve learned, and, I guess Nick’s learned, from putting on the gig so far?

And how will you improve things for the August 10th gig?

Um … Maybe the main lesson was “maybe hold off on drinking until after the gig has finished.”

Outta Lonnie kicks off at the Launceston Worker’s Club on August 10th.

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

Last time we spoke, you had just released Alchemy.

Looking back on the release, what do you see as its strengths and weaknesses?

Alchemy is my debut album. I spent two-and-a-half years recording it, because I didn’t want to have any regrets …

It can be quite painful to listen to your own recordings, and

wince at little things that no one else notices. When listen to Alchemy, I don’t wince at anything! It sounds the way I wanted it to.

What plans do you have to follow it up?

I start work on a new album as soon as I get home from Tassie. It will be a bit more stripped-back … maybe just vocals, guitar, drums, and a few vintage keyboards. I’m looking forward to getting started.

I’ve had to turn down a few gigs because there wasn’t enough time. You guys have a good scene going.

Out of curiosity, where was the photo on the cover of Alchemy taken?

The cover photo of Alchemy was taken in the “East Village” in Manhattan. I spent four years living and performing in New York; the songs from that album were written and inspired by the streets of that city.

What are your plans for the next couple of years?

What would you really like to do?

New albums, more touring, and hopefully start touring in Europe and Japan. And definitely more tours of Tassie!

Dave Calandra is currently touring Tasmania. You can catch him at Launceston’s Royal Oak on the 13th of July, the Escape Café in St. Mary’s on the 14th, and the Crossroads Café in St. Helens on the 15th.

BA CH EL OR O R A RT S

ROCK SALT

This Interview Is Brought To You By …

By Tom Wilson Tassie ex-pat Angus Tarnawsky – one third of rockers Bachelor Of Arts – isn’t too keen on product placement. I for one can’t imagine what he’s talking about. Still, when I was drinking my refreshing Coca-Cola and smoking a Camel cigarette while talking to him through Skype on a Mac, he told me about the production of their debut EP, and a disconcerting experience they had with MTV. You’re releasing Signal Receiving, which I understand is your debut EP …

Yep, that’s the one.

How long has that been in production?

Well how that one worked is, we started recording it in December last year. We pretty much got it wrapped up by April this year, and then, in the meantime, about January/February, we got all our label stuff sorted.

There’s a label over in Melbourne, Exo Records, who are putting it out for us. So we got all that sorted, and it’s scheduled for release via Exo and MGM Distribution; scheduled for, I believe, this Saturday, which is ominously the 7th of the 7th, 2007 … All up, what we did, we recorded it in a couple of studios in Melbourne.

We did a little bit of stuff at Headgap Studios, which is a really great new place that’s just been put in. Did a little bit of stuff at Hothouse Studios, and we worked with a couple of different engineers and stuff … It’s amazing how many people you actually meet in such a short amount of time. We’d really only been kicking around the scene for six months, and

stumbled onto so many opportunities. We just harnessed the ones that we’d been lucky enough to stumble into.

I read that you guys are saying that, in the future, you’d like to avoid doing interviews “involving product promotion”. What does that mean? Because you’re promoting a product right now – you’re promoting Batchelor Of Arts!

[Laughs] I know. But I think our product is different from other people’s products. I guess what that comes down to, to put it into context, we got selected by MTV to be a feature artist that they were featuring in a bunch of different states, and we got a bit of MTV airplay. We did this interview for MTV. One of the things … it was sponsored by a drink company, which I won’t mention for the obvious reason that I don’t want to do product promotion … We were very much encouraged during the interview to say things about this drink company … It was a real taste of maybe how the corporate world functions. Obviously I know that advertising pays the bills.

But it was a really compromising situation when we were having words put into our mouth. It was definitely a big-up that it’s very important for us to remain in control of what we

say, and what we play … You hear a lot of talk [around certain people]. And they say, “Oh, man, we really want to get signed to a major label. We want to be on Capitol. We want to be on EMI” – whatever.

That stuff’s pretty crazy, because we’ve got friends that are on these labels, and a lot of the time, they’re wanting to get out of the deal … We did a gig last night, and we were talking to a friend of ours up here in Sydney, and he was saying … his band is on Capitol, and they’re doing their best to get out of it, because it’s actually putting them … in a bad situation.

The fact that they’re basically just a number on the Capitol ranks … I think the underlying message is that we don’t want to talk about someone else’s product. I mean, I’ll talk ‘till the cows come home about music that we created because we’re passionate about it, Tom. But when someone asks me to sell something, and not mention that I’m being told to do it – just casually insert it in here – we find that a bit disconcerting! [Laughs] Angus, I’d just like to tell you that this interview is brought to you by Coke, and the great taste of McDonalds! (sic)

[Laughs] Yeah, well, that’s exactly what I expected to hear!

Hold on, I’ve just got to sip my Coke ... [Slurp] [Exaggerated sigh of satisfaction] It’s a pretty idealistic view to have. I mean, I fully acknowledge that, to operate in the society that we’re existing, of course you need the help of people around you. It’s just a matter of, I think, brokering deals whereby you get help, and they get what they want, but you don’t really compromise any values, or think that you have to … There’s a really great thing; there’s a couple of companies that aren’t traditionally record labels that are setting up schemes whereby artists can get the chance to put out their music and things.

We did this interview for MTV … We were very much encouraged during the interview to say things about this drink company.

Guys that we know hooked up an amazing deal, whereby, because they were part of an advertising campaign for a product, they got all of their studio expenses covered, and also they got an amazing amount of promotion, because the product that they were marketing got CDs included with it and stuff.

I mean, there’s good and bad with this, but when you’re being told, “Say this drink name – maybe talk about an example of a night out or something where this drink was involved,” and you just know it’s going to get edited, and there’s going to be a little flashing sign in the corner, and an ad coming on afterwards. [“Bachelor Of Arts loves SAUCE! Get SAUCE! It’s great!” (sic)] You just go, “Fuck, man! This isn’t what I meant.

I just wanted to tell these guys about my songs and what we enjoy doing, and suddenly we’re pretty much just doing a commercial!

Bachelor Of Arts plays The Brisbane in Hobart on the 13th of July, an instore at Aroma Records on the 14th, followed by a show at the Arts Alive ArtSpace in Launceston later that night. We’ll be back with more SAUCE after these messages …

H ENRY HO R S E FA LL A N D TH E S P O RTO E L I T E

The Most Odd Band Name In Tasmania?

ROCK SALT

By Nita Walker Nita caught up with Matt James from Henry Horsefall and the Sporto Elite to see what they had been up to lately, what the near future held for them, and where on earth they got their name from.

What have Henry Horsefall and the Sporto Elite been up to in the last few weeks?

Well, lately we have been writing some new originals and rehearsing them, alongside our older originals.

How would you describe your music?

Um … “an energetic rock with pop”. Everything influences us.

Really? So who are some of those influences then?

Influences would be everything from The Living End to Grinspoon, Kisschasy and Gyroscope – even back to AC/ DC. So you have a variety of influences, and not one main genre?

A lot of stuff joined together, yes.

So who are Henry Horsefall and the Sporto Elite?

Myself, Matthew James on guitar and lead vocals, Simon Dougan on drums, and Olly Plap on bass.

What venue have you played most recently?

Spurs with Novella and Follow By the Wayside, but we usually do most of our gigs with Cruel Like That.

What are your crowd responses like?

We seem to get a much better response with underage gigs than overage, although any gigs are awesome and welcome anyway.

What are you currently doing?

We are all still at school, at Don College Are Henry Horsefall and the Sporto Elite looking to continue a career with the current line up and music style, or are you looking to alter that in the near future?

Well, for me, my mind is made up. I want to stay with these two guys and make a career out of it for the long term, even if we are only playing shitty pubs in Melbourne or something like that.

PAGE 12

How did you guys meet and come together to form Henry Horsefall?

I originally met Simon through school. We met Olly about four months ago when we were looking for a bass player, because Glynn left the band.

How did Glynn (previous bass player) leaving affect the band?

We had been with him three years. It was a big loss, considering we hadn’t really played with many other people.

We have since taken on Olly, and have become stronger because of it, and our writing has also got more creative because of that.

It’s my ultimate dream to play with Chris from The Living End. That would be the end-all thing for me. Once I’ve done that, there will be nothing more to succeed at in life.

How long have you all been playing together?

Simon and I have been together verging on about three-and-ahalf years, so it’s been a long time for us. Olly has been with us for about four months.

What can you see the future holding for Henry Horsefall?

Writing our arses off, to hopefully do a couple of albums. Our realistic dream is to tour around Australia, but our unrealistic dream is to play at the Big Day Out with The Living End

Do you have a demo or CD available?

Not just yet. We are raising the money to get one recorded though.

Is there anywhere else, other than live gigs, where people can check you out?

Yes, on our Myspace site, www.myspace.com/sportoelite.

We’ve got three live tracks and one acoustic one recorded.

We might be doing some more recording within the next few weeks, so we will change the tracks then.

How did you manage to come up with such an odd name?

Well, we have been through eight names – this is our 9th.

My nickname is Henry, and my last name would have been Horsefall if my family hadn’t changed it in the eighties.

“Sporto Elite” came about because Glynn and Simon were complete sporto’s who did nothing before they picked up music. We just stuck with this name, even though we took on Olly.

If you could, is there anything you would change in order to become more successful or exposed?

That’s a hard one. Well, no, there is not much we would change. I’m extremely happy with the way the band’s going, and the future we have got.

If you could choose anyone, dead or alive, to play with or support, who would it be?

It’s my ultimate dream to play with Chris from The Living End. That would be the end-all thing for me. Once I’ve done that, there will be nothing more to succeed at in life.

Nothing more to succeed?

Nothing would beat playing with The Living End. Nothing could ever top that. Ever.

Henry Horsefall and the Sporto Elite play Sheffield High on the 21st of July, Latrobe High on the 4th of August, and Spurs in Devonport on the 10th.

OPERATO R P LE A S E

ROCK SALT

Aussie Whiz-Kids To Storm The Stages Of Leeds And Reading

By Tom Wilson When was the last time a band walked onstage at the famed Leeds and Reading Festivals in the U.K., with a record deal and debut LP under their belt? Pretty recently, I’d say.

But a band with a bass player who’s only just eighteen? That’s got to be rare, and that’s exactly what’s going to happen late next month for quirk-rock five-piece Operator Please.

These guys are onto something. Singer/guitarist Amandah Wilkinson spoke to me during pre-production for their forthcoming debut …

Where are you at the moment?

I’m actually somewhere on the central coast – we’re doing pre-production [for an album] in a rental house.

Now, it’s all going very quickly for you guys.

You’re playing the Leeds and Reading festivals in August. What are your feelings leading up to it? Are you shitting your pants? Are you excited?

Of course! Any normal person would be shitting their pants – I think we’re all packing it. I don’t know …

Reading and Leeds is, like, massive. I guess for us, it’s a huge honour to even be asked or invited to play. So I think now, we’re just kind of in pre-production, doing a record and rehearsing, like, every single day for about five hours each, to make sure that we go over there and we play the best that we can. We’re all freaking out about it, because the crowds that go there are massive. It’s really huge for us.

Which of the bands on the bills over there do you reckon are going to turn you into a squealing fan-girl?

Oh man, like, all of them! What the hell? I liked most of those bands ever since I was in a band. I think Hot Hot Heat will be my most squealing fan-girl band … oh, Arcade Fire, Interpol … I don’t know, so many. And I know, for the rest of the band, Kings Of Leon and stuff like that. There’re just so many bands on the bill that we’re screaming fan kids for anyway! [Laughs] It’s going to be really exciting. I’m keen to just play and then piss off and run around the whole festival, and just go nuts.

What would you say are some of the trademarks of the Operator Please live show?

Um … [Laughs] I don’t know … Lots of yelling, I guess.

There’s a lot of yelling that we do. Some nice twisting action coming from Taylor. And Sarah – Sarah on keyboards is like … I don’t know how to describe the way she dances. She kind of gallops – it’s really quite strange, but, I don’t know, somehow she manages to pull it off … I don’t know, hey. Lots of moving, definitely.

NME was once quoted as saying, “Fuck rock, and let Operator Please re-write the book.” What do you think they were on about there?

[Laughs] I have no idea! They said something about our songs not having any solos or anything like that … They call solos “bullshit detectors” or some shit. But yeah, we’ve got no solos or stuff like that. I really have no idea, you know?

NME, any magazine, can pretty much … write whatever they want, and not even we know it. So I don’t know how anybody else is supposed to interpret it.

Well, absolutely no one can interpret my writing, so that’s fine.

[Laughs] The album – who are you working on it with?

We’re working on our album with a UK producer called Simon.

He’s actually standing outside smoking a cigarette as we speak, so it’s kind of weird. [Yells out] I’m talking about you, Simon! [Laughs] Yeah.

What are your plans for the rest of the year? And what would you most like to get accomplished?

I think, accomplished-wise, is probably getting an album actually done … it’s like your debut and stuff, so getting it done without stressing out too much is probably one accomplishment. Actually having an album is an accomplishment in itself. I think that’s pretty much where we’re at with that kind of thing.

Also, just to get through the rest of the year, hey – because it’s pretty full-on. Planned for the rest of the year, we’ve got a couple of tours that we’re doing in Australia, and then we pretty much go overseas for the rest of the year. So we do U.K., and we do a bit of Europe as well. So yeah. I think we want to accomplish getting the debut out, obviously, and that’s what we’ve got planned for the rest of the year. So it should be pretty exciting.

Reading and Leeds is, like, massive. I guess, for us, it’s a huge honour to even be asked or invited to play.

So do you have any plans to come down to Tassie?

Tasmania! Oh, I’m hoping, hey? We’ve never been. So I am really hoping, because that’s the only part of Australia that we haven’t been to … So yeah – Tasmania we’re hoping for.

I know that Dappled Cities Fly did a couple of shows down there, and they said it was really cool.

Really? We’re actually really horrible people, so that was nice of them to say that.

You’re actually really horrible people? Why’s that?

Absolutely. We’re all bastards, it’s incredible.

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

K A RAO KE S TAT E F I N A L

P. D . HA L E

Chicago Song Rules For The Karaoke State Final

ROCK SALT

By Tom Wilson

Multi-award-winning Zulya Kamalova is the leading proponent of Tatar and Russian music in Australia, as well

On Friday the 6th of July, equipped with a red boa, Jah Donald did her best Chicago act and edged out an impressive field of competitors from across Tasmania to win the state final of the Karaoke Championships 2007 at the Saloon, thereby qualifying for the Grand Final on the Gold Coast in early August. I caught up with her as she came offstage.

Just to recap, what songs did you sing tonight?

For my warm-up, I sung Sandy Tom, I Wish I Was A Punk Rocker. My first judging song was Sailing by Rod Stewart, which I’d only sung for the first time on Wednesday, and then I learned it for tonight. And my final song, which was for judging, was All That Jazz from the movie Chicago.

What is it about these songs that appealed to you enough for you to choose them tonight?

I haven’t had any formal training. I have a very strong voice, but I lack in vocal ability, I guess, and these songs were the best-suited to my voice; the best ones that I could project; the best songs … that I could do to win! [Laughs]

... That’s exactly where it started - being drunk, getting up onstage singing ...

So how long have you been doing karaoke, specifically here?

I started Uni up in Launceston – this is my third year. So I’ve been coming … not every Wednesday night, but the majority of Wednesday nights for the last couple of years. And that’s exactly where it started – being drunk, getting up onstage and singing.

Z ULYA & T HE CHILDREN OF T HE UNDERGROUND

Evanescence. Annmaree was great. She did a really good job of River Deep, Mountain High. Jules – she always is very entertaining. I could say something nice about everyone because, seriously, everyone tonight did an awesome job.

That’s why I can’t believe that I’ve come so far.

Karaoke is held upstairs at Launceston’s Saloon every Wednesday and Friday.

as one of the most versatile and accomplished vocalists on the world music scene today. Since her move to Australia in 1991 Zulya has developed a totally original approach as an affirmation of her unique identity – an affirmation that takes her Tatar and Russian background to totally new places and in completely new ways. Zulya Born in London, P.D. Hale went to school with blues guitarist Chris Finnen. They had their first band together – Hale playing an old Hofner guitar. Their first drums were biscuit tins. The earliest music he really related to was Chuck Berry, Bill Haley and Fats Domino – from a very early age, he was drawn to the rawness of certain blues records. “I loved the intensity, and the immediacy of what these artists were doing.

I remember Blueberry Hill having an absolutely hypnotic effect on me, because of its repetition, and the melody/ hook. I loved how a hook like that could just stay in your head. I’ve never forgotten that early clue and memory to where I hope my songs are heading.”

has independently produced five albums to date, including the ARIA-nominated Elusive (2002) and, together with her band The Children of the Underground (Anthony Schulz – accordion, Lucas Michailidis – electric guitar, Andrew Tanner – double bass, Justin Marshall – drums) – the newly released 3 Nights and 2004’s magical The Waltz of Emptiness (and other songs on Russian themes) which, upon its release in Europe in 2005, spent sixteen weeks in the European world music charts – a feat no other Australian album has ever achieved. Although she is wellknown in Australia, Zulya’s performances of her stunning blend of traditional and original music have recently been enchanting audiences from Serbia to Siberia, Luxembourg to Moscow, Tatarstan to Helsinki and almost everywhere in between.

A self-taught musician, Hale is very articulate about his feelings for the genre. “Blues, I reckon, by its very nature, is passionate, and full of life’s dramatic twists and turns.

I would go so far as to say that blues is singular in its ability to transport you to a part of yourself that you had maybe forgotten about, and helps shine a light there for you. I don’t agree with the twaddle I heard one idiot DJ on a Christian station say, that blues was just selfish male music that involved down-and-outs drowning their sorrows

Ultimately, where would you dream to be as a singer within a year?

[Laughs] As a singer? This is completely fun for me; I don’t want to take it too seriously. I mean, I’d love for it to go somewhere, but I doubt where it will go very far. But I love singing – I love performing, more so. I’ve been doing it for a lot of years. I think I’d just like to keep doing it as fun, because when it crosses over to that really competitive side, then you lose the fun out of it.

in a bar full of drink. The blues is life, pure and simple.

Who are some of the other performers you remember enjoying tonight?

I think Simone; she is very, very talented. She sang

P.D. Hale plays Hobart’s Republic Bar on the 11th

“I love songs that hypnotise, so I try to bring that element into my writing. I have heard people saying already, “That song’s by who?” Then they find out that it’s my song.

Bingo – job done. To be able to write like that has always been my dream.

of July, O’Keefe’s in Launceston on the 12th andThe

Since beginning collaboration with The Children of the Underground in 2003, Zulya’s music has further developed in surprising and intriguing directions. The band brings a new level of sophistication in arrangement and musicianship to ZULYA’s work, immediately apparent in highly -acclaimed The Waltz of Emptiness, and perhaps even more so in the recently released 3 Nights (2007).

Zulya and The Children Of The Underground play Hobart’s Republic Bar on the 21st of July.

Royal Oak on the 14th.

PAGE 13

S O L A R TH O R N O N S O L A R TH O R N

PA I N

ROCK SALT

Hypocrisy Founder Brings The Pain

By Tom Wilson Peter Tägtgren has big plans for Pain – a musical project that has spawned five albums of brooding, industrial darkness from within that scary bald head of his. Having released a new LP Psalms Of Extinction back in May, the creative brain behind this surreal, oddly catchy brand of music spoke to me about why he insists on working alone.

You’ve been quoted as saying that, despite two divorces caused by music, and a fair few other troubles, it’s still the most important thing in the world for you, and you’d rather have it than anything else. When did you say that? And how do you feel about it now? Has anything changed?

I think since I started playing drums, when I was seven or eight years old, I got hooked on music. I don’t know anything else in my life. I mean, I know a lot of things, but I know this is the only thing I want to do so far. Maybe one day I’ll wake up and say, “Fuck music and fuck music business.” But now I still love it as much as I did thirty years ago, when I started.

musical climate over there that produces such diverse, inventive music?

I don’t know. I got this question before, and I have no idea what’s going on with everybody’s heads, but I can only speak for myself … I don’t know – there’s nothing else that I would rather do. So it’s hard to say why other people are coming out with good music in Sweden and stuff. I have no clue.

In what ways did music help you cope with those kinds of troubles when they happened? Was it a case of being able to say, “Fuck everybody, I’m going into the studio. Leave me alone for a few days”? What was it like?

Yeah, things like that always happen. I mean, for me, it’s definitely a thing to get away from the everyday reality. I go into my own little bubble and write music, and try to create stuff, you know?

I understand that you have complete creative control over Pain, and use guest musicians rather than permanent members. Is that true?

Yeah, yeah, for sure.

Sweden has produced some truly remarkable musical talents – for me, most notably Meshuggah, and bands of that ilk. What do you think it is about the

I have no idea what’s going on with everybody’s heads …

I would kind of compare that to Trent Reznor and Nine Inch Nails. Have you always worked like this?

Yeah, always. I mean, I even started working with Hypocrisy that way, you know? The first demos I wrote by myself and sent them away. And it was only me, and when I got a contract, that’s when I started pulling people [into] the band, and that’s when it became a band with Hypocrisy. But with Pain, I want to have total control myself, because, for me,

it’s a thing where I can develop in my own time and my own premises. I can do whatever I want – I don’t have to ask anyone.

I totally agree – I work the same way with my artistic endeavours. I’m not a good collaborator – I don’t like sharing! [Laughs] Yeah … But with Hypocrisy, we’re a band – that’s totally different. But I’ve got to have one thing in my life where I can do whatever I want and no one can tell me what to do.

The name of the band, Pain – how does that reflect … your songwriting intentions, and the sound of the music?

I don’t know. If you listen to the first album, life was shit, and I wrote about it, you know? And life was pain. So I mean, nowadays … I really don’t think about what the name is, and try to write lyrics that way and music that way. Now it’s just a band name, you know? It has a lot of different meanings. It can be “pain” as in “someone feels like shit”. It can be “pain in sex”. It can be so many different things.

ONLINE: Peter talks about being a dad to a nine-yearold Rammstein fan, and being far removed from the dominant goth persona of his videos. To listen to the full interview, go to www.sauce.net.au Psalms Of Extinction is out now.

Well I guess the best place to begin is the start! Solar Thorn started some time ago with James Mault and Nick Marsh. They had a few members, and started the songs No Escape and Solar Thorn.

These two songs had no lyrics or keyboards at this time, and were slightly different to what they are now … but then, things started not working out, and for certain reasons the other members were no longer in Solar Thorn. Only Nick and James were left.

Then, in June 2005, Josh made contact with Nick (ex-drummer), and since Dave, Scott and myself needed other members, we decided to give it a go.

We first met up just with Nick himself, and the practice went really well with only us there. Then, the next week, we met up with James, who was a great guitarist.

We jammed through a few covers and came to like each other, so it then became official. At this time we also had a singer (Ryan Sullivan), but due to certain reasons he wasn’t able to continue.

Then we met up with Chrissy, and as soon as we heard her voice, we knew we had to have her sing for us, and she was really keen as well! Then, unfortunately, Nick left Solar Thorn, and in a frantic search for a new drummer we found Alf Jackson.

It worked rather well for a while, and we wrote a few new songs (Morbific Execution and Relapse of Hatred), but then he came less interested in being in a metal band ... so he left us! James then got back from a holiday and told us he wasn’t interested in being in this band because of his music tastes ... We then talked to a friend of ours, James (Shelvo), and he was really keen to give it a go, and is doing really well.

Now we are five – for now – and we are still writing new and good material, and hope to do it for some time.

Solar Thorn play with Transfiction and Lacerta at The Loft in Hobart on the 14th of July.

MUSIC NEWS LINC LE FEVRE’S NEW BAND COMING SOON

EP, and will be playing at the world-reknown Kustom Kulture

Robby Balboa (QLD).

TOYOTA AFL GRAND FINAL

ANNUAL MUSICOZ AWARDS LAUNCHED

The AFL has announced that Melbourne rock band Jet will

festival “Greazefest” in Brisbane in August, touring Adelaide Be on the look-out for Linc le Fevre’s new band. They might

and Sydney, and are to be featured in two upcoming movie

be a little hard to recognise at first, but they are out there

soundtracks.

… somewhere. More info is forthcoming when the band’s name is made public.

VENTS RELEASES DEBUT ALBUM ON 28TH JULY

THE FALLS FESTIVAL RECOGNISED FOR ENVIRONMENTAL ACHIEVEMENTS

perform at the MCG on the last Saturday in September, Celebrating seven successful years, the annual Musicoz

as part of the 2007 Toyota Grand Final celebrations. Jet

Awards have been launched for 2007. Musicoz is now

will perform pre-match on the MCG, as well as providing

calling out for artist entries for the 2007 awards. Artists

post-match entertainment at Centre Square, the corporate

successfully entered into these awards have the opportunity

hospitality village which will be established for the first

to secure a recording deal, advertising packages, national TV

time in 2007.

performance and publishing & production deals.

The AFL’s Chief Commercial and Broadcasting Officer, Mr

The Falls Festival has been nominated for two Banksia awards. To support them with your vote, go to www.

This year Musicoz is partnering with the National Nova Radio

Gillon McLachlan, said the introduction of Centre Square

banksiafdn.com. Voting closes July 12 , so hurry.

Network, who will present the Nova Unsigned Initiative Award.

had allowed the AFL to contract a world-class act for

The winner of this award and the Musicoz Artist of the Year

football’s biggest day.

th

There are many initiatives and projects that are making

will both receive airplay on the national Nova Network over a

a difference today, and, more importantly, ensuring a

four week period and will also be included in Nova’s Unsigned

sustainable future for generations to come. For the past

Initiative on the iTunes Store.

THE HIVES AND COLLABORATION

which aims to raise the profile of the environmental issues

Artists wishing to enter one or more of seventeen categories

The Hives and Timbaland recently teamed up to make the

facing Australia, has been seeking out and acknowledging

such as pop, rock, alternative, urban, metal/hardcore

excellent Sin City-themed video promo for Throw It On

leaders and innovators in the environmental field. The Falls

and acoustic singer songwriter, can do so online at www.

Me, their raucous collaboration from Timbaland’s Shock

musicoz.org. Entries close nationally on 31st August 2007.

Value LP. During the wait for the new Hives album, you can

TIMBALAND

VIDEO

nineteen years, The Banksia Environmental Foundation,

Festival is proud to have been recognised as a finalist for

A figure in the underground Oz hip-hop scene for many years,

two of these prestigious awards: the Sustainability Award

Vents is about to release his debut album, Hard To Kill.

20 2007. th

THE NO NO’S TO LAUNCH EP IN HOBART After a very busy first year, The No No’s have announced

check out the video for the track on the Hives’ website

YOUNG DIVAS TO RELEASE SECOND ALBUM

and People’s Choice Award. Winners will be announced July associated with Adelaide’s esteemed Certified Wise Crew,

Despite Ricki Lee’s departure from the Young Divas, SonyBMG

whose members include successful SA acts Hilltop Hoods

have confirmed that there will be a brand new Young Diva’s

and Funkoars – both of whom have influenced Vents’ lyrical

single in September, followed by the new album in November.

style, and lent their talents to Hard To Kill.

A new member will be announced soon, and the girls will be visiting very state in the lead-up to Christmas. The girls will

the release of their first EP, Get Off Ya Heads With ... The No No’s in July, with a free launch party at The Republic

Throughout the recording process, Vents worked closely with

head to the studio in the next couple of months to start work

Bar on Wednesday the 18th (supported by the debut show

producer Trials (of Funkoars ). Hard To Kill has been primarily

on the record, and can’t wait to start. In the meantime, Paulini

of Bone Rattlers) and a free all-ages show at Tommy Gun

produced by Trials, with the exceptions of one track each

is currently on tour with Human Nature, Kate DeAraugo is

Records on Saturday 21st at 5pm.

by Suffa of Hilltop Hoods – In The Shadows – and Sesta

traveling overseas, and Emily is performing in New Zealand.

of Funkoars – Fuck Em Up. Both these talents have been The No No’s don’t plan on any rest after the release of the

PAGE 14

www.hivesmusic.com. The single will be available on the 4th of August.

From the beginning of his career, Vents has been closely

enlisted as featured guests, along with WA’s Mortar and

JET TO PERFORM AT CENTRE SQUARE AND THE

Got Some News To Share?

Email details to news@sauce.net.au

Behind Crimson Eyes + Supports Chris Carter

The Vasco Era + The Whiskey Go Go’s

HALO – 6/7/07

JAMES HOTEL – 17/06/07

REPUBLIC BAR & CAFÉ – 30/6/07

Contributors?

Would you like to contribute to Sauce? either doing CD or gig reviews, photograhy ... or make a suggestion as to what you could contribute?

Contact us at contributors@sauce.net.au

Carus & The True Believers + Greg Arnold REPUBLIC BAR AND CAFÉ - 17/6/07

After seeing Behind Crimson Eyes the previous night with two of the three supports, I knew this was going to be a great gig … and the kids had really come out in support of all the bands.

First band up was Launceston newest “it” scensters Sunday, Something Ruined. They lacked the energy they had previously displayed at the Cabaret. Mindset proved to be popular with the crowd yet again – the band were trying to get a shot of a mic grab for their new shirts but the audience didn’t seem to be interested at all. The band’s new material really impressed everyone, and seems to be a lot more popsounding than their other material.

Who honestly doesn’t love Stand Defiant? The crowd went nuts from the opening cord of Damage. Mischa and his boys played three songs most of the crowd hadn’t heard before … before finishing with their crowd favorite Only Human. The band who everyone was here to see (well, we can only think that, right? Kids don’t go to shows just for the scene points!

Behind Crimson Eyes rolled onto the stage and opened with the first track from their debut album, A Revelation for Despair. The set focused mainly on newer songs, but they threw in old classics like The Black Vail, The Art of War and Welcome to my Nightmare. The crowd really didn’t go wild until the band played their smash hit Shakedown which got everyone basically going off their heads. All the bands put on great shows.

This story involves the usual suspects discussing the theory of relativity at the bar, when the smoothest mackdaddy, with cool hanging all over his threads, walks in. The Governor showed instant respect, and set the man up with some beverages, as we tried to figure out his caper. The Bung’s head was spinning as she tried to find her feet … this guy’s got more style and class then Burt Reynolds on a Versace-crack binge, and no one was prepared for what he was packing.

Rallied in the main room, we watched Chris-cool-as-fuckCarter destroy all questions with a dose of nu-school breaks, that contained not one track that was familiar. There were numerous casualties throughout the night, as he blasted us with some unique and amazing material that had even The Governor pleased. Deep solid bass lines with strong melodies were thrown out, and weaved together with fusion skills a German physicist couldn’t match.

What started as being a casual discussion among the family had been mutated by The Governor’s guest into the next level. As the restraints were loosened, and The Bung removed from sensibility, we were taken deep into Carterland. Devastation had reigned, the minds and expectations of us all had been altered by this magician from the British Empire, and we were left with much to talk about. By the end of the night his cool had spread to everyone in the club, and it was hoped that Carter would be seen again.

This gig was looking like a timewarp for me. I first saw the Vasco Era two/three years ago with The Reactions in support; it was Vasco’s first appearance in Tasmania.

I had been told to watch out for them, but was slightly disappointed at that first gig. The energy was there, but it didn’t seem to be focused. The next time they came to Tasmania, they had worked out where they were heading, and it rocked.

The Reactions kicked the night off. I’m a total Reactions fan, and hadn’t seen them for six months, but thought they were a little down on the night. Sorry guys, but it seemed a little flat compared to past gigs. I can’t put my finger on what seemed down, though. I had a friend with me who had never seen them before, and she thought it was great.

The Whiskey Go Go’s - the crowd seemed to be enjoying them, and the 70’s porn afro/mo was certainly a sight to behold.

The Vasco Era – well, they seem to just keep evolving. This gig was much heavier than I have heard them before; the guitars had a lot more crunch and there was less emphasis on Sid’s more roots-y playing from the past. And me liking the heavier-end of the music scene meant I enjoyed this set immensely. I wonder where they will be in another year?

There was a full house at this gig, and this was their second night at The Republic in a row. Overall, another good gig.

FELIX BLACKLER

KEVIN GLEESON PHOTO BY KIM EIJDENBERG

RYAN COOKE

The Casanovas

Ministry of Sound Sessions Tour – John Course

JAMES HOTEL – 07/07/07

Greg Packer THE LOFT – 7/7/07

I won’t lie; I went to see Greg Arnold. Period. Carus is an amazing guy, but hey! Even amazing guys have to stand aside and let the royalty through. Carus was launching his new album tonight (which Greg produced).

My favourite gigs are often when the warm Hobart crowd makes muso’s completely blow out, and considering he hadn’t popped by to visit us in seven long years (with Things of Stone and Wood), Greg seemed delighted to discover there was a place for him by the fire.

SYRUP – 6/7/07

He split the room with Wildflowers from Junk Theatre, and gladly played every song shouted out from the the black room that was filling by the minute. Perhaps not realising how formidable some of his fans are, he joked and laughed about his long touring history of twenty years, as he played songs from all the different albums, including Super from another of his old bands, Tricycle.

The audience requested Share This Wine, the opening track of the Thingies’ first album The Yearning – it went down like a freshly popped can of coke; it’s pseudo-prophetic message hauntingly familiar.

It has been a long time since Tasmanians have last seen The Casanovas. Thankfully, they have come back in style, with an incredible show at The James. Starting the gig with the song Spring Break, they quickly got the crowd involved – at one stage taking the microphone onto the dance-floor and singing along with a fan. Everyone got up close after the band had warmed up, making it feel even more alive.

Typical Australian rock warmed up the freezing cold night, with chunky electric guitar providing catchy riffs. They gave the audience exactly the music they wanted to hear. They played both their older and newer material, mixing up who was on main vocals, to the point where I could not even tell who the lead singer was. As a three-piece, they played so well together, they really showed a commitment to their music and a love for playing a live show. They finished up the show with an encore, playing Keep It Hot, which is certainly what this great band did!

Those who were not lucky enough to see this show may have to wait quite a while until they get the chance to see these guys in action again, as they said at the end of the evening that the next Tasmanian gig will be a long while away. But when they do return, make sure to get your tickets early, because this band is amazing live, and really great guys if you get the chance to meet them. So catch a show next time – you certainly won’t regret it!

CAROLE WHITEHEAD

Knock-knock. “Hey John. Shit, took you a while.” “Yeah, sorry Adam T; the drive over was crazy – way too many bats on the road tonight. What you doing?” “Just warming the place up; been keeping things pretty jumpy. You know the drill … throwing some short, sharp bass lines on the fire, keep everything moving. So what you cooking up tonight?” “Oh, it’s a spicy variation of that MOS Sessions dish I like to serve up when I come over. I got a few of the changes from Dirty South. It’s still the same dish, but with new ingredients I gathered when I was hunting in that popular house.”

John gets to work and prepares his dish with the usual care and poise you would expect for an experienced beats-chef, and especially when he’s cooked up similar treats before in the same room. Served up on a misty platter, everyone grabbed giant chunks and savored, experienced, or just engulfed, depending on their motivation. “So what do you think?” a friendly spider-monkey named Coco asked another critic. “It‘s funk-tastic my comrade. The touch of some classic choices from Poxymusic, Cicada and Toby Neal were nice, but they were spiced up with some mashing in the remixing bowl”.

At the end of the night, John packed up, knowing once again that the recipients appreciated his craft work. As he descended back into the unknown, John pondered about his favourite Ministry of Sound Sessions Dish and wondered, if he did it five times, will it still be fresh? I mean, of course he’ll put some new touches in there, but perhaps something new? A different structure? A whole new dish? … Nah, don’t fix it unless it’s really broken, I guess.

FELIX BLACKLER

The streets were quiet, as the bastard winter has bitten many partygoers and held them captive in their own homes.

The surviving crew had gathered for Packer, an experienced drum-and-bass DJ with more than enough cred to make the night memorable.

The Loft was a nice layout as we marked our territory in a corner of the club. We spread ourselves out with our supplies while the gremlin scared off any unwanted glances.

After a good warm up from both the support and the bar, Packer delivered an amazing set that held part of the crew on the dancefloor for hours. Packer obviously planned his set with the intent to show his skills – not just behind the decks, but by pulling out some golden tunes, and some new ones. A few of his own tracks in there blew us off our feet, and a few did not recover from the heavier beats and rolling lyrics from the tracks Dancehall Queen and Ghetto Blues.

Another trip to the bar almost ended in disaster, as the gremlin we brought was performing some form of tribal dance whilst walking in massive circles – obviously as a result of immersing himself in Packer’s work. In the end, a nice performance in a different venue, which allowed us all to explore the crooks and crannies of The Loft. While letting loose, we generally made ourselves at home, whilst listening to some solid drum-and-bass. Nice one people – just watch out for gremlins.

His old mate Bedgie joined him after a while to provide the extra “Wah-ho!” in Happy Birthday Helen and fiddled and mandolin-ed. Watching Greg’s songs come to life live and (mostly) solo puts to rest the notion that he got lost in the over-dubbing closet while he was making his previous efforts. His songs have a brilliance to them that is everlasting. She Will Survive is still my favourite.

Carus came along and swept the room off their feet and plunged them into a happy, hippy orgasm while I got Greg to sign all my CDs. He was really cool, and said it probably won’t be as long this time ‘til he comes back. Atop a table, unplugged, acoustic and surrounded by people who adored him, Carus wooed the crowd with patient ease, and I’m pretty sure everyone went home with a fluffy feeling. I was probably the most stoked, though.

IAN MURTAGH

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FELIX BLACKLER PAGE 15

THE BEAUTIFUL GIRLS

DAUGHTRY

Ziggurats

Daughtry 8/10

7/10 The new Beautiful Girls album, Ziggurats, is really a shock to the ears. On the first few listens, you’re constantly asking yourself, “Is this the same Beautiful Girls that we have come to know and love?”

But, once you get past the fact that it is these guys – with the calming and soothing effect Matt has on vocals – you do get used to the new sound. They have moved away a bit from their well-known rootsy, reggae/dub sound – although it is present in certain parts of songs, the new sound is more toward rocky pop. If I have to say it, this album is more “mainstream” than any of their other releases, and it may just be a progression they had to make because, unless you’re Bob Marley, a lot of that reggae sound can sound the same after a while.

All of those who (still) watch American Idol may recognise the lead singer, Chris Daughtry, as the fourth-place-getter from the fifth season of the show.

Well, as he said he would, he formed his own band, and they have just released their debut album, Daughtry. There are five members in the band, yet you may have been led to think there is only one, due to the fact that only Daughtry is totally visible on the album cover …

This album has some really 80s moments in it, with sounds that have a liking to Sting and The Police in parts. It’s quite haunting hearing the similarities between them. This is really a coming-of-age for these guys; the guitars a bit heavier, and a faster drumming pace, but with the ever-present sound of dub thrown in to assure you that it is still the same band.

Beginning similarly to It’s Not Over is Over You, which is another strong power ballad. The harmonies work quite well with the solid drum beats, producing a good-quality track.

What I Want has a much rockier feeling to it, and is a very upbeat track. The track is bringing back the post-grunge/ alternative rock music that is highly sought after: proving that there is still real music out there. The percussion and bass work at the start of There And Back Again is minimal, but really captures you, and almost forces you to keep listening.

It’s almost entrancing…

All in all, it’s tidy and well-produced, and the new single, I Thought about You, is very catchy. It’s one of those songs you just can’t stop singing in your head. If you’re a fan of The Beautiful Girls, it may take a few listens to get used to, but I think they’re on to a winner, will gain some new fans, and keep their old ones as well. I have to say, I can’t wait to see them live – this new batch of songs, and their older classics, will make for a very fun and rockin’ night indeed.

BEN PETER

THE UNSEEN

It’s not Over is a very addictive power ballad, and is the first track to be released from the album. The strong vocal work makes this seem like a very emotionally-charged track.

Instrumentally, the song also stands out, making this the best song on the album, and a perfect first release.

A few of the songs tend to sound too alike on the album, but it is of a high quality, and is well worth listening to.

SHANNON STEVENS

COSMIC PSYCHOS

URTHBOY - The Signal

Dung Australia 5/10

Internal Salvation

7.5/10 All you hardcore punk rockers rejoice – Hellcat Records (Epitaph) have managed to produce another decent band – The Unseen. Originally performing under the name The Extinct, the band has just released their brand new album, Internal Salvation.

The intro to the album, The Brutal Truth, is an extreme look at just that in today’s world. “He shot ten girls, most of them in the head-execution style” is one of the more intense lines from this meaningful track. It really makes you question what the world is coming to …

Veteran grunge rockers the Cosmic Psychos have managed to produce another album to add to the pile. Dung Australia is the twelfth release by this Melbournian quartet.

Their music is hardcore grunge – there are no other words to describe them. Bank Robber is an excellent example of this. The mixture of explicit lyrics, droning, fuzzed-out bass and full-on guitar work is painfully obvious in this track, and it seems as though it goes on longer than just its three-anda-half minutes …

Follow Me Home is the track I liked the best. This could be due to the fact that there are not as many lyrics as the rest of the tracks. The instrumental work is better, and proves that the band can pull off some decent songs in my opinion.

The Brutal Truth then leads into one song that basically sums up the meaning of the album. Such Tragedy has all the typical aspects you would come to expect from a punk album; extreme guitar riffs, pounding drum beats and loud vocals.

But this track also has underlying messages about the hatred and pain the world sees. The lyrics are very full-on, and paint some very graphic pictures in your mind.

If You Want To Get Out Of It is a very mediocre song, that tends to rely much on that one line. Repetitive – that’s the perfect way to sum up this track.

I must add that this album is not for the faint-hearted. The majority of the tracks on the album are quite intense, and most have very real meanings behind the thumping music.

Internal Salvation is a good quality release for the band who hails from Massachusetts, USA. The blood-stained artwork on the cover is a hint of what’s inside – powerful music. Pity there isn’t more like it …

SHANNON STEVENS

SHANNON STEVENS

KELLY CLARKSON My December 6.5/10 Ms. Clarkson has come a long way since those nerve-wracking auditions on American Idol. Having already released two albums, Kelly is one of the Idols who have managed to consistently produce hits.

My December is a mix of slightly darker and edgier pop songs. The album has a more mature sound to it, and it shows that Kelly has grown over the time she has been in the music industry. Never Again is the first track released off the album, and is a well-balanced song. Her vocal work stands out, and makes this a major highlight on the album.

The catchy guitar riffs stand out and help to accentuate Kelly’s distinctive voice.

A few of the songs on the album do tend to sound similar to other tracks off her older albums – Don’t Waste Your Time in particular. It seems to have a few similarities with her earlier hit Since U Been Gone. This is not necessarily a bad thing, but the similarities are quite noticeable. Be Still is quite a slow, laid-back track. The instrumental work is minimal, which makes this another track which accentuates her vocal abilities. She manages to get to a high pitch, and she does this rather well.

Dollar Each Way sounds similar to some of the other tracks on the album. It is also quite difficult to distinguish what some of the lyrics are in this song, as it sounds as though they have been mashed into one big screaming-fest.

BAD RELIGION New Maps of Hell 6/10 It’s around the mid-way mark of this album that the words “blistering” and “frenetic” begin to lose all meaning.

You’d hope that it was because the album was eliciting some kind of response other than “this song sounds a bit different”.

And that’s because at the mid-way mark of the album, the first song to actually make an impact, Honest Goodbye kicks in, devoid of any blistering or frenetic fretwork. The album really could have begun here, ditching the largely forgettable first half, because after Honest Goodbye the gears shift back into that blistering and frenetic mode again.

Bad Religion were right at the forefront of the early punk movement in the US, and their trademark sound is relatively unchanged on the New Maps of Hell. However, there’s no real movement forward. Even 2001’s The Process of Belief had more standout moments than not.

It’s a pity, then, that this offering treads tired, familiar ground – satisfyingly so, but perhaps Bad Religion should ditch the maps, new or not, and start heading somewhere off the map every now and then, just to shake things up.

However, having said that, even bad Bad Religion is better than what their contemporaries are doing, so it’s not a complete waste of your time. It is blistering and frenetic, and tracks like Dearly Beloved, Prodigal Son, and the aforementioned Honest Goodbye are worth seeking out.

My December is a strong release from my favourite American Idol, and proves that, unlike many of the other Idols around the world, Kelly is no one-hit wonder.

The other thirteen tracks could have been lifted from any other album in the BR back catalogue though, so if it’s good enough for them, you may as well just keep listening to that too, because there’s nothing really compelling here.

SHANNON STEVENS

CHRIS RATTRAY

PAGE 18

... this has to be in the top five Elefant Traks releases, and if you like what you’ve heard from Urthy in the past, you’ll definitely enjoy this one ... 9/10 CARUS AND THE TRUE BELIEVERS

13TH SON Our Lives 9/10

Three Boxes 6/10

13th Son has been around for a long time, releasing his first tape back in 1994, Industrial Strength with his group Industrial Dispute, and has been an active fixture of the Australian hip-hop scene ever since. Our Lives is 13th Son’s second LP – an album full of emotional tales and positive lessons along with some smooth, RnB-style beats to get you relaxing in your plastic outdoor chair on a sunny Sunday afternoon.

The majority of the beats are supplied by that producer that’s on the top of every MC’s “beat shopping” list, M-Phazes.

There’s also a couple from Sdub, Stat-D, Jase, and Sereck (Def Wish Cast). Guest MCs on the album are DMinor (Wax Reform), Trace Elements, Fame, Butter Verses, Tam Morris and Spit Syndicate. The stand-out tracks for me are Brother, The Hush (featuring Spit Syndicate), and the title track Our Lives. Our Lives (the song) features production from Jase, and has 13th Son dropping some lyrical niceness, expressing his views on the human race in general.

I really liked this album – 13th has done a stellar job of creating an album that draws the best parts of Australian hip-hop lyricism and intertwined them with soulful melodies and sweet vocal hooks. This is without a doubt his best work to date, and I can see that this album is going to be well received by both the underground hip-hop fans as well as the more commercial ones.

Hailing from Fremantle, Carus Thompson has teamed up with The True Believers to release Three Boxes. They have toured with big names such as Jack Johnson, John Butler Trio and The Waifs, and Carus is beginning to develop a loyal fan base in both North America and Europe which is helping to attract fans from Australia. Their folk-roots style is unlike any music I have heard before. Born With a Broken Heart is a really catchy number, and starts the album off on a good note. Carus himself provides us with the harmonica intro that attracts you right from the start.

The title track off the album, Three Boxes, is quite a slow song. The vocals seem to be lacking the edge that the other songs have. It is a meaningful song, but it is one of the less desirable tracks on the album.

Last Days of Winter sounds similar to Billy Ray Cyrus’ Achey Breaky Heart. It’s one of those songs that tend to get stuck in your head, and you seem to be singing it for days.

The vocal work in Crash sounds similar to Keith Urban – it has a country feeling to it. Instrumentally, the song is quite strong, involving multiple different instruments combining together to make it one of the best tracks on the album.

Overall, this is a strong release, and is worth a listen.

SHANNON STEVENS

RYAN FARRINGTON

URTHBOY

ALO

The Signal 9/10

Roses and Clover 5/10

This man has been the face of the tasteful, intelligent, dub/world/hip-hop-influenced electronic music movement that is Elefant Traks for a long time. From his work with successful group The Herd, to his work with label buddies Hermitude, Urthboy is an undeniable talent, who just seems to be growing in huge steps as an MC with each and every project he’s involved with.

Flow-wise, The Signal seems to be a step up from Urthy’s last album, Distant Sense of Random Menace. It sounds as if Urthboy is taking more time on making his rhyme structures fit perfectly, and less time trying to send a message with every single sentence, which I think is a good thing. The collaboration with Mia Dyson, titled Over Before it Began, is a fusion of bluesy guitar/bass riffs and laid-back lyrical genius, which (as we’ve come to expect from Urthy) yet again expands the boundaries of modern hip-hop music.

My favourite tracks on the album are The Wrong One – a banging masterpiece produced by El Gusto, featuring long time collaborator Ozi Batla and talented label newcomer The Tongue – and an emotional, metaphor-laden song titled Clocks, featuring amazing vocal melodies from Mark Pearl.

All in all, I think this has to be in the top five Elefant Traks releases, and if you like what you’ve heard from Urthy in the past, you’ll definitely enjoy this one.

RYAN FARRINGTON

This shows that a group of college mates who form a band just for fun can actually make it in the music industry – hailing from Santa Barbara, California is four-piece Alo. Maria is a happy sounding feel-good song. It is one of those tracks to listen to when you need cheering up. The intro is mainly just the piano, which is not the instrument you would typically expect to start such an upbeat song. The piano plays a large part in this album, and is heard on nearly every track. It makes a nice change from the typical guitar/bass riffs and pounding drum work.

Empty Vessel (A Pledge of No Allegiance) has quite a jazzy feel to it – so much so that you almost want to start tapping you feet along to the rhythm. The lyrics are also catchy, and, overall, makes this track a solid one.

An unusual song that is almost kind of weird is Plastic Bubble.

The music is not too bad, but some of the lyrics are just downright strange. I can’t say I would be happy living in a plastic bubble …

I nearly fell asleep while listening to The Water Song. It is a very slow song – mainly just showing off the instrumental work, as there are very few words to the song. It is a different style of album.

SHANNON STEVENS

On Tasmania’s Beautiful East Coast

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WEDNESDAY 11TH HOBART Curly’s Bar Dr Fink

Irish Murphy’s Stratified & Lakoda Republic Bar & Café P.D. Hale & Band @ 9PM Syrup Adam Turner + Scott Woodhouse + Dave Webber The Loft Jazz/lounge – Guest DJs

THURSDAY 12TH BURNIE

FRIDAY 13TH BURNIE

Stage Door the Café The Andy Farrell Trio @ 7:30PM

HOBART

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Star Hotel Sexy Lounge With Carl Fidler

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Crossroads Café Dave Calandra @ 3PM

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Aroma Records The Red Paintings – Acoustic Set @ 6PM

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Got a gig you’d like listed in the

Escape Café Dave Calandra @ 1PM

The Loft Project Weekend + Shammie + Guests

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HOBART

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WEDNESDAY 18TH HOBART Curly’s Bar Detour

Halo Concorde Dawn (NZ) Irish Murphy’s The Restless Words + Your Demise Republic Bar & Café The No No’s CD Launch @ 9PM Syrup Adam Turner + Scott Woodhouse + Dave Webber The Loft Jazz/Lounge – Guest DJs UTAS The Spazzys + Eclectic @ 8PM

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10

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LAUNCESTON Gunners Arms Bar & Bistro 23 Lawrence St Launceston 6331 3891 James Hotel Reality Niteclub / James Bar 122 York St Launceston 6334 7231 www.jameshotel.com.au O’Keefes Hotel 124 George St. 6331 4015 River view Hotel 43 Charles Street 6331 4857 Royal On George 90 George Street 6331 2526 The Royal Oak 14 Brisbane St Launceston 6331 5346 Saloon 191 Charles Street Launceston www.saloon.com.au 6331 7355

www.whiskeygogos.com www.myspace.com/whiskeygogos

BREA KFA S TA Z

Cheeky Brits Ride Wave Of Success To Hobart BANGERS & MASH

By David Williams Fancy some Breakfastaz? A hard-touring DJ collective from the land of rain, warm beer and red double-deckers, the Breakfastaz have been riding high over the last few years on the back of accolades given out at the World Breakbeat Awards. Ahead of their set at Hobart’s Halo, Merf told me about their beginnings, and the different cultural flavours of global DJing.

How would you compare and contrast the

age – bumming around the local neighbourhood, getting

audiences in the club scene in the U.K., with

into trouble and, yeah, smoking weed. So we used to all

that in the States, compared with that in

do that in a slightly larger group, and we kind of peeled off,

Australia?

and set up our first little mini-studios in a shed in one of the

I’d say that Australian club crowds are slightly

parent’s back gardens. And we’re pretty much still doing that.

younger than in the States … Nah, just younger

It hasn’t changed that much – we’ve just got a slightly nicer

than in Florida, actually – Florida has got a bit of an

shed. We’re the same guys, and we do it full time – Monday-

older breaks scene, and it’s more crusty. In Australia

through-Friday, a normal working week.

they’re a bit better dressed – they’re a bit more funky.

It’s more similar to London, I would say. London and

I know that the U.K. is a big place, but I’m just listening

Oz crowds are pretty similar – there’s a lot of Aussies

to your accent, and you seem to have a similar accent

in London actually, who come out to breaks as well.

to some of the guys from the Arctic Monkeys.

And the rest of the States … I’d say it’s pretty much

Ah, look, it’s probably just my fucking jetlag … and I’ve also

the same. Florida’s a little bit different – it’s got, like,

There’s a lot of that going on in the U.S. … They definitely dance like dickheads …

a ten-year-older scene; everyone’s been doing it a bit longer. But other than that, they’re pretty similar.

And the U.K. and Australia also share dancing styles as well, I think. We’ve got the whole running-man thing going on, whereas the U.K. have got that hip-thrust

got a cold. They’re from halfway up the country; they’ve got

thing.

quite a Sheffield kind of accent. I’m more a down south,

[Laughs] “Dance Like a Dickhead!” There’s a lot of that going

southern, wet blanket than them.

on in the U.S. as well. They definitely dance like dickheads as well; they’ve got the whole dickhead dance. If they didn’t,

Back in 2005, you guys got the award for Best

then we definitely introduced it when we played there –

Breakthrough Act at the Breakbeat Awards. Did

spread the word everywhere we went! There was a lot of

that make much of a difference in the life of the

running-man going on.

Breakfastazs?

really helpful.

trance or something like that?

Well, house and trance … I’m a product of my environment,

It definitely got us a lot more DJ work. That seems to be the

Our own Klaus “Heavyweight” Hill got some awards

man, and house and trance was never our thing because of

How did the Breakfastaz first form? And what were you

main difference. Off the back of that, we did a lot of touring

there as well, I think.

our age, and when we were growing up, it was always more

guys doing before you got together?

in that year and the next year, and we got to meet loads of

Yeah, well, he definitely got something there. Probably like

drum n bass growing up, and garage.

Oh man, we went to school together in the most part. We

different people.

gonorrhea, wasn’t it? (Laughts ... it was a joke!)

– Fro. He went to a different school, and we always just

And once we’d been out DJing off the back of that, people

Look, I don’t know man. I’ll have to ask him. What is

used to smoke weed with. You’ve always got your crew of

tended to book us again. So I’d definitely put the amount of

it about breaks that appeals to you? How did you end

mates that you hang around with when you’re that kind of

DJing we’ve done in the last three years down to that. It was

up in this style of music, as opposed to, say, house or

The Breakfastaz play Halo in Hobart on the 25th of

first hooked up … there’s four of us … Apart from one

Hail To The King, Baby

Flight Of The DnB Kiwis

By Tom Wilson

OK, you wouldn’t be reading an article like this if you needed to be told what drum-n-bass is. And if you don’t need to be told what drum-n-bass is, there’s no point introducing the two guys who are considered to be pioneers of the scene in New Zealand. About to play at Halo in Hobart, I inexplicably forgot to make sheep jokes as I spoke to Evan Short.

You’re playing at Halo this month. What do you remember of your last visit to Tasmania?

I was in Hobart all of, I think, fourteen hours last time, so

all I really remember is the drive from the airport into town, hanging at the hotel and then playing the gig. From what I’ve seen, though, I really like Tassie. It reminded me of New Zealand quite a bit.

What kind of material will you be dropping during your set?

All sorts, really. I’ve been caning our label mates State of Mind’s stuff of late. Actually, a vast majority of my set is now all New Zealand-produced tracks from the like of the Upbeats, State of Mind, Dose, Trei … the list goes on.

I really like Tassie. It reminded me of New Zealand quite a bit.

To what extent will material from Chaos By Design feature in your set?

I’ll definitely be playing three, four or more off Chaos.

On the previous release, Uprising, one of the tracks was apparently influenced by metal. What were some of the bands that influenced this? And would you say Chaos By Design features that kind of diversity as well?

[Laughs] Slayer! I think the whole metal thing, as it pertains to Concord Dawn, has been blown right out of proportion.

We did one track called Raining Blood which was a tongue-incheek homage to Slayer, but to date that’s the only track with any real reference to metal we’ve ever released. On Chaos, we’ve got a few tracks with guitar in them, but it’s more of a contextual placement rather than a gimmicky basis for a track like Raining Blood was. Future Concord Dawn material, on the other hand, will feature quite a lot of guitar.

What do both of you do outside of music?

I wish I had time for anything else. I keep myself far too busy, really. I’m a songwriter, musician, programmer, producer, recording/mix/mastering engineer, and a DJ to boot, so apart from music I don’t have a life. Matt’s kinda the same, but he has more time on his hands, so he watches a lot of football.

What are your plans for the next few months?

Keep working on album number five in between touring, and start focusing on getting ready to venture into the live dance act arena.

Concorde Dawn play Hobart’s Halo on the 18th of July.

PAGE 20

BANGERS & MASH

BANGERS & MASH

By Tom Wilson

You’ve been called “New Zealand’s pioneers of drum-n-bass”. Why do you think you guys are credited with popularising the genre there?

I guess we were in the right place at the right time.

There were certainly people doing it before us here, but maybe we just had that piece of luck to be picked up and embraced as we were at that time. Sometimes we get told that the tracks that we write are more “musical” or emotive than a lot of other drum-n-bass but I’m not sure if that’s entirely true or not.

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

JIM KING

CO NCORD D AWN

What have Concord Dawn been up to recently?

Well, Matt’s just headed back to Vienna and picked up on a bunch of Europe dates, but while he was down in this neck of the woods, we got a lot of material started for the next album. Apart from that, it’s pretty much just been a hectic touring schedule.

July.

Pop-house – it’s a dirty job, but it pays the bills. Just ask Jim King. A Hobart DJ with fifteen years experience and a low wanker tolerance, he spoke to me about what he’d change about the club scene in Hobart … namely, people drinking for the wrong reasons What styles do you play, and why?

I play what I’d call commercial dance – which these days includes stuff like commercial house, tough electro, a touch of breaks and, yuckily enough, pophouse … mostly because it’s the money music in this state, and I’m actually able to make a living from playing it. (i.e. No need for a serious day-job.)

What is it about those styles that appeals to you?

Aside from the regular dosh, the crowds are bigger, which means happening dance floors, and it’s the dance floor thing that floats my boat.

How long have you been DJing, and when did you get started?

Hmm … I first DJ-ed at a club around about 1990 ... I was a bouncer, but filled in for a dickhead DJ who couldn’t get the needle out of his arm to come to work. I’ve DJ-ed off and on ever since, and started DJing full time in 1996.

I dislike posers. I believe that talent-minus-humility-equals-wanker.

Where do you play at the moment?

These days I’m at Curly’s, but I do the odd slot here and there around the traps. I’m thinking about radio soon as well …

Where do you dream of playing?

Ibiza would be kinda cool, I think (or maybe Kylie Minogue’s next birthday party…)

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

That’s a fucking hard one … but maybe Promises by Dan Saenz & Ron Reeser (Starkiller’s Empire dub), Turn It Up by Raul Moros (Stonebridge mix) and Make My Day by Eyerer & Chopstick.

Who is your favourite DJ, and why?

I have no real favorites, but one would have to be Carl Cox. However, DJs like Fatboy [Slim] and Roger Sanchez etc. are all up there.

What’s the biggest “wank” about being a DJ, or the dance music scene, in general?

Egos! I dislike posers. I believe that talent-minus-humility-

equals-wanker. (But some degree of professional arrogance adds to mystique.)

If you could change one thing about the dance music scene in Tassie – the clubs, the DJs, or the punters – what would it be, and why?

Too many of you dudes are going to clubs minus dates – which means too many sausage parties, with power drinking and fights over fuck all. Clubbers should drink to socialise – not just drink to get smashed ... shows a gross lack of class. Plus we need more damn taxis at closing time, please Herr Lenon? … And stick your mill, too.

What’s the funniest or strangest thing you’ve ever seen while behind the decks?

Two coppers walked into a club in Perth (The Freezer), and after standing around making the dealers and everyone else nervous for about half-an-hour, they suddenly blew their whistles and ripped their shirts off, before hitting the floor and cutting sick … It turned out they were punters in fancy dress – cool-as …

Have you at any point inappropriately used the phrase “hail to the King, baby!”?

All the time, dude.

Jim King plays regularly at Curly’s.

SHAD

Bringing The Harder Sound To Hobart BANGERS & MASH

By Tom Wilson DJ and organiser of events held at Halo and Syrup, Shad spoke to me about his passion for the harder side of electronic music, and explained exactly what goes into organising a club night in Hobart.

What have you been up to in the last month, musically and otherwise?

Musically, I’ve been extremely busy. As a promoter, I’ve been organising the Pitch Black parties up at Halo, as well as getting the Pickle vs. Pitch Black night up and going at Syrup, with the first event taking place last month. Parties have been organised pretty well up until the end of the year, with some huge interstate and international acts scheduled to play. As a DJ, I’ve been playing gigs in Melbourne at hard dance clubs PHD and 3D, which are two of the best in the country for the genre. Local gigs at Halo and Syrup also keep me busy. Music aside … well … what is there in life besides music?

How did you get involved in organising Pitch Black?

I’ve always had a passion for the harder sounds of dance music, and the trips to Melbourne for a night out were starting to get a bit expensive, so I decided to bring the party to me, by organising my own events here in Hobart. I wasn’t sure how the scene down here would respond to it, being that’s its born and raised primarily on drum-n-bass and breaks, but they certainly have responded positively to it so far.

What kind of tasks does this entail?

The biggest element to organising an event is how you promote it. Once you have established the DJ lineup for the party, it’s all about promotion. Flyers, posters, emails, websites, SMS’s, word of mouth, newspapers and magazines are just a few of the ways you can get the word out.

You also need to arrange ticketing outlets, accommodation and flights for the guys playing, security, lighting and visuals, décor etc. There’s always something to do.

You tend to play a much darker style of music than a lot of DJs. Does this attract a core crowd of people? Or does it have a more general appeal in Hobart?

It definitely attracts a different crowd. The high energy sounds tend to make it a lot more dancefloor-orientated, so you get a lot of people who like to dance, as well as guys who are dedicated to the harder sound.

On the other hand, it’s great to see people walk into the club at a Pitch Black event and get blown away by something they haven’t been exposed to before. If you’re after something a little different to the normal Hobart club night, then Pitch Black is definitely something to check out.

nights into the one event. Being a hard dance event, it crosses genres such as trance, hard trance, hard house, hardstyle and techno.

Events are always built on a fun, happy and colourful vibe.

While the focus is on building a local scene around the talented DJs we already have in the state, there will also be several interstate and international acts throughout the year.

The sounds to expect could be described as high energy, dancefloor-orientated music. You’ll have to come along and check it out for yourself. I guarantee you won’t be disappointed!

Pickle Vs Pitch Black will be bangin’ at Syrup on the last Friday of each month.

… Well … what is there in life besides music?

What remix and production work have you been doing recently?

I’m working on several production pieces at the moment, and have been receiving some help along the way from my good friend Steve Hill, who is one of Australia’s most prolific hard dance producers. My sounds are generally similar to the style I play, but often with a slightly funkier feel. Hopefully I’ll get something signed soon, and trust me, you will all know if I do!

How did Pickle vs. Pitch Black begin?

I was approached by Andrew, the club owner of Syrup, and asked if I would like to help organise the Pickle events, which run the last Friday of every month. He wanted to get the event back to being primarily a hard dance night, and liked what he had seen me doing with my other events.

Obviously, I accepted, and Pickle vs. Pitch Black was born.

How would you describe the night? Is it a mash-up of the styles played on each night?

The night combines the sounds you would hear on both

MEZ

Trust Me, I’m A DJ BANGERS & MASH

By Tom Wilson

Here’s my plan for the fashion industry, people. We make them stitch the word “wanker” in big letters on the underside of polo shirt collars. Why? So when a guy in a club has his collar turned up … well, I think you can see where I’m going with this. One guy who I think would approve of that plan is resident of Syrup, Barcelona and Proller, Mez. I recently inflicted some hardcore profiling on this Hobart DJ, which I present to you below. Enjoy …

What styles do you play, and why?

(J5), or Danielsan (Koolism), or Einstien! Also we have some

I started with a love of beats, hip-hop, funk and

world class local talent that I really dig – guys like Gnosis

breaks. But I have been diversifying my styles,

and Adam Turner. Too many, really! I like DJs who can move

according to the places I’m playing. I play a lot of

through genres, and make it sound tight, and fun for the

soulful house, jacking styles now as well, and a lot

punters. I like to try and emulate that in my sets – not be held

more down-tempo stuff too.

back by one or two genres.

What is it about those styles that appeals to you?

Well hip-hop, breaks, reggae and jungle are what got me into DJing in the first place, so I’ve tried to stay true to my roots. It’s all about how it makes me feel.

How long have you been DJing, and when did you get started?

Started back in 2000/2001, with a mate, Parky, and continued on until I got my first gigs at Syrup (Mesh), and kept it going with the Boombox parties, and gigs at

I like DJs who can move through genres, and make it sound tight, and fun for the punters. I like to try and emulate that in my sets – not be held back by one or two genres.

Twin Tribes, lots of mate’s house parties, and numerous residencies now.

What’s the biggest “wank” about being a DJ or the dance music scene, in general?

Where do you dream of playing?

Some of the people you come across … getting asked to

Any of the big clubs on the mainland – in Melbourne and

play “that Pendulum track”, when you’re playing in a lounge

Sydney – and, in the grand scheme of things, in London town!

bar, or Put Your Hands Up For Detroit, and you’re playing

Anywhere that’d have me, really!

down-tempo hip-hop … People should learn to trust the DJ a

Dress codes! As my man AT would say, “Collars down, polo boy!” On a whole, I dig Hobart’s scene.

bit more! (I’m not trying to ego trip there!)

If you could change one thing about the dance music scene in Tassie – the clubs, the DJs, or the punters – what would it be, and why?

Dress codes! As my man AT would say, “Collars down, polo boy!” On a whole, I dig Hobart’s scene.

What are your favourite three tracks at the moment

What’s the funniest or strangest thing you’ve ever seen

and why?

while behind the decks?

At the moment, really getting into Groove Armada’s newie,

Apart from the obvious – the chewed-up, messy faces late

Get Down. Also, on a different tip, the new Flow Dynamics

at night – the dodgy action going on with that couple in the

album, in particular a track called Up In The Party. Also his

dark corner…!

track Superjam is rad.

Mez plays in Hobart at Syrup on Wednesday, Thursday Who is your favourite DJ, and why?

and Friday nights.

From those I’ve seen live, maybe Yoda, or possibly Nu-Mark PAGE 21

MYA GI

WILL STYLES

Triple J’s Sexiest DJ Comes To Town!

Myagi AKA Sole Claw AKA Andrew Mavor has rapidly become a major part of North America’s contribution to breakbeat. Hailing from Canada, he has, in the last year, played the vast majority of the world, and has become touted as the next major North American breaks don. His releases and remixes are in constant demand, as shown by a relentlessly expanding discography which boasts variations and a range of styles most producers could only dream of pulling off …

From his first record in 2001, the Myagi sound has grown and expanded with the breaks scene, all the while retaining its independence and unpredictability. Initially eschewing the nu-school sound in favor of funk, and then pushing in a deeper direction once the inevitable pigeonholing began, Myagi has remained fresh within the scene as a whole – not a step behind or ahead of anyone else, but in fact pursuing something different, fusing many sounds into a high energy dance-floor assault.

BANGERS & MASH

By Tom Wilson A DJ with one of the most important attributes a man can have – a sense of humour – Triple J personality and sexy bitch Will Styles is heading to Halo to be mobbed by countless women as he attempts to play music. That sexy, sexy bitch …

Why on earth do people call you “The Schtyla”?

I call myself The Schtyla – it hasn’t really caught on with anyone else. It’s a bastardisation of my DJ name, which in turn is a lie; I have no style.

You used to bootleg beer in your toilet. How did it taste?

Cooper’s bought the recipe off me when they started, and now have about forty variations. Steer clear of the “Brown Ale”. Trust me.

When did you start working for Triple J? How many lies did you tell on your resume?

I didn’t have to lie; I really was on the cover of Lawn Bowls NSW.

Who’s the biggest idiot on the JJJ staff, and why?

Learned Hand, my partner in musical crimes on Radio FunkTrust, won that crown at the last JJJ motivational retreat for deciding to work with me.

What production work have you been doing lately?

I did a couple of remixes for Arrested Development, and had the first two releases on my label Fresh Jams out and about, with another five pretty much ready to roll out soon.

He has played sets on the BBC, the CBC, and Crystal Method’s Community Service, landed a standout track on the Plump DJs’ Saturday Night Lotion, and recently did an extremely well-received exclusive mix album for www.djdownload.com on behalf of breaks labels West and Splank.

URTH BO Y

Oz MC Follows The Signal HIP HOP

By Ryan Farrington

Given that his previous release was called Distant Sense Of Random Menace, it’s fair to say (and irresistible to make the play on words) that Urthboy could well have been talking about this follow-up The Signal. He spoke to me about working with Mia Dyson, and the reason he never seems to repeat himself.

That sort of leads on to my next question. You don’t seem to be the type to leave yourself open to being pigeonholed. You always seemed to come up with something new and fresh with any release you’re involved with. For instance, with this album, by the sounds of it, you’re experimenting with a lot of cool structures and flows that are quite different to your other stuff. Do you purposefully try something different with every project? Or is it just sort of a natural progression?

I suppose I’ve got a short attention span. I don’t sort of deliberately go out and try and write differently, but I do try and get into a track, when you’re kind of up-close in front of it. And I don’t think it’s good enough to just sort of get your own thing going on, do your own themes, or work out your own delivery, and then just smash it onto a track. I think that, for me, the thing that works best is trying to see what works inside of a track, rather than, “This is Urthboy! I’m gonna just fucking rip my trademark all over this shit!” I really do think that that’s the thing that keeps me interested. People PAGE 22

... a whole group of really hot girls “request” I go back to their house … That’s the price of hotness.

I know the feeling. No, really, I do. You’re about to play at Halo. What kind of sounds will you be incorporating into your set? And what did we do to deserve this?

I invented a genre last week called “rave hop”. Consider yourself lucky that I’m not inflicting my previous genre baby on you; a mixture of country and hip-hop I like to call “c-rap”. Here is my latest mix: http://www.inthemix.com. au/broadband/fm/32859/Fresh_Jams_80_Tracks_In_80_ Minutes

Ladies, Will Styles will be oozing his charisma all over Hobart’s Halo on July 14th. Bring a spare pair of panties!

Myagi plays Hobart’s Halo on Friday the 13th of July.

Topic-wise, how does the album differ from the last release, Distant Sense Of Random Menace?

Well … I guess it goes … not as introspective, I reckon.

I think that, whilst there’s a time and a place for that, this project just didn’t seem like the one. There’s a couple of tracks which are – shock-horror – a bit of fun! [Laughs] I always … I like to have multi-layers to what I’m doing if possible – even if it’s just myself. And this album would have bored me to tears if I’d just sort of stuck to a formula, or tried to do what other people were doing in the hip-hop scene.

Yeah … I guess it’s just a snapshot of what was going on for a few months of … a little while ago! [Laughs]

What are some of the worst requests people have whispered in your ear at gigs?

It is always the same; a whole group of really hot girls “request” I go back to their house. I say the word request in inverted commas because the mobs are usually so big, I don’t have a choice. That’s the price of hotness.

What are two songs that should never, ever be mixed together? Personally, I’d go with a track from Bernard Fanning’s Tea & Sympathy mixed with some Cannibal Corpse. What do you think?

There was a bootleg of Enya and The Prodigy that I couldn’t bring myself to buy, but as we sat in the store paying it out, Gus from Bang Gang came in, said, “That’s wicked”, and bought it.

In both the studio and in the club, Mavor has become renowned for his seamless maneuvering between hiphop-based funky breaks and nu-school, house and techy big room tunes. Myagi’s live sets have been described as innovative, relentlessly funky and ludicrously fun, and have led to a devoted fan base in all corners of the globe.

What’s the idea behind the name of the album, The Signal?

The Signal is like the proof that there’s some kind of life there, you know? You try and register a signal, and you know that you’ve got some action. So I suppose The Signal is like a pulse. Yeah … I guess there was a little spark that got this project going … the project just blew along by itself, though. The Signal wasn’t something which I was looking for deep and profound meaning from, but it just seemed to sum up the project nicely.

What production work were you supposed to do, but haven’t, because you were smoking cones in your studio?

Cones are for wusses – I shelve whole bags!

sometimes say, “I like that you flip it up. I like that you don’t always have the same style.” I don’t actually consciously think of changing styles – I think I just bring my kind of outlook onto as much music as I can. I sound a bit … kind of wanky, but every person works differently, and that’s just the way I work.

“This is Urthboy! I’m gonna just f*cking rip my trademark all over this sh*t!”

You worked on a track with Mia Dyson on this album.

Is she someone that you’ve wanted to work with for a while? How did that come about?

Yeah … The track was actually the longest one to get happening on the album, because she’s got a hectic schedule and so do I. We just admired her from a distance, because she’s done festivals where The Herd have played, and in the end, it just kind of became, “Let’s meet up at one of these festivals – I’ve got a track that I’m thinking would be great with you … and the thing is that I haven’t started it yet. So that’s going to be part of the job as well.” [Laughs] And she actually came to the table big time, and was really into it.

She lives in a different place to the producer of the track, and I live interstate from both of them, but they got together and did a session together one time, and we came back and laid stuff over it. In the end, everyone seems really happy with it, and we were really just stoked to have her part of the project … I guess she’s unexpected, but she’s also … you know, she’s such a fine talent. And it is an honour to collaborate on something. She’s got such a special voice, and her playing was great. I think that the feeling was mutual – she’s been saying how honoured she’s been to have been part of the project. She doesn’t know nothing about the hip-hop scene, so she’s had a laugh about it.

The Signal comes out July 14th.

BEA S TI E BOY S ( TA S M A N I A N EX C L US I V E )

Still Mixing It With The Best After 25 Years HIP HOP

By Pat Whyte

… They’re all in their forties and going strong – who said grey hair and tracksuits wasn’t a good look?

All three Beastie Boys, but particularly Adam Horovitz, can be relied upon to bring a bit of levity to any talk about their latest album – their first all-instrumental studio album, The Mix-Up. When he was asked recently, “Why make a fully-instrumental

On Mix-Up, Mike D handles the drums, Adam Horovitz the

wanted to make each bar count, or every bar be kind of

things,” opines Mike D, “One, we’re not afraid to take some

album?” Adam “Adrock” Horovitz replied, “We decided when

guitars, and Adam Yauch bass. They got a little help from

funkier; each bass line be the way it is like something that

time off and space out what we do, because other bands

we started recording this time [that] we would just play

percussionist Alfredo Ortiz and marshalling the distinctive

you’d sample.”

like to kind of keep working; keep working and, I think, burn

music on instruments, because our last record was an all-rap

keyboard sound of the Clavinet, Rhodes and Farfisa is Mark

record, so, we figured, let’s try something different for a little

Nishita, better known as “Keyboard Money Mark” – their

Horovitz is more direct: “Let’s just say, we’re testing to see

bit … One morning Adam Yauch just said, “Hey, why don’t we

“Master Carpenter” and collaborator. They met Money Mark

who’s really a fan and who’s not. Are you with me or not?

just make an all-instrumental record.” And me and Mike didn’t

when he arrived to do some carpentry work in their studio;

That’s our attitude right now.” It’s not that they have nothing

The eternal New Yorkers are about to head out for a bunch

have a better idea, so we said, “Okay, let’s do that”.”

later in 1992 he played on the acclaimed live instrumentation

more to say; they have started on their next album, and,

of festival shows in America and Europe, including sets at the

album Check Your Head. Mike D said of that record that they

according to Horovitz, “It’s certainly going to have a lot of

Montreaux Jazz Festival and the London Live Earth concert.

In fact the ageless Horovitz doesn’t even think that’s the

actually wanted to be a funk band, though, overall, the songs

talking on it.”

Mike D explains they’ll play live, but not just instrumentals:

obvious first question. “I thought the most obvious one was

turned out with a rockier edge. With The Mix-Up he’s closer

going to be, “How do I work on my body so well?” Well, you

to that goal.

out that way. The other thing is I think that we’re not afraid to fight with each other, both verbally and physically.”

“Anytime we play, we play songs from all of our records.

They each cite some readily apparent funk, jazz, Brazilian,

We’re doing band arrangements, there are some songs with

reggae and dub influences on The Mix-Up sound along with

vocals, and we’re doing some of our older songs that have

“Y’know, I think actually, honestly, it’s always kind of like we

the likes of The Meters, Miles Davis, The Clash, The Specials,

vocals but with a band arrangement.

might [end up as a funk band] and I think that’s kind of the

and the less apparent Killing Joke, The Slits, Gang Of Four

Those with more than a passing interest in the Beasties will

way it is with just the evolution of music in general. I think,

and Public Image Limited.

know this isn’t alien territory for Horovitz and his colleagues

maybe we learned to play our instruments a little better.

of twenty-five years, Adam “MCA” Yauch and Mike “Mike

What we try to make is one thing, but what we actually end

Beastie Boys began as a punk band put together for Adam

on everything that we are playing.” Their long-time visual

D” Diamond. They’ve recorded instrumental songs before,

up making is pretty different than what our initial goals are.

Yauch’s 17th birthday party. It was 1981 when Mike D on

collaborator, Nathaniel Hornblower, has amassed a lot of

but this is their first fully-fledged instrumental album – no

That’s how it ends up being unique, and ends up being what

vocals, Yauch on bass, John Berry on guitar and Kate

tour footage from all over the world and will apparently put

words, no samples, no scratches. They once released a

we made, instead of what somebody else could do.”

Shellenbach (later of Luscious Jackson) on drums debuted

together a “movie” for the album.

know, just my muscles and my well-sculpted muscle tone – I thought that was the obvious one.”

compilation album, The In Sound From Way Out, which

And there are also vocal songs we’re doing instrumental band arrangements on. We’re doing a band interpretation

in front of party-guests. The outfit turned to hip-hop just as

largely featured instrumental cuts from Check Your Head and

The cool bunch of tunes they’ve produced shouldn’t scare

Horovitz replaced Berry after a stint, playing guitar, with

There’s even a possibility that we might hear some of these

Ill Communication. But some may be surprised to learn that,

any true fans away, and it’s not as if they’ve made formulaic

Young & The Useless. By ’85, these three New York Jewish

tracks with vocals added at some point, though you can’t be

despite their unique contribution to hip hop culture, the three

rap records anyway.

boys were supporting the likes of Madonna, Run-DMC, and

sure if Horowitz is just yanking your chain: “We sent it out

LL Cool J. By the next year they’d hit the ground running with

to a bunch of people … producers and singers … to see if

Mike D: “One, it’s just kind of like us being spontaneous and

Fight For Your Right and No Sleep Til Brooklyn blasting out of

they had any ideas … we’ve only heard back from a couple

“On the To The 5 Burroughs album, each of us spent a lot

staying kind of true to what we want to do … the other thing

boom boxes across the world. Their ground breaking debut

… Snoop Dogg said he’s interested, [and] my friend Mark

of time, like, on computers or on laptops or samplers, and

is we spent so many years digging through so many records

album Licensed To Ill, became the first rap album to ever go

Ronson the producer. I sent it to MIA. Shit we sent it to Mary

kind of brought that stuff in together and collaborated that

trying to find a funky break, or find the part that we want

#1, heralding a kind of hip-hop pandemic.

J. Blige.”

way. So for this record, we kind of thought, okay, well, let’s

to sample, because that’s kind of like our sort of hip-hop

kind of do a 180-degree turn and ... just sit down and play

mentality; how we listen to music. It’s like we never can just

Now, over twenty years and seven albums later they’re all

The Mix-Up is out now on Capitol Records through

some instruments in a room together, and see what comes

enjoy music – part of your brain is always thinking, like, oh

in their forties and going strong – who said grey hair and

EMI.

of it,” recalls Mike D.

how can I use that? With us making these songs, it’s like we

tracksuits wasn’t a good look? “I think our secret is two

Beasties are musicians.

PAGE 23

Triple J & Myspace Present

EXPATRIATE IN the MIDST of THIS with special guests

BIT by BATS

& BEATRIX BAE BOUMAN

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triple j feature album

Saturday ay 18th 1 August East Brunswick wick Club MELBOURNE E Friday 24th August The Green Room CANBERRA

Horrorscopes THE PSYCHO PSYCHIC SCREWS WITH YOUR LIFE

Aries At some point during this fortnight, you will find yourself looking for astrological advice next to a sheep wearing a Rammstein t-shirt.

upmarket ... uptown ... Upper Burnie Taurus Your iPod will fall out of your handbag this month and break.

You will be distressed, because you’re so trendy you can’t remember what music you like without it.

Gemini You know that girl you kissed in primary school? Well, she had a sex change, bought a rifle, and is currently asking your friends where you are. Thought you should know.

Cancer Is it passe to bag emo kids yet? No? Too bad for you!

Prepare for another two weeks of angst, mopey. Knives are in the kitchen.

BYO AND NOW LICENSED 254 Mount St Upper Burnie 7320 Give us $5 for live music unless otherwise stated

THURSDAY JULY 12

Jazz Club '07

Viktor Zappner Swingtet

With Greg Harrison, from Deloraine, on tenor and baritone sax 7:30PM

FRIDAY JULY 13

The Andy Farrell Trio 7:30PM

Leo God just decided he doesn’t like you. Duck.

SATURDAY JULY 14

Lynch 7:30PM

SUNDAY JULY 15 Virgo Dear Virgo, I don’t know how to tell you this, but I just got back from the doctor and ... I think you should get yourself tested.

Katy Pakinga & Vanessa Garratt 5:00PM

THURSDAY JULY 19 Libra Like always, you’ll find a way to drive your partner crazy with your appalling taste in music. But be warned – they’re not going to take it much longer. Annmaree, it’s either Celine Dion or me.

Decide now.

Scorpio Remember – it’s always important to splelchekc.

Jazz Club '07

Viktor Zappner Swingtet With Denise Sam, from Launceston, on vocals.

7:30PM

FRIDAY JULY 20

Gaye Clarke

The Troubadour 7:30PM Sagittarius The stars say nothing for you at this time. To keep up appearances, just pretend I made a joke about tampons.

SATURDAY JULY 21

Wayne Elliott 7:30PM

THURSDAY JULY 26 Capricorn You have a tendency to stay up drinking boxie and chain-smoking rollies while watching Family Guy at 4AM. Now is the time – give me your number. We’ve got a lot in common.

Aquarius It’s getting cold now, so remember to rug up as you stand in a mall with a guitar sounding like a strangled cat.

Sweet Home Alabama – that one never gets old!

Pisces Semen is not a dietary supplement. I’ll bet you wish it was. Especially now. Fatty.

The Jazz-Free Zone

Featuring the Europa Poets Society.

7:00PM

US Music Report

Low Transit Industries – Indie Digie Pioneers

According to US Billboard.biz, album sales for the first half of the year were down 15.1%, which is a pretty massive

When it comes to digital distribution and creative online

loss. On a positive note, digital music sales continue to

marketing of independent music, Melbourne based record

make waves with track downloads totaling 417.3 million

label, Low Transit Industries looks out for their artists!

units in the first half of the year. These figures indicate

Before most people in Australia even knew what iTunes

that digital sales have increased by 48.5% compared to

was, Low Transit signed up with a local digital distributor

the corresponding period late last year.

and had its catalogue live and available to download in iTunes (AUS) on the very day the store launched.

no major labels have partnered up, however, Gabriel has

DIGITAL MUSIC CHARTS

expressed that the venture will be focusing on unique independent music catalogues.

ARIA (Digital Track Chart)

Digital distribution – The good, the bad & the ugly

1. Big Boys Don’t Cry (Fergie) 2. Umbrella (Rihanna) 3. Destination Calabria (Crystal Waters, Alex Gaudino)

Thinking about digital distribution? Moses Avalon, an industry commentator, has put together an interesting chart which rates the largest digital aggregators in the world.

iTunes (Top Songs) 1. Big Boys Don’t Cry (Fergie)

Universal Music Group leads the charge with a 31.6% market share in album sales. Sony BMG came in at

Low Transit celebrated a new partnership with Australian

25.2%, which includes its Red Label “independent” music

company usync.net. Doing it in style, the label threw a

sales. Warner Music Group closed the gap between

party at The Corner Hotel (Melbourne) with their bands

themselves and Sony by finishing up with an impressive

headlining the bill, and rightfully so.

Coming in at first place was free service provider, TuneCore followed by IODA & CD Baby.

3. Umbrella (Rihanna) Receiving a one-star rating was the world’s leader of independent music distribution, The Orchard. Judge for

20%. And finally, EMI finished the first half with 10.3%, while the indie division managed to carve out a 12.85%

For more information on Low Transit’s “Back Stage portal”

ownership of the total market share.

head to, www.lowtransitindustries.com.

2. The Dance Floor Anthem

yourself at, www.mosesavalon.com/digidist.html.

iTunes (Top Albums) 1. Time On Earth (Crowded House) 2. Stolen Apples (Paul Kelly)

Universal Pulls Its Punches

Peter Gabriel – From Sledge Hammer To Ad Hammer!

FREE MUSIC DOWNLOADS JB HI-FI (www.jbhifimusic.com.au) The Howling Bells - Video Interview

JB HI-FI (Track Chart) 1. Truly Madly Deeply (Cascada)

iTunes (iTunes music store)

2. Suddenly I See (KT Tunstall)

The Checks - Take Me There Seriously, what is Universal up to? Just recently Universal Music Group announced that it won’t be renewing its “long-

BigPond Music (www.bigpondmusic.com)

term” contractual agreement with the iTunes Music Store.

Old Man River - LA (album version)

Why the hell not? Before you get ahead of yourselves,

3. Steer (Missy Higgins)

BigPond (Top Selling Albums)

you’ll still be able to purchase favourites such as Fergie,

Triple J (www.abc.net.au/triplej/listen/mp3s.htm)

Bryan Adams and KISS. However, Universal can pretty

Bluejuice - Vitriol

1. Time On Earth (Crowded House) 2. Call Me Irresponsible (The Travelling Wilburys)

much remove their audio & video content from iTunes unannounced.

3. We Are The Night (The Chemical Brothers)

Musician Peter Gabriel, the founder of OD2, one of the first digital music distribution platforms ever, has announced

The extremely hyped-up, life-saver iPhone hit stores

his new music business platform called We7. We7 is set

in the US. Surely this will spike digital revenues for all

to offer free, ad-supported music downloads without the

record labels alike. This leads to a very strange way for

complications of digital rights management (DRM).

Universal to celebrate. Maybe Universal, the heavy weight

Triple J (www.abc.net.au/triplej/listen/mp3s.htm) The Paper Scissors - Vampire Sips MP3.com.au (www.mp3.com.au)

We7 will include 10-second ads at the beginning of music

their sleeves.

tracks, targeted towards individual customer demographics,

Martian Music (Top Collections)

Zero Degrees And Falling - All Or Nothing 1. Tobacco Road (Doug Williams) Mess + Noise

champion of all recoding labels, has a new digital trick up

3. Call me Irresponsible (Michael Buble)

2. Too Hot (Doug Williams)

Magic Dirt - Beast (Streamed)

3. Show Me That Thang (Doug Williams)

including age, sex, location, occupation etc. At this stage

PS2

Tomb Raider: Anniversary GAME REVIEW

By Chris Rattray A scant ten years ago – well, more like eleven, really – a lass by the name of Lara Croft bounded into her first tomb … and my heart. For a good five years afterwards, she and I continued to raid tombs together, all over the world, on the PS1. And then, it all came to a grinding halt, as my fantasy friend made her turgid debut on the PS2 with Tomb Raider: Angel of Darkness. By now, the relationship was starting to fray. Those little habits that made her so endearing at the start were now becoming annoyances. Soon after, we went our separate ways. It was nobody’s fault. Well, actually, it was.

Turns out, it was Core Design’s fault. Their constant rehashing of the same Tomb Raider engine meant the controls were stodgy, rooted in mid-90’s inflexibility.

Lara returned in 2006, courtesy of her new custodians, Crystal Dynamics, in a new adventure – Tomb Raider: Legend. Suddenly, everything old was new again. The game mechanics had been thoroughly reworked, and Lara herself had been redesigned.

Slinkier than ever, she nimbly leapt, shimmied, and slid all over the place, in a fashion more befitting a modern 21st century girl. To celebrate Lara’s resurrection, and over ten years worth of adventuring, Crystal Dynamics brings us a reworking of her very first adventure, Tomb Raider: Anniversary.

It’s a stroke of genius. The very first Tomb Raider – the one that started it all off so many years ago – was brilliant. With fiendish puzzles and traps, it was arguably the best of the original PS1 series.

In combining the best with a brand new control system (since Legend anyway), we’ve got a wonderfully fun adventure for Lara to undertake. She’s after the Scion of Atlantis, chasing a lead given her by businesswoman, Jacqueline Natlas.

Her journey will take her, and you, from lost cities in Peru to the very depths of an Egyptian pyramid. Lara Croft is worth getting your hands dirty for again.

Every location and puzzle has been redesigned, with cues taken from the original. However, this is no slavish rehash – it’s a new game. The locales are the same, as are some of the heart-stopping great moments that surprised and delighted so many years ago (T-Rex, anyone?), but it all plays out like an homage, honouring what made Lara’s adventures so much fun in the first place – the sheer joy of exploration and puzzle-solving.

Sure, there are things to shoot at, but this isn’t the point of the game, just a symptom of trampling around some long-forgotten crypt. Of course, you’ll need to dispatch a rogue bear or wolf from time to time, with an appropriate musical sting for atmosphere.

But when the clips are emptied, it’s just you and Lara’s footsteps echoing around the expanse of yet another cavern, as you both edge nearer a turn in the path, inching closer to see just … what’s … around … the corner …

And that’s the thrill of it, as it should be, making this anniversary a truly happy one.

8/10 PAGE 27

ST. K I L DA FI LM F E S T I VA L

Short Films Of Australia Hit The Silver Screen FILM

By David Williams Described as a reputation of the blood, sweat and tears of Australian filmmakers, the St. Kilda Film Festival is bringing a selection of its finest short film and music video entries to Hobart’s State Cinema for two days this month. Festival director Paul Harris told me more.

How did you become the director of the St. Kilda Film Festival?

I was approached a few years ago. Being possibly naïve, idealistic or whatever, I accepted the position, not really realising what I’d got myself into … which was good in a way, because I was able to get on the job training.

I had a background in film, but not being involved in running film festivals, and certainly not something as specialised as a short film festival.

So what’s your background in film?

I’ve worked mainly in distribution and exhibition. I worked at the Australian Film Institute. I’ve run my own cinemas, and I’ve written some papers and lectured on film, but I don’t come from a filmmaking background.

What do you see as what makes the St. Kilda Film Festival different from other film festivals in Australia?

Well, it’s a national competition, and it’s devoted to Australian short films. That’s the bread and butter of it, and although it’s a very community-based festival – it takes place in St. Kilda – we receive entries from around Australia; this year over seven hundred. So really, you get a pretty comprehensive overview of what people are doing – what subject matter interests them. You get a real feel for what’s out there.

Have you noticed differences in this year’s submissions to the festival compared to previous years? In terms of production values, the techniques, or the subject matter?

The main difference I’ve noticed is that, with the advent of digital, the whole process of making films has become democratised. It’s a lot easier for individuals to go out and make films, and not go through the normal route where

JAPANIMATOR #3

Japanese Culture Schlock THE SKY CRAWLERS: A NEW MOVIE FROM MAMORU OSHII

You get a pretty comprehensive overview of what people are doing … a real feel for what’s out there.

And I guess YouTube is a fantastic tool for these people to distribute their work.

Yeah. Ultimately, it might be talking yourself out of a film festival, because who knows, in the future, what kind of platforms people are going to be watching films on? Through mobile phones, or iPods, or public delivery systems. I think the particular usefulness for a film festival such as this is that [for the] filmmakers, it gives them a kind of feedback. When they’re making their films, they’re making them in isolation, and they don’t really know how their work plays. I mean, when you’ve made a short film, you put it on the screen for your friends and relatives. But it’s only when you go out to a neutral atmosphere, like a film festival environment, that you really find out how your film plays to strangers in a cinema environment. You might make good or bad discoveries. You might find that your film plays in a way that’s totally different to how you intended, and you can learn from that.

The “Best Of The Fest” is about to tour to Hobart. How were the films selected from the hundred short films screened at the festival?

We make an effort to put in a mix of what you call “crowd pleasers”, films that are very fresh and exciting, and also some of the films which are actually prize winners. So it’s a bit like a hotel and ordering the smorgasboard meal – just to give you a taste of the festival program. Obviously you can’t run a hundred films, so you try and pick out a selection that’s representative of the kind of films being made in Australia.

Why develop a separate category for music videos, and tour the SoundKILDA selections?

Well, this is an era of the film festivals that has really grown

The upcoming film is based on a rampantly popular five-part novel by Hiroshi Mori, in which the story unfolds in a parallel world. The youngsters here are called “Kildren” – and are destined to live out their days in eternal adolescence. While that may sound like a treat to some (I, for one, can sum up endless possibilities), the Kildren are conscious that every day could be the last because they fight a “war as entertainment” (shades of Battle Royale) that’s organised and operated by adults. So much for Oshii’s promise, made in an interview we did together last year, that his next film would be simpler; that he planned to make “a more orthodox animated movie: a love story between a man and a woman. You may not believe me, but I’m quite serious,” he insisted then.

Check out Production I.G’s website at www.production-ig.com

over the last two years. It’s been running now for about six or seven years, and there’s a lot of exciting work being produced in the music video category. There’s a feeling that, sometimes, people who work in music videos are basically just putting out promotional tools for record companies. But I think, now, there’s also the belief, certainly brought out by the work we receive … you’re looking at films that are, artistically, on a very high level, and there’s this continuing debate … When you make a music video, is it the intrinsic nature of the film that’s of the importance? Or is it the music?

I think what’s happening now is that a lot of filmmakers are working in this area, and doing some very exciting work. A lot of the music videos use animation in a very creative manner.

It’s the same as making a short film. In fact, it’s even harder, because the average music video probably last three, threeand-a-half minutes, and if you’re trying to weave in a narrative kind of section in that amount of time – and at the same time do justice to music – it’s quite a creative challenge.

There are no Tasmanian films coming on the tour.

Now Showing Aus 2007 M 106 minutes There comes a time for a mother to let go. That time isn’t now. Meet Jeannie Dwight (Brenda Blethyn) and her family. Jean is a cook, loving mother, divorcee, and on the road to a comeback on the club comedy circuit. Her ex-husband John is staging a comeback of his own, hoping to get his life back to the glory days when he was number one on the country music charts. All three weeks of them. In 1975. With parents like these and a disabled brother, it is hardly surprising that life’s not always smooth sailing for 21-year-old Tim, who is shy, lives at home, and is a disaster with women. When the beautiful and feisty Jill walks into Tim’s life things seem to be looking up. But there is another woman in Tim’s life, one who will stand between him and the perfect romance ... his mother!

Four Minutes Now Showing Germany 2006 minutes

How many Tasmanian entries were there in this year’s festival?

I think there might have been one or two, that’s all. Over the years, we’ve had several Tasmanian entries collectively, but from year to year, we don’t get very many numerically – maybe one or two a year. Sometimes you get films made by people who are based in other states, who’ve gone to Tasmania to make films. But yeah – we don’t get that many. I don’t know if there’s a lack of infrastructure; I certainly know that there’s not a lack of interest, because the films always do well when they screen in Tassie.

The St. Kilda Film Festival tour hits Hobart’s State Cinema on the 13th and 14th of July. For more information, go to www.stkildafilmfestival.com.au To listen to the full interview, go to www.sauce.net.au

SCREEN TASMANIA

UPCOMING EVENTS AND DEADLINES Reel Deal Short Film Festival – call for entries Deadline 15th July

M

Sixty years ago Traude Krüger began teaching music at a women’s prison. Now, on her search for possible students, she meets Jenny: a violent young inmate convicted of murder, and also a brilliant pianist.

When Kruger convinces prison authorities to let her train Jenny for a public competition at the Berlin Opera House the past resurfaces for both women and a lesson in humanity is learnt that they will each never forget.

St Kilda Film Festival July 13 - 14 From over 700 films entered, the 24th St Kilda Film Festival showcases the Top 100 Australian short films – with a $10,000 cash prize for Best Film, as voted by our panel of industry judges. The national tour hits Hobart’s State Cinema on Friday July 13th for Session One at 7pm. Session Two screens on Saturday 14th July at 6pm, followed by Session Three at 7:45pm.

Tickets available now from the cinema.

The History Boys

Screen Tasmania introduces new funding rounds

Now Showing UK 2006 M 112 minutes

for 2007 Closing date for funding round 2: Tuesday 17th July 2007 Go to www.screen.tas.gov.au/news/events/17julyfunding.php British Council: Realise Your Dream – call for applications Deadline 31st July Go to www.screen.tas.gov.au/news/events/ realiseyourdream.php Trasharama-A-Go-Go – call for entries Deadline 14th August Go to www.screen.tas.gov.au/news/events/trasharama. php Call for entries: WOW Film Festival Deadline: 16th August, 2007 php 2007 Flake Film Festival -Australia’s HIGHEST Short

112

“From the deafening opener to an electrifying finale ... a major work.”

Go to www.screen.tas.gov.au/news/events/reeldeal.php

Go to www.screen.tas.gov.au/news/events/16aug-wow.

JAPANANIME & MADMAN OVERVIEW

History ... it’s just one bloody thing after another.

Based on the highly acclaimed and successful play, and filmed with the original Broadway cast, The History Boys tells the story of an unruly class of bright, funny history students in pursuit of an undergraduate place at Oxford or Cambridge. Bounced between their maverick English master (Richard Griffiths), a young and shrewd teacher hired to up their test scores, a grossly out-numbered history teacher, and a headmaster obsessed with results, the boys attempt to sift through it all to pass the daunting university admissions process. Their journey becomes as much about how education works, as it is about where education leads.

Romulus, My Father Now Showing Australia 2006 M 104 minutes

Film Festival

TSUKUYOMI MOON PHASE

PAGE 28

375 Elizabeth St, North Hobart www.statecinema.com.au 6234 6318 Clubland

you’re trying to get government funding. So it’s quite possible for an individual to go out and make a film, and you’re seeing lots of exciting work that’s being done in a very low-tech kind of manner.

The music score will be written by Oshii’s most trusted musical accomplice, composer Kenji Kawai, who previously soundtracked Ghost in the Shell, Avalon, Stray Dog and Innocence. “His outlook on the world matches my own like a charm,” Kenji Kawai advised me just last year, after completing another fabulous soundtrack for Oshii on Tachigui. “There’s a peculiar tension and a mysterious emotional feeling in any of Oshii’s work, and his imagination is easy for me to understand because he always gives a clear vision regarding what musical instruments he would prefer, the atmosphere, and so on. Then he leaves it all up to me.”

“Somewhere, in a country similar to ours, there are children who do not become adults…”. Thus teases Production I.G in their recently unveiled press for a new anime flick, dubbed The Sky Crawlers, from the exceptional Japanese auteur Mamoru Oshii – to be released in 2008. Internationally renowned for his ground-breaking 1995 anime feature Ghost in the Shell (which heavily influenced the Wachowski brothers and Luc Besson), Oshii has since set the benchmark for the fusion of 2D with 3D computer graphics, particular in past projects he’s been involved with such as Jin-Roh: The Wolf Brigade (1998), Blood: The Last Vampire (2000), Avalon (2001), and the Ghost in the Shell sequel, Innocence (2004) – the first Japanese animation film to compete for the Palm d’Or at the Cannes International Film Festival.

STATE CINEMA Whats’s On

Call for Entries Deadline: 20th August 2007 While ostensibly fulfilling the anime gothic horror and supernatural needs of admirers of past shows like Vampire Princess Miyu and, more recently, Trinity Blood, there’s a decent quotient of humor injected into this series to keep it alive, especially the constant bickering between the two central characters: vampire girl Hazuki and photographer Kohei, who fight the usual stereotypes (and each other) of master and servant. It’s also directed by Akiyuki Shinbo (Petite Cossette), and the seiyuu (voice actors) for Hazuki and Kohei are Chiwa Saito (Lavie Head in Gonzo’s Last Exile) and Hiroshi Kamiya (Yuuta Takemoto in Honey and Clover).

This is well worth checking out when it’s released in Australia through Madman Entertainment this month.

ANDREZ BERGEN

Go to www.screen.tas.gov.au/news/events/20augflake. php Filmmakers Seminar – Toolbox: Building a Business Plan

Romulus, my father is based on Raimond Gaita’s critically acclaimed memoir.

It tells the story of Romulus, his beautiful wife, Christina, and their struggle in the face of great adversity to bring up their son, Raimond.

25th August, 2007 Go to www.screen.tas.gov.au/news/events/25augfilmmakers.php Call for entries: Asian Festival of 1st Films 2007 Deadline: August 31st, 2007 Go to www.screen.tas.gov.au/news/events/31augfestival.php

It is the tale of a boy trying to balance a universe described by his deeply moral father, against the experience of heartbreaking absence and neglect from a depressive mother.

It is, ultimately, a story of impossible love that celebrates the unbreakable bond between father and son.

SPOTLIGHT

Step Into The Light

REVIEW:

REVIEW:

The Pharmacist

High School Musical

Backspace Theatre

Princess Theatre – June 27 – July 1

The Pharmacist is an entertaining one-act performance that takes a unique look at pain of the body and mind, and how we each experience it. The play is written and performed by Jane Russell, who created it as part of her studies in dramatic theatre in 2005. After having developed the part further with the help of Is Theatre and director Ingrid Ganley, this updated version of the production was recently shown at the Backspace Theatre.

I had never seen a college musical production before seeing Launceston College present Disney’s High School Musical.

Strange, but, it must be said, it was gratifying.

The Pharmacist is an original and well-written piece, enhanced by Russell’s vivacious versatility as the only actor involved. The performance deals with the idea of pain: everyone’s pain is different and unique, just as the way we deal with that pain changes with each individual’s experience. By showcasing some colourful customers through the eyes of a pharmacist, the theme of pain is explored, using situational and character-based humour to provide insight into the human condition.

The MySpace generation were making music without an iPod, singing without Singstar, dancing without any MTV sexing, and acting in a cheesy musical with a romantic story and a message about being true to yourself. Bugger me if I wasn’t shocked. Isn’t this the generation of sniveling, tech-sex-rec precocious yoof?

But lo, what light upon yon Princess Theatre stage breakdances in good spirits? (By the way, briefly breakdancing kiddies, from an old girl … that was rad and stuff … um, dudes.) It was in the east and west and stage left and stage right and behind the scenes – dozens of teenagers who have worked bloody hard to produce a pretty slick show; cheesy, entertaining, and sometimes bloody funny. Cheers to the people who provided guidance in stagecraft, voice, moves, grooves, costumes, sets, production and public relations.

All in all, there were some who trod the boards more naturally than others (and a few supah-stars), but all earned their right to be there. So, I say, “Kudos, kiddie-winks – emoticon, emoticon.”

CLARA MURRAY

Hobart freelance photographer Sea Fennessy presents his first solo exhibition – Step Into The Light.

Step Into The Light documents the recent influx of touring bands and solo artists to have visited the pubs and festivals of Tasmania.

Featuring candid backstage portraits and sweaty live shots, the collection includes artists such as The Drones, The Vines, Wolfmother, Ian Brown, Jurassic 5, James Brown, Gerling, Sarah Blasko, The Pixies, Bobby Flynn, Tex Perkins and Tim Rogers, Tenniscoats and My Disco.

“Over the past few years, I’ve been lucky enough to photograph most of our big festivals, including Falls, MS Fest and Southern Roots, which has presented me with some pretty amazing opportunities,” he said.

Sean regards meeting funk legend James Brown backstage at his Hobart show in 2006 among his highlights. “He was in a good mood, which I’ve since heard is rare. He even posed for a photo with me!”

Step Into The Light has opened at the Republic Bar’s Red Wall Gallery, and will run until August 14th. www.seanfennessy.com.au

Dane Chisholm Exhibition Dane Chisholm is a UTAS Fine Arts Student who majored in Printmaking in 2006, finishing with High Distinction. He specialises in Inkjet printmaking, combining techniques of detailed illustration with textured background work. His artwork reflects his imagination and inspirations from nature and the contemporary environment, that is with the possible outcomes of man experimenting with and ruining the environment.

“My images are depicting imaginative creatures and their post-apocalyptic environs, that are influenced through my interests in issues such as: the environment; both fanciful and real; the evolution of man, and scientific and technological advancement.

More specifically, it reflects on nature and our contemporary environment, questioning how advances in science and technology affect our environment and our future direction as a society. “Today’s world is a hybrid creation merging man-made objects together with the natural organic environment.

Through technology man has become both creator and destroyer. I intentionally use digital inkjet prints to complement my issues surrounding technology, and because of the many possibilities of changing the image to create differing prints.”

Dane Chisholm – Smoke & Mirrors July 6th – 26th INFLIGHT Gallery Elizabeth Street, North Hobart.

Russell plays an eccentric array of characters, making instantaneous transformations between each one, using only her voice and mannerisms to differentiate them. The talented actress embodies each with great comedic timing and skill, and the pace to which each transition occurs heightens the anecdotal nature of the play. The small, simple stage was used successfully to create a feeling of movement and energy, with each character utilising a different area of the stage and props to enhance the story.

Some of the customers in the pharmacy included a hypochondriac, who’s only proven ailment was that of chronic complaining. Also seeking prescription drugs was a working class mother who kept her children from misbehaving by screaming threats at them and promising thick shakes at McDonalds. For anyone having worked in the customer service industry, some of the hilarious encounters were cringingly familiar.

The title character is a rather fake, self-absorbed and controlling woman. However the experience of watching her personal journey as she experiences rejection, selfdoubt and depression, and subsequently begins to crack (acting nuttier than even the strangest customer) is as funny as it is insightful. We witness a transformation of the pharmacist’s personality, from selfish and self-assured to more understanding and forgiving, as she suffers her own personal pain and begins to emerge from it, which adds a level of depth to the performance.

The Pharmacist, with support from Directions Theatre, will make its next appearance with Jane Russell as the lead as part of the Edinburgh Fringe Festival in August.

NICOLE CALABRIA

The Spritual Side of Us 3rd – 14th July 2007 Exhibition of paintings and prints by respected Tasmanian Aboriginal artists Judith-Rose Thomas and Allan Mansell.

The Arts Alive Art-Space is pleased to present our annual NAIDOC week exhibition, this year featuring well-known printmaker and community artist Allan Mansell, from Bruny Island, exhibiting in conjunction with Launceston-based painter Judith-Rose Thomas.

This is the first time that these two artists have shown together, with the combined exhibition providing a unique and powerful insight into indigenous Tasmania. Mansell’s prints are an evocative reflection of a very special relationship to the land, often drawing on the natural environment and cultural activities such as mutton birding which were a part of his early years on the Furneaux Islands. “I use my art to tell stories about my past, stories from growing up with my culture and my connection with the Tasmanian bush.” – Alan Mansell.

Now based on Bruny Island, Alan has exhibited extensively in major institutions and galleries throughout Tasmania, with works in collections of the National Gallery (Canberra), Australian Embassy (Washington DC, USA), Dutch Embassy (Canberra), as well as many private collections locally and overseas.

Thomas, like Mansell is a relative late-comer to the arts, starting out with folk art, then classes with Greg Waddle in the 1980s, before comencing studies at the University of Tasmania in 1997.

The Spiritual Side of Us runs from the 3rd to the 14th of July, with a special opening on Friday 6th at 6pm Arts Alive Art-space 178a Charles Street, Launceston PAGE 29

Street Fashion

JIMMY 19

NICK 18

JENNA 18

ARIEL 18

Favourite band:

Favourite band:

Favourite band:

Favourite band:

Meshuggah / Protest The Hero.

Interpol.

Smashing Pumpkins.

Spill Canvas.

Favourite drink:

Favourite drink:

Favourite drink:

Favourite drink:

Weed!

Black Russian.

Boags.

What’s the meaning of life?

What’s the meaning of life?

What’s the meaning of life?

“Tomorrow”.

To live it.

“Toast.”

What would you wear to meet an alien?

What would you wear to meet an alien?

What would you wear to meet an alien?

A cardboard box.

A conehead.

Bubble wrap suit.

Stanley Fruity Lexia.

What’s the meaning of life?

Have fun and get drunk.

What would you wear to meet an alien?

Nothing special.

If you were a porn star, what would your name

If you were a porn star, what would your name

If you were a porn star, what would your name

be?

be?

be?

If you were a porn star, what would your name

“Meat flaps.”

“The Rhinoceros.”

“En-Jen”

be?

“Sniffer Dog.”

PAGE 30

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