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CREDITS PUBLISHER Street Press Aust ralia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel CrichtonRouse SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAlister, Ben Kumar, Blaze, Brad Swob, Bryget Chrisfield, Carlin Beattie, Clare Dickins, Darren Collins, Dave Dri, Dave Jory, DJ Stiff y, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwston, Jane Stabler, Jann Angara, JC Esteller, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Kiersten Seeto, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matt Unicomb, Melissa West, Monica Connors, Nick Connellan, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney, Tom Brabham, Tom Edwards, Tristan Burke

Alexis Dewick, Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Kostas Korsovitis, Luke Eaton, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Connie Filidis QLD – Adam Reilly, Melissa Tickle




CLASSIFIEDS ART DEPT artwork@3dworld. Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno


COVER DESIGN Stuart Teague ACCOUNTS DEPT accounts@3dworld. (03) 9421 4499 PRINTING Rural Press (02) 4570 4444 DISTRIBUTION dist ro@3dworld.


SUBSCRIPTIONS www.isubscribe. Subscriptions are $2.20 per week (Minimum of 12 weeks) ADDRESS PO Box 2440 Strawberry Hills NSW 2012 1/142 Chalmers St Surry Hills 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@3dworld.













1 Chinese Laundry Saturdays

6 RnB Superclub @ Tank

2 Northies Sundays

7 Saturdays @ Carmens

3 Pharoahe Monch and Jean Grae @ The Metro

8 Saturdays @ The Orient

4 Pure Ivy

10 Ultimate Party Venue @ Jacksons on George

9 Sienna @ Establishment

5 Purple Sneakers 4




WIN A SPACE IBIZA FESTIVAL VIP PRIZE PACK! Space Ibiza Fest ival returns this summer, taking place at EQ Moore Park Saturday 1 January for a second round of spect acular fest ival fun. The show boasts a stellar line-up of international acts including Carl Cox, Steve Lawler, François K, Andy C, Netsky and High Contrast. 3D World have one massive major Space Ibiza prize pack tailor-made for drum‘n’bass fans, which includes two of each of the following: VIP Space Ibiza Fest ival tickets, VIP Hospitality at the Metro Theatre tickets, Hospital Records CDs, Andy C Nightlife CDs, Space CDs, Space Ibiza T-Shirts and Hospital Records T-Shirts and bottles of Melody Wine (one Red, one White to be consumed at the fest ival). The lucky winner and friend will also have the opportunity to meet Andy C at the fest ival and view an artist of their choice (for 30 minutes maximum) from the side of st age during their set. Two minor prize packs are now up for grabs, each comprised of two Space Ibiza Fest ival tickets, two Space CDs and two Space Ibiza T-Shirts. For your chance to win, simply email your name and contact details to with IBIZA in the subject line. A minor prize winner will be drawn weekly from Friday 10 December with the major prize winner drawn Friday 17 December and announced in the following issue of 3D World. Get entering! 6








Props to amazing Aussie author/illust rator Shaun Tan, whose The Arrival you would have read about in these pages recently and who is now in the shortlist for an Academy Award nomination for Best Animated Short for the adaptation of his book The Lost Thing alongside Andrew Ruhemann…


Then you probably should check out The Bird’s drummer Ben Walsh’s new project Jungletone – as the band name suggests the Studio Selections long-player is pretty much entirely drum‘n’bass jams recorded live by Walsh while he was in France in September 2009. Definitely rewind worthy…


Melburnian Dirty South scored his second Grammy nomination last week for his remix (alongside Axwell) of The Temper Trap’s Sweet Disposition. He was previously up for the Best Remix category for a Kaskade mix back in 2007 – and lost to Benny Benassi...


We incorrect ly Failed the Aust ralian Society of Plast ic Surgeons a couple of weeks back, alleging they were leading the call for Hypomast ia (look it up) to be included on the Medical Benefits Scheme, so we’re now Failing ourselves for only half-reading a newspaper report, putting two and two together and getting five…


We’re going to ignore the animated kangaroo which for some reason featured in Aust ralia’s final pitch to host the 2022 football/soccer world cup and instead draw attention to the fact Al Jazeera reported Qatar’s victory a full hour before the official announcement. We demand a recount…


Pennsylvania couple Aaron and Christ ine Boring must have thought they were on their way to Easy Street when they sued Google for one of their Google Street View cars trespassing on their property – unfortunately the $1 payout will see them on Struggle Street for a while yet… 12 3DWORLD

THE INDIGENOUS MUSICIANS of Aust ralia are being offered a chance to open a stage featuring urban stars Erykah Badu and Nas at the 2011 Good Vibrations Fest ival. Bands whose members are 14+, of Aboriginal or Torres Strait islander origin and who perform something in the realms of hip hop, soul, funk, dub or reggae are encouraged to enter Good Vibes Rising 2011 via by Friday 7 January... AUSTRALIA’S WEALTHIEST ENTERTAINERS have been revealed in the annual BRW rich list. Naomi Watts came out on top, but Kylie Minogue dropped from second place to 26th, earning $4.9 million this year compared with $47 million for 2009... VETERAN RAP STAR Eminem has bagged ten Grammy nominations, including Album Of The Year and Best Rap Album for his smash hit new record Recovery... PERTH PSYCHEDELIC ROCKERS Tame Impala capped off a stellar year by taking out the 2010 J Award for album of the year for their debut album, Innerspeaker. Fortunately Jess Maubouy was not asked to present the award… IF YOU HAPPEN to be in San Diego for New Year’s Eve, you’ll get to see American Levi LaVallee attempt to jump his Polaris snowmobile longer than ever before to eclipse the current record of 91.75 metres on behalf of Red Bull. Lucky you…



When historians wax lyrical on dance music’s mover and shakers in 2010, the name Tensnake will no doubt be one whispered in slightly hushed tones. The German producer has been quite simply unstoppable over the past 12 months, not only making his way into the UK’s mainst ream pop charts with the shimmering bells of instant classic house anthem Coma Cat, but also turning in remixes for Azari & III’s Reckless (With Your Love) and Scissor Sisters’ Any Which Way which have also fi red up a thousand dancefloors. And let’s not forget his two-disc disco/“proper” house addition to Defected’s In The House series. So it’ll be standing room only when he works his live magic on Aust ralia over the New Year, starting at New Guernica (Melbourne) Friday 31 December, then Field Day (Sydney) Saturday 1 January, Adult Disco at Civic Underground (Sydney) Sunday 2 and Barsoma (Brisbane) Saturday 8.


UK bass duo Mount Kimbie have subtly crept onto the radars of many with their superb 2010 long-player Crooks & Lovers. The pair are clearly st udents of the school of leaving MOUNT KIMBIE their fans wanting more, the album’s journey through delicious ambient elect ronica, cosmic vibes and occasional dancefloor moments clocking in well short of 40 minutes but catching the eye of international playes like NME, FACT and Rough Trade Records for their end of year Best Of lists. Now they’re bringing their whimsical and quirky take on future beats to Aust ralia for a live tour in 2011, playing Roxanne Parlour (Melbourne) Saturday 5 March, GoodGod Small Club (Sydney) Wednesday 9 with support from Seekae (live) and Future Classic DJs, White Rhino at Barsoma (Brisbane, presented by 3D World) Friday 11 and finally Golden Plains Fest ival Saturday 12 – Monday 14.


West coast hip hop heroes De La Soul have been regular visitors to Aust ralian shores over the past five years – even touring in DE LA SOUL support of Gorillaz as we speak – but February 2011 sees them return for an extra special occasion. The trio will be hitting the stage th to celebrate the 20 anniversary of a true hip hop classic in De La Soul Is Dead, an album which spawned hits like (A Rollerskatin Jam Called) Saturdays and Ring Ring which are st ill capable of rocking a crowd of heads or regular punters all these years later. Legendary producer Prince Paul was the man at the helm of the record, and he and more special international guests will be joining the core trio to perform the album in its entirety from start to finish. Proudly presented by Peace Music and 3D World, the tour rolls through Enmore Theatre (Sydney) Thursday 10 February and Billboard (Melbourne) Friday 11. 150 tickets in each city will be available for $55 + bf through





GENERAL OUTLOOK If police are cracking down on “kerb crawling”, are prost itutes now expected to jump into our fast moving cars? Inhuman! AQUARIUS (20 JAN TO 18 FEB) Your relationship is stagnating. Why not make things more “interest ing” in the bedroom by getting Foxtel installed? PISCES (19 FEB TO 20 MAR) I’m just trying to update my records this week, rather than do “predict ions”. Remind me what your PIN number is again? ARIES (21 MAR TO 20 APR) It’s amazing what you are capable of when you are held at gun point in front of a webcam. Start dancing. TAURUS (21 APR TO 20 MAY) I’m one of the top horoscope writers in the country, so tell me then – why am I being charged with mail fraud? GEMINI (21 MAY TO 20 JUN) Someone asked me “What’s the difference between your horoscopes and a Facebook status update?”. Good quest ion. CANCER (21 JUN TO 21 JUL) Your undeniable sexual potency will prove no match for the power of the dark side of The Force. Understand? LEO (22 JUL TO 21 AUG) Your anxiety rash will start to spread on to furniture and surrounding suburbs. By Wednesday you will be dead. VIRGO (22 AUG TO 21 SEP) You’ll be amazed by how much you accomplish this week, given that your hands are both nailed to a board. LIBRA (22 SEP TO 22 OCT) With a little bit of focus and a new van, I think you could become one of the worst serial killers of all time. SCORPIO (23 OCT TO 21 NOV) You may not be able to figure out the best place to get a tattoo, but you know the worst place to get a tattoo? Prison. SAGITTARIUS (22 NOV TO 20 DEC) When you find a wallet fi lled with cash this week, you will have a moral dilemma. Spend it on sex, or buy some smack? CAPRICORN (21 DEC TO 19 JAN) A blank page is a writer’s worst enemy. So start writing, even if what you’re writing makes absolutely no sense.

THE FESTIVAL THAT brought names like Akon, Kelly Rowland and Pitbull through Australia in mid-2010 will be back next year. Supafest 2011, trumpeted as “the world’s largest urban festival’’, hits ANZ Stadium (Sydney) Saturday 9 April, RNA Showgrounds (Brisbane) Saturday 16 and Melbourne Showgrounds Sunday 17... THE BRAINS BEHIND The Simpsons are in hot water once again with their corporate paymasters Fox for featuring a Fox News helicopter adorned with the slogan ‘‘Fox News: Not Racist, But No. 1 With Racists” in the opening credits of a recent episodes... SNOOP DOGG MAY have been banned from entering the UK by officials in 2006, but looks it looks like the rapper will have the last laugh now that Prince William has requested him to perform at his bachelor party next April. Mr Dogg has even dedicated next single Wet to Wills... RIDICULOUS WORLD RECORDS are a recurring theme this week, with the 6th Annual Havaianas Australia Day Thong Challenge next in line. It involves participants lining up end to end wearing inflatable thongs, or something along those lines. Just go to www. to join the madness... IT MAY BE difficult to believe, but 2009 releases from Susan Boyle and Michael Buble are still two of the highest selling albums of the past 12 months. Do your nana a favour and get a bit creative when you do that last minute Christmas shopping this year...



There are pop stars, there are chart sensations, there are social media phenomenons and then off in a world of his own you have Just in Bieber. One of the world’s most followed Twitter members with a legion of dedicated, borderline obsessed fans, Bieber is one of the biggest teen pop superstars of all time – in fact when his multi-platinum album My World 2.0 entered the US Billboard 200 at #1, he was the youngest performer to do so since the legendary Stevie Wonder in 1963. Singles Baby and Pray have been equally successful both in the US and abroad, so it’s little surprise the young talent is headed our way for a full tour following his whirlwind promo visit earlier in 2010. He plays all-ages shows at Brisbane Entertainment Centre Tuesday 26 April, Acer Arena (Sydney) Thursday 28 and Rod Laver Arena (Melbourne) Monday 2 May. General public tickets on sale via Ticketek at 9am Monday 13 December. THE TING TINGS


The Good Vibrations Fest ival line-up continues to grow, albeit with slightly less magnitude than their last announcement of touring national headliners and local acts. But the one act joining the party is a good one, with The Ting Tings making up to fans who are st ill weeping at the last-minute cancellation of their 2010 trip down under. And they’ll have some new tuneage to preview when they get here – you may already have wrapped your ears around the Calvin Harris remix of their newie Hands. The duo join Faithless, Phoenix, Nas & Damian Marley, Sasha, Ludacris, Cee Lo Green, Kelis, Erykah Badu, Miike Snow and too many more to mention when they play Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 and Gold Coast Parklands Saturday 19. FREQ NASTY


Considering he spent so much time on our shores in the fi rst half of the first decade of the 21st century he pract ically qualified for an Aust ralian passport (being a Kiwi expat didn’t hurt his cause either), it’s somewhat surprising that Freq Nast y hasn’t darkened the DJ booths of Aust ralia for some three years. In that time he’s twiddled knobs for MIA and Santigold and turned in the acclaimed Fabriclive 42 set for the UK superclub, so he’s no doubt chomping at the bit to share his latest bassheavy creations across the dubstep, d‘n’b and breakbeat genres with local fans. Catch him at Blah Blah Blah @ Riverlife (Brisbane) Tuesday 28 December, Peats Ridge Fest ival (Glenworth Valley) Thursday 30, Trust Us at Brown Alley (Melbourne) Friday 31, Great Northern Hotel (Byron Bay) Thursday 6 January and Chinese Laundry (Sydney) Friday 7.


When hip hop fanatics think Sweden, chances are the name that comes to mind is the Looptroop Rockers. Over 15 years the group have enjoyed a reputation as one of European hip hop’s most prolific acts, and MC Promoe will be joined on the decks (and occasionally mic) by longtime associate Cosmic in PROMOE Aust ralia very soon. Since Promoe’s 2001 album drop Government Music he’s released four more albums of his own and three with Looptroop, so there’ll be plenty of music to choose from when they play Woodford Folk Fest ival Wednesday 29 and Thursday 30 December, Tone (Sydney) Wednesday 5 January, Beach Hotel (Byron Bay) Thursday 6 and The Espy (Melbourne) Friday 7.






CALENDAR DECEMBER BROADCAST, SEEKAE – Wednesday 8, The Forum SARAH MCLEOD – Wednesday 8, Goodgod Smallclub KOOLISM, KAI FRESH, SCHOOL OF THOUGHT – Thursday 9, Melt Bar MUSE – Thursday 9, Acer Arena MUSE – Friday 10, Acer Arena DJ SAMPOLOGY, THE JEZABELS, THE HOLIDAYS – Friday Dec 10, Oxford Art Factory PLUS + 1: THOMAS SCHUMACHER – Friday Dec 10, Civic Underground SOSUEME’S CHRISTMAS PARTY: THE JEZABELS, SAMPOLOGY – Friday 10, Oxford Art Factory EL GUINCHO – Friday 10, The Gaelic CLUB HOPSCOTCH: LIGHT YEAR, BENI – Saturday 11, 169 Oxford Street D25 PRE PARTY: CO-OP DJS, CLAIRE MORGAN, JOE STANLEY – Saturday 11, The Fox and Lion Terrace D25: CARL CRAIG, KENNY LARKIN, THEO PARRISH, MOODYMANN – Saturday 11, The Forum HERMITUDE – Saturday 11, Tone TIEFSCHWARZ – Saturday 11, Chinese Laundry THE FIELD – Saturday 11, The Gaelic TURBULENCE – Saturday 11, 202 Broadway SPICE: TURMSPRINGER, RIKKI NEWTON – Sunday 12, Home Terrace FESTIVAL OF THE SUN: XAVIER RUDD, REGURGITATOR, SHARON JONES – Saturday 11 – Sunday 12, Port Macquarie’s Sundowner Breakwall Tourist Park CLIPSE – Sunday 12, Metro Theatre U2, JAY-Z – Monday 13, ANZ Stadium U2, JAY-Z – Tuesday 14, ANZ Stadium LITTLE DRAGON – Wednesday 15, GoodGod Small Club GORILLAZ, DE LA SOUL, LITTLE DRAGON – Thursday 16, Sydney Entertainment Centre BIG VILLAGE RECORDS: TUKA, THE DAILY MEDS, SKETCH THE RHYME, MCS THE TONGUE, JOE NEW – Friday 17, Tone LITTLE DRAGON – Friday 17, GoodGod Small Club DUBRAVE FIRST BIRTHDAY: NICK THAYER – Friday 17, Chinese Laundry PANTHA DU PRINCE – Saturday 18, Civic JEROME ISMA-AE, YOLANDA BE COOL – Saturday 18, Chinese Laundry RIKKI NEWTON

ARE YOU KEEN to travel the earth, meet world-class athletes, party with celebrities and report back online? Oakley’s Join The Rebellion might be for you, check it out at jointherebellion.… EDGY R&B SONGSTRESS Rihanna has hit out at women who criticise her for being sexy as “unhappy with themselves”, insist ing that girls who attack her online are “hypocrites” – or more likely green with envy... AUSSIE HIP HOPPERS Bliss N Eso want you to plot the course of their next tour. Cast a vote for your town/city at www. - as of last Thursday, Wagga Wagga, the Sunshine Coast, Mount Gambier, the Blue Mountains and Sydney were in the lead… THE WINNERS OF the 2010 Drum&BassArena awards have been announced, and Hospital have cleaned up winning Best Event, Best Promoter, Best Newcomer DJ (Camo & Krooked), Best Album and Newcomer Producer (Netsky) and Best Label. Andy C was people’s choice DJ yet again, with Noisia winning the Best Producer gong… SEEMINGLY DOWN ON cred points, DJ legend Paul Oakenfold has revisted his classic 1994 Goa mix. Initially broadcast as an Essential Mix on BBC Radio 1 and voted the best of all time by listeners, it’s never been officially available – until now. The Goa Mix 2011 drops Friday 10 December on New State/Balance Music, dist ro by EMI…



Superstar DJ Roger Sanchez is poised to unleash a mammoth five hour club set at The Arthouse for another Kink reunion on Saturday 22 January (the Aust ralia Day long weekend) in celebration of the ten year anniversary of his coveted Release Yourself brand. A veteran of an infamous decade-long residency in Ibiza, Sanchez’s trademark thumping tunes have seen him play the world’s hottest clubs and biggest festival stages several times over. Don’t miss your chance to see the production genius behind floorfilling anthems like First Contact, Another Chance and Turn On The Music. Tickets are $30 + bf from


There’s no slowing down for Chinese Laundry once New Year’s fest ivities are done and dusted. The venue has a smorgasbord of huge acts lined up, starting with Sub Focus, Nero and Chase & Status Sunday 2 January, Freq Nast y Friday 7, Plump DJs Saturday 8, The Freest ylers Friday 14, Mowgli and Kaz James Saturday 15, Stanton Warriors and Quivver Saturday 22, DJ Hype Friday 28 and finally Reset on Saturday 29.


The Beach Palace Hotel have a stellar line-up for their New Year’s Eve celebrations by Coogee Beach. Partygoers will be treated to a line-up headed by Beni, Nick Thayer and DJ Anna Lunoe, with support from Emily Scott, Snob Scrilla, Sound System, Surecut Kids, fRew, Funktrust DJs and a live set from Kidmac. Tickets $35 via www. beachpalacehotel.


Sean Kingston, the

singer of the heart melting smash hit Beautiful Girls, is heading our way for The Aust ralian Takeover Tour next year. Kingston will be joined by Iyaz (aka Mr Replay) as well as MTV’s America’s Best Dance Crew winners, Quest Crew. Rounding out the solid line-up will be YouTube sensations New Boyz. The show hits Sydney Olympic Sports Centre Tuesday 25 January. Tickets start at $85 from moshtix.


Direct from South Carolina, Toro Y Moi is a 23 year old wiz-kid whose songs are born from a plethora of different genres – from freak-folk to R&B to French house. With his album Causers Like This gathering critical acclaim from Pitchfork and NME, Toro Y Moi has spent the past 12 months touring the world and in February 2011 Aust ralian audiences will get their fi rst live taste of this rising star. He hits Goodgod Small Club with Bon Chat Bon Rat and Future Classic DJs Wednesday 23

February. Tickets are $25 via Moshtix and Resident Advisor.

NAKED GUNS New Zealand group The Naked And Famous have just signed with UK label Fict ion in a deal that will see their album Passive Me Aggressive You released around the world in the New Year. After recent sell-out Aust ralian shows the group have announced a headline show in Sydney alongside their Big Day Out appearance, playing Oxford Art Factory Wednesday 2 February. Tickets through Moshtix.


World Bar’s weekly night Wham! will celebrate five years of parties this Saturday 11 December with one hell of a line-up lead by James Curd, Act Yo Age and Like Woah. James Taylor, Illya, Ro Sham Bo, Kato vs Wax Motif, Gary Todd, Ben Korbel vs Kerry Wallace and Generic DJs will also be celebrating the milestone. In total 32 DJs will be a part of this huge birthday bash. Cost is $15 before 10pm and $20 after.








DID THE WORLD need an elect ro house remix of Everything But The Girl’s classic Missing? Fedde Le Grand says “Yes”, and his retooling will be available through Warner’s new One More Tune imprint sooner than you can say “show us the money”… IN A MASSIVE win not just for beyondblue: the national depression initiative and the Prostate Cancer Foundation Of Aust ralia, Movember had 129,000 participants in Aust ralia alone this year and 450,000 worldwide. No details yet on the cash figure raised, but that’s a lot of unhappy girlfriends… POSSIBLY THE RICHEST producers in Aust ralian dance music, Yolanda Be Cool & DCUP have proven you don’t need to speak no Americano to conquer the USA. We No Speak Americano has officially gone Gold in the US with more than half a million units sold... PNAU ARE ABOUT to make their return with fourth st udio album Soft Universe due for release next year. Nick Littlemore says the new direct ion “is poppier and more st ruct ured”. No word on whether their biggest fan Elton John cameos... OH LOOK, ANOTHER random world record attempt! And a successful one too, with The Fully Sick Rapper smashing his exist ing mark by rapping for an epic nine hours and 20 minutes st raight last week. That’s a lot of big-upping of one’s self…



Sosueme’s annual Christ mas soiree makes a triumphant return this year complete with egg-nog, seedy awkward uncles, bon-bons with shit jokes and all the rest. The delicious musical menu includes The Jezabels, Sampology, Sosueme DJs, The Protectors, Pluto Jonze, Rapids and a Holidays DJ set. The party takes place this Friday 10 December at the Oxford Art Factory. Tickets are $15 via Moshtix or $20 on the door.


Having spent the past three years overseas working with the likes of Autoerotique, Steve Aoki and Mike Posner, Sarah McLeod is back and ready to showcase her new sound alongside a live band. Sarah will be playing an exclusive headline show at GoodGod Small Club Wednesday 8 December in support of current single Dancing In The Dark. Tickets are only $15.


The crafty crew at Funkdafied have been working away at creating one super secret, super amazing party for New Year’s Day. A fantast ic indoor/outdoor venue has been secured for the enjoyment of attendees who will be treated to the sounds of an impressive lineup including Elect ric Empire, Massema, Kojo Sound System, Omegaman, Last Call, JC,Simon Caldwell and Mo’Funk plus many more guest DJs, singers and musicians. Earlybird tickets start at $49.00 via Moshtix.


Calling all MCs and wannabe thug MCs – it’s time to put your money where your mouth is and get involved in Hip Hop Karaoke. The concept snatches karaoke out of the lounge, drops it into the nightclub and smacks it with an air of competition. You’re guaranteed to have a good laugh whichever way you face the stage. Hip Hop Karaoke takes place at GoodGod Small Club Wednesday 12 January. Head to www.hiphopkaraoke. for more info.


Gay Bash’s Nude Year’s Eve is set to be a saucy affair with DJs, st rippers and performers st raddling all four floors of the Oxford Hotel. The line-up includes Sirens, Perfect Snatch, Kato, Cassette, Dangerous Dan, Sex Azza Weapon and National Treasure. Tickets start from $35 via Moshtix.


E-Motion’s November boat party successfully

raised over $1,300 in funds for St Vincent Cancer Foundation. The night was such a hit that the Bella Vista will host another E-Motion Frantic Boat Party on Saturday 2 April. Providing the evening’s entertainment will be Steve Hill, Yoshi, Steve Giddo, Zana Mills, Mikey G, The Bondi DJs and Tish Tash among others. Tickets can be preordered by emailing marty@franticsydney. com or via Moshtix.

STORM FRONT Since his fi rst self-titled album in 2000, Jamaican artist Turbulence has been a prime example of how talent and musical passion can prevail against a childhood of poverty. Known for his explosive live performances, Turbulence is set to burn the fi re at JamRock! at 202 Broadway this Saturday 11 December. Don’t miss this massive roots reggae and dancehall show. Tickets are only $30.







HERE HAVE BEEN FEW RISES IN ELECTRONIC MUSIC AS RAPID, UNPREDICTABLE OR COMPELLING AS THAT OF STEVEN ELLISON’S FLYING LOTUS ALIAS OVER THE PAST FIVE YEARS. Initially dismissed by cynics as a two-dimensional disciple of the late, great J Dilla, Ellison has since grown into one of the most respected and influential beat-makers of his generation – exerting influence over not only leftfield hip hop product ion but the entire spect rum of popular elect ronic music. It all began with Los Angeles. While Ellison had previously received praise for earlier releases like 2006 debut album 1983 or 2007’s Reset EP, it wasn’t until the producer’s celebrated 2008 sophomore record that audiences began to comprehend the true scope of Ellison’s ambition. The producer’s debut album for Warp Records, Los Angeles synthesised an entirely new elect ronic music lexicon from distended remnants of world music, free jazz, IDM, hip hop and soul. “I st ill really like Los Angeles,” Ellison reflects of his breakthrough. “I really feel like that was a really cool record. I think it was really good for the time, it had a really cool sound and it was a really good statement for the time. Do I listen to it all the time? I don’t – but I feel good about it. To this point, I’ve only done things I’ve been completely honest about and what I like about that album is that I made something honest and true.” Since that point, Ellison’s profi le has risen and expanded at an almost exponential rate. The LA EP trilogy – three EPs of new and reworked material released in the months following Los Angeles – only solidified the producer’s position as one of modern elect ronic music’s true visionaries, while the establishment of his LA-based record label and artist ic community Brainfeeder ensured Flying Lotus’s unique approach to beat music continued to spread like a virus even in Ellison’s absence. “I want Brainfeeder to be able to go on without me. I’m really into getting it to the point – and I know we’re close, if not already there – where I don’t have to get behind things and prioritise 20 3DWORLD



things. It will exist on its own,” the producer explains of the collect ive’s ambition. “Trust the brand, trust the name. That’s something that I want to achieve for the label. I don’t want it to be just a beats label, either. I want it to be something more than just beats. “You know, I want it to be a name for visual artists and have a lot of visual projects coming out of the label; art books, DVDs, fi lms – get a lot of directors and fi lmmakers involved with the label. That’s what I’d like to see happen, anyway,” he elaborates. “It’s one of those things I always dreamed about but I never thought it would be possible. I was always just hoping it would happen and I feel, now, the brand is getting to the point where I can go ahead with it.” Brainfeeder’s roster – a veritable who’s who of contemporary beat-making – is perhaps the ultimate demonst ration of the scope of Ellison’s influence as an artist. In addition to rising stars like dubstep wunderkind Lorn and glitch-hop mastermind Samiyam, the label also plays host to veterans like Daedalus, The Gaslamp Killer and Ras G. “It’s heavy, man. It’s a heavy thing,” Ellison reflects. “It’s a beautiful thing to go out to somewhere like Aust ralia and New Zealand after a year has passed – or two years, in this case – and notice how things have changed from the last time. I mean, when I fi rst went to Aust ralia, no one was doing this sort of thing. It was all breaks and drum‘n’bass but, each time I come back, it’s different and that’s awesome. It’s awesome to talk to people I inspired. “I really hope that people try and use that inspiration and try and develop that into their own sound and ideas, though,” he adds. “I don’t really enjoy people trying to sound like me and shit like that, but, by all means, use my momentum. Use my integrity. Be inspired by that. Be inspired by the time and effort that goes into putting my albums together and creating an experience. Don’t just make your drums off-time. Focus on what makes your music more than just some tunes.”



What’s compelling about Ellison’s career is that, at any given point, the producer’s work seems poised at the precise meeting point between joyous anarchy and graceful control. Th is is most obvious from a musical perspect ive – sophist icated and articulate melodies drifting wist fully over haphazard, off-kilter rhythms – but it also defines the producer’s career in a broader sense. There is a sense of purpose driving Ellison’s development but even he seems unclear as to the specifics of that purpose. “I’m defi nitely where I need to be. I feel like I’m a messenger on some track that I don’t know. It’s all so natural. I feel like I’m placed exact ly where I need to be at the exact time for a reason. You know, maybe I’m out here for a reason for you guys. I’ve got to keep fi ghting the good fight as long as I can, you know. I think about the future all the time and, the way I see it, every year is just another day in the life of an artist, you know. There’s always st ill so much to say.” “There’s always pressure. There’s been pressure ever since my fi rst album. I always feel it,” he considers. “I think that’s a good thing, though. It’s when that pressure goes away that I’ll worry. When I feel like I don’t have to do good things and I can just do bullshit, then I know I’ll probably walk away from the game. Right now, the pressure is always on for me to do my best and that’s awesome, but, at the same time, I don’t feel pressure to do anything specific.” Cosmogramma is a case in point. Released to universal acclaim earlier this year, Ellison’s third album showcases both the unpredictability of his career and the contemplation which underpins his entire catalogue. An explosion of elect ro-acoust ic third-st ream jazz fi ltered through the entire scope of leftfield elect ronic development, Cosmogramma sounds like the spontaneous implosion of Ellison’s id – but it was being const ructed before the producer had even officially released Los Angeles. “With Cosmogramma, I wanted to explore the music that I was raised on and I wanted to explore the music that I’m fascinated by,” Ellison explains. “I feel I made something that was solely my own with that album. I didn’t work with any kind of audience in mind. I was honest at a point where it would have been very easy and very tempting for me to just bullshit people. I’m glad people like that album, but the reason I’m most proud of it is because I told the truth. “My next project isn’t going to be anything like Cosmogramma. I’m not interested in continuing that journey. Cosmogramma was special, Los Angeles was special, 1983 was special and the next project ’s going to be special as well. It’s very cool that people just encourage me to be myself. I don’t have to be anything other than myself or put on any kind of show. I feel very powerful creatively. I feel that, if I can imagine something, than I can achieve it.”


While it’s highly unlikely FlyLo was influenced by this specific album, it’s perhaps the st rongest album of the movement which inspired a significant portion of his sound – 1970s spiritualist jazz. The sound evolved in the wake of (Ellison’s great uncle) John Coltrane’s work and unified the texture, exploration and experimentation of Coltrane’s latter period with the lyricism and contemplation of his earlier period. White’s abst ract and lyrical fingerprints are all over Ellison’s Los Angeles.

J DILLA Donuts (Stones Th row Records), 2006. The most frequent reference when discussing Flying Lotus’ unquantised rhythms, Ellison has attempted to distance himself from J Dilla’s sound ever since 1983 but one cannot deny the influence. Aside from sharing the obvious st ylist ic similarities of off-kilter hip hop rhythms and psychedelic sound design, Dilla was arguably the fi rst dedicated hip hop producer to really be taken seriously as an artist outside of the hip hop genre. Donuts, Dilla’s most ambitious and cohesive solo outing, is most illust rative of the similarities between the two producers.

DJ SPOOKY Optometry

(Th irst y Ear), 2002. The closest thing Ellison has to an ideological antecedent, Paul “DJ Spooky” Miller’s work retroact ively reads like a fi rst draft of Flying Lotus’ discography. There’s the fascination with multimedia, the synthesis of elect ronic and acoust ic st yles and the overt attempt to link jazz and hip hop. Optometry, in particular, effect ively lays the blueprint for Cosmogramma – Miller collaborating with free-jazz luminaries like Matthew Shipp and William Parker to craft a free-jazz/ hip hop amalgam that would not be bettered until Cosmogramma arrived eight years later.

WHO: Flying Lotus WHAT: Cosmogramma (Warp/Inertia) WHERE &WHEN: The Tivoli (Brisbane) Sunday 2 January,

The Forum (Sydney) Friday 7 January, Espionage at The Hi-Fi (Melbourne) Saturday 8 January, Espionage at Roxanne Parlour (Melbourne) Sunday 9 January 22 3DWORLD







otable for his directorial efforts with the James Bond franchise and Robocop 2, Irvin Kershner will be best remembered as the director who delivered the Star Wars sequel, The Empire Strikes Back. In retrospect, the critical acclaim for this slice of science fict ion is matched only by the half a billion dollars it has earned over its lifetime, but the fi lm would never have come to light without Star Wars creator George Lucas fighting his own rebellion against the empire of Hollywood at the time. The result of Lucas’s manipulations and business dealings would eventually see him outcast from the Directors Guild Of America, with Lucas stepping in to take the heat away from Kershner and paying nearly a quarter of a million US dollars in fines. The crime? The decision to move the standard title sequence of movie credits to the very end of the fi lm, which broke all the rules and created the iconic introduct ion to the Star Wars universe – now considered part of the geek universe. All of this happened in the very late 1970s, which is a long time ago. In a country far, far away. In the decades since The Empire Strikes Back was released, Kershner’s delivery of the Star Wars concept has been embraced by fans and critics alike as the pinnacle of the series. Th is has not prevented George Lucas from continuing his needless and random assault of the classic fi lm cut, adding new scenes, edits and incongruous music cues in the various re-releases. The original st ill remains the best, and Kershner’s direct ion maintained the tempo and built the suspense of a series that was immensely profitable, but by no means assured a completion in a trilogy that was no more than a series of notes in a pile of notebooks. The script itself was written multiple times, and while the movie officially credits Lawrence Kasdan and Leigh Brackett with the screenplay, it was written by Lawrence Kasdan alone. A previous script submission by veteran sci-fi writer Leigh Brackett was canned by Lucas, with Brackett earning credits due to contract ual obligations. Sadly, Brackett was to pass away shortly after submission, leaving Lucas scrambling to attempt a second run at his artist ic vision. Much has been said about the impact that the bad-guys-win story had on the audiences upon its release in 1980 and we can apply the benefit of retrospect to appreciate what a daring risk this was for Lucas fi nancially. If a sensitive audience turned on the idea of its cherished characters being chopped up, frozen, kissing their siblings and having their just cause all but dest royed, Lucas would have been finished. Were this to happen, the world would never have experienced the joys of the jub-jubbing Ewoks from Return Of The Jedi. And be infinitely poorer for it. As it stands, Empire was a win for the anti-hero, and appealed to the inner bad-ass in all of us. The Rebellion was well and good in theory, but the machinery, technology and uniforms of the Empire were somewhere between “groovy” and “radical dude”, in the parlance of the times. Intended or not, other themes were finding homes in the impressionable minds of the younger audiences; a princess leading an army, a hip brother governing a city, an effeminate robot with extravagant body paint. Th is wasn’t just an inversion of the typical blockbuster storyline, but a world without the typical const raints and prejudices of 1980s USA. Perhaps not intended, but a fi lm of such imagery soon belongs to the imagination of the audiences that champion it. Except for Yoda. Even we have no fucking idea what he’s supposed to be.


Not since 1972’s blaxpliotation fi lm Superfly had African Americans had such a charismatic screen hero as Lando Calrissian. Played by Billy Dee Williams, Lando was a handsome and charming addition to an already multicultural cast of Wookies, droids and randy robots. Lando was a well-dressed, well-spoken and sophist icated rogue, turning his hust ling skills to the greater good after taking over as governor of Bespin’s Cloud City. Later, Lando would assume the title of a General in the Alliance Forces. Often having to make hard decisions for the greater good, who knows what future leaders this smooth brother inspired?


At times the interact ions between Luke and Leia might make Angus and Julia Stone look normal, but there is a greater lesson in family unity at play. Sure, Anakin promises Emperor Palpatine that he will reconcile with Luke or that Luke will die, but this expression of paternal reconciliation is a heart-warming display when taken into context. That context being the unsettling attrition of Admiralty in the Imperial Navy, especially on Vader’s fleet. With our own difficult times matching those of the Rebellion, there is much to be learned about intergalact ic love and forgiveness. But, it has to be said, kissing your sister is st ill a bit weird.


While the Aust ralian government st ruggles with the idea of a National Broadband Network, we’re already falling behind. Other regions have already implemented holographic communications, established a long time ago in a galaxy far, far away, and with wide-ranging impact on Aust ralia’s future communications networks. If this wasn’t bad enough, the development of technology allowing Force-sensitive personnel to retain communications ability after passing on raises difficult quest ions of monetisation, let alone privacy concerns. Claims of a “Peeping Qui-Gon” have yet to be addressed by the Jedi council. Also, quite where the Jedi sit on the difficult issue of Net Neutrality is yet to be determined.






dored by women and envied by men, Pharrell Williams exudes an unrivalled brand of charisma and st yle. But as N*E*R*D front man, the 33-year-old artist and producer is much more than a cool persona, having worked tirelessly to carve out and conquer a new space in an otherwise nebulous musical world alongside his talented comrades Chad Hugo and Shae Haley. Ten years since the group formed as a concept band in their hometown of Virginia Beach, their passion for experimenting with a hybrid of rock ‘n roll, hip hop, R&B and blues remains st ronger than ever. Th is year the group have unleashed their fourth st udio album, curiously titled Nothing. The title of course is loaded with meaning for the dynamic trio, inspired by the notion of returning to basics and building something completely innovative and fresh. Williams, Hugo and Haley spent most of 2009 crafting around 20 songs for what they believed would form their next album – Instant Gratification. They had collaborated with up and coming vocalist Rhea (best known for her work with the band Jealous Lover), however she was suddenly cut loose from N*E*R*D in January this year with all members deciding that none of the tracks they had created with her for Instant Gratification were worthy of release. “We had experimented with Rhea and it was good. The music was good but good wasn’t good enough,” Williams explains. “Shae, Chad and I decided we just needed to take things to the very next level. So we just scrapped everything, we put on our soldier hats and we just looked into the future of oblivion and not knowing what was there we just said, ‘we are just gonna call it Nothing. Let’s just start right there’, and that’s what we did. Song after song we just started cracking away at it.” With the clock ticking, fans waiting and the bar raised high, how did the group know when


they had it right? Williams explains the process as being a somewhat intuitive. “We approach every album the same in the sense that we just let the vibe take over and that vibe can be any vibe,” he reflects. “We just get into and it’s like, ‘if I’m bobbing my head, cool, if Shae’s bobbing his head even better, if Chad bobs his head then we know we have something’ – cause it’s all three of us very happy and excited about something.” Head bobbing music is certainly one way to describe Nothing. While the overall sound and st yle of the album isn’t a drast ic shift for the group, it’s an interest ing direct ion nonetheless – perhaps even the group’s fi rst concerted attempt at a complete pop album. Conceptually, Nothing is hippy, euphoric and totally littered with female adoration – it’s music to get your sexy on. “I want all the sexy girls and the beautiful girls

of the world to feel so comfortable with the music that they just want to party and they don’t care how it looks - it’s all about having a good time,” Williams enthuses. “It’s all about the people man, all about the girls and just some music that they can get comfortable to.” In essence the message of Nothing is “less thinking, more feeling”. “People don’t wanna think no more they just want to feel” is the catchcry of lead single Hot N’ Fun, featuring Nelly Furtado and a “hypnotising bassline” which echoes old-school rollerskating jams of the late 60s and early 70s. It’s a tune that Williams is particularly animated in describing. “The girls will hear this and their tops will come off – in the right environment girls will hear this and feel comfortable with the tops coming off.” There is much to be admired about the simplicity of Williams’ vision, a musical purist and perfect ionist, the artist has always been comfortable with moving against the grain and prides the work of N*E*R*D as being trend setting. “In another three to four months this record will be the shit. You know what it is? It’s different and one of those things you got to really st ick with for it to really matter in the world,” Williams offers. “She Wants To Move didn’t really count for us the year that we did it. It was cool, so all the sexy cool people and the tastemakers of the world they got it, but She Wants To Move really didn’t pop off for us until like a year and a half later... I feel like that’s what’s gonna happen now with this one.”

AND THEIR TOPS “ THIS WILL COME OFF...” It’s clear that an extraordinary sense of self belief in both himself and the music he produces with N*E*R*D is at the epicentre of William’s continued boundary pushing endeavours. When asked about what he considers the purpose of music his response is incredibly optimist ic. “For me I would say freedom. Freedom for every one man on every level. If there is something that you want out of life… why shouldn’t you have it? You only got one life, why shouldn’t you have it? I think there needs to be music, that when you hear it sets you free man and then inspires you and makes you feel like you can conquer the world. And if you believe it you just might be able to do it.” WHO: N*E*R*D WHAT: Nothing (Universal) WHERE & WHEN: Summadayze at Sidney Myer Music Bowl (Melbourne) Saturday 1 January, Summafieldayze at Doug Jennings Park (Gold Coast) Sunday 2 January, Hordern Pavilion (Sydney) Friday 7 January




wedish high school band Little Dragon came about when vocalist Yukimi Nagano teamed up with long time school friends Erik Bodin, Fredrik Källgren Wallin and Håkan Wirenst rand to start producing some of the smoothest and freshest elect ro pop confect ion imaginable. R&B, soul, jazz, funk and pop influences collide with the dreamy textures of the band’s subtle pastel-coloured synths to create a sound that is dist inct ly their own. Nagano’s dist inct ive vocals add an almost angelic flourish to mix. “I always loved to sing ever since I was a kid,” Nagano explains down the phone from her home in Gothenburg, Sweden. “I loved the attention and I got a buzz out of it. It starts like with most kids – you love the attention and then you get the love and then you are totally hooked. Growing up I loved singing along to the records that were played in my home. My Mum used to play a lot of Joni Mitchell and things like Earth, Wind & Fire and even Leonard Cohen. My Dad was always very much into Bob Dylan. “When I started buying my own records it was a bunch of st uff. I loved Depeche Mode and I really loved Prince. I st ill do. I used to dance to Prince in front of the mirror after school. As a teen I used to have a lot of Jimi Hendrix posters all over my room too.” Little Dragon’s second album Machine Dreams finally gets a local release as the outfit are set to tour Aust ralia for the fi rst time supporting the massive live spectacle of the Gorillaz Plastic Beach shows. Super excited to be escaping the wintry northern hemisphere, Nagano says her band are not as laidback in the live arena as they are on record. “I guess when we play live we like to keep it uptempo and get a vibe happening that people can dance too. We play everything live and like to keep it spontaneous and just see what happens. I guess it is a little more percussive than what you hear on record but we st ill like to keep that dreamy vibe happening. I think rhythms and beats can be used to work listeners into a dreamy trance.”

Moving from shows in smaller clubs to working stadium-sized crowds has been a challenge, but Nagano admits that it has also been a rewarding one. “Gorillaz are playing venues on a whole different scale to anything that we are doing at the moment. Just that itself is a big experience for us. The reception has been very kind and people have been very positive about the shows that we have done so far. We have done a lot of supports for a lot of artists but doing support for Gorillaz is the one we have enjoyed the most.” The Gorillaz gig has also been quite an experience for the elven front woman of Japanese-Swedish extraction who has also been learning to deal with pre-show nerves. “It’s taken quite a few shows for me to learn how to get over my nerves and just handle the amount of people who turn up to these shows. When we toured with them in the States it was about dealing with the nerves of just doing a guest spot in their set. In the European leg of the tour when we started opening for them it shifted to dealing with the nerves of doing our own warm-up show. It has been a growth experience for all of us just being a part of the machinery of the Gorillaz.” High profi le collaborations are of course nothing new to Nagano, who is also featured on Dave Sitek’s Maximum Balloon album. “Collaborating with Dave is very different. We have opened with TV On The Radio in the States and we really became good friends with them through this experience. We loved the band and kept in contact with Dave. Every time we were in LA and not on tour we usually didn’t have the budget to stay anywhere so we usually ended up at his house. It was always fun just hanging out or cooking food. It feels like we have been friends for a very long time. He has supported us from the very beginning and always promoted what we do. The collaboration with him came about very naturally as it just felt that we were making music with a friend. “It was very different with [Gorillaz’] Damon [Albarn] because we have never met him before. Damon’s wife liked our records and it was through her that he found out about us. So our managers set up a couple of sessions but it was a very informal meeting at their st udio. It was just amazing to walk into their st udio – all that equipment. We found out that his way of working was very similar to ours. He likes to keep it spontaneous and is open to try anything and see what comes out of it. We were not completely sure if any of the songs were going to be released. We recorded two songs and each took a day to complete. It was a lot of fun.” WHO: Little Dragon WHAT: Machine Dreams (EMI) WHERE & WHEN: East Brunswick Club (Melbourne) Friday 10 December, Rod Laver Arena (Melbourne) Saturday 11 December, Goodgod Small Club (Sydney) Wednesday 15 December, Sydney Entertainment Centre Thursday 16 December, Woodland (Brisbane) Saturday 18 December, Brisbane Entertainment Centre Sunday 19 December





homas Schumacher is always one step ahead of the game. He pre-empted the elect ro resurgence and, oddly for such an underground stalwart, elect ro-hop. Today the German DJ/ producer is predict ing a techno surge. “I like techno again!” Schumacher enthuses from Sydney, where he’s staying with his Aust ralian partner Caitlin Devlin’s family. “But techno 2010 – a new version of techno where we love the energy from the 90s, but with a sound design that is 2010/2011.” Schumacher has never been ‘‘trendy’’. He steadfast ly avoided jumping on the minimal bandwagon. But Schumacher is no react ionary. He believes wholeheartedly in the necessity for DJs to reinvent themselves as much as pop acts. Although Schumacher appreciates the “cool” European house of the past two years, he’s moved on. “I enjoyed that for a while, but there’s always that part [of me] where I feel like, ‘OK, so everybody’s doing it now, it’s kind of mainst ream – boring’,” he laughs. “So I’m really enjoying going back to my techno roots and updating the sound. It’s exciting because I’ve been playing the kinda more techno sound in Europe for the last three or four months and it just works really well with people. I feel more connected than ever with my crowd.’’ The Bremen native discovered New Wave elect ronic music growing up in the 1980s. He’d subsequently experience acid house. Schumacher was DJing in his teens – even raiding London’s Black Market Records on a school trip. Schumacher began dabbling with music-making himself, using an Atari computer that he st ill owns. He partied at Frankfurt’s seminal Dorian Gray – and eventually landed a residency at Bremen’s fi rst techno club, Crash. By the early 90s, Schumacher was releasing music. He introduced his Elektrochemie LK project, signing to Oliver Huntemann’s Confused Recordings. In 1998 Schumacher disseminated his signature tune, the elect ro When I Rock, on Eric Powell’s Bush, having snatched the hip hop sample from a US radio show. He’d learn that it was The Roots – the track reissued on Warner in 2000. To Schumacher’s delight (and relief), an amenable ?uest love sought to include the elect rohop anthem on The Roots’ Phrenology, retitled Thirsty. In 1998 Schumacher had also presented his debut ‘artist’ album, Elect ric Ballroom, which Mixmag described as techno’s counterpart to Daft Punk’s Homework. He followed it with 2000’s Elect ric Avenue, comprising a remake of Inner City’s Good Life approved by Kevin Saunderson himself. In the meantime, Schumacher launched a label, Spiel-Zeug Schallplatten. Now residing in Berlin, Schumacher has been re-energised since joining the Get Physical family. “When we moved to Berlin, I really felt like, ‘I wanna work with a label that is based in my hometown’ – so you can go to the office, you can meet with the people, and have face-to-face time, and hopefully meet with the artists. That’s exact ly what Get Physical is. Their office is around the corner from where we live, my st udio’s not far from the Get Physical st udio... I like that kind of family feeling. At the same time, with a label like Get Physical, ‘cause they have so many artists, it’s not too narrow – also I don’t have to be a best friend to every single artist. With some of them, we’re really close – and the other ones not. But working with them now, I really enjoy it.” Schumacher produced DJ T’s second album, The Inner Jukebox, “a challenge” as he needed to find a way to translate T’s ideas, the Get Physical mogul not possessing st udio skills or the lingo. And he’s just mixed Get Physical’s eighth anniversary compilation. “I was really humbled


when they asked me because before every single Get Physical anniversary CD was produced and mixed by the M.A.N.D.Y. guys, Philipp [Jung] and Patrick [Bodmer], who obviously are co-owners of the label. It was the first time that they asked an external artist, or recording artist, to do it.” The set takes in tracks like Buddies by MANDEAR (aka Jung and Matthew Dear), Andy Cato’s Bassline Track, and hot Detroit newcomer Kris Wadsworth’s It’s Time. Schumacher kicks in with his own You Got Me. The hidden track is an exclusive from M.A.N.D.Y. with Adultnapper. “What I love about Get Physical is that it’s a really eclectic label. I know it stands worldwide probably for some electro/ tech house sound, but they have lots of artists who do, like, electronica – there are

even artists who do acoustic guitar-driven music – and I really wanted to feature that.” Schumacher’s last album, Home, materialised four years ago. In 2009 he aired The Ooh, a Pete Tong pick. Th is year Schumacher remixed Trentemøller’s ace Sycamore Feeling and proffered Taxi. He’s recently remixed an 80s “hero”, Jimmy Somerville, best remembered as Bronski Beat’s frontman. The song is entitled Freak – and Schumacher will spin it in Oz. Then he has a new single with Monika Kruse. Schumacher will commence his next album on his return to Germany. At one point Schumacher developed Elektrochemie into a live combo with Devlin as vocalist. (In fact, Stephan Bodzin also became involved five years ago.) There could be a reunion next year, Schumacher surprised at the enduring popularity of their Get Physicalera tracks, like Pleasure Seeker. “We’re in talks about a comeback tour next year, but nothing is decided yet,” he reveals. “It’s a big project if we do it – it would certainly involve a big live show and musicians on stage and all that.” And Schumacher is looking to re-release SpielZeug’s back catalog digitally with remixes. The label itself is defunct, Schumacher leaving his old partner in Bremen. The other factor was time. “I have enough to do as it is.” WHO: Thomas Schumacher WHAT: Get Physical 8th Anniversary (Get Physical/Inertia) WHERE & WHEN: Plus+1 at Civic Underground (Sydney) Friday 10 December, Family (Brisbane) Friday 17 December, Onesixone (Melbourne) Friday 31 December, Space Ibiza Fest ival after-party at The Arthouse (Sydney) Saturday 1 January




st range myst ique hovers over the work of New York’s Ratatat. One could in part ascribe it to the ambiguity which graces all inst rumental music to some degree, but it’s consistently proven to be something decidedly more unique to the pair’s product ions. If one glances over the duo’s career, one will find a consistent trail of incredulous reviews attempting to in some way rationalise the band’s music – be it through lengthy genre analysis or philosophical contemplation. “Yeah, that is weird,” guitarist Mike Stroud reflects of the mysterious profi le of his band (completed by Stroud’s former schoolmate and producer Evan Mast). “It’s pretty intense. I don’t know – maybe people do just get more into it in that way because it’s inst rumental? You know, they get into their own heads because they’re not listening to a story or lyric? I don’t know. I don’t pay much attention to blogs or reviews anymore.” There is no shortage of possible explanations. The pair’s laissez-faire approach to genre alone could claim partial responsibility. Since their 2001 inception, Ratatat have consistently used and abused genres to the point where applying any specific title to their output has become almost completely arbitrary. One could just ifiably link the pair’s product ions and aest hetic to any number of disconnected musical traditions – from inst rumental hip hop to post-rock. “I feel like we’ve established a specific sound at this point. You know, when you hear a Ratatat song, you’ll know it’s us – but I don’t feel tied down to that sound at all,” Stroud explains of the group’s eclect icism. “I think the next album we make will sound completely different to the last record we made. I don’t really know how we will do that as yet but we’re hoping it will unfold the same way the last four did.” The duo’s 2004 eponymous debut album was a noisy blast of warped synths, broken hip hop rhythms and angular krautrock guitar textures

which resembled nothing much more than a hypothetical Tortoise sell-out album. Since that point, the pair have expanded their repertoire with st ring arrangements and live percussion and countless genre diversions. 2006’s Classics crammed indie-rock guitar alongside glitch rhythms while 2008’s LP3 was rife with dub and soul influences. “In a way, we are our own audience. We want to keep ourselves interested,” Stroud elaborates. “If we’re not excited about a sound or an idea, we just toss it out. I guess, in that sense, there is almost an obligation to experiment. We push each other a lot when we’re writing – ‘yeah, that’s cool, but we’ve done heaps of st uff like that’. There is a lot of that when we put a record together. We try to avoid repeating ourselves.” While never adopting the considered anonymity of fellow indie-dance crossover geniuses Daft Punk, Ratatat have always embraced the inherent facelessness of inst rumental music and shied away from anything resembling personality-based promotion. Their two most recent LPs, for example, were awarded the gloriously perfunctory titles of LP3 (2008) and LP4 (2010). “I don’t think about that sort of st uff – ever. I don’t read blogs or reviews and I don’t really give it that much thought at all. You know, I’m in the band. I see it all happen. If I want to read anything about it, I’ll just ask my dad. He googles us like every five seconds,” Stroud laughs. “I think it’s mainly journalists who are interested in pinning a band to a specific sound or image. I just don’t care. You know, I think we are our own band.” In truth, the band’s myst ique most likely springs from the superficial indifference both of its members feel towards dispelling it – or engaging with any manner of outside opinion whatsoever. The reason Ratatat’s work is so consistently mysterious is because neither Mast nor Stroud has any interest in applying logic or rationale to their relationship. The work of Ratatat is a sprawling, illogical, irrational mess of influences and ideas – and its members like it that way. “We had no idea where this band was going to go when we got together. None at all. We were just screwing around pretty much,” Stroud laughs. “We knew each other from school. I knew Evan made music, he knew I made music but, even then, we weren’t really friends or anything. There was no concept at all. There was no ‘let’s make a band, let’s sound like this, let’s do that, let’s do this’. He just invited me over to record a bunch of songs and we got signed pretty much by accident.” Take, for example, the genesis of band’s most recent album LP4. Written in the same sessions that yielded LP3, the theoretically-progressive Ratatat nevertheless held onto the material for 12 months before re-working it and re-imagining it as a new work entirely. Alternatively, consider how the band’s remixes for hip hop acts like Young Jeezy and Kanye West have grown more elect ronic as Ratatat’s own albums have travelled in the opposite direct ion. It’s all brilliant, react ionary chaos. “There’s no real plan at all,” Stroud admits “We didn’t even have a microphone when we made our fi rst record. I think that’s probably one of the reasons our work has taken the direct ion that it has in regards to inst rumentation.” WHO: Ratatat WHAT: LP4 (XL Recordings/Inertia) WHERE & WHEN: Big Day Out at Gold Coast Parklands Sunday 23 January, The Hi-Fi (Brisbane) Monday 24 January, Sydney Big Day Out at Sydney Showground Wednesday 26 January, Big Day Out at Sydney Showground Thursday 27 January, Manning Bar (Sydney) Friday 28 January, Big Day Out at Flemington Racecourse (Melbourne) Sunday 30 January, The Hi-Fi (Melbourne) Monday 31 January






e’s 100 percent a mad genius, 100 percent. He’s very, very particular. You know, some people are particular for no apparent reason, but he’s act ually particular in the sense that you completely see – in the end result – what he was raving about and that makes it worth so much more.” Not everyone can purport to have an intimate understanding of the way Kanye West goes about creating his work, but that’s exact ly what Pusha T (aka Terrence Thornton) has experienced over the past 12 months. West has taken Thornton under his wing in a protégé type role, including him in his Rosewood Movement, signing him to GOOD Music and having him acutely involved in the creation of his latest opus, My Beautiful Dark Twisted Fantasy. And when West sought redemption from the “Taylor Swift incident” at this year’s MTV Video Music Awards, it was Thornton who joined him on stage. Thornton however, is better known as one half of Clipse, the Virginia based hip hop duo he formed with brother Gene (aka Malice) in 1992. Over the past 18 years they have tirelessly plied their trade, garnering a passionate, underground following for what the mainst ream media has often described as “East Coast drug dealer music” or “cocaine rap”. To describe Clipse’s music this way however, is to sell the brothers short. Behind the bravado Clipse’s lyricism is incredibly intricate, deeply emotive and, as a general rule, puts the majority of ‘top 40’ hip hop to shame. They are vivid storytellers, drawing the listener in, taken them on an emotional rollercoaster ride and dumping them, exhausted, out the other end. Nevertheless, it is a ride that you constantly want to keep getting back on and as Thorton explains, that’s exact ly what audiences are going to get in Aust ralia. “First ly, the show is just a great interpretation of the records,” says a very enthusiast ic Thornton. “But you get to see visually a lot of passion that you might have heard on the


record. You know, we are a very lyric driven group, this is a very st reet hip hop group, so there is a lot of emotion on stage and a lot of emotion within the lyrics, so being able to perform is one of the biggest and greatest things that we get to do.” Thornton’s passion for what he does is contagious; at one stage he interjects himself to tell me that he’s “very excited about the tour in Aust ralia, I’ve never been there, but I’ve heard extremely good things about it. I was act ually talking to Shay from N*E*R*D the other day and he just raves and raves about Aust ralia, man. So I’m very excited.” N*E*R*D and The Neptunes have played a pivotal role in the rise of Clipse as a group – they handled all of the product ion of Clipse’s fi rst three albums (Exclusive Audio Footage, Lord Willin’ and Hell Hath No Fury). Their input has given Clipse’s music the sonic quality many rappers can only dream of. It is the perfect backdrop for Clipse’s

intense lyricism, yet, for 2009’s Till The Casket Drops, the group decided to break free of the rest raints of a single producer relationship. Commercially and critically, Till The Casket Drops was not well received. So so the brothers Thornton intend on going back to their previously successful formula and partnership with The Neptunes? “I think when it comes to the new Clipse record, we are going to try and make an extremely cohesive album that is very cinematic and very themed out,” Thornton says. “I think that it can be done with multiple producers and definitely after working on My Beautiful Dark Twisted Fantasy I know that cohesiveness can happen with different producers. So, with that being said, it’s st ill up in the air, but that’s working solely with The Neptunes is st ill is totally an option. “There is a certain level of perfect ion that we st rive for each

time we work with those guys and I think that pushes The Neptunes and it pushes us, which I like. We’ve had a close working relationship and I can see a lot of other artists being impressed with The Neptunes in a fan way, but we have a different relationship. So a ‘ten’ on the Neptunes radar for somebody else might only be an ‘eight’ on mine, because I’ve been there since day one and I act ually know when Pharrell thinks he has a great record or when Chad thinks he has that special thing going on. I know that emotion they give and if I don’t get that emotion, then I can’t take it. I guess that’s why that relationship works for us and it’s an appealing to maybe work that way again.” In recent interview Thornton stated that the new Clipse record was “going to be mean”. And he seemingly hasn’t st rayed from that notion. “Well I really only work for the fans and my fans are connoisseurs of true hip hop. You know, my fans want that incredibly raw music and if that’s the case, that’s what I’m going to give them – raw, mean music,” Thornton says emphatically. “It’s all dependent on the music and what type of emotion that. So at this stage I know that this is going to be a mean, mean album and it’s safe to say that they lyrics will be parallel to that also.” Thornton and Clipse’s star is unequivocally on the rise given the influence of the Kanye factor, but it was Clipse’s talent that got West’s attention in the fi rst place and 18 years isn’t exact ly an “overnight success”. So, will the apprentice one day outshine the master? “I don’t think so, man,” Thornton says. “But the one thing I’ve taken away from the whole Kanye experience is to really push yourself to the limit. There’s no room for throwaway lines, ‘Ye doesn’t do that. It’s all 100 percent pain, passion and pleasure every single time.” WHO: Clipse WHERE & WHEN: Prince Bandroom (Melbourne) Thursday 9 December, Meredith Music Fest ival Saturday 11 December, Metro Theatre (Sydney) Sunday 12 December



hen 3D World finally links up with Basti Schwarz via phone on a st upidly cold and surprisingly dark afternoon in Berlin, half of the DJ/Production duo known as Tiefschwarz is in a chatty and charming mood. His other half, Ali Schwarz, is in South America. Or Tokyo. Or between the two. It’s often the case these days, that they split the touring between them. “To be honest it’s partly a result of the global financial crisis,” Bast i explains. “The problem is that a lot of promoters have no money anymore in a lot of poorer countries. To pay for two hotel rooms, two fl ights, and the fee for both of us – it’s something promoters just can’t afford a lot of the time anymore. “Sometimes, though, it’s because we’re not both available – for example when I’m going to be in Aust ralia, Ali will be in South America, so we couldn’t both come,” he says with a tinge of disappointment. “Th is is just a quick DJ tour, and I’m only going to be in Aust ralia for three days in total. I’ll do another date in Singapore, and then have some time off in Indonesia to recover and that’s it. Sometimes we can be on the road for weeks at a time, but this one is just a quick dash in and out.” Amongst the rituals and tricks Bast i has to keep himself entertained in the air is writing a new track or two. “I always have Logic and Ableton Live with me and there’s a new mini keyboard out from Korg which I use. I love writing music in the air, there’s a special atmosphere to that environment. I feel like I’m in a big bubble in the air, which can feel really st range – especially when you have a hangover or are extra tired. I’ve found that when I’m like that I produce extra freaky sounds!” he laughs. Unlike many touring DJs, Bast i won’t be

using his airtime to sneak in some crafty edits. In fact he has quite the antipathy towards such an approach to DJing. “I’m really not into making special mixes or edits on my computer. Act ually, I’m really getting back into using vinyl at the moment – I’ve been buying a lot of vinyl in Berlin. There are so many amazing record shops here, and in Berlin you have access to some tracks you can only get on record, not download or CD. Like Perlon – they don’t do digital downloads and are a 100 percent vinyl label. They hate downloads! So in Berlin, buying vinyl is he best way to get special tracks that not everybody has. So I’ll bring vinyl with me to Aust ralia and hope there are decks to play it!” Whilst no one would argue that Beatport – or electronic downloads

in general – has been a huge blessing for most DJs by granting easier access and more available tracks than ever before, Basti has noticed an unwelcome uniformity to the sounds hitting dancefloors across the world. Delving into vinyl has now become a way to break up the homogeneity of club music. “So many people only know Beatport and this means out in the clubs everything is beginning to sound similar,” he explains. “For me, you have to surprise people when you play. Going to clubs and listening to the same music all the time is really boring. A lot of people can’t play for longer than two hours without losing the crowd because of it. I love to play really long sets – I think the most important thing in keeping people interested is to have some surprises, so I look for special vinyl or older st uff nobody knows.”

So dedicated to the idea of surprise is Bast i that even he isn’t always sure what’s in his record bag. It sounds potentially dangerous, but he assures 3D World that he has never been unpleasantly surprised by what he finds. “I never plan a set! Recently I was in Milan for a gig and someone stole 20 CDs full of tracks from my case, but it was fine because I could just go with the flow – that’s what I do all the time. Every night I’m in a different place: the audience is different, the club is different. I just go through whatever I find in my cases, it can be brand new st uff or old st uff. But no matter what I have with me, it always works.” Reconnecting with his vinyl obsession is not just about superior access to rarities and track scooping. Basti still loves the tactile nature of the vinyl experience, and having had a couple of years of CDJing – vinyl’s weighty goodness is seducing him back. And he’s not alone, he claims. “A lot of the real DJ heroes – like Zip and Ricardo [Villalobos] don’t want to lose vinyl, or the history behind it. What is holding a burned CD compared to a piece of vinyl in your hand? I am really bored with that now, and how it has changed the clubs. When guys come in to the club with tonnes of equipment: faders and effect boxes left and right... honest ly, a good song has everything you need already in it. I don’t need loop funct ions and delays, because a good song already has everything it needs to sound good. Everyone thinks they can be a DJ now – go to the internet, get Traktor, download some tracks and press sync. But it is really boring to listen to that.” WHO: Tiefschwarz WHERE & WHEN: Chinese Laundry (Sydney) Saturday 11 December, Royal Melbourne Hotel (Melbourne) Sunday 12 December





hanks to NaNoWriMo, I managed to finish my fi rst novel. In all honest ly it may be about as cohesive as a pile of WikiLeaks, but even in the disjointed story arc and erratic timelines, I’m celebrating every word of the fi rst completed draft of my fi rst ever novel. Which is exact ly what NaNoWriMo is all about! The National Novel Writing Month, or NaNoWriMo for short, is an international program that takes place over November each year, inviting aspiring and pract icing writers to pen a 50,000 word novel in one month. The emphasis is on the word count goal, so a “quantity over quality” approach is encouraged to assist the author to nurture a discipline of daily writing, which is difficult for any writer at the best of times. For me, these were far from the best of times. With a series of adventure travel and music fest ival features to cover, I spent November moving through Far North Queensland and Indonesia. On such a hust le, I managed to get sunburned, hungover, st ung, bitten and exhausted. I nearly broke my arm being knocked off of a motorbike, narrowly avoided a ferry capsizing, bribed my way out of situations with some crooked constabulary and suffered from routine and repeat food poisoning. These were minor complications to the greater drama of having my original story fizzle out into so many dead words. My tale of a st ruggling elect ronic live act went the way of my own live act – a bit of success and then burnout and boredom. I left my future acid superstars amid a lengthy and boring paragraph about a MIDI cable dropping out mid-set, and abandoned them mid-tour. Instead, I curled up in a dirty room in Ubud with a cocktail of party drugs (or, to be honest, food poisoning medication) and created the colourful and dynamic story of Christoph Benoit – a cynical photojournalist who experiences the revelations of the road and romance, while taking a subtle backhand to the increasingly unadventurous guidebook generation. I simply switched from one subject of expertise to another and the story poured out of me. I was once told to “write until your hair catches fi re”, so I burned a hole in my keyboard with the frict ion


of impatient words stacked up for release. And it felt incredible. By the time I lay on a beanbag with my battered Macbook at a beachside cafe on Gili Trawangan, I had managed to nest le up to my word count challenge with a shamefully insulting paragraph about people that stand up as soon as a plane lands. So basically, I reached word count by being an arsehole. I blame the tranquil and pict uresque surroundings, but either way, only a few short scenes later and my fi rst novel was done. Admittedly, it isn’t a very good first draft, but that isn’t the point. In fact, I may not ever let anyone read it – certainly not the 3D World

editor that I’ve stolen many incidents and characterisations from [No more work for you then – Ed]. None of this matters. What matters is that I now know that I can act ually write a novel length work of fict ion. And yes, if my family is reading this, the scene where the guy takes mushrooms on a tropical island is fict ion. It’s all fict ion. Especially the bit with that st reet press editor, the monkey, and... I’ve said too much. All that I should say is look out for the incredibly rewarding challenge of NaNoWriMo 2011. And, if it ever gets published, buy my book. There’s a scene with a monkey that you just have to read to believe.



Despite their hect ic looking touring schedule, one of the MCs from Thundamentals has squeezed in the time to record a solo album. Tuka hasn’t jumped ship – in fact he also performs with fellow mountains acts such as Rumpunch and Sketch The Rhyme, so obviously he felt a desire to go for unencumbered with his own effort Will Rap For Tuka. Th is is the third release from new Sydney label Big Village Records after releases by The Daily Meds and Loose Change. And the bar has just been lifted for their roster. Vocalist Radical Son churns through the chorus for The Blends, but thankfully the album only includes one guest MC. Tenth Dan appears next to the razor sharp scratches from DJ Cost over the live drums on Boom Kats, but Tuka proves himself more than capable of keeping the listener’s attention for the entire run. Drummer Caust ic is just one musician who provides additional inst rumentation for the several beatmakers involved, but he adds some congas to the moody One In Six, while DJ Diaz gets on the additional decks with DJ Morgs taking most of the weight and helping out on a few of the beats. Mike Silk evokes Shaft In Africa for his uptempo blaxploitation escapade Pro and a 50s swing dance for Work. Love the summery vibe as Tuka’s regales his relationship on Smiles, but what I enjoyed most was the manner in which Tuka eases through his lyrics – nice bouncy and colourful st yle without a hint of exhaust ion or overconfidence. Tuka and Morgs beat for Tall Poppy is akin to a toned down Outkast – Hey Yah!, with some Mexican st yled trumpet and a nice half time atmosphere that keeps it from being overly frantic. Marz1, M Jones and Brokn also put in some lovely work with their beats. It’s a rare day that I get to hear an American album that is as enjoyable as this one. Tuka will more than snatch your attention with this superb bridge until the next Thundamentals output.



aised in the mountainous northern region of Hesse, it’s little wonder that Hendrik Weber – aka Pantha Du Prince – makes music which seems so polar. Indeed, his current location probably promotes the thought – the broken heating in his Berlin apartment leaving little recourse but to put up with the cold as he chatters away about his latest album Black Noise. As his fi rst album for London based imprint Rough Trade, it’s bringing the melancholy-prone artist to ever larger audiences. However, he’s simultaneously managed to retain his sense of adventure and penchant for experimentalism in the process of trading up. The name Black Noise refers to the inaudible rumbling which precedes major natural disasters such as earthquakes and tsunamis and as such, aims to imbue Weber’s latest work with a sense of menace or foreboding. Both previous Pantha albums, even in their more delicate moments, tend to indicate that this has always been present with or without the name, and it’s merely in the sound palette and compositional process that Black Noise fundamentally differs. “It was just a different approach,” Weber asserts. “It was a different approach to the sound, it was something that already pre-existed and I started from the pre-exist ing sound, whereas for This Bliss it was like sounds that were purely elect ronic. Sometimes I would use percussion sounds or sample sounds but it was basically an abst ract way of producing for this. For the latest one I really tried to get some reality into the virtual reality – to get some physical material, I wanted to have the sound like lying in front of your eyes and you can go with a microscope into the material. It’s for sure elect ronic and digital sounds but the layers start from a recorded sound, from a field recorded sound and this was the idea.” Composed largely from field recordings taken near a buried town in the Swiss Alps with his friends Joachim Schütz and Stephan Abry, Black Noise immerses the listener in a more organic soundscape than even his debut album Diamond Daze. Whilst working, the right company seems to help. “When you go to this kind of place you need a certain type of people who are not too over-excited about things and so I chose these people to go there to be my companions somehow,” Weber says. “They are both people

who are into being in the mountains and you have to like this; going for walks and going with all your inst ruments and gear and recording up on the hill… there is kind of an effort you have to make to appreciate the surrounding and the situation you’re in. Some people would just be annoyed. “I wanted to be outside and incorporate nature more, or make this st range symbiosis of natural sound and digital sound or analogue elect ronic sounds,” he explains. “I just wanted to be outside basically, this is where it all started. We just wanted to have two weeks of working but we weren’t sure if the material would be used for anything and not at all for Pantha. It was basically just to fi ll up our hard drives as we call it, so we would have sessions to work with in the future. You just take a walk around and discover things and then you start thinking and it’s like suddenly there’s a st ruct ure in reality that leads you to something that has to be told.”

WHO: Pantha Du Prince WHAT: Black Noise (Rough Trade /Remote Control/Inertia) WHERE & WHEN: Meredith Music Fest ival Sunday 12 December, New Guernica (Melbourne)

Saturday 11 December, Gallery Of Modern Art (Brisbane) Friday 17 December, Adult Disco at Civic Underground (Sydney) Saturday 18 December







ur name totally makes no sense,” Christoph Haller concedes. Sure, Swiss lads Haller and Marc Hofweber – better known as uber-cool elect ronic duo Round Table Knights – may have a name that means little to the average punter, but their moniker has history and meaning – sort of. “We act ually met at a hip hop concert in Switzerland. I was known as a scratch DJ and somehow Marc had heard of me. Anyway, this one night in a club Marc approached me and said he wanted a scratch battle challenge. I’d never seen him before and thought he was crazy but the next day we hooked up and started to make music.” Decisions made by elect ronic producers don’t always make sense. Long before they started to produce elect ronic music, back in their native Switzerland the duo were known as hip hop scratch masters. One scratch record has particular fond memories for the twosome. “Back when we played hip hop we heard a scratch record that said ‘round table knights’ over and over and over again. Marc said he liked the name, so we decided to name ourselves Round Table Knights. Sometimes Marc says it’s a st upid name that means nothing though and wants to change it!” Haller laughs. Despite their genesis in hip hop, the duo’s most recognised tracks thus far have been a merger of psychedelic, garage, blues and disco – all with a dist inct ively chugging house rhythmic undercurrent. The mish-mash has made the twosome a bit of a drawcard. Their club smashes, described as infect ious by bloggers, have included Hold Me Back, Calypso and the Cut To The Top EP. They’ve also produced a stellar remix of Tensnake’s Coma Cat and earlier this year signed to Jesse Rose’s Made To Play label. They’ve also rounded up some pretty good support from the likes of DJ Sneak, Laurent Garnier, Crookers and Riva Starr. So all up, it’s been a pretty good year for the boys from Switzerland. “It’s been the best year and is a dream come true. There’s been a heap of st uff going on and things continue to be busy,” Haller says. To keep things in check, Haller says there’s no pressure or expect ation for

2011 despite 2010 being a tagged as a “success”. “We’re taking things step by step and very slowly. Of course there will be pressure to continue our good work but we don’t want to turn into a hype act that only lasts for five minutes and is gone in a month or two.” Haller reveals that an as-yet-untitled debut album is imminent. “We’re hoping it’ll be released in February 2011. It’s not just an album that’s made for the clubs but it’s also an album people can enjoy at home.” Their strategy is to keep the entire album experience as varied as possible. “It would be boring if all of the beats per minute remained the same throughout the album. At the moment we’re house music producers. In the future that may change as it’s really about possibilities. The album contains some surprising parts as well as bits that some people may say sounds weird in the beginning. I guess people just have to listen. When you listen it all makes perfect sense,” he says.

WHO: Round Table Knights WHERE & WHEN: Revolver (Melbourne) Sunday 12 December,

Monastery (Brisbane) Friday 17 December, United Colours at GoodGod Small Club (Sydney) Saturday 18 December


Kanye West is reduct ively depicted as a monster egotist. ‘Ye “acts up” because his nervousness, exuberance and expectations get the better of him. He’s an unlikely pop star, an eternal self-doubting underdog. West decries that he’s misunderstood, misrepresented, and an object of (racial) hate, but critics have almost universally declared his bold fifth album, My Beautiful Dark Twisted Fantasy, a masterpiece. Even the cover art breaks from hip hop orthodoxy, presenting George Condo’s surrealist painting of a ballerina. Some are proclaiming it ‘maximalist’ hip hop – or hip-pop at its most artist ic. However, that surrealism is omnipresent. Blame Game loops an Aphex Twin piano piece and encompasses Chris Rock’s biting skit about the commodification of desire. MBDTF is materialising on the back of Kid Cudi’s illwave Man On The Moon II: The Legend Of Mr Rager – and both MCs critique the cultural preoccupation with fame as well as their own media const ruct ions and mythologies. Following Eminem, West articulates an existentialist hip hop. Obama’s “jackass” and Dubya’s nemesis authors a metacommentary – he’s a hip hop Borges. West is contradictory, oscillating between despair and defiance, narcissism and self-loathing, pariah and messiah, but that makes him more compelling – and believable. He’s funny and ast ute. Ironically, his confessional approach has influenced Taylor Swift, her cathartic Speak Now celebrity porn – a ‘princess’ rebels. Hip hop’s King Arthur has many knights at his table. A virtual choir performs on the processional All Of The Lights (Elly “La Roux” Jackson is credited!) and Elton John tinkles on the piano, West a capable conductor. Introduced by a fragment of a fract ured fairytale (Nicki Minaj in an English accent), the Mike Oldfield-inspired Dark Fantasy is the illest thing RZA has touched in years, evoking the drama of Wu-Tang Forever. Power, the fi rst single, is post-Paper Planes broken beat. For the posse-cut Monster, West is joined by an empathetic Jay-Z – although Minaj gleefully bumrushes them. The self-mocking (or mortifying) Runaway, a nine-minute epic, climaxes in a melodic auto-tune solo.

BROCKOUT Bass Culture with RITUAL


Calibre has come through with a new album of killas that reverts back to the st yle we know simply as ‘his’. Starting off with the title track Even If, this beautiful, st ring-laden roller complete with little motifs and Dom’s vocals does exact ly what you want it to and whilst I will admit it’s not breaking new ground, you have to ask – why does it need to? Flip for Rose and oh my, those pianos. Yes again, it’s a Calibre we know but it’s also a Calibre we love. Great drums, heavy on the bass and quite frankly if you can put this much class and finesse in to a tune, why wouldn’t you make more like ‘em? Th is one is so heavy on the flex I’ve just pulled it back three times. As De La said in Say No Go, “…it’s the joint – rewind that back!” On a side note, you can hear Calibre’s rest raint in the fact he did not voice this tune. I hear his vocal all over it. Maybe that’s another reason he is the master… Open Your Eyes is a neat little steppa (his drums sound tight on all these tunes by the way) with a subtle growl to go with analogue sonics, some 90s st yle house bass stabs to give a b-line melody and st ring stabs carried by a vocal beckoning you to “open your eyes”. With this album, Mr Martin has openly said it was a cathartic fleshing of emotion but with Acid Hands it’s a half stepping bass assault. Still keeping the funk, the acid lines roll out like Ali dancing around a boxing ring. You know no one is touching this but when it hits, it hits you hard. As we hit the final slate, Thirst Dub half steps also but damn, it’s a totally different vibe on this. Basslines Robbie Shakespeare would lament in his dreams, jazz chords delicately stabbing their way in to the sub- conscious of Ed Rush & Optical’s Wormhole era and skanks that would make the Upsetters proud. Delicate and brilliant. Th is one is the one for me… Gone Away is pure vibes! An intro with morphing sonics and vocal, ringing reverbed snare and pads all sitting deep in the background, beckoning the drop. What happens next is pure Calibre. Bouncing bass, ‘think’ hats and the giant step, pads rolling all the while too keep it low slug, eerie and beautiful. At the right time, in the right dance, this tune will be an anthem.



t’s probably hard to avoid pop music when you’re Swedish. Axel Willner certainly hasn’t managed to, but given he regularly puts this fate to good use by cranking out the occasional epic re-imagination of a golden oldie as The Field, we can probably forgive him. Just check out Action or Everybody’s Got To Learn Sometime and you’ll get the pict ure. Perhaps unsurprisingly, it was with a remix of Annie’s Heartbeat that he came to the attention of the good folk at Kompakt, who consequently set to releasing Willner’s music with gusto: starting with the Things Keep Falling Down 12-inch. It was the follow up – Sun & Ice – and the Kate Bush sampling Over The Ice which propelled him to the attention of the wider techno community. While Willner’s music is largely sample based, in more recent years his focus has shifted to a more organic approach to recording and live performance which culminated in his sophomore 2009 album Yesterday And Today. The laptop has over the past two years all but disappeared in his shows, the fusion of live guitars, drums and keys now typifying a performance from The Field – effortlessly dynamic, sinewy and energised yet unmistakably unique.

“It’s been with a whole band more or less for two years now completely, no laptop and just a band and that’s the performance step I’d like to stick with as it’s a lot more fun. It all started with me wanting to make it [more organic], that’s why I brought it into the studio after doing it live,” Willner explains. “The only instrument I play at the moment is a little bit of bass right now in this set-up. I do all the electronics, the samples, drum machines and beats. You can call me the conductor [laughs], I’m giving points and hints of what to do. It’s very open, that’s how I like it and that’s how they like it too. One follows the other but in the end they all follow me.” By extension, Willner now funct ions in much the same way when working in the st udio – though such time is currently thin on the ground for the new dad. With his Yesterday & Today tour drawing to a close in Aust ralia and the beginning of 2011 set aside to work on fresh material, that’s set to change rather soon and give him plenty of scope to apply lessons learned on the road. “Sometimes it’s good to give and take but you should also set up a little

bit of an agenda – not rules – but you should have some things clear from the beginning because it can create a lot of problems otherwise,” he muses. “We’re trying to take it easy and be easy about it. I haven’t put much thought in it but as I am from that school of having played with punk bands as a teenager it’s back to that. It is a little bit different if you fight a little bit more and sometimes it’s easy to be in that role and sometimes it is a little bit hard. We didn’t meet because we were musicians playing together, we met the other way around because we were friends so it was bit easier. “If I could change I would never go back. In the fi rst moment of creating it’s pretty nice to be alone but then bringing other people, other tastes, other harmonies, whatever that they provide is so much better and also much more fun.”

WHO: The Field WHERE & WHEN: East Brunswick Club (Melbourne) Thursday 9 December,

Meredith Music Fest ival Saturday 11 December, The Gaelic (Sydney) Saturday 11 December






was chuffed to mix such a legendary comp because so many amazing DJs have done the mixes in the past,” Ed Colman gushes. “Last year Freest ylers did some st uff and the previous guys were Stafford Brothers, so it was an incredible opportunity for me. Th is is basically a reflect ion of what we’ve been predict ing were going to be the biggest hits of the summer. We’ve had a huge year of good mainst ream hits. It’s not just European and American st uff though, we’ve got some Aust ralian tracks in there too because Yolanda Be Cool and Zoë Badwi have done so well” By ‘we’, Colman is of course referring to his star-st udded Party People team consist ing of Havana Brown and Hot30’s Charli and Pagey. Blaring across 63 radio stations across the nation, Party People serves up what’s hot and what’s not in the clubs to an audience of over 500,000 each Saturday night. “We also have guests in every week to do some mixing or just call into the show,” Colman adds. “We’ve featured some pretty big names like Carl Cox, Calvin Harris and David Guetta, and we try to cover all the turfs and all st yles. The music basically crosses from st uff that’s getting played at fest ivals to the clubs and at the parties. The show reaches over half a million people so I’m chuffed to be a part of such a massive program.” It’s been a long time coming too, according to Colman, who claims he purchased his fi rst set of turntables at age 14 from a Dick Smith Elect ronics store. “It makes me laugh to think back,” he chuckles. “They were without pitch control to get the beats in time and they were just these two plast ic turntables but I st ill tried mixing with them. I’m from the UK so before I got to Aust ralia I already had a background in recording and music product ion. There was a fair bit of knocking on people’s doors that I had to do but I was pretty confident because by then I’d had ten years experience as a st udio engineer and was quite lucky to have worked with the biggest UK artists of that time. ““I st arted working for MCM Entertainment – I’m working for

MCM Media now – as a program producer. Th ey were interest ed in my love of dance music so they gave me a show called Loaded, which I produced for four years before Party People came into exist ence.” And Colman’s never looked back. He couldn’t be more settled in his current home town of Melbourne, and says Aust ralia is not necessarily aware of its impressive reputation overseas. “I’m absolutely loving it here,” he st ates. “I think it’s one of the most fresh places in the world musically. When I left the UK it was going very st ale over there. The UK is st ill the hub of music and culture, but I love the spark and the enthusiasm of the Aussie crowds and the scene here in general – there’s nowhere else like it. Aust ralian summer fest ivals are renowned the world over – some of the biggest UK DJs always go on about the Aust ralian crowds and they can’t get enough of fest ivals like Summadayze. Aust ralia should be pretty fl attered about that.”

WHO: Special Ed WHAT: Wild Summer 2011 (Central Station/Universal)



Krystal Klear has come through with a last ditch effort at single of the year with this Tried For Your Love (All City) effort – and not because it’s that well produced or has the most fantast ic lyrics (in fact, it’s inst rumental), but because he’s kept us waiting over a year for the bloody thing. First premiered on Benji B’s Deviation program, the song, together with Boogie Wan, fits in very well with the original 80s boogie synth sound that’s going from st rength to st rength in this country at the moment. Bubbling perhaps a little hotter than the 80s sound is the 90s sound and Glasgweigan Hudson Mohawke delivers his most st raight-ahead dancefloor product ion in his Underground Resistance themed remix of the title track, which is sure to have early 90s ravers reaching for the Kleenex to wipe away the tears or mop up the jizz. Not unlike All City releasing a trendy boogie record, Elect ric Minds have stepped up their already top spec game and released a housenot-dubstep gem in Duff step’s Close 12-inch. Bravely going where no dubstep record has gone before by including a boogie remix and a minimal house remix on the fl ip, Close will hopefully entice lovers of all three disparate genres a little more in to each other’s corner. Whereas so-called ‘funky beats’ records of back in the day would provide mixes for each part of the evening, this one should have a little something for DJs playing after midnight – a welcome change in direct ion from a label that has put out some of the best of that nu-disco sound and looks ready to move on from it. Other notable releases to keep an eye or ear out for include The Terrorist Remixes from DJ Vadim, a newie from Joy Orbison, some UK bass and funky remixes of The Incredible Bongo Band, the lovely Tony Cook reissue on Stones Th row and some new compilations from Brownswood in the form of Bubblers 6 and Worldwide Family Vol 1. If you’re in need of refreshment and stellar tunes any Sunday over summer, I can recommend either my new, as-yet-unnamed session down at The Tilbury or Future Classic’s new jam at The Alexandria Hotel, which sees us high-five each other past Central to opposite ends of the town.




(Mobile Home/Shock)

ROBERT OWENS Art (Compost /Inertia)

Despite standing at the doorstep of 50, Robert Owens has never been more prolific. Though the first 20 or so years of his career produced only one album and several singles, Art represents the legendary Chicago-based house music singer’s second full-length solo album in the space of two years. Revered for his late eighties work with Larry “Mr Fingers” Heard (Bring Down The Walls) and Satoshi Tomiie (Tears), Owens once was the undisputed voice of house music, his tortured soul emotion and latent spirituality responsible for many a rose-coloured dancefloor fable. Though times have changed, age has not wearied the man who has returned to show off his versatility with a downtempo and housebased double album. Though his last album, 2008’s Night Time Stories, featured a different producer on every track, the majority of Art’s product ion is handled by Heard and British producer Atjazz, and is far more consistent for doing so. On the downtempo disc, Pipe Dreams and Black Diamond see Heard pairing Owens with slow breakbeats and acoust ic guitars while Counting Blessings journeys into righteous deep house. Atjazz, on the other hand, swings between the atmospheric dubby FX of One Love and cuddly Same Old Thing. Lyrically, Owens remains the man done wrong by the world yet willing to put his faith in a higher power that everything, is, one day, gonna be alright. The ‘‘house’’ disc spends much of its time in the techy, dark, dubby, percussive space occupied by Defected these days yet Heard is unafraid to take it back, dust ing off those old 303 acid burbles like it was ‘88 all over again. Though Owens’ voice over a 4/4 tempo remains as beautiful and nostalgic as ever on Art, it’s the dowtempo tracks that steal the show, suggest ing where the future might take him. DARREN COLLINS

Lyrics Born’s last album, 2008’s Everywhere At Once, was a st rong statement that the Californian MC was no longer interested in being pigeonholed as one. The set saw him experimenting with more song-based st ruct ures and dance-ish backings and he has pushed this even further on his new long-player As U Were. Messing with such things puts one at risk of falling into Black Eyed Peas-esque inane commercialism, yet Lyrics Born, despite his ability to craft a hook that can stay with you for weeks, continues to keep a foot planted squarely in the underground. As U Were opens with three tracks that lean heavily on trendy retro sounds – Kontrol Freak and I Wanna B W/U both use elect ro-disco elements while We Live By The Beat imagines the meeting of Afrika Bambaataa

KEITH! PARTY Roof Raisers (Victoria Rocks) Self-proclaimed raverap revolutionaries, Melbourne posse Keith! Party close 2010 with the release of their sophomore album, Roof Raisers. Initially the resultant coming together of elect ro-pop act Talkshow Boy (Adrian Trajst man) and Oz rapper Cathead LaQuack (Keith McDougall), the outfit now boasts six members (and many more close contributors). The album follows on from where the roof raisers’ record debut, It’s A Mega World!! (2007) left off, with an eclect ic drenching of all things 8-bit, grime , breakcore and more. Track opener Sexy Is What People Call HD acts as a bouncy re-introduct ion to the band’s sound and representatives, and the subsequent 11 tracks enjoy a healthy dose of genre mash-up and variety, inside what unfortunately emerges at album’s end as a rather formulaic and st ylist ically mechanical presentation of underground Aussie hip hop. We hear an occasionally elect rifying murmur of sounds reminiscent of the Beast ie Boys, MF Doom, Molliger and Toxic Lipst ick… even perhaps Brian Eno. It’s with suggest ion to these aural and cerebral delights however where comparison ends, leaving the listener with very little to hang onto and truly relish. CARLIN BEATTIE

and Teena Marie. Coulda Woulda Shoulda on the other hand re-lights that early 1980s west coast funk-soul sound of Rick James and The Mary Jane Girls while Oh Baby‘s frenetic funk breaks suggest The Dap Kings with a twist. While the overall sound is cool, As U Were’s problem is a dist inct lack of memorable songs. A pall of woe-is-me grumpiness hangs over much of it, as I’ve Lost Myself and Pushed Aside Pulled Apart deal with the ills of the indust ry and LB’s st ruggles to stay grounded while Lies x 3 frets over a hurtful betrayal. And then there are tracks that are just plain bad, such as the rocky I’m The Best and lethargic Pillz. Hopefully As U Were has allowed Lyrics Born to get all his woes off his chest and he can go back to what he does best – creating funky party jams on which we get to hear both his brilliant MCing and singing. DARREN COLLINS


(Hospital/Inertia) The drum intro of Logist ics’ 2004 hit Together acts as the perfect countdown for what promises to be a satisfying journey through his collected singles and B-sides from his six years of service with the Hospital Records camp. From there we’re launched on a Kubrick-st yle voyage into the cosmos, starting with the title track with its eerie vocal samples sounding as though they could be coming from a thousand light years away.The mood and ambiance are well and truly set as we move onto dancefloor anthem The Trip and the massive collaborative efforts with London Elektricity on Search Engine (with its sample from the 1959 fi lm Journey To The Centre Of The Earth) and Cyantific on Flashback.Also included are the 2006 release Blackout and its B-side Krusty Bass Rinser, which as the name suggests drops a wobble funk bassline fatter than Jabba the Hutt. Logist ics certainly missed his calling as deep space entertainer, which is lucky for us terrest rials as we have another full-length release from the Cambridge DJ/ producer that is perfect for late night (or very early morning) dwellers. ESTELLE GONZALEZ



ONE TRACK MIND MARK HENNING Furious George (Cityfox)

Dark but funky, hypnotic but jackin’, spacious but melodic, Furious George is yet another example of Mark Henning’s incredible talent when it comes to writing tech house for both the feet and the mind. The shuffly, reverbed 909 percussion and gnarly sub bass keep the groove rolling while washed-out Roland Jupiter pads add depth and warmth.


(Def Jam/Universal) Oh RiRi. Gone are the days when she smilingly asked Mr DJ to play it again in her native Barbados slang. We’ve watched her fivehead become more and more proportional as her hair became shorter and redder. We’ve seen the rise and demise of her young love affair with (and the career of) Chris Brown. She’s changed brollies for us forever. So what exact ly is it that about the 22-year-old that makes her such a mega super star? Is it her dist inct ly mono-toned voice used to belt out incoherent, repetitive mantras to create the perfect earworm? What’s My Name featuring Drake already has us singing “oh na na” and dance track S&M “na-na-na come on” will soon be doing the same. Perhaps it’s her effortless talent in switching back to her Caribbean

VARIOUS/ MODESELEKTOR Modeselektion Vol 1 (Monkeytown/ Inertia)

Last year’s Body Language 8, as mixed by Modeselektor, was one of the highlights of 2009. With Modeselektion Vol 1, the German duo’s latest mix and fi rst on their own lable Monkeytown Records, new songs by friends (well, those they release on their label) are given air – a lot having already been released on limited run 12-inches, now pulled together for this eclect ic mix. Kicking off with a new Siriusmo track in Das Geheimnis, the compilation is an exercise in the glitchy hip hop/tech hybrid they’ve become known for, however plenty of dub and dubstep grooves (Tadd Mulinix & Daniel Meteo’s The Good Star is a good’un) get thrown in the mix. The stand-outs are, perhaps unsurprisingly, the Siriusmo and Apparat contributions, as well as Modeselektor’s own VW Jetta, which add weight to a compilation light on ingenuity and range. If you’re looking to explore Modeselektor’s family in more depth, this is an apt place to start. If you’re hanging out to hear what Modeselektor themselves have up their sleeves, you’ll probably be disappointed. DCR


accent which gives her that extra ‘cool mon’ factor. She inst ructs us to “let the Jameson sink in” in Cheers (Drink To That) and chants “rumpapapum” in Man Down (quite possibly an attempted lyrical adaption of Marley’s I Shot The Sheriff and Queen’s Bohemian Rhapsody). Is it her allegedly, million dollar insured pins? Or simply the consistent use of reiteration and familiarity? What ever it is, she has got that “risky artist without act ually being musically risky” element down pat. After all, the world has gone gaga for GaGa, right? It’s always great to hear the ‘other side’ to much loved collaborations. Love The Way You Lie (Part II) is particularly good, even if it’s just to hear Eminem’s chilling verse at the end. From the playground, jump rope bounce of Raining Men featuring Nicki Minaj to the classically engineered sound of Fadin’, LOUD is, in true RiRi st yle, dest ined for radio play. JANN ANGARA

VARIOUS/THE BIG PINK Tapes (!K7/Inertia)

Never in recent memory has there been a blogger’s wet dream as intense as The Big Pink’s new Tapes compilation. If, like other past y, slightly alarming generationwhy-bothers, you’ve spent the good part of this year trawling the depths of the internet looking for all sorts of witch house/drag and post-dubstep elect ronica, this here’s your crown jewel (unless you’re so intense that you consider anything released is selling out, and therefore “inauthentic”, man). It boasts one of the finest songs to emerge in the past few years in SALEM’s Dirt, as well as entries from the likes of jj, Gang Gang Dance, Joker, oOoOO, The xx, and a sexy remix by These New Puritans this is either the most erotic record released this year, or one that will make you want to kill yourself. Since this review is being written, you obviously know where we stand. Self-indulgent, yes, but who cares when it’s this good? And if this is an indication of where The Big Pink are heading with their second direct ion, we’re impressed. DCR

HEDFLUX Rhythm Prism (Broken Robot)

Fans of the 2004-6 era of breakbeat are going to love this. It’s the kind of breaks that is sorely missing these days: chunky, techy, dark, rolling and more about subtle change than huge, obvious drops. Bizarre robotic effects and stabs abound, complementing the punchy kick, rolling bassline and twisted synth pads.

DANZA MACABRA Vanishing Mediator (Todd Bodine Mix) (Danza Macabra Records)

Todd Bodine turns a big room stormer into a deep yet energetic techno roller. The bassline is simple but effect ive, relying on a deep, off-beat sub bass stab and a subtle 303 stab, which carries the tight, crisp percussion beautifully and leaves plenty of room for the warm pads, st rings and synth stabs to do the leg work. ANDREW WOWK

3DPLAYLIST 3D 1. My Beautiful Dark Twisted Fantasy KANYE WEST 2. Hypnotize U (Nero Remix) N*E*R*D & DAFT PUNK 3. Coma Cat TENSNAKE 4. Chrysalis Records EGYPTRIXX FEAT TRUST 5. 3 Monde STEPHAN BODZIN VS MARC ROMBOY 6. 4x4=12 DEADMAU5 7. Need Your Love FROMAGE DISCO 8. Regenerate (Pan-Pot Remix) BOOKA SHADE 9. Beautiful CHRISTINA AGUILERA 10. Fabric 20 VARIOUS/JOHN DIGWEED



ainting on walls isn’t anything new. Aust ralia’s indigenous population etched visceral images onto cave walls in the Arnhen Land and Kakadu regions 40,000 years ago. 60,000 years before that, South Africa’s Blombos Cave was a hub of illust rations. “Modern st yle” graffiti was fi rst recorded in the ancient Greek city of Ephesus. Locals said the images, drawn onto a mosaic archway in the city and vaguely resembling a heart, footprint and number, were advertising a nearby brothel. Others called it creative expression. Here begins the most timeless of social controversies – Art vs Vandalism, the motives behind it, the government bodies regulating it and the educational processes that are intrinsically integrated. Spice, a Sydney-based Youth Recreation Officer and Community Artist, is no st ranger to the indust ry, her passion for graffiti derived from

a love of the associated hip hop culture. Spice has no shame in declaring that graffiti is “what she does”, but she’s aware of the heavy burden social st igmas have on others who watch over the ever developing scene. “If people are more comfortable with the term ‘st reet art’ as opposed to ‘graffiti’ then so be it,” she resolves. “But no matter what the content of the mural, the locations it’s done, or whether it’s legal or illegal, we will always be faced with that st igma purely because our tool of the trade is a spray can.” Specialising in aerosol art, Sydney freelance artist Deb concurs. “Writing on a wall has been around since ancient times – the original graffiti crews who used aerosol cans, doing tags and throw ups panels formed decades ago in New York City. It rapidly became a popular culture, especially to those interested in hip hop,” she says. “To some it is an art form worthy of being displayed in galleries; to others it’s merely vandalism.” “‘Street art’ is pretty much a dirty word within graffiti circles,” says Luke Shirlaw, Marketing Director of Brisbane based company Ironlak, whose aim is to supply artists with the best tools of the trade and facilitate artists to push boundaries artist ically. “There is a level of imagery that people can relate to, whereas graffiti as an art form is harder for people to understand and see value in. Graffiti is commonly associated with tagging or even mindless vandalism like breaking windows, so that hinders societal mindsets. The media plays a huge role in these negative perceptions.” Domski, owner of Melbourne hip hop shop Th is Is It, agrees that the media, specifically the internet, plays a part in glorifying illegal graffiti. “Unfortunately kids fi nd out more or less from the internet – it’s just the way they have been brought up. Years ago it was simpler as your local legends handed down info and photos,” he recalls. “Trouble is these days the ‘net shows it in an inst ant way, it lacks the romance involved in following the path of the writer and what he/she learns. We all came together in one way or another without phones and internet. It was the pledge.” Victoria Police’s Youth Resource Officer for Glen Eira, Lisa Prince, works closely with troubled youth and youth related issues, meeting the needs of modern policing, operational policing and liaising with the local community and government. “In my opinion, there is little difference between [st reet art and graffitti]. I acknowledge that some graffiti appears more artist ic, depending on whether it’s a tag, scribble or a well-designed piece. ‘Street art’ is often associated with these more colourful and artist ic endeavours,” Prince says. “What separates them for me is whether permission has been given by the owner to mark their property. As a police officer I can’t see illegal graffiti as ‘art’.” Transit Safety Division Senior Const able Paul Luck agrees. His work both as an analyst and invest igator with the Transit Divisional Response Unit has exposed him to both. “Street art is commissioned by a council, a business or individual where permission is given and an idea comes to life to serve a purpose. It involves a high degree of skill and talent. Graffiti on the whole has none of these qualities,” he argues.



“It is self indulgent, often mindless and its sole purpose is to deface another’s property for their own gratification. “Humans can leave their mark on the world in many ways – the majority of the time it’s in a positive fashion. There is only a small percentage of graffers that have the skill and talent to leave a positive ‘mark’ on the world through their legal pieces. For the others, I believe it’s purely wanton dest ruct ion of another property masking some deeper issues.” Sofles has worked in the scene for over a decade and evolved through all art forms including the more commercial. “It’s been happening for such a long time and I think anyone who has written on a wall can be honest and say that they enjoyed it. The first time I did it, it was a rush, it’s something that you’re doing with no rest raints and with no permission. I think one of the things that attracted me was that I was a bored teenager. Everyone wants to be recognised, so leaving a mark or an ‘I was ‘ere’ will continue.” The rationale behind leaving one’s mark comes with consequences, as Senior Constable Luck explains. “The consequences vary




depending on the particular incident, the value of the associated damage and the individual’s history. Some fi rst time offenders, if under the age of 18, may be fortunate enough to be offered a spot on a police or court initiated program such as ‘Ropes’ which is a day spent with police learning about ‘choice and consequence’ in an outdoor environment. “There are also consequences in relation to fines imposed by the courts, restitution for those who have to clean up the damage and in some cases jail sentences are imposed. I do believe these consequences fit the crime; the vast majority of graffiti is not a wayward artist trying to get his name in lights. These are youths who choose to create as much damage as possible in the smallest amount of time.” Sofles notes the benefit of educating young people to st ick to a path that won’t involve run-ins with the law. “I’ve been through the court system, so I


understand how shit it is for some of these young people. When you’re young you just want something to do and odds are you ‘f ’ up in these years. I think it’s part of growing up,” he reflects. “When I was in school there was no graffiti education, I don’t think there is now either. I think graffiti is one of those things your teacher or parents just expects you not to do. It’s like drugs, but of course there is a heap of education for that.” “I think the older generation of artists themselves could hold some more responsibility towards the passing down of information if they want that negative stereotype to be less prominent,” Spice says. “I run programs for young offenders and its prime focus is to give legal opportunities, personal encouragement, guidance and mentoring, not just as a graffiti writer, but as a respect ful person. In my experience in running these programs for over 15 years, I am happy to say that the benefits not only lie in what the community see as a preventative program, but also in the attitude and approach towards graffiti and personal development.”

Jase Beathedz, an aerosol artist with 22 years experience, was invited by Prince, CPCS, Monash Uni and Melbourne Racing Club to assist in the coordination of Th e Mural Project . “It’s sad to say that for some kids, graffiti is all they have and if there are no avenues to channel this energy then many turn to drugs and alcohol and other crimes,” he explains. “At this st age I choose to paint within the rules so I have life, longevity and the freedom to be creative. Th at being said, Asset Protect ion Units and Transit Divisions trying to erase graffiti are merely sweeping it under the carpet. For every writer that gets bust ed, there are hundreds of others waiting for their moment to express themselves.”

THE OLDER GENERATION OF ARTISTS THEMSELVES COULD HOLD SOME MORE RESPONSIBILITY TOWARDS THE PASSING DOWN OF INFORMATION IF THEY WANT THAT NEGATIVE STEREOTYPE TO BE LESS PROMINENT.” Ironlak’s Shirlaw sees long term benefit in reaching out to the youth. “We’re always sponsoring murals, events, art shows and other community related projects,” Shirlaw says. “We’ve helped facilitate workshops for disadvantaged kids and we’ve supported creative pursuits for youths in deprived areas.” Donny Pelsoczy teaches at Melbourne’s Caulfield Park Community School and assists in the co-ordination of programs for st udents, many of whom have had misdemeanours with the law. “CPCS has been running graff programs for close to 20 years. It is an art form which many at-risk youth can relate to and associate with. It is the art of the underprivileged people of our society. It is a way for them to mark their mark,” Pelsoczy says. “Let them battle it out. Graffers know its illegal, and cops have to do their jobs. The war will continue while graffiti exists.” Officer Lisa Prince works closely with CPCS. The Mural Project implemented in July 2010 was in response to graffiti tags dominating major walls in Caulfield East, areas which had a general sense of squalour and a heightened fear of crime. Coordinating with CPCS and well known older graffiti artists, The Mural Project identified key stakeholders and those most at risk of offending. “It was a condition of inclusion that the st udents not offend during the course of the project ,” Prince says. “Th is probably had the greatest effect on their behaviour as they all wanted to be involved so they stayed out of trouble, even if only for a short time.”

Renowned artist Sirum believes that more ‘legal spaces’ need to be provided. “There is very limited education and resources available to those interested in legitimate graffiti. I believe this is because the government doesn’t want to be seen as supporting the art form due to its zero tolerance.” With programs like The Mural Project, and older respected artists leading more community based programs, equilibrium between police, government, old school artists and fresh faced youth might foster. “The prime responsibility of any police officer is to uphold the law. While young people are thumbing their nose at the law and disrespecting other people’s property this will never happen,” Prince states. “I love the idea of using street artists to run seminars, as long as they don’t glorify the idea of graffiti crime. It’s obvious these artists are highly respected by our youth. [And] some frontline police could do with a bit more education about youth culture and could be a bit more tolerant towards young people as a whole.”



JC WHERE AND WHEN WAS YOUR FIRST SET? “A long time ago, 23 years ago at a local pub in Southeast London.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “One that has stood the test of time is Gwen McRae – All This Love That I’m Giving.” WHO ARE YOUR FAVOURITE DJS? “Mr Th ing, Andy Smith, Keb Darge, Norman Jay, Gilles Peterson, DJ Krush, Cash Money, DJ Revolution, J Period.” FAVOURITE CLUB TO PLAY? “Tonic Lounge, Kings Cross.” WHAT’S YOUR BEST ALL TIME GIG? “The Harbour Funk Boat Party 2008.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “Can’t think of one that stands out in particular, but there is always plenty of drunken madness to look at.” WHAT’S THE WORST REQUEST YOU’VE GOT? “Metallica. Also depending on where I play the usual st uff – Lady GaGa, 50 Cent etc.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “They like it, last time they were in Sydney my dad came to most of my gigs.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “More good venues.” WHAT GIGS HAVE YOU GOT COMING UP? “Soul Power at Tone Friday 10 December, Tonic Lounge Saturday 11 December, Deep Forest Funk at Kangaroo Valley Saturday 11 December, Funkdafied Deck on the High Flyers Boxing Day Boat Party Sunday 26 December, Ravesi’s Bondi New Year’s Eve, High Flyers Little Secret Saturday 1 January, Ravesi’s Bondi Sunday 2 January.” PHOTO BY CARINE THEVENAU


DJ STIFFY’S WIDE WORLD OF SHORTS SUCK MY DICKILEAKS So, anyways, I’m particularly impressed with Julian Assange’s ability to play the somehow innocent vict im, with his behaviour running along the lines of, “I can’t believe these rape charges have suddenly appeared out of nowhere, I mean, all I did was release 2.4 million military intelligence secrets, and really, the CIA are such bad people for being annoyed with me and don’t you think they’re overreact ing a little?”. Honest ly, kudos to the guy for whatever it is he’s putting out there (I haven’t act ually looked at it because a) it doesn’t feature any three-way act ion, and b) all it’s going to say is something like “governments are evil” – tell me something I don’t know, motherfucker) – but if you’re going to take on the world’s biggest intelligence agency at least don’t act like some fucking pious git from a private school. Act like a bad ass. Or at least act like you’re basically doing this to pull chicks, which is basically the only reason guys do anything. I mean, isn’t this all about “transparency”? SUCK MY CRICKILEAKS So, anyways, I got totally excited last weekend on account of the fact that the goddamn Ashes are back and it was basically time to get the dildo-headed Gray-Nicolls out and see how far I could manage to go with my ‘‘Full Toss’’... and then Aust ralia goes and friggin’ draws the fi rst test with those annoying malnourished British/South African cricketers. My solution? Mandatory cigarettes. The last time that team was any good was when at least one of them smoked cigarettes. Imagine what would happen if all of them did. YES WE CANCUN If you’re interested, there are some things called ‘‘climate change negotiations’’ going on in a town in Mexico called Cancun, which is generally famous for large numbers of teenage college st udents getting utterly shitfaced and then appearing in potentially Oscar-winning titles such as Drunk Girl GangBang 36. So, anyways, remember climate change? About 12 months ago we were getting told that we would all be sunburnt, frozen, dying of hunger and dead in 12 months unless we all managed to generate a ‘‘shared vision’’ on the future of the planet, by roughly 35,000 arseholes who ruined everyone’s Christmas shopping in Copenhagen, made even more painful by the fact that Christ y Turlington turned up and decided to give everyone her opinion on climate change and how we could solve it, which seemed to involve something to do with spending more time in your personal yoga st udio after you’d driven there in your $35,000 Prius. So, anyways, the point is that this year, no one famous has turned up. You know why? Caring about climate change is for rich people. And being rich ain’t cool anymore.

DANCE MUSIC HUB CHART 1. Smash The Pressure DEEKLINE 2. Hello THE POTBELLEEZ 3. It’s My Day (Bodybangers Remix) KLAAS 4. Freefallin’ (Denzal Park Remix) ZOË BADWI 5. Barbra Streisand DUCK SAUCE

6. Let’s All Chant ADDY VAN DER ZWAN FEAT MICHAEL ZAGER BAND 7. Dodge City VIPERCORPS 8. Venomous VIPERCORPS 9. Dodge City (Audio Tsunami Remix) VIPERCORPS & AUDIO TSUNAMI 10. Keep On Singin’ JAYL FUNK


Any new material from The Bird gets us in a lather, and this live st udio jam between Ben Walsh and Simon Durrington sees the Aust ralian live elect ronic masters try their hand at dubstep – with typically devastating results. The Live Dubstep Sessions EP is coming soon, but you can download this jam at now...





WHAT INSPIRED YOUR DJ NAME? “We used to run a party called Ping Pong which was held at Soho and we had some of the biggest internationals in the world come and play at our event.”

WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “Nothing really too weird off the top of my head. I have seen a speaker fall on a DJ, that was pretty hect ic.”

IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Good solid house music.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Carte Blanche feat Kid Sister – Do! Do! Do! (Laidback Luke Remix) and John Dahlback – Cairo (Original Mix).” WHAT MADE YOU START DJING? “Partying at KINK at Arthouse.”

WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Ohh don’t get me started, have heard plenty. I think I heard an Eminem vocal over Take Over Control (Afrojack remix) recently, that has to be one of the worst.”



WHERE & WHEN: Sunburnt Christmas at Bondi Pavilion Saturday 25 December

SPANK RECORDS CHART 1. Best Before 2008 THE LOVEBIRDS 2. Early Works Part 2 RECLOOSE 3. L’hopital DOP 4. Temporary Th rillz SPACE DIMENSION CONTROLLER 5. Captain My Captain PAN-POT


6. I Wait For You JAY HAZE 7. Sweat (On The Walls) (Remixes) JOHN TEJADA 8. VCR (Four Tet Remix) THE XX 9. Void 23 RAMADANMAN 10. Marilyn’s Gold JACQUES RENAULT

As Sidney “Syd” Deane in White Men Can’t Jump, J Lo’s lover in Money Train and the formidable Blade in the blood thirst y Blade Trilogy, Wesley Snipes has a solid body of work under his belt. For over 20 years the actor, fi lm producer and martial artist has been bringing dynamic characters to life and making a name for himself as an on-screen act ion hero. However in real life the long arm of the law has caught up with Wesley Snipes and the ending looks like it may not be one he can karate kick himself out of. Last week the 48-year-old actor was ordered to surrender at a federal prison in the US state of Pennsylvania to begin a three-year sentence for tax evasion after appealing the case several times. Snipes is reported to have failed to fi le tax returns from 1999 through 2004 and was charged in 2008. In addition, Snipes was accused of using fict itious bills of exchange and fraudulently obtaining tax refunds. Wesley joins a big group of highly paid celebrities who have failed to pay their taxes including Nicholas Cage, Burt Reynolds and Marc Anthony. Given that the guy has earned $40 million dollars since 1999 we don’t have a whole lot of sympathy...



THE IDEA BEHIND OUR NIGHT IS… “Sydney’s newest nightclub launching on Saturday 11 December, bringing Oxford St back to its old days. Hopscotch is like an outrageous house party in the middle of the city. Pretty much anything goes and we are pushing eclect ic, eccentric and just fun in general. Big local and international acts over the summer!” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Light Year, Beni, Indian Summer, 3Hundreds vs Jamie Whaat?, Awkward Boys, 14th Minute, Chevy Bass, Th ree Fingers, Jordan F, Cunning Hunters, Matt Sav, Nick Walsh.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “More surprises and epilepsy inducers than a skins party.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “A house party in a club, the Amazon, super fun party jams, your mother’s scream when you go on your fi rst date.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “An always changing and always fun atmosphere with the best national and international performers rolling through.” WHERE & WHEN: Hopscotch at 169 Oxford St Saturday 11 December


WHERE & WHEN: Minist ry Of Sound Classics at Ivy Saturday 1 January ON THE HOUSE PLEASURE CONTROL (Bright Star Records), 1986. “One of the fi rst records I bought! Still fresh after so many years. Chicago legends Marshall Jefferson on product ion and Ron Hardy on the mix. Beautiful vocal arrangements, an absolute timeless classic!” GLENN UNDERGROUND HOUSE MUSIC WILL NEVER DIE (Cajual Recordings), 1996. “Undoubtedly a classic for all the deep house heads. Takes me back to all those wonderful sweaty nights at the Underground Café in the 90s. A basic rhythm but sophist icated st rings and harmonies make this simple tune an essential masterpiece!”


TELL US ABOUT YOURSELF... “I’m an illust ration artist. I lived in Sydney’s inners west until a few years ago, when I moved to a small coastal village on the NSW min-north coast. The change was extreme, beautiful, but a pretty big culture shock. It forced a shift in my work, from people’s st range personal habits on public transport, to the just-as-st range natural world.” THE IDEA BEHIND YOUR WORK IS… “Seeing something and becoming captured by things/moments/people that other people usually wouldn’t even notice. I like to transcribe those onto paper and challenge viewers to notice once they are looking direct ly at it.” CHOOSEN MEDIUM AND WHY? “I couldn’t get by without my little old yellow pacer pencil from the 80s, good quality watercolour paints, and yummy thick cotton cellulose paper.”

KASKADE GONNA MAKE IT (OM Records), 2001. “A st unner from San Fran’s Ryan Raddon, his best work to date. I’ve seen grown men in tears singing the chorus to this beautiful work of art. An uplifting, emotional piece of perfect ion that proves the power of house music decades after its birth.”


IMAX DOUBLE PASSES IMAX Darling Harbour is gearing up for an immense summer with the release of Tron: Legacy 3D on 16 December, and Megamind 3D on 26 December. Th anks to IMAX Darling Harbour we’ve got five double passes to give away, valid until the end of January 2011, to see a fi lm of your choice. For your chance to win one email with ‘IMAX’ in the subject line. Entries close Friday 10 December.

DESCRIBE THE CREATIVE PROCESS... “An idea, followed by lots of thinking, rough sketches, a detailed drawing (with plenty of rubbing out and re-drawing), then painting in the colours with watercolour paint.” WHAT DO YOU WANT AUDIENCES TO LEARN OR FEEL? “It depends on the drawing. Each one is different. But I do want people to slow down and take the time to see and feel what’s behind the initial image.” INSPIRATIONS? “Nature, oddities, relationships, and other artists.” NEXT PROJECT? “Painting on a teapot for a group teapot exhibition, travelling around the country next year.”




JOHN FARNHAM AGE OF REASON (Song BMG), 1988. The highest selling album in Aust ralia in 1988 was none other than John Farnham’s Age of Reason. Following his #1 album Whispering Jack, this release debuted at number one in August of that year and stayed on top for eight weeks. Lead single Age Of Reason and Two Strong Hearts were the two of the album’s standout tracks. Adding icing to the cake, Farnham took out Best Male Artist and the Outstanding Achievement Award at the ARIA Awards that year.


NICKI MINAJ PINK FRIDAY (Young Money), 2010. Trinidadian rapper Nicki Minaj’s debut st udio album Pink Friday dropped late November through Lil Wayne’’s label Young Money Entertainment. Minaj’s dist inct guest verses on Kanye West ’s critically accaimed album My Beautiful Dark Twisted Fantasy created a crazy buzz in anticipation for Pink Friday. Lead single Check It Out includes vocals by Black Eyed Peas’ front man as well as Girls Aloud pop singer Cheryl Cole. English music prodcer Bruce Woolley is credited as a writer on this track – he also just happened to be the man behind Farnesy’s Two Strong Hearts over 20 years ago.


ROBBIE WILLIAMS/GARY BARLOW SHAME (Virgin Records), 2010. Shame is a tune by Robbie Williams and Gary Barlow, taken from Williams’ second greatest hits compilation album, In And Out Of Consciousness: The Greatest Hits 1990–2010. The single marks the first time that both Barlow and Williams have performed together on a song since the latter left Take That in 1995. The track was written by pop record producer Trevor Horn who also co-wrote Niki Minaj’s hit single Check It Out with Bruce Woolley.


THE HANDY MAN CAN It’s a sad cliché but since we got Foxtel inst alled in our bedroom, my partner and I act ually fi ght over the remote. Th e basic problem is that we want to watch different things. She wants to watch the Lifest yle Channel, which always features handy, cheerful, motivated people doing inventive household renovations. Watching these shows doesn’t help me at all. I am not a handy guy and I can’t be bothered to renovate anything. They’re always making different st uff on Lifest yle Channel, but the one thing they’re all making is me look like a fucking arsehole in front of my girl. So as soon as I get a chance I change channels. I prefer us to watch the Crime Channel in bed together, because the guys on the Crime Channel make me look very impressive by comparison. Watching a polite, buff handyman build a new outdoor entertaining area is always going to lead to a fight in my house. But we can both agree that I’m more impressive than some loser from Alabama who killed 23 prostitutes. I might not be able to fi x things around the house, but at least I’m not a Goddamned murderer. A really good night in my house is when the Crime Channel screens a show about a handyman who kills a bunch of people. It happens more often than you’d think. Being a handyman goes hand-in-hand with being a good serial killer, because they have the tools, the know-how and the motivation to dismember and hide a dead body better than the rest of us. If that were me, I’d just prop the corpse up on the couch, spray it with Glen 20 and hope no one noticed. Handymen know how to bury them under that new outdoor entertaining area. I hope that intercutting between Lifest yle and the Crime Channel is giving my girlfriend a curdled view of handymen. I want her to look at a handyman on Lifest yle and see a dangerous and cunning predator, rather than seeing the guy she should be dating instead of me. Some people might think it’s pathetic to spend your life waiting for a TV show to come on about a DIY expert who murders sex workers. But I guarantee it’s not as pathetic as spending the weekend re-tiling your bathroom. DAVE JORY


News Limited columnist Andrew Bolt will face court from next Monday 13 December on charges of racial vilification for writing an article about fair-skinned Aboriginal people entitled ‘It’s Hip To Be Black’. Bolt claimed that Aboriginal people who have mixed racial heritage identify primarily as Aboriginal because it gives them a step up in the world. Using people like Bindi Cole, Annette Sax and Tara June Winch as examples of fair-skinned Aboriginal people who are successful artists and authors, he asks his readers if they can’t see that, ‘‘the choice to be Aboriginal can seem almost arbitrary and intensely political, given how many of their ancestors are in fact Caucasian?’’. Oh, Andrew Bolt, how ast ute you are. Isn’t it just a world gone topsy-turvy when people are act ually proud of their Aboriginality. Whatever happened to the days when being indigenous was shrouded in shame and secrecy – the sort of thing that you tried to lie about for as long as possible, and then submitted to general ost racising and unfair social stereotyping?

And who could blame Bolt for longing for those good old days? After all, when you’re an overweight middle-aged white bloodnut, you really do need to blast anyone attract ive, talented and successful right out of the water if you want to get a decent chance of being considered fashionable and a role model. The group suing Bolt includes at least seven Aboriginal people who Bolt claims look white, even though they identified as being Aboriginal. The group believe Bolt has breached Victoria’s Racial Vilification laws, and want both Bolt and the Herald Sun to be rest rained from publishing similar material in the future. Bolt appears to equate the celebration of Aboriginality with a rejection of whiteness, and even accuses fair-skinned Aboriginals themselves of being ‘‘racist’’. So the question Bolt seems to be asking is this – why do Aboriginal people have to be so st ubbornly like themselves, and so frustratingly unlike Andrew Bolt? Until that day comes, I have a bad feeling that Bolt is never going to give up. HOLLY HUTCHINSON


DANIEL STRICKER FROM MIDNIGHT JUGGERNAUTS REFLECTS ON TOURING THE CRYSTAL AXIS ALBUM AS THEY PREP FOR THEIR 2010 INTERNATIONAL SWANSONG AT ZOUKOUT. HOW DOES THE CRYSTAL AXIS SIT WITH THE BAND SIX MONTHS ON? “For us it was such an interest ing experience making this album. We really pushed ourselves to experiment with sounds and direct ions – so having been able to tour that and recreate that live has really given the album a whole other life – it’s taken it even further. It feels like it only continues to grow, and I guess influence all the new material we write from here.” WHERE HAS THE CRYSTAL AXIS TAKEN YOU IN 2010? “We got to go to Colombia a couple of weeks ago which was really cool. Anywhere in South or Central America is always amazing. People just really appreciate bands coming down there. I end up coming home covered in talismans and trinkets – Aztec gold.” WITH A GIG LIKE COLOMBIA OR ZOUKOUT, DO YOU HAVE TO TAILOR WHAT YOU PLAY OR CHANGE THINGS UP FOR A CROWD WHO MIGHT NOT BE SO FAMILIAR WITH YOUR MATERIAL? “We’ll probably end up doing 90s house covers mixed with prog jams for an hour – that always goes down well.” THERE’LL BE OTHER LIVE ACTS LIKE BOOKA SHADE AND LINDSTRØM PLAYING AS WELL – DO YOU EVER GET A CHANCE TO SWAP NOTES WITH THESE SORT OF ARTISTS WHEN YOU TOUR? “I guess you end up making friends with a lot of people on the touring fest ival circuit – it’s like one big circus. I like both those guys so will be good to check them out again.” WHERE CAN AUSTRALIAN FANS SEE YOU OVER THE SUMMER? “We’re playing a couple of fest ivals – Playground Weekender, Pyramid and a couple others – but mainly we’ll be hanging on the beach writing with Kaoss Pads and elect ronic harps.” WHERE & WHEN: ZoukOut 2010 at Siloso Beach, Sentosa (Singapore) Saturday 11 December, Pyramid Rock Fest ival Wednesday 29 – Saturday 1 January, Playground Weekender Thursday 17 – Sunday 21 February




AHHHHH ZOUKOUT! IT’S NOT JUST AUSTRALIA IN THE GRIP OF SUMMER FESTIVAL FEVER – SINGAPORE IS ALSO PREPARING FOR AN INFLUX OF DANCE MUSIC HEAVYWEIGHTS FOR THE TENTH ANNUAL ZOUKOUT, AND THE ZOUK CLUB’S HEAD OF MARKETING AND EVENTS TIMOTHY CHIA TAKES 3D WORLD BEHIND THE SCENES. WHY DID THE ZOUK CLUB DECIDE TO BRANCH OUT INTO A FESTIVAL? ‘‘It was conceptualised with the intention to take the Zouk experience to the outdoors and create for the first time ever an outdoor dance music festival in Singapore. Last year, we saw a new record breaker of more than 27,000 people turning up for the festival, which was spread out over four stages, and we are proud that ZoukOut has been hailed as the largest outdoor dance music festival in Southeast Asia. An outdoor beach festival has a very different vibe compared to a club night – you get more variety of music and DJs/bands. Also, being outdoors with no space constraints with most people in beach wear lowers people’s inhibitions and they dance together happily as one. It fulfils Zouk’s motto ‘One World, One Music, One Tribe, One Dance’.’’ HOW HAS THE EVENT EVOLVED OVER TIME? ‘‘This year will be ZoukOut’s tenth anniversary and aside from growing in terms of the number of party revelers, we have seen the event also grow in terms of technical production, staging, artist line-up and fringe activities. From the inclusion of the ResFest Art Festival, the largest Euroslide, the world’s most powerful lasers, art installations on the beach, extensive fireworks displays to the world’s #1 DJ as a headliner for two years consecutively, we are looking forward to our dual headliners this year, amazing and elaborate production shows, ‘live’ acts and an abundance of good quality music amidst a new record of more than 30,000 party revelers. Finally, here we are! Ten years of dancing with the sand beneath our feet and grooving against the city’s nightscape has passed us by in a blink.’’ HAS IT BEEN A LEARNING CURVE TAKING YOUR CLUB SKILLS OUTDOORS? ‘‘As Zouk is synonymous with Singapore’s nightlife industry, we were taking a risk bringing the Zouk brand into the great outdoors as we did not have prior experience in organising outdoor festivals. It is definitely a very different and enlightening experience. It has also taken the meaning of teamwork to a whole new level as we run the event ourselves without the engagement of any event company.’’

WHAT IS ZOUKOUT’S POINT OF DIFFERENCE FROM OTHER FESTIVALS IN THE WORLD? ‘‘Our focus has been and still remains to showcase world class acts that cover varying genres from house to techno, hip hop to Mambo Jambo, while essentially taking the essence of Zouk to the outdoors.’’ WHAT’S ONE OF THE MOST MEMORABLE MOMENTS FROM THE EVENT OVER THE YEARS? ‘‘2003 was memorable for us as we had ordered a massive ZoukOut blimp and we set it floating in the skies at the site of our event a few weeks before ZoukOut happened. Unfortunately, the blimp was subsequently vandalised and set free barely a week after being in the air.’’ WHAT SHOULD PEOPLE DO IN SINGAPORE WHEN THEY’RENOT AT THE FESTIVAL? “One should visit Orchard Road, a massive stretch of shopping heaven for the shopping addict in all of us! Thereafter, troop down to Chinatown and visit Maxwell Food Centre, a local food ground that houses the best of what there is to satisfy a rumbling tummy. Don’t forget to head to Sentosa Island, a home to an exciting array of themed attractions (Resorts World Sentosa, which operates Southeast Asia’s first Universal Studios theme park), awardwinning spa retreats, golden sandy beaches and resort accommodations. Lastly, do check what the fuss is all about at Zouk, housed in a conservation warehouse, and widely known as the clubbing institution in Singapore with our weekly world class acts and exciting events! WHAT CAN ATTENDEES EXPECT FROM THE ZOUKOUT EXPERIENCE? ‘‘Expect a decade filled with unforgettable memories from dusk to dawn. Get ready to have your minds blown and hearts pumped. (PS – Come in your beach wear, please).’’ WHERE & WHEN: ZoukOut 2010 at Siloso Beach, Sentosa (Singapore) Saturday 11 December



ONELOVE DUBSTEP INVASION Mixed by Kid Kenobi and Glovecats, Onelove presents Dubstep Invasion, trumpeted as the fi rst Aust ralianoriginated, compiled and mixed compilation of the hottest in the genre. Kid Kenobi brings heavyweight credentials to the mix, joining newcomers Glovecats for a diusc each of fierce subsonic mayhem featuring Chase & Status, Pendulum, Rusko, Example, Bar 9, Sub Focus, Nero, Skream and more. 3D World have five copies of this mega mix to giveaway. For your chance to win simply email your name and contact details to with DUBSTEP in the subject line. Entries close Friday 10 December.


THREE OF THE DUBSHACK’S FINEST SHARE THEIR FAVOURITE MEMORIES OF PEATS RIDGE’S OASIS OF ALL THINGS BASS. RHYECE O’NEILL (SUB CONTINENTAL DUB) My most enduring memory of the Dubshack was Sofie Loizou’s set on the Sub Continental Dub night. She turned on a lot of young people to new and interesting sounds. New Year’s Eve at the Dubshack was incredible. Everyone played killer sets, from Prize doing psychedelia in the afternoon to Victim mixing both the old and new effortlessly. By the time Mark Pritchard came on the party was heaving and the energy was amazing. He played old skool rave tunes that were made at a time when 90 percent of the crowd were not even born. The final tune of the night at the Dubshack was played by Lorna Clarkson, Anti-War Dub by Mala. The power got cut before the drop, as we were a bit cheeky and ran way over time, but lots of people were heard singing at the tops of their voices “we don’t want no war tonight!”. The optimist in me thinks that a lot of the young people who were involved in the Dubshack that night would have taken that energy and egalitarianism of the dance back home to the city, where, as we know, the war rages relentlessly. MICHAEL FOLEY (FOREIGNDUB) The Dubshack last year was packed full or great artists so it’s hard to pick from the many DJs and bands ‘‘my moment’’. Having said that, recovering from a mild hangover on the 30th the Dubshack kicked off with Shamik and Shane Kellahan producing some beatboxed sitar sounding vibes. It set the stage and created a nice aura. The day went smoothly and bands such as The Versionaries and Gambeta (ex-Rastawookie) packed the tent creating a dust storm and a bass assualt with the huge subs we had set in there. After a huge day of skanks and bass, the tempo picked up with

Semper Fi, ViceVersa and Foreigndub. Drum‘n’bass flowed through the tent. My favourite moment was seeing the look on people’s faces dancing when the bass dropped. It was like they had never experienced that feeling of Bass! as it should be felt... and they were loving it! DAMIEN ABICIC (VOID) Void stage was in control on NYE of 09/10. After the afternoon and evening beats rolled in st yles ranging from glitch, dub and elect ronica by names as diverse as Lorna Clarkson, Prize and Westernsynthetics it was time to step things up a notch and take into the New Year with st yle and bass, lots of it. Paul Fraser got things rolling with his deep dubstep st yles, playing various classics from Skream, Benga, Coki and Cotti. By now the Dubshack was bursting out of

the seams as Vict im carried on with the dubstep vibe with artists like Loefah, Breakage and then into some deeper sounds of Martyn, Mala and Falty DL before raving things up at the turn of the clock into 2010, taking it back some 15 years playing rave classics from artists like Krome and Time, Altern8 and Slipmatt. It was time for Mark Pritchard to close the Dubshack for 2010 and the view from the stage as he opened with The Prodigy’s Out Of Space was immense –a sea of heads, smoke machines and lasers with the best sound system in the whole fest ival. We could have gone all night and would have had the security not shut down our generators. Not long now before we do it all again... WHERE & WHEN:

Peats Ridge Fest ival Wednesday 29 December - Saturday 1 January

DANCEMUSICHUB DOWNLOADCARD GIVEAWAY DanceMusicHub is Aust ralia’s premium dest ination for music downloads – fast and easy to use, with a catalogue of nothing but the best labels available for download as well as DVDs and CDs. If you have an insatiable music appetite then Dancemusichub offers an unlimited smorgasbord of high quality, drm free MP3 and wav format tunes for your listening pleasure. 3D World have three DanceMusicHub download cards to giveaway. For your chance to win simply email your name and contact details to with with DANCEMUSICHUB in the subject line. Entries close Friday 10 December.







Nu-skool breaks was a more credible reincarnation of big beat – the latter always regarded with some disdain as cheesy party music. The British genre had antecedents in, not just big beat, but also the earlier hardcore – itself a derivative of acid, techno and house with breakbeats that prevailed in rave culture at the start of the 90s. Yet, importantly, it was heavily influenced by America’s West Coast breaks movement – and artists such as Überzone. Nu-skool breaks was no media creation. It was branded by those involved in the Frict ion night at London’s Bar Rumba in the mid-90s: Adam Freeland, Rennie Pilgrem and the oft-unacknowledged DJ Tayo. They’d discovered West Coast breaks and decided to introduce it to the UK. Freeland put his own stamp on the sound with his Coastal Breaks mix-CDs, the first volume appearing in 1996. The DJ has been called the ‘godfather’ of nu-skool breaks, but the scene was very communal. Pilgrem had ties to the earlier hardcore – and regarded nu-skool breaks as a funkier descendent. “The rave thing [hardcore] was breakbeat – and that was in the early 90s,” he said in 2004. “Breakbeat was the biggest thing, but what happened to it is, ‘cause of the drugs, the music was getting faster every month and basically rave died because it got very cheesy. A lot of people started doing really tacky st uff.” The deep bass in nu-skool breaks appealed to progressive housers like Sasha, who championed it during his Tyrant Sound System phase. Hybrid, from Wales, fused the music with prog and a cinematic production ethos. Even that ol’ B-boy James Lavelle picked up on nu-skool breaks. Nu-skool breaks was especially popular in Aust ralia, at one st age superseding house as the dominant dance genre. For this, Sydney promoters Fuzzy can take much credit. The populist Kid Kenobi and more underground (and proggier) Phil K were key domest ic stalwarts. Infusion, too, were affi liated with nu-skool breaks, Freeland issuing their music on his label Marine Parade. DJs like Freq Nast y, Plump


Sitting around in what looks like an airport waiting room fi rst thing on a Monday for hours isn’t an ideal way to start the week, especially as you can hear deadlines that you’re pretending you met ticking by back at the office. But such is the sacrifice we have to make for our civic duty – the honour of jury duty. Amongst the gatherers, the talkers are



DJs and Stanton Warriors were stars down under. The Plumps crossed over with 2003’s Eargasm album on Finger Lickin’. And Freeland toured with his “rock” band, Free*land. As nu-skool breaks became akin to ‘‘prog with breaks’’, Krafty Kuts moved to restore the fun(k). Still, nu-skool breaks swung out of fashion as elect ro house emerged. Canny operators like Freeland gravitated towards the new hybridisation in dance, and st yles like fidget (he groomed the groovy Alex Metric), while the Plumps touted “minimal breaks”.

quick off the mark, catching the eyesight of anyone who dares risk catching theirs and engaging them in remedial discussions on nothing, much to the dismay of anyone forced to indulge them – for them finding an exception is now all the more vital. There is absolutely nothing to do as you wait for the judicial system to kick into gear (Spoiler Alert – it never does) other than watch 7mate’s syndication of NBC’s Today show – this week the hosts are recreating a viral YouTube video. The tea and coffee machine make terrible drinks in plast ic cups, but at least it’s five minutes – maybe ten – of time not spent sitting in those airport-st yle seats. There’s some excitement after four hours as the old dear with the list start’s calling numbers. People assemble, coffees are swallowed, gum spat out. But no, it’s a mistake, so everyone sits down again wishing they hadn’t poured out the rest of that coffee, looking like they’re going to kill the old dear. It’s about this time that you realise that this is a pretty poor cross-sect ion of







society. There’s barely a 30-year-old in sight – plenty of eager pensioners though. Once in the court room, face to face with the accused, Barristers challenge (read: reject) jurors based on their face and their shoes if their gaze is anything to go by. You have to feel for the old bloke who’s called up three times over two days and challenged by the defendant’s lawyers each time – he looks way too fatherly. Less compassion for the ‘‘local’’ girl whose definition of dressing for court is the same as it would be Kings Cross, and the Crown are having none of it. It’s the only juror who the defendant takes the most interest in through. Unfortunately for him, he scores a sausage fest jury. Eventually a judge is handing out the pardons like no tomorrow and that’s your chance. A bogus story about a work trip and you can be back home watching Judge Judy within the hour. TOM BRABHAM




BEACH RD HOTEL Tuesday Night Live: Chase the Winter, Bondi Jam, Simon Paparo. 8pm. Free. THE VALVE Underground Tables: Loko, Disco Rossco. 7pm. Free.

WEDNESDAY BEACH RD HOTEL The Filth presents Sideshow: Cloud Control, Guinea Fowl, Jaime Robbie-Reyne. 8pm. Free. THE FORUM Broadcast, Seekae. GOODGOD SMALLCLUB Sarah McLeod. 8pm. $15. WENTWORTH HOTEL Uni Night: DJ Nicky M, Dream One. 8pm. Free.

THURSDAY ACER ARENA Muse, Biff y Clyro. 7pm. $109.90–$129.90. BEACH RD HOTEL The Camera Club: Fancy That Launch Party. 7pm. Free. CRUISE BAR Salsa on the Rocks: DJ Dwight ‘Chocolate’ Escobar. 8:30pm. Free. THE GAELIC V.I.P Thursdays: Tikelz, Moto, J Lyrikz, Naiki, Rkayz, Mistah Cee. 8pm. $10. GOODGOD SMALLCLUB Straight Arrows. GREEN PARK HOTEL Live @ The Park: Mandi Jarry. 7pm. Free. HOME TERRACE Unipackers: John Young, Michael Stewart. 10pm. $5-$10. MELT Koolism, Kai Fresh, School Of Thought, DJ Shantan Ichiban. 9pm. TONE Loop: Simon Caldwell, Jimmi James. 7pm. Free.

FRIDAY ACER ARENA Muse, Biff y Clyro. 7pm. $109.90–$129.90. BEACH RD HOTEL Neon Nights: Softwar, Modular. 8pm. Free. CHINESE LAUNDRY Derty Rich, Frenzie, The Audiophilez, D-Funk, Ritual, Fire & Whitey, Murda 1, Slice. 9pm. $15 before 11pm/$20 after. CIVIC UNDERGROUND Plus +1: Reckless Republic with Thomas Schumacher, Murat Kilic, Rifraf. 10pm. $25. CRUISE BAR Johnny Vinyl, Strike. 8pm. Free. THE CHATSWOOD CLUB Poonies. $10/$5 with guestlist. THE GAELIC El Guincho. THE GLADSTONE HOTEL Purple Sneakers: Straight Arrows DJ Set, Indian Summer DJs, PhDJ, M.I.T, BenLucid, Fantomatique, James Lillicot. 7pm. Free before 8pm/$12 after. GREEN PARK HOTEL After Dinner Funk Vibes and Soul Grooves: DJ Simon Caldwell. 9pm. Free. HOME THE VENUE Sublime: KCB, Peewee, Nomad, Scotty G, Big Dan, Flite, I.KO, Dover, Arbor, RaversMVP, Haze, Pulsar, Energizer BunnyMC Losty, MC Uncle Abe. 10pm. $25. JACKSON’S ON GEORGE Four floors of entertainment and DJs. Doors 9pm. Free. MUSET

KIT & KABOODLE Falcona Fridays: Falcona DJs. 10pm. $10. MELT Regrooved: Good Groove v Bombstrikers, AKA Will Styles, Paul Master, Slynk, Jpod, Lok Stok & Temnein. 9pm. $15. MR B’S Yogi, DJ Husky. 6pm. Free. OXFORD ARTS FACTORY Sosueme Xmas Party: The Jezabels, Sampology, Sosueme DJs, The Protectors, Pluto Jonze, Rapids, Holidays, Mush. 8pm. $15 pre-sale/ $20 door. PHOENIX Batfreak’s Xmash Party: DJs Marty Batfreak, Earley Curley, Mr Chad. 9:30pm. $10. THE ROUGE Kyro, NAD, The Hump Day, Deckhead, Coops, Guy Tarento, Francesco Daroit, Chris Fraser, Tim McGee. $10 before 11pm/ $15 after. THE ROXBURY HOTEL The RumbaMates. 10pm. $10. RUBY L’OTEL Flirty Fridays: Shan1 N Krew, Soulganic, Cavan Te, Suite Az. SPECTRUM Silent Alarm DJs. 11:30pm. $5. TAO LOUNGE DJ Husky, Yogi. 8pm. TANK RnB Superclub: G-Wizard, Def Rok, Troy T, Eko, Lilo, Jayson, Losty, Ben Morris. 10pm. TOKIO HOTEL Rock Glam: Turn It Up, Soul Nights. 8pm. Free. TOWN HALL HOTEL Zoltan. 9pm. Free. THE WATERSHED Bring on the Weekend!: Club Miami. Free. WENTWORTH HOTEL Wentworth Weekend Warm Up: Wentworth DJs. 8pm. Free.

SATURDAY 202 BROADWAY Jamrock: Turbulence, Admiral Kilosh, African Essence Dancers, Jamrock Sound Crew. 9pm. $30 pre-sale. ARTHOUSE HOTEL 112, Merv Mac, Big Ka$h, Miss Bernie Love, Lazy J, Big Guy Litte Guy. BEACH RD HOTEL Saturdays in the Rex: Juice. 8pm. $15. BEACH PALACE HOTEL Young Gun, Jay Royal, DJ Manni, Papa. 8pm. CHINESE LAUNDRY Tiefschwarz, Chris Fraser, Matttt, Sam Scratch, Bella Sarris, Spenda C, Reckless, Naiki, King Lee, Tom Yum. 9pm. $15 before 10pm/$25 after. CLUB 169 Hopscotch: Light Year, Beni, Indian Summer, 3Hundreds Vs Jamie Whaat?, Awkward Boys, 14th Minute, Chevy Bass, Three Fingers, Jordan F, Cunning Hunters, Matt Sav, Nick Walsh. COOGEE BAY HOTEL Summer Time Party: The Potbelleez. 8pm. $10 + bf. ESTABLISHMENT Sienna: G-Wizard, Def Rok, Eko, Lilo, Troy T. 9pm. FOX AND LION TERRACE D25 Pre Party: Co-op DJs, Claire Morgan, Joe Stanle. THE FORUM D25: Carl Craig, Kenny Larkin, Theo Parrish, Moodymann. $42.90-$65.50 + bf. 9pm. FORBES HOTEL We Love Indie. We Love Indie. THE GAELIC The Field, Mark Pritchard, Harmonic 313, Domeyko/Gonzalez. 9pm. $40 (+ bf ). GREEN PARK HOTEL Saturday Sound System: DJ Rubz and Nick Bowd on Sax. 9pm. Free. HOME THE VENUE DJs The 808s, Aladdin Royaal, James ‘Saxman’ Spy’, Matt Ferreira, Hannah Gibbs, Ben Morris, Illya, Tony Venuto, I.KO, Flite, Dave Austin, MC Uncle Abe IVY Girls Just Wanna Have Fun. 6pm. $20. JACKSON’S ON GEORGE Luna Lounge Saturday Nights: DJ Michael Stewart + Guest DJs. Free. MELT BAR We Love US House: The House Inspectors, Random Soul, Laminex, Will Jax, 2 Phat DJs, Matt Roberts vs Emme Jay, Ant Best v Travis Hale. $20. PHOENIX Phoenix Rising: Dan Murphy, Johan

Khoury, Mark Alsop, Rado. Q BAR Ghetto Disco: Isbjorn, Wacks, Masaki, Ecats, Ross Kent, Paul Done, OBY1. 10pm. $10/$15. ROSEBAY WHARF Pirates Of The Underground: Extrawelt, Turmspringer, Heinrichs & Hirtenfellner, Andre Wakko, The Bastards, RifRaf, Matt Aubusson, Robbie Lowe, Jordan Deck, Marcotix. 1:30pm. $50-$60. SUNDOWNER BREAKWALL TOURIST PARK (PORT MACQUARIE) Festival Of The Sun: Xavier Rudd, Regurgitator, Sharon Jones. TONE Hermitude. THE WATERSHED Watershed Presents: Skybar. Free. WORLD BAR Wham! 5th Birthday: James Curd, Act Yo Age, Like Woah, James Taylor, Illya, Ro Sham Bo, Kato vs Wax Motif, Garry Todd, Ben Korbel vs Kerry Wallace, Telefunken vs Matt Weir, Foundation vs Ben Dunlop, Discopunx, Negghead, Will Styles, Temnein, Generic DJs. $15 before 10pm/ $20 after.

SUNDAY BEACH RD HOTEL The Sunday NiceUp!: Reality Chant, Rebel Bass, Meem, DJ Ability. 6pm. Free. FORT DENISON Sundays til Sunset: Steven Reilly. 3:45pm. $20. THE GOLDFISH The Martini Club, DJs Johnny Gleeson, Tom Kelly 6- 8pm. Free. HOME TERRACE Spice: Turmspringer & Rifraf, Rikki Newton, Murat Kilic, YokoO. 5am. $20. THE METRO Clipse, Levins, Wax Motif. JACKSON’S ON GEORGE Aphrodisiac Industry Night. Free. THE ROUGE J Smoove, Matt Nukewood, Barfly. Free. SUNDOWNER BREAKWALL TOURIST PARK (PORT MACQUARIE) Festival Of The Sun: Xavier Rudd, Regurgitator, Sharon Jones. THE WATERSHED Afternoon DJs: DJ Matt Roberts. Free. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO SYDNEY@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.





NYE PARTY UNDER THE STARS DOUBLE PASS The Loft and Bunglaow 8 are joining forces to welcome in 2011 with a huge bang. NYE Party Under The Stars will bring together four leading international DJs for one unforgettable night. DJ sensation Frankie Knuckle, known as the Godfather of House, will headline the night with Jim Baron and Chris Todd from Crazy P, Mobin Master & Karina Chazvez and Mo’ Funk from Pacha and We Love Space clubs in Ibiza also on hand to raise the roof for this non-stop harbourside party. 3D World have two double passes to giveaway each include a bottle of sparkling valued at $220.00 (per double pass). For your chance to win email your name and contact details to with LOFT NYE in the subject line. Entries close Friday 10 December.

WILDSIDE TOUR DIARY CLASS A DETAILS A WEEKEND ON THE ROAD WITH SPIT SYNDICATE AND THE TONGUE FOR THE WILDSIDE TOUR. We knew the last weekend of the Wildside tour was going to be a big one. We had three shows in three states booked – Hobart, Brisbane and Sydney (Friday, Saturday, Sunday). We had already played eight shows in three weeks so we were gearing up for a big finale. Rach Berry and I headed off to Hobart early on Thursday morning, I arrived late to the airport as usual and just in time for check-in. We arrived, spent the day shopping, soundchecked and played to a small but enthusiastic crowd, met a bunch of awesome people and had a relatively early night. Friday, we woke up to a text message saying


our flight to Brisbane had been cancelled. I panicked but knew they would put us on another flight – which they did, but we missed by five minutes (after running out of the hotel, no shower etc). After talking to every airline there, we managed to book a flight from Launceston, but we had to hire a car, drive two hours and wait some more. We were tired, stressed, delirious but cracking each other up. We went straight to the venue, got changed in the band room and drank Red Bulls while trying to sort out DJs, beats and food. We were exhausted. Brisbane had an amazing vibe. The people were lovely and the Step Inn was

a wicked venue. The crowd was live and the energy insane! The Tongue, Spit Syndicate and Joyride killed it and everyone in the crowd was going mental. By the end we were all sweaty and exhausted, punters had spent their money on merch and we were all buzzing. We woke up the next day to do it all again and fly to Sydney. Straight to soundcheck, got ready and played our final show. We drank more Red Bull, some more beer and gave it our all – danced the night away, packed up the merch one last time and said goodbye to the Wildside tour. We had an awesome time and we’re sad it’s over. Bring on the next tour!


HAHA: JUAN ATKINS, VINCE WATSON MARRICKVILLE BOWLING & RECREATION CLUB: 27.11.2010 Fresh faces and the st ragglers from Stereosonic slowly fi ll up the dancefloor to the sounds of HAHA residents Dean Dixon and Dave Fernandes, who provide the perfect balance between deep, warm sounds that leave the evening’s guests plenty of room and chunky, techy vibes from the likes of Reshape that keep tired legs moving. Juan Atkins steps up at around 1am and lays down the kind of set that highlights just how long he’s been in the game for and his incredible understanding of not just techno but music in general. Starting off with tough, melodic techno such as The Martian’s Stardancer and Game One from Infiniti, he works his way through a wide variety of music, giving the crowd a lesson in the history of Detroit and beyond. There’s proper elect ro, contemporary st rippedback techno vibes, Detroit classics like Strings Of Life, Big Fun and Juan’s own The Chase, and even some Donna Summer and Giorgio Moroder for good measure. Even after all these years Atkins st ill hasn’t learnt how to mix, but when the tunes are this good and the vibe he creates is so positive, who really cares? Glasgow’s Vince Watson then delivers two hours of completely live, beautifully st ruct ured techno and house that is loaded with emotion and soul. Playing off Ableton, a MIDI controller, Roland SH-101, TR-808, TR-909 and a MIDI keyboard programmed to sound like an old Rhodes keyboard, Watson recreates his tunes on-the-fly and keeps the floor comfortably full until sunrise. Crowd favourites such as Duality and My Desire feature alongside newer cuts like Love In F Minor and Atom, as well as some of his lesser-known tunes such as Influenced 2, a collaboration with Paul Mac, which is followed by a live TR-808 and TR-909 jam that even Jeff Mills would be proud of. It’s these sorts of inspirational gigs that remind many of us why we fell in love with this music in the fi rst place. ANDREW WOWK


STEREOSONIC SYDNEY SHOWGROUND: 27.11.10 Many were wary of returning to Stereosonic after last year’s logist ical nightmare, but it’s clear upon entry this year that the promoters are operating a military-precision st yle operation on a massive scale. One of the fi rst acts to hit the sprawling main arena are Infected Mushroom. Their dense live acoustics bounce messily all over the arena – lacking the tightness the band bring at their best – and sadly every time they tour they seem to be disapearing a little more up their own arsehole. It’s fine to pursue new musical direct ions, but today they sound less convincing as a psy-trance Megadeth than ever before. Redshape subsequently ignores the afternoon sun completely and pretends everyone is packed together tightly in a dark warehouse. He works his way through dark, druggy techno, more upbeat jackin’ house and a heavy dose of acid. It’s trademark Redshape all the way – low on BPMs but high on intensity and for the most part made up of old school drum/synth sounds. The Aston Shuffle quickly remind an appreciative early crowd of why they’re considered one of our country’s finest dance acts. Roaring into an uplifting set with Barbara Streisand, the duo keep the anthems and their enthusiasm coming, giving as much love as they’re getting in return. As the anthems get larger, so too does the size of the Canberrans’ crowd and the 45 minutes ends all too soon. The excellent setting of the open-air woodchop arena makes up for the bass-heavy deficiencies in the sound at the Cream arena as Peewee steps up for his warm-up set. Though failing to really make an impact (probably because he knows he’s here to welcome the internationals to the stage rather than star himself), he wraps it up with a dramatic tech trance remix of the Swedish House Mafia’s One. At the Outrage stage dubstep titan Caspa is keeping fans waiting with a late entrance, but eventually he steps up to offer them the wobbly basslines they’re craving. He slots in nicely with the stage’s music policy of youthful, brash noise, and while he’s not sounding as cutting edge as he was several years ago, he’s st ill getting the hands up into the sunny, open air. Locals Kobra Kai aren’t quite so lucky in the Brown Town stage though the sounds they deliver are no less smashing. In sound system rather than live mode, MCs DTECH and Spex toil away as Hutch and Renan coax a variety of bass-heavy sounds out of their laptops, but just as many fans stand in front of them to escape the heat outside as hit the dancefloor. DJ T chugs out a set of funky, percussive grooves that keeps feet moving, but doesn’t really break any moulds – underwhelmingly safe, yet effect ive. Late Nite Tuff Guy’s I Get Deeper and Kenny Larkin’s remix of I Don’t Need A Cure For This by Radio Slave back-toback provides one of the day’s highlights. Wiley wastes no time building his audience to a climax, launching a st rong set with crowd

pleasers Cash In My Pocket and Wearing My Rolex. Silence rings between early tracks and an attempt to elicit the ‘‘Aussie Aussie Aussie’’ chant, but the crowd is forgiving – and as the founder of grime settles into the lyrical prowess he is known for, his fans respond. DJ Sneak deals with a tough timeslot impressively, wast ing no time getting busy on three decks from the get-go. He cuts, blends and layers together new and classic house jams with flair, creativity and impeccable precision, his onstage enthusiasm only adding to the fun, party vibe. Charles Siegling takes the stage with a new sidekick to showcase Technasia in live mode and hits the ground running with slamming circular techno rhythms. 2010 album Central features in snippets only, a dash of the rave stabs of Movement here and a hint of the “Hey!’’ chant of Esperance there as the duo roll relentlessly from one stormer to the next. Fila today projects more confidence than usual, reflected in the drive of a set full of euphoric melodies which keeps the energy full tilt for the duration. There are plenty of select ions from he and the absent Aly’s Rising Sun album, but just as many tough psychedelic moments – equal parts uplifting, hard and surprisingly excellent. Carl Cox today scales back the energy a

little from what we’ve often come to expect from him. He’s in “eclect ic” rather than loopy techno mood, but it’s a solid, fun and energetic set of house, tech and elect ro from a man who never fails to bring the enthusiasm. Starting late for reasons best known to himself, Jeff Mills kicks off mixing st rippedback, dark belters on four CDJs. His trust y TR-909 soon appears and Mills kicks into overdrive with live drum pattern manipulation followed by Waveform 4 and The Bells. The next half hour fl ies by in a similar flurry of slamming, hypnotic grooves, spacey effects and creative (albeit loose) mixing. Adelaide trio The Swiss’ live show of drums, keyboard and guitar opens to what they must surely consider a very disappointing crowd. But those here to witness the disco mayhem are into it, and the band pound through their 45 minute set regardless, offering up the high energy show they are renowned for along the way. Luciano fails to

deliver much more than background music. In a small, classy club, his groovy deep house replete with tribal percussion and jazzy sax solos would work a dancefloor all night, but at an outdoor stage, it feels like someone has put a mix CD on while a live act sets up their equipment. Giuseppe Ottaviani is tasked with closing the Cream stage with a live set of his most epic tunes, and it’s a welcome point for the impressive lasers, lights and product ion to reach full tilt. His remix of Paul van Dyk’s We Are One throws the euphoria into overdirve, but overall it’s too much of the same without the variation and flow a trance set really needs. The anticipation of Scottish DJ Calvin Harris’ arrival on stage is palpable and the crowd at the main stage is immediately rewarded. Delivering exact ly what his fans want with MGMT’s Kids, Harris wastes no time with warm-up tracks and creates a frenzied reception as he drops Dance Wiv Me and Ready For The Weekend. Major Lazerdon’t mince tracks or waste time and have fans peaking early as Percumajor dominates the air, and energetic MCing has the substantial crowd in as much of a frenzy as is taking place on stage. The crowd respond consistently to a reggae-infused set that doesn’t compromise on heavy basslines. Described by haters as “boring”, Ricardo Villalobos emphatically proves them wrong. His vinyl-only mixing is impeccable, playing records with each other rather than just one after the other. Fluidly moving from house grooves to slamming, big room techno with a few tribal detours along the way, there’s not a single snooze-worthy tune in his two hour set. By the time Tiësto takes the main stage, whopping visual screens, lasers, gigantic flamethrowers and enormous sound fi ll the entire cavernous arena. The Dutchman was never much chop as a trance DJ, but he’s now embraced commercialism to the point where he’s rivalling David Guetta – a place where he’s clearly at home. There’s plenty of fun to be had with big elect ro hits, indie/dance remixes and a smattering of trance, so it’s unsurprising to see most leave with a big smile on their face. ANGUS PATERSON, JANE STABLER, KRIS SWALES, ANDREW WOWK





TUBETIME The incredible world of television with 5SPROCKET

The Sing Off (LifeStyle YOU), in essence, is American Idol meets Glee wrapped in an overst retched scrotum. It’s an epic showdown of flamboyant a capella harmonies, an event of truly She-Hulk proportions. In the lead-up to the show, eight groups of amateur vocalists have been working round the clock, a metaphor for working particularly hard. The winning group gets $100,000, and a contract with Sony to make a record that no one will buy. It’s hosted by Nick Lachey, who was once married to Jessica Simpson. Legend has it that Nick Lachey has to repeat his name three times at midnight to stop himself from disappearing. He introduces the show as ‘‘the first-ever singing competition that is all about harnessing the power of the voice’’ – dist inct ly unlike every other singing contest show, which were all about trampolining with animals. The contestants open the show with a version of Under Pressure that could only be compared to anal leakage. The fi rst group to perform came all the way from Puerto Rico. They wear hats and speak like un-Americans. They like to sit for days, being melancholy and staring at nothing in particular. “Guys – I’ve got something on my mind – let’s start a singing group.” Sans immigration papers, they have successfully jumped the border. Judge John from Boyz II Men gives a thumbs up. The second group is a “faithbased” college group from Cleveland. They like to pract ice, then drink milkshakes and play ping pong and throw autumnal leaves around. They rehearse in a church, which lifts their voices higher so the heavens can hear their worthwhile take on Seal’s Kiss From A Rose. Two token black members of the group provide the requisite bass and the ‘‘equality’’ quotient for spoilt white brats. The judge comments that “as a group you are together”. Judge John from Boyz II Men gives a thumbs up. The third group are pig-men from the hills of Colorado. They rehearse Bon Jovi songs in between torturing a group of travellers whose Winnebago has broken down. They lubricate their throats with the fresh blood of canaries. They are not very good singers. Judge John from Boyz II Men gives a thumbs up. He is a very passionate man.


WILD TARGET Victor (Bill Nighy) is Britain’s best hitman. Cultured, fi ftysomething, meticulous and careful, he’s a loner who never misses. But when he’s assigned to kill an artful heist mastermind, Rose (Emily Blunt), he finds himself becoming infuriatingly attracted to her. Rose is everything Victor is not – chaotic, impulsive, rebellious. So instead, he agrees to take her under his wing and protect her from those who will inevitably take the job on next – namely Dixon (Martin Freeman, white-toothed and with a shit-eating grin). Joining the fugitive duo (for little apparent reason) is orphan and window-washer Tony (Rupert Grint) who’s interested in a career change to assassin. Victor, seeing some potential in him, keeps him around. As their fl ight from Dixon continues, the three find themselves bonding and when they hole up in Victor’s country house, Victor finds his very way of life being eroded by his newfound affect ion. Wild Target is based on the 1990s French farce Cible émouvante, and the reworked script maintains much of that madcap, kinetic energy French farce has – however it is just ever so slightly off. It’s impossible to fault the performers, even if their characters are, in the main, broadly sketched archetypes. Blunt is captivatingly kooky as the femme fatale

and no one plays uptight better than Nighy – but it’s not quite funny enough to be a comedy, or romantic enough to be a romance, or badass enough to be an act ion movie. Looking at previous hitman-act ionromance-comedies, Grosse Pointe Blank got this balance absolutely bang-on; Wild Target is just wide of the mark. WHERE & WHEN:

Screening in cinemas now BAZ MCALISTER







MOOG LITTLE PHATTY – AUSTRALIAN REDBACK EDITION ($2099 – Moog have released an Aust ralian specific issue of their popular analogue synthesiser, giving the tact ile facade a “Redback” colour wash and a fully tricked-out tweak to the onboard lighting. If it’s an exclusive Christmas gift you want, this is it, with only 200 individually numbered units released. It’s not just a case of “Pimp My Moog”, however, with the sneaky addition of a CV output making this the perfect hub to control that pile of analogue weaponry sitting in the st udio. SAMSUNG PNC7000 PLASMA HDTV ($1799 – Th is 50-inch and 3D enabled screen is one of the most high-end ways to watch Gossip Girl on the market, and has been a popular stocking st uffer for the bazillionarres out there. If you, like most people, lost interest in the TV hype and hyperbole of the past few years, then this is a good time to switch back on. Samsung have packed a high performing screen into a thin metallic case, piled on the HDMI and USB ports, and jumped headfi rst into the trend of internet connect ivity. Th is means Facebook and Youtube, right out of the box. CONTOUR 1080P VIDEO CAMERA ($449 – Contour are the makers of the world’s fi rst and lightest wearable HD camera. The 1080P cleverly avoids the colour distortion of other wide-angle cameras, and takes a simplified approach to operations and editing. In fact, it’s a point and shoot affair, with Contour’s import and editing software almost alarming in its brilliantly st reamlined approach to video. Geek skills may not be required, but owning one demands some serious a Act ion Man act ivities to just ify the entry price.



BOXEE BOX ($299 – Based on the incredibly popular Boxee media player software, the Boxee Box is what the Apple TV is not – that is, an unrest ricted and powerful media centre. Unlike Apple, Boxee wants you to hook up a hard drive, and even indexes and categorises your media, giving virtual DVD covers to your DIVX fi les. It can even suggest free TV shows to st ream, or show you what you friends are watching care of a social networking side. It’s almost cruel not to mention the clever remote control, with a full QWERTY keyboard. FLASH RODS DOLOREAN TIME MACHINE HARD DRIVE (US$250 – Backing up data, or backing data up in time? You decide with the Delorean Time Machine Hard Drive, which is equal parts awesome and geeky just to type. On spec this is a fully integrated Seagate 500GB hard drive, nest led within the awesome confines of a replica of the infamous Back To The Future time machine. There’s no official claims that this will preserve many generations of your data, or allow you to access future data, but then again, there’s no one stopping you from claiming so. DIGITAL FOCI 8” PORTABLE DIGITAL PHOTO ALBUM (US$189 + Delivery – Forget the cheap plast ic and ugly faux digital photo frames, Digital Foci are gunning for the geeks with a solid 4 GB of internal storage, a host of external cards and USB connect ivity, and the welcome addition of RAW fi le previewing. You can leave the Dogitial Foci frame on your desk as a photo slideshow, or take it on the road, not only to preview the photos taken on your DSLR camera, but to dump them to the internal flash memory. Effect ively an affordable viewing and backup tool, these are some serious ninja photography techniques.


MICROSOFT XBOX KINECT ($184 - Depending on your exposure to niche gaming hype, the XBOX 360 Kinect is living up to the buzz and looks to leapfrog the issues that have seen the innovative Nintendo Wii motion experience turn into so much begrudging shovelware. Th ink of the Kinect as a creepy but good intentioned robot, kind of like HAL9000 without the “kill humans” bit, that translates you and your motions into methods for game interact ivity. If last year was all about Wii Fit, this year will be the year of EA Sports Active 2. HOLGA 120CFN ANALOGUE CAMERA ($46.95 – If you’re a Facebook user, you’re bound to have seen people post ing Hipstamatic prints, or perhaps you’re into the popular iPhone retro-photo App yourself. The results are fun and intriguing, but nothing beats the original analogue format. The Holga is a 120mm fi lm camera made entirely out of plast ic, with characterist ic colouration and light leaks that make for extraordinary and serendipitous photos. The vivid and enthusiast ic user community is an irresist ible force in ensuring that this quirky fi lm camera remains at the forefront of retro-photography. IPHONE TRIPOD HOLDER (US$9.95 + Delivery – The Joby GorrillaPod may have adapted their award-winning flexible camera mounts for the iPhone, but they maintained the same painfully expensive price that sees them hold the “number one pirated photographic product ” title in Asia. By contrast , G Design have created a simple iPhone sleeve with a camera mount screw. Easy and effect ive, and you can st ill use the free GorillaPod iPhone App to do timelapse videos. So everyone wins. But most ly you.



SWORDFIGHTING, RAP NEWS & WIKILEAKS Neal Stephenson’s Cryptonomicon (see also Snow Crash, The Diamond Age and The Baroque Cycle) is more than a decade old, but its themes of information security and encryption (wrapped up in a swashbuckling adventure) are particularly resonant this week, with the escalation of act ivity around WikiLeaks. The latest release of documents by the renegade website, dubbed “Cablegate”, have Canadian politicans calling for the assassination of Wiki-leader Julian Assange, have Sarah Palin crying “treason” (Julian isn’t act ually a citizen of the United States), had US politicians pressuring Amazon into removing it from their host ing (“If Amazon are so uncomfortable with the fi rst amendment, they should get out of the business of selling books.” @wikileaks on Twitter) and provoked endless column inches in the world’s biggest newspapers and magazines dissect ing the ramifications of the releases, as well as the philosophies, motivations and early writings of Assange. SWORDFIGHTING Anyways, back to the clashing of swords – and also in the historical fict ion vein, Neal Stephenson has been developing Mongoliad(.com), an online experimental fict ion project which seems to have spawned from a bit of medieval swordfighting research slashed about with a bunch of his Seattle coder and writer and friends (including Greg Bear, another award winning sci-fi author). And so – an online serial novel, delivered to subscribers over the web and via iOS, Android and Kindle, with a st rong emphasis on reader participation. “Up until now novels have been defined by the technology of the printing press, and we don’t have to use that definition anymore unless it suits us. Some of the things that show up here will be chapters of the novel, some will be character portraits, some will be background articles about topics raised by the progress of the narrative, some will be maps.” ASSANGE HIPHOP Like an Aussie hip hop version of Auto-Tune the news, The Rap News ( uses the form of musical news broadcast to dissect and analyse current affairs. The brainchild of MC Hugo and editor/director Giordano Nanni, and made in a Melbourne bedroom st udio, it’s impressively choreographed (lots of different characters/cost umes/accents/ news graphics) and manages to pack a dense analytical punch. @JEAN_POOLE


WHAT HAVE BEEN SOME OF THE HIGHLIGHTS OF 2010 FOR HERMITUDE? Elgusto: “2010 has been a year of rest in the Hermitude camp, until now. Both Luke and I have been busy with other projects. I toured nationally and internationally with Urthboy and worked with The Tongue on his latest record Alternative Energy. Luke Dubs was overseas for five months of 2010 doing a theatre show called the Tom Tom Crew. We did get to meet up in London and do a Hermitude show in Kings Cross which was a lot of fun cause we hadn’t seen each other for five months and we st ill managed to pull off a super tight show to a sold out crowd!” TELL US ABOUT THE PROCESS OF PUTTING TOGETHER YOUR FORTHCOMING ALBUM? “It’s all about having fun and no rules. At the moment we have been meeting up as much as possible and writing in my little one room st udio in Leichhardt, which is fun, but I think we’re going to do a good couple of weeks writing in the Blue Mountains early 2011. It’s a lot more fun when you can turn your phones off and be away from the daily grind of the city and just get into it.” HOW HAS YOUR SOUND AND STYLE OF MAKING MUSIC EVOLVED SINCE YOU RELEASED THREADS IN 2008? “With Threads, we wanted to make the whole record on our own with no samples involved, which we managed to do for about 90 percent of the record. It was a challenge to ourselves to try and do something different, we wanted to evolve our sound and ourselves artist ically. I think a lot of artists go through a period like this in their career. With the new album we’re working on, it’s whatever medium we want. I think we’ve kind of come back to square one and we are thinking ‘lets just make some great music together’.” HAVING WORKED ON PRODUCING ALBUMS FOR OTHER ARTISTS, HOW DO YOU ENSURE THAT A HERMITUDE RELEASE SOUNDS UNIQUE? “When you work with other artists you want to be able to bring out their sound, what they want to do or what they do naturally that is their special something. They probably want you to add your own flavour to this sound as well, which is why it won’t sound to close to Hermitude record. When we do a Hermitude album, it’s about what we do naturally together that makes our sound unique. Luke and I have been working together for well over 10 years, not just in Hermitude but in other bands too, so we are well accustomed to each other’s ear and musical taste. Th is is what Hermitude is, me and Luke making music together, that’s our sound.” HERMITUDE ARE KNOWN TO SHY AWAY FROM BEING BOUND BY A SPECIFIC GENRE, IN WHAT WAYS DOES THIS WORK FOR AND AGAINST YOU? “I guess we’ve always been into lots of different music so that must come through in our product ions, but I think it’s probably the fact that being

most ly inst rumental you can go down so many different paths with each song or album.” WHAT IS THE CONCEPT BEHIND YOUR NEXT SINGLE GET IN MY LIFE? “There’s no real concept, it’s just a tune to be able to get down to – a fat banger of the extra large kind. I started it a year ago and had it sitting in my hard drive waiting till Luke got back from Europe. We finished it and decided to put it out as a single and free download. Something for the heads and peeps who have supported us over the years.” WHAT CAN AUDIENCES EXPECT FROM YOUR DECEMBER SHOWS? “We have got some tast y new treats and some old classics fl ipped for the people. A hell of a good time and an outlet for people to get their Hermit on.” WHAT: Get In My Life (Elefant Traks) WHERE & WHEN:

Tone Saturday 11 December






redeemed the ladies, while a niche of indie-styled flannelette shirts and train driver hats (with matching facial hair) were a saving grace for the boys. Refreshing to see brightly coloured pumps and 90s-inspired Doc Martens ankle boots on chicks and less tanorexics wearing gladiator sandals. Sad to see ‘Sandra Dee from Grease’ inspired boat shoes were back in business, the cringe factor made worse when coupled with ankle-high white cotton socks. Nothing screams “I’m a boring virgin” more than canvas boat shoes with ankle socks.

By Tina Von Party


T WAS A CASE OF LESS IS WAY TOO MUCH AT THIS YEAR’S STEREOSONIC. If there was a ‘shirts off means immediate ejection’ policy it must have been in the fine print, or else people who remove their shirts at music festivals aren’t literate enough to read the fine print. Either way, someone forgot to pass on the memo.


Thankfully just past the greased up beef cakes, and through the path of Silicon Valley, fashion prevailed. Hooray! High-waisted denim skirts and shorts teamed with basic tees and singlets

A few rude hairdos and nasty extensions scattered throughout but nowhere near the offensive proportions of the mid-naughties ‘faux-hawk’ epidemic. Long, tasselled, ‘I just woke up’ bed hair was a revitalising hit with the chicks. Pockets of fluoro kids haunted the sidelines feverishly grasping onto what little credibility they could muster, while some punters donned full costume getup. Bedroom-styled Minnie Mouse and Sleeping Beauty were the favourites!

Dotti Carry On ~ $25.9 www.dotti.c

David & Goliath men’s tee ~ 2 for $60. www. universalstore.

Sainte Lucie Wing Sleeve dress ~ $285.

Marcs Black Gingham shorts ~ $129.

Roc Your Skull While million-dollar rap sta star ar bling, blling, grills and knuckle dusters d are ne. A pair of Skullcandy Rocc Nation Aviator pretty rad, they are not for everyon everyone. headphones, however, are one fly item guaranteed to give youu the ultimate synthesis of street-level swagger. Feat Featuring turing platinum sound te technology for a ce, Skullcandy Skkullcandy headphones are like ha ving multifaceted listening experience, having re. A very cool and functional accessory. accessory. your own personal amphitheatre.




Trilby hat 95.

Noir Templeton Dagger Bangles $234.

Lonsdale Corabella womens tee ~ $59.95. www. lonsdalelondon.

Bay’s Secret Victoria’s Secret have teamed up with transformers director Michael Bay to create a dazzling minute-and-a half Christmas commercial starring genetically blessed Angels, Adriana Lima, Selita Ebanks and Rosie Huntington-Whiteley. The jaw-dropping ad is a fast-paced montage of women with wings and white horses in various majestic locations. Be sure to view Bay’s masterpiece at Shubar Jojo sandle ~ $99.95

Diesel mens watch ~ $229. 1800 818 853

Uniform Project Fed up with disposable fashion, one New Yorker, Sheena Matheiken, decided to wear the same dress every day for a whole year. The project inspired a cornucopia of crazy looks – and a batch of new girls keen to take up the baton. Matheiken called her undertaking the Uniform Project, and has turned it into a fund raising initiative for various charities. Think you are up to the challenge? Head to for all the details.

Pass The Present This December, adidas Originals are bringing Christmas early with their latest instore campaign, Pass The Present. Over the next three weeks, Pass The Present sessions will take place at adidas Originals stores across the country, with fans tearing layers from parcels to uncover, and win, festival tickets, iTunes vouchers, adidas Originals products and more. They also have the opportunity to grab any two tees from the adidas Originals range for just $50. For a full list of all participating stores head to

EPIC Teen singer and fashion designer Selena Gomez in a strapless, three-quarter-length cut black dress perfectly accessorised with strappy leopard platforms at the 2011 Grammy Nominations concert. Wanna get laid? Send products and info to lure@

FAIL Pint-sized fashionista Willow Smith wearing a custom made bright leather yellow harnesses and oversized boots at the American Music Awards. Will, don’t let your kid out like this.



FEATURES? Non-greasy, non-sticky formula contains Aloe Vera to help soften skin and reduce visible signs of peeling. Aerodynamic bottle.

PROS? Tested in the Australian sun (because other countries obviously have their own).

CONS? Encourages users to make dad jokes about bananas.

COST? $14.99.



FEATURES? Four hours water-resistant. Spray bottle for non-contact application to that hairy-backed friend/ partner/relative. Strong coconut odour.

PROS? Doubles as deodorant if you’ve left the house in a hurry.

CONS? You’ll smell like you’ve spilled a bottle of Malibu on yourself.

COST? $16.99.



FEATURES? Maintains SPF 30+ protection even after four hours of water immersion. Reduces the risk of skin cancer and premature ageing from sun exposure. Strong white colour.

PROS? A healthy dose of white smeared across the nose will make you look like a member of the Australian cricket team.

CONS? The Australian cricket team currently sucks.

COST? US$14.99.




Central,ESL,F:Com,etc. Listening Posts available Cash/Card. Phone/Text:0407150173 to book a viewing that suits you. Email:dj@ for info. iFlogID: 9872

MIXERS Mackie Onyx 1620 analog mixer w/ SKB Mighty Gig Rig on wheels (Complete mobile PA / recording system can be racked in this rig). 8 preamps w/ direct recording out. iFlogID: 9850

Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email iFlogID: 9978

CALL CENTRE/CUST. SERVICE Telemarketer required with music industry experience by Sydney based established music production company. Possible work from home, if more suitable. Hourly rate plus commission neg. Please email your details for an appointment. iFlogID: 9367

ENTERTAINMENT Australia’s leading online employment and news website dedicated to backstage. The website is free to search and join with out any hassles of membership fees. www. iFlogID: 9953

HOSPITALITY & TOURISM NEWTOWN HOTEL BARSTAFF We are looking for Bar staff for the Iconic Newtown Hotel. If you have your RSA, are available immediately and are looking to join an energetic and professional team environment then send resume & copy of your RSA to iFlogID: 9822

PROMOTER 297 capacity, stylish & well equipped martin place bar/nightclub available for one off parties/ events or regular weekly nightclub nights. If you are interested then give Danielle a call on 0414 89 89 36 between 11-12am or 3-4pm Monday-Thursday. iFlogID: 9396

FOR SALE CD / DVD DJ’S COLLECTION: CDS AND VINYL House(deep,funky,tribal,afro), Hip-Hop(instumental jazz),Afrobeat,Latin, Disco,Funk,Breaks Modern Electro Jazz,Dub,World,Lounge Beats. Over 1000 CDs and Hundreds of Compilations,EPs and 12”s. Labels:TruThoughts,Compost, Ib idan,Schema,BBE,SoulJazz,Fre estyle, Ubiquity,Nuphonic,Grand

Sell Control Surface Digidesign Control 24 (Focusrite) in excellent condition, $5000. Selling because moving overseas. Please don’t hesitate to contact me if you have any questions and in order to discuss the price. iFlogID: 9736

OTHER Avalon 737SP micpre/compressor/ equaliser Amazing Class A professional quality recording strip, used by studios everywhere. Hardly used! Very regretful sale. Perfect cond. RRP $3400, selling $1800! iFlogID: 9562

BURLESQUE & DRAG EYELASHES Petticoats & Gallantry has launched a new range of exclusive, boutique handmade & decorated false eyelashes perfect for going out. With a mix of over-the-top dramatic lashes suitable for Performances, Burlesque, Drag and even just for a special night out, you’re sure to find some one-of-a-kind false eyelashes to wear. Each pair is customised and decorated by hand in a variety of themes, and commission orders are very welcome. au Look for us on facebook for exclusive promotions. iFlogID: 6658 Joe Meek Twin Q recording strip. Mic pre/compressor/limiter/equaliser stereo/twin channel recording strip, barely used, perfect condition. Adds awesome vintage mojo to recordings. Sounds fantastic. I’m selling all my recording gear. I paid $1450, sell $750! iFlogID: 9566 Quested F11.. 2 way active near field monitors. Pro grade quality. Good Condition. $1395 or near offer. Call Frank 0434 686 755 or 02 9740 833. iFlogID: 9813 Vintage 1960’s “Optro” 305 compressor limiter. Vintage & classic 2RU broadcast transformer balanced opto compressor/limiter, in great working condition. Great vintage mojo. As used by Festival, ABC and Metropolis studios. Bargain! Sell for $675! iFlogID: 9564

PA EQUIPMENT BSSound PA & Lights SALE Grays Online Auction: 2 to 8 December. Inspection day Tuesday 7 December. 150 Lots of brand-name microphones, speakers, effects, amps, mixers, road-cases and lights. sale.htm sale/67713 Mark Barry on 0419 993 966 iFlogID: 9651 CARVER U.S.A Twin 900 watt split mono power amp with Bose controller/pre amp. rack mount style. in covered case.will run 4 speakers each 1800 watts.LOUD! VGC $750 lot.Ph.0428744963 cooroy iFlogID: 9308




Commercial Radio Airplay, get your songs on Radio! Interested? contact iFlogID: 9406

NOT AVAILABLE FOR FREE ADS. CL - PRO QUALITY BACKING TRACKS! - MIDI or MP3 - Any song you want - Send me the song today, Get the MIDI file the next day! - $25 for MIDI / $35 for mp3 - EMAIL: PHONE: 0449672435 iFlogID: 9706

BOOKING AGENTS Gig Launch has heaps of opportunities for artists in Australia and around the world. We’re always on the hunt for new artists, so head over to and get submitting! Go Aussie, Go Gig Launch iFlogID: 9386 SnakeEyeProductions offers EPK’s also know as electronic press kits, they work as a bio/show reel, to promote your band to bookers/ promoters/labels and venues. PH0416120639 iFlogID: 9588

DUPLICATION/ MASTERING Deluxe Mastering: Melbourne’s premier mastering specialists for CD, vinyl and online release. Service-focused, relaxed atmosphere, decades of experience in all genres, custom analogue signal path. No-obligation quotes & mix evaluations. See website for credits. w: au e: iFlogID: 9854

EP RELEASE EVERY SONG - RADIO READY! SPECIAL PRICE avail for singer/songwriters until end of January 2011... Have 5 songs produced, mixed & mastered for ONLY $499 per track!!! Email info@nathaneshman. com for more details as conditions apply. Visit www.nathaneshman. com for audio examples iFlogID: 9963

free iphone and nokia apps Radio Bondi iFlogID: 9548 Free Radio Bondi Fm Iphone app, visit the app store, search for radio bondi, download free app, enjoy! iFlogID: 9408 Heavy Metal Community iFlogID: 9594 SELL YOUR BANDS C.D’S ONLINE!!!! unsignedmoozik iFlogID: 9373

SIGNUP FREE! SONGUPLOAD FREE! is a Musicians Social Networking Portal. We created an opportunity for Musicians, Song Writers. Bands and DJ’s to not only keep close ties with their fan-base but to also sell your own music on Share your works on RockCraze with all the other SNS’s like Twitter, Facebook, Myspace including many others. iFlogID: 9972 is free to join, and with over 4500 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 9941

PA / AUDIO / ENGINEERING 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. Contact Chris 0419 272 196. iFlogID: 7415


HIRE SERVICES For as low as $100, you get a professional PA system with a sound mixer with operator. Suitable for weddings, pub/club band gigs, private parties etc. infovision@ Contact Chris 0419 272 196 iFlogID: 9834 INTERNATIONALLY RECOGNISED PRODUCER! Credits include: Marcia Hines, Candice Alley, ExToto frontman Fergie Frederikson. Have every song produced at radio standard...under every budget. Visit, email or call 0403 498 103 for package prices...from demos, to singles and full albums. iFlogID: 9965

MANAGEMENT MINSTREL MANAGEMENT Need help with your music career? We provide the best in Recording, Mastering, Tours, Promotion, Publicity, Solicitation, Merchandise, Music Video’s, Photography, International Licensing, Direct to fan Marketing campaigns. WANT TO TAKE YOUR ACT TO THE NEXT LEVEL? www. iFlogID: 9681

STAND OUT FROM THE CROWD! Whether it be drumskin decals, logo design, or a portable stage backdrop, allow Brainchild Project Management take your gig to the next level. You sound great, now look great - dont be just another Band/DJ at just another venue... let your fans know who you are, and advertise your name at the same time! iFlogID: 9852

RECORDING STUDIOS Eternal Post Production iFlogID: 9698 Have you got a song in your head? Get it recorded with a multi-instrumentalist producer in a relaxed, friendly studio. Experienced in arrangement, composition, performance and production. Affordable rates Call Greg 0425 210 742 iFlogID: 9377

SINGER/SONGWRITERS have a home studio and require a producer to help polish your tracks? High-end recording studio with the convenience and universal application of the Internet.World class session musicians work with you every step of the way- more information iFlogID: 9842 SONGWRITER’S RECORDING STUDIO Understanding the needs & budget of a songwriter, International producer Nathan Eshman can create complete production on your hit songs, from concept to mix & master. Clients include: Marcia Hines, Candice Alley & exToto front man Fergie Frederikson // iFlogID: 9335 Studio Recording and musician services. iFlogID: 9862 SYDNEY RECORDING ARTISTS Professional recording studios with state of art equipment & Producers at a affordable price. Turn your music into gold with our BEST RATE package. We also Market, Manage & Distribute. Call 0415 807 137 iFlogID: 9743

TUITION Easy way to learn saxophone for students of different ages (from kids to adults) and different levels (from beginners to advanced). $35/ hour Lorenzo 0410041979 iFlogID: 9138 SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. / mazvocalstudio - Contact Maz: iFlogID: 9795 VOX MUSIC ACADEMY FOR GUITAR • VOCAL • BASS • DRUM TUITION Get the very best out of your music career. BOOK NOW! Vacancies at Dandenong, Bayswater & Brunswick. Contact Us info@voxmusic. or PH (03) 8772 2605 iFlogID: 9907

Raj 0432 089 495 iFlogID: 9394

Double Bass to play swing, blues, rock n roll. Vocal ability a plus. Regular work. Vini & The Moonlighters - iFlogID: 9542 Female bass player wanted for Brisbane rock dance band. Must be 18 - 35 years, photogenic, reliable. Inf: RHCP, RATM, P!nk, Suzi Quatro, Alanis Morrissette and more. Ph: 0437 428 859 or 3267 6789. iFlogID: 9932

NOT AVAILABLE FOR FREE ADS. CL BASS PLAYER WANTED, to form rock band. jamming weekly in sydney. infl, ac/dc,iron maiden,D.P.,def leppard .etc... if interested txt dave on 0420 463 161 iFlogID: 9526 Slappin’ double bass player needed to complete rockabilly trio. Ph: 0403 30 2884. iFlogID: 9868 we play originals and like the replacements, the fauves, the fall, the church, pixies, depeche mode... if you like any of those bands, and like to play with a pick, call B on 0423 420 029 iFlogID: 9464


We are an all original band looking for musician/s to replace our departed guitarist. Rehearsing 1 to 2 times per week in inner sydney and gigging regularly. Check us out at and get in touch if interested. iFlogID: 9820


looking to start up a new acoustic band from scratch and am keen to get it started. looking for over age of 18 and needs to be able to contribute as a two piece band. Shane iFlogID: 9371

MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 20 artists and strives to offer quality creative Music Videos at an affordable price. Visit or email info@immersionimagery. com iFlogID: 9354

National touring band require professional guitarist. Age 18 -25. Must be proficient in all forms of Rock, Blues, Roots.Involves backing high profile artists. Show operates out of Queensland. For further details email or phone 0408 010 789 iFlogID: 9925

SnakeEyeProductions specializes in live gig film clips for your website or myspace. Filming in HD with broadcast quality equipment, we edit clips and provide DVD transfers/authoring and uploads. Great way to make your music stand out from the rest. ph-0416120639 iFlogID: 9584

MUSICIANS WANTED BASS PLAYER BASS PLAYER WANTED FOR REGGAE TRIO - Male/Female bass player with backing vocals required, must be experienced, reliable and have own gear and transport. Management supplied, gigs waiting. Min $200 per gig. Call

KEYBOARD ATTRACTIVE FEMALE KEYBOARDIST + Backing vocals with real talent.Regualar paid shows. Possible opportunity to sing some lead.You need to be 18-26yrs, size 8-12, own equipment & transport, driven for a music career. Band has top management & agent. (02) 9590 7601 iFlogID: 9667 Keyboard player wanted for original folk, acoustic, gypsy band. Must be committed to at least 1 rehearsal a week plus gigs and festivals.We are looking for a like minded individual to add another colour to our songs.Contact Susie on iFlogID: 9410

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



3D World - Sydney Issue #1040  
3D World - Sydney Issue #1040  

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