JAMES HOLDEN: KICKING ON AFTER BALANCE WHERE DID ALL THE DRUGS GO? EXIT FESTIVAL: SERBIAN CASTLE MAGIC TOUCH AND GO THE iPAD FOR MUSICIANS
SPIT SYNDICATE OUT OF EXILE ISSUE1020 TUESDAY20JULY2010
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 email@example.com Jason Spiller, Brett Dayman, James Seeney
CLASSIFIEDS www.iﬂog.com.au ART DEPT artwork@3dworld. com.au 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
COVER DESIGN Matt Greenwood ACCOUNTS DEPT accounts@3dworld. com.au Nadia Lovelight PRINTING Rural Press (02) 4570 4444
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 com.au, 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
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4 8 4
SUSHI SNAPS 1 Oxfam AuďŹ†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?
EASTERN BLOCK PARTY
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.
WHAT A BOOB
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…
THE EAST COAST GOES 3D
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
SPEAK TO ME
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
BUCK THE TREND
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 cuﬆommade.com.au 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…
ANY COLOUR YOU LIKE
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 oztix.com.au 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.
GUNNING TO SKATE
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.
CRUNKEST IN CHARGE
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 beachroadbondi.com seem rather cheap indeed...
HARD AS HELL
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!
CALENDAR XIU XIU
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…
EYES ON YOU
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.
A FUNK AFFAIR
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 thebasement.com.au.
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!
BACK FROM TH AN EYEBROW-RAISING PARTNERSHIP WITH HORRORSHOW PRODUCER ADIT HAS HELPED CREATE SPIT SYNDICATE’S COHESIVE AND RAPTUROUSLY RECEIVED NEW LONGPLAYER EXILE. MATT UNICOMB FINDS THE SYDNEY-BASED DUO OF NICK LUPI AND JAMES BOSERIO (AKA JIMMY NICE) CREDITING ATTENTION TO DETAIL AND A HEALTHILY COMPETITIVE AUSTRALIAN HIP HOP SCENE FOR THEIR ASSURED SECOND OUTING ON OBESE.
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.”
IT SEEMS TO BE THE “ YOUNG GUYS THAT ARE DOING DIFFERENT THINGS.
THEY’RE INTO ALL TYPES OF MUSIC THESE DAYS. IT’S ALSO REALLY EASY TO GET INTO HIP HOP. IT’S HARDNOT 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.” WHO: Spit Syndicate WHAT: Exile (Obese) WHERE &WHEN: Harp Hotel Thursday 22 July, Cambridge Hotel Friday 23, Gaelic Theatre Saturday 24, Live At The Wall (All Ages) Sunday 25
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 DJ/PRODUCER, BORDER COMMUNITY
ICON HEAD HONCHO,1999-PRESENT.
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
BORDER COMMUNITY FIGUREHEAD JAMES HOLDEN TALKS TO COSMO CATER ABOUT HIS LEGENDARY BALANCE 005 MIX, THE GRADUAL EVOLUTION OF HIS SOUND, AND HIS RETURN VIA THE DJ-KICKS SERIES.
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.”
ONE GOOD TURN DESERVES ANOTHER PVT HAVE REINVENTED THEMSELVES WITH EVERY RELEASE, BUT THE FORTHCOMING CHURCH WITH NO MAGIC WOULD SEEM TO SIGNIFY THE ARRIVAL OF A DEFINITE SONIC IDENTITY FOR THE BAND FORMERLY KNOWN AS PIVOT. MATT O’NEILL SPOKE TO DRUMMER LAURENCE PIKE ABOUT THE BAND’S LATEST ALBUM.
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
THE YOUNG RIDERS WITH A BRAND NEW SHOW FOR THEIR LATEST ALBUM THE OPTIMIST, THE LAST THING NEW YOUNG PONY CLUB WILL BE DOING UPON THEIR AUSTRALIAN RETURN FOR PARKLIFE IS LAZING ABOUT ON THE GRASS. JANE STABLER SADDLES UP WITH THE BAND’S TAHITA “TY” BULMER.
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
THIS IS AN EXIT SERBIA’S EXIT FESTIVAL HAS A PROUD REPUTATION AS ONE OF THE GLOBE’S FINEST, AND CLARE DICKINS WAS ON THE GROUND FOR 3D WORLD LAST WEEKEND TO NEGOTIATE THE QUEUES, RAVE ON THE HILL, AND SECURE AT LEAST A YEAR’S WORTH OF BRAGGING RIGHTS.
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
THE CHEMICAL BROTHERS
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!
THE NAME OF MARY CHURCH
WHEN YOU’RE NOT EXITING...
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.
MENTAL COMBAT Hip Hop With BLAZE
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...
PHILADELPHIA FREEDOM DIMITRI FROM PARIS TELLS STUART EVANS HE’S TEMPORARILY FORGONE HIS UNDENIABLY SUAVE FRENCH EDGE TO PUT THE SPOTLIGHT ON THE TIMELESS DISCO ERA OF PHILADELPHIA.
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)
OGFLAVAS OG Urban news with CYCLONE
DIVING IN WINTER INFLUENTIAL BASS MUSIC LABEL HEAD, MULTI-ALIAS PRODUCER, PROMOTER OF BERLIN’S BIGGEST BASS NIGHT, AND A RELENTLESS GLOBAL TOURER – ALL IN A LONG DAY’S WORK FOR PAUL ROSE, AKA SCUBA, AS BRAD SWOB DISCOVERS.
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.
BEBOP & ROCKSTEADY Sweet Soul Music With HUWSTON
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 www.sparehands.wordpress.com and twitter.com/sparehands. I’ll see you at the A Tribe Called Queﬆ gig on my return. 32 3DWORLD
IN THE CORNER DONNY PELSOCZY EXPLAINS TO RIP NICHOLSON THE PROCESS OF BEING A MEDIUM FOR A TALKING BEAT AND TRANSLATING INTO RHYMES BEFORE DEALING OUT THE SECOND ELOQUOR RECORD CHARGE.
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
CHANELLE WILLIAMS TELLS LIZ GALINOVIC THAT HER TRANSFORMATION INTO THE UK’S DANCEHALL QUEEN LADY CHANN WAS IN HER GENES.
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…
THE ALBUM OF WEEK
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)
GUILTY SIMPSON OJ Simpson
(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
YOUTUBE OF THE WEEK
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?
ARIA CLUB CHART BASEMENT JAXX Red Alert
(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.”
WAMDUE PROJECT King Of My Caﬆ le
(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.”
RALPHI ROSARIO You Used To Hold Me
(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.”
IS THE “MASTURBATION KEY TO BEING HAPPY. ESPECIALLY, IF YOU BEAT-
OFF WITH HULK HANDS.”
REAL OR NOT, GARY J BUSEY CLEARLY DOESN’T FEAR SHRINKAGE.
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
3 DEGREES OF SEPARATION THE FIRST DEGREE
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.
THE SECOND DEGREE
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.
MONDAY HORDERN PAVILION LCD Soundsystem, Hot Chip.
HOP TO IT 3D WORLD GOES BAR HOPPING
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 twitter.com/3D_world, 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 email@example.com 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 firstname.lastname@example.org with ‘SCUBA’ in the subject line.
TWEETER OF THE WEEK
@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
BILLBOARD CHART 1. California Gurls KATY PERRY FEAT SNOOP DOGG 2. Love The Way You Lie EMINEM FEAT RIHANNA 3. OMG USHER FEAT WILL.I.AM 4. Airplanes BOB FEAT HAYLEY WILLIAMS 5. Billionaire TRAVIE MCCOY FEAT BRUNO MARS 6. Cooler Than Me MIKE POSNER 7. Dynamite TAIO CRUZ 8. Find Your Love DRAKE 9. Ridin’ Solo JASON DERÜLO 10. Not Afraid EMINEM
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
ADRIAN FENTY, MAYOR OF GO-GO
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 abc.net.au/foreign.
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 news.com.au 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 i-dose.us 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 ”…
ON A PLANE BITCH. I’M ON “I’M A PLANE. EVERYBODY LOOK AT ME CUZ I’M FLYING ON A PLANE. (REPEAT CHORUS)”
THAT SHIT IS CATCHY AS FUCK WOLFGANG GARTNER – ARE THERE ANY SNAKES?
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
GAMEON With JEAN POOLE
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 – philipbloom.net/2009/10/01/5dmkii-or-the-7d/. 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 vimeo.com/groups/ eos7d, and vimeo.com/groups/canoneos7d. 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
SOUNDADVICE Gear Reviews With DAVE DRI
With 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 vimeo.com, or fresh from the leathery horse’s mouth at rubberﬁ lm.com (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.
WHAT’S EATING RACHEL GILBERT? DITCHING A CAREER WITH NICKY HILTON IN NEW YORK, RACHEL GILBERT SET UP HER EPONYMOUS LABEL TO BECOME ONE OF AUSTRALIA’S HOTTEST FASHION EXPORTS. RUPERT NOFFS STRAPS ON THE LIE DETECTOR. PHOTOGRAPHER ~ Henryk Lobaczewski henrykphoto.com
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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Longrain and Golden Century – Since the late ‘90s Sydney’s been obsessed with Asian food. Staples such as Golden Century in Chinatown– a favourite for top Sydney chefs is open till 3am. Longrain Bar And Restaurant is about to get even better. Word on the streets is they’re opening up a bar downstairs. Betel leaves and honey bee cocktails, anyone?! Vintage cameras – All the cool kids have a camera around their neck. But, not a brand spanking new one from Singapore. We’re talking ‘80s Japanese vintage. With the new obsession of the Hipstomatic iPhone app, people are remembering just how good the real deal was. A tattoo is permanent fash ion. www.bondiinktattoo.com.au
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Bikes – Park your car. Get on ya bike. Everyone else is. Not only will you get a hot bod – well in time for summer – you’ll get yourself some street cred and be saving mother nature. Sydney Vintage Bikes have some awesomely Enid Blytonesque bikes for sale and the lovely staff will even do fi xies for you, just in case. Check out www.sydneyvintagebikes.com.au. Foursquare – “Have you checked in yet?” This social networking app has been bringing the gamer nerd out in the hippest of folk for some time now - and it doesn’t seem to be fading into fad-dom just yet. And watch the fur fly as users fight for mayoral rights of their fave hang-outs. Also helps you keep tabs on friends’ whereabouts - perfect for stalkers. Ice skating – The hugely popular Sydney Winter Festival is about to get even better. Skate on ice while breathing in salty sea air. We ain’t got the Rockerfella Centre but we do have Bondi Beach. Check out www.winterfestival.com.au. Paparazzi - Have you noticed a lot of celebs in Sydney recently? People being papped on the street? Most likely they’re fabulous nobodies. Paparazzi by Romel is giving two Lure readers a chance to be papped for a day. The normal cost is $360 each. This includes two photographers for one hour along with a CD of all images. Email us: firstname.lastname@example.org and live like Gaga, bitches.
DC PBJ TWEENER 2010 SIZE MATTERS?
From 138cm to 144cm in length.
Poplar wood core, reinforced with carbon and kevlar between the feet for bashing rails, durable base for all-day sessions, Bi-Ax glass laminate wraps the core two ways to add power.
Designed to handle intense rail abuse. Both strong and tough, this board is ready for a beating! Not too pricey.
Size restrictions – it is for tweens after all.
The skater who wants to take the bowl to the snow.
K2 SLAYBLADE SIZE MATTERS?
From 153cm to 166cm in length.
Flatline baseline, Harshmellow dampening, Hybrilight construction, Hyper Progressive Setback Twin shape.
Has won the triple crown of product awards – Transworld’s Good Wood, Snowboarder’s Best Of Test and Snowboard Mag’s Platinum Pick.
Because of the above, everyone will have one this winter.
Anyone wanting to be freestyle king/queen of the mountain.
One Track Mind Snowboards – onetrackmind.com.au.
BURTON CUSTOM X 2010 SIZE MATTERS?
From 158cm to 162cm in length.
All mountain freestyle ride, directional shape, twin flex, stainless steel pressure distribution edges, pro-tip, grip and rip tune, infinite ride.
Driven by the cream of the freestyle crop this board will put you into pro mode. It’s fast, it’s light and will have you speeding smoothly down the slopes.
Will have an impact on your bank balance.
Someone who knows their shit – this is the real deal.
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 email@example.com 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 firstname.lastname@example.org. iFlogID: 6067
LOOKING FOR A JOB BACKSTAGE ? Then log on to backstagejobs.com. 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
ADVERTISING / MEDIA BILL POSTER DISTRIBUTOR POSTER DISTRIBUTORS REQUIRED TO PUT UP ARTS, ENTERTAINMENT AND MUSIC POSTERS WEEKLY! HEAPS OF WORK, FLEXIBLE HOURS PUTTING UP ROCK MUSIC POSTERS ON SITES AROUND SYDNEY. WORK AT YOUR OWN PACE, EARNING POTENTIAL IS UP TO YOU. MAINLY NIGHT WORK. VEHICLE PROVIDED, DRIVERS LICENSE ESSENTIAL. ABN Holders preferred... TRAINING PROVIDED. GOOD OPPORTUNITY FOR SUPPLEMENTAL INCOME OR REGULAR PART TIME OR FULL TIME WORK... iFlogID: 6096
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 www.comedyintheraw.com.au 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. www.hotglobalbusiness.com/fortunate iFlogID: 2992
KORG TRITON EXTREME88
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@ engadinemusic.com iFlogID: 4414
PIA\NO WHITE ACOUSTIC UPRIGHT
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 email@example.com 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 www.immedia.com. 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@ gmail.com www.myspace.com/ 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 firstname.lastname@example.org 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 www.immoralfashion.com.au - 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 www.jumbonote.com.au iFlogID: 3623
THE SPACED ARE HERE! www.myspace.com/thespaced iFlogID: 5584
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@ bigpond.net.au. 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@ gmail.com 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
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 email@example.com iFlogID: 5005
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 firstname.lastname@example.org 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 email@example.com or visit www.thegrooveacademy.com.au. 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: www.musicdesignsolutions.com.au Or email us for a quote: info@musicdesignsolutions. com.au 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. www.statelymanor.com.au for details. iFlogID: 4510
WANTED - BASS PLAYER & DRUMMER I AM SAMANTHA SCHINDLER I NEED TO A NEW DRUMMER AND A NEW BASSIST! LOCATED ON THE CENTRAL COAST NSW. LOOKING TO GIG. CAN U DIG IT? GO TO www. myspace.com/samschindler07 AND IF U CAAAN DIG IT EMAIL ME AND WE’LL SEE WHAT HAPPENS. LATER BITCHS. iFlogID: 6201
ONE WORD...SCHINDLER Tired of cissy ass mainstream shit?
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 myspace.com/mixinthelab. Contact us on 0424 462 945 or Email at firstname.lastname@example.org 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. yayabings.com.au iFlogID: 5076
PA SYSTEMS, LIGHTS , STAGES We have the gear and have the people. From small to BIG - give me a call for a quote - PA SYSTEMS from $110 - CALL MATT on 0424 399 801 iFlogID: 5236
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. aaaentertainment.com.au iFlogID: 5801
For a limited time. Free online andprint classifieds Book now, visit iflog.com.au
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 www.superstarkaraoke.net.au 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 email@example.com 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 years..you’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 --- www.gomersall.com --- 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. www.matthewgraymastering.com. 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@ benchmarkmastering.com Ph:(02) 9211 3017 www.benchmarkmastering.com iFlogID: 6217
OTHER GET IN THE KNOW! From the people who brought you TheMusic.com.au 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. com.au 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 firstname.lastname@example.org or visit our website at www.clkclickpublicity.com We look forward to working with you! iFlogID: 5312 soundornot.com 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 email@example.com via sendspace (Any format will do but AVI or MPEG-2 is preffered) or to: DROP TANK PO Box 443 Brookvale NSW 2100 www.myspace.com/ 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 www.c31.org.au 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. tenzenmen.com 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 firstname.lastname@example.org 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 myspace.com/gleberecordingstudios to hear some samples. Contact Dan - M: 0423406010 E: email@example.com. 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 myspace.com/mixinthelab iFlogID: 6186
PHOTOGRAPHY PHOTOGRAPHY AND MERCHANDISE Music/Band Photography and Merchandise by well known published Rock and Panoramic Photographer DaveTozer.com.au Visit myspace. com.au/davetozerphotos 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) firstname.lastname@example.org and simon. email@example.com www.stayclassysydney.com 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 www.haydencharlesphotography.com firstname.lastname@example.org iFlogID: 6475
PRIVATE REHEARSAL STUDIO AVAIL
AFFORDABLE SYDNEY PRODUCTION
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. www.statelymanor.com.au 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@ vibedoctors.com www.vibedoctors.com 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. level7studios.com.au 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 myspace.com/ mixinthelab. Contact us on 0424 462 945 or Email at thelab1@ hotmail.com 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 email@example.com iFlogID: 6356
STILL PLAYING IN THE GARAGE?!!
DO YOU AND YOUR BAND WANT TO STAND OUT? WE HAVE THE BEST STUFF FOR YOUR GIG’S, WE ARE THE PROFESSIONALS IN SOUND AND LIGHT, WE HAVE THE TOP OF THE LINE GEAR AND WE ARE READY TO GIVE YOU AND YOUR BAND THE SHOW YOU NEVER FORGET Call Roger on 0447025967 iFlogID: 5704
Professional illustrator available for any project. Book covers, children’s books, album art and much more. Based in Melbourne, drawing world wide! Excellent rates. www.paulikin.com -Phone: 0403 996 129 or email firstname.lastname@example.org 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 www.NanoMusicProductions.com iFlogID: 6387
THE CHEMISTRY OF
PROFESSIONAL SOUND AND LIGHT
POSTERS ILLUSTRATOR AVAILABLE NOW!
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@ rockinrepairs.com www.rockinrepairs.com 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@ hotmail.com 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 www.groove3.com. Mobile: 0431 556 746 email: email@example.com iFlogID: 4154
SINGING TEACHER NYC TRAINED CONTEMPORARY AND MUSIC THEATRE SINGING TUITION. TRAINED WITH LEADING NYC VOCAL TEACHER WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. WORLD RENOWNED VOCAL EXCERSISES TO VASTLY IMPROVE VOCAL TECHIQUE BASED ON EXCSERCISES FROM MANHATTAN SCHOOL OF MUSIC. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME. AUDITION COACHING. 0435 426 012 iFlogID: 4452
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Published on Jul 20, 2010
3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...