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Tas Music Press Issue 17 |
March 2005
Click on issue 17 for the full story
Ask for your copy at your nearest Venue, Cafe or Music Store
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
NOTE FROM THE EDITOR
Welcome to the first bumper issue of the TasMusic Press (formerly known as the Peoples Independent Music Press).
It’s the same press, with a whole new look, and heaps more info.
The Hobart office has changed – I’ve been here just over a month and
there are a few familiar faces and a team of fresh faces volunteering
to help with the Press and other TasMusic projects. You’ll still find
Phil in the Launnie office so pop in and say hello.
TasMusic has undergone some structural changes, which means we’re
moving forward, we’re thinking big, and it’s an opportunity for you to
have your say. Be a part of the change.
Whether you play rock, folk, jazz, blues, world, hip hop,
electronic, are a solo artist or just like listening to music, you
should be equally represented.
Try something different. Think outside the square. Listen to music
you haven’t heard before. Check out Sakamoiz’s column. See a band
you’ve never heard of. See a band you have heard of. Check out
Foresight and see who’s coming to town. See your favourite band. Check
out the launch of the TasMusic Showcase Gigs at The Trout on Sat March
12th.
Mel.
FALLS FESTIVAL DELIVERS FOR THE SECOND YEAR
By Carol Raabus
Day one of Falls started way too early for me, as my colleague I and
arrived at the gates at 6am. We were there to work and had to set up
early.
The day started slowly, with festival-goers filing into the
campsite in a steady stream of cars. The day was sunny, but not too
hot, though judging by the number of red skinned patrons I saw, the UV
rays were out in force.
The festival only really starts when the first band plays and this
Falls was started off by Tasmanian group Fell to Erin on the Field
Stage. This was the band’s first Falls appearance, and it was a great
one. Falls was a good couple of days for Linc and the boys as Fell to
Erin won “Tasmania’s Most Promising Contemporary Musical Act” from Arts
Tasmania, an award including $3000 and a pretty little glass trophy I
spotted Linc cradling under his arm like a football.
As Fell to Erin got it going on the field, Launceston act The
Voyeurs kicked things off on the Valley Stage. It was interesting to
see the crowd reaction many at first thought it was still part of the
sound check. By the end of the set, the Voyeurs had everyone’s
attention fixed for the next act, SA boys the Hot Lies.
The line up for the first day was impressive with Field Stage acts
such as South African singer/songwriter Vusi Mahlasela, Melbourne
bluesy country rockers the Vasco Era, and TZU, who were blown away by
the chanting crowd, having just told me they were disappointed by the
reaction they received at the last Falls. Canadian singer Hayden came
down as part of his first Australian tour, which he proudly told me was
one of the first times he has been on tour and not been homesick. The
night was rounded up the way it began, with Tasmania’s own Anita George
and Northbound.
The Valley Stage had a similar mix of international and local acts
with Irish group the Thrills (or Trills) getting a huge response from
the females in the crowd before Spiderbait got the blokes back and
stomping their feet. They were followed by US Hip Hop styled De La Soul
and American bluesy duo the Black Keys, both met by ten tons of
enthusiasm from the crowd.
Then Aussie outfit the Hilltop Hoods took over the stage. They
played a massive set, and had the crowd in the palm of their hand. I
overheard a happy little camper commenting it had been a semi religious
experience for him, and they had “put De La Soul to shame”.
The next day my tent transformed into an oven when the sun hit it, and it was time to get up and set things up once more.
On day two The Field and Valley Stages started simultaneously, with
Aussie group the Roys on the Field Stage and Japan’s Dakota Star on the
Valley. This was Dakota Star’s first time playing in Australia, and one
of the first live performances for this, until recently, recording only
group.
The Cat Empire were hot on their heels, who after their first
appearance at Marion Bay in 2003 have guaranteed themselves a strong
following for life in Tasmania.
Modus, another northern Tasmanian band, were playing on the Field
Stage but I managed to miss them in my new found quest to keep my head
out of the sun. I found my way over to the Field Stage to be captivated
by Sarah Blasko, who danced like a broken doll. The mood on the Field
Stage got faster and louder with the Cops followed by new favourite
novelty Hip Hop act Butterfingers.
On the Valley Stage, New Zealand/Australian act Betchadupa;
Australia’s alternative Delta Goodrem, Missy Higgins; and Rocket
Science fought for attention. By this time I was lying in my tent
unable to move, but as the breeze came up from the sea I heard most of
Rocket Science’s set. Refreshed and renewed, I wondered over to Billy
Bragg who was in top form, warming up the crowd by slagging off
Australia’s cricketing achievements. There was a tense moment in the
crowd when the issue of Gunns Ltd was brought up, with small groups of
young males booing and looking threateningly at those who clapped.
However, no one hit anything, and Bragg lived to tell another tale and
hung around for the rest of the night chatting to people, shadowed by
his son who busied himself by offering people various things from their
rider.
Busy being offered drinks by Bragg junior, I missed the Beautiful
Girls, who had been overwhelmed by the crowds they received at the last
Falls, and Australian group Even on the Field Stage.
It began to get dark, and the most successful band to get its name
from Charlie and the Chocolate Factory, USA Veruca Salt, played to the
crowd and tried to encourage the women to get into rock. I don’t know
if Veruca Salt are an inspiration, but one woman who rocks in many ways
is Nellie who was playing on the Field Stage with the Fat Band. I can
think of no other Tasmanian band so suited to a festival audience.
As the Fat Band ended the night on the Field Stage, You Am I took to the Valley Stage, in the now infamous appearance.
The singer from the Beautiful Girls rushed on stage to keep the
crowd entertained before John Butler came on. Numerous confused
revelers complained they thought Butler had longer dread locks and why
wasn’t he playing any of his well-known stuff, not realising it wasn’t
Butler at all.
When Butler came on, many people thought he had just finished, but
he quickly got his fans up and dancing and people began to stop talking
about You Am I.
By now everyone was ready to really party. And party they did, with
most of the crowd singing along loudly as the Living End played all
their old hits. Even those who had turned up their noses at the idea of
the Living End playing up to midnight were pushing to get up front.
Midnight came and went and then Downsyde were on. Again, there was
a little confusion, as Downsyde’s DJ played for a good twenty or so
minutes without the rest of the group and people were asking if this
was Sarif Galal. By the time the rest of Downsyde were on, I was
heading off. Maybe I missed something, but Downsyde seemed a down side
to the night, just not catching my attention or imagination.
Besides watching the bands there was plenty to do and I wondered off to
the healing fields and DJ tents. A movie was screening at the Field
Stage and people wondered around well into the next day, not wanting to
let go of the festival feeling.
The next day seemed strangely quiet without any bands playing. By
midday most of the campers had left and formed their orderly queue of
cars crawling back to Hobart and beyond, while the volunteers formed
Emu patrol and cleaned up all the rubbish littering the ground.
Everyone was tired, most sun burnt, some holding their heads and
vowing never to touch various substances ever again, but all had a
feeling of accomplishment and satisfaction. Preparations are already
underway for Falls 2005/06, with the number of tickets to rise to
thirteen thousand. All I can suggest is you get your tickets early.
CD REVIEWS
HALO7: FLASHFLOOD
Reviewed by Leigh Bee
Halo7 is Michael Lynch (acoustic and electric guitars), Steve
Imlach (vocals), Andrew Oxm (bass) and Richard Salter (percussion).
Flashflood is their debut CD.
Flashflood
Music reminds me at first of a slightly overdone formula, complete with
high-hat break over middle 8. Guitars on his track tuned somewhere
between Ash and Ratcat. Singing a little forced. Lyrics a bit
uncertain.
Build Me a Castle
Nice start ruined by the singer’s intrusive style. Title is literal
metaphor for building a relationship. The playing is nice on this song,
I can hear jangly 90’s English dreampop influences, maybe even a little
Cure reference too.
Horizon
Like a faster version of previous track. Singer actually makes long
annoying Wooooooo sound before this little couplet “…You have drained
me dry, but I can’t think why…” Worst lyrics so far on CD. It’s hard to
feel anything for the guy, who obviously has been through a bad
relationship, when he sings such dreadful lyrics. Drumming on this song
quite nice though.
Flying
Definitely heading into Cure territory with the guitars on best
intro so far on CD. Music very promising on this track though. Solo
sounds great, It really is so much like “Just Like Heaven” (from The
Cure). Outro tainted by singer whispering “Breathe” or “Free” over and
over again. However, whispering is a nice change from the usual.
Castaway
The formula is well and truly in place on this one. It sounds like the
first song all over again. Does sound Pearl Jam-ish, but even they
would chuck this one out. The saving grace once again, is the fine
playing. Not normally a fan of guitar solos, but this is actually
interesting. The lyrics have taken a new twist in awful. “…Take me
higher than a rainbow, take me to the other side…” He is trying to put
a rush in a rather dull song with Creed like lyrics, but the music was
excellent on this track.
Hey Mook: Never Gets You Anywhere
Chiltone Records
Reviewed by Chris Mahina
Never gets you anywhere is Hey Mook’s second album. The core of the
band have been together for 18 years, which explains why this album
flows the way it does. Hey Mook also established Chilltone records in
2002 to help with the release of their first album Crash Into You.
There are a few tracks that stand out on this album which include:
‘I Signed a Heartbeat’, ‘Strap It Up’, ‘Half Way to Mars’, and the
title track, ‘Never Gets You Anywhere’.
If you want a CD to listen to while relaxing with your favourite book
then this would be great. If you are more of a get up and go person I
wouldn’t recommend this, but if you can appreciate good music then this
album might just be what you are after.
In the end though it is an album that is very easy to listen to, so I will give it a 2.5 out 5.
LINGO: LET IT TRANSPORT YOU TO ANOTHER WORLD
After rocking Hobart with their ‘cultural collision of the sonic
kind’ in September and November of 2004, the Cluster crew and Uber
Lingua are collaborating once again to present the third LINGO on
Friday 25th February at Sirens.
Returning to Hobart for the third time to headline the event is bP
(Brendan Palmer), bringing his extensive experience in music
production, artist collectives, record label management (Zonar) and
broadcasting to LINGO.
TasMusic spoke to bP about his thoughts on the electronic scene in Hobart, Melbourne, and the world.
Mel: The Zonar site states that your "name has been synonymous with
some of the most influential movements that have graced our ears and
eyes" over the past 15 years - how progressive do you think the
electronic/sound scene is in Australia compared to what you have seen
overseas?
bP: Well the word progressive is a weird one in that it suggests
that something is a 'better' evolution of something that already
exists.
I think the local scene spends far too much time referencing itself
against the dominant music/sound scenes of other parts of the world.
Australia has some pretty unique ways of approaching it's art as a
whole and not enough of that is embraced by the everyday Australian
audience. That's partly down to
the globalisation of mainstream media and the more open minded
types are very supportive, yet we shouldn't get too stuck in
underground factions.
There is a real need for new forms of music to get more of a hearing by the
masses, which requires some affirmative action.
Most people are lazy in the spectrum of art and music they absorb,
but if you put something before them that is genuine in it's
motivations and done with love and sensitivity to the local
surroundings, they usually warm to it and tell their friends...
Mel: What are your observations of the electronic/sound scene in Tasmania?
bP: Growing, that’s for sure. I first came to Tassie in mid-2000 to
interview all the contacts I had in Hobart for the national radio
program I used to host. I was able to do almost all of my interviews at
a table at retro cafe in about half an hour.
Now days, I'd certainly have to fossick around for a few days to get a good grasp of what's going on.
I'm amazed by how big an injection of potential artistic happenings Tasmania has had in
the last few years.
Partly down to refugees and international students adding to the
spectrum that was already there, this creates an opportunity for some
fairly unique crossovers... So hop to it!
Mel: How important do you think it is to have events such as the LINGO gigs in Hobart?
bP: The LINGO events draw attention to non-traditional forms of
celebrating trans-cultural interaction offering an alternative,
sometimes quite abstract approach, to music in other languages that
doesn't dwell so much on the jazzing-up of well known 'world music'.
Electronic sound, Hip Hop and electro-acoustic forms influenced by
these have allowed for new generations of composers and performers
across the world to use their local
resources to great affect in very new ways.
I hope that the two events we've done so far have linked assorted types in ways not done before.
The fact our only CD release so far (of local trans-lingual tracks)
was solely dedicated to Hobartians is a symbol of our strong bond.
Mel: Are you hoping to interact more with Hobart and set up projects similar to those in Melbourne such as environ?
bP: Hmmm environ... well that's a project that has directly resulted
from the intense levels of musical and AV activity that occur in
Melbourne.
We do have plans to tour the concept, yet it's still early days (9 months to
be exact).
I can see definite opportunities to do environ in Tasmania but they probably wont happen until next Summer.
Environ is a large-ish production in that we heavily document
everything with a Camera crew, digital audio and alternative staging
techniques, so the production costs are through the roof.
Mel: To what degree did your time as Music Producer of Alchemy at SBS influence your use of multilingual music in your sets?
bP: 100% to be honest. I entered SBS as a local electronic music specialist
and walked out obsessed with music in other languages.
Coming from a period in electronic music where lyrics were not so
relevant and instrumental dance music with no song structure was
dominant in the early 90's, I found
a new interest in Lyrical music that I couldn't understand.
Even though some of it may be typical gangster crap with references to bitches and
ho's... the sheer fact that it looses all verbal context to anyone who doesn't understand it, intrigues me...
But I built an incredible team of trans-lingual music researchers
at SBS that could speak 30+ languages, so the depth of the musical
reach was intense.
I still work closely with most of these people so the revolution is still in action, partly in the form of Uber Lingua.
bP will be joined by local DJ BTC drawing on his collection of Italian hip hop and New Zealand sounds.
Nitriya of Edge Radio’s Rhythm of India will be spinning popular
Bollywood originals and remixes alongside the hosts of Edge Radio's
Dialect-ic: wasabi-flavoured producer Gusto and post-Swiss,
pseudo-Mexican Tasmanian rogue sakamoiz.
VJ Joseph Barrows will provide visuals.
LINGO takes place on Friday 25th February at Sirens with $6 door sales.
The fourth LINGO is earmarked for Friday 25th March.
METAL NEWS
Compiled by Tim Rosier & Anthony Maroney
Hobart band Psycroptic have returned after their first European tour
supporting Swedish bands Anata and DM legends Dismember. The tour went
really well for the band with good turnouts in the UK, Germany, France
and even Croatia.
Look out for a new MCD from this outfit in 2005.
Nosce Tiepsum are set to complete their brand new split CD with
Zero Degrees Freedom. The recording was done at Launceston College and
Dave’s
home studio. This will be the first pro CD release on Dave Luck’s
label Pawn Productions. Look out for a CD launch date for Launceston in
the not too distant future. Good news is that Simon Frech (ZDF) is joining the
band to take over bass and backing vocal duties.
The Mutilated Spastic Iguanas are set to play gigs in Sydney,
Canberra and Melbourne after playing a successful gig at the Hobart
Polish Hall recently to kick off the New Year. They have been
showcasing some new songs that are easily their best work too date.
The biggest news for this Tassie outfit is that they have scored a support
slot for underground death metal legends Avulsed, from Spain. This gig
will be at the Greyhound Hotel in Melbourne on the 8th of April 2005.
New Burnie band, 111 Victims, has gone into a short hiatus because of
work commitments interstate but will be releasing their self-titled
debut pro MCD for distribution shortly. Promo copies of the MCD have
already been circulated and are receiving great reviews so far.
The band played live in Melbourne at the Chris Watson (Vaginal Carnage)
RIP memorial gigs late last year and really blew some minds.
Definitely one of the best new bands to come out of the Tasmanian
death metal scene for the last few years so keep an ear out for them.
Life Fluid Productions update
Life Fluid Productions (LFP) are very happy to finally be releasing
something straight from the American death metal scene, which has been
a dream since the start of LFP.
Good news at this point is that LFP will have a brand new MCD
release coming out within a couple of months by a really cool and
brutal one man drum machine outfit called Cryptophilia from the USA.
This guy plays blasting brutal deathgrindslam with some technical parts
ala Goreopsy, Viral Load and Insidious Decrepancy.
Other news is that heaps of excellent titles are now for sale on
the catalogue including new releases from Defeated Sanity (Germany),
Beef-Conspiracy (UK), Excruciate (QLD), Mystical Gate (Russia),
Brodequin CD (USA), Guttural Secrete (USA), Voice Of Hate (Spain),
Maniac Killer (USA) and lots of other new titles. Catalogues can be
obtained by emailing: d_vlyons@intas.net.au or yoda@vision.net.au.
HINDSIGHT
Grinspoon and The Dead Abigails: Dec 2004
Reviewed by Eggy
It had been two years since Lismore’s favourite sons Grinspoon had
been to Tasmania to play any shows (last was Gone South 2002), and they
played to a sold out room at the Batman Fawkner Inn.
The first band off the rack was Launceston’s finest pop act The
Dead Abigails. I don’t like these guys but they put on one Hell of a
show. The singer was jumping around and really enjoying himself. He
made a few nasty comments about their former manager, who they are
currently taking legal action against, but they really showed why they
deserved to be supporting the Grinners.
After a long 45 minutes and a lot of Grinners chants, Phil, Joe, Kris
and Pat come onto the stage with the Australian classic ‘Evie’ playing
over the PA.
The stage went black, the distortion kicked in, and Phil began to sing
‘You’re a Hard Act to Follow’. The whole room went wild. There wasn’t a
person in the room who wasn’t singing along.
From there they went straight into ‘Kiss It’ which is also from the new album Thrills, Kills and Sunday Pills.
I was really surprised how well the newer songs come over live. I’m
one of these old school Grinners but I really enjoyed ‘Kiss It’ and
‘Bleed You Dry’.
From there they went into some classics like ‘Lost Control’ and ‘Post
Inebriated Anxiety’ but in between they played their power ballad and
current single ‘Better Off Alone’, which after seeing live, I still
hate.
One of the highlights was Phil standing alone on the stage with an
acoustic guitar playing the classic ‘Repeat’. He was joined by the rest
of the boys and they broke into the crowd pleaser ‘Chemical Heart’.
They finished the second half of their set with some of their best
work, playing some of their older songs like ‘More Than You Are’ and
‘Champion’ and their newer tracks such as ‘No Reason’ and ‘Secrets’.
They finished with the crowd favourite ‘1000 Miles’ and when Phil
introduced the band the pit went mental.
They played one of the best encores you could ever ask for, with one of
their first singles ‘Just Ace’ and their classic ‘Black Friday’, which
had the crowd going mad and wanting more. I thought it was a pity they
didn’t play some of their better stuff from Easy.
It’s really good to see how far these guys have come. Everyone says
they have sold out but they still can put on a great live show and they
seem to really enjoy doing it.
By far the best of 2004.
I gave this gig 5 out of 5 Fluffy Bunnies.
PIMP NIGHT #5 JAN 2005
Reviewed by Eggy
The fifth Pimp showcase at the Batman Fawkner Inn featured
Launceston’s everywhere band The Styles, Hobart’s finest rockers The
Reactions, and Devonport rockers Mad Uncle.
First up were the Styles. I’m really sick of seeing these guys
everywhere. I mean, yes, they put on an awesome show every time and
they deserve all the good press they are getting but come on guys,
people will stop going. But they put on a great show this night,
debuting some new songs that will be featured on the upcoming split EP
with The Reactions, as well as playing some old favourites.
Next on the bill were The Reactions. It was the first time I had seen
these guys and I had heard good things beforehand. This night they
really turned it on. Lead guitarist / singer James is a legend. I may
be stupid but I thought they were only a three-piece: well that’s what
my CD tells me.
New guitarist Matt was a real standout, especially when he leapt from
the stage and started playing on his knees on the floor with Luke from
the Styles down there with him. I really enjoyed them and hope they
come back up to Launceston soon.
Last band up was Mad Uncle, as Melbourne hip hop act 3 to 2 pulled out.
Mad Uncle were great, one of the most promising bands I have seen in a
long time. I had heard they were a pop-punk band but obviously they
have moved on from that. These days they have the whole Muse thing
happening, which worked very well for them. I loved them. It was a real
shame that most of the room had cleared out after The Reactions,
because they missed something really special. The few people left in
the room enjoyed themselves and made a lot of noise in support of them.
One of the better Pimp shows, but pity the crowds didn’t really come.
I give The Styles 4 outta of 5 Fluffy Bunnies, The Reactions 5 outta 5 fluffy Bunnies and 5 to Mad Uncle
DISSCONNECT RECORDS – SUMMER TOUR: 2005
Reviewed by Eggy
Thursday nights are not usually a good night to hold a gig as most
people have work the next day but the Disconnect boys didn’t care.
They decided to start their summer tour in Launceston at Irish Murphy’s
showcasing Hobart’s finest pop-punk band Ballpoint, with up and coming
punkers Stand Defiant, and support from Launceston’s Halfmast.
First up were Halfmast. After a lot of P.A problems and Blink 182, they
finally started. This band surprised me: they have come a long way from
their pop-punk beginnings. It was good to see them playing older tracks
as they have changed their style so much.
It was also good to see Micah back playing in the band. His slick
playing style gives the band that edge that they were lacking in the
past. Meddy the drummer was having a Hell of a time. He will be a great
drummer one day.
Next on the bill were Stand Defiant. I was surprised these guys played
second because I thought they were supposed to headline. They went
stupid and so did the crowd. People were flying through the air. The
staff weren’t too happy about it, but what do you expect when you book
a punk show in such a small venue? They really showed why they are
getting praise from all around Australia and why so many doors are
opening for them.
The final band on the bill was everyone’s favourite pop punkers Ballpoint.
It is good to see they have kept a line-up together for at least the last two shows I have seen.
Most of the crowd had left but the people who stuck around really
enjoyed themselves. They opened with the song ‘Jocks’ from their
current E.P Well Oiled Machine, which went over really well.
They played a really good mix of songs including some new
material. They finished with two crowd pleasers: first was their very
special cover of Bon Jovi’s ‘Livin On A Prayer’ which included some
backing vocals by some of Launceston’s skate community and then they
played the song everyone had been chanting for all night, ‘Steve
Irwin’.
This was a top night and I wish we would get more shows like this
one. Thank you to the Disconnect Boys for coming up and giving us this
show.
I gave this show 4 and a half outta 5 Fluffy Bunnies.
LUCIE THORNE: JAN 2005
Reviewed by Cecil von Trampoline
When I went to see Lucie Thorne, a talented musician from Northern
Tassie, play in-store at Aroma Records, I got lost. I spent twenty
minutes looking around the wrong end of town for this mysterious
disappearing record shop that was apparently pleasing to the nose.
It was an interesting setting, with Lucie on a rather low stage and
everyone else sitting cross-legged on the carpet in front of her.
Something that I found to be very primary school flavoured.
Lucie Thorne was great. She is currently touring her brand-spanking new
album The Bud. I don’t know what genre of music to classify hers as,
but I refuse to classify it as ‘genre-defying’ as so many try hards
have tried to classify theirs as.
I simply haven’t heard much music like Ms. Thorne’s before. Needless to
say, I liked it a lot. I heard that it’s country music, but I didn’t
hear a single “Yeeeee-HA!” or yodel throughout the whole performance,
so I have my doubts.
Her pleasantly low voice (you know, that husky voice that goes very
well with quiet music) went well with her… quiet music. She sounded a
lot like the guy from ‘Jars of Clay’.
The acoustic backing, provided by Heath Cullen and of course, Lucy
herself, was very good. Heath even handled the cover of a cover of an
AC/DC song remarkably well, considering that he had never played it
before.
Lucie was very nice and even did an encore.
Even though I usually listen to something somewhat noisier than the fine Ms. Thorne, she was a lovely change.
REGURGITATED FLESH AND MSI: JAN 2005
Reviewed by Tim Rosier
This was the first gig of the New Year for the Tassie metal scene, held at the Polish Club.
First up on the stage for this death metal night was new and young
Hobart outfit Regurgitated Flesh. This band features members from the
already locally established band Mephistopheles, but this new project
plays a much more American style of deathgrindslam.
The musicianship of these guys is just amazing considering the
oldest member is 17 years old and the youngest is only 15. This band
had all the elements of good chunky death metal with some great fast
parts as well.
You can tell that these guys worship US bands like Disgorge, Devourment, Skinless, Internal Bleeding, Cephalic Carnage etc.
Tons of slamming riffs with some nicely placed breakdowns and excellent arrangements were the fare.
Good luck to these young prodigies of the Tasmanian death metal scene.
The scene in Tassie is held in very good stead with younger bands
coming through like this who can blow you away with their first ever gig.
Next up were stalwarts of the Hobart metal scene Mutilated Spastic
Iguanas playing their first gig since the return of Jason Peppiatt
(bass) who filled in on vocals for Psycroptic on their recent tour of
Europe.
I think this was the tightest gig they have ever played so far. Ultra brutal
blasting guttural deathgrindporngoreslam from the guys yet again and
they even showcased two brand new tracks entitled ‘I Choked On My
Grandma’s Strap On’ and ‘Chocolate Love Glove’.
Very brutal and hilarious stuff from the lads as usual and amazingly they seem to
get better each time they play live.
All round it was a good gig attended by a rather small crowd.
FORESIGHT
by The Lost Dog
Welcome back to another year of music and fun in Tasmania. I’ll be
your man on the inside, giving you all the goss on who’s coming from
over the waters. This March we have a plethora of talent just waiting
to bust down the already well-forced doors. From Launceston to Hobart
and beyond, come with me on a journey.
Eskimo Joe Launceston Saloon March 1
The Freemantle favourites are back in Tassie and this time they’re
bringing their more delicate Alternative rock. Their song “From the
Sea” was well received by the music community and they have continued
to follow up on that success.
Keith Urban Wrest Point Casino March 1
Born in New Zealand and raised in Outback Qld: Keith is country. He
covers verything from slow ballads, to good old-fashioned country rock.
A definite must for all fans of this genre.
Jon Stevens Wrest Point Casino March 3
The former INXS and Noiseworks front man is no stranger to criticism or
controversy, but that hasn’t stopped him. Even after being involved in
that reality TV show (which shall remain nameless). Jon performs his
own brand of R&B inspired rock.
Rotten Chop Trout Bar March 5
Even though we haven’t heard a lot about them, Rotten Chop are
certainly bringing high hopes with them as the bright new stars in
Melbourne metal. A must see for all Metal fans.
The Black Keys Republic Bar March 7
From Ohio and likened to The White Stripes, The Black Keys are a
bluesy mid-west garage rock duo. An entertaining evening no matter if
you’re a die-hard fan or not.
Violent Femmes City Hall March 11 Saloon Bar March 12
The original line-up returns with their Wisconsin Alternative Folk
music. No matter their age, no teenage angst is lost with this
performance. Expect nothing but a good time from the band that brought
you ‘Blister in the Sun’.
Downsyde Saloon Bar March 11
Huon Quays March 12
Australian hip hop at its best. Flavoured with Middle Eastern,
Aboriginal, Australian, South American, Asian and European influences
within the group, their rhymes reflect the Australian cultural
lifestyle. Grab a copy of their new album ‘When the Dust Settles’ out
on Obese Records when you’re at the gig.
George Thorogood Hobart Town Hall March 12
And The Destroyers
He’s back. The group that brought us such roadhouse blues classics
as ‘Bad to the Bone’ are returning to Tassie to rock hard. I can hear
all the Bourbon soaked, leather clad, classic rock fans writhing in
anticipation.
Donovan Launceston Saloon March 19
Frankenreiter
A pro surfer by nature, Mr Frankenreiter plays his watered down roots
rock, with a dab of bohemian cool. Popular among the older and younger
fans of varied genres, absolutely smooth. Take your mum, or go alone.
As long as you go.
Bomba Saloon Bar March 17
Republic Bar and Cafe March 19/20
The Melbournites that have successfully smoothed together their own
brand of Funk and Reggae bring with them a certain flavour that will
not disappoint. I dare you to not move your body while listening to
this.
TYRANT BUMP IT UP A NOTCH
Frontman Neil Steel is the only original member of rock group Tyrant.
With their name taken from a song on Judas Priest’s 1976 album Sad
Wings of Destiny, and influenced by anything post 1970, Tyrant like to
turn it up loud.
A softly spoken Steel told TasMusic’s Brian Cameron what it’s all about.
Brian: How long has Tyrant been together?
Neil: All together eight years even though we formed in 1983 in
Hobart, the original line up was together from 1983 to 1987and was
reformed in 1999 till 2004, and now there is a new line up again. So
it’s coming up to eight years, sorry its 2005 so this is the ninth year
that Tyrant as a band has been together, shit 10 years…
Brian: What bands influence you and the other members of the band?
Neil: Too many to mention, obviously because of the fact that we’re
all like middle aged…we’ve been influenced by anything from 1970
upwards, so early bands like Deep Purple, (Black) Sabbath, some of the
poppier bands as in Slade, Sweet, Gary Glitter, Susie Quatro, and right
through with bands like KISS, Van Halen, Judas Priest, Motley,
Motorhead, right through to Metallica.
The only thing in the last few years we weren’t really into…the
grunge thing. There are some good bands and songs and stuff, and the
new metal stuff we don’t like at all, because we’re old school hard
rockin’ metal heads.
We just don’t like the idea of combining heavy metal with hip-hop, it’s just a real bastardisation.
Brian: If you could compare Tyrant to any other band, what would it be and why?
Neil: I suppose we have elements. I don’t think you could compare
us to…just one band, because of the fact that we’ve been marinated in
so much hard rock and metal and we’ve been influenced by so many
different styles.
People say there’s elements of AC/DC in our music, Rose Tattoo,
and then other people say there’s elements of Judas Priest or Iron
Maiden.
The closest band I’ve heard to us sound wise was a Scottish band
from the early 90s called The Almighty, they were very similar to how
Tyrant sounds.
Brian: Can you tell me what we can expect from the new live CD?
Neil: There’ll be seven songs all recorded live, with couple of
mistakes, nothing major…it’s basically us live last year from the Edge
recording and that’s why we want to put it out because it just captures
the band doing what we do well.
Brian: When will it be released?
Neil: We’re looking at April the first. April Fool’s Day.
Brian: You have a new album coming out later this year, how will it differ from the past albums, how has your music progressed?
Neil: We actually hope to start recording mid year. We’re going to
do it all ourselves, we’re not going to a studio. We’re going to do it
Pro Tools. Musically speaking, there’s new members so it’s gonna be
slightly different. We’ve gotta have some sort of leaning I suppose
toward the earlier style…I imagine we’d be a little tougher sounding,
but it will probably be a little bit more experimental in places too.
It won’t be just so straight down the (line), personally I want to
steer away from the AC/DC, Rose Tattoo undertones the band’s always
had.
Not that I don’t like that sort of style, but I think it’s just time to
sort of update a little bit more, like the first album is very much
that standard Aussie Rock sound whereas the second one is definitely
another edge.
Brian: Tell me about your club, Killawatts.
Neil: The idea was to do a club, because I’ve worked in clubs that are
similar in Sydney and it’s obviously clubs that I’ve seen and been to
around the world as I’ve visited different places.
Hard rock clubs are quite popular and Hobart hasn’t had one - so let’s
try it. It’s an avenue for people who like hard rock metal music, and
it’s also an avenue for bands who are playing that, because not many
pubs will have that style in Hobart.
We get people in their 40s that obviously grew up with that stuff
and who want to get out so maybe they get the baby sitter and remember
when we where 20 and listen to some hard rock.
Obviously you’ll hear music that hopefully you grew up with or you
like. I’m not going to name bands because we’ll play bands like
Metallica, Guns and Roses, Motley, but we’ll also play stuff by those
bands that’s out now.
The idea is to let people hear lots of new stuff because there’s so
much from that style of music that’s not played in this country, where
it’s absolutely huge again in Europe, as big as it was in the ‘80s, but
you wouldn’t know it because the media in this country just doesn’t
push it. And also to help break some new young bands in Hobart
Brian: How would you describe the metal scene in Tassie, and how does it compare to the rest of Australia?
Neil: From what I can see, there’s a real underground scene, and that in itself isn’t a bad thing.
It seems to be that the metal scene here is very hardcore
grindcore, from what I can see as far as traditional hard rock metal
bands…maybe Tyrant, Hamerhead, and a couple of other young bands I’ve
seen over the last six months.
The hard core scene is very, very healthy from what I can see…with
bands like Psycroptic, MSI and some of the other bands…it’d be nice to
get that traditional style as healthy so we just have to wait and see.
Brian: How does the metal scene in Australia differ from the metal scene overseas, particularly Europe?
Neil: We don’t have the population in Australia to support metal the
way that it is in Europe, Japan and the States…unfortunately the media,
with exception of maybe one magazine which is Kerrang, and they’re…very
pigeon holed, very tunnel vision in as far as metal is concerned.
It’s too one sided the same as the radio shows you’ve got on the major networks like the JJJ one.
It used to be called “full metal racket” I think …but the guy who
runs that, he seems to be very one dimensional which is a shame because
there’s lots of good bands…your old school stuff like Megadeath, and
Motorhead, and countless bands that are putting out really good product
in Europe and selling mad, but you just don’t hear about it unless
there’s people on community radio playing it.
But it’s always been like that, for twenty years it’s been like that.
I’ve seen heaps of bands over the years who should have made it but
haven’t because the industry here just doesn’t get behind it and it’s a
shame because there’s so many world class acts in this country that
just don’t get there.
THE FORTH VALLEY BLUES FESTIVAL
The Forth Valley Blues Festival had its origin in a discussion between
local publicans; Chris and Maureen Bramich – long time patrons of live
music – and Victorian Bluesman Brian Fraser.
It was agreed over a few beers that Tassie was in need of a great blues
event and that Forth would be the ideal venue. Now, seven festivals on
and the eighth well underway, these first thoughts have certainly been
proved correct!
The initial fund raising purpose of the event was to provide for
facilities improvements to the Forth recreation ground which caters for
the local football, cricket, and tennis clubs, and is the festival
site.
This has been highly successful and continues, as well as donations now
being extended to other community groups, service clubs, and local
schools.
The organisation of the annual festival is a wonderful exercise in
community involvement. An active, hardworking committee is supported by
many local groups and individuals providing time, expertise, and
labour, both prior to the event and on the big day.
The festival’s musical program has developed into a well-recognised
format of 13 hours of music – 12:30pm -- 1:30am - with most acts
performing two sets, one afternoon and one evening. This provides full
value for patrons attending who may wish to partake in a more laid-back
family friendly afternoon session and for those who want to crank
things up and rage on after dark!
The festival day also includes the usual large range of stalls with
food, music, clothing and much more; bar facilities; a motorbike show
& shine (Darcy O'Connor memorial shield Comp run by the Viet Vets);
free overnight camping facilities; and Sunday breakfast on sale for
those who camp.
The festival has showcased some of the very best in Australian Blues
and Roots music talent with both home grown Tassie acts and great
mainland names. The lineup for 2005 features Harper (USA), The Slide
Devils, Muddy Puddles, Kate Meehan (ex Tassie), Turning Blue, Pete
Cornelius and the Devilles (Tassie’s favourite blues son and band),
Liquid Nails and Outloop Way Blues Band (Japan).
Tickets are available at the gate or grab a ticket from Smithton
-Lizzys this N that; Wynyard -Buccaneers; Burnie -Collectors Corner;
Ulverstone -Beach Beat; Forth - The Bridge Hotel; Deloraine
-Seppinfelts; Wimot- Wilmot country Store;
Devonport- Red Hot Cds; Launceston - Wills& Co, Foggy Mountain Music; Kingston - Tracks; Hobart - Tracks.
OUTSIDE THE SQUARE
Daara J set to hip hop WOMADelaide
by Moses Iten
“Been born in Africa, growing up in America, rap has just gone around
to come back!,” rap Daara J on the title track of their debut album
Boomerang.
Afro-American born, US produced rap has never fallen on deaf ears in the United African homeland.
The cosmopolitan West African city of Dakar, the capital of
Senegal, is a hotbed of hip hop where pirated cassette tapes with the
latest from the US and Europe have been hotly traded, copied and
ultimately inspired original work now getting picked up by labels
outside Africa.
Several compilations have been released pointing out the wealth of
African hip hop, and some media attention has followed the European
music heads putting out the compilations, such as the Rough Guide to
African Hip Hop, African Underground Vol. 1 (Nomadic Wax) and Jay
Rutledge’s groundbreaking Africa Raps (Trikont).
Daara J were not featured on Africa Raps, but on the even more
illustrious Global Hip Hop (Manteca) compilation. Daara J’s song
Esperanza on that compilation – also featured on Boomerang - is a
collaboration with Sergent Garcia.
Just to give an idea of the company Daara J keep, the multilingual
Garcia began in the French punk scene and today - 20 years later - is
known as the king of French raggasalsa.
To say that the sampling nature of hip hop music makes it perfectly
adaptable as the soundtrack of today’s globalised world is no longer
something newsworthy.
But still, it is not often a release as strong as Boomerang hits the
international festival scene. Even if you can’t understand the
French-Wolof-?-Spanish lyrics, Boomerang drops like a manifesto to a
party beat: Daara J haven’t only entered the “world music” scene but
soaked in global sounds from French danzon to US rap.
They are a boomerang in flight, caught by those who are ready and cutting anyone else’s head off.
The boomerang concept has another name in Spain, where they speak of
“viene y va” – coming and going are shared sounds between Spain and
Latin America.
Unlike much US rap which speaks of “born in Brooklyn”, in this case
roots are ignored and the emphasis is on a common, united link.
Similarly in West Africa for decades the infectious Cuban son
especially has been appropriated by local African musicians who sing
the Spanish lyrics phonetically.
Senegal is inhabited by multitude of Indigenous people and languages,
with the French-style Dakar being at the crossroads between Africa,
Europe and America. Dakar has soaked up and re-interpreted the sounds
from all these places.
Boomerang catches all these influences, plays with them and is now
throwing it back to see who else may catch on. Already a headliner at
the European WOMAD series, Australia’s WOMADdelaide is hosting Daara J
as an exclusive feature act.
Boomerang with the album’s most explosive rap on the title track.
There is no referencing of “the original griots are from Africa”
mentioned by some of the more enlightened Afro-American rappers,
because these guys are griots. African rappers who have for decades
been silenced by the World Music label may soon be heard alongside
distant cousins – but millennia apart culturally – from the US: “Made
in Africa. Conscious generation. Ambitions nourished by the searching
for essence,” Daara J rap on Hip Hop Civilization.
The chilled beat of Exodus is accompanied by the sounds of an
accordion, suggesting the thousands of Senegalese who end up in France:
“Thousands of us leave our country in search of the promised land, we
are one of the thousands who leave our country in search of Eldorado.”
A point of arrival is not the movitation of Boomerang, which is
more like an Eldorado, an unreachable paradise of unimaginable wealth.
Daara J fill their hopeful dreams with rock-solid imagination and
talent, and rather than turning lead into gold use themselves, their
true contemporary history which is far, far away from any concept of
purity.
What is World Music? Anything produced outside England or
non-Indigenous North America and Australia? MTV may reach just about
every corner of the globe, but fortunately its gluttony will always
find something too hard to chew on.
Catch the boomerang at WOMADelaide 2005.
Moses Iten is the TAS/VIC/SA Arts Reporter for
www.theprogram.net.au and hosts Edge Radio's Dialect-ic: transcultural
beats and multilingual mash (Saturdays 8 to 10pm).
DIALECT-IC:
transcultural beats & multilingual mash
Saturdays 8 – 10pm on Edge Radio 99.3FM
Music as the universal language is nothing new. These words are
frequently and easily swallowed, gurgled and spat out. Whilst
swallowing gurgling and spitting would feel at ease in the landscape of
soundscape-ists like Mexico’s Diego Herrera or French producers Chateau
Flight – music as mouthwash does not. Dialect-ic sees, hears and tastes
music as more than mouthwash.
Sure, mouthwash makes us taste good, feel good and ultimately get laid;
but if you’re looking for true love mouthwash alone suddenly exposes
itself as cheap garbage. I mean: in the end you spit it out don’t you.
“Hang on, like the way South African Kwaito-genius Arthur spits out the
words in ‘Kaffir’?,” you might respond. I am sure you can easily
deconstruct my half-baked metaphors attempting to make some
philosophical allusions, or dismiss their unworthiness with the shake
of your wrist just as Edith Piaf out-sung her suitors on ‘L'Homme á la
Moto‘.
If you are indeed still reading by this, the third paragraph of
this column, then you have either given in to curiosity over all the
unfamiliar names being dropped, or better still you have recognised
them and can’t believe someone is interested in broadcasting their
music. Dialect-ic tries to remember the world’s forgotten without the
synthetic boundaries of geography and time, and forget the stuff we
hear everywhere.
World Music is boring. Because it is dropped on us out of context.
Because the term “World Music” itself shouldn’t exist. What nitwit came
up with it? The same one who puts Indigenous Australian music in the
“World Music” section. But as this “World Music” section shouldn’t
exist, we are only losing time pointing out its problems.
Folk Music is boring. Because it is someone who can’t sing banging
away at a guitar. Because it is some chanting Sudanese women dancing in
a circle at the Parliament House lawns to a bewildered audience digging
the spectacle but not understanding what on earth is going on. Hang on,
isn’t that “World Music” though?
Dialect-ic doesn’t give you any of these answers, because answers
cannot be given, but attempts to raise these kind of questions.
On Saturday nights transcultural beats and multilingual mash from
around the world - including Tasmania – are the focus spiced with chats
of the studio hosts and the frequent guests from different worlds.
See you next Press, sakamoiz
Sounds of the month:
Nu-skool: Voila Voila (Spanish Version), Rachid Taha (Algeria/France)
Old-skool: Paradise Lost, Sound Unlimited Possee (Australia)
Random exotic: Pangak, Diego Herrera (Mexico)
POP URBAN MYTHS
By Leigh Bee
“Did you hear that guy who sings “Don’t Worry, Be Happy” committed suicide?”
This little quip was my own personal introduction to the world of myths in popular music, via schoolyard gossip.
For the record, the impossibly optimistic Bobby McFerrin now works as a
conductor, and is very much alive. That particular case worked as a
myth because of the screaming irony of it, but what of the more
sinister origins of the music myth?
Arguably, the first ever myth recorded involved delta blues pioneer
Robert Johnson. According to history he was a thoroughly woeful
musician, whose greatest desire was to be able to play like a man
possessed.
Folklore will have us believe that Johnson met the devil at a
cross-road, on the stroke of midnight, and exchanged his soul for the
ability to play the blues. Nice enough story, but those who knew him
said Johnson simply awoke one day with enough blues playing ability to
land him in the genius pile. There is so little known about Robert
Johnson’s life that it’s easy to see how a story like this can emerge
without the restrictions of factual information to contradict it. It’s
also interesting how the devil, a constant reference throughout music
history, has gone from providing musical talent to one-time hacks to
hiding in run-out grooves of bad metal albums waiting to be played in
reverse, to reveal vaguely creepy messages.
An oddly similar myth comes from San Francisco in the mid 60’s.
Mama Cass, The Mamas & The Papas most memorable singer, was, like Robert Johnson, not always musically gifted.
The story goes that Cass Elliot desperately wanted to join the group
and was refused on account of her complete lack of talent.
Fate, however, took a turn and one day while leaning against the wall
of a high-rise residency, Mama Cass was knocked out cold by a falling
flower pot from an upstairs window pane.
Sure enough, when she came to, out of her mouth came the voice of an
angel and she was instantly accepted into the band. This particular
myth was given wings by the band’s own song ‘Creque Alley’, named after
the address at which a potted plant took it’s own life to help a large
hippie’s singing career.
The Beatles of course had many myths written about them, the most persistent being that Paul McCartney was dead.
The completely absurd ‘clues’ that supposedly pointed to his untimely
death were more a testament to how high people were in the 60’s than
any real basis for a myth.
The nature of a myth should be that it is near impossible to disprove.
However, some myths have managed to remain strong in popular culture
despite being plain impossible, for example the one about Elton John
supposedly collapsing at a party and being rushed to hospital to have a
litre of semen pumped out of his stomach.
The peculiar thing about that ‘myth’ is its similarity to another myth
involving 80’s identical twin pop act Bros. The even stranger twist was
that Luke Goss’s stomach supposedly contained brother Matt Goss’s
semen. Evidence of some very odd fantasies was far easier to prove.
Elton was also the subject of a 'barkless dogs' story in UK paper The
National Enquirer. Apparently he had his Rottweiler guard dogs silenced
in a special operation to prevent them from keeping him awake with
their barking.
He successfully sued the paper for slander. There’s no evidence to back
up the story that he used subsequent issues of the National Enquirer as
ground cover for the dog’s pen.
This is probably the tamest example of a myth involving musicians and animals.
Some of the most bizarre ones are also the most widely known. Nobody it
seemed, ever forgot Ozzy Osbourne biting the head off a bat during a
live concert, regardless of the fact that it didn’t happen.
Or Alice Cooper tearing a chicken apart with his bare hands and
smearing its blood over his face. And more recently, Marilyn Manson
throwing puppies into the crowd at one of his shows and demanding they
be slaughtered before he would play on. There’s your tri-fecta. Three
heavily made-up rock musicians with a penchant for the ‘dark side,’
slaying defenseless animals.
The more delicious myths always involve squeaky clean unblemished pop
stars like Jessica Simpson or Bec Cartwright. Unfortunately those two
are far to dreary to have any wild stories made up about them, so we’ll
have to resort to the Spice Girls. This one easily cleans up in the
weird stakes.
The story goes that when the group first formed, there was a member who died in a car accident before they broke big.
During the post mortem it was discovered that she had a penis, and was
therefore a hermaphrodite. Scary Spice apparently replaced the original
un-named “girl”.
As ‘believable’ as this all sounds, it is a myth and sadly there are no dead Spice girls with male genitals.
If you have a bit of initiative (and were a member of legendary 90’s
electronic group The KLF), you don’t need fictitious rumours to make
you sound more interesting. You actually DO the unbelievable and write
your own myths.
The KLF (Jim Cauty and Bill Drummond) were just two English guys
working in the music industry who got bored with the grind and decided
to create, step-by-step, a myth.
First, they recorded a single called “Whitney Joins The Jams” which
heavily sampled Whitney Houston’s “I Wanna Dance With Somebody”, a
considerable hit at the time.
Cheekily, they then sent Houston a copy of the record with a note asking her to join their “band”.
Whitney’s lawyers fell out of their chairs in a rush to sue The
KLF, however Bill and Jim had already destroyed all of the remaining
copies of the single before it’s release. It wouldn’t be the last time
KLF hit the music big-wigs and sacred cows where it hurts.
Next on the list was ABBA. The KLF recorded a single derived mainly
from a mutilated version of “Dancing Queen” with a bull-horn sounding
the whole way through.
Surprisingly, ABBA threatened to sue, so Bill and Jim flew to Sweden
and camped outside Bjorn’s home, offering him the chance to hear their
explanation as to why the ABBA catalogue should be considered public
property.
By now, people had started to become aware of the KLF for pulling
bizarre stunts but not so much for any musical output. Not enough to
make a myth, but they had many more tricks up their sleeves.
Their first proper single, “What Time Is Love?” was a cash in on the
growing ‘acid house’ scene. It consciously used all of the formulaic
elements of house music, and sold enough copies to put it at number
one.
Their next move was to put out a book titled, “How To Have A Number One
Single The Easy Way”. It listed all the things to look for in changing
music trends and advice on how to create hype around your record’s
release to give it the extra push. The book sold out of it’s first
pressing.
The most famous KLF myth-that-is-actually-real, occurred when they were
advanced one million pounds on the release of the “White Room” album,
and flew to a small island off the coast of Scotland and filmed
themselves setting fire to the money.
Why? They were meant to make a promotional video for the new album, and
decided that filming that much money going up in smoke would make far
better promotion than any video clip.
People were naturally outraged, but Jim and Bill defended their actions
by saying that just because you don’t normally see a million pounds
being wasted in the course of promoting an album, it does usually
happen.
No one was even sure if The KLF were a joke gone out of control or
a carefully executed con. Either way you can still see the effects of
their legacy in music now.
Myths in music are like any other kind, a form of Chinese Whispers.
Cases often involve inconsistent time frames, places, or even the
people involved but there are some points to remember - animals don’t
belong on stages; wearing face paint and black leather will almost
certainly guarantee you a myth involving live stock, and finally, it is
highly improbable that somewhere in a laboratory, there are litre jars
containing the reproductive fluids of various pop stars.
MUSIC NEWS
Indigenous women and girls are being invited to submit their work for
possible inclusion in an anthology relating to fathers entitled Father
Tongue.
Fathers and grandfathers are often overlooked in much of the
writing that exists in Indigenous communities which is why the search
is on for creative works, sharing stories about fathers.
Submissions can be in the form of poetry, fiction, non-fiction,
essays, narratives, songs, cartoons and other creative endeavours.
The co-editors (two Indigenous women writers Chrystos (Menominee) and
Nancy Cooper (Ojibway/Irish) are looking for work from Indigenous women
and girls from North and South America, Hawaii, Australia, New Zealand,
and anywhere Indigenous women are found.
Deadline for submissions is July 28, 2005 and should be sent to
indigenouswomen@hotmail.com as a Microsoft Word file attachment with
your full contact information including your name, nation affiliation,
address, and email address.
True-l International Songwriting Contest
The True L International songwriting Comp is open for entries in the
categories of hip hop, pop, gospel, instrumental, alternative, DJ mix,
and poetry.
Songs are judged equally on originality, lyrics, melody and composition.
Songs may be in any language.
Quality of performance and production will not be considered.
Prizes will be awarded jointly to all authors of any song.
Entry is open to all amateur and professional artists internationally.
1st Place - Will Receive 1 year Exclusive Membership to
hipopportunity including recording time, valued at over $1000 as well
as media exposure.
And will be placed on the All Star Compilation CD released September 2005.
Plus 8 hours FULL recording at Basic sound studios.
You will also get free entry to 351 music conference 2006.
You will have possible opportunities to perform on tours and high profiled events through Phrisk Management.
2nd Place- Will receive 1 year Gold membership of hip opportunity including recording time and free registration of 351 Camp.
Winners of each category - Will receive 1 year Silver membership if
hipopportnity including management and exposure to high profile events.
Closing date is August 31st, 2005.
For more information check out
http://www.true-l.com/
Grants
Check out:
www.ozco.gov.au/grantFinder for international touring opportunities.
www.arts.tas.gov.au/grants/program/glprogram.htm for info on
contemporary music touring grants, artsbridge local and international,
and CD pressing loans.
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