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CREDITS PUBLISHER Street Press Aust ralia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales ARTS EDITOR Daniel CrichtonRouse LURE EDITOR Rupert Noffs CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAlister, Blaze, Brad Swob, Bryget Chrisfield, Carlin Beattie, Chloe Scardina, Clare Dickins, Cosmo Cater, Cyclone, Daniel Sanders, Darren Collins, Darryn King, Dave Dri, Dave Jory, Gloria Lewis, Graham Cordery, Guy Davis, Holly Hutchinson, Huwston, Jane Stabler, JC Esteller, Jean Poole, Jeremy Wood, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa West, Monica Connors, Nina Bertok, Paz, Ritual, Robbie Lowe, Roo, Ryan Lungu, Sasha Perera, Scott Henderson, Stuart Evans, Tim Finney Carine Thevenau, Corey Brand, Cybele Malinowski, Philip Poyner, Daniel Munns, Monique Easton, Kostas Korsovitis, Anthony Yong, Judd Hingerty, Nathan Wong, Kezz, CJ, Anne D’ Antimi, Leigh Louey-Gung, Nicky White, Frances K, Robert Donnelly, 10 3DWORLD

Luke Aust in, Anna Warr, Anthony Ponzo, Jessica Silva, Timmy Johnston, Tom Hancock, Anna Zhu, Anthony Ponzo ADVERTISING DEPT Jason Spiller, Brett Dayman, James Seeney

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CLASSIFIEDS ART DEPT artwork@3dworld. Matt Greenwood, Matt Davis, Stuart Teague, Dave Harvey, Samantha Smith


ORLD VIP AREA AT OPEN THE 3D WRO WN! UTOPIA HOMEG ve been telling you how 7

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For the past six weeks we’ n iring loca l producer to ope we’re looking for an asp wn gro me Ho pia Uto at a up 3D World ’s VIP are – ilion Sat urday 14 August when it hits Hordern Pav up m war to like ’d ! If you now we’re telling you how Bitrok , Robbie Lowe and for acts like Flatwound, d to ww w.threedworld. more, we need you to hea to our Soundcloud, click on the link prompts from there to the ow foll and Dropbox, r ow n origina l music by you of s ute upload three min ounce the winner in ann ’ll Tuesday 3 August. We ine gaz . Get cracking! the follow ing week’s ma 6 7


DISTRIBUTION dist ro@3dworld. SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks) – Send your details with payment to Subscriptions Dept, 3D World, PO Box 957, Darlinghurst 1300 (cheques/money orders to be made payable to Dharma Media Pty Ltd) ADDRESS PO Box 2440 Strawberry Hills NSW 2012 1/142 Chalmers St Surry Hills 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email


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SUSHI SNAPS 1 Oxfam Auralia presents The Hip Hop Approach @ Oxford Art Factory 2 Pure Ivy @ Ivy 3 Saturdays @ Carmens 4 Club Club @ Chinese Laundry 10

5 Cherry @ Shelbourne Hotel 6 Friday @ Candys Apartment 7 Fridays 10 @ Ryans Bar 8 Ground Zero @ Favella 9 Make or Break @ Lady Lux 10 Saturdays @ The Orient





Even with DJ Hazard’s tearout drum’n’bass weapon of the same name criminally ignored on the soundtrack, the trailer for Robert Rodriguez’s Machete is the st uff movie legends are made of. With LiLo, Cheech and Steven Seagal, how can it possibly not rule?


If you’re yet to succumb to the iPad craze, this may tip you over the edge – yes, the world’s greatest board game Boggle is now available. Yes, we admit, we’re word nerds. Got any pingers?


Spread the word to your friends in Brisneyland and Melburn – 3D World goes East Coastst yles from August 11…



The return of Hey Hey It’s Saturday (minus the On Wednesday suffi x it just ly deserved) was always going to end in tears – mainly from viewers, but now for all involved with the show being shitcanned again, presumably for good. Heartbreaking st uff…


It’s a 50/50 split at 3D World HQ on the merits of David Fincher’s The Social Network – the trailer is about as interest ing as a status update from that guy you never spoke to at school.


Online music publication The Quietus quizzed Katie “Jordan” Price for her thoughts on Kraftwerk’s The Model. Her response? “Never heard of them.” No wonder Peter Andre got the fuck out of dodge… 12 3DWORLD

A GOOD FRENCHMAN doesn’t let a volcano keep him down – well, not permanently. Agoria didn’t quite make it down to Australia to launch his breathtakingly diverse Balance 016 in April, but he’ll be having a second go when he hits town for The Likes Of You alongside Super Flu at Plantation Saturday 4 September. If some long dormant Australian volcano doesn’t spring back to life in the meantime… IT’S THE HEADLINE publicists have dreamt of and chinstrokers have dreaded – “Take That Are Back For Good”. The original line-up have written and recorded a new album for release later this year. Presumably Robbie Williams is doing this one for the bank balance rather than “for the kids”… AFTER MUCH DELIBERATION, Sydney’s Bag Raiders have settled on Bag Raiders for the title of their debut album drop on Friday 1 October. The duo have announced Way Back Home will be the second track to drop from the release (following Shooting Stars) when it hits radio from Monday 9 August. They launch the record live on the Parklife tour… AWESOME APP ALERT! Gamers of a certain vintage will most likely want to make their way to the nearest iPhone/ iPad App store pronto when they hear that legendary board game Boggle and unbelievably awesome side-scrolling shoot ’em up R-Type are available on their touchscreen platform of choice. Space Invaders and Bubble Bobble coming soon as well…


Six weeks ago Street Press Aust ralia gave 3D World as Sydney had known it for over two decades a massive overhaul – a reduct ion (in size), an enhancement (in width) and glossy facelift all in one. Our interstate cousins have jealously eyed off the new format from afar ever since, so it’s with much excitement that we announce 3D World is launching Victorian and Queensland editions, with Sydney’s clubbing lifest yle bible dropping like it’s hot on the southern and northern capitals on a weekly basis from Wednesday 11 August. Readers in those states will finally get the high quality, broadfocus standalone dance music and hip hop publication they have been demanding for so long, with a stable of state-based contributors keeping tabs on what’s going down. And for New South Wales readers, the 3D World song will remain the same as always – so give your interstate friends the heads-up, and go about your business. THE CHEMICAL BROTHERS


The June release of The Chemical Brothers’ seventh st udio album Further attracted a predictably massive media circus which had all and sundry salivating in anticipation of a possible tour. Forget the rumour mill – we’ve full confi rmation that Tom Rowlands and Ed Simons will indeed be making an Antipodean tour which sees them roll out the juggernaut for a Thursday 10 March, 2011 performance at the Sydney Entertainment Centre. Such unmistakable tunes as Hey Boy Hey Girl, Setting Sun and Star Guitar will be set seamlessly with material from Further, which was developed in conjunct ion with visualists Adam Smith (Flat Nose George) and Marcus Lyall to ensure the greatest synergy possible between the audio and visual aspects of their show. YouTube footage from Sonar 2010 confi rms the work was worthwhile. Tickets available through Ticketmaster from Thursday 5 August. TAME IMPALA


Perth rock four piece Tame Impala have been a rest less bunch since the release of debut album Innerspeaker – with plenty of places to play, and people to meet, they don’t very well have a choice! Thankfully, a bit of global recognition hasn’t made them forget the folks at home and with that in mind, the band are heading back to Aust ralia for a spring tour in the wake of a Splendour In The Grass homecoming appearance. They’ll be rocking the Enmore Theatre on Thursday 14 October with as yet unconfi rmed supports. Tickets will be available from Thursday 22 July through Ticketek and those of you who’ve yet to snag a copy of Innerspeaker can bundle it with the ticket in either digital or physical format at a presumably discounted rate. The ever reliable Pitchfork gave it an 8.5 out of 10 so the band are doing something right...



GENERAL OUTLOOK What makes a good porno? Well, you need to be able to see what’s happening, of course. And your parents shouldn’t be in it at all. AQUARIUS (20 JAN TO 18 FEB) The smell of burning human hair will follow you around this week and make you feel nauseous. Also, your hair will catch on fi re on Tuesday. PISCES (19 FEB TO 20 MAR) You will go swimming with the sharks this week Pisces. Keep your shit tight or you may get eaten. Read the fine print. ARIES (21 MAR TO 20 APR) That st range man hanging around the front of your house will turn out to be a demented homeless war veteran with a gun. That’s bad news. TAURUS (21 APR TO 20 MAY) Rediscover your love of dance this week, then show up at your local disco with a shotgun and a bag of ammo. Then we’ll see who likes dance. GEMINI (21 MAY TO 20 JUN) Find a nickname that works for you (something like “Dumb Fuck” or even “Th ick Shit”) and get it printed up on business cards. CANCER (21 JUN TO 21 JUL) Make the effort to look good before you leave the house each morning. You never know who is photographing you without your permission. LEO (22 JUL TO 21 AUG) It’s the little jobs – changing light globes, mopping, burying dogs while they’re st ill alive – that will take up your time this week. VIRGO (22 AUG TO 21 SEP) I don’t mean to boast, but I’ve banged every star sign at least once. Not all of us can make that claim can we? Virgin. LIBRA (22 SEP TO 22 OCT) Your agent will get you an audition to play Christ ian Slater’s best friend in the fi lm version of the TV show based on the board game Operation. SCORPIO (23 OCT TO 21 NOV) Your inability to maintain an erect ion will become a source of amusement on the Internet until you threaten to sue Perez Hilton. SAGITTARIUS (22 NOV TO 20 DEC) I can’t believe the cops think they can keep me away from you. Screw the police. I’m coming to get you this week. CAPRICORN (21 DEC TO 19 JAN) Your finances are slowly improving, but only thanks to your policy of paying off debts before feeding yourself. Maybe give yourself some pin money.


A FASHION SHOW for synth freaks? Such a beast does exist , and its name is Lunamorph. Hitting Enmore Theatre as part of Sydney Fringe Fest ival Saturday 11 September, the event pairs an orchest ra of 32 vintage synthesisers belting out the likes of Blue Monday and Dr Who with a display of avant-garde fashion. Seeing is believing folks… WITH SEEMINGLY NO torrent of abuse left unfurled at his most-recent ex, Mel Gibson is rumoured to be returning back to Australia with his former wife. With a foul mouth like his, a future career as NSW State Of Origin coach surely awaits… IT’S BEEN A long wait for Cut Copy fans, but at last some new material is on its way, starting with Where I’m Going available for free download through the band’s website (that’s www.cutcopy. net for those keeping score at home) if you become a member. The band describe it as “the kind of track Brian Wilson would’ve written if he took ecstasy and hung out in 60s London instead of California”, which means Pitchfork will have to come up with their own hyperbole. Album drops early 2011… SOMEONE CLAIMING TO be Balinese tour operator Eddie Hutauruk has put up the borderline tasteless but still quite humourous Schapelle Corby Tours website. Sick joke or shocking indictment on mankind’s tendency to observe animals in cages as a form of entertainment? You decide…



Lee Coombs deservedly wears his reputation as a favourite with club veterans with some measure of pride and 20-odd years in the industry haven’t dulled his enthusiasm. Based in the US, Coombs has attained notoriety for his eclectic approach to DJing which commonly results in sets which range through the full house music spectrum and up into breaks territory before crashing into funk-driven acid. Few better examples can be found than his 2009 album Light & Dark which is getting a new lease on life in 2010 as Light & Dark Remixed – Meat Katie, Dopamine, Zodiac Cartel, Maelstrom, Atomic Drop, Trent Cantrelle and Coombs all contribute retouches to the album. Coinciding with the release, Coombs will be joining the locals for Envisage, a daytime event at the Slipp Inn on Saturday 28 August. DJ MARKY


Should your hunger for drum’n’bass have yet to be sated this year, the following news may prove to fill the void. Brazilian legend DJ Marky is billed for a Friday 13 August appearance at Chinese Laundry alongside local supports Typhonic, Royalston, Doctor Werewolf and Spenda C. No stranger to fans of broken beat genres, DJ Marky exudes an almost limitless enthusiasm in the booth which has earned him high profile residencies at venues such as Fabric and Brazil’s premier outdoor festival Skolbeats, where he has performed for the past nine years running. Tickets are on sale now through Moshtix for $45 + b/f and likely won’t last long.


It’s increasingly rare to find music which speaks to the inner moralist at all let alone music which is able to without bashing it over the head fi rst. Sage Francis is exact ly the kind of artist able to tread the fine line between moral vacuousness SAGE FRANCIS and contrition to arrive at a life affi rming message. His ability to explore such unconventional topics as mental illness and corporate greed is well represented on his latest album Li(f)e Abroad. Notable for guest appearances from French composer Yann Tiersen, and musicians from bands such as Death Cab For Cutie, it’s a positively cracking listen from start to finish. He performs at Oxford Art Factory on Sunday 17 October with support from Strange Famous Records label mate B.Dolan, who’ll be joining him on stage throughout his set. Tickets on sale from Friday 23 July through Moshtix. BUCK 65


Mount Uniacke, Nova Scotia – population 3,500 – doesn’t sound like the kind of place you’d find an exceptionally talented hip hop producer. Even if that sounds rude, it’s a good point. On the other hand, to be so assuming is to miss out on Buck 65 – an artist of 20 years experience whose reputation for breaking the mold precedes him. His collect ion of songs, 20 Odd Years, celebrates his career across several digital releases compiled with new material written or recorded, in some instances, collaboratively with Charles Aust in, Graeme Campbell and Jo Run. The unconventional artist is paying Aust ralia a return visit in September, performing at the Factory Theatre on Friday 17 thanks to Custom Made Touring. Tickets on sale now through for $39.80.


CALENDAR JULY SPIT SYNDICATE – Thursday 22, The Harp, Wollongong SCUBA – Friday 23, Civic LOGISTICS – Friday 23, Chinese Laundry INDEX: DEADBEAT – Friday 23, Phoenix PURPLE SNEAKERS: GRIZZLY BEAR DJ SET – Friday 23, Gladstone Hotel SPIT SYNDICATE – Friday 23, The Cambridge, Newcastle PURE IVY: MINX & TASS – Saturday 24, ivy JAMES HOLDEN – Saturday 24, Chinese Laundry SPIT SYNDICATE – Saturday 24, The Gaelic Club LADY CHANN – Saturday 24, Goodgod Small Club SPIT SYNDICATE – Sunday 25, The Wall LCD SOUNDSYSTEM, HOT CHIP – Monday 26, Hordern Pavilion SCISSOR SISTERS – Tuesday 27, Big Top at Luna Park WINTERBEATZ: BIG BOI, FATMAN SCOOP, NE-YO, T-PAIN – Wednesday 28, Acer Arena YEASAYER – Wednesday 28, Metro Theatre FOALS – Wednesday 28, Manning Bar GOLDFRAPP – Thursday 29, Big Top at Luna Park THE OPTIMEN, UNDERTOW – Friday 30, Beach Road Hotel GOOD SORTS: PABLO CAHN – Friday 30, Civic DESTINATION: NAPT, PEOP DE PITTE – Friday 30, 202 Broadway PURPLE SNEAKERS: DAPPLED CITIES DJ SET – Friday 30, Gladstone Hotel SAVAGE – Friday 30, The Collector Hotel PURE IVY: SAMMY JO – Saturday 31, ivy JODY WISTERNOFF, JAYTECH, BLACK NOISE – Saturday 31, Chinese Laundry RICHARD ASHCROFT, KATY STEELE – Saturday 31, Enmore Theatre SAVAGE – Saturday 31, Woodport Inn AUGUST THE DRUMS – Sunday 1, Oxford Art Factory JÓNSI, SETH FRIGHTENING – Monday 2, Enmore Theatre PASSION PIT – Monday 2, The Forum DELPHIC, PLUTO JONZE – Tuesday 3, Gaelic Theatre K-OS – Wednesday 4, Oxford Art Factory COLD BLANK – Friday 6, Candy’s Apartment PHATCHANCE, COPTIC SOLDIER – Friday 6, The Factory KATY STEELE


COMIC BOOK NERDS worried they’d missed their chance of catching An Evening With Kevin Smith as part of Sydney Opera House’s Graphic festival can breathe easy as the legendary indie film maker of classics like Clerks and Chasing Amy will be hosting a Monday 9 August talk at the venue to back up his sold out Sunday 8 session. A Neil Gaiman reading and Regurgitator live scoring Akira are other highlights of the two day geek-off… IF YOU LIKED last year’s Junior from Röyksopp, you may well love its inst rumental companion piece Senior. Expect it to be introspect ive, freeform and fully inst rumental in contrast to its poppier partner when it hits Friday 10 September. We’re tipping unbridled awesomeness for what it’s worth… THE CHICK ON the cover of Vampire Weekend’s Contra is reportedly suing the band and the photographer who snapped the shot according to TMZ. We’re expect ing the girl on the cover of Blind Faith’s only release to come out of the woodwork next. Never heard of them? Ask your father… NOT IMPRESSED BY the new MIA album? You’re not the only one, with Diplo – the superproducer who helmed a couple of tracks on the release – telling BlackBook Mag in an interview that “She only did it again because Paper Planes did blow up in the end. It gave her a second wind, but she didn’t have any hunger anymore.” Which is a polite way of saying she phoned the whole album in…


With its sunken dancefloor, comfy booths and prist ine sound system, the Civic Underground demands some serious talent to do it just ice. Thanks to Reckless Republic’s Plus 1 brand and Colour that’s precisely what it’ll get on Friday 13 August when Robbie Lowe, Tim Culbert, Matt Rowan and Sari Amia take to the booth with CD wallets full of hi-octane techno and progressive house bombs. Entry $15.


Darlings of the folk at NME, Florida indie-pop wave rockers Surfer Blood are due to hit Aust ralian shores within weeks for a short tour which takes in Splendour In The Grass and a Tuesday 3 August performance at the Manning Bar. Now confirmed for the support slot, Papa vs Pretty will do the headliners just ice with their dynamic live show which features tracks from debut EP Heavy Farm. Tickets available now through for $43.40.


Started as a recording project for brothers Ben and Josh Strong, the project morphed into a live act with the addition of Marty Umanski from TTT – and Gosteleradio recently launched their st unning debut album Great Deeds Against The Dead at a near sold out gig in Melbourne. They’ll hopefully be following the trend at The Oxford Art Factory side stage on

Friday 23 July with support from Jewel and The Falcon and Sleep Debt.



The Sydney Telst ra 500 V8 Supercar Championship leg just got hotter st ill with the addition of global rock legends Guns N’ Roses to the Saturday 4 December event line-up at Sydney Olympic Park. They’ll be joined by skate genius Tony Hawk who’ll be hammering a massive vert ramp specially built for the event. Tickets on sale from Monday 19 July through Ticketek, prices range from just $91. The concert is free with any Saturday ticket.


SAS member DJ Sirvere is no st ranger to Aust ralian hip hop fans and his Major Flavours compilations are a rampant commercial success both here and in his native New Zealand for good reason; you’ll be hard pressed to find more crowd pleasers crammed into as slick a package elsewhere. His club gigs are, of course, of the same calibre and you can catch the turntablist at the Collingwood for Fuego on Friday 23 July.


Fresh from their new home base in London, local live act Philadelphia Grand Jury are performing a not to be missed, one off show at the Beach Road Hotel with support from the Purple Sneakers DJs and Ernest Ellis on Saturday 24 July. With our sister mag Drum Media

referring to the band as “a must-see before you die”, the $15 + b/f tickets available from Moshtix and seem rather cheap indeed...


New Holland have an enormous line-up of DJs ready to do the musical nast y for Hard As Hell – a gabber, hardst yle and old school fusion event at Hotel Sweeneys on Saturday 24 July. UK guest DJ Alex B joins Spellbound, Peter, Gaga, Pugsly, Little John, Spir@l, The Saint, Buddha, HSB, Skitzy, The Khemist, Napoleon, Refresh, Catzeyez, Satanism, Fulla, Blocka, Tha Kid, Nik Import, Convict, Paulie MC and MC Mest.


Techst yle brings the wonky to Tao Lounge on Friday 15 October with a little help from local live outfit Audiobotz, Ben Morris, Matttt & Tomassss, Foundation and Nic Side. Audiobotz have Kid Kenobi and Nick Thayer jumping and you’ll only have to shell out $10 to find out why for yourself!



PURE IVY: RICHARD VISSION – Saturday 7, ivy LIBERATE: JOHN 00 FLEMING, MIKE, TRITONAL – Saturday 7, Space DOUSTER, MIGHTY FOOLS, SHARKSLAYER – Saturday 7, Chinese Laundry SAVAGE – Saturday 7, Gaelic Theatre BRET EASTON ELLIS, DOMINIC KNIGHT, MODELS – Tuesday 10, Oxford Art Factory A TRIBE CALLED QUEST – Wednesday 11, Hordern Pavilion DEEKLINE, AJAX, KILLAQUEENZ – Thursday 12, Manning Bar DJ MARKY – Friday 13, Chinese Laundry DISCO VILLAINS – Friday 13, Candy’s Apartment LOWRIDER – Friday 13, Annandale Hotel UTOPIA HOMEGROWN: DARREN STYLES, MARK BREEZE, MC WHIZZKID, BITROK, FLATWOUND & MORE - Saturday 14, Hordern Pavilion and Surrounds MASEO – Saturday 14, Chinese Laundry SAVAGE – Saturday 14, Mona Vale Hotel ART VS SCIENCE – Thursday 19, Uni Of Newcastle MIDNIGHT JUGGERNAUTS – Friday 20, The Forum BAG RAIDERS – Friday 20, Chinese Laundry SHARKSLAYER – Friday 20, Candy’s Apartment ART VS SCIENCE – Friday 20, Uni Of Wollongong SAVAGE – Friday 20, Garden Hotel Dubbo TRANCE NATION: TYDI, MARLO – Friday 20, Academy LEE COOMBS – Friday 20, The Maram ART VS SCIENCE – Saturday 21, Metro Theatre DEEKLINE, AJAX – Saturday 21, Chinese Laundry THE TRANSATLANTICS, KON – Saturday 21, The Basement M-PHAZES, MUPH, MANTRA, DIALECTRIX – Saturday 21, Transit Bar SAVAGE – Saturday 21, Fanny’s Newcastle M-PHAZES, DRAPHT, MUPH, MANTRA & MORE – Thursday 26, Annandale Hotel M-PHAZES, DRAPHT, MUPH, MANTRA & MORE – Friday 27, Uni Of Wollongong MOMMA’S BOY, PHIL K – Saturday 28, Chinese Laundry M-PHAZES, DRAPHT, MUPH, MANTRA & MORE – Friday 27, Cambridge Hotel ENVISAGE: LEE COOMBS – Saturday 28, Slipp Inn THE CAT EMPIRE – Sunday 29, Hordern Pavilion SEPTEMBER XIU XIU, HIGH PLACES – Thursday 2, Oxford Art Factory


THE REPLACEMENTS FOR departing triple j dance music presenter Nicole Foote have been announced. From 27 August, taking the Mix Up slot on Saturdays from 1-6am is Deacon Rose, formerly of the Friday night Shake & Bake show on Melbourne’s PBS community radio. Then on Saturdays, Sydney’s Nina Las Vegas expands her House Party slot to introduce four international DJ mixes for Mix Up Exclusives, running from 9pm til 1am… MISSED OUT ON tickets to LCD Soundsystem and Hot Chip at the Hordern next Monday? A final release of tickets is on sale. Don’t sleep on it this time y’all… TWO OF SYDNEY’S premier street artists will be battling it out in the first ever Secret Wars Grand Final on the evening of Saturday 7 August. Houl Vs Creon are the artists in question, tix are $10 through Moshtix, and the venue is Church On Chalmers – otherwise known as the amazing 3D World office… ANOTHER AUSSIE DANCE act with a new album set to drop are The Potbelleez. Destination Now hits stores Friday 22 October, but keep your ears peeled for the Paul Macproduced lead single Hello as of this week. Another summer festival anthem is born? Time will tell… IF YOU DIDN’T enroll to vote before 8pm last night, you’re not allowed to whinge when “that ranga woman” or “that guy in the dick togs” gets the gig. To the rest of you, happy voting, make sure it counts…



Pop songstress Chita is making waves with her latest EP, Eyes On You, which aptly captures her resonant vocal signature and some seriously catchy upbeat tribal rhythms. She’ll be launching the release at Tokio Hotel on Thursday 22 July alongside her band and as yet unconfirmed supports. Doors open at 7:30pm and entry is free but be sure to get in before the show starts at 8:15pm!


Ambitious fi lm makers and DJs, the Heroes Of The Party duo have hit a little funding snag in making their fi lm expose Everybody’s A DJ and are summoning a rogue’s gallery of local and international supports for a Saturday 14 August event at the Greenwood Hotel to get the ball rolling again. Sling $33.30 at Moshtix to get a ticket to Wreak Havoc and catch Wonk (UK), The Phantom’s Revenge (France), Wongo, Knife Machine, Hey Now and many more besides.


Within a month of opening at 239 Oxford St, Sol Sutra has already attracted the likes of DJ Premier, local hip hop crew KillaQueenz

and NZ turntablist P-Money with its beautiful décor, vibe and musical focus. Aiming to please soul, jazz and funk fiends, the venue sports a warm art deco inspired fit out on the ground floor and a New York st yle warehouse layout up top. Signature cocktails, tapas and pasta dishes simply seal the deal. Check it out!


It’s not so often that new trance brands hang around for long thanks to st iff competition but Progression Project seems to have bucked the trend. On Friday 20 August the event celebrates its second birthday in its new home at Tao Lounge with booth favourites Rossco, Pato De Gomah, Cryptic & Sonus and Nick Arbor. It also funct ions as the launch for Nathan Cryptic’s Future Trance Anthems compilation, out through Central Station Records.


Yet another A Night At The Jazz Rooms approaches and the entertainment on offer is as impressive as usual with The Brazilian Funk Affair themed party on Saturday 31 July at The Basement. I Like It Like That Orchest ra

headline the event with assistance from guest vocalists Toni Allayialis, Tiago do Valle and Ednaldo Ignacio, while Samba Soul Kingdom, Russ Dewbury and Michael Correa support. Tickets $25 + b/f from Moshtix or

DISCO SONIC Ready yourselves Racketeers for another mad party at the Marrickville Bowlo as your favourite crew are back on the case for an end of month runout. Mad Racket are bringing the Disco Circus to town on Saturday 31 July with the assistance of HaHa Indust ries head honchos Dean Dixon and Dave Fernandes plus Racket Court Jesters Zootie, Jimmi James, Simon Caldwell and Ken Cloud. Tickets $25 + b/f from Spank Records.

FACTORY THIRDS It’s hard to believe that the Oxford Art Factory has been part of the local scenery for three years now but alas, here we are several grey hairs sprouted and none the wiser! Thankfully the folks at the Art Factory st ill like a good shindig as well as we do as they’re celebrating three years in operation with performances from Parades, Howl, Guineafowl, Circle Pit, Traps, The Joyst icks, Rapids and more on Friday 20 August. Free entry!



pit Syndicate have been putting in work. Back in May, the local duo of Nick Lupi and James Boserio (aka Jimmy Nice) returned to the fold with Exile, the follow-up LP to their 2008 debut Towards The Light. But Lupi and Boserio are far from your local average rappers. While the pair may enjoy a healthy musical pedigree, developed on the local battle and graffiti circuits throughout the mid2000s, they are, to an extent, outsiders. The Spit Syndicate sound is progressive, even experimental. And, as many artists have found out, any variance from hip hop’s decided norms, whatever they may be, is met with words of caution. Spit Syndicate have heeded none of it.


June 2008 saw the release of Towards The Light, a debut that lauded Lupi and Boserio a kind of acclaim and crossover appeal that had, by and large, yet to be bestowed upon a Sydney crew. Spit Syndicate were young, flashy and intelligent, and a far cry from the hooded jumpers and Nike Air Maxes that exterior audiences associated with Sydney’s hip hop collect ive. Subsequently, somewhere amongst all the Oxford St appearances, skinny jeans and Ray-Bans, people seemed to forget – or just didn’t acknowledge – Lupi and Boserio’s long running connect ion with Sydney’s innermost hip hop circles. Granted, the duo didn’t proclaim this association, but, nonetheless, were viewed as an entity largely separate from the city’s hip hop collect ive. The MCs had some hand in this, taking steps to publically distance themselves from the “cringe-worthy” hip hop Aust ralia sometimes produces. The pair earned their st ripes battling and painting. Lupi, who cut his teeth as a battle rapper, took out several freest yle competitions as a teenager, with the prominent DoubleBeef

HE SHADOWS and Park Jam titles added to his name. At the same time, the National Art School-educated Boserio was regularly throwing up graffiti around Sydney’s inner west. Their large-scale introduct ion to hip hop audiences came in 2005. Along with the release of their Future’s Bright mixtape, the pair featured on Swarmy’s maiden EP effort, The Appetiser, out on the respected Broken Tooth Entertainment imprint. “There are dudes that know,” Boserio says of the

recognition of their early involvement in Sydney hip hop. “But we don’t need to rap about who Nick beat in a battle, or how many toilet doors I’ve tagged.” While their association with local heads may be extensive, the Spit Syndicate package is undeniably unique. The duo stand as the catalyst that sparked a long line of Sydney hip hop releases. While Horrorshow, Dialectrix and Thundamentals may have all been making that blend of hip hop years before the release of Towards The Light, it was in the aftermath of Spit Syndicate’s union with Obese and the following LP that releases of that nature were met with a genuine large-scale reception. But Spit Syndicate are st ill outsiders. Looking back over the years, names like Delta, TZU and 360 stand as similar types of renegades largely exterior to the hip hop community, who subsequently went on to forge a musical wedge that was continued. “It seems to be the young guys that are doing different things,” Lupi says. “They’re into all types of music these days. It’s also really easy to get into hip hop. It’s hard not to like hip hop, and not want to get involved, be it through rapping, producing, or graffiti. These days, you can produce a track in your bedroom. And that’s a good thing.” Where Towards The Light had its share of downtempo head nodders, Exile has seen Spit Syndicate almost entirely depart from that sound, running with a more layered and inst rumentally diverse sound. Attention to detail, they say, has been a driving force behind their approach to

the creation of the recently released LP. Since releasing Towards The Light and the extensive national travel that accompanied it, the pair began to listen closely to the vocal techniques their interstate contemporaries were employing. “There’s definitely more competition these days,” Lupi says of the current hip hop climate. “Everyone’s paying close attention to what everyone else is doing. And that’s a good thing.” Inst rumental in Exile’s formation was longtime friend and collaborator Adit, who produced eight of the LP’s 13 tracks. The producer, best known for his work as one half of the Horrorshow duo, played a significant role in shaping the overall direct ion of Exile, and providing the cohesion that Lupi and Boserio desired. Of course, Spit Syndicate’s close working relationship with Horrorhow raises eyebrows, but, ultimately, was not an issue. There would be no crossover between the two duo’s sounds. “Adit is versatile,” Boserio asserts. “He makes all kinds of beats. He’s a genius.”

“We weren’t worried, at all, about having Adit doing so much product ion,” Lupi adds. “The thing is, when you’re working with different producers, you’re never their number one priority. With Adit, we were his top priority. He had a very significant influence on shaping the record, he put in a huge amount of work into the record – but that’s how he does it.” The attention to detail Spit Syndicate paid wasn’t confined to the music spect rum. Exile’s packaging, a replicate of a well-worn passport, brings the album’s underlying travel theme to a tangible level. As the album’s packaging, and lyrical references may suggest, travel is something the pair hold dear. “As convenient as downloading an MP3 album is, it doesn’t compare to holding an album in your hand while listening to it,” Lupi explains of Exile’s packaging. “The album artwork and packaging have a big impact on your response to an album. It makes it more of an experience and can drive home the message or theme. We had a very clear idea of what we wanted to the album to look like in terms of artwork, and were lucky enough to have the extremely talented team at April 77 help us see that through.” The response to Exile has been positive. The

album debuted at number eight on the Top 40 ARIA Urban Album Chart, suggest ing the level of anticipation surrounding the release of Spit Syndicate’s sophomore LP venture. Much of the feedback, in an attempt to provide some benchmark, has pitted Exile against Spit Syndicate’s 2008 debut for comparison. “We’re stoked,” Lupi says of the response. “The most common response is, ‘Guys, I really like the new album – it’s so much better than your fi rst!’ Nothing like some backhanded props.”



PAYING TRIBUTE ON EXILE “One of the best things about hip hop is the ability to pay homage to those who have influenced you either in samples or by reciting lines or lyrics,” Nick Lupi says. “I don’t think you could have aspired to be involved in hip hop in Aust ralia without some level of admiration and respect for the Hilltop Hoods. They are hands down the kings of Aust ralian hip hop and have been hugely influential on us.” Across Exile, you’ll find those points of homage. Locals Hilltop Hoods, Bliss N Eso and Delta are given the nod, along with the inclusion of samples from internationals J Cole and Jehst. Each of the tracks referenced hold a special place in the combined psyche of Lupi and Boserio, whether it is through their musical influence, or persona effect on the artists. A vocal excerpt from J Cole’s Dead Presidents 2 opens Exile. “J Cole is hands down the craziest, most exciting new rapper I’ve heard since I fi rst came across Lupe Fiasco,” Lupi enthuses. “He’s a very talented lyricist and his flow is razor sharp. Despite only having put out a few mixtapes, J Cole has had a big influence on us and we wanted to pay homage to him by putting his voice as the first vocals on our album.” Lyrically, Delta also has provided a significant influence on the Spit Syndicate duo. Vocals from The Lost ralian join J Cole on Exile’s opening seconds. Incidentally, both Exile and The Lost ralian place their title track as the album opener. “Delta’s album The Lost ralian is probably the most influential Aust ralian hip hop record as far as st raight up hip hop lyrics go,” Lupi states. “I can vividly recall buying this album from Next Level Records and st udying it for months on end – definition of a classic.” 22 3DWORLD



James Holden has been unfairly proclaimed as the JD Salinger of the dance music world; beginning with a blistering opening salvo that announced his amazing talent, yet then falling somewhat into obscurity. Back in 1999, Holden found himself st udying mathematics at Oxford University and making some incredible music on his PC. Signed to Silver Planet Records and having the ear of progressive house don Nick Warren, Holden proceeded to dazzle all with innovative trance records. On launching the Border Community imprint he then continued taking things leftfield, departing into glorious dreamy melodic techno with a stable of artists that kept upping the ante in terms of experimentalism. However it was a double disc DJ mix for the Balance compilation series in 2003 that saw him gain the most plaudits. Balance 005 has been hailed as a masterpiece, mixing trance, techno, elect ro and more with an experimental nature rarely seen in its predecessors – Holden captured so many different feelings in one mix, yet with a flow which was cohesive and flawless. Because the Balance series was at the time associated closely with the progressive house world, Holden became championed by that scene. It was to later work against him when he began playing a more minimal, glitchy techno sound as showcased on his 2006 At The Controls compilation for Resist and debut artist album The Idiots Are Winning in the same year. But like all artists with a vision, Holden has st uck to his guns. BALANCE 005 HAS BEEN RATED BY MANY AS THE BEST DANCE CD OF ITS DECADE. WHAT DO YOU THINK OF IT NOW? “I can still listen to that and am st ill quite pleased with it. It comes up on random play in the house sometimes and I’m quite happy to hear those songs again. I feel like [DJ-Kicks, see sidebar] is a lot better, maybe in ways that to me are important. For some people, [Balance 005] will be the moment in time that they want to stop with, but I have to be something else, don’t I? I can’t be doing the same thing forever.”

WHAT DO YOU THINK OF THE ARGUMENT THAT ALL COMPILATION SERIES THAT WERE ONCE CLASSICS HAVE LOST THEIR WAY? “I wouldn’t say all. I mean the Balance series is still going really st rong. They’ve had some really impressive things, and they have an identity and a point. And the ones that are interest ing are the ones that aren’t a club mix because now everybody can download millions of club st yle mixes recorded st raight from the mixer in the club. Personally I don’t really understand why somebody would want to listen to something recorded direct ly from the mixer of a club unless they’re in the club at the particular moment as it was happening. It’s a performance for one moment; taken away from the big sound system, taken away from the atmosphere. Why are you wasting your time? Listen to a proper album!” THERE’S A BEEN A DEFINITE SHIFT IN YOUR SOUND OVER THE YEARS. IS IT SOMETHING YOU’VE NOTICED? “The very first things people knew me for weren’t really a very accurate reflection of me. My first record got signed and then I got st uck on that record label. Gradually I reasserted what I was act ually into. I realised people were making dance records in the ‘70s. I sort of found those records more interesting than the new records being made. Some people have said it’s wrong that my sound has changed a lot. I’m surprised that they think it changed at all. I played one of my first remixes recently, Joshua Ryan’s Pistolwhip. It still fits in. It’s not as well produced, but it fits in. I’ve been playing Innerspace which is one of the first singles that came out, I’ve just been playing that continuously in my sets since I did it. It’s always fitted into the sets. The perception that I’ve changed a lot surprises me WHO: James Holden WHAT: DJ-Kicks (!K7/Inertia) WHERE & WHEN: Chinese Laundry Saturday 24 July



GET YOUR DJ-KICKS Holden is touring Aust ralia to promote his DJ-Kicks mix, the latest in what is probably dance music’s longest and most unassuming mix series. The mix is a fusion of Holden’s ever-burgeoning eclect icism, mixing genres and tunes with decades of difference, and has no doubt played some part in luring Holden back to the product ion desk himself. THE DJ-KICKS TRACKLISTING IS VERY ECLECTIC, CONTAINING INDIE, ROCK, TECHNO AND MORE. HOW DID YOU ARRIVE AT IT? “I just collected st uff that I thought went together. At home we listen to everything on a server on random play. Whenever something comes up that I like I pulled it aside and put it in my folder for DJing. I just went through that and everything I thought was amazing for the last little while and it all sort of goes together. Although there’s a jazz record and a ‘70s experimental elect ronic and everything in between. To me it all sounds the same, it’s the same sort of feeling or rhythmic identity or the same sort of spirit to it. It doesn’t really matter that it’s different genres. It’s quite inspirational at the moment in England. The scene is really good, there’s lots of new st uff coming through. The Caribou album, and the Four Tet album, it’s such a positive thing, these people from completely outside dance music have made records you can dance to, but they’re not made out of the clichés that dance music is made out of. Dance music is a bit ‘trad’ now. It’s been around 30 years now at least. I think the people who are pushing against that, who are working on the edges, are making really interest ing st uff now.” YOU’VE RECENTLY RETURNED TO THE REMIXING FOLD WITH A CRACKING REMIX OF BOWLS FOR CARIBOU. WHAT DO YOU THINK OF THAT? “I’m really happy he asked me to do it. His album was inspirational. I’m quite pleased with my remix. I was really happy with Border Community, all the melodic naïve things, I was enjoying it, and then people started making really cynical copies of The Sky Was Pink, making it cheaper and more funct ional – just a bit horrible and tasteless. They really pissed me off ; I really started to hate that sound. I st ill like melodic things and hypnotic things and powerful things. The Caribou remix, [original Holden product ion] Triangle Folds and the Radiohead remix [Reckoner]as well, they’re like the point where now I’ve worked out how to make music I really like that works, but has nothing to do with those horrible people.”



indsight sometimes offers a remarkable perspect ive on the creative development of a band – particularly one as wilfully iconoclast ic and evolutionary as Sydney/London elect ro-acoust ic trio PVT. O Soundtrack My Heart, the band’s sophomore release under their original moniker Pivot (recent legal issues having prompted the removal of the band’s vowels), was perhaps one of the most daring and accomplished records of 2008. A ludicrously precise fusion of math-rock, avant-jazz, elect ro-acoust ic composition and a cavalcade of leftfield st yles like dubstep and hip hop released on legendary imprint Warp Records, O Soundtrack My Heart was a st artling leap forward from the group’s already impressive 2002 debut Make Me Love You. It seemed, at the time, to represent a culmination of both the group’s far-reaching st ylist ic ambitions and the band-members’ numerous years in the Aust ralian underground. “We’ve never really wanted to put any st rict parameters on ourselves in terms of the band being one thing or another. We never wanted to limit ourselves,” drummer Laurence Pike says of the band’s development. “That said, the difference between Make Me Love You and O Soundtrack My Heart was really because those albums were recorded by two different bands [the former having been recorded by a five-piece line-up as opposed to the band’s current trio].” Yet, with the benefit of hindsight and the forthcoming release of the band’s latest album Church With No Magic, O Soundtrack My Heart takes on a decidedly different resonance. Once a comprehensive realisation of the group’s ambitions, the record now resembles something not dissimilar to a creative stepping stone to the group’s current identity – Church With No Magic seeming a much better fit for the role of the band’s st ylist ic calling card. “The processes for the two records were very different,” Pike explains. “O Soundtrack My Heart was const ructed while two of us [Laurence and guitarist brother Richard] were living in Sydney and one of us [laptop/sound artist Dave Miller] was living in London. It was made in a very disparate sort of fashion. We were all writing and jamming in the same room for Church With No Magic. It was a much more organic process.” Whereas O Soundtrack My Heart respresented the recognisable amalgamation of a plethora of disconnected genres, Church With No Magic feels like true st ylist ic fusion. There are hints of specific genres throughout – from the luxurious Jean Michael Jarre synthesisers and Grizzly Bear st yle vocal melodies that decorate the entire record to the dubstep cymbal patterns and krautrock ambience of tracks like The Quick Mile – but, taken as a whole, the record feels almost unique. “I think the previous record was us finding our feet as a group, in a way, and this record was a real blossoming of that. I think we’ve arrived somewhere now whereas before we were just searching,” Pike reflects. “We just didn’t want to fight anything or force anything. The idea of the record was to let go a bit and let whatever happen happen. The nature of the band is that the music is always evolving and I don’t think we’ve ever been the kind of band who wanted to fight that.” There is an initial sense of irony in that, while supposedly representing the culmination of the band’s work, Church With No Magic also superficially represents a significant st ylist ic departure from the complexity of the trio’s most celebrated output – st reamlining the group’s sound via the greater inclusion of vocal melodies and the paring back of the trio’s more layered product ions – but there are connect ions and complexities beneath the album’s oblique and minimalist ic veneer.


“I don’t think we tried to make a ‘different record’. It’s just something that happened, really,” Pike considers. “The band started as a vehicle for us to experiment and I don’t think that’s really changed – we’ve just become a little more focused in what we do. I mean, having a more vocal-oriented record is a step in a different direct ion, but that’s something that happened quite organically while we were working and jamming on our material. “I think we’ve been moving towards a more st ruct ured direct ion for a while, though. For us, the development between O Soundtrack and this has been quite natural and happened over the course of a couple of years. I guess a lot of listeners haven’t had the luxury of witnessing that development in the same way we have but I think there are some st rong connect ions between this and the previous record.” An expanded perspect ive of both the album and the band even reveals the culmination of much broader career arcs – namely, those of PVT’s three members. Dave Miller, Laurence and Richard Pike have all spent decades working with sound throughout Aust ralia and beyond but one suspects that no member of the trio ever had a focused concept of what they wanted to accomplish with their work until Church With No Magic. Laurence Pike, in particular, has spent the majority of his career as a journeyman musician. The drummer has recorded or performed with any number of highly acclaimed artists – from post-jazz ensemble Triosk and avant-elect ronica genius Qua to glitch-hop pioneer Prefuse 73 and legendary songwriter Bill Callahan – but believes he’s only recently begun to comprehend his direct ion and focus as a musician. “We’ve had to really make a commitment to doing PVT full-time over the past three years – but that’s been a good thing,” the drummer considers. “I kind of like it. I feel like I spent years being a jack of all trades and, while that was certainly very valuable, you can’t help but get to a point where you want to just focus on the one thing and make it as good as it can be as opposed to just dividing my time.” WHO: PVT WHAT: Church With No Magic (Warp/Inertia) WHERE & WHEN: Manning Bar Saturday 21 August



ringing a darker sound with their return to our shores, New Young Pony Club’s approach to music may have changed but their enthusiasm for it hasn’t. In fact the London dance rock outfit’s front woman Tahita “Ty” Bulmer explains that their foray into an edgier st yle is something they feel is a sign of the times. “It was what we were feeling, and the world had changed quite a lot [since 2007 debut Fantastic Playground],” she says. “There was certainly a much darker atmosphere in terms of our community, obviously there was a massive recession and a real emphasis on real issues and real emotions. “It was also a desire to grow and I think we felt that one of things holding us back was the two dimensional, frivolous element of dance, and we wanted to bring a more reflect ive, thoughtful influence. I think we wanted to move away from [pop] and we do that very well, but it’s a very boring experience as an artist to just rehash what you’ve done before.” Considering their darker approach, there’s a slightly contradictory nature of the name of the album to their new sound, and Bulmer doesn’t shy away from speaking her mind about feeling the band isn’t where it could be. “I think we’re always optimist ic, but in a sense we as a band have been unlucky,” she begins in an unexpected turn of conversation. “We’ve had missed opportunities and there’s been people

who we thought would support us who didn’t. We have a sense that we’re being overlooked in favour of other acts, especially in the UK. We’ve been really embraced in Aust ralia, in New Zealand, in Europe, but ironically not in our home territory. They don’t understand what we’re doing. “I think [not being where we want to be is] down to a lack of foresight, we’re a herald of something new. We are fighters, we are mavericks and people don’t really understand what we’re doing but we have a sense of hope that people out there are touched by our sound. We might not be as big as we’d hoped but we’re optimist ic.”

WE ARE FIGHTERS, WE ARE MAVERICKS AND PEOPLE DON’T REALLY UNDERSTAND WHAT WE’RE DOING BUT WE HAVE A SENSE OF HOPE THAT PEOPLE OUT THERE ARE TOUCHED BY OUR SOUND. ” Staying optimistic must certainly help when you have a tour schedule that looks like theirs. When you’re known for your on-stage energy, Bulmer says that you really don’t have an option other than to just cope with the travel. “It is hard,” she admits. “But I think luckily for us we’ve been to Aust ralia so many times we’ve got the jetlag thing down now. We just try to get into the swing of things. Sometimes, you just do it because you have no choice. As an artist you’ve done gigs with the death of a loved one, with jet lag, two hours sleep, or a baby at home and you know that you can do it. You have to do it, and you can enjoy it. It’s a pleasure and a privilege to be able to do it.” WHO: New Young Pony Club WHAT: The Optimist (Liberator) WHERE & WHEN: Parklife Sunday 3 October




he road to Novi Sad is hardly eye candy. Peppered with rundown apartment blocks, refi neries and warehouses, the northern Serbian city st ill bares the scares of the 1999 NATO bombing and would be little more than a blip on most traveller’s radar if it wasn’t for Exit Fest ival. What began as a veiled protest to Milošević’s oppressive regime in the year 2000 has grown to become the jewel in Eastern Europe’s music fest ival crown and arguably the country’s biggest single tourist attract ion. In 2009, Exit attracted an est imated 100,000 mentalists to the 17th century Petrovaradin Fortress where the four-day fest ival takes place. With similar mayhem promised for this year’s event and a line-up headed up by the likes of The Chemical Brothers, Missy Elliott and LCD Soundsystem, the time to break this fest ival cherry had arrived. DAY ONE There’s an undeniable buzz circulating around Novi Sad. “Tonight it begins!” a bottleshop employee proclaims, a smile plastered across his face. Throughout the city, volunteers approach disorientated backpackers and guide them to their hostels. In the lobby of Hostel Bajic – our digs for the duration of the festival – a weedy British lad offers us vodka. It’s only midday and we’re still hungover from the previous night’s booze-up, so we decline to an incredulous response. Four pints of beer last night was clearly a mistake, but when you pay just 125 Serbian Dinar (approx AU$1.40) for half a litre of the local brew LAV, self-restraint is a tricky beast to tame. 28 3DWORLD

Sobriety doesn’t get any easier on approach to the fest ival. Stalls selling homemade honey whiskey, rakija (st rong liquor commonly made from mixed fruits) and beer line the roadside, while dudes offer up pills for 10 Euro and grams of speed for 20 Euro. Further on, a group of policemen send a wolf whist le our way, their car blaring throbbing techno.

determined amount – a method that often leaves drinkers short-changed. By the second day, the system act ually comes across as a masterstroke, eliminating the need to fossick for cash with each drink purchase. And the AU$1.50 beers, $3 energy drinks and $1.20 bottles of water aren’t half bad either. Just a shame about the vodka-free drinks menu!

After passing through a security frisk that’d would have made Carl Williams twitch, it’s dismaying to find Exit has adopted the painfully annoying drink token system that blights so many Australian festivals. Thankfully, Exit’s system works by allowing festival goers to buy tokens for specific drinks, rather than a card for a pre-

All across the fortress, the festival is beginning to take shape: the Bob Marley montages are flashing across the screens at the Positive Vibration Reggae stage, hoards of buttwigglers are doing modified versions of the macarena at the Latino area, while the metalheads assemble for US thrash band Suicidal Tendencies

at the Explosive arena. The gushes of excitement are reserved for the goliath main stage as LCD Soundsystem delivers a captivating performance, enhanced by the kind of production set-up that’d make any tech geek go weak at the knees. “This is a very fun place to play. I promise we’ll tell people,” James Murphy beams. Over at the Dance Arena, 20,000 kids are raving on a hill – literally. The organisers have erected tiered scaffolding that arouses a stadium-like atmosphere. Erol Alkan sends revelers into the st ratosphere with his patented brand of digital acid funk, before Jesse Rose and Henrik Schwarz’s new side project Black Rose titillates ear drums, moving between soulful tech house, fidget and instrumental techno. DAY TWO The beauty of Exit is the divergent range of sounds on show and half the fun lies in checking out peculiarly named acts just for the hell of it. Any performer with a set titled Fari Bradley’s Iranian Retro Disco Show deserves a look in. The Persian-born Brit is a journalist, radio presenter and DJ and plays a set of prerevolution Iranian disco tracks. They’re tunes she cut her teeth on growing up in Iran in the 1970s and it’s probably safe to say no one in the crowd had ever heard before. Fascinating st uff. Once the rock bands have cleared the main stage (tonight it’s The Horrors, Atari Teenage Riot and Placebo), drum’n’bass comes into own – it’s an Exit Festival tradition after all. London Elektricity and his MC Wrec make the morning set their own and have the predominantly Brit crowd frothing at the mouth



with a double hit of High Contrast, dropping the Hospital Record signing’s re-rub of Adele’s Hometown Glory and Tiësto featuring Jónsi’s Kaleidoscope. Trance without being trance – very nice indeed. DAY THREE Missy Elliott is making her Exit Fest ival debut and the main stage is squishidy-squish. After the all-out rock and dance fest of the past two days, it’s refreshing to see the fest ival awash with some urban flava. The femcee kicks it off with Get Ur Freak On, before demanding that the crowd “open it up” so she can get among it for the butt-wiggling Work It - but not before safe guarding all her bling by passing it to one of her back up dancers. What starts out so promisingly quickly goes southwards as Elliott seems more intent on plugging her Respect Me range for adidas originals than performing tracks from her long overdue new album. The choreography for an entire track is built around the signing and then hurling of a pair of adidas kicks into the crowd, before abruptly ending the performance 30 minutes early after an unimaginative tribute to Tupac, Biggie and MJ et al. Underwhelming st uff. Thankfully the Aust ralians save the day. Over at the Fusion stage Midnight Juggernauts hit the stage after ageing Croatian punk rock band KUD Idijoti who have the predominantly local crowd thrashing in unison. There’s enough Aussies on the floor to ensure the parochial mosh act ion continues, capped off by Road To Recovery – easily one of the fest ival’s most exhilarating highlights. Then over at the Dance

Arena it’s hard not to smile with pride as Melbourne boydone-good Dirty South smashes the gurners for six, even if it is with overplayed anthems Let It Go and Open Your Heart. DAY FOUR The hottest topic of conversation throughout the Exit Fest ival period has been the great World Cup Final vs Pendulum clash conundrum. The Perth outfit’s recent album Immersion st ill isn’t a patch on their glorious debut Hold Your Colour, so we head to the reggae stage to cheer on the Dutchies [pun intended? – Ed] in front of three giant screens showing the game. The disappointing result is quickly eroded by The Chemical Brothers.

After 15 years in the biz, Tom & Ed are just as devastating now as they were in the halcyon days of the 90s. With a synapse-searing light and video show to match, the pair smashes out highlights from their Swoon-inducing recent album, while classics Hey Boy Hey Girl and Out Of Control have the capacity crowd fistpumping in unison. The masterstroke comes with the arrival of epic facemelter Escape Velocity: out of nowhere the entire 60,000 plus dancefloor crouches down in the buildup before leaping to their feet as the track crescendos. It’s enough to make a seasoned festival snob squeal like a newbie. Oh Exit Fest ival – you’ve got yourself a convert!



1. Chillout on Novi Sad’s st rand, the 700m long beach on the bank of the Danube. Entry is just 50 dinas (AU$0.70) and it’s a lazy way to work off the previous night’s hangover – or keep going if you’re that way inclined as there’s no shortage of bars or cafes. 2. Take a day trip to Sremski Karlovci. Th is charming town is just a short 15 minutes across the Danube from Novi Sad and apart from being the home of a st unning array of baroque 17th century architect ure, it’s also well known for its top-notch wines. 3. The best way to get a feel for a place is on foot. Spend time wandering around the city centre, ensuring you take in Ulica Laze Teleckog, a narrow st reet brimming with plenty of cafes, restaurants and clubs.


One of the most cryptic and innovative graffiti writers in New York during the 80s was a bloke called Rammellzee. Yes, that was his real name. He changed it by law, but in retrospect when you go through his artist ic life it really wasn’t that st range. He wasn’t just a writer, though he never was the classic End2End type of graffitist, but almost a performance artist as well. Imagine a piece of graffiti turned into a wearable sculpture. Dude was something else. If you don’t know the name, you might know his voice from the 1983 song Beat Bop with K-Rob. It was used in Style Wars and was recorded with the late artist Jean-Michel Basquiat. For something that was originally recorded as a single test pressing, it has entered into the annals of hip hop and would easily be one of the most important tracks in the history of the music. He also recorded with the Death Comet Crew, as well as a rap/metal album with Bill (Material) Laswell on product ion and Nicky Skopelitis on guitar and fellow vocalist Shockdell as The Gettovetts. Ram also featured in the amphitheatre finale of the other seminal hip hop fi lm Wild Style with Shockdell. He died at the age of 49 on 27 June, 2010, and will hopefully be remembered as the most unique of individuals – genius or otherwise. Cut Chemist? What happened? After he left Jurassic 5 and dropped his solo album The Audience’s Listening he sort of went quiet, but it feels like he will be returning much gusto with a new release on CD and vinyl, Sound Of The Police on 27 July. The first ‘single’ to be released is the lovingly recorded Adidas To Addis and it’s a face-melter. Especially when you read how he created it. Check it out at his Bandcamp site. As for Cut’s mate DJ Shadow, he will also be dropping a CD soon and interest ingly after last year’s written piece on the state of the indust ry this will be one to look forward to – The DJ Shadow Remix Project. Also on the beat tip don’t forget that RJD2 released another album this year. Six months after January’s The Colossus he bounces out again with a sort of inst rumental version entitled Inversions Of The Colossus, sans RJ’s not always appreciated vocals. Maybe he should just sing under a different name...





orn Dimitris Yerasimos, the conventional view of the Frenchman known as Dimitri From Paris is parallel to a James Bond-like character, fitted out in tuxedo while sipping a Martini. With a touch of st yle, a lot of substance and a little bit of love, Yerasimos has carved out an international standing as a captain of disco. “I’d put it down to longevity that gives me the title of captain or leading man. The last five to six years a lot of younger guys have been into disco and have created the nu-disco sound. I’m just happy not to be on my own anymore,” he laughs. Despite the changes to elect ronic music, Yerasimos has remained true to his word. Moreover, he’s remained true to his sound. The Frenchman’s continued to produce disco and funk records despite whatever fad is happening around him. It’s not that he’s uncertain about other genres – he’s just persistent on doing what he does best. “Elect ro becomes dead after a while,” he says. “It’s because it’s squeezed out of a computer box and it becomes really tiring. It’s really hard to get the human factor into an elect ro product ion. Disco, like rock’n’roll, has the soul of the people who play it.” But don’t be hast y in tagging the Frenchman. Listen to a few of his remixes and he shows a different, more evolutionary, side to his music. Remarkably, the Parisian’s been in the business for 25 years. He started DJing via the Parisian pirate radio scene before championing house music all over France. He’s been established as a cult figure. “I love the challenge of having things to discover and then being able to pass them on. My fi rst goal as a DJ was to pass on the music I like. The challenge now is act ually far bigger, particularly with elect ro. Passing on the groove is a constant challenge,” he tells. Yerasimos has relied on limited marketing, rest ricted funds and has released music via independent labels. His history is rooted in 70s funk

and disco, which he says is the music that started today’s house music fact ion. He’s also diverse. Yerasimos has produced soundtracks for Chanel and Yves Saint-Laurent fashion houses and has churned out the acclaimed Sacrableu, Night At The Playboy Mansion and Return To The Playboy Mansion collect ions. His 2010 effort, Get Down With The Philly Sound, focuses on the timeless disco era from Philadelphia. Yerasimos has focused on Philly for good reason. “I’ve always been interested in the history of music and I found out that everything goes back to Philly. The Philly sound is really the epitome of black America, so it made me join the dots and dig deeper.” It was a meeting with the man some say invented the modern day 12-inch, American producer Tom Moulton, which provided Yerasimos with the knowledge and confidence to progress with the compilation. “Moulton told me so many stories and has so much knowledge that I wanted to pass it on again. [Moulton] was the one who made me do this album,” he tells. The album also features five reworked tracks from original multi-track tapes of Gamble and Huff. It’s the fi rst time they’ve granted a label access to their tapes. “I’d like to say it was an accolade but I have no idea why they granted me permission. It’s a miracle, that’s all I’ll say,” he laughs.

WHO: Dimitri From Paris WHAT: Get Down With The Philly Sound (BBE/Inertia)





hen 3D World finally catches up with globetrotting Paul Rose, he’s just touched down in Auckland ahead of his second Antipodean tour. Rose has spent quite a few years now residing in Berlin and last weekend his club night Sub:stance celebrated its second anniversary across two venues with a line-up featuring Mala, Appleblim, Monolake, Mount Kimbie and MJ Cole. “It was a great night,” Rose says. “I really enjoyed it. I played two hours upstairs in Panorama Bar, which was the fi rst time I’d played up there, and the last three hours in Berghain which was up ‘til 9.30am! The music has progressed in the two years since we started doing it, but the vibe has been pretty much the same all the way through. It’s the gig I always look forward to; it’s completely different to anything else.” Berlin has a rich elect ronic music legacy that is hard to ignore when listening to Rose’s work, both as Scuba and as his more technoorientated alias SCB. As he explains, “I’ve always been influenced by what people see as ‘Berlin music’ so although obviously you can’t help but be influenced by your surroundings, I don’t think it’s been as much of a big thing as some people seem to think. As a city it’s st ill very much focused on house, and I mean proper house music – the minimal thing is completely dead in Berlin. There’s a lot of techno as well but the big thing is definitely house. “The SCB thing is probably the one aspect of my music that is a direct result of living in Berlin,” he continues. “I pretty much started it as a result of spending a lot of Sunday mornings in Panorama Bar and trying to recreate that vibe in the st udio, just messing around really. There have been some Scuba tracks which could have been under the SCB thing, but the majority is really quite different.” Touring Australia on the back of his recent Scuba album Triangulation, Rose seems happy with how the album has been received especially considering how long it took to put together. “You can’t get too preoccupied with reviews and press and everything else but it’s always good when people are saying WHO: Scuba WHERE & WHEN: Civic Friday 23 July

positive things,” he says. “In terms of writing it, I sat down to write an album last January but I didn’t finish until the end of December so it was quite a long process. There’s quite a lot of material that fell by the wayside, but also stuff like the Aesaunic EP that came out along the way as well.” In between all these commitments, Rose st ill finds time to helm one of the most respected bass music labels on the international stage – Hotflush Recordings. Now in its seventh year, the label’s earliest releases pre-dated what we now know as ‘dubstep’ and always fl irted with the more leftfield take on the sound. “Hotflush was never supposed to be a dubstep label really,” he reveals, “it just happened by accident, so it’s no problem for us to be away from the genre if that’s where the good music takes us. The majority of dubstep now isn’t in any way interest ing but there is a side of it that is st ill creative and forward thinking, so there is st ill a reason to be a part of it.”

THROUGH A GLASS DARKLY Since 2008’s Rising Down, the multi-faceted ?uest love & Co have become the house band on Jimmy Fallon’s talk show – brilliant exposure. But, if any fool was expect ing a fresh sheen on How I Got Over, The Roots’ third Def Jam joint, they’ll be dismayed – it’s The Roots we know and love. Th is time the crew, who pride themselves on confounding even fans, have ‘collaborated’ with some of neo-folk’s finest – or, rather, reconfigured their songs. The Roots transform Monsters Of Folk’s Dear God (Sincerely MOF), the supergroup’s singer Jim Jones sounding supremely soulful. And Right On reinvents the ethereal Joanna Newsom’s Book Of Right On. The Roots’ subverting of folk ties in with the album’s theme – How I Got Over lifts its title from an old gospel number. Yet the LP has less of a gospel than a folk undercurrent, The Roots’ MC Black Thought quest ioning gospel’s message of faith and fortitude – and himself. Sure, the US has its first black President but, post-GFC, times are bleak. How I Got Over is ultimately not indie-rock, but st ripped-back, textured hip hop. The standout, Walk Alone, act ually has the product ion ethos of an early RZA (or Wu-Tang) beat with its dramatic piano. There are also several star turns by ‘urban’ identities – among them John Legend, Phonte (from Little Brother) and the ace Blu. Seriousness aside, The Roots betray sly humour in the intentionally incongruous Hustla, which gurgles like Ginuwine’s Pony. A missive at hip hop’s bankrupt bling MCs, it features what sounds like auto-tuned baby’s cries. Very ill – and very Illadelphian. HIPSTEP? Will Rusko upstage Chase & Status as dubstep’s fi rst pop hit machine? Not only has the Brit produced MIA, but now, having relocated to Los Angeles, he’s prepping material for TI. Infamous for the jump-up dubstep of Cockney Thug, Rusko’s own debut, OMG!, released through Diplo’s Mad Decent, has a Gucci Mane cameo. Rusko has even ingratiated himself with LA radio by ‘remixing’ 2Pac’s California Love. And, just to prove that hip hop is all about six degree connect ions, he’s cut a track with Amber Coffman, who, together with other members of the indie-rock Dirty Projectors, sings the Manhattan Transfer-ish opener of The Roots’ How I Got Over.



I bumped into Mark Pritchard on the st reet the other morning and gave him an impromptu interview about his new EP Hitecherous with Steve Spacek as Africa Hi-Tech. Well, it wasn’t really an interview – more of a st reamof-consciousness/grilling/get-this-guy-awayfrom-me/verbal diahorrea type of thing. Available now, this handsome slice of future whatever-you-call it kinda st unned me so good I had to tell him all about it and at 8:40am, that’s no fun for the artist, let me tell you. What was nice was that we both agreed that it didn’t really fit into any pigeonhole or genre and with so many releases coming out every week, it’s great to have those ones that sort of pop their head up above the rest and make you wonder “is that right? Is that supposed to sound like that?” How Does It Make You Feel is such a tune because it’s part acid techno, part introverted soul. Said Speed is a bit like speed garage, and Lash Out is pure 143bpm fi lth that will make your eyes bleed, but in a good way. Boingy is my particular fave and I found it was a great soundtrack to the World Cup, what with that Jabulani football going everywhere but where it’s supposed to and it being a handy tune to drown out the vuvuzela. Incidentally, does anyone else feel that that inst rument is South Africa’s answer to Aust ralia’s “Oi Oi Oi”? You know, the sound that makes the whole world cringe and say “oh shit, they’re at my sports match”. Anyway, I digress... I managed to cop a new tune by Bilal called Free, which I believe is freely available so if you’ve missed it, you can search that out now. Produced by Nottz, he’s gone down a similar route to the one taken by Cee-Lo Green on Georgia; that is, traditional old school soul that you’d expect from Donny or Al built around minor chords that tug on your heartst rings, not the funky, smoothed out neo-st yle. His album is due to surface on Plug Research in September and should hopefully find him where he belongs, back at the top of the pile. I’m off to the US for a month and a bit, so if you want to keep up with all of the musical goingson catch me at and I’ll see you at the A Tribe Called Quest gig on my return. 32 3DWORLD



didn’t write anything on this album without the beat talking to me. Every single beat I had listened to, if it didn’t blend with me I didn’t use it,” explains Donny Pelsoczy who, after a trip to Hungary in 2000, returned as Eloquor to express himself through music in more ways than one. “Every beat makes me think about something that’s happened in my life. And this may sound st upid but I feel like the rap is the medium of the beat. Like the beat speaks through the rapper, through your body and your voice and says what the beat wants you to say.” Charge is Pelsoczy’s second album and third attempt at a deal with Obese Records. The fi rst was an EP knocked back by the label giants and second “just wasn’t there yet” according to Pelsoczy. “I really tried to bust my arse this time and make this the best album I possibly could so they would back me up. I pretty much did most of it by myself and then once it was mastered, by myself I got it over to Pegz and he goes, ‘Yep, let’s do it’.” A total of 13 producers gave over beats to the Melbourne MC, who went global in trying to connect the perfect beat to his vision of hip hop as inspired by classic albums like Nas’ Illmatic and Common’s Like Water For Chocolate. Pelsoczy even worked two jobs to pay for beat reels. “I really hunted for the best beats I could. Beats that I connected with. I really didn’t just wanna get any beat. I wanted it to carry a story or an emotion with me. So I’ve got a couple from the UK, America and one from Germany and they don’t come cheap. I worked two jobs and put all my money into beats because I just wanted it to be hot.” Beats bought from Slimkat78 from the US, Mr Stone and Sir Williams from the UK, Poker Beats, Doc Felix, Jase and hometown hero M-Phazes added to the soundscape. “[M-Phazes] wasn’t easy to get either man. I had to hit him up quite a few times but I got there. A lot of producers don’t wanna give their beats to just anyone. They want someone who can deliver. It’s a very expensive task, I’ve put all my eggs into one basket.” Dreadlock-less before joining last year’s Hilltop tour, Eloquor’s Charge shows a maturing side of Pelsoczy – broaching fatherhood on Daddy’s

Girl – something the old Eloquor could never envision writing about – and feeling against the ropes with time on Pressure’s On, a track that really punches home the determination of Pelsoczy through this album. “I was just about to start my amateur fight and I just had no turning back. I was like, ‘man, I’ve got no choice, I’m in the corner, there’s people watching, I’ve gotta fight’. So that taught me a few things in other situations. You’ve got no choice but to stand up and fight and that’s the message I’m trying to get across. There’s gonna be a lot of people that wanna hold you back and not happy about you moving forward. As much as you wanna help people sometimes, you just gotta say fuck ‘em! Fuck you’re not holding me back man!”

WHO: Eloquor WHAT: Charge (Myspherical Entertainment/Obese)

BROCKOUT Bass Culture with RITUAL




hanelle Williams is no stranger to the land of reggae, or any other type of music for that matter. Growing up, her father was part of Sound System, a group of DJs, MCs and engineers who produced some of Jamaican pop culture’s favourite ska, rocksteady and reggae. Around the house, her mother was always pumping music, reggae being but one genre that received heavy airplay in their home. It’s little wonder then that Chanelle Williams would come to be known as the dancehall queen of the United Kingdom – Lady Chann. “Yeah my dad was in the Sound System and my uncle was in Special Edition, which is another big British sound system so obviously that was a big influence,” Williams recalls. “My mum’s a big reggae listener, all different music was always played in the house so that’s the background that I came from and I just adapted to it I guess.” The influence at home was clearly st ronger and more effect ual than the influence at the school Williams attended, where she picked up numerous inst ruments of a more classical nature. Encouraged by her mum, Williams dabbled in playing inst ruments from the piano, flute and trombone through to French horn and even the drums. School was divided so that the fi rst half of the day was spent learning the art of regular academia before dedicating the second half to choir pract ise. Aside from the piano which she states is her favourite inst rument to play and hear, Williams no longer sits alone in her room to play the French horn; the call of her roots was a far more enticing option. “It’s what I grew up in, it’s a part of my culture. Dad being Jamaican, my whole family was into it. I met the Sun Cycle guys who are from North West London and basically just took it from there; hit the st udio and started to come up with st uff. And here I am. Dancehall is a big part of my life; it’s always been a part of my life.” For eight years Williams worked with Sun Cycle Crew, a supergroup of dancehall and reggae artists hailing from North West London and with a membership that seemed to appeal more to the male gender. Starting out with around 15 crew members, the group has slowly dissipated as

members go off to pursue solo careers – something Williams herself is now in the process of doing. “I think because there was not a lot of females doing what I was doing I was offered a lot of solo features and st uff like that and obviously I wanted to put my spin on... I wanted my own st uff and wanted to do my own st uff from a girl’s point of view. When you’re a part of a crew you’re doing eight bars of a topic and it’s all the guys who are predominantly doing a lot of guy topics but I wanted to explore the female side of all different scenarios etcetera. With the guys we were all doing solo bits as well but they were very much capped.” Although the crew’s membership has been on the decrease, the production label is continuing to increase and Williams often finds herself in the st udio working on some music. “It’s like family. I’ve always worked with them so it’s just like doing work with my brother or sisters, you know what I mean?”

WHO: Lady Chann WHERE & WHEN: Goodgod Small Club Saturday 24 July


First ly can I say that Inst ra:mental was dope, taking me ‘pon a journey back to my love of all things Detroit but with the product ion values of the bleepy futurism we see in drum’n’bass today – tune after tune swept my ears with lush, rich sonics, crisp 808s and damn that bass! Big up to Hijack for getting that system sounding as good as it’s ever sounded. Nice and clean with just the right amount of bottom-end weight, it made every single tune sing. ‘Bleep-tast ic’ is probably a great way to describe the new ASC album on Non-Plus. Starting off with Absent Mind, a tune which has definitely been smashed in the Autonomic circles, this tune takes you far away and is a great way to start the journey. Flipping over, Consequence gets into the game with Fade Away Seasons, a sublime and richly pad-laden excursion that is simple in its overall feel, yet once you dig deeper there is a hell of a lot going on. Th is takes me back to Blame’s take on the classic GLR sound and is ridiculously good. Lost For Words again takes me back to the GLR stable with pads reminiscent of Bukem’s classic 1994 remix of The Shamen’s Transamazonia . As soon as the vocal hits on this one it’s all over. Straying away from the 170s is The Depths which is exact ly that. Kick, snare and heavyweight b-line act ion. Wait for the fl ip on the second drop though. Vocals bathing in Shadowboxing st yle synths. Shit just got heavy… And in true Autonomic st yle, the vinyl ends off with non d’n’b tunes in the form of The Ubiquity Incident and Opus (with Vaccine – who took Non-Plus into crunchy elect ro territory earlier this year). dBridge’s remix of Blackpocket’s Ur A Sta is here. I’m not going to go on about this too much except to say that with vocals like that and dBridge on the beat, you are an absolute fool if you do not own this record. These guys continue to shape the future – simple. Finally, Lenzman takes me back to a more oldskool version of Brockout with amazing chords, sweet vocals and stepped out beats n bass. Th is simple yet effect ive tune is also a must. Open Page (featuring Riya) is simply st unning for home or dance. Goldie’s picked it again…



NICK THAYER Just Let It Go (Passenger/Inertia)


(Mad Decent/Inertia) Being the breakout star of a genre as resolutely underground as dubstep must be a tough gig. While Benga and Skream seem to have built up enough cred points over the years to withstand any major backlash against them from the purist s as their stars have risen (at least until their Magnetic Man project goes interstellar over the next six months), Rusko seems to bear the brunt of bass culture’s anger for their darling genre being courted by the mainst ream. And regardless of whether his collaborative efforts with Britney Spears st rike a commercial chord, he’s almost assured of hitting another plateau of recognition with OMG! – as accessible a dubstep long-player as the world has witnessed, and a ridiculously catchy one. Yes, “cheesestep” is here in abundance – in fact the man born Chris Mercer hits Wobble Factor 9 st raight up as opener Woo Boost hops, steps and jumps over a grinding riff topped with synth arps which leap across octaves on every other note. I Love You st rikes a similar chord musically, but then employs the same happy/sad random vocal sampling technique Burial perfected on Untrue – only auto-tuned and underscored by an epic trance breakdown nicked from the golden age of Chicane. Then there’s Kumon Kumon, referencing breakbeat hardcore so perfect ly it could have dropped in 1992, and the lasersummoning piano breakdown of Raver’s Spesh. Mercer’s liberal borrowing from sounds outside the dubstep confines is quite audacious, with progressive trance (You’re On My Mind), handbag house (Feels So Real with Ben Westbeech on vocals) and the relentless auto-tuning of R&B (pretty much everywhere) doing as much to shape OMG!’s sonic palette. But it’s the vocal performance of Dirty Projectors’ Amber Coffman on the two-step homage Hold On which is the record’s defining moment, proving there may be some good to come out of popstep after all. GLORIA LEWIS


Nick Thayer’s debut album has been a while arriving. Over the past few years, Thayer’s delivered numerous catchy singles, EPs and remixes that have caught attention here and overseas, which means the Melbourne stalwart has a reputation to live up to. In typical Thayer approach, Just Let It Go is a jumble of sounds that encompass many, if not all, of the many facets associated with rave and breakbeat. It starts promisingly as Bring On The Drums, a surprisingly slower Thayer track, sets the tone. With its French elect ronic influence omnipresent, it’s a decent opener. Loaded with atmospheric synths, the elect ro heavy Alarm Bells increases the thrust – likewise the heavy hitting bass bomb Zombies, albeit with more elect ro influences. Breakbeat has always been

REFLECTION ETERNAL Revolutions Per Minute (Warner)

Generally, 10 years between albums would equate to career suicide, yet not for Talib Kweli and DJ Hi-Tek. In the decade since their brilliant debut album Train Of Thought the duo went their separate ways to forge successful solo careers, a move only heightening the anticipation for another collaboration. While New Yorker Kweli brought ‘conscious’ 90s backpack rap into the new millennium, Cincinnati born Hi-Tek diversified his portfolio, unafraid to supply beats to the grimiest of MCs including 50 Cent and featured a surprisingly varied range of vocalists across three Hi-Teknology albums. For their new album Revolutions Per Minute, the pair have updated their sound without alienating their fanbase. Lyrically Kweli divides

a Thayer forte, and he recruits stellar MCs Lex One and Mike Beatz on Can’t Touch Me Now to add flavour to an old-skool hip hop/breaks tale. Rockin’ It has rhythm dons Black Noise rapping to a backdrop of nutty drums and retro breaks. Grey Blue Sky has Aust ralia’s own N’FA included while Gimme Some More has Atlanta’s Sporty-O lending a hand. Right through Just Let It Go Thayer shows the world that musical boundaries mean zilch as he splices together hip hop, funk, breakbeat, disco, elect ro and oldskool to bring forth an album that’s loaded with plenty of club bangers. Yet in places, the album meanders into the dilapidated elect ro world, getting a tad bogged down on product ion over melody. However there are enough uncontaminated elect ro moments which make Just Let It Go a very assured debut. STUART EVANS

his time between eating MCs alive (City Playgrounds) and commenting on highly topical issues such as oil (The Ballad Of The Black Gold), money (Ends) and fame (Got Work). Maturity though has given the duo the ability to separate business and pleasure and they serve up the odd commercial party jam here, the early 60s R&Bdrenched fi rst single Midnight Hour taking back what Winehouse stole with the help of Estelle and a Shirelles sample while Get Loose pairs HiTek’s go-go riddim with a 60s pop-tinged hook from Chester French. While Hi-Tek’s sound on Revolutions Per Minute is sometimes st rikingly minimal, the highlight comes on Just Begun where he provides a wonderfully jazzy horn loop for the talents of Mos Def and promising rookies J.Cole and Jay Elect ronica. With a reformed Reflect ion Eternal now confi rmed a success, let’s have that Black Star reunion next. DARREN COLLINS

ONE TRACK MIND TRINITY AND BEYOND Gone Fission (Deepchild Remix) (Pinksilver Digital)


(Stones Th row/Fuse Music) Two years after his debut album Ode To The Ghetto, Guilty Simpson has enlisted mastermind Beat Konducta Madlib (Otis Jackson Jr) as the sole body to help raise the bar on his sophomore effort. And as if the temptation of playing off the convenient result of the sum of their names was too st rong to resist, this one is neatly titled OJ Simpson. As proven in the past the OJ Simpson team up is one that sees both talents working in an incredibly complimentary fashion. One of the finest MCs in the game, Guilty has a no nonsense baritone delivery and up from the gutter quality of sincerity; mix this with the soulful, exploratory elements of Madlib’s ingenious product ion, and you’ve got a silverscreen gem for the ears every time. It’s no

wonder that the two have worked together so many times in the past. Ode To The Ghetto had its fair share of quality hip hop joints, but it lacked the flawless consistency that Guilty’s gifts potentially promised, and although the duo’s collaborations were definitely a success, this album sees Guilty rise to a level which is only overshadowed by Take Notice from J Dilla’s Ruff Draft. What we are privileged to this time around is a more succinct and realised vision, with the two exploiting the opportunities that are opened up by committing to a full album together. While skits and interludes can often render an album somewhat disjointed, Madlib has skilfully weaved them together in a radio show-like manner that works to assist with the overall momentum and vibe of the album, making it a pleasure throughout and one of the best hip hop works of the year to date. JAKE SUN

If you want to know what an extended look into the darkest parts of the human psyche which ends up finding nothing but beauty sounds like, this is about as close as you’ll ever get. The nine minutes of sinister, throbbing bassline and heavily effected and EQed thunder claps contrast perfect ly with the almost trancey synth stabs and washes, creating beautiful melancholy that you wish would never end.

ANDREZ BERGEN Disquo (Kultrun Mix) (IF? Records)

The whole “chuck a late 80s vocal sample over a rolling tech house groove” thing is getting a little overdone, but occasionally the odd gem st icks out. Like this one. Black Box’s Ride On Time gets the treatment this time, with a few vocal snippets from it sitting over the top of a jackin’ house rhythm, punchy, funky bassline and summery stabs and chords.


Cyclone (Fish Go Deep Dub Remix) (Mija Recordings) The original of Cyclone is let down by its decidedly cheesey monologue about sex (wow… original!), but Fish Go Deep offer a fantast ic interpretation that creates an allencompassing groove with a deep bassline, lo-fi percussion samples, subtle chords and chopped-up vocal stabs. Proper sexual house music that doesn’t even need to mention sex. ANDREW WOWK

VARIOUS/HERNÁN CATTÁNEO The Masters Series Part 16: Parallel (Renaissance)

With three editions in Renaissance’s flagship The Masters Series already under his belt, plus a pair of Sequential mixes on the same label and a handful from prior to his marriage to the prog heavyweights, what approach could Hernán Cattáneo possibly take this time round to keep his devotees coming back for more? The Masters Series Part 13 was dist inguished from its predecessors by a slew of exclusive co-product ions with the likes of Soundexile, Martin Garcia and long-time st udio chum John Tonks, coupled with a much more deep and driving approach, and Cattáneo has taken another detour on Parallel. Splitting the comp into Day and Night discs is hardly game-changing, but downtempo is new territory for Cattáneo – and one he seems

comfortable in. Day sees the Argentinean serve up a customarily lush, melodic musical platter, only st ripped back to the 100bpm mark with spectacular results. It’s more like the slow evolution of one idea than a DJ mix, though he and Tonks’ tearjerking One 0 Five, an ethereal Cattáneo and Soundexile remix of Múm’s The Ballad Of The Broken Birdie Records, and gentle st rum of Mercurio’s aptly-name Acoustic all stand out before Sigur Ros’ Svefn-G-Englar provides one of those all too rare perfect finales. Cattáneo usually does his best work when darkness falls, but Night doesn’t quite have the same impact as its predecessor. Hard markers may want a third disc to really ram the point home, but most will be having so many private moments during weapons like Henry Saiz’s The Rider or Quivver’s nast y headcaver Boom Boom to quibble over minor details. KRIS SWALES

3DPLAYLIST 3D 1. Suncast BJX 2. Why Does The Wind? (Morgan Geist Remix) TRACEY THORN 3. A Day At The Carnival DÂM-FUNK 4. Light And Dark Remixed LEE COOMBS 5. Radio Retaliation THIEVERY CORPORATION 6. Fizzdom MU-GEN 7. Chicken Man ALAN HAWKSHAW 8. Sir Lucious Left Foot... BIG BOI 9. Jungle Stories JERRY MANE 10. How I Got Over THE ROOTS

TASS WHERE AND WHEN WAS YOUR FIRST SET? “A cougar fi lled bar in the heart of Leichhardt, I was quite happy to play for free, nevertheless I’d st ill call it an experience.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “Julien Jabre – Swimming Places.” WHO ARE YOUR FAVOURITE DJS? “Axwell, Avicii, Eric Prydz, Deadmau5, Dinka, Kaskade, Armand Van Helden, Cassius, Jerry Ropero, Denis The Menace.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “I had a girl go from frock to bikini behind the decks, I told her the change room was only a matter of metres away. She didn’t seem to mind, turns out I didn’t either ha ha.” WHAT’S THE WORST REQUEST YOU’VE GOT? “There’s quite honest ly a new candidate every week but it doesn’t get much worse than anything by Lady Gaga... just awful.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “My Mum’s my biggest fan, my Dad didn’t like the idea to start with but st ill put up some of the money to get me st arted, thanks Dad.” WHAT DOES THE SYDNEY CLUB SCENE NEED MOST? “More musically open-minded punters and promoters/club owners with a vision who aren’t just out to make a quick buck.” FAVOURITE CLUB TO PLAY? “pure ivy Saturdays at ivy.” WHAT’S YOUR BEST ALL TIME GIG? “That’s a tough one, I’d have to say warming up for Hardwell at Minist ry of Sound Jacked is up there; more recently however it doesn’t get much better than pure ivy, supporting Michael Gray, Ron Carroll and Deborah Cox in a matter of weeks has made for some very memorable nights.” WHAT GIGS HAVE YOU GOT COMING UP? “You can catch me every week at my residency at pure ivy Saturdays at ivy, warming up for some of the biggest international names coming in to Sydney. I’m also headed abroad to play for Pukka Up at Pacha in London followed by their infamous party in Ibiza!” LISTEN TO TASS MIX ON HODGIE’S THE MIX-ANATION RADIO SHOW SATURDAY NIGHT BETWEEN 6-8PM ON BONDI FM 88.0 OR ONLINE AT BONDIFM. COM. PIC BY CARINE THEVENAU



ABEL EL’ TORO WHERE & WHEN: The Bank Hotel Friday 23 July

Type in Cardboard Warfare and prepare to be dazzled by exact ly what it says on the box – cardboard, naturally. The product ion values are high, the soundtrack is suitably tense, the special effects are awesome, and the aceents are Aussie. What’s not to like?


(Ast ralwerks), 1999. “Off their album Remedy, this track is st ill rocking clubs to date – it’s funky house at its best with a super fat bassline.”


(Strict ly Rhythm), 1999. “I remember this track well because the same year it hit number one in the UK and German Charts I was over there on a European DJ Tour. Very similar to early elect ro disco like the Gigolo releases.”


(Hot Mix 5), 1987. “Every year since its original release it gets remixed but nothing beats the original. Takes me back to when I was a punter and going out clubbing for the fi rst time to Horden Pavilion RAT parties and Dance Deliriums.”





1. Gotta Make A Move HOOK N SLING FEAT SNOB SCRILLA 2. Elevated (Dabruck & Klein/Club Mix) TV ROCK & TARA MCDONALD 3. One (Your Name) SWEDISH HOUSE MAFIA FEAT PHARRELL 4. California Gurls (Armand Van Helden/ Passion Pit/MSTRKRFT mix) KATY PERRY FEAT SNOOP DOGG 5. Phazing (Tiësto mix) DIRTY SOUTH 6. ADD SUV (Armand Van Helden mix) UFFIE FEAT PHARRELL 7. The Bum Song TOMMY TRASH & TOM PIPER 8. Ascension (Kam Denny/Christ ian Luke/ Paul Zala/Dave Mana & Marco Demark) DENZAL PARK 9. 3am Eternal (Lorne Padman/Stonebridge mix) MIND ELECTRIC 10 Hey Hey (DF’s Attention Vocal/Dim Chris/Riva Starr/Tom De Neef Mix) DENNIS FERRER


THEME FROM DISCOTHEQUE Samantha Fu (PIAS Recordings, 2001) Produced by the Dewaele Brothers (more commonly known as 2manydjs), Theme From Discotheque’s lifespan has been st retched thin due to hordes of elect ro DJs sampling its “pounding techno music” vocals. Going under the pseudonym Samantha Fu, the Belgian wunder-bros were commissioned by Ghent-based dance group Kung Fu to create the 2001 tune, which later became a safety track for budding “mash-up” artists worldwide.


NY EXCUSE Soulwax (PIAS Recordings, 2004) Favouring further musical endeavours over sleep, David and Stephen Dewaele also dabble in the indie-elect ro scene with their band, Soulwax. Alongside Steve Slingeneyer and Stefaan Van Leuven, the foursome are renowned for their enigmatic live shows and constant genre hopping – with NY Excuse being testament to the latter. Produced as an excuse to fly Nancy Whang to their Ghent st udio for singing duties, the song’s arpeggiated blips and repetitive vocals set the pace for further Soulwax releases.

THE THIRD DEGREE HAPPY HOUSE The Juan MacLean (DFA, 2008) Whang’s talent didn’t go unnoticed and has since been snapped up by Juan MacLean. MacLean, who started producing after extensive rib-jabbing from DFA overlord James Murphy, featured Whang’s voice heavily on his 2009 album The Future Will Come and on the advance single, Happy House. The pair toured with drummer Jerry Fuchs until his sad passing in November 2009.


A young man once st ruck up a conversation with me at 6am at Gilligan’s. The man was barely capable of speech by that point yet launched st raight to the quest ion, “What do you do?” I was completely taken aback by the total irrelevance of this quest ion at that particular point in time. To match the level of absurdity of his quest ion, I replied, “I’m an ast ronaut”, and walked away. Why is one’s place in society based on their position in the corporate world? Back in the day there was only a handful of professions – carpenter, baker, teacher, bar wench. There were only enough professions to sustain a town’s needs. The only reason people cared if you were a carpenter was because they needed a new table! Not so they could position themselves accordingly in the corporate pecking order. At no point did the local bar wench require a mental health day! And I’m pretty sure the act ual job title was ‘bar wench’, none of this ‘beverage attendant executive’ bullshit! More importantly, people back then were happy. Now happiness has been replaced by the need to succeed. We have succumbed to the corporate laws of living and accept high salaries as compensation for misery and accept it as a byproduct of our success. Board meetings, timeframes, KPI’s, beige suits…. Enough! I’m done with this corporate circus that has consumed humanity and completely distorted our priorities in life. The whole class system that perpetuates stereotypes and defines success or failure in life is a failure unto itself! Someone asked me the other night, if there was one thing I could change as Prime Minister, what would it be? I would bring back the bartering system. “I’ll give you 10 coconuts for a six pack of beer”. Imagine… a world where, instead of paying money for a cover charge at your favourite club, you rock up in your dancing shoes with a pig under your arm because you know the door bitch loves a bit of bacon! Fantast ic. You could go out on a drinking session, making beaded necklaces in the bar to pay for your next drink. That’s my kind of working culture. When you’re swapping coconuts or making jewellery, no one cares what you wear to work. So the next time you reach for that placard to fight for the rights of the Palest inians or save the whales, why not fight to bring back the barter! SUZI KHAFAGI 40 3DWORLD

HOW DID YOU GET YOUR DJ NAME? “The movie Studio 54, some mate of mine came up with the nickname when we where all out one night over 11 years ago.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “I play funky house and party st yle music!”

WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “A grown man wearing a massive baby diaper , bonnet and dummy with Colorado boots. Don’t know about you but I thought it was a little weird, don’t know really, seen a lot in my time !”

WHAT TRACK TURNS YOU ON RIGHT NOW? “Katy Perry feat Snoop Dogg – California Gurls (Armand van Helden Remix) – it’s funky, jackin’, bouncy, catchy, love it!”

WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Man there are so many of them, I reckon anything that has Sexy Bitch written next to it !

WHAT MADE YOU START DJING? “I come from a musical family and background so have loved music all my life. I played sax and drums when I was younger.”

THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “‘Can you play house or dance music?’ when quite clearly that’s what I play and am playing at that moment !”


WHERE & WHEN: Bungalow8 Saturday 24 July, Argyle Wednesday 28 July, Fringe Bar Friday 30 July, Den at ivy Saturday 31 July, Colombian Hotel Saturday 31 July

DANCE MUSIC HUB CHART 1. What Is Love 2K9 (Bodybangers Remix) KLAAS MEETS HADDAWAY 2. Out Of The Blue 2010 (Laidback Luke Mix) SYSTEM F 3. Kids (Original Extended) ROBOKIDS 4. Chase The Sun DAVID TORT & NORMAN DORAY 5. Headroom (Re-Zone Remix) KIMEN & RE-ZONE 6. Heart Of Glass (OutGroove Progressive Remix) DEEP VOICES 7. Let Me Fix Your Ear (Alex Sosa Remix) KRONSTADT IMPULSE & ALEX SOSA 8. Time To Forgive KRONSTADT IMPULSE 9. King Nast y YIKEZ 10. Oh My YIKEZ


METRO THEATRE: 10.07.10 Photos By Alexis Dewick




BEACH RD HOTEL The Filth presents Sideshow: Lost Valentinos, Alter Ego Mania. Doors 8pm. Free. OXFORD ART FACTORY Gallery: No Art, Eraser. Doors 8pm. Free. OXFORD ART FACTORY Live Art Space: Great Earthquake, Loene Carmen, Myth and Tropics, Leroy Macqueen & the Gussets, Moody Kee Jams. Doors 8pm. $5. THE EASTERN, BONDI Local DJs. Doors 8pm. $10 after 9pm. QUEENS WHARF BREWERY Matt Saxon. Doors 10pm.

THURSDAY THE ALBION Gasworks: DJ Fresh and guests. Doors 9pm. Free. BEACH RD HOTEL Local Swell: King Tide. Doors 8pm. Free. HOME NIGHTCLUB Unipackers: DJ Michael Stewart + Guests. $5 early. FLATWOUND

CIVIC Scuba, Mark Pritchard, Simon Caldwell, Jonny Faith, Monk Fly. COHIBAR DJ Matt Roberts, DJ Jeddy Rowland, DJ Mike Silver. Doors 5pm. Free. THE COLLINGWOOD HOTEL Fridays On Fire: DJ Sir-vere, Fuego DJs and MCs. Doors 9pm. $15. THE EASTERN, BONDI Circus: Local DJs. Doors 8pm. $10 after 11pm. THE GLADSTONE HOTEL Purple Sneakers: Grizzly Bear, Nick Findlay, Fantomatique, Kill the Landlord, Johnny Segment, Kitty Munroe, Wacks. Doors 7pm. $12. INDEX Deadbeat, Harmonic 313, Sub Bass Snarl, Prize, Sofie Loizou, Swindle. $15+BF. JACKSON’S ON GEORGE Four floors of entertainment and DJ’s. Doors 9pm. Free. KIT & KABOODLE Falcona Fridays: Falcona DJs, The Gameboys, Kit & Kaboodle. Doors 10pm. $10. THE MARLBOROUGH HOTEL Wild Catz: Live band on ground floor, DJs on level one. Free. OATLEY HOTEL Live music. Doors 8pm. Free. OPERA BAR DJ Graham Cordery. Doors 8.30pm. Free. OXFORD ART FACTORY Gallery: Gosteleradio, The Jewel & the Falcon, Sleep Debt. Doors 8pm. free. OXFORD ART FACTORY Live Art Space: Sally Seltmann, Parades, Kyu. Doors 8pm. $23 presale. OXFORD ART FACTORY Side Stage: Gosteleradio, Jewel and The Flacon, Sleep Debt. Q BAR + 34B Sosueme: Mrs Bishop, Flatwound, Alison Wonderland, Hansom, Mike Who, Cosmonaut DJS, Devola, Mush, Leonid Technolgic. Doors 8pm. $10. THE WATERSHED Warped Retro: old skool night. Doors 9pm. Free before 10pm.


NORTHIES CRONULLA Arcade Thursdayz: 7pm. Free. OXFORD ART FACTORY Gallery: Golden Staph, Pee Wee. Doors 8pm. Free. OXFORD ART FACTORY Live Art Space: The Holy Soul, The Stabs, The Maladies, Whipped Cream Chargers. Doors 8pm. $12 presale. QUEENS WHARF BREWERY Live and Local: Jarrod McAuley, State of Grace. Doors 9pm. TOKIO HOTEL Chita launch party with live band. Doors 7:30pm. Free. WORLD BAR Teenage Kicks: Indie DJs. Doors 8pm. Free.

FRIDAY THE ALBION Gasworks: Nobby Grooves, DJ Karey. Doors 9pm. $10. THE ARGYLE House DJs. Doors 5pm. BEACH RD HOTEL Dust Tones: Ozi Batla, The Last Kinnection, Ology, Shantan Wantan Ichiban. Doors 8pm. Free. THE BELVEDERE HOTEL Steve Hargraves Duo. 7pm. CANDY’S APARTMENT Liquid Sky: Itchy and Scratchy, Jackpop, Kyro & Bomber, The Multipliers, Diskoriot, Scatch and Sniff, Tongue In Cheek, Skinny. Doors 8pm. $10/$15. CARMENS Fun N Games. $5 Cocktails all night. Free. CHINESE LAUNDRY. Logistics (UK), Morphee & Vesper, Linken & Vertigo, Sushi, Riggers , Adam Lance, Dave Winnell. Doors 10pm. $15 befre 11pm, $25 after.


THE ALBION Gasworks: DJ Charlie, Jorgie Jay. Doors 9pm. $10. THE ARGYLE House DJs. Doors 5pm. Free. BEACH RD HOTEL Philadelphia Grand Jury, Purple Sneakers DJs, Ernest Ellis. Doors 9pm. $15. CANDY’S APARTMENT Ritual: SMS, Lights Out, Teez, D.U.I, Stik, Terror Tee, EO, Beat Boy. Doors 9pm. $15/$20. CARMEN’S Bang Gang DJs, DJ Paysee. Free before 9pm. $15 after. CHINESE LAUNDRY James Holden (Uk, 4 Hour set), Jeff Drake, Murray Lake, Club Junque, SOFIE LOIZOU

DJ Trinity, A-Tonez, Mike Hyper, Wedding Ring Fingers, the Audiophilez. Doors 9pm. $15 before 10pm, $25 after. CIVIC UNDERGROUND Adult Disco, Cadillac, Youth, Frames, Hentai (Disco Punx), Andy Webb, McInnes, Future Classic DJs. Doors 10pm. $10 before 12am, $15 after. COHIBAR DJ Mike Silver, DJ Jeddy Rowland Doors 8pm. Free. THE COLLINGWOOD HOTEL Slinky Saturday: DJ Steve, DJ Trisha and guests. Doors 9pm. $10. THE GAELIC Spit Syndicate. HOTEL SWEENYS Hard as hell: DJ Alex B[UK], Spellbound, DJ Peter, DJ Gaga, Pugsly, Little John, DJ Spir@l, The Saint, DJ Buddha, H.S.B., DJ Skitzy, The Khemist, Napolean, Refresh, Catzeyez, Satanism, Fulla, Blocka, Tha Kid, Nik Import, Convict, Paulie MC, MC Mest. Doors 8pm. $20. IVY pure ivy: Minx & Tass, Resident DJs. Doors 6pm. $20. JACKSON’S ON GEORGE DJs Lenno and Aladdin Royaal, DJ Michael Stewart plus guests. Doors 9pm. Free. THE MARLBOROUGH HOTEL The Nevilles: Live band on ground floor, DJs on level one. Free. NORTHIES CRONULLA Doors 6.30pm. Free. OPERA BAR Groove Royale. Doors 8:30pm. Free. OXFORD ART FACTORY Live Art Space: Doors 9pm. $20. OXFORD ART FACTORY Gallery: Celadore, Decorated Generals. Doors 8pm. Free. SAPPHIRE LOUNGE Sapphire Saturdays: DJs on Rotation Angelo Sgambati, Jo Funk, Klimax, Charlie Brown, Steve S. Free. THE WATERSHED Sky Bar: Electro Mash-up DJs from 9:30pm. Free.

SUNDAY THE ALBION Sundayze with Fresh: DJ Fresh, DJ Adrian Allan, DJ Jorgie Jay. Doors 6pm. Free. BAR BONDI SOULed Out Sundays: Local DJs, Doors 7pm. Free. BEACH RD HOTEL Bondi Cultura: Samba Groove. Doors 6pm. Free. NORTHIES CRONULLA Sunday Sets: From 6pm. Free. SAPPHIRE LOUNGE DJ Willi, Zannon, Troy T, Discokid, Fresh, Greg T, Abe Rox. Free before 12am. THE WATERSHED DJ Matt Roberts. Doors 3pm. Free.


bar Hop



e really hope you’re reading this in a bar (can’t say it’s being written at a bar, but this Jameson-Heineken combo must’ve come from somewhere), because as the name would suggest, bars are what the inaugural new-look 3D World Bar Hop is all about. Th is monthly feature will re-assure you why you’re going to that waterhole you do, insult you for not visiting one that you should and keep you generally abreast of all that is good in our bar culture. So to kick things off, best we run though a select ion of bar types; their pros, cons and what really matters for each of them. PUB BAR When it comes to a pub bar, size matters. When you have your after-work drinks at a pub you want to be able to relax in a sizeable beer garden, spacious enough so you don’t have to listen to the conversations of the advertising department but intimate enough to foster a good chat. It’s that

beautiful place where you can solve the world’s problems with your mates, and then also take granny and the in-laws out for lunch on Sunday arvo – the world’s problems obviously not solved. SPORTS BAR When it comes to a sports bar, size matters. No-one wants to watch the defining sporting moment of our time on a screen the size of Paul McCartney’s arse (he’s got a really small one, should you not be a Beatles fan holding onto the past unhealthily). Can you imagine Aloisi kicking that 2005 penalty, or New South Wales winning the Origin, on anything but a screen the side of the wall? We can’t imagine either, but we’ll take Origin on a phone if need be. TITTIE BAR When it comes to a tittie bar, size matters. Everyone knows the guy that’s st ingy with this tips. And let’s be honest, the worst thing to be at a tittie bar is the bloke know for giving the worst tips to the performers, bar staff or even security. Ain’t no-one showing you any love then. In the eternal and inescapable words of P!nk – “It’s just you and your hand to-niiight.” GAY BAR When it comes to a gay bar, size matters. “What’s that in your pocket? A Milky Way? Sorry, looking for a king-size Chokito.” But in all seriousness kids, there’s nothing like letting your hair down with those who you’re comfortable around, and big, banging, fuck-off

handbag house drops make the situation just that much better. COCKTAIL BAR When it comes to a cocktail bar, size matters. Whether it be a Piña Colada, Margarita, Tequila Slammer, Wet Pussy, Screwdriver, Black Russian, Bloody Mary or Adios Mother Fucker, the bigger the glass, the brighter the colour and the more novelty straws, umbrellas and pieces of fruit you can fit in – the better. Yes folks, bigger is better, more will score. And that goes for the dress code as well. All of the other stops in this month’s dissection can fit into the category of casual to smart-casual, whereas at a cocktail bar you’re going all out on the frock or bow tie. WINE BAR When it comes to a wine bar, size matters. You want a proper glass of the 1554 French red fi lling the palm of your hand, rather than a 2009 Western Sydney white clasped between two fingers. You know what that is then? That’s a wine tast ing. If you want to ‘taste’ wine head to the Hunter Valley and drive between your dest inations. That’s a great weekend, but if you want to enjoy and be merry, head to a wine bar where the glasses are voluptuous and the satisfact ion guaranteed. COCAINE BAR When it comes to a cocaine bar, size matters. Last week the government made a bust of $84 million. You do the math. SCOTT FITZSIMONS

bar Hop ORIENT HOTEL OPENING HOURS Mon to Thur 10am – midnight, Fri and Sat 10am – 4am, Sundays 10am – 1am ADDRESS 89 George Street, The Rocks The Orient Hotel pushes all the buttons – it’s a st ylish old school pub, chic nightclub, and a fancy restaurant. As a live music venue, this is the pub that rocks The Rocks without the dist urbance of too much hair, man-sweat and/or st udded leather. The Hotel is dist inct ly classy, without the snobbery and snootiness that can come with such an impressive look. A mix of young city workers, locals and live music lovers mingle inside, for live bands and DJs Wednesday to Sunday, and the centrepiece nightclub on Saturdays. Play some pool, catch your breath in a rare-unsoiled beer garden or try and attempt the difficult decision whether to order Irish Nachos (wedges instead of corn chips, ingenious!) or the Orient Burger. Maybe just order another appetising Convict Punch and embrace your inner rum swilling con – this being the Hotel’s signature drink and all. For those who find themselves on Sydney’s st reets this NYE, the Orient holds an absolute beast of a New Year celebration, but we’re sure you’ve got to get in early on that one.

THE GAELIC HOTEL OPENING HOURS 10am – 4am Monday to Sunday ADDRESS 64 Devonshire St, Surry Hills The Gaelic has recently undergone a facelift, making the popular drinking hole even more attract ive and less like the grungy venue it once was. With a new outdoor terrace facing the st reet, plenty of seating in the form of comfy booths in the extended upstairs area, as well as a games room, there’s plenty of areas to spend time with friends. Visit the Irish pub at any time of day for a quiet beverage or rock out at night with some of the best bands Aust ralia has to offer. Entertainment includes music, the newly introduced trivia night on a Tuesday and live bands basically every night of the week, with

THE WENTWORTH HOTEL OPENING HOURS 10am-late, seven days ADDRESS 195 Parramatta Rd, Homebush The Wentworth Hotel is a heritage-listed building with modern gaming, live music and bist ro facilities. It is a family-friendly venue with a huge kids play area, pool tables, an arcade with pinball machines and a massive outdoor area with a big screen for all those do-or-die sporting moments, and to top it off, off-st reet parking. The atmosphere is proudly chilled during the day while there’s entertainment every night of the week to make every night worth your time, as the top bar staff ensure everything’s running smoothy – they’re probably responsible for that smile on your face there. The entertainment ranges from karaoke to trivia and pool comps to poker, with music ranging from jukebox classics 44 3DWORLD

past memorable nights featuring acts such as Silverchair, The Presets, Tame Impala and British India. The Hotel’s signature drink is Hammer Time (1000 tequila and Red Bull) and with the signature dish being Irish nachos at just $10, they’re also hard to resist. The clientele is mainly 25+ (as well as music fans of all ages) and the dress code is st ylish.

to hip hop and elect ro mash-ups. The Wentworth’s bist ro has a seasonal menu with specialty dishes to classic pub meals, the Guinness Pie in particular is a must try. The signature drinks are Bomchkawaawaa, Tuaca and dry & lime. It has been host to act s such as DJ Ajax and local hip hop heavyweights Spit Syndicate. Th at said, Wednesday’s uni nights are the defi nite st andouts.

HARTS PUB OPENING HOURS Mon to Wed 11am – 12am, Thur – Sat 11am – 1am, Sun 11am – 11pm ADDRESS Cnr Essex and Gloucester Sts, The Rocks Located in The Rocks in a beautiful Heritage listed building circa 1880s, Harts is a pub where you can sit down comfortably with your friends for a chat, or turn your focus to one of the seven plasma screens. The experience will no doubt be flavoured by one of the 12 Aust ralian craft beers that they have on tap, or even the Beer Paddle where you get four beers for $10 for a bit of variety. A new venue (it’s only be open for three months) it is spread over two levels, the top level an 80-seat beer garden with bench tables, umbrellas and famous beer quotes surrounding to aid the feel. Downstairs is more nostalgic, with a photo-history of The Rocks and notable buildings. On the food front, there’s a hearty menu of crocodile, kangaroo and one of Sydney’s best Rib Eye on the bones (music’s got an Aust ralian focus as well). Can’t go past the double st uffed pork chop (with cornbread, Granny Smith apple and sausage) though. Everyone’s welcomed and this place is only going to get bigger and better.

bar Hop SOHO OPENING HOURS 10am – 6am ADDRESS 171 Victoria St, Potts Point Contradictory to the pretentious London dist rict with the same title, Sydney club Soho is a venue with something for everyone. Exuding a friendly, “house-party” vibe throughout its art-deco meets futurist ic nightclub design, Soho offers a big room dance experience on their Club floor – or if it’s a quiet cocktail you’re seeking, there’s a number of funky funct ion rooms upstairs for private celebrations. Back to the party side of things and Soho’s nightclub level remains at the helm of quality, with renowned national and international artists providing a blend of urban pop and party mash-up ‘til the wee hours. Take their recent Reow UV Masquerade party as a provisor – imagine a full dancefloor of people in Venetian masks dancing under UV lights to some of Sydney’s best DJs. For the more cultured partygoers, the bar’s impressive list of cocktails will keep the intellect ual conversation flowing. Doors are open to anyone looking for a boogie in between a few drinks, but keep the socks-and-sandles combo to the privacy of your home as most patrons at Soho dress to impress.

WOODPORT INN, VENUE NIGHTCLUB OPENING HOURS 10am – 4am ADDRESS 207 The Entrance Rd, Erina The Woodport Inn is home to one of the Central Coast’s best re-developed nightclub. What they’ve managed to generate is an exciting yet unique atmosphere, partly thanks to its slick and modern design that manages to avoid being just plain wanky. It is also the only nightclub on the Coast where partygoers can walk out direct ly onto a “cooloff ” zone on the banks of the Erina River before rejoining the fun on the dancefloor again. How’s that instead of a cramped balcony that you’re sharing with about ten too many sweaty dudes and their secondhand smoke? It is home to dance, house and elect ro music on Wednesdays and Fridays, with R&B, urban

HOTEL PARAGON OPENING HOURS Mon to Sat 10am – late, Sundays 10am – 10pm ADDRESS Corner of Loftus and Alfred Sts, Circular Quay The Hotel Paragon is the bar that you wish was your local. Two bars over the two levels of this modest tasteful building, and then a central city location to sweeten the deal. Relax with a beer, or perhaps the incredibly tast y vanilla mojito (you’re never too manly for one of these), and then top this off with some good wholesome pub food – the chicken parmigiana undoubtedly a favourite. Like all good pubs the Paragon even has a bottle shop, so if it happens to be your local there’s value there as well. But the most st riking of features is the courtyard, complete with fairy lights, gardens and parasol tables, you will feel

and live bands on Saturdays. Dress code is casual yet sexy – a particular favourite of the staff here at 3D World – with the Wet Pussys, which’ll only cost you $5 surely making it some of the best value pussy in town, being the club’s signature drink. As for dessert, there’s chocolate cake with ice cream that’ll only cost you $6 (“Ice cold!” as Andre 3000 would say). You should’ve been there for the launch night – quite a party.

SOL SUTRA OPENING HOURS Mon 10am – 6pm, Tue-Thur 10am – late, Fri 10am – midnight, Sat-Sun 6pm – midnight ADDRESS 239 Oxford St, Darlinghurst

Sol Sultra is a small bar and café focused on showcasing the local arts, a great spot to chill and, every so often, have a bit of a boogie. With a warm and welcoming atmosphere, the ground floor is designed like a renovated art deco house with comfy seating, artworks hanging on walls and local works by artists on display. Upstairs is similar to a New York warehouse conversion with a terrace out the back, while the lack of pretentiousso at home staff will probably have to drag ness among the friendly staff and guests make you feel right at home. you out at closing. The entertainment and music policy The Hotel is always casual dress, but you of the venue is anything – as long as it has a sense of soulfulness to can’t get away wearit, playing non-commercial and ing pyjamas, you’re going to have to find non-pop tracks. Each month there are several nights of live music and somewhere else to live art, including Art Jam, Soul sleep. Food (DJs, musicians, and soul Last ANZAC day food feature dishes), Gallery Burwas legendary at the lesque, Soul Power, Femme Sutra Paragon, but if you (for women who are lesbian, bi, or missed it, head over open-minded st raight), Sol Sessions on a Tuesday for (local musicians) and FrenChic some ever enter(French influenced night). taining pub trivia. There is no dress code and a good This is getting so variety of drinks are available as popular you will well as a number of dishes such as probably have to shared plates. book a table.

bar Hop ALBION PLACE HOTEL OPENING HOURS 10am – 2am seven days ADDRESS 531 George St, Sydney We’ve tried, but we don’t think that we can describe the design of the Albion Place Hotel any better than they did themselves, “mish mash fucked up kickarse bullshit!” So on that note, welcome to the contemporary inner city hotel that has a focus on boutique beers and signature cocktails, which is complemented by its smart yet casual dress code carried out by the 25 – 40 year old demographic. Located direct ly across the road from The Metro Theatre, it’s regularly been the venue to fall back to when the main attract ion has run its course. You’ll know this if you were there that evening that P!nk played across the road. Chris and Marty played in the downstairs bar with cocktails aplenty being served all around them. The atmosphere was palpable, the music awesome and the staff and management on fi re, figuratively speaking. Offering their own entertainment as well, there’s live music with a retro edge every Wednesday, to be enjoyed while digest ing a crispy skin pork belly with broccolini, parsnip puree, fig marmalade and red wine – or the signature Sitting Buddha cocktail.

SHIP INN OPENING HOURS 10am ‘til late ADDRESS Corner of Pitt and Alfred Sts, Circular Quay The Ship Inn is the place to be for the post work drink. Great gourmet pizza, particularly the crispy duck (yep, it’s a pizza), a far-reaching modern bar and a courtyard that opens onto Circular Quay – so you can take that tast y pizza alfresco and nurse a beer or two. Entertainment? All you need at the Ship Inn are the fantast ic assortment of people that come here… not to mention the famous lychee martinis. Although the interior reeks of class, you will not be walking into a den of toffs. The bar is casual dress and full of young

CHAMBERLAIN HOTEL OPENING HOURS 10am – 4am Mon – Sat, 10am – 12am Sun ADDRESS 428 Pitt St, Sydney Boutique without losing its sense of self, the C-Bar – or the Chamberlain Hotel as it’s more formally known – is located on the CBD’s Pitt St and essentially is everything you want a bar part of the Sydney experience to be. It’s a small, cosy little joint that quotes its dress code as “you just have to be nice”. With undoubtedly a relaxed atmosphere, we reckon that’s partly down to their Friday nights. Each week from 5pm they offer free oysters (that’s mighty cool, bring friends who don’t like seafood so there’s more for you) and free three-minute massages (that’s mighty cool, damn, I don’t think there’s any fool who 46 3DWORLD

city workers who are all keen to let their hair down, so to speak, and forget about the endless stream of emails, car horns and general grind. Every Wednesday is hospitality club, the place for the city’s hospitality staff to let off steam after they knock-off. But HAYMARKET HOTEL don’t worry if you’re not part of that OPENING HOURS 10am – union, everyone’s st ill 2am seven Days invited. ADDRESS 661 George St, Haymarket

doesn’t like a massage, you’ll have to share) until 7pm. The beer select ion caters to most everyone with the likes of internationals Asahi and Hoegartten lining up against classic local drops Coopers and VB in the favouritism st akes. Then bite into some chow, like the club sandwich – for which the word ‘sandwich’ can result in a perception that’s not as grand as this thing act ually is.

Perhaps giving new meaning to the term ‘money shot’, the Haymarket Hotel is an opulent bar located in a grand old former bank (complete with high ceilings and tact ful marble dressings) in its namesake suburb. The essence of the hotel derives from the elegance of yesteryear’s lounge bars – it’s a refreshing step into the world previously only enjoyed by the very privileged, with st unning architect ural features that are rare amongst modern bars. During the sunlight hours, the Haymarket welcomes the flow of patrons looking for a quick drink and/or a meal – given the proximity, no surprise the fish of the day is highly sought after. But it’s more the flavour of the French Lychee martini upon nightfall, especially on Fridays and Saturdays whereby The Market – one of Sydney’s top R&B and house nights – packs the venue to capacity. Dress is casual usually, but best wear a collared shirt to ensure entry here gents. The relaxed atmosphere was turned up a notch recently for the fi rst birthday bash, which kicked off in the afternoon and went st raight through ‘til the early morning – at capacity.

bar Hop MR B’S HOTEL OPENING HOURS 10am – 4am seven Days ADDRESS 396 Pitt St, Sydney

If you head along to the Tao Lounge at Mr B’s Hotel this week – or in fact any week – chances are you’ll catch the sounds of resident disc spinners Husky, Yogi, Phil Toke, Frankie Romano, Marc Us, Damion Pell, Tilly, Dan Copping or Agey, plus more guests weekly. It’s this sort of quality that categorises the lounge, with the downstairs level throwing different events each Friday as Wednesdays is home to Tropical Sounds with the Latin House Mafia Crew and Saturdays is Satisfact ion. There’s a relaxed and warm feel to the joint, that’s modern and welcoming to a diverse range of clientele at the same time. The Bangkok Breeze tends to be a favourite amongst those revelers, but there’s plenty more to get into. It’s a bit like the food stakes, where you take your pick from Iima’s award winning menu. It’s casual dress – but remember, if in search of a suitor a little effort pays off. Hopefully you were looking fine for the launch night which had all three levels jumping with an absolute killer line up of Sydney DJs and over a 1,000 people slamming down the free drinks.

MIRANDA HOTEL OPENING HOURS 10am - 3am MondayFriday, 10am – 2.30am Saturday and 12pm – 12am Sunday ADDRESS 590 Kingsway, Miranda Located in the Sutherland area, the Miranda Hotel is a welcoming venue with enough diversity to suit everyone’s need. There is a focus on entertainment, and the hotel boasts performances from some of Sydney’s top live performers and DJs. That’s not to say you can’t get in on the act ion as well, with pool comps, trivia and poker tournaments held regularly. They reckon that the bist ro was South Sydney’s best kept secret, but by defi nition that can’t be the case anymore as it’s no longer a secret. Expect a mouth-watering menu of hearty pub food, with a modern twist to keep things interest ing during their lively dining experience. The pork belly with onion jam and

apple sauce is recommended. You can catch live bands Thursday, Friday and Sunday while DJs are present Friday and Saturday. Grab a signature Japanese Slipper with the casual after work crowd or the smart dress on weekends. Also, make sure you’re at their Full Moon party, because that’s when things really get interest ing with DJs, fi re eaters inside, freakshows, sand throughout and body paint everywhere!

OXFORD ART FACTORY OPENING HOURS 8pm – late Wednesday to Saturday plus special events ADDRESS 38-46 Oxford St, Darlinghurst

QBAR OPENING HOURS 8/9pm ‘til late Wednesday to Saturday ADDRESS 44 Oxford St, Darlinghurst There’s a venue on Oxford St, that’s part of the Exchange Hotel complex that really hasn’t figured out what it wants to be when it grows up. However, over 16 years that’s what we’ve come to love about QBar – it can do glam rock, it can do DJs, it can do just plain old partying. It’s got that comfortable feel of times gone by without feeling outdated. It’s welcoming, relaxing and immediately familiar – we daresay even if you’ve never been there before – with its bohemian, unique but casual design lines, the place adorned with photos of punters – both famous and locals. There’s no real dress code, there’s too many different nights happening to get that down, but

they’ve something of a policy with the catch-cry “anything, anyone, anytime.” They’re not going to force you to drink anything either, whatever does the job for you is what you’ll have – pleasingly priced, too. We also think that while there’s been some classic nights, we’ll leave it up to you to decide what’s been the best because we’re sure you’ve had a couple of good ones at this hub of Sydney culture.

Often referred to incorrect ly but lovingly as Oxford Arts, the Oxford St venue has burst onto the live music and partying scene quite remarkably over the past two years. The arts tilt is part of that attraction, where you can catch anything from hip hop to indie rock and everything in between in the Live Art Space, whilst emerging bands feed into DJs in the Gallery Bar, (free entry almost all of the time) playing music to dance to, not necessarily dance music. Inspired by the Andy Warhol factory, and as such has that rock’n’roll feel to it. Indeed, whilst there’s a range of cocktails on offer it’s sometimes more satisfying to grab a jug of Cooper’s Pale. Not the place to have dinner, it’s definitely the place to head to after it, with wall murals, a Dracula pinball machine, a vintage photo both and a niche wallet vending machine adding to the atmosphere. Th is is, after all, where Rowland S Howard played his last ever Sydney show and Lady GaGa played her fi rst in Aust ralia.


MAD MEL – WHAT HAPPENED? According to most newspapers last week, Mel Gibson said the following things to his ex-girlfriend: “You f... ..... c... f....... w.... t.. t..... h.... f...... be f..... ”. It went on like this for paragraphs. It was hard to know exact ly what to make of it. What was with all the dots? Does Mel talk in morse code? Like most people who don’t know Mel Gibson personally and have absolutely nothing to do with this case, I went trawling on the Internet to find the uncensored tapes (do they even call them tapes anymore?). What I heard proved one thing beyond all doubt – Mel Gibson is a bad breaker-upper. Now I’m not going to start calling him ‘Mad Mel’ like every other hack with a typewriter. But needless to say, the hunky Bird On A Wire star is no longer what you’d call “Hollywood A-List”. Forget being finished in movies. Mel is finished in amateur regional theatre. So how did Mel Gibson, the sensitive beefcake from 1979’s Tim, go from People Magazine’s Sexiest Man (1985), to a guy with the worst phone manner I’ve ever heard? Hearing Mel’s voice issuing those foul words, he was almost unrecognisable as the smooth-talking hunk Mac McKussic, his character in Tequila Sunrise back in 1988. Sunrise didn’t do very well at the box office, but at least no one was calling Mel a racist or a woman beater back then. Did the actor who made the mullet sexy in Lethal Weapon, then made it unsexy again in Lethal Weapon 3, burn his career to the ground when his personality was finally exposed? Maybe the key to Mel’s star power has always been his ability to hide behind the characters he plays, such as the sexy recluse in 1993’s The Man Without A Face. I think Mel should chill out and probably spend some time on his own. I don’t think jumping into another relationship right away would be a smart move. But only one thing is certain. After this latest disgrace, I’m not getting my hopes up about ever seeing a sequel to 1992’s Forever Young (where Mel played Captain Daniel McCormick), and neither should you be. DAVE JORY 48 3DWORLD

TAMARA IS A TWITTER HIT KYLE IS JUST A TWIT So, last week most of Aust ralia learnt that the name of Kyle Sandilands’ wife is Tamara Jaber – not “ohhhh, that poor girl”. We learnt this because it was announced that the pair were splitting. No one seems surprised (he did force her to release the awful single Ooh Ahh on his King Kyle label) and most people act ually seemed happy to see him go through something bad. Of course, this lit Twitter up for a few hours with Kyle/Tamara jokes flying across the country (we’d say globe except that they never made it into the all-important Top Trending Topics that we noticed). Of course, we joined in. While trolling the net to dig up more useless information about the topic we st umbled across the clip that was made to promote Jaber’s fi rst band Scandal’Us – it seemed rather fitting that the song was titled Me, Myself & I (get it? She’s divorcing Sandilands to go it alone…) Oh how hilarious it would be to post a link to the clip on YouTube. Holy fuck! Within minutes the clip had clocked up 100 hits from that link alone. The clip has now a total of 17,000 views on YouTube. Before last week it would have been lucky if 17 people remembered that song – it was recorded back in 2001 when Jaber was part of the line-up declared winners in the second Aust ralian season of Popstars. [Special prize for anyone who can remember the name of the season three winner.*] Scandal’Us didn’t last long, disbanding after one more single and a failed album in 2002. Jaber has attempted to revive her career with the band Scarlett Belle, supposedly signed to Def Jam in the US. They released a single a few weeks ago. You may have missed it – most people have. The song Closure has act ually been in the ARIA Singles Chart for three weeks, having peaked at a heady number 38. More importantly the clip for R&B pop-

by-numbers track has now act ually had over 60,000 views on YouTube. Ooh ahh, they are act ually more popular than Scandal’Us but not as popular as Popstars season one winners Bardot who have had 157,00 views of their Poison clip on YouTube. It’s no wonder Jaber is now hawking her wares as a contest ant on Dancing With The Stars. Oh, and ex- Scandal’us member Jason Bird is now a choreographer on So You Th ink You Can Dance. *The special prize is directions to the tip where they pulped the unsold copies of Scott Cain’s I’m Moving On.

SPANK RECORDS CHART 1. Do You Remember (Remixes) MARIO BASANOV 2. You Ain’t Jack A+O 3. AM/FM !!! 4. Superst ring SPACE RANGER 5. Hot Raw Sex JIMMY EDGAR

6. Clarify Your Love PIRUPA FEAT BAZ 7. Magic Wand Volume 1 VARIOUS 8. Why Your Love STEFANO E BENNE FEAT HARD TON 9. I Got A Feeling LARSE 10. Baby Let’s Love MANO LE TOUGH


TRIK IPOD DOCK The TRiK iPod Dock is perfect for music lovers who want to combine powerful sound with personal st yle. The snazzy and sizeable speakers come with four interchangeable skins but if you’re feeling slightly more creative, you can download limited edition designs or create your own unique TRiK skin via the Sony website. The good news is that thanks to Sony, 3D World has a TRiK iPod Dock (valued at $299) to give away to one lucky reader! For your chance to win, hit us up via our Twitter feed at, make sure you put @3D_World in your tweet, and we’ll select our lucky winner from there!

SPIT SYNDICATE DOUBLE PASS Local hip hop crew Spit Syndicate have been scoring universal praise for their second album Exile, the follow-up to the equally rapturously received 2008 debut Follow The Light. Thanks to the good people at Obese we’ve got a double pass to this Saturday 24 July’s launch show at The Gaelic to give away. For your chance to win, email your name, address and telephone number to with ‘SPIT SYNDICATE’ in the subject line. SCUBA DOUBLE PASS Known for helming the esteemed Hotflush label as well as his own releases which st raddle the evershrinking dubstep/techno divide, Paul Rose aka Scuba is making a welcome return to Aust ralia for one weekend only. We’ve got a double pass to his Friday 23 July gig at Civic to give away thanks to Niche Product ions. For your chance to win, email your name, address and telephone number to with ‘SCUBA’ in the subject line.


@DARRYNKING (LIVE TWEETING WEST SIDE STORY FROM LYRIC THEATRE) “Kindly switch off your mobile phones...” Curtain up! So far, so good. #wss 12:02 AM Jul 14th via Twitter for iPhone Pop quiz: When you’re a Jet, are you a) the top cat in town; b) the gold medal kid; c) the swingin’est thing; or d) all of the above? 12:14 AM Jul 14th via Twitter for iPhone Ah, just like the school dances I remember. Useless adults, racial tension, a professionally choreographed mambo dance-off. #wss Wednesday, 14 July 2010 8:25:34 PM via Twitter for iPhone ‘America’: “I love the island Manhattan. Smoke on your pipe and put that in.” Sondheim. Genius. Wednesday, 14 July 2010 8:47:08 PM via Twitter for iPhone Riff ’s anger management course: sublimate all your anger into finger-snapping. If only Mel Gibson knew that trick. #wss Wednesday, 14 July 2010 8:57:12 PM via Twitter for iPhone Riff is down! Jets 0, Sharks 1. Wednesday, 14 July 2010 9:20:23 PM via Twitter for iPhone Tony equalises! Jets 1, Sharks 1. That’s half time. Wednesday, 14 July 2010 9:21:05 PM via Twitter for iPhone Chino’s here. I think it’s good news! ... No, it’s not. He’s also wearing pink pants. #wss Wednesday, 14 July 2010 9:49:27 PM via Twitter for iPhone I hope when I get killed in a knife-fight my friends sing and dance and do role-play like this. #wss Wednesday, 14 July 2010 10:01:34 PM via Twitter for iPhone Maria has a gun. Don’t do it, Maria. Let this endless cycle of violence and great dance numbers come to an end. #wss Wednesday, 14 July 2010 10:25:57 PM via Twitter for iPhone And that’s it! Curtain down! The orchest ra playing the crowd out with ‘Dance at the Gym’. Bombast! Wednesday, 14 July 2010 10:29:46 PM via Twitter for iPhone Stage manager over the backstage intercom: “Thank you, thank you, thank you.” That’s a wrap guys. Off to play the slot machines. #wss Wednesday, 14 July 2010 10:31:30 PM via Twitter for iPhone 50 3DWORLD


GO-GO ABC A lot of music fans remain unaware of the Washington go-go scene. It has been around since the 70s and went crazy big on the underground club scene in the 80s until it was overshadowed by that other dance music coming out of Detroit, Chicago and New York. A fusion of P-Funk, hip hop and Latin percussion, its signature is the call and response vocals pract ised by most ensembles playing the sound. It is not to be confused with 60s go-go girls – this is not the music for mini-skirts and cage-dancing. Well, the scene has recently been grabbing headlines again in the US as a nast y elect ion looms for the position of Washington mayor. It seems the go-go scene is so all-encompassing in the black areas of Washington that it is believed whoever wins the go-go vote will win the elect ion. Yes, really. Now it’s finally making news here. ABC1 journalist Michael Brissenden has been in Washington watching the lead-up to the elect ion and his report airs on Foreign Correspondent tonight. But unlike other go-go reports that have championed the scene, Brissenden’s piece promises: “Go-go has a menacing side. It’s become allied with violence, drugs and criminality and is being forced further and further underground as authorities crack-down on the go-go community.” The ABC claim that you will “have your


illusions shattered.” Eep! Trust us, we’ll be watching and not just because we might hear some good tunes by Chuck Brown, The Junkyard Band and EU but because the ABC presser for the report goes on: “Brissenden ventures where very few outsiders dare to tread to examine the dynamics of this raucous and riotous music movement that in many ways has become the unofficial soundtrack for African Americans waiting and hoping for a Black President to deliver on his promise of change.” It sounds like this should have been the backdrop for the Indiana Jones franchise revival... WHERE & WHEN: Screens ABC1 tonight at 8pm. Also st reaming on iView for two weeks after broadcast and

WHERE DID ALL THE DRUGS GO? Everyone’s got a theory about why the nightclubs of Aust ralia are currently on life support – too many fest ivals, not enough punters, too much elect ro house, not enough good music, and so on and so forth – but everyone seems to be carefully skirting around the crux of the issue. Like it or lump it, club culture’s trials and tribulations often revolve around the drug culture of the time, and with the quality of Class As now substandard at best and David Guetta co-product ion standard at worst, many more seasoned clubbers’ thoughts are turning to how it was “back in the day”. Or hitting up their friends in the UK to send through a stash of meow meow pronto. Last week’s headlines trumpeting a seizure of cocaine with an est imated st reet value of $84 million at Port Melbourne would have elicited tears of despair from all concerned – forget the 200kg of cocaine allegedly discovered inside the two shipping containers (and given the purity,

or lack thereof, of most Aust ralian cocaine, we suspect 200kg of coke would have a st reet value of several bazillion dollars, but we digress…), what about the house pavers that were also in the containers? What if those pavers were intended for the comeback episode of Backyard Blitz? What are Middle Aust ralia going to do with themselves now that their right to watch another hour of brain sapping television has been cold-heartedly whisked away from them? It’s an outrage! Meanwhile up in Darwin there was another crisis going down. First ly, six revelers were rushed to hospital after taking “an unknown but powerful” substance two weekends back, with police subsequently seizing 200 of the faux pingers from about five sources according to local Detect ive Superintendent Matt Hollamby – one batch of which were humble caffeine tablets posing as amphetamine caps. But even more alarming are the names of the venues they were frequenting – surely if clubbers are going to be offered up such meagre options as Uncle Sam’s, Duck’s Nuts, Monsoons and Jack’s Bar, then they’ve got every right to shovel/snorkel whatever substance they like down their throat/ up their beak to take the edge off ? Next, The Aust ralian Medical Association chimed in to suggest that caffeine-infused energy drinks may need to be banned because we know too little about their effects, even though it’s clinically proven that generic mainst ream dance music fest ival fodder causes ignorance and st upidity in its users yet there

have been no calls for its banning. In fact, there are even claims via The Age that energy drinks could be fuelling drunken night violence in Melbourne – obviously the key word “drunken” is being conveniently ignored here. But we have seen the future, and the future is “iDosing”. A report on this new craze which has reportedly emanated from Oklahoma’s Must ang High School suggest s that kids are “achieving catatonic or hallucinogenic st ates simply by downloading and listening to ‘digital drugs’”. By listening to repetitive, atonal tracks (read: postrock), all sorts of shit can st art to happen – one user says on that he saw “paint peeling off the walls”. And it finally all makes sense – iDosing isn’t anything new but a turn back to where it all began, and where it always ends up when times are tough. As D-Mob said way back in 1988, “We Call It Acieed ”…




As soon as the invite arrived, I knew this was gonna be a fun partay. To celebrate Bast ille Day, a select group of Sydney wannabes, has-beens and never-weres were asked to come dressed in their finest le gay apparel to celebrate Le Cock Sportif er… Le Coq, rather. Don’t know about you, but I personally prefer Le Cock. When I arrived, the room was fi lled with folks yelling out: “Bonsoir! Bonsoir!” I used to st udy French at school. Act ually, I st udied it for seven years. All I remember is how to say, “My name is Roo!” If there’s one thing I can’t stand it’s wankers who think that if they know a little French, they should speak it all the time. One Le Cockhead was walking around speaking French and only French. It also looked like he had taken all day to dress. He had made a flower out of a red napkin. Talk about Le Cockhead. He told me he thought it was perfect for the occasion. I told him to get a life. He then proceeded to try and get a pic in the social pages, grabbing a photographer and asking to be in a photo with the party planner. The photographer simply replied: “No, sorry!” She then turned to me and asked for my photo. “Oui! Oui!” I said with a smirk in direct ion of said Le Cockhead. As I was getting my photo taken Le Cockhead yelled out: “Don’t look gay! They won’t publish it.” I found that particularly amusing, coming from a twat that spent the whole day sitting at home playing with a napkin to st ick on his lapel. I didn’t reply, of course. It was now war between me and Le Cockhead. I couldn’t care. I didn’t even know his name. All I cared about was the free champagne in my hand. After my photo was taken, he fl icked my hair and said: “What’s with your hair and beard? Your hair is blonde and your beard is dark.” Yes. Correct. Any dumb ass could see that. “Why are you so brown?” It’s called fake tan, Le Cockhead. He was so angry, it was amazing to watch. After that all the free champagne ran out. We all went upstairs for some mocha Tia Maria shots. They were delicious. Seeing them again on the bathroom floor later that night, wasn’t so delicious. My photo ended up getting in both newspapers on Sunday. Tele and Herald. I don’t really care about that. Nor do I thrive on it, like some gays, and as I sat there on Sunday, sipping on my café au lait, I thought to myself how pissed off Le Cockhead must’ve been. Opening up the papers. No pic in the papers. All that effort for nothing. Serves him right. How dare he touch my hair! Now, if you’ll excuse me, I have to go for a oui oui. ROO

TUBETIME The incredible world of television with 5SPROCKET

All 4 Kids (Channel 7) is a new show “made by kids, for kids.” Clearly, a television show couldn’t be produced by a team of prodigiously media savvy children, so efforts have been made to make it look as amateurish as possible. Shot from ‘dog POV’, the segments of the show relate to important ‘kid’ issues – how to make a banana smoothie, how to ‘invent’ a glove with velcro on it, and how to water plants (all under unenthusiast ic adult supervision). The waist high hosts are missing their front teeth and say cuddly things like “wocket”, and emerge from giant barrels for some reason. Its wizz fizz cuteness grates immediately, and makes you nostalgic for the days in primary school when you could have beaten these kids up. Which is something the troubled teens in World’s Strictest Parents (Channel 7) would do. They drink, they smoke, they swear - they’re st raight out of Skins and they’re being sent st raight to the most hellish punishment imaginable, a Southern Black Baptist family that wants to atone their souls. The pastor father enters into an argument with an emo teen over cigarettes with Samuel L Jackson intensity. “Give me the matches son,” he says inches from his acne scarred face. “Wot,” he snipes, “you think there aren’t any matches in America?” If the camera weren’t there I’m certain a spine would have been ripped out through someone’s stomach, but this program is sunday-school sedate. Lost in simplist ic moralising and acoust ic guitar, the teens succumb to the pressures of stern psychological abuse. As a document of Stockholm syndrome it’s second to none. Putting the health of regular Britons under the microscope and setting the magnification to ‘hideously foul’ is Embarrassing Bodies (Channel 9). A documentary series, it pries into physical abnormalities that people normally try to conceal, such as tooth rot, incapacitating verucas, and urinating blood. It is television to have a cup of tea and snuggle to, especially if your partner has no skin and drinks the blood of turtles. One extreme close up of a middle aged woman’s arsehole later, I regained consciousness to find myself covered in vomit. No one wants to see a little girl’s foot that looks like a tree, with doctors deciding to extract the sap. It really is as much fun as being trapped in your own colon, and makes you feel just as dirty. 523DWORLD

FILMREVIEWS The pair jerk towards a wary relationship which you sense can’t possibly work but they find something in each other that fills a gap.


Many comedians have shown a darker side to themselves to great effect ; witness Adam Sandler’s surprisingly good st int in Paul Thomas Anderson’s Punch-Drunk Love. Now it’s fellow crazy guy Ben Stiller’s turn to reveal an act ing ability of greater depth. Writer/director Noah Baumbach has explored dysfunct ional and pretty unsympathetic characters in Margot At The Wedding and the Oscarnominated The Squid And The Whale, and he ventures down a similar track with Roger Greenberg. Where Baumbach’s talent lies – aided by Stiller’s nicely nuanced performance – is making us have any empathy at all, what with Greenberg’s many flaws and self-pitying attitude to life. But there’s a vulnerability that draws you in and makes you forgive and maybe even like him. Greenberg, recovering from a breakdown, comes to LA to look after his brother’s dog, and while there he’s helped by the family’s assistant, Florence (Greta Gerwig), a confused young woman who takes pity on the hapless guy.

Greenberg has a problem moving on from the past, illustrated by his desperate overtures to old girlfriend (Jennifer Jason Leigh) and former bandmate (Rhys Ifans), but the somewhat depressing material is lifted by lighter moments. Stiller’s performance traverses poignancy and understated humour, making it an entertaining journey. WHERE & WHEN:

Screening in cinemas 22 July VICKI ENGLUND

THE RUNAWAYS The debut feature fi lm from wellknown music video director Floria Sigismondi (the brilliant mind behind the music videos for Sigur Rós’s Vaka and Muse’s Supermassive Black Hole), is, unsurprisingly, effortlessly cool. It chronicles the short lifespan of The Runaways, the 1970s all-girl rock band that achieved international success before imploding in a storm of in-fighting and substance abuse. The story’s nothing new – bands have been making waves and breaking up on fi lm for decades now. Sigismondi’s direct ion, however, is so mesmerising, the ordinariness of the plot seems positively complex thanks to the spectacular visuals. The hazy,

drug-addled surrealism of the band’s existence is perfect ly captured with creative lighting and shifting lenses, and the musical performances are nothing short of elect rifying. Clever cast ing is another great st rength of this fi lm. Twilight’s Kristen Stewart is no longer merely Twilight’s Kristen Stewart, thanks to her moody, passionate performance as the shag-headed guitar goddess Joan Jett. Dakota Fanning is all grown up as the corset-wearing, pill-imbibing frontwoman Cherie Currie, and is so badass she’d make Taylor Momsen blush. Michael Shannon steps up to the toughest challenge, playing the band’s frenetic manager with the kind of skill that prevents his flamboyant character from tipping over into buffoonery. Slick and sexy, The Runaways doesn’t take itself too seriously, keeping its focus squarely on the music and providing just enough emotional meat to keep the audience involved without becoming preachy. And if that wasn’t enough to convince you to see it, here’s the answer to the quest ion everyone is asking: Yes, it has lesbian scenes, and yes, they’re hot. WHERE & WHEN: Screening in cinemas now ALEKSIA BARRON



PART 1: THE HUSTLE Hassle Canon to sell a 7D at cost price in exchange for review, knowing from using the camera, and seeing online videos, that this is a most desirable camera for shooting video. PART 2: ZOOM IN Focus the review on the video qualities of the Canon 7D, knowing that the Canon 5D Mark II has much better photo image quality, and that while other video cameras are on the horizon which promise similarly large sensors but better video handling controls (the SONY NEX range for example), the 7D holds a unique position for video capture at this point. PART 3: DIRT, MEET FINGERNAILS Run around with the camera a bit, see what it can do (it sucks light in!), see how it feels (st urdy, solid, well-built). Think back about shooting video with it, and analyse each component. THE BODY Jumping inside, the camera’s sensor is APS-C sized, which means the focal range of all lenses used with it need to be multiplied by 1.6 (a 50mm lens which gives a natural perspect ive on a full framed camera will look like an 80mm lens on the Canon 7D, so 50x1.6 = 80mm = a lens which gives a slightly zoomed in perspect ive). Lenses are separate, and not something being considered here, but the camera itself feels great. Controls are precise and reliable, built to last. That said, this is not a traditional video camera, with ergonomic focus and zoom adjust ments within reach. The small size (relative to a big video camera) also means stabilisation is needed to prevent too much wobble-cam. There is a smorgasbord of companies rushing to supply supporting rigs, but the cost of these also needs to be considered up front if video is your goal. SOFTWARE Highly customisable interface. Hardware buttons can be re-defined, has three custom global settings for easy access to specific settings to suit particular shooting conditions. Saves fi les to a Compact Flash card, in the H264 codec. Good quality, but needs transcoding into editing software. IMAGE QUALITY Utterly gorgeous. Induces giddy laughter in low light. It’s not without issues (Google 7D + jellocam, rolling shutter, moire and aliasing), but if you’ve come from any other video camera in the same price range, you’ll most ly just be slack-jaw amazed at what the camera is capable of.

AUDIO QUALITY As lame as might be expected for what is essentially a photographic camera slowly morphing into becoming a video camera. A work around? Record using an external recorder such as the Zoom H4N, and use PluralEyes software to auto-sync up your high quality audio fi les with your lower quality ones, within your video editing software. Once synced, delete the bad audio, and your fi lmic masterpiece now has rich sound to match. PART 4: DUEL AT DAWN Compare the 7D with the 5D Mk II, the 7D’s only true competitor in the field. 5D: Full frame sensor, greater image quality, more depth of field. Better for wide shots. Use up to

25600 ISO (great for low light). 3.9 FPS for photos. 1080p at 30p only. (ie 1920 x1080 HD progressive / non-interlaced footage at 30 fps). 7D: Smaller APS-C sensor (means less image quality, but also means closer to 35mm movie sensor size and possibility, after adding mods, of using cinema lenses). Better for telephoto shots. Use up to 12800 ISO. 8FPS for photos. 1080/30p (29.97), 1080/25p, 1080/24p (23.976), 720/60p (59.94) and 720/50p (50p + 60p footage can effect ively create slow-motion footage at 25p and 30p). Aside from the above specs, the 7D also has a dedicated video record button, a better LCD screen for viewing in daylight, and better ergonomics for handling. Plus, this guy recommends it for video – PART 5: SIGNING OUT When offering some final words of critical acclaim for this most desirable video camera, don’t forget to crowd source, and point to the huge range of support material online developing around the 7D and its enthusiast ic fanbase. People like to see it for themselves. Go to eos7d, and Orgasmic and Teki Latex @ Esplanade Hotel, Melbourne – $20 Fisheye attachment on top of a Sigma 18-50, F 2.8, No flash – Photo by Jean Poole




MR OIZO + JAQUES TATI One makes songs about gay dentists, the other is a legendary French comedian and director no longer with us. Between them, they’ve this year delivered us a pair of French feature fi lms about serial killing car tyres and st ruggling magicians. FRENCH RUBBER Mr Oizo, already somewhat notorious from his audio exploits at Ed Banger Records, has earlier branched out into music video and fi lm making. Steak, a feature released only in France in 2007, had a plot based around kidnapping, plast ic surgery and the fashion world, and handily featured cameos from French artists Sebast ien Tellier, Kavinsky, and Sebast iAn (who appeared as wheelchair-bound car thieves). Apparently Mr Oizo himself, Quentin Dupieux, is the only person who has an English subtitled version, after the French producer lost interest post-release in France. Rubber on the other hand, is already popping up all over the web video radar, with quirky trailers available at, or fresh from the leathery horse’s mouth at rubberfi (and as it turns out, writing rubberfi lms by mistake delivers a premium fetish gallery). It’d seem easy enough to call it a well road movie (yet another feature fi lm shot on the Canon 5D), but it seems safer again to imagine this rubber tyre serial killer flick will offer up something unusual. Also on the soundtrack alongside Mr Oizo will be Gaspard Augé of Justice (also on Ed Banger). Make of it all what you will... EVERYBODY’S FAVOURITE FRENCH CHARLIE CHAPLIN Being both a master of comic timing and carefully orchest rated cinematography, Jacques Tati’s fi lms inevitably unfold with visual charm, and an abundance of surprise for the eyes. Playtime, his most famous fi lm, took nine years to make, was shot on 70mm and involved a set on the outskirts of Paris which resembled a small city in itself. Like his other fi lms, it too took a sword to modern society, lampooning social attitudes and obsessions with gadgetry and convenience, and being near dialogue-less, and requires viewing to see just how funny it and Tati are. Interest is high then for The Illusionist, an animation based on a script by Tati, and directed by Sylvain Chomet (who also directed The Triplets Of Belleville animated feature). Tati intended to make the fi lm as a live act ion fi lm with his daughter, with the plot revolving around “a st ruggling illusionist who visits an isolated community and meets a young lady who is convinced that he is a real magician”... JEAN POOLE 54 3DWORLD

THE IPAD FOR MUSICIANS The Apple iPad may st ill be in its infancy in the Aust ralian market, but the availability of the unit on foreign shores has benefited the local creative scene in an abundance of creative applications. Th is is both in the “Application” sense of the Apps Store, and the “application” of what is in effect a relatively cheap interface with a creative potential that excites and infuriates the full spread of the creative arts indust ries. For musicians in particular, the iPad seems to have survived the initial internet forum backlash of high expect ations for its specifications, and evolved into a more pragmatic appreciation. Th is ranges from the shift of comparison against full-spec laptop computers at similar prices, to a consideration of specific music technology at similar prices. In other words, the iPad with a drum machine application sounds a lot like a drum machine. The iPad running TouchOsc looks a lot like a Jazzmutant Lemur. The iPad as a host for experimental audiovisual software looks a lot like one of those Japanese gadgets from the Gundam or Robotech cartoons you grew up watching. Considering the iPad as a viable st udio tool is still a difficult task, as the media hype, opinions and assumptions are powerful st umbling blocks. A useful example is the wealth of virtual hardware that has already been ported to the iPad Application format. Take the Korg iElect ribe application, which costs a total of US$9.99 in its emulation of the US$399.00 hardware rhythm machine of the same name. This emulation is such a great example, as the 1990s’ trend of digital “grooveboxes” are in effect a range of simple, stripped-back electronics with a series of knobs and LED’s. The iPad is many times more powerful then all of these grooveboxes combined, and it is up to the user to work out whether they miss the physical controls or not – not to mention the price. Not all conversions are as perfect as the

iElectribe however, with Propellerhead’s literally legendary ReBirth falling as far from success as possible. Farmed off to a third party developer, the App is so poorly converted that it borders on unusable. This will break the hearts of a virtual generation of studio musicians, many of whom spent innumerable hours lost within the world’s first compelling emulation of the legendary Roland TB-303, TR-808 and TR-909s in an era of increasingly unaffordable access to these building blocks of techno and hip hop. Sure, the App sounds like the original, but the pixelated graphics and the terrible user interface make this the software equivalent of a dubstep remix of Smart E’s 1992 remix of the Sesame Street theme song. From the past to the future, the other “show me something cool” moment is the US$4 TouchOSC modular controller interface. Already a popular product on the iPhone,

TouchOSC is notable for off ering the same funct ionality as the Jazzmutant Lemur, which at its peak in Aust ralia was selling for close to AU$4000. With such a st rong user community, the TouchOSC application allows even casual users to download a touchscreen controller interface for Ableton, or their software of choice, and a st aggering amount of YouTube videos to st ep through the inst allation and use. It doesn’t just look like a Star Trek prop, it also funct ions like one. From artist ic to useful to familiar, the iPad has a lot to offer. There is no escaping that this is an Apple product – whatever that means to you – but even as a sign of things to come, the iPad is an incredible advancement for both the exist ing, experienced st udio musician, and for the next generation of creative artist s to come.



HOW LONG HAVE YOU HAD THE LABEL RACHEL GILBERT? “Five great years.” AUSTRALIAN FASHION DESIGNERS ARE CONSIDERED SOME OF THE BEST IN THE WORLD NOW. DO YOU HAVE ANY COMPETITION, OR IS IT ONE BIG HAPPY FAMILY? “Competition is healthy, for my brand and for Australian fashion designers in general. At the end of the day its all about the best products, fabric, value for money and brand awareness – consumers are smart and know what they want.” WHAT DO YOU THINK OF AUSTRALIAN FASHION SCENE AT THE MOMENT? “It’s getting more exciting every day. Bigger and better – year after year – which is good news for my brand. [It means] the increased recognition of Australian fashion.” STYLE AND GLAMOUR ARE TWO DIFFERENT THINGS. DO YOU AGREE? “Definitely. Not that one is better than the other or more important than the other, but they are definitely different. You can have great style, but not be glamorous. Glamour takes time and effort… but you’re born with style.” WHO IS YOUR BIGGEST INSPIRATION? “My family.” THIS YEAR, YOU SHOWED AT AUSTRALIAN FASHION WEEK – YOUR FIRST. HOW DID IT GO? “It was a whirlwind, but amazing. The best thing for the brand – for exposure – to grow and to gain more confidence. Loved it – can’t wait ‘til next year.” WHAT IS YOUR FAVOURITE WORD? “TOTALLY!” WHAT NEEDS TO COME OUT OF YOUR CLOSET? “Anything that I haven’t worn for over a year… get it out.”

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EMPLOYMENT ADMINISTRATION HEADROOM SOUND AUSTRALIA Using; P Audio, B & C, JBL and E.V. Top quality drivers in all our custom built bins. Top boxes, mids, subs, wedges to spec. This online pic is our new folded horn with one 18inch challenger, putting out 137db – 140+ when coupled. Call us for a free quote. 0414355763 iFlogID: 3100

VOCALSIT / MC’S WANTED Male or Female vocalists or MC’s wanted for Downtempo, electronic, trip hop or whatever its called. Either way its a bit dark and moody and very much beat driven. If interested then send a demo to iFlogID: 5893

PART-TIME RECEPTIONIST / ADMIN Part-time / Casual Receptionist required for Entertainment Industry Accounting Firm based in Bondi Junction. Must have great communication skills & a passion for the entertainment industry. Great conditions in a busy & vibrant office. MYOB accounting skills preferred but not essential. Flexible hours available. Send your resume to iFlogID: 6067

LOOKING FOR A JOB BACKSTAGE ? Then log on to au its free to join and subscribe. Check out our new logo we hope you like it iFlogID: 6167

ROBBIE WILLIAMS IMPERSONATOR Established Sydney based “Robbie Williams Tribute” is looking for a Robbie Williams Impersonator. Applicant must has Carisma!! Look, sing and have the stage presence of Robbie Williams. Agency Backed with Gigs waiting!! Call Brad for an Audition on 0404 065 976. iFlogID: 6434


ENTERTAINMENT WANTED FLYER, USHER,DJ PERSON Wanted person to hand out flyers,usher and DJ for Comedy Shows.Fri-Sat nites 1 1/2 hrs (Fri) and 2 1/2 hrs on Sat nights. $10-15 per hour to start. Automatic raise after 3 weeks. Also wanted Stand up comics, Beginners-Pros and Audience judges. Call 95472578 or iFlogID: 6436

SELF-EMPLOYMENT LIFETIME OPPORTUNITY Would you like to be able to offer everyone you know and everyone they know and so on, the BEST PRICES GUARANTEED in the world for all their new brand name shopping? Well take a look at this. This is most certainly a lifetime opportunity to launch ongoing income well into the future. iFlogID: 2992



A rarely used example of this classic and much sought-after synthesizer in excellent condition. Price includes delivery to any destination on mainland Australia. iFlogID: 3583

Using; P Audio, B & C, JBL and E.V. Top quality drivers in all our custom built bins. Top boxes, mids, subs, wedges to spec. This online pic is our new folded horn with one 18inch challenger, putting out 137db – 140+ when coupled. Call us for a free quote. 0414355763 iFlogID: 3098

YAMAHA NP30 DIGITIAL PIANO May Madness sale only $349 Power adapter an extra $29 Call 02 9520 3044 or email shop@ iFlogID: 4414




Have to sell, kept in storage currently at a steady temperature and great conditions. Unused,comes with original reciepts and papers. Cost me $3800, selling for $2000. Bargain, Not a scratch or mark on it,comes with matching stool, also white with usual lift up lid. Please call Lisa on 0438326119 anytime or email me Lisa Regards Lisa iFlogID: 5806

MUSIC INDUSTRY BIBLE The Directory is a sourcebook for all the contacts in the Australian music market. There are over 5,000 listed companies & individuals in 70 sections covering all business sectors from Artists cross referenced by Booking Agents, Managers & Record Labels, Promoters, Music Media, Venues, Lawyers, Publishers & much more! We have 3 versions of the Directory available in Print $55 (GST & Postage included)--6 Month Online Subscription $40--iPhone App $19.95 (from Apple iTunes Store). To purchase your print or online version go to au/amid or call the IMMEDIA! Office (02) 9557 7766 iFlogID: 5078

CD / DVD “COLOURS” EP OUT JUNE 1ST “Colours” is the new 5 track EP from Melbourne Alternative FolkRock musician Joe Forrester. Described as: “5 songs written on a mini guitar, recorded in a tiny room, conceived in a very short space of time after a lovely little trip to visit the fam in N.Z. ...A package of badly drawn childlike artwork, warm acoustic guitars and nostalgic strings; a classic sound, reminiscent of early rock records of the 50’s-60’s and a pinch of fat electronic synths. Songs about love, loss, wonder and FrenchEnglish translation.” Available June 1st through http://www.myspace. com/joeforrester iFlogID: 4675

SECOND NATION DELINQUENT E.P “They’ve really stripped back their sound to a garage/punk feel, raw without frills and great songwriting” David Harrison - Xpress Magazine The raw, no-nonsense sound of the band gives Second Nation’s Delinquent release a timeless quality: it could have been recorded in the heyday of Pub Rock, yet there is no mistaking its contemporary relevance. Don’t be fooled by the hooks of “You’re So Easy”, or the appeal of “Breathe Easy”, ‘cause you can sense something more just below the surface. Second Nation’s new EP, Delinquent, is available now on iTunes, Amazon, Napster, eMusic and Rhapsody. For those wanting the physical copy, go to Big Cartel or CD Baby. Also, watch out for the video of “You’re So Easy”, currently in post-production. The band are set to tour in support of the new release, with shows planned for mid-August. For further information contact: 2ndnation@ secondnation iFlogID: 5889


MIXERS DIGIDESIGN C|24 BARGAIN! FS: Digidesign C|24 control surface, 10K ono - the ultimate front end to take your Pro Tools system to a professional level. 16 premium mic preamps and inbuilt submixer, 5.1 monitoring and advanced HD features as well. Works with both PT LE and HD. INCLUDES: $2500 worth of DB25 to RTS break out cables at no extra cost. Will also deliver for free within sydney and help to install. 16.5K new, Im only asking 10K ono. Cheaper than buying overseas!! Call Brent 0406 501 192 iFlogID: 5871

OTHER HEADROOM SOUND Using; P Audio, B & C, JBL and E.V. Top quality drivers in all our custom built bins. Top boxes, mids, subs, wedges to spec. This online pic is our new folded horn with one 18inch challenger, putting out 137db – 140+ when coupled. Call us for a free quote. 0414355763 iFlogID: 3096

ABSOLUTE VALUE! For Sale! Fantastic Sounding AKG K701 Headphones, Brand New with original packaging, manual and warranty card. Bought $900, will let go for $700. You don’t wanna miss this occasion, don’t you!? Email me on or just phone: 0449672435. First Come, First Serve! iFlogID: 5059

LITTLE MUSIC SHOP IN THE LANE Have YOU been to our shop. Sales / Repairs / Hire / Service / Rentals / Trade –Ins / Tuition. We also deal in Pre-Loved equipment. OPEN Monday to Saturday - MUSIC CAVERN - JOHN LANE , Beenleigh - 3807 5688 iFlogID: 5234

IMMORAL FASHION - Some of Australia’s best and cheapest alternative fashion and footwear for guys and gals. New Rock, Demonia, Funtasma, Tripp NYC, Alchemy Gothic, Beserk, PurPur, Dusk Moth and more... iFlogID: 5418


ROSS PC110 POWERED MIXER 100watt rms. 4 channell with EQ/REVERB. stereo CD input. CUBE STYLE. Very good condition. $300.00 Ph Jimbo on 0428744963. iFlogID: 5837

MUSIC SERVICES BAND MERCHANDISE ON LINE BOOKING AGENCY Australia’s first online booking agency with a difference!!!! For Artists & Promoters iFlogID: 3466

ADULTS ONLY LESSONS! lessons in all instruments in comfortable commercial premises. Group or individual one-on-one. Kogarah & Beverly Hills ph:1300 787 697 iFlogID: 3623


CITY VENUE WANTS ORIGINAL BAND A new original night has started a a very popular Sydney venue, in the heart of the City. Venue runs cover bands 7 nights a week, and has a great in house PA system and operator. Venue is Trialling Original Bands on Monday nights, and its a great opportunity for bands to get exposure. Venue has a steady stream of clientele, so no need to drag your fans along. Venue prefers 3-4 piece guitar based rock acts, which perform mainsteam radio friendly original music. Looking for good Sydney bands, as well as interstate bands who maybe be touring Sydney and would like to tack a monday night show onto their tour. Interested acts should email me a link to their website, or myspace. Email promo to : kypo@ Your welcome to call Kypo on 0404 065 976, but its best to send me your promo first. iFlogID: 5963

NATALIE DODDS PR Releasing a single, EP or Album? Going on tour? nataliedoddspr@ iFlogID: 6071

BOOKING AGENTS CALLING ALL DJS & ARTISTS Are you a budding bedroom DJ busting to get your BIG break? Are you struggling to get work in this economic climate? Do you want to stand out? If you’re going to get the attention of the media, labels, promoters, clubs, agents or just about anyone else in the music industry, you’re going to need a professional artist promotional pack. A promotional pack or website is your introduction to the world and these promotional tools should always put your BEST foot forward. Let’s face it... Times are tough these days and we know what it takes to get you noticed without having

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CALLING ALL DJS & PRODUCERS Are you a budding bedroom DJ busting to get your BIG break? Are you struggling to get work in this economic climate? Do you want to stand out? If you’re going to get the attention of the media, labels, promoters, clubs, agents or just about anyone else in the music industry, you’re going to need a professional artist promotional pack. A promotional pack or website is your introduction to the world and these promotional tools should always put your BEST foot forward. Let’s face it... Times are tough these days and we know what it takes to get you noticed without having to spend a fortune. We can tailor a package deal that will help get you one step closer to your first gig or your next big step in the industry. For more information please contact us on +61 449 729 009 or email iFlogID: 5008

SYDNEY’S PREMIER DJS Do you want to book some of Australia’s finest DJs? Our agency supplies the most experienced & popular DJs for festivals, clubs, bars & corporate events. We can set up a roster of stellar DJs for your club or offer you the very best in DJs, or the hugely popular DJ based bands, for your event. Contact us today at or visit iFlogID: 5847

DUPLICATION/ MASTERING HIGH QUALITY - LOW PRICES CD Duplication for no minimum copies and quick turnaround. CD Replication for runs over 500. Cost effective and high quality. Several packaging options. Delivered to your door - see our website for more details: Or email us for a quote: info@musicdesignsolutions. iFlogID: 5722

EP RELEASE RAPPERS / MC’S / HIP HOPPERS Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. for details. iFlogID: 4510


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well check out Samantha Schindler’s new EP ‘death to derros’ for all the touching hits about hating sluts,derros + more. AVAILABLE NOW ON I-TUNES AND CD BABY. More info? hit up www.myspace. com/samschindler07 GET INTO IT KIDS,BEFORE IT BECOMES ‘COOL’ AND UR THE LAST TO KNOW!! iFlogID: 6203

ONE WORD...SCHINDLER Check out Samantha Schindler’s new EP ‘death to derros’ for all the touching hits about hating sluts,derros + more. AVAILABLE NOW ON I-TUNES AND CD BABY. More info? hit up www.myspace. com/samschindler07 GET INTO IT KIDS,BEFORE IT BECOMES ‘COOL’ AND UR THE LAST TO KNOW!! iFlogID: 6205

SPECIAL OFFER!!!! Special Packages available for artists and bands!! Whether being recording/mixing. With networks to many studios around town your project will sound great and professional whilst working within a budget!! OUR PASSION IS TO CREATE RECORDS THAT GIVE THE LISTENER A HARD HITTING, FRESH SOUND THAT PUSHES BOUNDARIES, WHICH STANDS UP AMONGST THE INTERNATIONAL MARKET. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE AND DO ALL GENRES. For a full list of our credits see Contact us on 0424 462 945 or Email at iFlogID: 6287

HIRE SERVICES PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. You can play your own music through it, sing, talk, do a disco, small function, etc, etc, etc. Contact Chris 0419 272 196. iFlogID: 3721

MUSICIANS FOR FUNCTIONS/VENUES Are you thinking of hiring quality musicians that bring an audience ? Do you have a function/event and considering live entertainment ? For a limited period, we are offering a Venue Promotions Package featuring favourite entertainers. If it is about raising your venue profile or just great entertainment you want, contact us now. Chris 0419 272 196 http://infovisionproductions. iFlogID: 5076

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MUSIC PUBLICITY AND MARKETING Promoting a CD? Want to let fans know about your gigs? Take your band to the next level with our competitive rates for your marketing and publicity needs. We strive to bring our artists to as wide an audience as possible conducting a broad media campaign which encompasses national print media and online promotion and an artist administration area allowing access to realtime 24/7 campaign results. We can also look after your paid advertising, sourcing some of the most competitive pricing. Contact 0402257148 or www. iFlogID: 5801

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KARAOKE & JUKEBOX HIRE Superstar Karaoke & Jukebox Hire is friendly, efficient and affordable. We’ve also got the BIGGEST selection of songs with over 10,000 karaoke tracks and over 5,000 jukebox songs. Plus, we update our song lists monthly so we have the classics and all the newest hits! Visit today and see how we can assist you with making your next party or function one to remember. iFlogID: 6041

LEGAL / ACCOUNTING SEX SAX TAX. WHICH ONE SUX? If you said TAX, then maybe you need to call me! Accounting & Tax Services for the Entertainment & Arts Industries. Great rates, fully qualified registered Tax Agent. Dave Elliott 0434 979 269 or iFlogID: 5988

MASTERING MASTERING BY PAUL GOMERSALL Trust your next mastering project with Paul who’s been working with major international artists for over 25’ll probably find his name on CDs you own.....For a limited time song transfers through the ATR100 - the worlds finest 1/2” tape machine - is absolutely FREE!! (Worth up to $100 a song)...So for only $88 per song you can get the results you want at the price you can afford..-..-Post - Upload, or call in......For further details visit --- --- Call Paul 0407 488 697 iFlogID: 2857

MATTHEW GRAY MASTERING - $99 $99 per song +gst for online mastering via our secure servers. Analog chain, digital chain, mix evaluations, online mastering and attended sessions - we ensure your mastered product sounds amazing. iFlogID: 3422

DOMC MASTERING - $95 PER TRACK Domc Mastering is a dedicated mastering suite located just outside of Brisbane. We specialise in getting your next audio project ready for the public. DOMC work with you to get you the ‘sound’ that you are chasing. iFlogID: 5710

BENCHMARK MASTERING Professional Mastering from $110 per track in Australia’s most prolific mastering suites. We have the dedication and experience to make your music come alive using the world’s best equipment. Located in the heart of Sydney’s CBD. Conditions apply email:info@ Ph:(02) 9211 3017 iFlogID: 6217

OTHER GET IN THE KNOW! From the people who brought you comes two new free news resources, The Daily News Feed and Velvet Rope; the only source of music business and industry news you will ever need! Each morning the Daily News Feed posts crucial music business

news, helping you stay current with Aussie and overseas breaking stories. Velvet Rope is brought to you via Door Bitch and is a weekly news column that keeps you up to date on the happenings of the music biz. From job opps, news, events & a bit of back room gossip, Door Bitch has it covered. It’s out every Friday at noon. Check out the new news at www.TheMusic. iFlogID: 5089

MARKETING AND PROMOTION A rockin’ salute from the Team at Clk Click Publicity! Clk Click Publicity is a music and entertainment publicity company that specialises in providing excellent quality management, marketing and PR services in order to promote music, film, arts and events in Australia. We have an introductory offer that will blow your mind, and keep your pockets full! For a limited time Clk Click Publicity can whip you up a professional Bio and Press Release for only $100. We can also organise band photos and logo creation for a very reasonable price. If you’re interested in finding out about our full range of publicity services, we’d love the opportunity to have a chat with you and put together a proposal for your next release, event or tour. For further information please shoot us an email at or visit our website at We look forward to working with you! iFlogID: 5312 iFlogID: 6047

FOOTAGE FOR VIDEO CLIP NEEDED Heavy rock band Drop Tank are making a film clip. We need your home videos of burnouts, skilled driving, awesome machines in action, to use for our song about a car. We will be pixellating numberplates (and faces if needed), so send all killer, no filler to: Droptank or via sendspace (Any format will do but AVI or MPEG-2 is preffered) or to: DROP TANK PO Box 443 Brookvale NSW 2100 droptankband *Drop Tank does not promote dangerous driving iFlogID: 6076

GUITAR GODS AND MASTERPIECES COMING SOON New tv show on C31 Digitalor watch online at Supporting Australian Guitarists and Led Zeppelin.Featuring Instructional licks,Performances and Interviews by our best.Includes Guitar Health with Dr Jim - James Cargil,Hosted by Jasmine Young,Artists include Steve Morse,Geoff Achison,Brett Garsed,Bruce Mathiske,Jeremy Barnes,Jimi Hocking,Michael Dolce,Dutch Tilders,Nick Charles,James Ryan,Simon Patterson,Lloyd Speigel,Marcel Yammouni,Matthew Fagan,Juan Martinez Ortiga,Pete Fidler,Sergio Ercole and many more.Make sure you press retune on your digital box and go to number 44 iFlogID: 6306

START YOUR MUSIC CAREER TODAY! Platinum award winning writers and producers available for co writes and all levels of production. Competitive rates for high end quality. Platinum Artist Development is a unique service. We take care of everything from writing, recording, image styling, photography and video clips , everything you need to release. We are with you all the

way. For free music industry advice contact Bec on 0422213628 iFlogID: 6354

AUSTRALASIAN MUSIC SPECIALIST tenzenmen is a world renowned distributor of alternative music from all parts of the Australasia region. Find out more at www. iFlogID: 6404

MUSOMONEY - EASY STUDIO LOANS Need a loan to record your new hit? Are you (or at least 75% of your band) employed? MusoMoney Loans can help. Call us for more information. 0466 913 383 iFlogID: 6473

PA / AUDIO / ENGINEERING SPEAKER REPAIRS - ALL MODELS Headroom Sound Australia. Recones to all models e.g. JBL, P Audio, B & C, E-Tone etc Custom built crossovers, all at budget prices. For quotes contact Ray on or 04143 55763 iFlogID: 3094

HEADROOM SOUND AUSTRALIA Using; P Audio, B & C, JBL and E.V. Top quality drivers in all our custom built bins. Top boxes, mids, subs, wedges to spec. This online pic is our new folded horn with one 18inch challenger, putting out 137db – 140+ when coupled. Call us for a free quote. 0414355763 iFlogID: 3102

DAN NASH - SOUND GUY MIXING-$100 per track,RECORDING-$450 per day (with studio),MASTERING-$50 per track,LIVE SOUND MIXING-$100 per night (available for touring). I have 10 years experience, 100s of bands under my belt, check out to hear some samples. Contact Dan - M: 0423406010 E: iFlogID: 4362

HEARTICAL SOUND SYSTEM HIRE From small PA to large high powered rigs. Crystal clear custom built mids and tops cabs with heavy duty bass bins. Suitable for indoor and outdoor events. delivered, set up and operated. Call Derek for quotes on 0423979396 iFlogID: 5135

PA SYSTEM 3200W FOH FROM $300 Band PA system for hire. 3200w FOH, 2 x 2x15 cabs with subs, 1350w FB, 4 wedges on 2 sends, 16 input desk, FX, mikes/ stands,DIs, icolor lighting. Experienced operator, many satisfied clients. From $300 p/night. Best value for money. Chris 0432 513 479 iFlogID: 5402

SOUND As Engineers/Producers our passion is to create tracks that give the listener a hard hitting, fresh sound that sonically sounds PHAT and pushes the boundaries of what music currently sounds like in Australia, which stands up amongst the international market. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE ALL GENRES. We’re located at Level 7 studios and the studio is decorated in some of the most appreciated vintage and modern gear which provides our clients an incomparable advantage in the sense of both the analogue and digital domains. Artists we’ve worked with include: Pharrell Williams, N.E.R.D., Kanye West, INXS, Black Wallstreet and a myriad of local artists such as Hyjak, Potbelleez, Vice Verser, Thundamentals, Fame, Tycotic, Rai Thistlewaite (Thirsty Merc), Wendy Mathews, Gin Wigmore, Tim Freedman (The Whitlams), Carl Riseley, Hoodoo Gurus, Wes Carr, You Am I, and many more. Contact us on 0424 462 945 and check out iFlogID: 6186

PHOTOGRAPHY PHOTOGRAPHY AND MERCHANDISE Music/Band Photography and Merchandise by well known published Rock and Panoramic Photographer Visit myspace. for portfolio. Live or Band portfolio shots and unique merchanise. Photos on Metal Magnets, Mugs, Tshirts, Print on to Glossy Metal Plates, CD Insert Photo’s etc. A performing musician and artist who knows how to capture those performing moments! Very reasonable fixed rates. Phone Dave 0412 106788 iFlogID: 3817

SIMON BENNETT PHOTOGRAPHY Simon is a Sydney press photographer working for fairfax media. He has a passion for live music photography and it shoes in his images. Plus with his experience in editorial work, he can produce exceptional images for his clients. Reasonable Rates Contact Simon on: (Mobile)0414415818 (Email) and simon. iFlogID: 6294

HAYDEN CHARLES PHOTOGRAPHY Set up for location & promo work (full studio lighting) or gigs, Hayden can offer you the professionalism to get your band up in lights! A published photographer, he works for the VRC Spring Racing Carnival and Red Bull events among others. Specialising in providing an industry leading point of view - that is not a copy of a copy of something you saw - call Hayden direct on 0425 71 41 21 iFlogID: 6475




Your own private rehearsal room inside CBD recording facility. Hours of access: 7pm - 12pm Mon - Fri 7pm - 3am Weekends - Equipment can be left set up in the room, giving you free storage and time saved on setups. - wall length mirrors - Great for bands leading up to recordings or major tours. - Can be shared between 2 bands quite comfortably. - Security building - Shared bathroom & tea room facilities - walking distance from Central Station (approx 100m) - City views, great vibe - Great recorded rehearsal & demo rates for rehearsal bands at the brain. $450/week min 4 weeks or $400/ week 3 month commitment (works out @ less than $65/rehearsal and includes storage) This space would also comfortably fit 4 workstations with room to spare, so we would consider applications for creative/ music related office use. contact: 0431337488 iFlogID: 6367

Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. for details. iFlogID: 4508

RECORDING STUDIO + PRODUCERS We are a commercial recording studio in Sydney’s CBD, We also have full production capabilities and we promote artists too. We create awesome beats-check us out. 0416651247 support@ http://www.myspace. com/vibedoctors iFlogID: 5771

LEVEL 7 STUDIOS Historical recording location in Sydney’s CBD. SSL console, Huge control room and a great live room all at affordable rates. Complete record/mix/master/CD duplication packages available with our experienced producer/engineers. email: info@benchmarkmastering. com Ph: (02) 9211 3017 www. iFlogID: 6215

THE LAB STUDIOS We are experienced risk takers that not only know the rules, but also know when and how to break them! We have been engineering and mixing for over 15 years and have worked in Sydney’s top studios. We also have our own Mixing/ Production studio called The LAB, located at the famous Level 7 studios which is decorated in some of the most appreciated vintage and modern gear in combination of a myriad of assorted software and plug-ins that provides our clients an incomparable advantage in the sense of both the analogue and digital domains. THIS IN COMBINATION WITH MANY STUDIO CONTACTS AROUND TOWN, YOUR PROJECT WILL SOUND GREAT AND PROFESSIONAL WHILST WORKING WITHIN A BUDGET!! For a full list of our credits see mixinthelab. Contact us on 0424 462 945 or Email at thelab1@ iFlogID: 6285

STUDIO SPACE FOR LEASE Studio space for lease in Kogarah. Aprox 20 square meters adjoining rehearsal room. Looking for proffesional engineer/producer with own equipment to run a business out of our new rehearsal/recording studio. Please send expressions of interest to iFlogID: 6356



Professional illustrator available for any project. Book covers, children’s books, album art and much more. Based in Melbourne, drawing world wide! Excellent rates. -Phone: 0403 996 129 or email iFlogID: 4701

Get out of the Garage and into the Studio! We will give you 1 Hour Completely Free when you book in at least 2 hours with us, as a bonus to New Clients. A quick testimonial, “...Recording at Nano Music Productions was a pleasure. They knew exactly what I wanted and the finished product shows that. I look forward to record with them again very soon”. – K Hudson. Book with us today and get your FREE Hour! Call 02 8005 1295 or visit our Website iFlogID: 6387






REPAIRS ROCKIN’ REPAIRS GUITAR TECH Do you live to play? Whether you’ve just bought a new guitar or an old favourite is feeling a little faded, we’ll bring the best out of it! Rockin’ Repairs is based in Point Piper in Sydney, Australia and offers restrings, setups, upgrades and repairs for all guitars and basses; no matter what you play or how you play it, we’ve got the tools and techniques to breathe life back into even the most mistreated guitar. We treat every instrument individually; time, care and love is taken with each job to get the best from your guitar. We work hard to give you the feel and the sound you want. 0405 253 417 tara@ iFlogID: 5992

GUITAR & AUDIO ELEC REPAIRS Well known guitar & audio electronics repairer, Have done work for alot of the big names in the industry. Professional work, Great rates, Quick turnaround. Guitar Bass Amps FX Studio & Live Sound Equipment. Call Luke on 0450 998 861 or Email: antmusic76@ iFlogID: 6209

TUITION ABLETON TRAINER Ableton certified trainer and author of Ableton video training for Groove 3 (USA) Craig McCullough is available locally in SE Qld for private Ableton and music technology training. Video training is also availble from Mobile: 0431 556 746 email: iFlogID: 4154


For a limited time. Free online andprint classifieds Book now, visit

3D World Issue #1020  

3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...

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