On the street every second Wednesday
Free Edition #67
30/04/08 -13/05/08 Made in Tasmania
acoustic originals (AO) thursdays
1st May
the original wednesdays 14th May
James Parry + Ejecter
Chasing Gravity (Melb) + Stereophile (QLD/USA) + The Happy Endings (Melb) HOBART
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place
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SAUCE #67
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ROCK - BRISBANE // CHASING GRAVITY
By Dav Dave e Will William iamss
“… I guess we were just trying to chase something more solid with the band than just a part-time thing …” The guys formerly known as Elephant Mojo have been changing a lot more than just their name – for one thing , they ’ve changed their outlook. In recent times, they ’ve been chasing not only gravit y, but a sense of purpose and meaning. Have they caught it yet? Well, you can decide for yourself when they bring their new full-length Autumn in the Platinum Deser t to our stages this month. S AUCE spoke to singer-guitarist Peter Thornley … You guys have just released your debut LP, Autumn in the Platinum Desert, Desert, and I know you guys did a fair bit of travelling back and forth across the Nullabor in the last twelve months or so – is that where that title has come from? Yeah, pretty much that. “Platinum Desert” is actually a record store in Melbourne, and our bass player saw it, and then we were talking about how we were going to the desert to tour to make money for the album. Basically it happened to be a few words that we strung together, and I think it was autumn when we embarked on the first part of the journey, and yeah … Autumn in the Platinum Desert came from that. Are you the chief songwriter for the band? Nah, we pretty much take it … we just made a decision right at the start that we’d split it twenty-five-percent each. With certain songs, certain people put in more and that sort of stuff, but predominantly we just wanted to make it fair for everyone, because we all play individual instruments, and we all put in as much input. If I bring a song to the group, I appreciate their input as much as they would appreciate me putting input into the songs that they bring in, so we just decided to make it fair. It
causes less arguments as well, because you hear crazy stories … like, Guns ‘N’ Roses splitting it up; sixty-six-pointfour-four-recurring percentage of this song goes to Axl, and forty-two goes to Slash, and then one percent to Duff or whatever! [Laughs] We just thought it would be easier and a lot fairer just to split it quarterly for everything. I understand that you guys wrote a lot of Autumn in the Platinum Desert in Melbourne, but I thought you guys were mainly based in Queensland. Can you clear up my confusion a bit? Yeah, sure. We all met in Brisbane, and we spent probably the first three-and-a-half, four years together there. But then we decided we wanted to move to Melbourne and get away from our full-time jobs, first of all … Basically put ourselves out of our comfort zone, and really just try and get some different inspiration from some different places around Australia, and Melbourne was the one that we all decided on. Yeah, [we] got out of our full-time jobs, which gave us a lot of time to write, and plus we lived in the same house together with each other … away from family and friends, we really relied on each other’s company, which was really good, because we could bounce ideas off each other … waking up in the morning, and going straight into the rehearsal
COG
room. There was no sort of job or distractions to take away from the songwriting, if you know what I mean. You’ve had a drastic change in the name of the band, from Elephant Mojo to Chasing Gravity. What was the motivation behind the change? And to what extent does the new name reflect the nature of the band better? Well, as far as just the nature of the band, I think Elephant Mojo … just in how it sounded … a little bit comical … and the music that we were writing was not so much comical, but I guess, like any artist, you’re starting out, and you write songs that are just a little bit different to what you grow into. You get better as a songwriter, and you start taking life a little bit more serious, and taking our artwork a lot more seriously … it went from doing it as a part-time thing to moving all down to Melbourne and becoming full-time, it was a real chance to take it a lot more seriously, and Chasing Gravity actually came about [as] meaning, like, chasing validity … chasing meaning, and chasing something solid in life … we looked up “validity” in the dictionary, and it actually said “gravity” … which is like chasing a solid thing … I guess we were just trying to chase something more solid with the band than just a part-time thing, and Chasing Gravity came from that.
It sounds to me, on this new CD, that the sound of the band has become harder or heavier … a heavier rock sound … or is that mainly the influence of Phil McKellar on this particular release? You’re probably right on both counts. We definitely wanted to try and … [play] a definite genre with our first full-length LP. We sort of ran into the mistake, with our initial EPs as Elephant Mojo, of having way too many genres within the one recording. It was just really hard for an audience to pigeonhole – they’d be like, “Oh, so is it a funk band or is it a rock band or a pop band? Or is it a folk band?” The four of us … getting back to that other question about songwriting, [with] the four of us putting in all of our influences, it’s obviously going to come out as a bit of a melting pot of genres. With this one, definitely, right from the onset, we wanted to make an album that sounded like [the songs] were all fitting together on the one album, and then Phil even took that to the next step as well, and really defined the sound … a live rock feel. Chasing Gravity play an acoustic show at Irish Murphy’s in Hobart on the 1st of May, the Republic Bar on the 2nd, and Launceston’s James Hotel on the 3rd. To listen to the full interview, go to www.sauce.net.au
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SAUCE #67
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NEWS ZERO DEGREES FREEDOM – ALBUM LAUNCH #67 - 30th April to 13th May
Contents 3
4 5 6 7 8 10 11 12 13 14 16 17 18 19 21 22 23
Chasing Gravity News / Nathan Wheldon / Fat Lip Emily Smart Against Me! Bliss N Eso / Funkoars Phrase / Winnie Coopers Grey Deturas / Simon Astley / Annie Piper Korn Dillinger Escape Plan / Ruins Gig Guide Gig Reviews / CD Reviews Paolo Mojo / Tom Novy / Don Letts Nick C / Dj Naughts / Eve Arts Film Surfing / Adventure Street Fashion / Eyeball Kicks Malcom Middleton / Struth Be told
Contact: Phone: Advertising: Editorial:
03 6331 0701 advertising@sauce.net.au editorial@sauce.net.au
Editor: Email: Sub -Editor: Email: Graphic Design: Email: Journalist: Email:
David Williams david@sauce.net.au Tom Wilson twilson@sauce.net.au Simon Hancock simon@sauce.net.au Chris Rattray crattray@sauce.net.au
Opinions expressed in Sauce are not necessarily those of the Editor or staff. Sauce Publishing accepts no liability for the accuracy of advertisements.
Contributors
Lisa Howell, Shannon Stevens, David Walker, Richard Kemp, Lisa-Marie Rushton, Clara Murray, Adam Ferguson, Felix Blackler, Neesha Peacock, Carole Whitehead, Jacob Virtue, Martina Fallows, Clara Murray, Jimmy McMacken, Matt Lebedzki, Richard Kemp & Nicole Calabria.
Next Edition Deadline Friday 9th May Sauce #68 - 14th May - 27th May
It’s finally here! Launceston melodic death metal maestros Zero Degrees Freedom are launching their long-long-longlong-long-awaited album, The Calm … Before The Silence with four shows this month. Since Tom is yet to shut up about how awesome it is, it sounds like fans of metal and good music in general should get their arses to these gigs pronto. They play Hobart’s Brisbane Hotel on the 3rd, 9th and 10th of May (show on the 3rd is all-ages) and Launceston’s Batman Fawkner on the 17th.
AUSSIEARTISTSCLEANUPATU.S.SONGWRITINGCOMP The prestigious US-based International Songwriting Competition (ISC) has announced its 2007 winners. We are very excited because Australian songwriters did so well this year – and actually, other than the USA, they dominated the competition. Out of over 15,000 entries, songwriters hailing from Australia did extremely well in this year’s competition, winning first place in the Folk/Singer-Songwriter, Performance, and Rock categories, second place in the AAA, Folk/Singer-Songwriter, Gospel/Christian, and Rock categories, third place in the Blues, Country, and Rock categories, and many honorable mentions in multiple categories. Next to the USA, Australia produced the most winners from any country. Moreover, Australian songwriters swept the Rock category – winning first, second, and third place. This is the first time that that this has ever happened for songwriters from a country outside the USA. The winners were chosen by this year’s prestigious panel of celebrity and industry judges including Tom Waits, Loretta Lynn, Nelly Furtado, Robert Smith (The Cure), Ray Davies (The Kinks), Ornette Coleman, John Mayall, Monte Lipman (President, Universal Records), Charlie Walk (President, Epic Records) and many others. More than $150,000 in cash and prizes will be shared among the fifty-nine winners, including an overall grand prize of $25,000 (US) cash -- the largest cash grand prize of any songwriting competition in the world - and over $30,000 in merchandise and services.
CRUEL LIKE THAT RELEASE THEIR DEBUT ALBUM Delrock Records and Devrock Studios are excited to announce the official dates for Cruel Like That’s upcoming album launches to be held on Saturday May 3rd at Spurs Nightclub from 10pm and at Deloraine’s Little Theatre from 9pm (with Dirty Harry and The Rockets) on Saturday May 24th. The new album is about to grace the ears of record labels, management companies, booking agents and distributors in Sydney where the band have already received a lot of interest – the boys are really looking forward to cranking
up and showcasing the songs from the new album Run in Tassie.
Applications Close: 5th May 2008
During the last part of ‘07 the band began work on new material for their eagerly awaited debut album, and in November, armed with a plethora of untouched gems, they went back into studio world with a Sydney-based producer/engineer to begin tracking the LP.
Established in 1998, the Red Bull Music Academy has emerged as the pre-eminent gathering of DJs and music producers in the world. A creative and cultural exchange of music ideas, the Academy teams established artists with the world’s best up-and-coming talent in two twelve-day semesters of hands-on workshops and discussions about how life in the music industry really goes down.
The new album will hit the retailers in May ’08, and the boys are now feverishly busy in lockout rehearsal at their home base in Delrock city to make sure that the new show is going to do more than raise the hairs on the back of your neck ...
DRUM MASTER TO HIT TASSIE Grant Collins – a drummer described as a “one-man percussion juggernaut” renowned for playing a very large drum kit as if he’s got more limbs than an octopus – will be appearing at Newstead College in Launceston on the 6th of May, presented by Barratts Music. This event is all-ages and free entry, and kicks off at 7pm, so, if you don’t know where the College is, just turn up at Cypress Street and follow the noise …
THE BUSINESS OF MUSIC MANAGEMENT - PILOT PROGRAM NOW CALLING FOR APPLICATIONS̘ Control, the dynamic new four-stage program designed to equip music managers with crucial business skills, is now calling for applications. Music managers from around the country are encouraged to apply. The program is presented by the Australian Music Industry Network (AMIN) and supported by the Association of Artist Managers and Australian Performing Rights Association. Funding has been provided by the Cultural Ministers Council. Control will incorporate a residential lab to be held near Sydney from 15th-18th September 2008. Music industry advocate and lawyer Shane Simpson will run the residential lab, working with a number of advisers including leading UK music manager Peter Jenner (Pink Floyd, Billy Bragg, Ian Dury) and Australian-based managers Bill Cullen (Paul Kelly, End of Fashion, Sarah Blasko) and Michael McMartin (Hoodoo Gurus). Control will provide music managers with practical guidance on developing and maintaining sustainable businesses. It will include a comprehensive review of the different business models found in the contemporary music sector, as well as deep analysis of each business model brought to the lab. “Success in the music business doesn’t happen by chance. It takes foresight and strategic planning,” said Control adviser Peter Jenner.
REDBULLMUSICACADEMY–BARCELONA,SPAIN2008
Join the revolution!
By Tom Wilson
I heard that there’s a revolution coming … There is, apparently, yes. [Laughs] It’s a little thing we’ve got, and we’re just running with it. It was just an off-the-cuff remark, and we’re just running with it. It seems to be pretty cool, but basically it’s just our album … it’s on its way … and it’s a revolution apparently! [Laughs]
STUDIO DIARY By Dave Venter – www.myspace.com/fatlipstudios 16 April This Future … Chaos – Laid down two new drum tracks. One of the two leans more towards the radio-friendly sensibility, the other one brutal-as-all-f*ck. Typical Chaos time changes … sounded a lot heavier than what they did on their first LP. th
18th April This Future … Chaos – Put down some rough guitar tracks for two new songs, just to work on some ideas. Cruel Like That – Went to their practice studio in Deloraine, at the singer’s house; they’ve just built it, and I’ve got to say, I’m impressed … and their neighbours probably are as well! Set up a sound card in a PC for them to do their pre-production, so it’ll be interesting to see what comes of that. Also set up the drummer’s laptop with a mobile recording setup to capture his beats.
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How long did you guys spend writing this new material before you headed up to Sydney? Well, some of the songs are actually quite old; I wrote some of these songs that are on there probably eighteen months ago, but we just thought that they were really good recordings, so let’s put them on this album. But then again, on the flipside to that, some of the stuff on there was written about three weeks before we went up there, so it’s quite broad, I guess, the timeline of these songs. But yeah … I forgot what the question was! [Laughs] So yeah … Which songs took the longest, do you think? I guess … we’re always rehearsing a song … even while we were up there, I think we changed something in every song while we were recording it …
21st April This Future … Chaos – Luke Vaessen came in to do vocals for the two new tracks. The first, more radiofriendly track saw him dial down the screams a little to make room for some more melodies; actually, make that ninety-percent singing! Luke’s singing voice is a lot better than you might expect.
What took the most effort, man? Oh man … probably getting the harmonies – [that] was pretty tough. I think the harmonies add a lot. I mean, a lot of the time, harmonies are subtle, but at the same time they add a lot as well, so we try for ages to get the right harmonies vocally and stuff like that. So maybe the harmonies, yeah.
26th April Going to a metal gig in Devonport to check out some new bands – should be killer. Hopefully get some of these guys in the studio in the near future.
On the flipside of that, which song kind of just flowed out? Which one almost wrote itself? Probably a song called Just Get Better, I’d say. It’s just one progression the whole time, the whole way through … the chorus and verses and all that, it’s the same progression …
SAUCE #67
www.redbullmusicacademy.com
STRUNG OUT AND NO USE FOR A NAME – STRANGERS IN THE OUTBACK TOUR – 12TH JULY – UNIVERSITY OF TASMANIA Two of the greats of Californian punk rock, Strung Out and No Use for a Name, will be taking in as many cities as they can squeeze into one month this July when they embark on the Strangers in the Outback tour! No Use for a Name have no idea what to expect, but Strung Out are no strangers to our far flung corners, having played over fifty shows here with Frenzal Rhomb back in 2001. Last time they took a bunker mentality, cramming ten people into a four-sleeper campervan and spending much of the bumpy ride peering fearfully out of the windows in search of yowies and Ivan Milat. Stronger for the experience, Strung Out will lead No Use for a Name into the great unknown for another round of regional (and metropolitan) touring madness. Tickets onsale 9AM Friday 2nd May
COMPETITIONS
Given that it’s May, it’s certainly too late for any New Year’s resolutions. But a New Year’s Revolution? It’s never the wrong time for one of those. About to launch his brand new LP, Nathan Wheldon spoke to SAUCE about recording in Sydney, and the “mainly female” inspirations that have shaped his songs …
So what was the experience like of recording and working with him? We actually recorded with a guy called Russell Piling; he’s actually from Devonport originally, funnily enough. But he was awesome – he’s just such a cruise-y guy, he knows his stuff, he’s very modest … very cool guy. But yeah, the whole experience was just amazing … just the studio itself was really cool – a good vibe to it – and there was no stress. It was just relaxed, and we just did our thing.
A unique experience and one the Red Bull Music Academy hopes will last a lifetime, the Academy has been set up first and foremost to provide attendees with an opportunity to broaden their musical horizons, gain knowledge into the industry and create invaluable networks with fellow artists across the globe. The philosophy is simple – the best of music, past and present, from around the world, under one roof, getting down just for the funk of it. The Academy isn’t a place to become an Idol-style overnight superstar, and it’s not a guaranteed career-maker either. Ultimately, it’s up to individuals to navigate their own path, but the Red Bull Music Academy could give you a major nudge in the right direction.
Workshop Term One: 21st September – 3rd October 2008 Workshop Term Two: 12th October – 24th October 2008̘
ROCK - LAUNCESTON // NATHAN WHELDON & THE TWO-TIMERS
You guys recorded this album in Sydney. Why Sydney? Why not here? Yeah, good question. Nothing against Tassie at all – I love Tassie, and we’ve done stuff down here before, but I got talking with a publisher up there, Marshall Cullen, and he’s done some really good stuff … and he owns a studio as well. He’s basically just invited us up. We just took him up on the opportunity, and just did it, and the results are awesome. The studio we went to was fantastic – top gear, and all that jazz – but yeah, nothing against Tassie dude. We were invited, so we jumped at it.
In its ten-year history the Red Bull Music Academy has been held annually in some of the world’s most vibrant and musically savvy cities including New York, Dublin, Melbourne, Rome, Seattle, San Paulo and most recently, Toronto. 2008 sees the Academy head to Barcelona, Spain, where worldclass clubs pop ‘til dawn and the terms “fusion” and “avantgarde” are not buzz words but techniques to be applied to everything from deconstructed orchestras to art installations overflowing on street corners.
WIN TICKETS TO BLUEJUICE AND THE PAPER SCISSORS! To win two double passes to see Bluejuice and The Paper Scissors at either the Republic Bar on the 23rd of May or the James Hotel on the 24th, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
WIN NEW NICK SKITZ ALBUM!
To win a copy of Nick Skitz’ latest album Come Into My World, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
WIN NEW ARMIN VAN BUUREN ALBUM!
“… Our album … it’s on its way … and it’s a revolution apparently!”
To win one of five copies of Armin Van Buuren’s latest album Imagine, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
WIN NEW ABOVE&BEYOND ALBUM! To win one of five copies of Above&Beyond’s latest album Anjunabeats100 + From Goa to Rio, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@ sauce.net.au by Wednesday the 7th of May.
WIN NEW FRAGMA ALBUM!
even the bridge! [Laughs] So that was easy! Lyrically it was quite easy to write as well – it had a good theme. That one came out pretty quick, pretty well, actually. [That’s] track two, by the way. Lyrically, what kind of terrain were you covering on this album? What were some of the inspirations that went into it? Mainly female … [laughs] … A lot of the stuff on this album I wrote … I sort of had a pretty bad relationship going a yearand-a-half ago, and I guess a lot of it has come from that, just the feelings from there. So probably sixty, seventy percent of the album is written about this sort of one theme I guess, yeah. Would that have anything to do with the fact that the last interview we did, which was via email, I asked you a question, “When was the last time you were twotimed?” And you went, “Ah … next question”? [Laughs] Spot on! Exactly! You got it buddy! That’s awesome! [Laughs] That’s pretty much it. It’s quite funny that the band is actually called “Nathan Wheldon & The TwoTimers” – it’s quite ironic. But anyway, that’s that. Nathan Wheldon & The Two-Timers play Launceston’s Earl Arts Centre on the 13th of May, the Hobart Uni Bar on the 16th, the Republic Bar on the 18th, and a solo show at Irish Murphy’s in Launceston on the 21st. To listen to the full interview, go to www.sauce.net.au
To win one of five copies of Fragma’s latest album Toca’s Miracle 2008, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
WIN NEW BASSHUNTER ALBUM! To win one of five copies of Basshunter’s latest album Now You’re Gone, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
WIN NEW TIESTO ALBUM!
To win one of five copies of Tiesto’s latest release Elements Of Life, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
WIN NEW CENTRAL STATION COMPILATION! To win one of five copies of Central Station’s latest compilation Wild Bassline, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
WIN NEW MARCO DEMARK ALBUM! To win one of five copies of Marco Demark’s latest release Tiny Dancer, email your name, mobile phone number and three bands or DJs you would most like to tour Tasmania to competitions@sauce.net.au by Wednesday the 7th of May.
ROCK – ADELAIDE / MELBOURNE // EMILY SMART & THE CLEVER GIRLS
Figuring out your Escape Plan
By Tom Wilson
When it comes to doing interviews to promote their upcoming Tassie tour, there was no Escape Plan for Emily Smart & The Clever Girls – even when stuck in a Newcastle flea motel on only two hours sleep. Emily spoke to SAUCE about her lyrical inspirations, and what the name of her band and the movie Jurassic Park have in common …
To start off with, how would you describe yourself as a lyricist? What kind of themes and subject matter do you tend to write about the most? I don’t really think, as a lyricist, you can restrict yourself to any sort of scenes … but I do tend to touch on more sort of emotional things I guess; things that friends have gone through, or that I have gone through, or that I sort of witnessed as a human being, I guess. That’s pretty much what I write about, but I don’t tend to restrict myself to any scenes in general. Yeah, I guess I do have a lot of love songs! [Laughs] But I think, for a lot of people who write music, it’s hard not to write about relationship experiences, but I do try to vary what I write about as much as I can. It was described as “rainy day music,” and from what I’ve heard of your stuff, that seems more than fitting. Looking at your lyrics, would you say that you’re a particularly emotional person, do you think? Particularly emotional? No … [laughter in the background] … Matt [bassist] is shaking his head at me … No, I don’t think I’m this emotional for a girl … [Laughs] … because girls tend to be. But yeah, maybe I bring that out a lot more through lyrics, rather than actually as a person, I think. What inspired the last song that you wrote? I wrote one the other day; I finished it off … I’m just trying to remember … No, it wasn’t about you Matt! I wrote [the song] sort of about frustration about things happening, but then … the song was sort of about singing, and enjoying just being able to do that … how I can keep coming back to singing and playing music to try and forget about other frustrations and things, and that makes me happy, which is sometimes hard to do … that’s what my new song, that I wrote the other day, is about … if that makes sense in my incoherent state! [Laughs] I have to ask – why the name “The Clever Girls?” They’re not girls, they’re ugly men! What gives? [Laughs] Well, it’s sort of a personal joke that we’ve had. It actually comes from the movie Jurassic Park … The velociraptors! [Laughs] Yeah! And the guy gets [ambushed], and he’s like, “Clever girl …” Yeah, we sort of make the screaming noises and laugh about that stuff! [Laughs] Emily Smart and the Clever Girls play the Brookfield Vineyard on the 14th of May, Irish Murphy’s in Hobart on the 15th, the Alley Cat Bar on the 16th, and the Republic Bar on the 18th. To listen to the full interview, go to www.sauce.net.au SAUCE #67
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PUNK - FLORIDA // AGAINST ME
Riding the New Wave By Tom Wilson
Dealing with compliments might be something that Against Me frontman Tom Gabel is still yet to get used to, but if there was ever a motivation to learn how to deal with it, it’s the runaway success of last year’s LP New Wave … with at least one Album Of The Year award under its belt and the unusual honour of being covered, in its entirety, by Ben Lee. Gabel spoke to SAUCE ahead of their show at Huon Quays … Of all the artists who you’d think would want to play Against Me covers, it’s fair to say that Ben Lee wouldn’t exactly be one of them. What do you think of his versions? I don’t agree with the statement this question is predicated upon at all. Ben liked our record so much that it inspired him to spontaneously cover the entire album. I think that is exactly the type of artist I would want to cover our music; a fan. I was totally flattered by him covering the record, and I thought his take on the songs was creative and original – totally impressive.
ertheless, what do you think it was about New Wave that struck such a chord with both Spin and Colonel Schwarz? I’m not sure. I never know what to make of criticism or praise. I don’t what motivates people to react either way. Of course it feels good when people like something you did, and you try and ignore it when someone says something mean. But both scenarios are out of your control.
You guys recently did a commercial for the Rock The Vote campaign. What are your views on the world at the moment? What does it need more of? And what does it need less of? What are my views on the world at the moment? I think it’s a big, scary, confusing place. What do I think it needs more/less of? More optimism, more positive thinking, more pro-active people; less cynicism, less apathy.
How much time have you had to work on some new material? Not much at all really, as a full band. I write constantly, so I have some new songs worked out, but we haven’t had a lot of time to practice as a band.
You guys will be touring heavily for the next few months. Which shows are you most looking forward to, and why? We’re really happy to be here in Australia right now. It’s always a pleasure to tour here; it’s my favourite. I’m also really looking forward to playing Wembley with the Foo Fighters in June, and going back to Japan in August. What do you guys get up to in your spare time when on tour? Foosball, by any chance? I read a lot, and write. I like to watch movies. When there is down time you usually just try and relax. And yes, we also love to play Foosball. It’s hard though, because we’ve traveled the world over a couple times and have yet to find any real competition. New Wave was voted the best album of 2007 by Spin magazine. Also, my invisible friend Colonel Schwarz voted it album of the millennium, but my doctor says he’s not real, so I guess he doesn’t count. Nev-
“What are my views on the world at the moment? I think it’s a big, scary, confusing place.”
However, I think it’s fair to say that your friend Colonel Schwarz has excellent taste.
160 Elphin Road L a u n c e s t o n TA S 7 2 5 0
At this point, how long do you think we’ll have to wait for a follow-up to New Wave? I’m not sure. I don’t imagine we’ll put out another full album until next year though.
Live music Woodfired pizzas Extensive bottleshop
Just because I’ve never asked this question before, for our superstitious readers, what star signs are each of you? I’m a Scorpio. James is a Tauras. Warren is an Aquarius. Andrew is a Sagitarius. Andy, our sound engineer, is an Aquarius. Jordan, our tour manager, is a Cancer. John Gerhadt, our stage manager is a Scorpio. And Graham Nixon is an Aquarius. What will you be doing immediately after answering these questions? I’m not sure. It’s like 10:05 right now and we don’t have to go the venue until 1:30. I think I might go find something to eat. Against Me play Huon Quays in Hobart on the 2nd of May. www.myspace.com/againstme
ph: 03 6331 1344 fax: 03 6331 2191 e: thenewsteadhotel@hotmail.com
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10 pm
THE RED EYES
$1 2 pr e $1 5 do or 10 pm
8th
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9th
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11th
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Wednesday 14th 6
SAUCE #67
SLYDE 9pm PHRASE + MDUSA & DAMEZA $12 9pm CHASING GRAVITY + THE HAPPY ENDING + STERIO PHILE COLLARD GREENS & GRAVY $5 10pm EJAK WITH FULA (AFRICAN MUSIC) $3 9pm CARL RUSH 8:30pm THE SIGN 9pm THE FLYING SAUCES 9pm THE 120Y'S 9pm THE RED EYES $12pre/$15door 10pm THE RED EYES $12pre/$15door 10pm DWAYNE EVERET SMITH + JURITHM 9pm QUIZ NIGHT 8:15pm BLUE FLIES 9pm DREADLOCH (REUNION SHOW) 9pm
$12 10pm
HIP-HOP - SYDNEY // BLISS N ESO
BNE to get some higher education
By Carlisle Rogers
“We really needed to get out of our lives in Sydney …”
Bliss n Eso are about to embark upon a new kind of tour for Australia, albeit one that’s tried and tested in the old USA; the university tour. On the back of their Flying Colours LP, they will be hitting the road with True Live, The Funkoars and The Winnie Coopers, hitting twenty-five universities around the country. … “In the States there are lots of university tours,” says Jonathan, who originally hails from Alexandria, Virginia, and spent his teenage years travelling back and forth between Dixie and Oz, “so this is basically along that same idea. There hasn’t been an Australian uni tour in over ten years and the booking agency that all the bands were with decided to pull together a uni tour. All the kids at uni love the party and they love music, and all the bands were down to do it, so that’s pretty much how it came about. “We do the regional places and we do the major cities, primarily because Australia doesn’t really have that many major cities and you are forced to go out to some of the smaller towns, but that can really work well sometimes. Lately, the scene has been growing in a lot of these places and it’s kind of this niche sound with Australian hip-hop. We’ve actually pushed a few areas ourselves in the last year touring, especially places where no other hip-hop group had been. We pushed new ground and now we’ve got a good following.” Jonathan says that Flying Colours, the second Bliss n Eso album on Illusive, began as a couple of collaborations with the Sandpeople from Portland. “We had toured with the guys before we signed because they are also a touring
agency. We were on the Cypress Hill/Xzibit Tour and got to know them as mates on the road and really liked the way they operated. When it came time to put out our record, they were really keen on doing it. We’ve clicked pretty well with them and it’s been a good situation. In early 2007 we did a few shows in the States on the northwest coast and also Canada. We hooked up with the Sandpeople over there which is an underground crew from Portland, and did a couple tracks with them which was basically the beginning of the album. “Later in the year, we hooked up with a 21-piece African Zulu choir as a collaboration and we ended up going to South Africa with them to shoot this documentary with MTV about the issues in South Africa. We got to shoot the video clip and work on some more material with those guys which was cool. In October last year, that’s when we hit the studio full-time. We went down to Sing Sing in Melbourne for four months and banged out the rest of the record. There are two Sing Sings, the really big plush one and then there is Sing Sing South which is the old down and dirty one. It is still part of Sing Sing and we were in the dirty one. It ain’t cheap, but it’s a lot cheaper than the full-on plush one.”
Jonathan says that, while the guys had a lot of material ready to go, they were still writing in the studio. “Because everyone has their individual lives here in Sydney, it was too tough to come together, stay focused and sit down and write. We really needed to get out of our lives in Sydney and go somewhere else which is why the whole Melbourne thing came about. We created as we went, so that’s why it took so long. A lot of bands go into the studio with all their songs rehearsed and ready to go, but we created in the studio. “One of the main things we’ve always been about is having some kind of freestyle based element to our rhymes in terms of not necessarily just sticking to the norm, straight down the line kind of stuff. We do like a little bit of abstract flavour in there, but in saying that, we definitely do stay focused on a topic in some tracks to get a message through to the listener. It really depends, so I guess more than anything we are just fans of variety, not just in regards to our lyrics, but also in production. We like a range of different vibes, subject matter and flavours.” So the band is hanging out in Sing Sing writing lyrics, listening to beats and living the dream, but Jonathan says the pressure of deadlines and studio dollars never entered in
their heads. “We were aware of the pressure, but we tried to forget it as much as possible because you don’t want to be thinking about that kind of stuff. We wanted to be in our creative mode and thinking about the creation, which worked really well. We were just lucky to have a producer who was really keen and happy to have us in there for that amount of time. It all worked out. “M Phazes and I did a few of the beats on the record,” he says, thinking about the origins of Flying Colours’ foundations. “We also have a few other producers who swing us some beats and if one jumps out at us, we’ll set to work writing on it. Generally we just lay our vocals down and work on producing it to get it where we want it, whether it’s rerecording parts or writing extra parts or just tweaking what is already there. It happens in a number of different ways, but it starts with the beat and then we write the lyrics to the beat.” The Unified Tour hits UTAS in Hobart on the 9th of May, and Launceston’s Batman Fawkner on the 10th and 11th. www.myspace.com/blissneso
HIP-HOP - ADELAIDE // FUNKOARS
Instigating The Hangover
By Dave Williams
Quite possibly the rowdiest and hardest-drinking hip-hop posse in the Australian scene, there’s no better album title to sum up the touring lifestyle of the Funkoars than The Hangover. About to bring their beer-soaked party vibes to Tassie as part of the Unified Tour, alongside Bliss N Eso, True Live and The Winnie Coopers, Sketchy Honz spoke to SAUCE … Where have you guys been rowing your boatload of funk to lately? Whereabouts have we been going to? Well yeah. It could be metaphorically; it could be physically, [like] where have you been playing? What directions have you been going in, both musically and physically? Physically, down a downward spiral at this point. Last night was my ninth night hitting the piss, so … [laughs] … Physically, we’re all going very downhill. Places that we’ve been, we did Gold Coast last night – that was good. That was, like, the first time we’ve been up to the Gold Coast. We’ve done Queensland heaps – we’ve done Sunshine [Coast] a couple of times, but … Yeah, Gold Coast was good last night; real bizarre place. Yeah? In what way? I don’t know … just the shops and everything around it … everything’s real kind of fake. I don’t know – it’s just different to pretty much everywhere else. We’ve gone to the resorts – lavish resorts with their pools and all sorts of shit like that. I think it’s a great place for you guys to play, in that it’s a real hedonistic sort of lifestyle – it’s all about just having fun. Yeah. It’s like a constant party up there; we were still up drinking, and they had that Anzac Day parade coming through, and it gets light really early up there, and I was like, “What’s going on?” There’s like four thousand people walking down the street! [Laughs] Yeah, all night – just a constant party up there. Have you noticed any fighting-back from your body from this hard, music industry-type lifestyle? Not really. I think our bodies have just got used to it over the
years now, and it’s just … it seems weird not drinking. Like, we had three days back … we went back to Adelaide just to chill out a few days before we came back up to here … every night was like, “Oh, I have to get drunk again! Let’s go to a party” … When you get into tour mode, you just sort of stay in the tour mode the whole time. You keep destroying your body! [Laughs] And then, when the tour finally finishes, you sleep like six days straight, and don’t leave your room! [Laughs] Yeah, I guess that’s where your body says, “OK, I need to shut down and fix up!” Yeah. It shuts down, but it needs [there to] not be any more shows for it to shut down, because it just knows that you’re going to get back on it in about four days anyway, so there’s no real point in stopping! [Laughs] I want to ask you about Dan – about his name “Reflux.” Is that because he was known to not be able to hold down what amber fluid he’d drunk? Nah … actually, I’ve got no idea where “Reflux” comes from, and he’s been our DJ for eight years! But we call him “Flashy D,” and he got that name … he did a radio show in Adelaide, Premium Blend … [he and the other DJs] all made up these stupid names one night, and his just stuck with him, and it’s stuck with him for the last seven years. We just call him “Flashy” and “Flash Diesel” … I’ve got no idea where “Reflux” came from myself – I might actually have to ask him that today … Like [Uncle] Sesta – none of us know where “Sesta” came from either. He won’t tell anybody.
“Physically, we’re all going very downhill.”
The Unified Tour hits UTAS in Hobart on the 9th of May, and Launceston’s Batman Fawkner on the 10th and 11th. To listen to the full interview, go to www.sauce.net.au SAUCE #67
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HIP-HOP - MELBOURNE // PHRASE
Burn it down
By Dave Williams
If there’s one thing every artist shouldn’t be afraid to do, it’s branch out – and if you need a lesson in doing just that, you could do a lot worse than look at Phrase. From providing the soundtrack to the interstellar warfare of Halo 3 with a dynamic collaboration with Karnivool’s Ian Kenny, to working on his new album with, of all people, Spiderbait’s Kram, Phrase is definitely treading new ground. Heading south to burn down Hobart’s Republic Bar, he spoke to SAUCE … So what’s news with you? What’s news? I just kind of finished writing my second album … I’ve just been doing some shows, and getting ready to tour with some new songs. Can you tell me when you’re looking at releasing the new album? Have you got a title for it yet? Yeah, the album’s called Burn It Down … it should be out in probably July/August, I reckon. Sounds like a pretty revolutionary, anarchic title. [Laughs] Yeah. I suppose the meaning behind the title is just like … the record’s got a lot of undertones of, like, finger up to the Man and the system and all that sort of stuff … not in a political way, where I’m saying I’ve got the answer … it’s more just like things are a bit messed up, and here’s my view of it. But Burn It Down … there’s a song on there called Burn It Down, and the nuts and bolts of the song … it’s just like, as long as I’ve got my mates and food on the table and those sorts of necessities around me … burn the system down, and whatever else happens, just let it happen, you know what I mean? … It’s also got a bit of hope in there, in a weird, sort of dark way. The single you’ve got, Face It – you did that with Ian Kenny from Karnivool and Birds Of Tokyo. How did you guys hook up? Well, Xbox approached me and said they wanted me to write a song for the game [Halo 3] … I was in the studio making a record at the time, myself and the guy that I work with, so I just whipped the song together, and then we were like, “We need some other hook that’s going to make it lift and bring it to life.” I’d been listening to the J’s a lot at the time, and I’d heard Karnivool, and it was like, “I reckon this dude could be the guy.” So we got in touch with him. I just sent him the track, and I went over to Perth to link up, and yeah, he kind of did his thing on it and put it down, and it came out. But he’s a cool dude, you know? It was good working with him. And the
whole record I’ve got, there’s a lot of collabs on there that I think people wouldn’t expect; there’s Kram from Spiderbait, Wendy Matthews and different people, which was part of my whole thing with this record – I just wanted to branch out and do something different, and something new for the hip-hop out here. How about you as a lyricist and as an MC and a performer? How have you evolved, do you think? You know what? It’s weird – no one really asks me that, and I think … Just the other day, I was in my girlfriend’s car, and I was listening to my old album, which I haven’t listened to in god knows how long … a year, a year-and-a-half … Then I was listening to the new one afterwards, and I realised that the biggest change for me lyrically is … on the first album, I was like, man, I sound so angry and so pent-up and pissed off at the world, and I think, this time round … I touched on a lot of that same similar stuff, but I don’t think … With the first record, I was young and I had something to prove, and I was hanging out with rough guys, and my head was kind of just in a weird space, whereas this time around … I’m twenty-six now, and I’m a lot more mature and have seen and done a lot more stuff, and I think I’ve just got a more mature, relaxed sort of outlook on everything.
“I just wanted to branch out and do something different, and something new for the hip-hop out here.”
The track Face It was done for Halo 3 – do you play the game much? Yeah, I did. I played the first and the second one, and then by the time … [laughs] … I shouldn’t say this, but by the time they sent me the third one, I was like, “Oh, I don’t know if I can do another whole one of these!” So I started the third one, but I haven’t finished it. I’m not a fanatic Halo fan, but I did get into the game. It was good. Phrase plays Hobart’s Republic Bar on the 1st of May. To listen to the full interview, go to www.sauce.net.au
HIP-HOP – GOLD COAST // THE WINNIE COOPERS
Spitting rhymes and shedding kilos
FEATURE - LAUNCESTON // JAMES HOTEL
Launnie nightspot gets a facelift
By Tom Wilson
By Tom Wilson
Launnie clubbers have no doubt been aware of the recent renovations at the James Hotel – but, for those who haven’t been there recently, what has actually changed? It’s a good question, and one we got in touch with Andrew Joyce to get an answer for …
Here’s a few reasons why hip-hop fans should show up early for the Unified Tour; one, you’ll get to see The Educator around eight kilos fitter, happier and more productive; two, you’ll get to see him and the rest of The Winnie Coopers tear it up; and three, you just might get some fairy floss. SAUCE got an education … You’re currently in the middle of the Unified Tour. How have the shows been going? Radical; we are blessed to be on the line-up, even though [with] most shows, we start before the doors open. Out of Bliss N Eso, True Live and the Funkoars, who’ve proven to be the most entertaining company on the tour so far? I imagine that touring with the Funkoars would be a pretty full-on experience … They are all fun to tour with; I just wish I could play Guitar Hero so I could join in the hilarity. In fact, I just wish I had some musical talent. How has the material from your sophomore album Worth The Weight gone down in the live shows, compared to your earlier numbers? The response has been positive – everyone loves a fourminute keytar solo. When you first started working on Worth The Weight, to what extent did your experience touring your first album shape the songs? Were they written to be performed live? I think it made us think about the songs more closely; we were just glad to finish the thing. Some tracks on the album are more live-friendly than others. What are The Winnie Coopers worth their weight in, and why? Pizza dough. That is another form of currency for me. “The Winnie Coopers” is a somewhat unusual name for a hip-hop collective – when I first heard it, I assumed you were a rock band. What’s the story behind it? I was neglected by my mother and father as a child, and thus raised in front of the TV, otherwise known as “The Babysitter.” The name comes from the show The Wonder Years. Blame my parents – I do. 8
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Which Aussie hip-hop artists and crews have had the biggest influence on you guys, and why? We are big fans of The Herd, Astronomy Class and Mental as Anything. I’m not sure if the last group counts, but any band that sells tea towels for merchandise is alright by me. You’ve recently gone on a diet. Have you caved in yet? How much weight have you lost? And what prompted this? Surely you’re aware that some of the best MCs were very big boys … My weight loss is currently sitting at 8.1kg. I have only caved in a few times; it’s hard when you are in a band that makes fairy floss live on stage – there’s bound to be a few relapses. I guess when people started getting me confused with our bassist Young Tubs, it was time to make a change. You are right though, weight never slowed down Heavy D. Last year, Peter Garrett listed your track Success as one of his top ten “shower songs”, as part of an initiative to encourage people to take shorter showers to conserve water. While I’m sure you were quite complimented, how did you feel once you got the inevitable mental image of the former Midnight Oil frontman singing it in the shower? It’s funny you mention this; our DJ, Bigbad, is a Liberal Party candidate on the Gold Coast, so although we were complimented by making the list, Bigbad still has some major philosophical and political differences that he is dealing with, and is currently in conversation with Peter Garrett about. He was actually invited to the 2020 Summit, but couldn’t make it due to touring commitments. The Unified Tour hits UTAS in Hobart on the 9th of May, and Launceston’s Batman Fawkner on the 10th and 11th. www.thewinniecoopers.com
What changes are you making to the venue? We have already made some big changes to the venue over the last two weeks. We have removed the pool table from the nightclub. It has made a big difference – the room looks twice as big now. We have also added LED lights all around the venue to create an inviting atmosphere. The step, in front of the bar in the club has gone, and the pole in the corner is gone too.
“… We want to make this place the number one nightclub spot in Launceston …” What motivated this? What did you see as needing to change? Over the weeks leading up to the takeover of the venue, we had many meetings … the outcome was that everyone wanted to make the James Hotel a safe, clean, fun, and affordable venue to go out in Launceston.
How do you think the atmosphere of the venue will be different? The venue’s atmosphere has changed heaps already; these new LED lights create a great mood as soon as you walk into the venue, which helps you relax straight away. There are also new staff and security in the venue, so it has as buzz in the air of excitement and heaps of fun. How do you see the venue evolving in the next year or so? Ultimately, what are your hopes? Management and security are looking at the James Hotel as a long-term project; we know things won’t change overnight and will take time, but we want to make this place the number one nightclub spot in Launceston, and have customers from all around the state talk about our venue with pride, and make trips to our venue to go out and have fun. The new-look James Hotel is open for business now.
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METAL/ROCK - MELBOURNE // GREY DATURAS
ROCK - MELBOURNE // SIMON ASTLEY
Returning to disruption Be at one with the pun By Tom Wilson
A man as in love with music as he is with bad puns, Simon Astley is heading to our shores for the second time on the back of his album Sofa So Good (we warned you about the puns). He spoke to SAUCE about his Hidden Agenda, the influences that have shaped him, and what it takes to turn an ordinary gig into an extraordinary one …
When an experimental rock/metal act lists the likes of Throbbing Gristle, Einstürzende Neubauten and Wolf Eyes as influences, it can be assumed that the experience of seeing them live would have a similar affect to ingesting the hallucinogenic plant they’re named after. SAUCE spoke to guitarist Bonnie Mercer ahead of their album launch at the Brisbane Hotel … You’ve just released Return To Disruption – how long have you been working on this? Return To Disruption took us roughly eighteen months to complete. I guess compared to our last album Dead in the Woods, we spent a bit more time in the studio exploring and utilising the different tools and possibilities available to us. Dead in the Woods was recorded on eight-track/quarterinch tape, whereas Return to Disruption was recorded on twenty-four-track/two-inch tape, so this really expanded the possibilities for us. This time around we also spent considerably more time on the post-production of the album, which I had heaps of fun being involved with, and was a huge learning experience. However, in that eighteen-month period we also squeezed in a heap of local and international touring which of course made the whole process quite a bit longer than usual, but we’ve finally got it all done now! In what ways do you think Return To Disruption represents an evolution of Grey Daturas? How would you describe the sonic progression of the band, from when you started up to this point? When I think about the evolution of the band, I think what stands out most to me is how in the last six-and-a-half years the musical relationship the three of us have has developed over the years. Being an improvised band, I think it’s very unique and interesting how we’ve developed a musical communication and, I guess, intuition between the three of us. This aspect has certainly had a direct impact on the sonic progression of the band, and is perhaps even more so obvious in our live shows. Things have certainly become more dynamic, darker, and uncompromising, knowing that we can rely on our bandmates to back us up when we want
to push things even further. In the field of Australia’s experimental and metal bands, what do you think makes you guys unique? I guess I’ve always felt like Grey Daturas have never really fitted into either the Australian experimental scene, or the metal scene. Our music is certainly experimental, and I guess our metal influences often make an appearance, but, I don’t know, perhaps it’s all a little bit bastardised or something. Over the last six-and-a-half years, I think we’ve very much developed a dark, psychedelic, percussive sound which is unique, but yet still varied enough so that it appeals to both experimental music fans and metal fans alike, which I guess in itself is rather unique.
By Tom Wilson
“In the end, life is too short …”
You released your debut LP Sofa So Good earlier this year. How has it been received? What kind of feedback have you got … err … sofa? Hey, that’s my pun Tom, not yours! [Laughs] Yes, Sofa So Good – have had a few people comment on the CD at some of my gigs, and it has been well received through radio as well, which is good. How long were you working on this album, and who with? I took my time recording this album in Melbourne over the months of 2006. I pretty much recorded and produced the whole album myself, bar some help from a couple of musician friends. What can you tell me about the overall mood of this release? Would you say it’s an optimistic album? The album is like a rollercoaster ride, with some sad songs and a few happier songs as well. It is one of those albums you would need to sit down at home and listen to all the way through to understand the contrast in songs.
When you were growing up, which bands and artists had the biggest influence on you, and why? Artists like The Whitlams, Ben Folds Five, Monique Brumby and the Beatles where a few of my Influences when I was growing up. I have always loved the feel of the piano in What’s the story behind the band’s name? songs; the way it can hold a song together and give it the Well, for those who are unaware, a datura is a large white or warm melodic expression a song needs, especially in balpurple trumpet-shaped flower that pretty much grows as a lads. One of the instruments you would love to listen to weed in most regions of the world. It has a long history of while washing the dishes! being used as a hallucinogen, and apparently it’s extremely potent, often causing you to not know whether the halluci- Why are you only playing one Tassie show? What plans nations are real or not. I think Robbie came up with the band do you have to tour more extensively down here? name after hearing some horrific story about a dude who I actually toured Tasmania a few months ago to promote had taken datura and was found days later by the cops try- the album Sofa So Good. I plan to come back down to Tasing to dig a hole in the middle of the highway using his raw, mania and play more extensively hopefully later this year bloodied hands. when I release my next album. I love Tasmania, and to have the chance to come back for one gig means a lot. Grey Daturas play Hobart’s Brisbane Hotel on the 10th of May. How did you first hook up with your band, The Hidden Agenda? www.myspace.com/greydaturas
I’ve known the guitarist Jed Pickett and drummer Nick Cheek for many years now, as they also originally come from Tasmania. The bass guitarist Paul Slattery I met in Melbourne when I first arrived in 2002, and we put the band together towards the start of 2004. Will you be touring solo, or with the band? And what dictates this? For this one show on the 3rd of May, I will be playing solo. For my next tour towards the end of the year, I will hopefully bring down the Hidden Agenda boys. Jed, Nick and Paul are pretty busy musicians in Melbourne, so I get them to play when they can. What, for you, makes a gig truly special, and why? A gig is special to me when you can read the crowd and know that they understand what you are feeling, and what you are trying to say in a song. It helps lift you up and makes the gig more important to you and to them, rather than just any old body on stage just playing music. Lastly, if you could change anything about the world, what would it be? To have every human being in the world get on and keep the peace. In the end, life is too short, so you have to enjoy every day while it lasts! How good are meat pies at the footy? Simon Astley plays Stage Door The Café in Burnie on the 3rd of May. www.myspace.com/simonastleymusic
ROCK - WOLLONGONG // ANNI PIPER
Follow the piper
By Tom Wilson
If there is a style of music more suited to the emotional twists and turns of life than the blues, it quite simply hasn’t been invented yet, and one woman who definitely doesn’t need to be told that is Anni Piper. Heading southward to play four dates around the state this month, we sat at the card table for some Texas Hold ‘Em. With an ace up his sleeve and another one in his sock; Tom Wilson … When you were first exposed to blues music, what was it about the style that clicked with you? What do you like best about the genre? Blues is so passionate and so honest. It expresses intense feelings, and grew from the outpourings of generations of oppressed people and their collective suffering. Who hasn’t been wounded by a lover, or been so overcome with rage [that] they could kill, or felt the weight of the world on their shoulders? The blues is accessible to anyone, [and] not only for its universal themes. Even a beginner can master a basic twelve-bar pattern and join in with more experienced players – that’s the best way to learn. The notes you don’t play are often the most important in telling a story – the silences can be just as important as the sounds. I also just love the imagery in the classic blues songs – mojo, railroads, whiskey and gypsy women! As an artist, what do you think makes you unique in this particular field of music? Firstly, singing female bass players are rare in any genre. My life experience has been different to most contemporary and classic blues songwriters. Even when I write about a common theme like getting your heart broken, my own perspective makes me present my ideas a little differently. At home I love tracksuit pants and ugg boots, but when I’m on stage I pile on the make-up and squeeze into a cocktail dress. I haven’t seen any other Aussie blues ladies do this! When I look at pictures of Bessie Smith and her contemporaries from the early days of the blues, those women were dressed to kill … sequins, beads, feathers, the whole nine yards. So I’m trying for a bit of authenticity – I hope it shows the audience that I respect their presence and I’m grateful they dragged themselves away from the TV to come out and see a band. Your second album, Texas Hold ‘Em, was a much rawersounding record than your debut, Jailbait. What motivated this? I wanted to make a recording that accurately captured our live sound. Jailbait was conceived much differently to my second release. At the time Jailbait was recorded, most of those songs had never been played to a live audience. It came solely from jamming in the lounge room. When we recorded, it was the first experience some of those musicians ever had in a studio setting; some nerves set in, and we had to do quite a few takes plus overdubs to get it right. I intended to use that album only as a demo to agents and festival promoters in order to get us out of the lounge room! I never dreamed that Jailbait would experience the success that it had. When I began to get offers for interstate tours, I had to find 10
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people available to travel, and I was lucky enough to hook up with Richard Steele and Dennis Wood. We had the chance to “road-harden” the band before we recorded Texas Hold ‘Em. Most of the songs on that album are the first or second take that we did in the studio – we just walked in, tuned up, and did exactly what we would have done at a gig. I think it takes away from the authenticity of this style of music if you make a recording that’s too polished and slick. Ultimately, which do you prefer – playing solo, or with your band, and why? How is the atmosphere different? To me, the most important part of human experience is making a meaningful connection with others. The connection I have with my band is one I wouldn’t trade. It’s such a gift to be able to share in creating something beautiful. The energy that we bring as individuals becomes something quite different when it’s combined. They are like my brothers when we’re on the road – we bicker occasionally as families do, but we look out for each other always. I watched the footage of you playing the title track from Texas Hold ‘Em, and it got me thinking – in what ways would you say your life, both as a musician and as a person, is like a poker game? Ultimately God is in charge of the cards – you have to do your best with the hand you’ve been dealt on any given day, even if it’s not the hand you imagined, or thought you needed. I know my life (and my career) has become so much more manageable since I accepted this way of thinking and learned to go with the flow. After this tour, what’s next for you? More touring! I’ll be heading up to Queensland in a few weeks, which will be followed by a few shows closer to my home in Wollongong, NSW. I’ve been doing a lot of songwriting lately. It’s satisfying when you have a finished product, but getting a demo completed is very time consuming. I’m keen to record with Sam Buckley on guitar for the first time – Sam has an intensity to his playing that I’ve rarely heard. Changing the line-up of a band always changes the sound and the energy, and I’m relishing the opportunity to write some pieces specifically with him in mind. Anni Piper plays Hobart’s Queens Head Café on the 15th of May, Launceston’s Royal Oak on the 16th, the Longley International Hotel on the 17th, and the Bridge Hotel in Forth on the 18th. www.annipiper.com
“… I pile on the make-up and squeeze into a cocktail dress. I haven’t seen any other Aussie blues ladies do this!”
/ KORN ROCK - CALIFORNIA IA //
Getting the life By Steve Tauschke
Once America’s pioneering nu-metal party boys, Korn has in recent years lost two founding members, a label and some might say their signature sound. But through it all they’ve discovered sobriety and a willingness to explore new musical ground, as SAUCE hears from bassist Fieldy … As a Spanish Basque married to a Mexican woman, Reginald “Fieldy” Arvizu, admits he’s right at home in Latin American surrounds.
we couldn’t really stay on just one note. We had to move notes around a lot and it was real progressive and that took the album to the next level.
whole time – he’s not one of these producers who just comes in and puts a little icing on the cake. He lets us create as a band.”
“I like the style here; the clothes, the tiles, you know my house is Spanish anyway so I like that sort of thing,” says the five-string bassist of Korn’s current tour stop, Mexico City. “We’ve only been here maybe once or twice but it’s one of the biggest cities in the world so you can only see so much of it. But we were in Sao Paulo in South America a couple of days ago and the way that place is laid out, man, that looks like the biggest city I’ve ever seen in my life!”
“The new record is really insane. To me it’s going to take some time for people to go back and say, ‘Man, there’s some great songs on there,’ because it’s real different, and it’s nice to have some variety in the catalogue of all the Korn albums.”
A conduit for Korn’s often-eccentric notions of musical progression, Ross’ industrial-based modus operandi never ceased to impress.
Still on the road promoting last year’s strangely untitled eighth album, Korn recently trimmed another member, losing long-time drummer David Silveria in 2006. “From my understanding he wanted to get into the restaurant business or something and that’s about all I know,” shrugs Fieldy who describes Silveria’s immediate studio replacement, 57-year-old former Frank Zappa drummer Terry Bozzio, as a breath of fresh air. “When we recorded this album we were really open to seeing what we could do,” he enthuses. “And when Terry came in the way that he played drums was so busy that
Whilst guitarist Brian “Head” Welch walked out on the band “to be with God” prior to the recording of 2005’s See You On The Other Side, Silveria’s departure in the lead up to their latest album further reduced the band to a core trio – Fieldy, singer Jonathan Davis and guitarist James “Munky” Shaffer. Together, they opted to collaborate again with pop hit machine The Matrix before seeking additional production from British studio wunderkind Atticus Ross. “He’s real creative, and he takes our songs and he builds on them,” says Fieldy of Ross, a former Nine Inch Nails programmer. “He’s like a creative genius, he’s real good and he fits right in, and it was nice working with him last time so we decided to do it again. “He likes to work with the whole band and likes us to play the songs and be a band together. He also likes to be there the
“We’d have a song and he’d add these weird sonic sounds to it, almost eerie sounds, but they just sounded so cool because it was the undertone we’ve always wanted. It was like we were writing a book with him and we were on the same page.” Fifteen years into their career and more than a decade on from their 90s benchmark slabs Life Is Peachy and Follow The Leader, Korn’s twisted metal is now resonating with a whole new generation of kids. If only the band had given the new album a name, laments Fieldy. “I wish we would have titled it,” he laughs. “But we just couldn’t come up with a name, something that fits, so what are you gonna do? Normally we sit down and think of a title, but this time nobody could come up with anything – that was the whole problem! So in the end we just left it open for people to call it what they want to call it.”
But try explaining that to Korn’s marketing people. “It’s easier when you’re going out to buy the new Korn CD you can just ask for See You On The Other Side or whatever,” says the bassist who ironically doubles as the band’s merchandising boss. “And the same for us going out on tour – you know, you can put the album title on the t-shirts. There’re so many benefits from titling the album.” On their April Australian tour, Korn delivered a crowdpleasing spread of tracks new and old, including one of Fieldy’s favourites, Blind. “We’ve been playing that since ‘91 every single night – and it’s still exciting to play, believe it or not!” Fans will also witness on stage an alcohol and drug-free Korn, a first in the band’s long and chequered history. “I’ve been sober for three years after partying for twenty years seven days a week,” confides Fieldy, who has a warts ‘n’ all autobiography Got The Life due out in October. “It’s a whole new life, almost like the second half of my life. Jonathan’s been sober about eight years and Munky’s been sober for a couple of months, and I think we’re tighter than ever. It’s unbelievable the way we’re sounding these days.” www.korn.com
SAUCE #67
11
METAL – NEW JERSEY // THE DILLINGER ESCAPE PLAN
Suffer for your art
By Tom Wilson
One of the most fiercely creative and incessantly dynamic acts in the American music scene, it has never been smooth sailing for New Jersey mathcore masterminds The Dillinger Escape Plan. With the release of their thrillingly hostile new LP Ire Works, lead guitarist and founding member Ben Weinman has taken “suffering for your art” to a new level; after breaking his foot last October and having teeth pulled just hours before our interview, he nevertheless soldiered on to speak on new drummer Gil Sharone and how pulling off their trademark technicality live is actually one of their easier tasks … Where are you at the moment? I’m in New Jersey right now. You’ll have to bear with me – I’ve just had some teeth pulled, so I’m a little bit out of it! [Laughs] Speaking of personal injuries, how’s your foot these days? Well, it was getting better, and then I sprained it the other day at a show, so it’s a little beat-up right now. I think it’s just weak all over; I just probably didn’t let it heal enough …
REVIEWERS NEEDED Would you like to go to gigs for free, in exchange for writing a review and taking a few pics? If so, apply to
reviewers@sauce.net.au
How did you end up breaking it? Was it on the Milk Lizard video shoot? It was. Well, actually no – it was on another shoot. We did two videos at the same time, and the second video isn’t actually out yet; it should be coming out soon, in a few weeks. But that’s the video I broke it on, not the Milk Lizard vid.
and please specify where you live, and what genres of music you are interested in.
It’d be fairly hard to manage to break your foot in the middle of a bar … What’s the second video? It’s a video for the song Black Bubblegum, and I actually was in a much less respectable scenario than breaking my foot in a bar – it was just in a room, with nothing! [Laughs]
Reviewers must be 18+.
[Your new drummer] Gil Sharone; when you guys first started writing the material for Ire Works, when he joined the band, how long did it take him to fall in step with where you guys were creatively, and get in the same headspace? Well, there were some similarities, and there were some differences. Both he and our old drummer [Chris Pennie] have their own strong points, and their own expertise and style. But then, they also have some common things as well, which are really important for Dillinger – like the technical aspects to the playing and stuff like that. Gil’s a much more of a groove player; he comes from a much more soulful background. He’s technically proficient enough to play all the stuff that we had in mind – I had given him a bunch of programmed beats to start with, and he learned all that stuff fairly quickly, so it was just a matter of fitting his style into the songs in the studio, and kind of adjusting a little more to that. Now that we’ve been playing with him for eight months now, we can’t even picture playing with anyone else – even the old songs have new life to them now. So it’s really cool, after all these years, to play [them]. You’re touring Ire Works at the moment, aren’t you? You’ve already played a heap of live shows for it … A lot of [Dillinger’s material] is really, really technical music … for you as a guitarist, of this new material, what would you say are some of the most challenging songs to play live? Good question. I mean, you get pretty used to everything. I’d say that sometimes it’s more challenging to play some of the lighter, less aggressive songs, because you have to pull back after being so wound-up and so energetic on those other songs; you have to all of a sudden stop and relax and try and get in the groove of the more melodic, groovy songs in order to execute it properly. So yeah, sometimes the more simplistic stuff is a lot harder live, because you have to pull back and get into that mode all of a sudden. But the diversity is what makes it really fun. You guys have made a point in the past of saying that you write music for yourselves, not for your fans. Was
“You’ll have to bear with me – I’ve just had some teeth pulled …”
it intentional to have such a diverse record [with Ire Works], or did it just end up that way? Ah, yes and no. There certainly is an element of us trying to, you know, not create a record where every song sounds the same. We don’t want to recreate the same record twice necessarily. So yeah, diversity is a part of that, naturally. And we also just wouldn’t enjoy playing the same song over and over, you know? After all these years, it just wouldn’t work. So I mean, it’s natural for us – it’s a natural progression to incorporate other influences and other styles and other feels into our music in order to become a career band, and not just some kid band that makes a record just to be in a band. You’re the only original member in Dillinger; you guys seem to go through members quite rapidly. Is it just that you’re a horrible person, and they don’t like working with you? [Laughs] I wish! I wish.
[Connection drops out … what the hell? Did he just hang up on me? Thankfully, he didn’t, and calls back.] It was weird – I thought you might not have liked the question and thought, “Oh, f*ck this guy!” [Laughs] “How dare you say that? F*ck you!” Yeah, everybody hates me ‘cos I hang up on them all the time, and I never want to hear what they have to say! [Laughs] No, but to answer your question, everybody in Dillinger interesting enough is still really good friends. I mean, even the people who work with the band, crew … our original bass player Adam is still one of my best friends, Dimitri our old singer is still one of my best friends … The only people that aren’t still part of this collective, and aren’t still friends with us, is our old drummer Chris. Ire Works is out now. To listen to the full interview, go to www.sauce.net.au
METAL - HOBART // RUINS
Stirring up the Cauldron
By Tom Wilson
It’s fair to say that, when you’re a black metal band, you know you’re doing something right when you end up sharing stages with the likes of Celtic Frost, Satyricon and Immortal … but something tells me that a group with the metal pedigree of Hobart’s Ruins doesn’t need to be told how to do something well; they just do it. About to launch their new LP, SAUCE spoke to Alex Pope about what they have brewing in the Cauldron … You’re about to launch Cauldron – what kind of production process did it have? Who did you work on it with? Cauldron took a long time – we dug very deep in writing, spent a long time in pre-production, and all up the recording sessions spanned an entire year also. Then since completion of mix and master there have still been many delays. We are ahead of ourselves with written material. We have already written the follow-up to Cauldron; I have guitar/ drum demos for eight new songs that I will spend the next few months working with, and we will begin the actual recording sessions for this next album in August/September, as is becoming a pattern for us. The next album will be the same process as Cauldron fundamentally. We track the drums at Red Planet studio, and all other tracking is done at our rehearsal space/studio now affectionately known as “Crawlspace Studios,” also mixed there, and then mastered at Red Planet. All of this is completed by Joe Haley with myself assisting, directing and annoying! The album’s cover art was painted by the Rev. Kriss Hades. What sort of concept and direction did you give him on this? And in what ways do you think the final design reflects the sound of the album? I think Kriss has done very well. I just sent him the lyrics and titles, and a very rough guideline – mainly conceptual, not really visual. He did not hear the album until after completing the painting, but had heard our previous releases. I definitely approach from the abstract; people will always read their own meanings – if they even think at all. Not to mention that I am dictator enough; it is excellent for the select people I entrust to share their version of the vision. Kriss and I have been allies for a while now, and I totally appreciate his view; and in this instance, his view of my view ... he has achieved something to help articulate my vision. 12
SAUCE #67
As Ruins, you guys have played with the likes of Celtic Frost and Immortal, and many other legends of metal in your other projects. Which would you say was the coolest band to play with, and why? Ruins’ great achievements have no doubt been tours with Satyricon, Celtic Frost, and Immortal. All were absolutely amazing live bands, and all quite different experiences in every way. All were a total honour, privilege, and pleasure ... and hard work! Immortal was fun because they had a manager looking after certain things, so they were just having a good time when things were running well. Celtic Frost, after a pretty difficult history with all industry-types, were absolutely looking after themselves in a managerial capacity, therefore were very disciplined and not so relaxed. We were in the privileged position of being just a band ... not promoters, venue operators, label reps, or media, so we were basically the only people that they wanted anything to do with. They were very pleased to be in Australia and have us join them. Words cannot express the total honor! Then, in some ways, Satyricon tops them all, simply because it was our first tour, and again just total honor. We have massive respect for them – everything happened as it was meant to with those shows ... perfect! Total respect! One of the most inspirational and genuinely remarkable individuals I have made acquaintance of in the last few years is indeed Nergal of Polish band Behemoth. Dave our drummer brought them out to Australia the first time a few years ago, and they were back only a few months ago ... Nergal stayed on for a few week’s holiday, including a few days in Tassie. He is a close friend to Dave. Behemoth are also an absolutely amazing live band. Your drummer Dave also shares his talents with Psycroptic and, more recently, Blood Duster. What have been some of the positives and negatives with this, in
terms of Ruins? Does he have as much time to work on this project as he might like? We do as much with Ruins as any of us can manage at this point, regardless of Dave or Joe’s commitment to Psycroptic. Blood Duster requires no time or effort! [Laughs] Same with Amenta for that matter! We have all been friends for a very long time, not just me and my band-mates. I mean, I have known the Blood Duster guys for ten years or more ... It is impossible for me to view this as working multiple jobs for different employers – this is just what we do. We are all the same gang to a degree; we are all extensions of one another’s gangs ... Ruins, Psycroptic, Amenta, and Blood Duster. Being spread across the country covers the equipment back-line in each city! Ruins launch Cauldron at Hobart’s Brisbane Hotel on the 10th of May. www.myspace.com/ruinsblackmetal
Wed 14th May Irish Murphy's, Launceston Thursday 15th May Republic Bar, Hobart Friday 16th May Kermandie Hotel, Kermandie Saturday 17th May Top Hotel, Wynyard
GIG GUIDE 30th April - 13th May WEDNESDAY 30TH HOBART Alley Cat Bar Wide Angle Film Night @ 7:30PM Metz On The Bay DJ @ 9PM
James Hotel Chasing Gravity Royal Oak S&M
HOBART
HOBART
Republic Bar & Café Slyde Syrup Rewind @ 9PM
Metz On The Bay DJ @ 5PM
Queen Victoria 1819-1904
Now open Sundays 4pm onwards Live music 6 nights per week
THURSDAY 1ST BURNIE Stage Door the Café Viktor Zappner Swingtet + Carl Bulow @ 7:30PM
HOBART Alley Cat Bar The Alley Cat Cabaret – Mr. Cecil Brown + Tania Bosak + World Famous Puppetry + Ms Nicole Parums + Ms Meredith Cole + Ms Flicka Jane + Mr Jeff Michel + Ms Alison Farrow @ 8:30PM Brisbane Hotel Roadkill + So Far Irish Murphy’s Stereophile (USA) + The Happy Endings (Melb) + Chasing Gravity (Bris) Republic Bar & Café Phrase + Mdusa @ 9PM
Royal Oak Invisible Boy
Brisbane Hotel The Steadfast Shepherd + Liam Constable + Beatrix Bae Bouwman Brookfield Vineyard Open Mic Night Huon Quays Against Me! Republic Bar & Café Chasing Gravity + The Happy Ending + Stereophile @ 10PM Syrup Break Even – Adam Turner + Guests Downstairs: Nick C @ 10PM Victoria Tavern Crikey
LAUNCESTON Irish Murphy’s Captain O’Brian’s Craic Royal Oak Collards, Greens and Gravy
SATURDAY 3RD BURNIE Stage Door the Café Simon Astley @ 8PM
DEVONPORT
Licensed cafe open 7 days & late for all events Friday May 2nd
Open Mic Night Friday May 9th
Alan Badalassi 'Winner of Best Dinner-Music Prize" (Piano Marathon 2008)
+
Pin Rada +
Percussionist Jules Witek
Republic Bar & Café Carl Rush @ 8:30PM Victoria Tavern Christian
LAUNCESTON Irish Murphy’s Kristy Tucker
TUESDAY 6TH HOBART Republic Bar & Café The Sign @ 9PM Irish Murphy’s Ben Castles
HOBART
Metz On The Bay DJ @ 9PM
LAUNCESTON Irish Murphy’s Leo
THURSDAY 8TH BURNIE Stage Door the Café Viktor Zappner Swingtet + Paul Martin @ 7:30PM
HOBART Alley Cat Bar Samuel Cole + Josh Masey Brisbane Hotel Ejector + Lakoda Irish Murphy’s Cait Vertigan + Invisible Boy + Darlington
Victoria Tavern Smashers Wrest Point James Reyne + Mark Seymour
LAUNCESTON Batman Fawkner Inn Unified Tour – Funkoars + Bliss N Eso + The Winnie Coopers + True Live Irish Murphy’s The Gary Gary’s
APRIL WED 30 MAY
THU 1
SUNDAY 11TH
FRI 2
LAUNCESTON Batman Fawkner Inn Unified Tour – Funkoars + Bliss N Eso + The Winnie Coopers + True Live Irish Murphy’s Kristy Tucker + Nat & Adam + Victor Charlie Charlie
MONDAY 12TH HOBART Brisbane Hotel Don Letts Victoria Tavern Christian
LAUNCESTON
Syrup Mesh – Adam Turner + Guests @ 9PM
TUESDAY 13TH
Victoria Tavern Jeremy Matcham
LAUNCESTON Irish Murphy’s Nat & Adam
Irish Murphy’s Ben Castles
HOBART Republic Bar & Café Blue Flies @ 9PM Earl Arts Centre Nathan Wheldon & The Two Timers + Invisible Boy + Halfway to Forth @ 7:30PM Irish Murphy’s Brief Illusion
HOBART
Victoria Tavern Ready or What
LAUNCESTON Country Club Showroom James Reyne + Mark Seymour
S&M In the Bar
THU 8
Mickey J & Eddie T In the Bar
Ben Castles In the Bar
The Titz In the Bar
GREAT FOOD
OPEN MIC NIGHT THE LAST WEDNESDAY
OF EVERY MONTH
OPEN 7 DAYS
14 Brisbane Street, Launceston 6331 5346
Venue Guide BURNIE Stage Door The Cafe 254 Mount St Upper Burnie 64322600 HOBART Curly’s Bar 112 Murray St 6234 5112 www.curlysbar.com.au Irish Murphy’s 21 Salamanca Place 6223 1119 www.irishmurphys.com.au Metz On The Bat 217 Sandy Bay Rd 6224 4444 www.themetz.com.au Syrup 1st Floor 39 Salamanca Place 6224 8249 Republic Bar 299 Elizabeth St 6234 6954 www.republicbar.com The Brisbane Hotel 3 Brisbane St 6234 4920 thebrisbanehotelhobart@gmail.com The Alley Cat Bar 381 Elizabeth St 6231 2299
Stage Door the Café Nikki Nicholls @ 8PM
UTAS Unified Tour – Funkoars + Bliss N Eso + The Winnie Coopers + True Live
Collards, Greens & Gravy
LAUNCESTON
BURNIE
Brisbane Hotel Beltane Bedlam – Zero Degrees Freedom + Lost Hope + Iciclan + Lacerta
Invisible Boy In the Boatshed
HOBART
Republic Bar & Café Dwayne Everet Smith + Jurithm @ 9PM
Open Mic Night In the Bar
SAT 3 Royal Oak The Titz
Republic Bar & Café The 120y’s @ 9PM
Syrup La Casa – Matt B + Timo + St Nick Downstairs: Nick C @ 10PM
Irish Murphy’s The Rodgers
Syrup Dirty F’king Dancing – Adam Turner + Gillie + Smithmonger (TCR UK, Supercharged) Downstairs: Naughts + Rolly + Billy Bob @ 9PM
Raincheck Lounge Live Acoustic Music @ 4PM
Republic Bar & Café Collard Greens & Gravy @ 10PM
www.brookfieldvineyard.com / info@brookfieldvineyard.com
Republic Bar & Café The Red Eyes @ 10PM
Victoria Tavern John & Craig
Republic Bar & Café The Red Eyes @ 10PM
LAUNCESTON
Metz On The Bay Matt Collis @ 4PM
SAT 10
Peacock Theatre WoW Touring Film Festival
Emily Smart & The Clever Girls
Halo Meat The Beat – Milestone + Mez + Project Weekend + Dameza + Outlaw + Adam Turner + Kyle + Woodhouse + Risky + B-Side + Pilot + Waz @ 10:30PM
Syrup Rewind @ 9PM
Brookfield Vineyard Alan Badalassi
Victoria Tavern Vendetta
37 Wilson St Burnie ph: 03 6431 6616
Metz On The Bay DJ @ 5PM
Metz On The Bay Matt Collis @ 4PM
Wednesday 14th May@7.30pm
Brisbane Hotel Ruins + Grey Daturas + The Ghost and the Storm Outside + Zero Degrees Freedom
New + Second Hand
FRI 9
FRIDAY 9TH
Syrup Dirty F’king Dancing – Kir + Gillie + Adam Turner Downstairs: Naughts + Rolly + Billy Bob @ 9PM
CDs and DVDs
Alley Cat Bar Riot Act
Republic Bar & Café The Flying Sauces @ 9PM
HOBART
Brisbane Hotel Zero Degrees Freedom + Vulgar + The Whores – ALL-AGES @ 3PM Homebrew Hip Hop – 18+
COLLECTOR’S CORNER
Alley Cat Bar “A Little Cabaret Brutalitae”
Royal Oak Mickey J + Eddie T
Sunday May 4th@3pm
Teruquois
HOBART
Spurs/Warehouse Cruel Like That @ 10PM Alley Cat Bar The Green Mist
Brookfield Vineyard. 1640 Channel Highway. Margate. 7054. Ph 6267 2880
MONDAY 5TH
Irish Murphy’s Halo 7 + B.O.T.O.X
Alley Cat Bar MIQ
MENTION THIS AD FOR A 10% DISCOUNT!
Irish Murphy’s Nathan Wheldon + Brief Illusion
LAUNCESTON
HOBART
2nd Hand Furniture & Household Goods
LAUNCESTON
WEDNESDAY 7TH
Stage Door the Café Marita Mangano @ 8PM
(Behind Mission Store)
Republic Bar & Café Ejak with Fula (African Music) @ 9PM
Victoria Tavern Jeremy Matcham
BURNIE
Shop 2, Ravenswood Shopping Centre
Raincheck Lounge Live Acoustic Music @ 4PM
LAUNCESTON
FRIDAY 2ND
Cheaper Than The Rest
Peacock Theatre WoW Touring Film Festival
Syrup Mesh – Adam Turner + Guests @ 9PM
Irish Murphy’s Sara & Hamish
BURNIE Stage Door the Café Nikki Nicholls @ 8PM
LAUNCESTON
“Give my people beer, Good beer, cheap beer, And there will be no Revolution among them”
SATURDAY 10TH
SUNDAY 4TH Brookfield Vineyard Teruquois + Pin Rada + Jules Witek @ 3PM
Royal Oak Open Mic Night
Royal Oak Ben Castles
Support
Live Music!
Wrest Point 410 Sandy Bay Road Sandy Bay 6225 0112 www.wrestpoint.com.au LAUNCESTON Batman Fawkner Inn 35 Cameron St 6331 7222 Country Club Country Club Ave Prospect 6335 5777 www.countryclubtasmania.com.au Irish Murphy’s 211 Brisbane St 6331 4440 www.irishmurphys.com.au The Newstead Hotel 160 Elphin Rd 6331 1344 The Royal Oak 14 Brisbane St 6331 5346 SAUCE #67
13
CD REVIEWS AMY PEARSON Who I Am
CANCER BATS Hail Destroyer
VARIOUS ARTISTS Electro Lounge
BRIDGET PROSS I Wanted To
Being signed to a label doesn’t mean you have hit the big time! Amy Pearson knows this all too well; she has been signed for four years now, but it has been through sheer hard work and dedication that her new album, Who I Am has finally been released. Amy sure has captivated people around the globe with her track Ready To Fly, which has been chosen as the inspirational theme song for the Beijing Olympics later this year. What a resume she has already!
Buckle up and hold on tight for this ride, Cancer Bats are here to destroy! With this album, Cancer Bats mix hardcore, southern metal and punk rock into a lethal rock ‘n’ roll explosion.
Unfortunately I can only give a partial review of this CD, as the promoonly copy supplied to us consists of ten tracks of what is to be a double-CD compilation of more than thirty. I don’t apologise for this, as I personally don’t give a shit; it’s to do with the label’s marketing team, so suck it up and smile.
This girl can’t go wrong. I was introduced to her talent a couple of months ago and was completely blown away. Her debut album kicks off with Work of Art, a bouncy romp and a great opener. Following that is Little Sister, a track that has been one of the highrotated numbers on Sauce FM. The title track I Wanted To is just pure class. It shows the strength and maturity of a songwriting talent destined for major success, and the production is spot-on. To The Water, Pullin’ Away and So Sexy are also examples of the excellent production on this album.
All I’ve got to say is that I liked this collection, and it’s worth grabbing your own copy, sitting back and taking in every single track. All of Amy’s songs have strong instrument involvement, more of a classical approach, but given a pop or rock edge here and there. Track two Fool is a very catchy and enchanting song with more up-tempo and attractive beats, attitude, powerful vocals and a pinch of pop. Not Me is number three, and is a sassy song with a pop-rock flare. Track five, Ready To Fly I mentioned earlier. If you’re into sport, then this song will be thrashed to all crap over the next few months, so it will more than likely end up your least favorite of the album. I personally like the vocals and lyrics in the song, and can understand why it would be picked, but I would love to hear the version which is being used for the Games!
This album delivers an exciting combination of kick-arse guitar riffs and unwavering drum beats with some screaming vocals; if you are a fan of dark music, and lyrics expressing pain, suffering and destruction, I think Hail Destroyer will appeal to your taste buds. Vocalist Liam Cormier comes through with incredible intensity, pushing the dynamic songs right into your brain, reminiscent of Refused and Down. The twelve tracks on the album do begin to sound the same after a while, but the album’s duration, at thirty-seven minutes, is perfect. I remained interested throughout, without tiring of the sound. This is the first time I have listened to Cancer Bats, but have no doubt that it will become a regular part of my playlist. The raw emotion and passionate delivery underpins this band’s talent and integrity, both of which are undeniable. While my favourite tracks on the album were Harem Of Scorpions and Sorceress, I am sure fans of hardcore rock are going to love this entire album, and it will undoubtedly become many people’s favourite release this year.
the
Mr. Johnson is back with a few more of his acoustic melodies that we have become accustomed to. His fifth album, Sleep Through the Static, does not tend to differ much from his usual melodic pop style, but the album does also have a slightly new twist to it. Sleep Through The Static begins with a somewhat slow organ intro. As the song continues the tempo stays the same slow pace it began with, but once the vocals begin, the track does pick up. Jack has such a distinct voice that even the slower-paced tracks generally sound the best. The drum work in What You Thought You Need sounds like it’s bordering more on the rock genre. Not likely … it quickly snaps back into his usual style. The track is the longest on the album, coming in at just under five-and-a-half minutes, and is by far the least appealing. If the track had kept the faster tempo like it began with, the song would have done him more justice. Overall, the album is stronger than his previous releases, but unless you liked them, Sleep Through The Static is not one to race out and buy. SHANNON STEVENS
The haunting Irreplaceable gives way to the joyous Blue and Green that even has birdsong sound effects in the background, putting the image of a morning dawn in your mind. It’s just brilliant. It picks up the pace a bit with Davy Crockett, only to be dropped back down with Better Than You. That track has also been on the A-list of Sauce FM for the past couple of months and will probably stay as one of our classics. Walk Away is not a bad track – it’s just that slide guitar makes me cringe. Just my personal tastes, though. Thank god Dragon Lady makes up for it. All in all, this is a great album from end to end, and Ms. Pross is certainly on a winner with it.
3 bored as bat-shit monkeys out of 10. PATRICK DUKE
NUFE
MICHELLE RISCHKE
LISA HOWELL
JACK JOHNSON Sleep Through Static
Now we have the formalities over with, this new French indie label Wargram is responsible for promoting such artists as Corneille, Gage and Pauline Croze to name a few. This attempt at what’s meant to be lounge music is more derived towards the sound of minimal electro, with a down-tempo molestation. I personally don’t like attacking bad albums, so I’ll try expressing something nice about this compilation. Yes, it’s a more laid-back sound, and would be suitable for any subtle club or lounge bar that loves their eclectic, stripped-down music. Yet, it seems to be missing some sort of personality to keep the songs interesting. The tracks by Zwicker, Gus Gus and Blaze did appeal to me, yet the rest of the songs are quite repetitive and a maybe a little too casual for lounge. Like I said, I only heard one third of the compilation, so I really can’t give you an accurate opinion towards this release, which seems a shame, and may make some people shed a tear or two … yet we can’t always have a chin wobble over nothing can we?
MANDY MOOORE Wild Hope
MORCHEBA Dive Deep
VARIOUS ARTISTS Public Outburst
Over the last few years, Mandy Moore’s life has played out in the spotlight. Her music has illustrated her journey from a young teenager into the women she is today. Her music career was at a high when Mandy decided to pursue her acting interests, in which she appeared on the big screen in numerous movie roles. Now, Mandy’s much anticipated album Wild Hope is in stores.
The first two tracks, Enjoy The Ride and Riverbed, are nice laid-back numbers, but there’s nothing groundbreaking here. I felt the album didn’t really take off until track three, Thumbnails – an excellent trip-hop excursion. That one’s going on the MP3 player. Following on is the folk/hip-hop hybrid Run Honey Run. Nice.
With such a diverse career in the love of all types of music, Laurent Garnier has a new release of that legendary improv 70s jazz. Recorded on the festival circuit last summer, this seven-track album is truly a piece of live performance wizadry.
Fans will without a doubt be rushing out to get this for their collection, but if you have not been keen on her music in the past, then this won’t change your mind! I think it is supposed to reflect a natural style and approach, like she has been described in the past, and another piece to the Mandy Moore puzzle. I know her style is all about soulful lyrics, but after numerous compilations consisting of just that, and a flourishing acting career under her belt, I thought her style was due to be kicked up a bit!
Gained The World is boring. We’re back in cliché territory here. MC Cool Calm Pete takes the lead with One Love Karma, a standout track. I detect some nifty digital scratching here (CDJs, Final Scratch, Serato, etc.) that sound very authentic. Well done. Sticking out like a sore thumb is Au-delá, an acoustic ballad sung in French; not a bad song, it just feels misplaced in this collection. Next up is Blue Chair, which wouldn’t be out of place in a lounge DJ set. Sleep On It is well-produced, but dull.
I was left thinking of how the tracks felt so unfinished. How about keeping with the times and adding more tempo, maybe a rock edge, or smarter vocal techniques and note changes? We know you can sing, so why just make music that’s plain, freaking boring and safe? Sadly, there were no stand-out tracks worth mentioning. Overall I felt that it lacked appeal, but is ideal if you want some background music, ‘cause it’s not worth turning up loud!
I love the title The Ledge Beyond The Edge, and it’s another solid trip-hop instrumental; very reminiscent of the Lemony Snickets soundtrack by Thomas Newman. And then, we finish with Washed Away, which drops the pace back down again. A good album to chill to, or fall asleep to, but I have to say that the instrumentals are better than the vocal efforts.
The album kicks off to a quite dreary start, with a twelveminute song that does seem to drag on, but sets the tone of the album nicely. This CD is perfect for any café or venue in need of soft, subtle music to set a chilled, casual mood, composed and performed by Garnier, and featuring guests Bugge Wesseltoft, Benjamin Rippert and also the infamous “Man with the Red Face,” Philipe Nadaud. This album truly impressed me; both the talents of these guys, and what they have mustered together using jazz and electronic music. As an added bonus, you get two live performance videos performed live in Belgium and France which are absolutely unreal! So, if you’re after a bit of jazz mixed with drum-n-bass tempos, but also with a slower twist as well, grab a copy of it! It’s well worth it, and I rate it! PATRICK DUKE
NUFE
LISA HOWELL
GIG REVIEWS
Enola Fall
No Foto
The Panics
Willie Pete
This gig was taking place amidst the Hobart Fringe Festival and by the time I got to North Hobart there were people everywhere. The Alley Cat has found itself a good niche since the closure of Trout and was absolutely packed when I got there, to the point of finding it hard to see the stage.
Well, these guys may not have a “Foto”, but what they do have is a knack for playing good, raw rock ‘n’ roll with a classic band format; the laid-back bass player, the energetic lead, the focused lead guitarist … playing in the Republic in what I noticed was a bloody good turnout for a Wednesday night! The mainly instrumental Better The Devil You Know was a lesson in great contrast; starting slow, building up pace in volume.
I was a bit worried about going to see The Panics play at the Casino in Launceston; nothing against the venue, but I just felt it might not suit one of Australia’s most talented bands. I was wrong. The intimacy of the venue perfectly suited what was to come. The night started with support act, Enola Fall. They’re an amazingly talented affair, yet there’s something vaguely self-indulgent about their performance tonight, which is a shame.
The pace continued to quicken onstage with their second number, before a slightly funkier deviation in the third number, shifting into pop-rock sensibilities. Cry had some nice harmonies, and the singer-guitarist seemed to effortlessly work his audience (who, funnily enough, seemed to be primarily young girls … hmmm …). With great rhythm and some nice use of distortion, the guys played well, and did so without taking themselves so seriously (thankfully).
However, it was The Panics that we were all there to see. This was the first gig of their latest tour, and normally you’d expect rust on the wheels – luckily, there was none of that.
As I made my entrance, the sounds of Willie Pete’s classic rock style were shaking the room. She’s Got Her Mind Made Up played out with a riff like ZZ-Top, but with better lyrics – very well-annunciated (and with less beards). The singer’s style reminded me of Bon Scott; in fact, I could hear a lot of AC/DC influence tonight. Beccy brought back memories of Whole Lotta Rosie, particularly with its wicked guitar solo. These guys are a tight three-piece, and they clearly don’t mind a drink either – the bass player: “Can I get a Bacardi & Coke? … I’m serious!” I have to say that I want more from the drummer; a bit more aggression to fit with the rest of the band.
ALLEY CAT BAR – 11/4/08
REPUBLIC BAR – 23/4/08
Enola had a bit of a scratchy start, but after a couple of songs, everything settled down and they started pulling in most of the room around the stage corner. I’m still in two minds as to whether I prefer the new-look Enola Fall or the band from four years ago. A lot of the songs are the same, but the style has changed so much. This band rocks out a lot harder, and the combination of Linc and Joe both on guitar, with Joe free to switch to keyboards, really works well, but maybe the old fart in me still longs for that more surreal sound that attracted me to the band when I first moved back into Hobart. Joe’s comment to the crowd, “This will be the last time we play Jerusalem” had me rather saddened. Yes, I know a band can get sick of playing a song and want to move on, but it is such a seminal song for the band, and it makes me wonder whether they really can avoid it in the future. All in all, a very entertaining night.
COUNTRY CLUB SHOWROOM – 23/4/08
If there’s one thing I’d really like to hear more from this band, it’s slightly longer songs; for a guy like me who was new to this band, the songs seemed to leave me hanging at the end almost every time. Guys, spoil us, damn it! We like your stuff, and we deserve more! Still, they’ve won me over – hey, what red-blooded music fan wouldn’t dig a band that closes with a track called 10,000 Beers, and who’s drummer finishes the gig with a dive over his kit? Now that’s rock ‘n’ roll …
KEVIN GLEESON DAVE WILLIAMS
They are almost Phil Spector-ish in the wall of sound they produce. From the latest album, Creaks, Live Without and Feeling Is Gone all sound excitingly Australian, full of boldness and ambition, dripping with melody and oozing appeal. The older material sits comfortably alongside the newer material. Kid, You are a Dreamer is anthemic in its delivery. My only critique of The Panics is that they seem to never really interact with the audience. Then again, with a sound so good, would you really want to interrupt the seamless dynamic with idle banter? I think not. If you get the opportunity, go and see The Panics soon. They will eventually be established as a premier Australian act, and bigger venues and larger audiences will mean they’ll lose some of the intimacy they create in low-key surroundings. BRAD HARBECK
BRISBANE HOTEL – 23/4/08
Their set seemed to peak with Just A Little Bit – rock out! Yeah, baby! The bass player’s back-up singing complimented the song well, and it was something I wanted more of in the other songs; it added emphasis, and also reminded me of Airborne. At times, when it broke into a guitar solo, I found myself thinking – is it a bit self-indulgent? But every time I thought that would spoil the performance, the solo would end, and they would re-enter the song. He pushed it to the limit, but once reached, he turned around and walked away, but just to get back to prepare for the next run-up to that imaginary line. It felt a bit uncomfortable, unexpected, and I liked it! My theory on good art, no matter what the medium, is that it shouldn’t be comfy. It should take some getting used to, but once you’ve digested the new “meal”, the taste would be so much stronger, full of flavour, and last a lifetime. DAVE WILLIAMS
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SAUCE #67
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SAUCE #67
15
DANCE - LONDON // PAOLO MOJO
Keep it funky
DANCE - GERMANY // TOM NOVY
By Carlisle Rogers
Entering the Toolroom
By Carlisle Rogers
With a new single on Wax, the Toolroom Knights Vol. 3 compilation hitting the streets and his upcoming Australian tour, things are going splendidly for German house DJ Tom Novy. … “I did one side of the Toolroom compilation, and the other side was done by Wally Lopez. The main tour in Australia is called The Toolroom Compilation Tour. I am also coming to Australia with a new single called Runaway. I’ve done a few remixes that I plan to play out there as well, so I’m coming with a full package of new releases and a new compilation.
“I was at a bit of a crossroads with my production last year. I didn’t really know where I was going …”
With his head buried in the studio over the last three months, there hasn’t been much on the compilation front from Paolo Mojo yet this year, but he’s made up for that with a string of new singles he says will be in his bag on his upcoming trip down under in April, headlining Livewire at Home on April 26th alongside Petter, Abe Duque and Supermayer … “During the first quarter this year, I was working pretty intensely in the studio,” he says. “In previous years I was more focused on compilations, but this year I’ve been focused on new tracks. With that in mind, I’ve got between ten, twelve original tracks. The first one Night Glories will be released this week on Beatport and Radio One, but there is a whole load of stuff coming behind that primarily on my label Oosh! I’ll be playing all this new stuff in Melbourne. “It’s mainly singles and the whole idea of Oosh! is to establish me as a producer under my own criteria and time frame. It’s all about me and the label since I’m the main producer on the album and I am the record label. In the future, it’s all about getting these singles out on Oosh! An album project is something I’m considering for something later on in the year as well.” Paolo says that once he establishes Oosh!, he will be signing other artists, but not on the same label. “What I’m toying with is that once Oosh! is more established, I’ll come out with a sister label called Shoot which is almost Oosh! backwards and it would be other people’s productions. Oosh! is all about me and that was the whole point of it.” A long player is definitely on the books for later in the year, reiterates Paolo, because a lot of the ideas he is coming up with lately aren’t really dance floor friendly. “I’m thinking towards the back end of the year in the next six months. The way I work now is that I write my own tunes, but work with
an engineer. He’s very talented and gives me new ideas and new ways to express myself. A lot of what I’m thinking of now doesn’t necessarily fall into the design of a traditional dance track, though.” The new Mojo sound for 2008 is something a lot less dense than his previous oeuvre, but Paolo credits that more to efficiency than a penchant for minimalism. “I was at a bit of a crossroads with my production last year. I didn’t really know where I was going, but since the turn of the year, I’ve changed my sound a little bit. I found something that works from me and taken some influence from a lot of stuff the techno guys are doing. I’ve adapted it to the way I play as well, which I think keeps it funky. My new stuff is definitely darker and a lot more stripped down. Personally I think the new music is a lot more exciting and I’m very happy with what I’m playing at the moment. There’s been a lot of good music around during the past year and I’ve taken as much as I can onboard. I’ve found the direction of my sound in the studio, so that is good as well. “I wouldn’t call it minimal music, but in terms of structure I’m writing tracks now that have eleven or twelve elements, but you wouldn’t think that when you hear them. You’ve got to make every element stand out and what I do is listen to it and determine whether or not it serves a purpose. If it doesn’t, I get rid of it or make it do something.” www.myspace.com/paolomojo
“Runaway is a vocal track featuring Abigail Bailey. She sung Chris Lake’s song Changes and she is a great talent with a great voice. It’s kind of a poppy song with major remixes from big room remixes to minimal remixes. We have some Jerry Ropero, a new guy from The Swedish House Mafia, and a lot of surprises. “I’m always doing parts of instrumentals and I’ll save them for a while. Later I’ll go over the instrumentals and try to work on the vocals and melodies. It’s two parts where I’ll spend weeks just sitting in the studio producing beats over beats and lines over lines and then I’ll have a few days where I try to write top lines or try to get through the entire production. There are also times where I try to do everything all together. It’s a great feeling when you do something you enjoy. Runaway is a song that still gives me goose-bumps even after I produced it. Sometimes after working on a track for a while, you are over it, but Runaway I still like to listen to.” Tom says Toolroom contacted him about doing the new compilation, and it was an easy decision when Wally agreed to do the second disc. “I’ve known the Toolroom guys for a long time, but actually they contacted me and asked if I was open to do a remix compilation for the UK and world market. I thought it was a good idea, but we had a hard time finding a good partner. They came up with Wally Lopez and I’ve known Wally for a long time and I’m often doing gigs in Spain with him. I think the compilation is a really good one. If you listen to it, mine is a little bit deeper and starts off a little bit easier and then Wally takes it over and finishes it with a real smash. “I’m really into playing different kind of styles, like staring with beat and then going into electro with some hands up and big room stuff. In Germany we have this really huge underground minimal scene so there is a lot of good music coming from that. I like playing long sets, but that doesn’t mean I don’t like playing the normal sets. I’m doing both. I have one mix of the new single which is really perfect as an opener, but it depends because some of the clubs are smaller and not big room. I have to figure out where is the best place to play that track first.”
DANCE - LONDON // DON LETTS
Letts get ready to party
By Steve Tauschke
“I’m bringing what I always brought to the party – word, sound and power.”
I believe Mick Jones invited you to join Big Audio Dynamite because he enjoyed your “non-musical ideas” – can you elaborate on this? As I had no musical training I had no preconceived ideas when it came to music. How else would I come up with ideas like sampling bits of dialogue and sound effects from films? I couldn’t play an instrument but wanted to contribute to BAD and as it happens I did co-write most of the songs with Mick using my film background. Were you frightened initially at the prospect of per16
SAUCE #67
Following in the tradition of the “Gimme a Break” nights at Halo, giving local DJs a chance to show their skills, comes “Meat The Beat.” Promoted by new Hobart promoters, Broken Panda, the night will feature ten DJs, two rooms ... and, of course, one panda. Just use your imagination ... or whatever. In the words of key man, Milestone, “It’s a Tasmanian broken-beat showcase.” DJs playing on the night include Milestone, Mez, Project Weekend, Dameza, Outlaw, Adam Turner, Kyle, Woodhouse, Risky, B-Side, Pilot and Waz, with open decks in the bar from 4:30AM. The night is kicking off on Saturday May 10th @ Halo, followed by the third Friday of every month. Showcasing the latest in fat beats, fat breaks & obese drum-nbass for only $7, only suckers would miss out on this kind of line-up all in one night! Look out for the lucky door prize to be announced... Preliminary set list: Time Main Room 22.30 Milestone (dub’n’bass) 23.00 Mez (breaks/hip hop) 00.00 Dameza (trick set) 00.30 Adam Turner (breaks) 01.00 Adam Turner (breaks) 01.30 Woodhouse (dnb/breaks) 02.00 Woodhouse (dnb/breaks) 02.30 Milestone (dnb/jungle) 03.00 Milestone (dnb/jungle) 03.30 Waz (dnb) 04.00 Waz (dnb) 04.30 Woodhouse + Outlaw (dnb)
Your London clothing stores were gathering points for local artist and musicians ... was there a tangible community or sub-cultural spirit you were able to feed off during that period? My white mates were feeling pretty alienated by the popular music/club scene of the time. I was a first generation British-born black and alienation was part of the deal. Likeminded rebels would congregate in “Acme Attractions,” drawn in initially by the dub reggae sounds I’d be playing. In this environment we became closer by understanding our differences. We used our respective cultures to turn each other on! Tell us about your first trip to Jamaica in the 70s with Sex Pistol John Lyndon. John was the first person to take me to J.A.. He figured I was black so I must have been, but the closest I’d been to Jamaica was watching The Harder They Come in my local cinema. Tales a plenty – things like sitting in a smoke-filled studio watching Lee “Scratch” Perry produce reggae versions of the Sex Pistols tracks was pretty out-there though.
www.myspace.com/tomnovy
“MEAT THE BEAT”
Which medium was your first love growing up? I guess that would be predictably music, even though I was just listening. I grew up in a cultural climate where music was the primary source of information for young people looking for an alternative to what was on offer.
Was there a sense during the 70s punk era that history was being written? Not at all! It was a quest for individuality and empowerment. We were just expressing ourselves the best we could.
Meanwhile, his new VJing show is getting underway, but he says he won’t be launching that until he gets to Space in Ibiza this year. “I just got that new mixer and it’s a little bit too difficult to bring it over to Australia. I’m trying to find out if there is a way to bring a few DVDs with me, but it might be too early for that. I think VJing is cool because you still get a reaction from people. Of course there are certain clubs that just use LED’s or that just use a couple of screens behind the bars, so it doesn’t make any sense to use it. But for festivals and big rooms where you have the big screens, it’s an amazing effect.”
TASMANIAN BROKEN-BEAT SHOWCASE
From fashion guru to Grammy award-winning film maker to Big Audio Dynamite songwriter, Don Letts remains a human bridge between dub reggae and London’s 70s punks. SAUCE hears from Letts ahead of his debut Australian multimedia show this week …
Did you have a music-fashion-film epiphany at any early age? The whole thing came together with the punk rock explosion in the UK back in 1977. With its DIY ethos, I saw a way forward, and from Roxy DJ became Don Letts “filmmaker.”
Tom says the new single should be released officially in May, but it’s still early days. “I’m still in the promo situation, so we’re still talking to the labels. We have our partners worldwide, so it might take a while. I’m trying to do as much promo with the new single in Australia as I can and I’m sure it’s going to be picked by some big label.”
forming musically in a group? A pair of shades will get you a long way, and I had colored stickers on my keyboard while performing live. We’re talking punk rock here!
What’s the best thing your films/music has done for you? It’s helped me to be all I can be and stay connected to the planet.
Do you think BAD left a musical legacy? I’m really proud of BAD. A lot of the musical experiments – Jamaican bass lines mixed with hip-hop beats and rock ‘n’ roll guitar combined with melody, samples and a little rap – are now part of the fabric of contemporary pop music. BAD sign-posted the way that multi-cultural Britain was heading.
So what can we expect from your 2008 multi-media show here in Australia? Ask not what you can expect from me – ask what I can expect from you! I’m bringing what I always brought to the party – word, sound and power. Don Letts performs at Hobart’s Brisbane Hotel on May 12th.
Time 23.00 00.00 00.30 01.00 01.30 02.00 02.30 03.00 03.30 04.00 04.30
Bar Project Weekend (electro) Outlaw (dnb) Outlaw (dnb) Kyle (breaks) Kyle (breaks) Risky (dnb) Risky (dnb) B-Side + Pilot (hip-hop, electro, breaks, dnb) B-Side + Pilot (hip-hop, electro, breaks, dnb) B-Side + Pilot (hip-hop, electro, breaks, dnb) Open Decks
HIP-HOP - CALIFORNIA // EVE
Tastewithyoureyes
DANCE - SYDNEY // THE PRESETS By Carlisle Rogers
Eve looks great on film. Her music videos are electric lollipop candy-luscious colours and her strutting around in ridiculously high heels, no doubt from her own boutique clothing line, Fetish. Where the music and the image and the rumours meet, a soft-spoken girl done well makes it easy to forget she has sold nearly four million records thus far. Heading to Australia to co-host the MTV Australia Music Awards alongside guys like 50 Cent, Wyclef Jean, Scribe, Dizzee Rascal and Juliette Lewis, Eve brings a handful of singles from her forthcoming 2008 LP, Here I Am …
Surviving the big life By Carlisle Rogers
“I don’t know how much people in Australia know about my music,” Eve demurs, “so I’m not sure which singles they have heard. For me it will be brand new because it’s a new place I’m coming too, but of course they’ll hear Tambourine. I’ll be doing a record called All Night Long that I sing in entirety. All Night Long isn’t out yet and it’s a record I just decided to do on stage. The rest of the show will just be fun and energetic with some old stuff and some covers as well. I’m going to put a twist on everything, include some sing-a-longs and some reggae because reggae is my favourite. “I sang hooks and stuff before and when I was young I did sing, but once I started rapping it just felt like that was home. Once I started rapping I was like “oh, this is it” and I liked the attention I got from it more than anything. To go back to singing, especially singing a whole song, is difficult. I’ve never considered myself a singer. I feel like I can hold a note, but Alicia Keys is a singer, I’m not really a singer. I trusted working with Pharrell and he kind of talked me into it. And once I did it, singing All Night Long, I was glad I did it.” Here I Am, named after Bob Marley’s Sun is Shining, was finished last year, and Eve says that delays enabled her to perfect the album, rather than release it as it was. Heavily inspired by reggae, it features many pages taken from the reggae songbook, including a cover of Marley’s classic tune that gave the album its title. “It will be out this year, but we don’t have a date yet. It’s done and we finished it last year, but since we pulled it back I had time to go back in and do some more stuff and think about some other concepts which I was happy about. Now the record is a lot more cohesive and over the next couple of weeks I’ll probably go in and see which producers have what and if I hear something incredible I’ll do it, but we’re all good with the album. “I already have Sean Paul on the record. I did the remake of Sun is Shining, the title track, with a guy named Elan who sings with the Wailers on tour. I also have Sizzla on the album. I love the Sizzla record and I love reggae. That’s all I listen to every single day. I listen to everything from Jimmy Cliff to Mulatto, so I listen to it all.” So, back to those delicious videos: Eve says she has a big part in the production of her music videos. “I feel like since it’s visual you might as well just take it there. It’s something that somebody has to sit at home and watch, otherwise you can just listen to the record, but for me videos have to be creative. What we did for Tambourine was something I had never done before with the colours. I knew exactly what I wanted and I wanted my video to look like candy, like you
“You are born used to this life. I think you have to have a certain high threshold for pain …”
Eve and MTV VJ Cypha Sound appear onstage during MTV's Sucker Free at the MTV Times Square Studios on June 13, 2007 in New York City Photo by Bryan Bedder could touch it and I wanted it to be bright and visual. I feel like that’s the way videos should be. Missy has been doing that for years. Her videos are always amazing, creative and crazy. “I have to sit with the director and have meetings between myself and the director first. For Tambourine I knew what I wanted as far as colours and stuff and then the director presented some concepts. I definitely let her take the reins once we were on set because she came up with a lot of dope ideas, but as far as concepts, that’s something that we have to come up with together. I can’t just give it away to a producer, the label or anybody else.” Eve is bringing an entourage of twelve on the road to Australia, but she says she still likes to keep things relatively minimal on the stage. “I don’t like my stage show to be too cluttered. There will be a drummer, a bass player, a keyboardist, a DJ, two or three dancers and me. That’s not too many, but I’ll also have people doing lighting and whatever else I need production-wise. It will be fun and flow and I definitely do a lot of crowd participation. I love for the crowd to feel like they were involved in the entire show. I feed off the energy of the crowd, so hopefully they will be excited.” Eve is currently touring Australia. www.myspace.com/eve
DJ PROFILE
NAUGHTS
So, what’s your name then? Michael, but most people just call me Naughts.
I know this girl who can never remember what The Presets look like, and I always tell her, “Remember those guys we saw on the video screen at the bowling alley, pumping the air with their fists? One of them was wearing fingerless black leather gloves …” and then she remembers. In a musical landscape where everything has been done, then put in a blender, and done again, The Presets have come up with a whole sound all their own.
GIG REVIEW
Infected Mushroom
What do you like best about it? What do I like best about playing Syrup’s Tackyland? The pole. What sometimes pisses you off about it? Annoying punters and egotistical DJs. What makes you downright awesome? My incredible humility. Who’re some DJ heroes of yours, and why? Adam Turner (Syrup), ‘cos he plays like a demon and looks like he’s going a round with Mike Tyson while he’s at it. Tiesto, only because the first time I saw him play, the venue had the biggest fog machine I’ve seen in my life. His sets are actually way boring. Best DJ I’ve seen would have to be DJ Alfredo (Ibiza). He plays the best old-school sets mashed with new stuff – he really puts out. And he gave us a lift across the island at 10AM one morning after his set at Privilege, Ibiza. Look him up on the ‘net – he’s good! So, when and where can we catch you next? Tackyland, downstairs at Syrup next Saturday night. See you there!
For the last two years Kim and Julian have been travelling almost constantly, taking the show on the road. Kim says one of the things they have learned throughout it all, is that you can’t quite party all the time. But they definitely tried. “We are coming home for the V Festival and we’ll stay there a month, then to the US for a month to tour. You are born used to this life. I think you have to have a certain high threshold for pain. It is certainly not for the faint-hearted. It’s about having the energy to just keep doing it. It is a very tiring job with all the late nights. Not even just partying, but physically late nights with late shows and not much sleep before you have to go somewhere else. You have to have a bit of extra drive or something. So we’ll be back here in June to do a big tour, and we’ll probably be touring for the next couple of years.
“When we first started touring, we were excited about going to all of these places, meeting people, going to after parties, taking lots of drugs, and after a while you get over the shallowness of it all. We just try to stick with each other and make it as painless as possible. It gets lonely, so you have to make the most of it. It is a weird life. Every night you’re getting really hyped up playing, and then all of a sudden it’s finished and what do you do? You have this adrenalin rush and it’s tempting to go out and have a party, but you have to save yourself for the next night.” Apocalypso is out now. www.myspace.com/thepresets
DJ PROFILE
NICK C
So, what’s your name then? After thinking long and hard, I came up with the really original DJ name of Nick C.
SYRUP – 28/02/08
What’ve you been up to lately? Not a great deal. I’m a pretty lazy guy, so that makes it hard for me to get out there and do stuff ... I’ve just recently got a new job, but that’s not really what you want to hear about. How long have you been DJing? I only worked this out the other day; I’ve been at Syrup now for a bit over seven years, which seems like a long time when you think about it, so I try not to …
How long have you been DJing? About thirty-one years. I started in Sydney at about age fifteen and haven’t stopped since. Is there a medal or Hall of Fame for that sort of thing?
What’s in a genre these days? They’re all so cross-pollinated.
Kim Moyes, one half of those great album covers alongside Julian Hamilton, says the sophomore record was created all over the globe over the last year or so. “We made the album over about a year in a few different places. We worked at a studio on a farm in Byron Bay for a couple of weeks to start writing. We did quite a bit of work when we were on tour. We were based in Berlin for the European festivals tour last June/July, and we both have project studios at home. We did most of the recording ourselves and finished the songs in a friend’s studio and had it all mixed in L.A. So it’s quite a geographically broad record.”
When we first started touring it was all about getting drunk and having a bit of a party and all. After a while you get over it and you realise that your body can’t keep up with it. These days we amuse ourselves by trying to find really great food wherever we go. That is especially challenging in the UK. We have been trying to find great little delis, organic places and restaurants. We have been reading the papers in every country we go to. We go to see movies whenever we get a chance to have some time off. Nothing too rock ‘n’ roll.
What’ve you been up to lately? Recently been in Thailand for a mate’s wedding, and, of course, while there I had to do the Full Moon Party at Koh Phangang. I got very mashed. Always doing lots of sailing, sailing and more sailing ... I’m also getting into Lego Robotics with my ten-year-old son; these things are way fun, there’s nothing you can’t program them to do. It sure beats the Lego I had when I was ten.
What styles do you dabble in, and why? I’d have to say I like 80s electro, techno and house, some funk, and, believe it or not, I don’t mind some of the new RnB stuff. I try to mash it up a bit, but, well, what come out comes out. At least I can always get people dancing.
Their long-awaited second album, Apocalypso, takes another bite from their dystopian musical outlook, but this time it tastes a lot more accessible, and sounds better and better the more you turn it up. It gathers all the sprawling crescendos of Midnight Juggernauts’ debut and the viscera of electro and condenses and compresses them into a kind of acid techno vacuum tube.
On the morning of the 29th, the cleaners of Syrup received a rude shock when they noticed that there was more sweat than ever on the floor to clean up, after Infected Mushroom lit the place on fire. The Israeli/American four-piece were truly magic from their first song right through to their last, promoting some of their new music from the upcoming album, with some of their classics such as Cities Of The Future and I Wish really keeping the crowd bouncing up to the ceiling. With a lot of their new music, the guys from Infected Mushroom have added a heavy metal theme to their mix of kicking beats, also adding solos on guitar, as well as their mind-numbing mixing of sounds – just going to show how musically talented and diverse Infected Mushroom are. Lead singer, the smoothly shaven Duvdev, was really great with the crowd, getting them involved with the music. Duvdev was quite the performer, using all the stage and bouncing along with the audience. I don’t think I have seen a musician smile as much as Duvdev did – showing that the Hobart crowd was a fantastic one. Infected Mushroom was by far one of the best live shows that I have seen so far. Everything, from the lights to the sounds, was awesome. So next time they come to Australia, make sure you get a ticket! It will be an experience that any music lover won’t forget. MICHAEL MARSHALL
What styles do you dabble in, and why? At Syrup I play in Tackyland, so I’m pretty much restricted to 70s and 80s, and now some of the 90s stuff is getting old enough to get a run there now. I prefer the funky stuff; disco, funk, old school RNB, that sort of stuff. What do you like best about it? I know it sounds like a bit of a cliché, but it’s a really fun job, making all these people dance. Syrup’s a great place to work; all the other staff are great people, and you get some interesting people coming in. What sometimes pisses you off about it? Pissed dickheads, or just dickheads in general, I guess – they don’t necessarily have to be pissed, and people who think the whole world revolves around them. What makes you downright awesome? Geez, that’s a tough one. I’m just being me; if people think I’m awesome, great. If they don’t, I’m sure I’ll get over it. Who’re some DJ heroes of yours, and why? My favourite DJ at the minute is DJ Yoda; he’s awesome, mixes anything and everything, and makes it sound good. If you saw him at Syrup last year, you’d understand. I’m also a fan of mash-up DJs – people like GirlTalk, DJ Party Ben & Diplo. I went to Daft Punk late last year, and the show they put on was unbelievable – easily the best musical event I’ve been to. So, when and where can we catch you next? I’m at Syrup every Friday night, starting from 10pm. SAUCE #67
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CAFE REVIEW ISLAND ESPRESSO ELIZABETH STREET, HOBART Islands. A million tiny particles of sweeping white sand, stretching out to meet a peaceful, rippling sea. Lying back on the pillows of an outstretched beach-chair. Little multicoloured umbrellas and bendy straws sticking out of refreshing, ice-cold beverages. I’m sure that many of us associate these things with a simple type of paradise, the kind of which you might experience on a little slice of the Bahamas – at least, I know I do. But for all of those people whose busy suburban lifestyles mean that in the day-to-day city rush they have forgotten that we live on our own island paradise here in Tasmania, there is good news. Such serenity and relaxation is still entirely possible and not so hard to find. Sure, those umbrella drink toppers aren’t in wide usage anymore, but they went out of fashion in the noughties, anyway. There is a small undisturbed getaway on our doorstep, right in Hobart city. A little islet of paradise nestled unobtrusively in Elizabeth Street: and no, it’s not a mirage. Island Espresso is what I am referring too. Once you step through the doors and the sound of the road is distinctly cut off, it’s hard not to glance around and feel that you have reached a secret treasure – a place of true island delights. Upstairs in the loft an embrace of couches can be found; a curved, soft escape for a group of friends wanting to sit back and chat, or for those canoodling lovers looking for somewhere to languish quietly in each other’s company. If these seats are taken by other like-minded patrons then there are always a number of little café tables spread neatly around both upstairs and down. For those who don’t wish to evade city life completely, and feel the need to stay in touch with our ever-changing technology, there is also a computer in the corner downstairs that can be utilised to check emails or search the net.
“Once you step through the doors and the sound of the road is distinctly cut off, it’s hard not to glance around and feel that you have reached a secret treasure – a place of true island delights.”
The ranges of drinks don’t come with novelty umbrellas, but they are nothing short of delightful. There are a tasty collection of flavoured milkshakes or health smoothies for the body conscious; or why not treat yourself to a delicious iced chocolate or mocha with dollops of ice-cream and cream? A selection of hot-chocolates, teas and coffees are a specialty, with more flavours than you could poke a straw at. For any meal of the day there is a scrumptious selection of food, my favourite being nachos with a choice of three toppings, and the all-day-brekkie; or for a cheaper snack why not try herb bread? For desert there are divine slices of cake - or when you don’t mind a delectable splurge, try the Island Delight. With just the right amounts of ice-cream, fruit topping and berry coulis in a tall glass, it’s an atoll of berry heaven for taste-buds. NICOLE CALABRIA
Spilling Bodies
STEPPING OUT
The Hobart Repertory Theatre Society presents Stepping Out at The Playhouse Theatre, running until the 3rd of May. “The comedy with two left feet” is directed by Allan Jeffrey, written by Richard Harris, and features choreography by Mandy Cashion. Bookings at Centertainment on 6234 5998, or www.centertainment.com.au
CENTRSTAGE 2008 SEASON “The hard part is not the falling. The hard part is coming back to earth.” I honour contemporary theatre, I really do, but one place this play does not tread is on the ground. Spurious associations between characters lead to emo-esque declarations as they all “fall”; fall down from seizures, fall from grace, fall pregnant. That the idiosyncratic usage of the word “falling” (that strange conception of clumsy, fertile women) was seen as a viable exploration of falling as a metaphor illustrates the contrivances of the script. Despite this, I am genuinely always thrilled to see local theatre take chances, and in no way intend to discourage with my working class sensibilities.
ACTING WORKSHOPS
The industry experts behind Neighbours are bringing their skills to Hobart for a series of acting workshops. Jan Russ, the casting director behind the show – one of the top-rating dramas in our country – and also an experienced director, Helen Gaynor, are putting on these workshops for Screen Actors Australia. “Being Cast and Acting in Fast Turnaround TV” will teach intensive casting and acting techniques for adults and older teens on the 3rd of May, and a second course for younger teens and children on the 4th. The workshops will cost $375, and places are limited. To make a booking, email coordsas@bigpond.net.au, phone 1300 559 097, or check out the “Courses” section of the Screen Actors website; www.screenactors.com.au
I have no desire for our stages to be permanent fodder for middle-class ramblings and for local theatre to be as stuffy as so many believe it to be. Shudder! So it is my whimsical belief that, though this play was a little too fluffy for this reviewer and my companions, the writer, and this production’s director should be lauded for bringing it into existence, as a script, and to CentrStage in Tasmania. At least they are bringing us humanity on an unconventional (if not slightly self-indulgent) plate. Now to the performances. Georgina Todman charmed
SKATE AND URBAN PHOTOGRAPHY EXHIBITION the audience with her knack for being physically awkward or radiant without reticence and often within the one act. However her performance was weakened by a mildly caricature-istic rendering of their personalities. Travis Hennessy played “the man falling apart,” and it was with tender empathy that he explored the flaws and strengths of this wretched creature. Respite from the emo-tones came in the form of the pregnant Evie, performed by the luminous Paige Rattray (who can deliver a line as if she had thought to say it herself), allowing Evie greater depth than the script provided. The confident James Harrison – “the boy who fell from grace” – is a young actor to watch, and though still attending college, he held his own alongside three professional actors. The final, and slightly tarnished, star of the show was the set. The scaffolding, as an allegory of falling, was fitting – after all, you need to ascend to descend, but despite innovative usage, it framed and loomed over the play, crowding the show, literally and figuratively. The direction of the cast nurtured strong performances from all in the cast, despite the script stumbling over its own exuberant metaphors. In summary, Spilling Bodies was clever, and in love with its cleverness, but the performances were proof that Tassie thespians have talent worth paying to see. CLARA MURRAY
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SAUCE #67
MAHAJANOK
Duncan Ewington – photographer, former SAUCE contributor and skateboarding fanatic – is currently holding an exhibition at Jimmy’s Skate & Street in Hobart. Four Wheels and a Camera features both his own work and contributions from other photographers around the state, and will be showing until May 2nd.
GALLERY WATCH
Colour and Collections @ Colville Street Art Gallery – running until May 15th – works by Fernando Do Campo, David Boyd, Elizabeth Cummings, Brett Whitley Art from the Grasslands of Cameroon @ Sidewalk Tribal Galleries – running throughout May – African sculpture. Memory @ Despard Gallery – running until May 14th – works focusing on the experience of colour and light. Branded @ Despard Gallery – running from May 16th – works by Simon Cuthbert – photographs exploring the power of the brand. Amanda Parer and Julian Thompson @ The Salamanca Collection – running until May 13th. Luke Wagner @ The Salamanca Collection – running from May 16th. New Work @ Criterion Gallery – running until May 10th – Fiona Lee: site-specific installation.
Presented by Makhampom Theatre Group (Thailand), directed by and featuring Pradit Prasartthong – contemporary issues communicated through traditional Thai dance-drama. Makhampom Theatre Group is Thailand’s foremost contemporary theatre company with bases in a purpose built complex (The Living Theatre Centre, Chiang Dao) in Northern Thailand and in Bangkok. Makhampom has a twenty-six year history over four main areas of practice; performance, community, education and international outreach. To complement the context of their theatre practice, they have developed a style that combines Thai contemporary and traditional Thai performance styles with community cultural development techniques. One show only - Peacock Theatre – Thursday 22nd May 7PM Tickets $20.00, $15.00 concession – bookings essential – magdalenagrubski@yahoo.com.au – 0414 319 337
DVD REVIEW
FILM WAT CAT FILMS When: Wednesday April 30th, 7:30pm Where: The Alley Cat Bar, Elizabeth St, North Hobart Cost: Free
MERRICK AND ROSSO Live! And Totally Wrong! 3/10 The exclamation marks give it away. This is ninety minutes of the intention to be funny and shocking, but that’s all. But because they are traditionally “funny bastards,” I stuck with this for about forty minutes, then I ran up the white flag.
Wide Angle Tasmania (W.A.T.), Tasmania’s screen resource centre, are pleased to announce regular monthly screenings of short films at The Alley Cat. The aim of this program is to encourage discussion, debate and appreciation for the work of emerging filmmakers. Anyone with an interest in film will be able to enjoy viewing works from around the state and around the country in a relaxed and informal atmosphere.
First up, you see the boys arrive at Dubbo, and some of the locals are there at the airport to greet them. The locals include a woman and her toddler with a pink sign that reads “Russo meet your son!” Rosso kindly ignores his name being miss-spelt and greets ‘his child.’ I am telling you this because it was a cute moment, and made me laugh. In fact Merrick and Rosso, just off the plane, had a better vibe on the DVD than when they donned emerald seventies suits for their stand-up show at the Dubbo RSL. On stage, they leapt valiantly across all boundaries of good taste, but sadly too soon, and there they remained, thrashing around in the hallowed land of wrong, getting more and more desperate. At one stage in their act, Rosso loses his way in some story about his once-long hair and a boat, and starts again without realising that he is now word-for-word reciting a joke he as already all but told. The audience can almost be heard to sigh as he retells it to them in overly jocular bloke-at-the-pub style – again. Now I love the idea of a DVD being taped at some RSL in Dubbo unseen by the boys. It’s random, like their humour, and takes the piss of the very stylised shows in upmarket venues that other artists choose. But when they try to produce a memorised routine, they land on their retro green arses. Rehearsed material works for so many comedy routines, but, like Madonna in that virgin song, they can make it feel like the very first time for their audiences. But these guys, who we love for their smart-arse banter, should leave the scripts at home. CLARA MURRAY
This month will be a repeat screening of the Summer Screen Safari films made in the last couple of months with the assistance of guerilla film maker Rachael Lucas. PORTABLE WORLDS SECOND EDITION MOBILE PHONE – TWO-DAY WORKSHOPS Hobart When: Thursday 1st May & Friday 2nd May Where: The Venue, Salamanca Arts Centre (off Wooby’s Lane) Launceston When: Saturday 3rd May & Sunday 4th May Where: Launceston (venue TBC) Cost: $120 (waged), $60 (unwaged)
WIDE ANGLE FILM MASTERCLASS – LAST CHANCE FOR ENTRIES If you want to be one of twenty aspiring Tassie actors and filmmakers to attend a four-day masterclass with distinguished members of the Aussie film industry, you’d better get your skates on, because applications are closing on the 30th of April! The course will be overseen by Di Drew, All Saints producer and veteran of such Australian TV staples as GP, A Country Practice and Bananas In Pyjamas. Drew will be joined on this course by acclaimed Aussie actors Tara Morice and Genevieve Picot (who between them have featured in Moulin Rouge, Strictly Ballroom, Muriel’s Wedding and Proof.) Interested parties should contact Wide Angle at info@wideangle.org.au, or 6223 8344.
works giving a thematic perspective of “seeing the world through the eyes of women”. For more info go to www.wideangle.org.au or email info@ wideangle.org.au or call 03 6223 8344 ACTORS WANTED Local filmmakers are looking for actors to fill three roles in the cast of a micro-budget splatter horror film soon to enter production. The filmmakers are looking for one actor between forty and sixty to play a fisherman/sailor, and two twenty-something males – one to play the villain, and one to play the hero. Interested parties should contact Grant on 0403 844 273, or email cursedcovethemovie@yahoo. com.au
WOW TOURING FILM FESTIVAL Venue: Peacock Theatre, Salamanca Arts Centre When: 3 programs – 2pm and 6pm 3rd May, 2pm 4th May Cost: $8 full & $6 concession per session Website: www.wift.org/wow
TASSIE MUSIC VIDEOS WANTED Wide Angle Tasmania are calling for submissions of Tasmanian music film clips to show at a future screening at Hobart’s Alley Cat Bar. Just post to Space 123 Salamanca Arts Centre, 77 Salamanca Place, Hobart 7004, or drop a copy into them directly (entrance via Wooby’s Lane). Ph. 6223 8344 for more info.
WOW is a short film festival that promotes and awards the talents of women directors, producers, writers, editors and cinematographers in the Australian film industry and in Oceania. It is a unique festival that offers emerging and established filmmakers the opportunity to screen short
TRASHARAMA – CALL FOR ENTRIES Australia’s nastiest touring film festival is calling for entries for its 12th year of soul-searing “sinematic” insanity! The deadline for submissions is the 14th of August – for entry forms, venue listings and more, go to www.trasharama.com.au
*Please note – participants should provide their own laptop and load appropriate software prior to the course. If you do not have access to a laptop, a limited number of laptops are available to use during the workshop in Hobart, or in Launceston you can use desktop computers in a lab. These two-day “making creative content for mobile phones” workshops take participants through the basics of capturing, editing, encoding and transferring animations and film onto mobile phones. View the works and download an Education Pack from www. anat.org.au/portableworlds To book a place in the Hobart workshop please email: info@wideangle.org.au or call 6223 8344. To book a place in the Launceston workshop, please email info@tasregionalarts.org.au.
DVD REVIEWS GABRIEL 7/10
FIDO 4/10
With the 2007 film Gabriel, director Shane Abbess set out to make a genre film unlike anything we have produced in Australia. He and his crew tried to make the kind of film that they liked watching in their younger years; something that made them excited to be an audience member. With influences like The Crow and Dark City (both by, ironically, another Australian director, Alex Proyas) Gabriel does its utmost to be a cult classic and an intense action/drama. It even manages to succeed at times.
Genre-bending is an admirable tool to employ when making a film. Pushing a concept into areas that it would not normally go, or even combining genres to try and create something completely new, has resulted in some of the best and most loved films of all time. Mixing horror and comedy gave us Ghostbusters and Scream. Combining the buddy road movie with puppets gave us The Muppet Movie. So often the mix of themes and concepts brings a film to life in unexpected and delightful ways.
The title character, Gabriel is an Arc (or Archangel) sent from “The Light” to a sprawling gothic city, which is the representation of purgatory. He has been dispatched as the final chess piece in an eternal struggle between “The Light” and “The Fallen”. Six angels have gone before him, as have six from the other side, and the war is gradually being lost to the darkness.
Yet when you go combining 50s-style suburbia with zombies … well, somehow it doesn’t quite work. Fido is a bizarre mish-mash of styles and genres which, while sounding good on paper, ends up feeling a little too strange for its own good.
Gabriel arrives and has to quickly learn the rules of the world through his encounters with the bad guys and his predecessors. He learns that the use of his power is a beacon to the other side and therefore it must be hidden, yet to win he must do just that. However it is what has happened to each of the warriors from The Light that is the real shock, as in most cases they have given up on life or in some cases something much worse. There is an unsurprising love interest in the form of the exangel Jade and a fairly typical cast of appropriately creepy villains who each end up meeting their fate in appropriate ways. Sadly though, they all seem somewhat thinly drawn to the point of being mostly unmemorable. The real strength in the film lies in its style. Visually it is spectacular, so much so that it’s almost unbelievable that it was shot on HD video! And, shot for a fraction of the cost of any comparable feature. Its fight sequences are extremely well thought-out and inventive, and its set design is absolutely exceptional. It’s really style-over-substance, and yet it is
difficult to begrudge it that. It is extremely aware of its own genre and also its potential audience, and it is not ashamed to play to them. Gabriel feels like a very young film. It is the director’s first feature film as both director and writer, and that is very apparent at times. It is occasionally poorly paced and tedious, but what is more apparent is that it is trying so hard to be taken seriously that it forgets to have moments of light. The dialogue swings from pretentious to ridiculous and occasionally to beautiful, though it never seems to really ramp up to any real climax. And perhaps that is indicative of the whole film – it’s an excellent example of the kind of film that can be produced in Australia, but it never quite reaches the heights it aims for. I just hope that the creative people involved can continue to be creative in its wake. DAVID QUINN
Fido is set in a post-zombie-apocalypse world, where the survivors have walled themselves into secure towns and have even managed to domesticate the walking dead to become something approximating an underclass of servants or slaves. They have become a status symbol to some, while to others they are seen as pets or “companions.” (Yes, they do go there.) Which is where Fido comes in. Billy Connelly’s Fido is the house-zombie of the dysfunctional Robinson family. The Robinsons are a family in which the father Bill (Dylan Baker) lives in constant fear of death and zombiedom, while wife Helen (Carrie-Anne Moss) is desperately attempting to live every day as it comes, and focus on the task of giving life itself. Timmy Robinson (K’Sun Ray) is central to the entire story however, as he is the one actively questioning the status quo, and he is also the one who ends up befriending the zombie. Fido is essentially the story of a boy and his dog – though in this case the dog is a six-foot-tall Scotsman in bad make-up who will kill you if given half a chance. (And there the line between Connelly and his character gets blurry.) Where the story gets somewhat perplexing and disturbing however, is in the relationship between the mother and
Fido. If we are using analogies, this is the film in which “Old Yeller”, the faithful hound, is not only well loved by the boy, but is also developing a romantic interest in good old mum too. That’s just weird. Especially when mum is pregnant again! Fido explores the ideas of life, love and loyalty with a style that is so bizarre it is disconcerting. It’s played for comedy half the time, and occasionally for horror, but all with a clinical and detached perspective that makes it hard to engage with. Performances are generally okay, but Connelly’s Fido could have been played by anyone and is a wasted opportunity. Carrie-Anne Moss however is good, albeit weird. It’s just nice to see her out of her Matrix leathers. Fido is a film that will polarise its audience, though that may have been its intent from the start. DAVID QUINN
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SAUCE #67
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BLUE MURDER, BLUNT & BOMBSHELL PRESENT
254 Mount St Upper Burnie 7320
“SEE YOU AT THE DOOR AT SOME STAGE”
THURSDAY MAY 1
Jazz Club '08 Viktor Zappner Swingtet Featuring Carl Bulow from Launceston on saxophones 7:30pm $7
Recording Mixing Mastering Production Bookings Essential Call Dave Venter for a quote 0408 373 066 or email fatlipstudios@gmail.com
Launceston Studio www.myspace.com/fatlipstudios
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FRIDAY MAY 2
M OM Y 8:00pm $7
CASH PAID For Quality CDs, Vinyl & Music DVDs
SATURDAY MAY 3
We Have A HUGE Range Of Music Tees!
Marita Mangano
Simon Astley
102 Elizabeth St Hobart 6234 2039
8:00pm $10
STRANGERS IN THE OUTBACK AUSTRALIAN TOUR 2008
SAT 12TH JULY UNI OF TASMANIA HOBART
THURSDAY MAY 8
Jazz Club '08 Viktor Zappner Swingtet Featuring Paul Martin from Cygnet on clarinet, alto and tenor saxophones. 7:30pm $7
FRIDAY MAY 9
TICKETS ON SALE
9AM FRIDAY 2ND MAY FROM UNI CONTACT CENTRES: HOBART 6226 2495 & LAUNCESTON 03 6324 3757, RUFFCUT RECORDS 03 6234 8600, MOJO MUSIC LAUNCESTON 03 6334 5677 RED HOT CDS DEVONPORT 03 6424 9816
Alley Cat
The Alley Cat Bar 381 Elizabeth Eli b th Street St t N North th H Hobart b t - ph: h 03 6231 22 2299
THURSDAY 1ST 'The Alley Cat Cabaret' Uma the french maid presents a night of sensual, sensational spectacle starring Mr Cecil Brown Tania Bosak World Famous Puppetry Ms Nicole Parums Ms Meredith Cole Ms Flicka Jane Mr Jeff Michel and songstress divine Ms Alison Farrow 8.30pm
FRIDAY 2ND MIQ SATURDAY 3RD The Green Mist THURSDAY 8TH Samuel Cole Josh Masey SATURDAY 10TH Riot Act SUNDAY 11TH A little Cabaret Brutalitae
LAUNCESTON’S
Nikki Nicholls, Tapestry (The Songs of Carole King) $75 dinner & show - $45 show only 8:00pm
SATURDAY MAY 10
Nikki Nicholls, Tapestry (The Songs of Carole King) $75 dinner & show - $45 show only 8:00pm
Music 7 days a week Original music wednesdays Cosy log fires every night
'there's always something happening at irish'
stagedoor@keypoint.com.au 20
SAUCE #67
211 Brisbane St Launceston 6331 4440
SURF SPOT TASSIE SURFER PROFILE
HAMISH RENWICK So who are you, and what do you do for a living? Hamish Renwick; I am a student at Rokeby High. How long have you been surfing? What got you started? Started when I was four or five, so have been surfing for about nine years. Started surfing through Tassie winters when I was eight. What’s your regular surfing haunt? And what do you like best about it? You can usually find me at Rebounds after school. The reason why is it has the most power on South Arm, and you get good barrels, and try airs. When was the last time things went completely tits-up on the water? Any injuries or freaky moments? When we were in South Australia and surfing Waits with the Tas Junior Team, we saw a massive shark. There were four of us surfing this right-hand point, and then we quickly went back to join the rest of the team. The greater the number in the water, the less odds of getting eaten. What do you love most about surfing? Love warm water surfing and wilderness surfing. In Tassie, if you know the right people, you can get to surf some great waves with very few people. Last year I went on the Surfrider Foundation West Coast beach cleanup and scored some awesome waves between trawling the beaches for rubbish. What kind of board do you use, and why? What can you tell us about it? I am surfing DHD boards. At the moment I have a 5’6” and a 5’10”. I find them really light and responsive. I also surf local shaper Nick Stranger’s boards.
“The greater the number in the water, the less odds of getting eaten.”
Who are some of your surfing idols, and why? T The Tassie crew who surf Shipsterns for their guts and big tube-riding sskills. Mick Fanning for his speed. Taj for his amazing airs and Joel Parkinson for his style. W What competing have you done? And is that an aim for the futture? A At the moment I am competing in the Billabong Parko Grom Stomp at Coloundra, but I just got knocked out in my quarter final. I try to do all the local comps from under 16 to Open Mens, and get in a few big mainland ones like the Rip Curl Gromsearchs, the Occy , the Parko and the Rusty Gromfest. My aim is to do as well as I can in comps, but I really love travelling and ssurfing with my friends. Going in comps means you make friends all over the country, and also in other countries.
ADVENTURE HOLLYBANK TREETOPS ADVENTURE I’m standing on Cloud Station #5 and Ged is calling in support from a Skywalker named Tillsy. With the kind of precision best attributed to one trained in the military, Tillsy sails onto the platform. “Nice landing,” says Ged. It’s a sentiment shared by all of us gathered on Cloud Station #5. We’ve all come to appreciate the grace of a good landing over the last two-and-a-half hours. And thanks to the skill and charisma of our guides, we’ve come to appreciate the bushland over which we are soaring. In operation for about three months now, the Hollybank Treetops Adventure is a bush experience tailor-made for those who just can’t commit to a bushwalk over a day or two. Instead, bushwalkers become Skywalkers (though you’re encouraged to leave your light-sabres back at base). Over a 2.7km course of cable suspended above the trees from twenty to eighty metres high, your best friend is a safety harness, and your guides are your lifelines. In this case, our guides for the day, Ged and Tillsy, for all their aerial nous, are down-to-earth, friendly, and warm. Their intimate knowledge of the bush is infectious – they love it, they love telling us about it, and we love hearing about it.
“Their intimate knowledge of the bush is infectious - they love it, they love telling us about it, and we love hearing about it.”
But then the time comes to step off the platform and let gravity do its thing. We’ve all undergone a comprehensive safety and training session before heading to our first Cloud Station but, as I’m not a great fan of heights, I soon accelerate to “screaming-like-a-girl” speed and completely fail to take in the gorgeous vista of flora beneath me. On arrival at Cloud Base #6 however, I am assured that I’ve also made a good landing (and I agree, as I’ve walked away from it), and that the river below is a beautiful sight at this time of day. Clutching the safety rail as I await the rest of today’s party to arrive on the penultimate Cloud Station, I concur that the river below, bathed in the golden glow of a late-afternoon early autumn sun is, indeed, a beautiful sight … now that I have the time to appreciate it. Someone else who has the time to appreciate it is eight-year old Jennifer, the youngest of a family of four from the Gold Coast. Due to her body weight, Jennifer hasn’t made it all the way along the longest cable (371 metres) to Cloud Base #6. Suspended about fifty metres from the ground and about thirty away from the landing, Jennifer – to her credit – is quite happy to take in the scenery while Ged proceeds back along the cable to retrieve her. He soon returns with Jennifer in tow, both of them grinning like they’ve shared a private joke – probably something along the lines of “did you hear Chris screaming like a girl?” Too soon, after a short walk through the wonderful surrounds of Hollybank reserve, we’ve arrived back at base. It’s been an exhilarating ride, and I find myself missing the thrill of sailing along the treetops. The afternoon has hammered home to me that, for those who don’t give a flying fox about the destination, the Hollybank Treetops Adventure, more than anything else, is all about the journey. CHRIS RATTRAY
The Hollybank Treetops Adventure is located at Hollybank, about 20kms out of Launceston. Tours depart hourly and bookings are recommended. For more information, go to http://www. treetopsadventure.com.au. SAUCE #67
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Street Fashion
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Blake 25
Erin 16
Kayla 16
Pav 28
Favourite band? Bass Hunter Favourite TV show? I can think of better ways to rot my brain How often do you buy the newspaper? Rarely What radio station do you listen to? Triple J What do you look at most – a computer screen, or a TV screen? Computer Where do you mostly go on the internet? (porn site that we can’t mention) What makes you mad? Tibetan monks who question my morals. What would you do if you were invisible? Make the most mind-boggling home porn What’s the best way to spend a night? Being invisible
Favourite band? Killswitch Engage Favourite TV show? Don’t watch TV How often do you buy the newspaper? Never What radio station do you listen to? Triple J What do you look at most – a computer screen, or a TV screen? TV Where do you mostly go on the internet? Myspace What makes you mad? I rage on goon What would you do if you were invisible? Anything possible What’s the best way to spend a night? Pissed off my custard
Favourite band? Cradle Of Filth Favourite TV show? Don’t watch TV How often do you buy the newspaper? Never What radio station do you listen to? None What do you look at most – a computer screen, or a TV screen? Computer Where do you mostly go on the internet? Myspace What makes you mad? Erin when she rages on goon What would you do if you were invisible? Anything and everything What’s the best way to spend a night? Drunk
Favourite band? Godsmack Favourite TV show? Scrubs How often do you buy the newspaper? Rarely What radio station do you listen to? None What do you look at most – a computer screen, or a TV screen? Computer Where do you mostly go on the internet? Facebook What makes you mad? Insanity What would you do if you were invisible? … [giggles] What’s the best way to spend a night? With friends
SAUCE #67
COMEDY - SCOTLAND // MALCOLM MIDDLETON
Taking it less than seriously
By Carlisle Rogers
Malcolm Middleton’s fourth album, Sleight of Heart, was originally planned to be an acoustic EP, and it has been accused of being a means to cleaning up the loose ends from last year’s meteoric A Brighter Beat. What it is, however, is an album that’s just as strong as his last, if not stronger, a couple of cutting-room-floor classics and covers notwithstanding. Headed to Australia to tour with the new tunes, he’s adamant that they are new tunes. … “I think that’s my fault or the press agent’s,” confides Malcolm, in his easy, melancholy with a smile way, “because someone said it was like old songs and covers and it doesn’t feel like that to me. It feels like a complete record and it feels nice. It’s not just old crap I found somewhere laying about. “Sleight of Heart was about not trying to do anything spectacular. I’d written a couple of songs last summer; Blue Plastic Bags, Love Comes in Waves, and Follow the Robin Down. The idea was to record an acoustic EP for something to do because I was bored. I had a couple of songs called Week Off and Total Belief which I tried to record for Into the Woods and A Brighter Beat but had never been happy with, and the idea of trying to do some cover songs all came together and the next thing I knew I had nine songs and half a record. I recorded it in four days and was really relaxed. The idea was not to go into production and do a grand statement of what I’m trying to do. I just wanted to relax and have fun and not take myself too seriously.” And how can you take yourself too seriously when, just last
Christmas, your song titled We’re All Going to Die was vying for the number one Christmas spot, a la Love Actually. Sure, it didn’t happen, but it proves people in the UK either take themselves entirely too seriously, or not seriously enough. Written in Glasgow, Sleight of Heart was produced by Malcolm and Paul Savage, who lends drums to the record. Mogwai’s Barry Burns plays piano on the album, and Tony Doogan helps out in the studio. Malcolm says it isn’t the album he intended to make, because he didn’t expect it to be this good. “I’m really pleased with it now. It’s got a couple of really strong songs like the first one, Week Off and Total Belief which I tried to record a couple of years ago and couldn’t, so I’m happy about that. I produced it myself and Paul Savage helped. He does a lot of drumming on the records. There were a lot of struggles on the album, and I trust him, but I had to plan for the album to be entirely acoustic and he kept saying ‘let’s get some drums in here’ and I had to say ‘god no, let’s not.’ I kept recording stuff and the next thing you know I
had people coming in with violins and all the rest.” Malcolm says that when it came to writing the album, he tends to let inspiration find him, rather than obeying Jack London and going after it with a stick. “I don’t force inspiration because nothing good comes from that for me personally. It just seems to come quite naturally. I will just write when I’m feeling something, or I’m thinking a certain thing, I’ll just scribble it down. I’ll come back to it later a bit more objective about it to see if I’ve explained how I was feeling in an original way or interesting way, then I’ll start forming it into a song or patch a few things together. “Songs like Blue Plastic Bags came quite quick, and it seemed to be of its time. It was capturing something going on in Britain just now. I don’t sit down and write an album and do all the work at once. I do pieces, but songs like Blue Plastic Bags and Love Comes in Waves, I thought that if I don’t record them now I’m going to be bored with them because they are such simple songs. I just wanted to do something with them straightaway.”
Middleton credits his Madonna cover with a long infatuation. “When I was ten years old I had a slight infatuation with the woman. I listened to pop music until I was fourteen and then discovered the evil joys of heavy metal, but I loved the Like a Virgin album and Stay was always my favourite song. I think the mood of it struck me because it’s quite an upbeat song with downbeat lyrics and had quite an effect on me. “If I could cover anything, I would probably do Somewhere in Time by Iron Maiden. It’s quite an amazing record and I think it has the best production. It’s got a couple of howlers at the end, but it’s a strong album.” www.myspace.com/malcolmmiddleton
STRUTH BE TOLD
I tip the last drops of water into my mouth and rinse out my glass, steering the tap lever up and left. Fluid thunders out of the pipe like tubular ocean – the Amazonian sound-spray filling my ears. The weight of a hundred micro-storms splice over my hand as if my knuckles were river-rocks. I stare into the black drain-hole as the raindrop tapestry pours like a dragon-wound, sluicing in with dish grit, and dissipating like a star. It’s been eight earth seconds and only now are the artificial cogs of man-churned electricity affecting the water. Gradually the temperature rises – so gradually my hand is deceived and the atmosphere of my skin throbs like a dessert. I grab the glass and thrust it under. The tap drills deep into the little tank, the hull bursting forth like a devastated dam, forcing core layers to dislodge and spew over the rim in a volcanic avalanche. My fingers drop the glass and yank down on the emergency brake. The cable is snapped off with a pipe-trembling jolt. The surface of the glass teeters like a troubled sea, and is still. A single droplet hangs from the tap. With the weight of sunlight it hangs, falls and disappears into the saltless depths below. Like all Australians, I help my home produce over 350 litres of grey water every day. Grey water is household water that can be safely reused. For example, keeping a bucket in the shower and then using it to water the garden, or make cordial for guests you don’t like. Unfortunately my share house doesn’t do this. Unless you count the cupful of tears I cried after watching An Inconvenient Truth. I used it to nourish a punnet of sunflower seedlings. I watched the aforementioned documentary last week, and have been oscillating between dogged enthusiasm for change and annihilating pessimism ever since. A wellmeaning, well-groomed Al Gore while stating it isn’t too late to save the earth, also dropped footage of a C.G.I. polar bear slipping off a decaying iceberg and paddling away to drown. That scene alone was responsible for my CO² emissions being cut by 40%. I was so depressed I couldn’t get out of bed. In my early teens, when the term ‘greenhouse effect’ was first bandied around, I had elaborate fantasies about just how bad things would have to get before my life was directly interrupted. Read: visions of knee-deep street water, sixtydegree days and Neighbours being interrupted by emergency bulletins stating that a massive environmental overhaul was going to take place city by city. S.W.A.T teams bursting through doors and beating up air conditioners, dragging people out of showers and throwing paddock size blankets over service stations. My theory was that until something this dramatic occurred, how could mankind digest a purely word-based threat to something as monumental as its ‘taken for granted since 1703’ existence. Ten years on and a ‘Convenient Untruth’ U.S. Government still can’t sign Kyoto, demand for water is set to double every twenty-one years, and three billion gatecrashers are expected in 2050. Sometimes I feel like the polar bear, slipping around on my dwindling iceberg of optimism, searching for a once plentiful supply of hope-fish. Perhaps we are on the way out. Perhaps this simply is the best we can do. In the share house of the world, we could do with an angry note from God right about now, blu-takked to the clouds. It’s either that or we wait for the great big house meeting in the sky. For just $25 you can adopt a Polar Bear! www.wildlifeadoption.org SAUCE #67
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