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( Issue 1055 ~ TUESDAY 5 APRIL 2011 )










CREDITS PUBLISHER Street Press Aust ralia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alanna Bishop, Aleksia Barron, 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, Djengel, DJ Stiff y, Fern Greig-Moore, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwston, Jake Sun, Jane Stabler, Jann Angara, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Maria Lee, Matt O’Neill, Matt Unicomb, Melissa West , Mitch Knox, Monica Connors, Nick Connellan, NHJ, Nic Toupee, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Russ Macumber, Sasha Perera, Scott Henderson, Stuart Evans, Tim Finney, Tom Brabham, Tristan Burke Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Kostas Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS ART DEPT Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT PRINTING Rural Press DISTRIBUTION dist SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). HEAD OFFICE 2-4 Bond St, Abbotsford, VIC 3067 (03) 9421 4499 Sydney: (02) 9331 7077 Brisbane: (07) 3252 9666 HEAD OFFICE


DRINK Corporate Aust ralia has pitched in to help vict ims of recent flood and cyclone disasters in Queensland in a big way, with Bundaberg Rum the latest to get involved. And although the series of gigs they’re holding across Qld on Saturday 16 April are much more of a rock pigs’ paradise, the launch of the collectors’ edition Watermark rum offers something for everyone. Go to www.facebook. com/bundyrum to get the lowdown...

WATCH Yes, it’s another Katy Perry mention in 3D World (we’re not obsessed, why would you think that?), but this one is most definitely worthy. The new clip for ET must surely be mounting a challenge for most expensive music vdieo ever against Michael and Janet Jackson’s mid-90s effort Scream, especially with Kanye West stopping by for a couple of verses for reasons best known to himself. Aliens, amazing outfits and general eye candy abound…


The tenth annual Audi Fest ival Of German Films starts its run through the arthouse cinemas of Aust ralia this weekend with an impressive programme of cinematic goodies as always. If you want to see the visual splendour of Wim Wenders’ 3D contemporary dance piece Pina you’ll have to find your way to the Sydney Opera House Sunday 17 April, but if you can’t leave your home town then Single By Contract – about a Berlin st udent falling for a rock star she’s never heard of, who just happens to be concract ually bound not to have a girlfriend – is screening everywhere. The program website is too complex to type here, so just Google that shit...




Life on the treadmill getting you down? Well iPhone owners, you’re in luck with the new Fun Run Trainer app, which lets you pretend you’re running through the streets of Paris, New York or London with a top down Google Maps view of the distance you’re covering in your slightly less exotic gym of choice. Running through act ual streets just got even less appealing…

LOOK Okay, so fluff y woolen collars might not quite cut it on the st reets of Surfers Paradise, but the Toronto Sun’s photographic wrap of proceedings at Toronto Fashion Week might have some clues for you if you’re hitting the slopes this winter…



RCRD LBL rarely fails to deliver the goods when it comes to free tuneage, and this week they’ve delivered two rippers with an Aust ralian touch. Hipster cred drips from every pore of Spank Rock’s booty shaking take on Sydney rockabilly outfit The Snowdroppers’ Do The Stomp, while Architect ure In Helsinki’s Contact High gets taken even further into dreamy elect ro-pop territory by Brits Clock Opera. Just subscribe to the site’s daily newsletter already…


The legend of Melbourne rapper RAED has spread far beyond his home town thanks to YouTube, and now you have the chance to share the spotlight with him. His Tripplah Product ions are looking for extras – both male and female aged 18 to 35 – for the climact ic scene of his forthcoming feature fi lm, to be shot in mid-May. If you’ve got the look, email tripplah@gmail. com asap…


Lego isn’t just for kids – though technically this collaborative effort between Matt Edwards (aka Radio Slave of Rekids label fame), Devilrobots and Medicom Toy Corporation is built more for ornamental use than to engage in any sea/space-faring role-playing. It’s based on the cover art for Radio Slave’s Koma Koma release, will set you back 12 Euros, and all proceeds of sales go direct ly to the Red Cross to support relief efforts in Japan…




EMI have launched a new project, SHE Can DJ, in order to unearth and support local female dance artists. The winner of the project will be signed to a dlobal EMI record deal, providing them with exposure and a platform for release. The winner of SHE Can DJ will work alongside these top billed performers, and will be selected from the top female DJ talent in Aust ralia and New Zealand across many genres. The program will develop and mentor selected entrants, and seeks to realise the potential of artists to have long, creative and lucrative careers. The st unning prize pack includes a networking trip to Ibiza, a DJ mix compilation, an album release and a producer master class. 3D World is a partner in this innovative program. To apply through the website from Thursday 7 April.


The Sydney Opera House has revealed the program for the upcoming Vivid LIVE Fest ival. Running from Friday AZARI & III 27 May to Sunday 5 June, Modular Recordings’ Stephen Pavlovic has taken on curatorial duties. Touted as a fest ival of “light, music and ideas”, Pavlovic has pooled a considerable resource of talent from local and international indie scenes. Shoegazers Spiritualized will take over the Sydney Opera House with a performance of their legendary album Ladies and Gentlemen We Are Floating In Space, accompanied by a gospel choir and orchest ra. Rising hip hop act OFWGKTA and mysterious Manchester indie kids WU LYF will also take to the stage, alongside hyped Canadian sound system outfit Azari & III. Tickets on sale through the Sydney Opera House.


Hit US children’s TV show Yo Gabba Gabba! is set to head blitz stages across the country. DJ Lance Rock and his swag of funny looking friends, including Plex the magic Robot and Muno the Cyclops, will be burst ing on to the stage in a colourful YO GABBA GABBA brightly coloured show fi lled with music, dance and songs about yummy food and biting your friends. The TV show has previously had guest appearances from Tony Hawk and MGMT. The show plays at the Sydney Opera House Saturday 4 and Sunday 5 June for Vivid LIVE, Brisbane Convention and Exhibition Centre Tuesday 7, and the Palais Theatre (Melbourne) Saturday 11. Tickets on sale through Sydney Opera House, Ticketek and Ticketmaster.

MIXING IT UP Art Vs Science has announced their fi rst headline tour in almost a year, with a brand new ART VS show including the live SCIENCE debut of tracks from their latest album, The Experiment. The tour will be supported by rising stars Strange Talk. The Experiment tour is presented by Street Press Aust ralia as the trio hit The Forum (Melbourne) Saturday 2 July, The Enmore (Sydney) Friday 8 and The Tivoli (Brisbane) Saturday 9. Tickets $42 + bf, on sale from Thursday 7 April, available through Ticketmaster and Ticketek.

LIKE WOW New Zealand alt-pop songst ress Zowie has been announced as the support act for Katy Perry’s upcoming national ZOWIE tour. Zowie’s track Bite Back has recently had airplay on Triple J and Channel V, and she comes fresh off touring Future Music Fest ival and shows with Mark Ronson. Melbourne, Sydney and Newscast le shows have sold out, though there are limited tickets remaining for the May 5 & 15 shows in Brisbane. See Ticketek for more info. ONE MILEY Teen pop superst ar Miley Cyrus has announced a national tour in June. The Gypsy Heart tour will be Cyrus’ fi rst tour of MILEY CYRUS Aust ralia. The show will feature music from Cyrus’ latest solo album Can’t Be Tamed. She will play the Brisbane Entertainment Centre Tuesday 21 June, Rod Laver Arena (Melbourne) Thursday 23 and Acer Arena (Sydney) Sunday 26. Tickets to the general public go on sale Tuesday 12 April through Ticketek, with all ticket prices under $100.


STILL FIRING New Zealand roots reggae act Katchafi re are set to tour in June/July in support of their soon to be released album, On The Road Again. Their latest album marks the fi rst time the entire band has contributed to the songwriting processes. The group play Unibar (Wollongong) Thursday 23 June, Enmore Theatre (Sydney) Friday 24, Great Northern Hotel (Byron Bay) Saturday 25, Pierlive (Frankston) Thursday 30, Prince Bandroom (Melbourne) Friday 1 July, Southport RSL Saturday 2 and Kings Beach Tavern (Caloundra) Sunday 3. See katchafi re. for more info.

JAMES FRANCO HAS responded to critics who stated that he appeared to be stoned while host ing the Oscars this year. He explained to David Letterman that a “…Tasmanian Devil would look stoned standing next to Anne. She has a lot of energy!” Nice save Franco... CUT COPY RECENTLY appeared on US talk show Late Night with Jimmy Fallon, performing their single Take Me Over with an odd new addition to the band: a guy in a gorilla suit wearing reflect ive shades and a bright yellow shirt. No word yet on if this individual is a permanent addition... BLINK182 DUDE Travis Barker has lashed out at narrowminded “Nazi bastards” fans for criticising his hiphop collaborations with Rick Ross, Snoop Dogg and Pharrell Williams for his solo album Give The Drummer Some... THE MAN BEHIND SpiderMan, Stan Lee, is co-developing an animated TV show starring a character named titled The Governator inspired by none other than the body builderturned-actor-turnedpolitician loved by all – Arnold Schwarzenegger. Show is due for release in 2012... AN INTERN AT Facebook has used data on social networking friendships to create a remarkable map of the world. By taking a sample of about 10 million pairs of friends Paul Butler created map with lines to reflect ing human relationships across countries.







OHN LEGEND, AKA JOHN STEPHENS, is the most enduring of neo-soul’s male stars, consistently airing albums since 2004’s Get Lifted. The singer/songwriter from Springfield, Ohio, is a true workaholic. “I love making music,” he says simply. Stephens has exhibited none of the perfect ionism, or neurosis, of a D’Angelo or Maxwell.

Now Stephens is returning to Aust ralia with a ten-piece band, no less. He promises to perform songs from across his impressive back catalogue. “It’s gonna be fun and energetic and we’re gonna have a good time.”

Stephens, 32, is cognisant of commercial realities and the need to stay relevant. Last year he presented a covers album, Wake Up!, teaming with that avant-garde ‘live’ hip hop band The Roots. It won him another Grammy for Best R&B Album, bringing his total haul to nine. The project had its genesis during 2008’s presidential campaign – Stephens has openly supported Barack Obama – and finds the muso breathing fresh life into Civil Rights-era funk, soul and R&B classics from Harold Melvin & The Blue Notes, Marvin Gaye and Nina Simone among others. Stephens previously liaised with The Roots for Al Green’s Lay It Down, which Ahmir “?uest love” Thompson produced – and he enjoyed recording ‘live’ with a band. “I think it brought out something cool. It was a bit rougher, a bit more organic and it pushed me vocally in the right way.” Thompson has a lovable personality, but he’s also an exact ing musician.


He and Stephens were suitably matched. “Act ually, I’m as much or maybe more of a perfect ionist than he is!” Stephens laughs. They had few “confl icts” in the st udio. In some ways, Wake Up! serves as a more upbeat companion to The Roots’ sombre How I Got Over, which manifests Americans’ disillusionment since Obama entered office. Nevertheless, Stephens holds that the President is on the right course.

“I think he’s doing very well. It’s obviously a very difficult job in very difficult circumstances he came to office under, given that the recession had already started and you had this huge financial crash and people were worried we were about to go into a depression. He, along with the other policy makers, helped bring us back from the precipice and now we’re on the road to recovery. It’s slower than people want sometimes, but these things take time. He’s done a good job considering the adversity he’s had to face.” Older hip hop fans – and artists – invariably lament the dearth of ‘conscious’ urban music. The prevalence of ‘bling bling’ rap does seem surreally insensitive, even obscene, in the midst of a recession. “I already wondered about that!” Stephens agrees. “I wonder why people aren’t insulted that rappers are talking about how rich they are and what they’re wast ing their money on. But maybe it’s inspiring for them and it’s a form of escapism and fantasy-fulfi lment for them to hear that. So I don’t know. Different

fans want different things. I don’t get too caught up in that one way or the other. I like some rappers who do rap about how much money they have, but I don’t like them because of that, I just like them in spite of that.” Stephens himself has a braggadocio handle – the ‘Legend’ is a “cute” nickname inspired by his old-fashioned musical sensibilities – but his origins are modest and blue-collar, his dad a factory worker. Stephens was playing piano in childhood and sang in a church choir. The academic pupil accepted a place at the Ivy League University of Pennsylvania, majoring in English. Here, he developed a taste for the Irish writer James Joyce, who pioneered the ‘st ream of consciousness’ st yle in his modernist novel Ulysses. Today Stephens is more interested in politics than literature, although he’s currently reading JM Coetzee’s Booker Prize-winning Life And Times Of Michael K – a gift. At any rate, Stephens’ musical passion didn’t wane at college. He was involved in an a capella group. More triumphantly, as a sessionist , Stephens tinkled keys on Lauryn Hill’s The Miseducation Of… Even after landing a swish management consultancy gig on graduation, Stephens disseminated music independently. Eventually he was discovered by Kanye West. Stephens became the flagship act for West ’s GOOD (Getting Out Our Dreams) Music. Breaking out with Get Lifted, and the Curtis Mayfield-esque Ordinary People, his music was classified as neo-soul – a highbrow hip hop soul, literate, romantic and socially-conscious. The singer was afforded a concerted promotional push in Aust ralia while Ye was st ill bubbling under – and he toured here for the fi rst time. Stephens followed Get Lifted two years later with Once Again, his take on classic soul pop. The balladeer changed tack with album number three, Evolver, cutting up-tempos like the elect ro-disco Green Light, featuring OutKast ’s Andre 3000, to entice radio. Still, when Vibe profi led the new “soft” R&B – basically a reincarnation of 80s quiet storm – it cited Stephens, who once guested on Sesame Street, and Ne-Yo as its leaders. Ironically, though Wake Up! has been touted as an anti-AutoTune album, Ye deployed the effect on Evolver’s It’s Over. Wake Up! encompasses but one original number, Shine, fi rst heard at the close of Davis Guggenheim’s Waiting For ‘Superman’, a documentary about deficiencies in the US education system hailed at Sundance. Stephens continues to cover all bases with out-there collabs. He popped up on MSTRKRFT’s elect ro house track Heartbreaker and, recently, Magnetic Man’s Getting Nowhere. “Oh, I had so much fun doing that song,” Stephens enthuses of the latter. “I’m really proud of it, I love the record, and I think the video came out well.” The soulster worked on Getting Nowhere long distance from New York, writing with Amanda Ghost. Stephens regrets that he’s never met the dubstep supergroup. Then the white-hot Oh Land, a Danish Annie, sought him (plus Pharrell Williams) for her US debut, only to shelve the material, lest it appear that she’s a producer’s puppet. Word is that he submitted a song for Michael Jackson’s (last) album. Stephens is contemplating his next album, which he hopes will drop before the year’s out. “Yeah, I’m st arting to work on it now. I’m in the st udio with Kanye this week. We’re just starting, so I’ll know a little more in the next few weeks about how I think it’s coming out.” In 2011 Stephens remains aligned with GOOD, dutifully singing on West ’s opus My Beautiful Dark Twisted Fantasy, yet he now has his own concern in HomeSchool Records. Indeed, Stephens groomed Brit femcee-cumsoulst ress Estelle for global fame. (Inevitably, rumours abounded that he was, in fact, her ‘real’ American Boy.) Estelle’s sequel to Shine, All Of Me, is long overdue. If Stephens is a soul survivor, it’s possibly because he’s pragmatic – and, like Obama, a guileful politician. He understands the challenges of negotiating US radio formats as a black artist. “The interest ing thing is, as an artist, a lot of times you have a diverse set of influences and you want to experiment and try different things and you have to have that space to do that. But then you also have to decide how you wanna be seen and how do you want your fans to see you and what do you want the main message to be coming out of your music and what st yle do you most want to be identified with. Every artist has to st ruggle with that idea of being diverse, but also having some kind of identity as an artist . We all st ruggle with it.”



WHO: John Legend

WHAT: Wake Up! (Sony) WHERE & WHEN: Byron Bay Bluesfest Saturday 23 April, State Theatre (Sydney) Sunday 24 and Monday 25 April, Palais Theatre (Melbourne) Tuesday 26 April


Love James Blake’s futuristic dubstep soul? Listen for Londoner Jamie Woon, another BBC Sound of 2011 pick. Britain’s revolutionary ‘night bus’ genre is an edgier incarnation of Drake’s illwave R&B. Like Blake, Woon comes from a musical family (Mum is Celtic folkie Mae McKenna). He even attended the famous BRIT School (Amy Winehouse, Adele, Jessie J). But, unlike Blake, Woon has a singer/songwriter background. Some years ago Burial remixed his cover of the traditional Wayfaring Stranger into a cult hit. Newly aligned with Universal, Woon is proffering the album Mirrorwriting this month behind 2010’s ‘comeback’ single Night Air. He’s been compared to everyone from Jeff Buckley to Lewis Taylor to Jay Kay.


Dig Eli “Paperboy” Reed and Daniel Merriweather? Brit nu-folkies Bobby Long, Marcus Foster and Stornoway are veering off into neo-soul. If Foster is crafting something called ‘Fo-town’, then Long’s music is a Northern lad’s take on bluesy Americana – think Elliott Smith haunting Manchester. Now residing in New York, and signed to Dave Matthews’ ATO Records, Long cut his gorgeous debut, A Winter Tale, with Liam Watson (The White Stripes) at London’s analogue ToeRag Studios. The R&B icon Nona Hendryx sings backing vocals! He’s touring Aust ralia this month.


Though D’Angelo’s output has been modest over the past 17 years, Detroit’s Dwele (aka Andwele Gardner) has reached his fi fth album. And he’s finally receiving mainst ream recognition, guest ing on Kanye West’s Power. Early, Dwele sang the hook on Slum Village’s Tainted (inspired, like Rihanna’s later SOS, by the Gloria Jones/Soft Cell number Tainted Love). He’d already hust led an indie album prior to signing to Virgin for 2003’s Marvin Gaye-ish Subject, home to Find A Way. Dwele also graced Ye’s Flashing Lights. He dropped the mature W.ants W.orld W.omen last year.






hat is trending in pop culture – in film, music and fashion? Fract ured fairy tales. Lately we’ve seen Walt Disney’s feist y satirical animation of Rapunzel, re-badged as Tangled. Now Twilight director Catherine Hardwicke has contemporised Little Red Riding Hood, in the process restoring its original sexual darkness, with Amanda Seyfried (Mamma Mia!) in the lead role of Valerie. Hardwicke’s st ylised adaptation may be staged in Medieval times, but it has music from Fever Ray plus a “rave” scene, apparently inspired by Nevada’s Burning Man festival, with salacious girl-on-girl grindin’. Crucially, Hardwicke has changed the Big Bad Wolf into a murderous “gangsta” werewolf. Oh, and there’s a bigoted inquisitor portrayed by Gary Oldman... More is coming. Next up is Beastly, a retelling of Beauty And The Beast with Vanessa Hudgens and Alex Pettyfer set in modern New York. Kristen Stewart will create a princess for the Lisbeth Salander era in Snow White And The Huntsman. We can anticipate, too, a retooled Sleeping Beauty told from Aurora’s perspective and comparable to Tim Burton’s surrealist Alice In Wonderland – the success of which is partially driving these remakes. If the Shrek-ish Tangled was aimed at kiddies, then Red Riding Hood is most definitely PG-13. After all, Hardwicke has abandoned the ‘Little’. Her movie is a mash-up of the coming of age story,

fantasy, (supernatural) romance, thriller and horror. It’s a wolf-dunnit – The Village tainted by Twilight. Weirdly, Leonardo DiCaprio is a producer. Hardwicke has cited child psychologist Bruno Bettelheim’s 1976 tome The Uses Of Enchantment: The Meaning And Importance Of Fairy tales as an influence. As such, she’s given her fairytale a Freudian twist – though this is (unwittingly) parodic. Indeed, Freud’s theories of psychosexual development seem increasingly anachronist ic. No feminist re-evaluation has ever convincingly purged Freud of his patriarchal Victorian baggage. So why the craze for refashioning fairy tales and reformulating their archetypes? Gender roles in Western society are in flux. In theory, women are emancipated, but they harbour nostalgia for traditionally feminine things, from fairy tales to romance to ballet (how ironic is it that, with its sadomasochist ic overtones, Black Swan should have sparked a fashion trend?) – and the push is to reclaim, or recontextualise, them. Disney, which sanitises folk tales more than even the Brothers Grimm, has had to get with the program. However, the fairy tale revival is also attributable to Twilight’s box office triumph – teenage girls are now recognised by Hollywood as a powerful, cashed-up, demographic. Those feminists lambast ing Twilight have badly misconst rued the phenom, invariably failing to consider the reasons for its popularity, due to narrow definitions. A feminist text need not be about empowerment – it can depict the status quo, albeit with an implied critique. Many ‘readings’ of Stephenie Meyer’s paranormal

fantasy are bizarrely literal. But The Twilight Saga, a Bildungsroman in four volumes, subliminally challenges the doct rine of female perfect ionism – and internalised value systems. Bella Swan and Edward Cullen, in the female gothic convention, are dualist ic characters – representing a split consciousness. The story const ructs a postmodern counter-mythology by inverting biblical narratives. Edward is holding out the apple and it’s his sexuality, never Bella’s, which is dangerously disruptive. He’s the (feminised) Other. At the saga’s end, the ‘plain’ (and selfhating) Bella has transformed herself into a post-feminist ideal: she’s beautiful, sexy, clever,


invincible, transcendental – and unambiguous. Damn, she’s act ually rolling around with ol’ Eddie in her Eden just after giving birth... and she’ll never age. Edward exists as her mirror: he sees Bella as she wants to be seen – perfect. No Heidi Montag makeover, liposuct ion or botox necessary. Bella doesn’t sacrifice a career for her guy – she metamorphoses into a pro goddess, subsuming her man along the way. And heroines in the ‘new’ fairy tales are the same – ordinary chicks who attain everything, the liberation and the romance. In Red..., the rival heroes – Valerie’s true love, emo woodcutter Peter (Shiloh Fernandez) and posh boy Henry (Max Irons, actor Jeremy’s offspring), the blacksmith’s son to whom she’s betrothed – are mere ciphers or project ions. Red is akin to a Twilight side-show. The actor cast as Bella’s old man, Billy Burke, is back as Valerie’s dad, while Taylor Lautner nearly stepped in as Peter and Fernandez auditioned for Edward. The 2000s’ vampire cult is really a manifestation of anxieties about consumption – the new morality. In the New Moon movie it’s implied that Bella, going through


her lil’ Sylvia Plath phase (The Bella Jar?), is anorexic. In Red, it’s not just Valerie’s crimson cape with its glorious sexual symbolism that is fetishised, but also food – as something simultaneously sustaining and hazardous. (Is Valerie really eating – spoiler alert – the wolf ’s Granny stew? Like, gross.) The postmodern fairytale isn’t new. In write-ups of Red, commentators have referred to Angela Carter’s fairytale anthologies (she translated Charles Perrault’s 17th Century salon versions with their witty morals). Nevertheless, Carter, an exponent of feminist magic realism, likewise published her own corrupted fairy tales in The Bloody Chamber And Other Stories. The Brit

wrote about vampires and werewolves long before Meyer, her stories lyrical, erotic and subversive. Her The Company Of Wolves – itself a transgressive revisioning of Little Red Riding Hood in which the girl seduces the wolf – was turned into a cult 80s fi lm. Fashion is allowing women to fulfi l their own fairy tale fantasies – by dressing up. At Alexander McQueen, Sarah Burton drew on Hans Christ ian Andersen’s literary Snow Queen for her Autumm/Winter collect ion – but her Snow Queen is channelling Lady GaGa’s dominatrix (and Björk with her much-mocked Oscars ‘swan dress’ of 2001). Still, with their ethereal feathers, dramatic ruffles and courtly silhouettes, Burton’s lavish designs are signalling the return of romance – and an end to fashion’s ascetic minimalism amid the GFC. Meanwhile, the Aust ralian label Extinct has a deep red woollen cape with leather trim – just the thing for the urban lupine lovergirl. Katy Perry has been appointed “brand ambassador” for the German jewellery company Thomas Sabo – and the ads show her as a neo ‘Girl Power’ Snow White, surrounded by cute fairytale charms: frogs, apples, lips. Disney Couture (available at has proven a hit with adults, its latest range, again, based on Snow White (it features a Twi-ish apple locket). Even cosmetics companies are co-opting fairy tales. Last year MAC’s Disney-themed Venomous Villains capsule collect ion sold-out. Th is season, models for Illamasqua’s Toxic Nature line, on sale at Myer, resemble Disney heroines on acid. Good Girls Gone Bad?



f ever there was a time when enigmatic UNKLE frontman James Lavelle was viewed as one of dance music’s loosest cannons, his fract ured partnerships with the likes of DJ Shadow and Tim Goldsworthy notoriously crumbling under the pressure of crafting those classic albums, then it’s been long forgotten in the face of UNKLE’s prolific output over the past four years. Lavelle had already deftly tried his hand to hip hop on the eternal Psyence Fiction, underground electronica on Never, Never, Land, as well as inspiring pure dancefloor movement during his long career as a DJ and remixer In 2007 though, Lavelle confidently staged a musical rebirth for UNKLE that him saw knuckling down in the Californian desert with new musical partner Richard File, along with Queens Of The Stone Age producer Chris Goss, to deliver an album of st unning emotional force. War Stories essentially took inspiration from the stadium rock of acts like QOTSA (with vocalist Josh Homme appearing on several songs), but it fleshed out the musical canvas with rich digital textures and a brooding sentiment, ensuring the UNKLE legacy was maintained. Similarly, last year’s Where Did The Night Fall saw Lavelle and the newly recruited Pablo Clements applying a similar blueprint to the new wave of indie rock and blues emerging out of the US. However, these two albums are only the top of the iceberg when it comes to projects Lavelle has been involved in. Currently he’s got his hands full with preparing for his upcoming Aust ralian tour, finalising details on the new UNKLE EP, submitting scores for soundtracks as well as working with a number of video artists, directors and even a perfume designer to help produce an upcoming art show in Camden. It sure sounds busy, but Lavelle insists working on these projects is a breath of fresh air. “If it’s soundtrack work, or other unique projects like the art shows, then that’s very different from the heaviness of working on the next UNKLE album,” he asserts. “When projects like that exist outside of your own outfit, you mentally work on it in a different way and it tends to be much more its own beast.” Anyone hungering for the next taste of UNKLE though won’t be kept waiting, with their new Only The Lonely EP seeing them working with yet another iconic vocalist in the form of Nick Cave. Money & Run sounds like the twisted blues of classic Bad Seeds being

beaten to a pulp and forcibly pushed through a crackling, damaged FX pad. UNKLE have worked with some iconic vocalists over the years, including Thom Yorke and Richard Ashcroft, so Cave is in esteemed company – though Lavelle insists there’s a different level of veneration in this case though. “When you work with someone like Thom or Richard or Josh, we’d all sort of come into the public eye at around the same time, while with Nick you sort of have a different kind of reverence and respect for artists like that from where I stand,” he laughs. “He has such an amazing long-standing history with what he’s done.” The track was plucked from the leftover st udio sessions of Where Did The Night Fall, which gives an idea of where they’re going on this new EP. It sits neatly alongside last year’s album as

a companion piece, in the same way that End Titles... Stories For Film did for War Stories. “That’s the point really. It all feels like it ties into the same time frame of work and sound, and puts a bit of a full stop on that period. Rather than releasing it as a new record, which didn’t feel right for either of us, it just didn’t have that much of a standalone feel to it… but it gives a bit more weight to that album as a whole, though. It definitely feels like an accompanying piece, like part two of that same period.” After all, it’s not characterist ic of UNKLE to release a new album that sounds anything like the last one, with Lavelle and his myriad of musical partners adventuring off to explore new and often completely unique musical territory. However, Lavelle emphasises there’s a point when it feels right to pull back, when it doesn’t

feel like UNKLE anymore. “I think there’s an emotional st rain that goes through the records, and they tend to be quite dynamic, rich and cinematic, quite journey like. We’re not really good at doing three-minute pop songs really. So I think there is definitely a continuity in the UNKLE timeline. I don’t think we’re going to suddenly make something that doesn’t sound like an UNKLE record.” There’s been plenty of material for fans to devour over the past few years, but we’ll have to wait a little longer the next chapter in the UNKLE saga. “I just want to have a break to be honest,” he says. “We’ve put out nine albums’ worth of material in the past four years, you know, something like 150 songs in four or five years. We’ve literally been in the st udio every other day for four or five years.” Once the floodgates open for Lavelle on this topic, the talking doesn’t stop. “I do feel like I’ve been on a treadmill… I think it’s been great, it’s been really productive and it’s been great for us to build this body of work that we own and we can control. Both creatively, and the fact we don’t have to deal with Universal or any of the relationships that we had in the past in order to make a living out of what we’re doing as musicians. It’s a really amazing achievement.” WHO: UNKLE WHAT: Only The Lonely (Pod/Inertia) out Friday 8 April WHERE & WHEN: Billboard (Melbourne) Friday 29 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, The Hi-Fi (Brisbane) Tuesday 3 May, Groovin The Moo at Maitland Showground Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May, Sydney Opera House Monday 9 May





t’s been three years since Ladi6 (aka Karoline Tamati) unveiled the bohemian soul and roots album Time Is Not Much. Now her follow-up, The Liberation Of…, is dropping in Aust ralia next month. But, before then, the First Lady of New Zealand Hip Hop is touring. The Liberation Of... has already come out in NZ, with Tamati gratified by the reception. “We just released the album last year in November and I am happy to say that the response has been incredible,” she enthuses. “I have been fortunate to be on the positive end of most feedback.” Aust ralians can preview The Liberation Of... in her revamped live show. “It’s a big fun sound,” she reveals. “We have live drums and heaps of jamming and ad-libbing moments on stage, so you never get the same thing twice. [But] to be honest, I am really shit at explaining what the live show is like – just come and you can define it for yourself!” The Christchurch native, who is Scribe’s cousin, began her music career as a member of the allgirl hip hop posse Sheelahroc, best remembered for their hit If I Gave You The Mic. She’d go on to join the funk Verse Two – among its line-up future founders of Shapeshifter plus her boyfriend Brent Park (DJ Parks) – and relocate to Auckland. In the interim, Tamati ‘did a Lauryn Hill’ and started to sing as well as MC. She’d also lay down guest vocals for everyone from (naturally) Scribe to Fat Freddy’s Drop to Shapeshifter, not to mention German hip hop DJ Sepalot. She formally launched herself as a solo act with the hip hop soul Time..., teaming with old pal Mu (aka Chris Faiumu) from Fat Freddy’s and Parks as producers. The album was a crossover triumph in NZ and saw Tamati compared to Erykah Badu. It’d be picked up by BBE in the UK. Between albums, Tamati spent time in Berlin, a city traditionally equated with underground elect ronica, rather than urban sounds. She now plans to move to the city. “I think The Liberation Of... is the beginning of a musical experience inspired by Berlin that will only expand as I continue living there and getting among it. It is a place where I feel free from all

those familiar things that can sometimes feel rest rict ing here at home – it’s like taking a huge breath of fresh air being there. I love it – and Europe in general.” In Europe, Tamati has opened for Gil Scott-Heron. “I totally met him. We went on tour together – like, stopped and had lunch at gas stations... He is an amazingly approachable person and is like the coolest uncle you’ve never met. He was extremely awesome!” The gap between projects has allowed Tamati to develop artist ically. “The Liberation Of... is my fi rst album where I have felt that I had the most say in how it sounded and the general feel of it. Of course, I wrote all the lyrics and melody lines, but I just felt like I had matured enough in [my] songwriting to fully

express myself and my ideas and opinions, more so than my debut.” There were other lessons learnt from Time... that she applied. “I learnt so many lessons. In fact, most of my lessons to do with album making came from my fi rst album making experience. Loads of the lessons I learnt were not only to do with album making, but also to do with how I wanted to run my music as a business.” And, for The Liberation Of..., Tamati primarily recorded with Parks. “We know each other very well – he understands my writing st yle and vocal range,” she says. “We have been writing music together for at least 12 years or so – that kind of connect ion and bond you earn over that amount of time is hard to emulate or replace.” Above all, the title The Liberation Of... harks back to Hill’s The Miseducation Of... – yet Tamati is initially thrown by the suggest ion. “Really? Lauryn Hill... [It was] totally unintentional, but I wouldn’t disagree that Lauryn and other hip hop, R&B and soul queens have had a huge impact on me as an artist and who I aspire to become... [So] yes, I do act ually think that at the time there may have been some slight intention going on there.” Until Nicki Minaj blew up last year, femcees had been sidelined for several years – in the mainst ream arena, anyway. Ask Tamati if hip hop is less of a boys’ club in 2011 and she demurs. “I can’t say I am too aware of what is happening in the mainst ream hip hop scene. I keep my head down and focus mainly on my own missions I have to do.” Tamati listens to music old and new. “Right now I’m listening to Black Milk, Eric Roberson, a lot of old blues like Muddy Waters, and Little Dragon.” There’s a big buzz surrounding NZ music currently because of The Naked And Famous, but the likes of Fat Freddy’s have long repped the country’s fertile underground. As for newer Kiwi acts, Tamati can recommend the live psy neo-soul outfit Elect ric Wire Hust le, who just happen to be supporting her in Sydney and Melbourne. “I really love Elect ric Wire Hust le. They have an awesome sound. If you like [the artists on] Stones Th row Records, you will enjoy their [eponymous] record.” WHO: Ladi6 WHAT: The Liberation Of... (Quest ion Music/…) WHERE & WHEN: Ice Cream Factory (Brisbane) Saturday 9 April, Great Northern Hotel (Byron Bay) Thursday 14 April, Corner Hotel (Melbourne) Friday 15 April, The Gaelic (Sydney) Saturday 16 April






he year 2011 would go down in history as the year of the healthy snack option, at least in the annals of the fast food indust ry. That was until KFC’s decision to raid the collect ive rationalism of what it deems to be a “masculine” demographic, pitching its popular fast food creation into the Aust ralian market with a side-order of manufact ured manliness. A popular limited-run release in the US and Canada, KFC’s The Double has landed in Aust ralia for a period of only four weeks on the mainland, and a curious six week st retch in Tasmania, stirring up the far extremes of the fast food debate in the process. To the far left, a collection of doctors and health advisors are quoted in chorus, with the phrase “horrifying” emerging in true hyperbolic frequency from the likes of famed nutritionist and rent-an-expert Dr Rosemary Stanton. To the far right, enthusiasts include Sydney’s Sean “Burgermaster”, the author of a dedicated burger blog that posted pictures of a pairing of Doubles with the caption “I’ve got a Quadruple Down, Bitch”. The limited period and the mix of the news coverage of outrage, and the workplace/schoolyard response of curiosity, is sure to send the cost ly $7.95 burger flying out the door. Regardless of the response to KFC’s attempts to pitch the product against a platform of “ManTime”, which st ruggles to decide whether to play in the shadow of the masculine-themed Movember marketing success or own up to outright parody, consumers are likely to replicate the retail success of a product that has been “one of the most successful burgers in KFC history” according to KFC’s website. Marketing and react ions aside, the surprising truth to The Double is that it is perhaps no more “unhealthy” than exist ing fast food options. The two variations of The Double include an Original Recipe offering weighing in at 1939kJ of energy and 12.3g of fat per serve, and the slightly higher Zinger dose of 2515kL and 35.7g. The pair contain 47.2 and 48.3g of protein, and 1681 and 2058mg of sodium respect ively. These figures are apparently “outrageous” for a snack time meal in the context of taking an hour of vigorous running on a treadmill to burn off. Conversely, a response from the NSW Food Authority indicates that one Zinger Double contains some 50 per cent of an adult’s total fat intake for a day. Once again “outrageous”, perhaps, until the competition weighs in. According to figures published on the McDonald’s Aust ralia website, The Double falls well short of the values represented in a common hamburger that are readily available from the fast food chain. A common Big Mac manages some 2060kJ of energy and 26.9g of fat in a single serve. What is even more interest ing is a comparison against the “Healthier Options” menu found at McDonald’s. It might unsettle a few stomachs to know that a McChicken Garden Salad with Italian Dressing plus Orange Juice pummels The Double into submission with 2390kJ of energy, some 18 percent difference between the “manly” burger and the salad option marketed towards females. If those six McNuggets with Mustard Sauce and Garden Salad with Italian Dressing sound nice and light, think again. You’ve might have only consumed 1550kJ of energy, but there’s 21.6g of fat to contend with. That’s only a three percent difference between a “horrifying” new burger, and a chicken and salad snack sitting right up there amongst the “healthier” options every day of the week. Perhaps KFC should be praised, if only for the grease of their “manly” burger making the paper-thin health claims of the fast food indust ry just that little more see-through.


There is an undeniable spectacle attached to the launch of The Double, partly due to the dubiously provoked Facebook campaigns that called for the burger to hit Aust ralian shores and partly through the mixture of sound-bites and concerns from genuine health experts and rent-a-crowd capitalists fi lling the retirement fund with their latest cries of furious outrage. Won’t someone think of the children? The only children I was thinking of were those in front of me, keeping me from my two (count them) burgers. Whatever the position of normal and rational men in these circumst ances might be, I shall never know, being neither a regular fast food consumer or anything remotely resembling that favoured fast food marketing image of “hungry man”. Th is decade’s Marlboro Man, the “hungry man” is a vaguely inoffensive larrikin, the kind that health experts lump with single mums and immigrants as being too hapless to decide upon their own meal-time choices. Yet I, an admitted geek who writes about technology and music, bought two of them. Being a man – a manly man – I ate them both. In fact, I dest royed them. If KFC is to be believed, that feeling of faint unease at the completion of my quest was my newfound masculinity. At nearly $16 for the privilege, I probably could have achieved the same buying a round of beers at the RSL and inventing war stories. The whole experience, while mildly nauseating, was not the shocking coronary explosion as warned by the far left, nor a Popeye inspired explosion of virility as promised by the admittedly amusing, and perhaps discriminatory, marketing campaign. It was in reality just a few bits of their typical chicken slapped together with a mortar mix of bacon and cheese. If I’m honest, it wasn’t great, but for a few brief moments on Twitter at least, my manhood was godlike in its virtual stature.






KRISTIANO WHERE AND WHEN WAS YOUR FIRST SET? “I played my fi rst gig at Greenwood Thursdays in 2008.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “Tonite Only – Where The Party’s At.” WHO ARE YOUR FAVOURITE DJS? “Axwell, A-Trak, Fedde Le Grand, Dirty South, Qbert, Shiftee, Steve Angello.” FAVOURITE CLUB TO PLAY? “I have played at so many venues but the one which stands out the most to me is Ivy, good vibe and just an overall good venue, plus there are so many different areas, each with its own st yle.”


WHAT’S YOUR BEST ALL TIME GIG? “I cant really say what my all time best gig was but I can say that gigs that stand out in my mind are the one’s that everyone is getting into the music, you are having an amazing set and everyone is there supporting you.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “It would have to be a girl dancing around in circles with a full motorbike helmet on.” WHAT’S THE WORST REQUEST YOU’VE GOT? “A girl asked me if I could play the theme song from Inspector Gadget.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO?

“Both my parents support anything I do.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “Less DJs, but most of all, DJs that know and appreciate music rather then a promoter trying to become rockstar.” WHAT GIGS HAVE YOU GOT COMING UP? “Hotel Illawarra Friday 15 April, Easter Thursday Party at Carmens Thursday 21 April, DFB Cruise on Sydney Harbour Friday 22 April, Fake Club Saturday 23 April, Twilight Sounds at the Greenwood Hotel Saturday 23 April, Club Classics at Northies Saturday 7 May.” PHOTO BY CARINE THEVENAU



We told you last week that Golden Cage returns this Easter with Desyn Masiello and Anthony Pappa in the headline slots – now we can reveal the support cast. The massive show also features DJs Murat Kilic, YokoO, Mitch Crosher, Dave Stuart, Andrew Wowk, Mesan, Garth Linton and Allive. Presented by 3D World, Desyn, Pappa and co hit Soho Sunday 24 April – fi rst release tickets $25. WESTERNSYNTHETICS


Croatia’s Outlook Fest ival will have a Sydney touch this year, with Sydney bass boffi n Westernsynthetics taking his esoteric future dubstep sound to what is regarded as the largest dubstep and soundsystem fest ival in Europe. May the audience’s calls of “bassline!” during his set be plentiful…


Not many of the dance music world’s turn of the century heroes are st ill delivering the goods, but you can always count on Danny Howells. If you’re a house music fan, we’ll be seeing you in the Chinese Laundry courtyard this Saturday arvo. Get there early y’all…


So Delta’s back on the market now that she’s broken up with Brian “I’ll be at the bar” McFadden. Ummm... does this mean we no longer have to claim her ex as an Aussie? File next to Mel Gibson.



Naming rights to the area’s main sporting field were sold to a betting agency, now a proposal before Penrith Council will ban personal trainers from encouraging their troops and “inappropriate use of trees, seating, picnic tables [and] rotundas” in public according to The Daily Telegraph. They’ll ban healthy eating at schools next…


So Karmichael Hunt had a terrible official AFL debut and Israel Folau didn’t even manage to touch the ball in a match against the Sydney Swans reserve grade team on the weekend. Worst career choice for money since the Black Eyed Peas hired Fergie? Time will tell…



International trance superstar and the #1 DJ in the world, Armin Van Buuren’s upcoming Sydney show has sold out. The one night only affair, A State Of Trance 500, celebrates the 500th instalment of the producer’s milestone radio show. The Acer Arena is set to be transformed into a dance event of epic proportions. Van Buuren will be supported by Alex MORPH, Aly & Fila, Menno de Jong, tyDi and Shogun.

Bliss N Eso continue to smash indust ry records with their Hordern Pavilion show selling out within a week. The overwhelming demand from fans has led the group to announce a secend Sydney Show at the Hordern Friday 27 May. With over 30,000 tickets already sold for their national tour, their Running On Air tour has cemented them as one of the biggest local hip hop acts in the land. Tickets for the additional show go on sale through Ticketek, Monday 11 April.


Melbourne duo Diafrix have been announced as the national support for pop-soul sensation Bruno Mars. The tour coincides with the release of the group’s latest single, Simple Man featuring Daniel Merriweather. It has been a busy few months for the boys, recently touring their native Africa after a slew of Aust ralian fest ival appearances. See them support Bruno Mars at The Big Top (Luna Park) on Thursday 14 April.


The Japan Foundation Sydney is set to present their latest exhibition, Japan: Kingdom Of Characters. Running from Friday 8 April to Saturday 28 May, it looks at the anime and manga characters that have shaped a culture, from Miyazaki creations to Neon Genesis. It happens at the Japan Foundation Gallery, Level 1, Chifley Plaza. Free entry. For more info head to



Local one-man-8-bit-band Ten Thousand Free Men & Their Families is being noticed around the world, with the producer about to showcase his st yle in New York. Catch him before he heads to the Big Apple, when he plays Tone on Saturday 23 April and his New York Farewell Gala on Tuesday 10 May. More info at


Robert “Bo” Burnham, is a 20 year old American comedian, singer-songwriter, musician and internet celebrity. Writing comedic and satirical songs his YouTube videos have received over 60 million views. He plays Metro Theatre, Tuesday 26 April.


Warp Records legend Clark is set to perform his all new show for the fi rst time in Aust ralia. The unique sound of Chris Clark has demonst rated that he’s the primary torch bearer amongst a new generation of artists that continue to produce innovative and boundary pushing elect ronic music that is difficult to replicate. Clark is supported by Ikonika, Harmonic 313, Bass Snarl and Portrait when he plays Tone, Good Friday 22 April from 2pm. Tickets available through CLARK


It’s not just his local namesake which is substandard, with Charlie Sheen’s spoken word tour of America getting off to an inauspicious start with walk-outs at its Detroit debut. What, people expected him to be able to sustain humour for longer than a single tweet? Only in America…



Man of the underground, Detroit native Alex “Omar-S” Smith lives out the DIY ethos. Releasing much of his music on his own no-frills label, his mind-blowing fusion of Chicago house and Detroit techno is a rich and dynamic sound that is unpredictable and overwhelmingly st riking. He plays one night only, at Tone Easter Sunday 24 April, from 10 pm. Local support comes from Simon Caldwell and Kali, with tickets available through Resident Advisor.



Each Saturday in May, Wham! select an iconic Sydney DJ to program an epic five hour set. Encouraging local favourite DJs to dig deep in their crates, to showcase their career as a whole and to play their favourite tracks from years ago, it is certain to be a musical journey. It kicks off on Saturday 7 May with Kid Kenobi, Saturday 14 showcases Mark Walton, Saturday 21 has Robbie Lowe take to the decks, while Saturday 28 Goodwill heads the night. It happens at World Bar, Kings Cross from 8pm. $15 entry before 10pm.


New Zealand singer songwriter Kimbra is headlining two shoes to welcome her second single, Cameo Lover. Kimbra and her full live band will be play tracks from her upcoming debut album, VOWS. The performer has a voice that belies her youth, with soul-influenced theatrical pop that is inspired by Nina Simone to Björk. She plays Oxford Art Factory, Wednesday 13 April. Tickets through Moshtix.


The fi fth annual We Had Parties is set to take place this Easter Sunday 24 April, with a ‘Rumble In The Jungle’ theme. The event will see the biggest and best Sydney club nights pitted against each other, with Last Night, MUM, Girl Th ing, Teen Spirit, F.R.I.E.N.D/s and Ghetto Blaster getting in the ring. Spread across two rooms, this event is sure to be a knockout. It happens at The Gaelic, advance tickets on sale $20 + bf through Moshtix.



Dust Tones are set to present another night of high energy beats and dance floor mayhem with Mista Savona Soundsystem & VidaSunshyne. The artist is passionate about roots reggae and dancehall, and has international releases behind him. He is supported by Nick Toth, Firehouse, Foreigndub, Mike Who, DJ Ability and Bentley. It happens at Tone, Friday 15 April from 9 pm.

Emerging indie-elect ro soul singer/songwriter Fantine is set to st un with her upcoming performance. There is increasing buzz surrounding the rising star, following the release of her debut single, Rubberoom. Fantine’s musical st yle is a reflect ion of her cultural diversity, and she possesses a rich organic sound that is produced through the natural timbre in her voice. She plays GoodGod Small Club, Wednesday 6 April.



MAY’s Lane Art Project is an outdoor gallery space that gives st reet artists the opportunity to showcase their work. The latest is Melbourne based artist Vexta, who creates graphics of half-human half-animal winged creatures. The artist’s obsession with cosmology, concepts of mortality, and the future of mankind form the basis of her creative endeavours. Be there for the launch on Friday 8 April at 6pm. MAY’s is located at 9 May Lane, St Peters.



The Apple Store in Bondi is set to host a free Digital Music Showcase, with demonst rations of mixing and sound software as well as DJ techniques. The session wants to show how your musical ideas can be transformed into a reality, with the assistance of professional producers and DJs from the store team. The evening will cover everything from Logic to remixing and digital DJing. It happens in store on Thursday 14 April, from 5–8pm.



APRIL TIN CAN RADIO – Friday 15, World Bar A STATE OF TRANCE: ARMIN VAN BUUREN, MENNO DE JONG, ALEX MORPH, ALY & FILA, SHOGUN, TYDI – Saturday 16, Acer Arena MIND OVER MATTER, COPTIC SOLDIER – Thursday 21, Oxford Art Factory INNER WEST FESTIVAL: SKETCH THE RHYME, REVERSE POLARITIES, TUKA, TRUE VIBE NATION, HYJACK, ELELSQUIRE – Saturday 23, Sandringham Hotel JOHN LEGEND, LOWRIDER – Sunday 24, State Theatre GOLDEN CAGE: DESYN MASIELLO AND ANTHONY PAPPA – Sunday 24 April, Soho JOHN LEGEND, LOWRIDER – Monday 25, State Theatre TIN CAN RADIO – Wednesday 27, Cambridge Hotel (Newcastle) TIN CAN RADIO – Friday 29 April, The Youthie (Tamworth) MIND OVER MATTER, COPTIC SOLDIER – Friday 29, The Fitzroy Hotel MIND OVER MATTER , COPTIC SOLDIER – Saturday 30, Gearins Hotel MAY DATAROCK – Thursday 5, Oxford Art Factory HOUSE OF PAIN – Friday 6, Manning Bar SAMPOLOGY – Friday 6, Oxford Art Factory GROOVIN’ THE MOO: UNKLE, AC SLATER, ARCHITECTURE IN HELSINKI, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO AND MORE – Saturday 7, Maitland Showgrounds GROOVIN’ THE MOO: UNKLE, AC SLATER, ARCHITECTURE IN HELSINKI, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO AND MORE – Sunday 8, The Meadows, University of Canberra UNKLE – Monday 9, Sydney Opera House TIN CAN RADIO – Friday 13, Beach Hotel MIND OVER MATTER, COPTIC SOLDIER – Saturday 14, Hoey Moey GYPSY AND THE CAT – Thursday 19, Wollongong Uni Bar MIND OVER MATTER, COPTIC SOLDIER – Friday 20, Beaches GYPSY AND THE CAT – Friday 20, Metro Theatre MIND OVER MATTER, COPTIC SOLDIER – Saturday 21, Sussex Inlet Tavern GYPSY AND THE CAT – Saturday 21, Cambridge Hotel (Newcastle) TIKI – Thursday 26, Panthers TIKI – Friday 27, Selina’s PEGZ – Saturday 28, Annandale Hotel JULY ART VS SCIENCE – Friday 8, Enmore Theatre MIAMI HORROR – Thursday 14, Entrance Leagues Club (Bateau Bay) MIAMI HORROR – Saturday 16, Metro

OGFLAVAS Urban news with CYCLONE

Pop culture – and R&B – doesn’t have a good track record with child stars. Look at Michael Jackson. Some make the transition into adulthood smoothly – like Beyonce Knowles, who’s just symbolically split from her manager dad Mathew. Others, like Kris Kross, sink back into obscurity. Chris Brown (touring here this month) might have been forgiven for assaulting Rihanna two years ago – he was 19 – but his behaviour since does little to commend him. Rumours persist of his camp’s domineering of interviewers, treating them as the bad guys for not letting the matter drop. Yet Brown has never really shown himself to be contrite, just mad that he can’t continue like it’s business as usual. The Yeah 3X singer’s latest album is entitled FAME – an acronym for Forgive All My Enemies. The Good Morning America incident, in which Brown went ballist ic about being asked about Rihanna (dude felt “exploited”), should have been the last st raw, but FAME has debuted at #1 Stateside. Brown feels (not unjust ified) indignation that Charlie Sheen is considered a folk hero. Rappers, too, are rewarded for bad behaviour – it bolsters their st reet cred. Nevertheless, Brown imagines that he can redeem himself by just pumping out album after album, stashed with, as is the case of FAME, 18 tracks. Musically, Brown covers all bases on FAME, with ballads, hip hop and bangin’ elect ro-hop and pseudo trance cuts. Oddly, Diplo is on board – and, odder again, Just in Bieber guests. Yet there’s something nast y about the opener, the kiss-off Deuces. Ironically, She Ain’t You samples Jackson’s Human Nature. It’s no wonder, then, that Will and Jada Pinkett Smith have been criticised for allowing their Rihanna-fi xated pre-tween daughter Willow to be a pop star. Terry McMillan (author of Waiting To Exhale) has accused them of “pimping” and “exploiting” their kids, who, she reckons, already have a sense of entitlement. Most surprising is that the reclusive Lauryn Hill, who has five children with Rohan Marley, has greenlit her oldest daughter Selah’s modelling career. The 12-year-old has posted performances on YouTube with singing her next goal. Indeed, Selah says as much in this month’s Teen Vogue – she’s photographed, Mom in tow. The accompanying interview emphasises the hyper-normality of the fam’s suburban existence in New Jersey. Bob Marley’s granddaughter even adores Bieber. Stars in their eyes...



nlike most Aust ralian MCs Nick Stuart, who doubles as Nick Knowledge, attained his hip hop education on the other side of the world. It is a country with a famed division between East and West but not of the rap kind and although you may not pick it for a country with a thriving hip hop community one look at Germany’s graffiti covered st reets tells of the country’s longst anding relationship with the genre. As Stuart tells, “Hip hop’s always been really really huge in Germany. I’m not sure why but the whole place is full of graffiti from top to bottom and it’s even more so now than it was in the 90s.” Stuart spent 20 years living in Germany before returning Aust ralia where he was born and finding a much smaller hip hop scene. It didn’t dampen his enthusiasm however and he set about creating his sound under the Nick Knowledge moniker. His fi rst album The Identity Crisis was released in 2007 and between a variety of other musical projects, this year sees the release of his follow up Soul Sample Side A. “I think for everybody their fi rst album is getting out all the ideas that they’ve had and all the things that they’ve grown up with and I think your second album is an evolution of your own ideas and your own direct ion. It’s often a much more individual thing. Whereas your fi rst album is your proving ground, your second album is much more creative I suppose. In terms of this particular album it’s a lot more organic so there’s lots of live inst rumentation and it’s all based on Motown soul samples, hence the name, so it’s got that kind of sweet sound, a lot of melodies, where the fi rst was a bit grimier and a bit dirtier, it had a grittier sound to it and dirtier samples.”

While most of the soul-based melodic product ions were created at the hands of German producer Lunatronic, the rhymes that flow over the top reflect themes that range from the personal and universal to the dist inct ly Aust ralian Bondi Sunday. Years of being involved with the scene have helped Stuart to forge friendships, make connect ions and open doors so that while the features are minimal, working with the likes of Koolism’s Hau and Brooklyn’s Masta Ace have been notable experiences. “I’m a big fan of Masta Ace and jumped at the opportunity st raight away. It was pretty funny act ually because I was fl ipping nervous when we were

in the st udio with him. I was like ‘oh my god, it’s Masta Ace aaaah’,” he laughs. “It was kind of funny cause he’d heard my st uff before and he dug and it and he agreed to do a verse and so I sort of had his respect already but then I threw that away by being one of the most nervous dudes in the world like ‘I...I...I love you’.” As the album’s name indicates, Side B to Soul Sample Side A should be released later this year on Hatonrack which is a collect ive consist ing of Stuart and 206collab. But the Soul Sample releases won’t be the only work Stuart puts his name to this year – with releases from his other bands Info and Five Coffees it looks to be a very busy year indeed. LIZ GALINOVIC

WHO: Nick Knowledge WHAT: Soul Sample Side A (Hatonrack)




ust ralian clubs are no st ranger to the touring DJ, with appreciative crowds and the promise of sunshine during the European winter. A frequent flyer to these shores is Mark Pember, better known by increasing audiences and an avid online fan-base as Meat Katie. With each visit, Pember’s shows have grown in scale and intensity, partly due to an increasing profi le of both the artist and the LOT49 label that he heads up with colleague Dylan Rhymes, and partly due to the growth of the tech-funk sound that underpins the freedom to range between and beyond the st yles of techno, house and breaks. The diversity of the influences and origins of tech-funk are a reason for its rapid success. Something of an umbrella genre, tech-funk has swept up Aust ralian clubbers and producers alike, with the LOT49 label signing local producers and DJs including Sydney’s Dopamine, adding to the local familiarity that has made the city something of a second home for Pember. “It’s always been one of my favourites to play in the world,” he says. “Not just to play, but the people I’ve met and the people I know. There’s some reason that I’ve always had a bit of a connect ion with Aust ralia. I don’t know why. We’ve always kind of found really cool people to work with recording wise in Aust ralia. I’ve found the shows to be pretty fucking amazing, and it’s just the vibe. For some reason it suits me.” As for the relentless touring, Pember’s yearly pilgrimage hasn’t been entirely uninterrupted. “I took a little time off from coming out to Aust ralia,” he explains, “as I’ve come out every year for nine years. I was going to take a year off, but it ended up being two”. In the interim, the full force of the Meat Katie show has explored new ground, including the iconic Burning Man fest ival in Nevada, the return trip this year including some bizarre possibilities. “We are going to go this year, and we got asked to do a ‘fly on the wall’ documentary of the trip, starting in London and heading out with us. But I don’t know if that’s such a good idea,” he laughs. “If you know what I mean, it might not be the good advert that you think it will be!” Unlike elsewhere, what goes on tour in Aust ralia, st ays on tour, with the word-of-mouth from previous years building up for another trip that comes hot on the heels of the release of LOT49’s celebratory 7 Year Itch compilation. Showcasing the label’s journey outside of the collision of bandwagons over the past seven years, the compilation has begun moving up international sales charts thanks to a st rong and supportive online fan-base. The extended global family, and regular overseas touring, allows for a grass roots presence that regularly sees over 200,000 downloads of mixes and monthly free tracks through the label’s blog alone – a fi gure that Pember describes as “mental”, and encouragement for a fresh mission st atement for a label at the peak of its current journey. “At the back end of last year we released sort of a retrospect ive. We grouped some of the genres that we released together, to make it easy for places like Beatport and iTunes. We grouped the elect ro st uff, the breaks st uff and the techno st uff onto separate compilations just to showcase what we’ve done over the last six years. It’s kind of loosely a celebration if you know what I mean. It’s obvious, but in the same breath it’s a nod to the loads of new producers that we want to work with, some we are working with, and some exist ing and familiar faces that are involved with the label.” “We were toying with the idea of doing some kind of retrospect ive thing, but it felt like everyone and their dog has done a retrospective mix. So I decided to put together a mix of all the exclusive st uff,

instead of saying ‘oh this is what we have done’ it’s like ‘this is what we’re going to do’. You know, we took a slightly different approach.”

Taking a different path isn’t new to Pember. Despite a reputation as a core figure in what has now become known as a golden era of breaks, the current wave of retrospect ive mixes and back catalogue scrutiny shows a producer as likely to have released techno as anything with a broken beat. Amid this era is the often overlooked impact of his previous label Whole Nine Yards, taking an eclect ic approach to releases that would as likely fi ll the crates of a techno DJ as any touring breaks artist. The gravity towards recognition as a breaks icon is perhaps more a testament of the one-time darling status of the genre than any historical accuracy, and certainly with Pember’s receipt of the 2006 Breakspoll’s Outstanding Contribution To Breaks award. For many of his contemporaries, the decline of breaks meant a progression to electro or dubstep, or retiring the headphones entirely. For Pember, it was merely a sidenote in one area of his production and something that he seems genuinely surprised to consider as any form of impact on his own production and performances. “I haven’t really self-examined it,” he admits. “I just make music and play music. There’s no big plan there, I just hope that people like it. The thing is that breaks is very relevant on my career as a producer, because it’s definitely where I cut my teeth, but even in the golden days of breaks I was never a st raight up breakbeat artist. It was nice getting some accolades within the breaks community, and receiving some kudos from the breakbeat element that I was involved in, but in the same breath, I’ve done a lot other shit as well.” DAVE DRI

WHO: Meat Katie WHAT: 7 Year Itch (LOT49) WHERE & WHEN: Chinese Laundry (Sydney) Friday 8 April, Rock Like Th is 6th World War at Brown Alley (Melbourne) Friday 22 April




Sydney Afro-funk act The Liberators have already dropped an album on the Italian label Record Kicks and now they’ve gone for an extended video clip for their vocal-less Rags To Riches. It’s a Blaxploitation themed clip which looks more like it is imitating the recent Black Dynamite fi lm than the act ual 70s fi lms themselves. Although it’s obviously shot in Sydney, the actors adopt New York accents with sly references to the bizarre disparity of locations. It probably would’ve been more ironic and bizarre if the accents were local, but overall it’s a great effort and it looks like it would’ve been a hoot to fi lm. It’s from the Newtown located dontlookbackpict, but the clip will be found on YouTube at the moment. Their self-titled album is worth picking up if you haven’t already. The Seattle, Washington based retro-label Light In The Attic have started up a cinema related spin-off called Cinewax. The fi rst two releases were soundtracks for the excellent Missouri set drama Winter’s Bone, whilst the third Wheedle’s Groove is a documentary on DVD about the “forgotten soul music scene of the 60s and 70s of Seattle”. It’s narrated by resident Sir-Mix-A-Lot and features interviews with Quincy Jones and even some members of well known local rock bands. The trailer is up on Vimeo if you want to get a squiz. I’ve put my order in today. Brighton b-boy/beatmaker Ill Boogs has released about four 7-inch singles on the Breakin’ Bread label and now comes correct with a mix CD of his own product ions – The Rhythm Den. It’s divided into four chapters with Rob Etch and Ireland’s DJ Timber providing the mixes for Chapters three and four respect ively. His latest 7-inch The Stone Garden/ Iron Horse just came out last week and is essential. Hopefully if sales go well he promises to drop another two this year. You can peep an audio taster compete with video footage of Ill Boogs’ himself in b-boy act ion on the Tube. I’m also loving the second release in Breakin Bread’s Drum Series. Virgil Howe and Shawn Lee’s split 7-inch Elect ronic Brain Break/Go Go Gadget Break is absolutely golden for the circles. And if you want more b-boy funk on 45, track down the incredible Funky Bijou from France’s DJ Marrrtin.



enetic scientist turned techno producer Max Cooper spent years st udying the science of creation, the building blocks of our nature, the division and replication of our beginnings and other such egg-headed pursuits. After attempting to juggle his day job in genetics and a thriving DJ career (which must have made for killing a few of his own brain cells from time to time) Cooper has finally relented and chosen techno as his full-time career.

“It’s just music for me these days,” the London based artist confi rms. “I tried to do both but it seems 100 percent was needed on one to make either really work. Now with all the touring I can’t even keep up with just the music, but hopefully I’ll get back to science at some point. I imagine the older I get the more attract ive science will be – the producer lifest yle is pretty manic.” Despite leaving the test tubes and lab coat back in the desk drawer in favour of headphones and plane tickets, Cooper hasn’t lost his initial passion for his more cerebral interests. “I was always really in to science and I’d say there’s a link [between science and music] in how rules can be perceived and appreciated in music as they can in natural systems. But I’m also doing a project with Gareth Williams and Nick Bugayev from Liine [creators of Griid and Kapture for iPad/iPhone] where we are developing software for explicit representation of biological concepts musically.” One of Cooper’s professed primary motives for writing tracks is to capture an emotional sensibility. Ask him what that means and you unsurprisingly get a very scientific reply. “Scientifically, you could say music is like a linguist ic language,” he muses. “If people learn to speak the same language they will experience the same thing when hearing the same message. Everyone learns how to process music like this – on a basic level, anyone can say whether they do or don’t like a piece of music, even though they probably can’t describe in musical detail why..” As Cooper’s website shows with its kaleidoscopic artwork pushing the ‘patterns in nature’ concept that currently fascinates him, delving into the unseen world is a fundamental aspect of Cooper’s music making. Each track has some kind of concept attached, however heavily disguised.

“I think about each track for some time before making it, but whether it’s deeply, or whether it’s a st rict concept rather than general vibe, varies. The st ronger the idea to start with, the less faff there is in getting the track done.” Cooper was aided by his belief in scientific method right back at his humble techno beginnings, repeating sonic experiments until he found something which worked – and then repeating again until perfect. “I learned to make techno with some help from friends and a lot of trial and error. I don’t think it’s something you can learn quickly, you need to give your brain time to adjust and get your hearing tuned in to analysing sound in the right way.” NIC TOUPEE

WHO: Max Cooper WHERE & WHEN: Brown Alley (Melbourne) Friday 8 April, Shrug at

GoodGod Small Club (Sydney) Saturday 9 April





FANTINE TICKETS & CDS Emerging indie-elect ro soul singer/ songwriter Fantine, originally from Russia and now living in Sydney, has just released her debut single Rubberoom. It is the fi rst single lifted from a debut EP due out later this year. The song was written to describe where lost ideas go; a place called the Rubberoom. To celebrate the launch of the single, Fantine will be performing with her full live band at GoodGod Small Club Wednesday 6 April. 3D World are giving away five double passes to the event as well as ten copies of the single. For your chance to enter email your name and contact details to with FANTINE in the subject line. Entries close midday Wednesday 6 April.

BUSINESS MUSIC Invest ing In Club Music With PAZ


CARNI-VALE Christ ianity was responsible for carnival, a pre-Lent celebration to rid the people of rich food and drink before fast ing. Carnival season now draws to a close (by tradition and work place ethical standards) and we pray that audiences have learnt from J-Wow’s recent sets and start request ing more kuduro. Some of the current carnival trends are making carnival music that lets you know you are either waiting for carnival, currently at carnival or missing carnival. Soca Monarch 2011 Machel Montano was crowned for his track Advantage. Machel advises to take advantage of the 2-4 days of palance. Soca from T&T is always the winner for the

IN THE STUDIO HOW LONG HAVE YOU BEEN WORKING ON YOUR SHIMMY SHAKE EP AND WHAT DID YOU SET OUT TO ACHIEVE? “I’ve been working on it for a year almost and the aim was to do playable club bangers.” WHAT ARE YOUR STUDIO ESSENTIALS? “My laptop and my monitors.” WHAT DO YOU THINK CHRISTIAN MARTIN AND LAZY ANTS BRING TO THE TABLE ON THE REMIX FRONT? “Christ ian did his trademark Dirtybird sound which is famous worldwide and definitely opened up the track to more people. Lazy Ants took it and went the more st ripped back big room approach.” DO YOU THINK PRODUCING MUSIC HAS BECOMING A PREREQUISITE FOR PROFESSIONAL DJS? “Yes and no. I think having your own tracks is a big help in setting yourself apart and also in gaining more global awareness but I know of plenty of people who just DJ and do well.”

whine, yet Jamaica’s Busy Signal won for me with Touch De Road. It encourages all to whine down soooo low your butt re-tars the road. Bunji Garlin & Fay Ann Lyons Alvarez, married and st ill whining have the power soca carnival finale with Go Home. Th is should be your ringtone. Digga D has posted a tight mix called Carnival Burn, which summarises T&T carnival 2011. Chutney Soca (an Afro/Indo soca hybrid) had some carnival controversy. Something between Ravi B, Rikki Jai and naan bread. Rio Funk is represented in 2011 by Zuzuka Poderosa. She’s living in NY via Brazil, the world famous home to carnival. Zuzuka remixes funk back into playlists. A collab with Texas cumbia producer Sonora, Sonora Remezcla: Zuzuka Poderosa, shows promise. Also Tropical Bass blog posted Farrapo & Yanez – Samborigeno & Oliveto EP, a samba/ funk re-up with influences and remixes putting this into club and kuduro territory. Bert On Beats drops the club heavy remix that could work worldwide. Carnival in New Orleans mashes beads, bourbon and bounce into some form of hybrid jazz. Native Indian, Creole, Latin, Celtic, Egyptian and Greek have some parts in Krewe celebrations, but there is nothing like the Bounce parties – think Many J, Lil Rocky, Messy Mya, Magnolia Shorty. Spin D Music has announced Aust ralia’s fi rst ever Caribbean float. There is a road party taking place in Port Douglas on May 20 at “Carnivale”. Have people not got spell check? Or maybe they got it right, for it is the end of a great season of palance, bacchanal and whine. Now to fast ing...


TELL US ABOUT YOUR COLLABORATION WITH ANNA LUNOE AND THE SINGLE LOVE TING? “I don’t really remember how it came about but Anna and I had been buddies for a while and we just sat down one day and did it. Sweat It Out! and Ajax have always been very supportive of me so they picked it up immediately. We’re going to release a remix package in a few weeks with Gina Turner (half of Nouveau Yorican), Them Jeans, Swick & Tranter and Universe.” WHAT OTHER DJ/PRODUCERS DO YOU LOOK UP TO AT THE MOMENT? “Right now I’m vibing on a lot of Stefano Noferini, Mast iksoul, DJ Gregory, Gregor Salto, DJ Chus. Lots of tribal infused house.” WHAT CAN PARTY PEOPLE LOOK FORWARD TO AT YOUR UPCOMING SHOWS? “Lots of new exclusives from my upcoming releases including my collab with Crookers called Springer which will be out on Southern Fried Records in April.” WHERE & WHEN Wham! at World Bar Saturday 9 April



CHRIS BROWN TICKETS Chris Brown will be heading to Aust ralia for his FAME tour this April/May with special guests Aust ralia’s own Jessica Mauboy, Just ice Crew and DJ Havana Brown. Chris Brown is currently enjoying global success with the fi rst single YEAH 3X from his new album FAME, which is itself sitting at #6 in the ARIA Albums Chart after two weeks in release. Chris Brown’s FAME Aust ralian Tour hits Acer Arena Tuesday 26April. For your opportunity to win a double pass to this spectacular show email your name and contact details to giveaways@3dworld. with BROWN in the subject line. Entries close Friday 8 April.


(LEON PIRRELLO & MICHAEL MAMMONE) WHAT INSPIRED YOUR DJ NAME? “We were asked to DJ an event together and the promoter said we needed a name for the flyer, fi rst thing we thought of was LAM – something simple and easy to identify who we are.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Big room house, nice beats and good synths.” WHAT TRACK TURNS YOU ON RIGHT NOW? “TV Rock & Hook N Sling feat Rudy – Diamond In The Sky. Awesome track!” WHAT MADE YOU START DJING? “Our love for music lead to learning how to do the basic music product ion, after months of bedroom producing. We decided we wanted to start playing our own tracks alongside similar tracks at events to show people a little bit of us.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “Together we have seen some funny, disgust ing and just downright wrong things. But a guy going to the toilet on a dancefloor during our set at a sold out event takes the cake!”

LOWERIDER Least (Mount Kimbie). There’s the crossover right there, as it works well pitched up and down, making it versatile for whatever mood or set. Plus it also helps when this tune has anthem written all over it – I’ve seen people melt to the sounds of this remix.

Lately I’ve submerged myself deep into some d‘n’b. I’ll confess I am a collector and it comes out from time to time! It’s the melodic, airy and st ripped back type d‘n’b that usually hooks me the most, coming from artists like dBrigde, Inst ra:mental, Alix Perez, Calibre, Spect rasoul, Logist ics and Commix. And part of the appeal for me is the crossover with a lot of my music from other genres. I get a lot of the same feeling – with similar basslines, melody and percussion. Also some of these renowned d‘n’b producers have been dropping the tempo a bit lately and even steering towards a 4/4 floor vibe – maybe not too favourable for the enthusiast, but definitely opens the door for variation and experimenting. Saying that, all makes more sense when you listen to some of the music Inst ra:mental have been producing. Check their remix of At


THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? Leon “I was DJing at a event when a guy come to the booth and asked for Bollywood music, what can you say but ‘leave the venue’! WHERE & WHEN: Voyeur at Trademark Saturday 9 April, The Bank Friday 15 April, Memories at Roxy Hotel Sunday 17 April, Eden at Favela Saturday 30 April.


Deep and Techy with ROBBIE LOWE


WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Just in Bieber – Somebody To Love a capella, along with Swedish House Mafia’s One inst rumental. Just wrong on so many levels!”

More of these same feelings lead to my favourite d‘n’b producer at the moment ASC. And where do I start with this guy? Here are three of his tunes on high rotation for me – Reality Check, The Touch and Starkwood. Reality Check and The Touch both inhabit a dreamy feel reminding me of somewhat the sound that was captured in Sasha & Digweed’s Northern Exposure mixes. Now onto the 4/4 house beat, and fi rst up is another superb remix from Shonky, this time for Ellen Allien called Searching. There’s an unmistakable Shonky flavor going on that works so well. Next is a deep house weapon from Julio Bashmore called Battle For Middle You. Wow – this is huge and really creeps up on you from know where! The peaks are great and it’s going to get a rinsing over the next few months for sure. There’s a new remix of The Factor (Freaky Disco) from UK tech house guru Eddie Richards doing the rounds. It’s deep, sleazy and techy and I know you will like it. And here is a party tune for you: Ruede Hagelstein – Emergency (Super Flu’s Gentle Dental Nurse Remix).

STANTON WARRIORS CDS Breakbeat duo The Stanton Warriors make a triumphant return this month with their highly anticipated album The Warriors. Fresh from supporting Deadmau5 before an 18,0000-st rong crowd at Earls Court, the duo’s album is a bold evolution from their roots fusing house, dubstep and bass-driven beats, all delivered in their signature stadium rocking st yle. Modelled around a live band-like product ion it’s a hotbed of new and exist ing talent including Ruby Goe, Hollywood Holt, Sporty-O, Jahcoozi, Eboi, and Young Fathers. 3D World have three copies of this release to giveaway. For your chance to win simply email your name and contact details to with WARRIORS in the subject line. Entries close Friday 8 April.


WAX MOTIF AT WHAM! Sydney based party starter, club rocker and all round nice guy Wax Motif has dropped his Shimmy Shake EP and it is large. The release, including originals as well as remixes, is sure to have heads bobbing and bodies cutting up the dancefloor. Tracks Shimmy Shake and Bubbles are two fierce party jams with Christ ian Martin from the Dirtybird Records camp along with Lazy Ants also providing their remix fi re. Wham! at World Bar are presenting the the official Wax Motif Shimmy Shake EP launch Saturday 9 April. For your chance to win a double pass to this event simply email your name and contact details to with WAX in the subject line. Entries close 9am Friday 8 April.


WHERE & WHEN: Pioneer Launch at

Ivy Friday 8 April, Masquerade at Fashion Ave Saturday 9 April, Flood Fest at Tank Saturday 16 April, Sunday Sessions at Green Park Sunday 17 April, Easter Sundaze at The Loft Sunday April 24 PARKER WESTERN SOUL MILES DYSON REMIX (Breakin Even Records), 2008.

“You only need to hear the drop at 1:10 to understand why this track is a major fave of mine – this is dirty dub bass at its finest… whoopa!” AUDIO UNIT CLUB DJ CLUB MIX (Ocean Trax), 2004. “Th is unknown gem to many was a track produced way before its time in the elect ronic music scene, st ill part of my collect ion. The dirty beat has always been a winner when dropped.” PAUL JOHNSON DOO WAP JOACHIM GARRAUD & PHILIPPE BROUSSE EXTENDED VERSION (541), 2003. “A track that has the groove and vibe that makes you move. It’s big sexy vocal house tunage that gets shazamed whenever heard today.”

VOCALBOOTH SABRINA MITWALI WHERE AND WHEN WAS YOUR FIRST PERFORMANCE? “My fi rst performance was at the age of 13 – it was an audition for a music mentoring program called the Talent Advancement Program. I was so nervous but I got in and this is where I learnt the essentials of performing and what the music indust ry is all about.” WHAT ARE YOUR ALLTIME FAVOURITE SONGS? “My all time favourite songs are Notorious BIG – Hypnotize, Beyonce feat Sean Paul – Baby Boy, J Lo feat Pitball – On The Floor, Rihanna – Hard, Mark Morrison – Return Of The Mac. When I hear these songs they literally take me to another world.” WHAT IS YOUR DREAM COLLABORATION? “My dream collaboration would definitely be with Beyonce, she is extremely talented and I know that we would gel so well and create some sexy tunes. Also Celine Dion would be a dream come true

to work with, her energy live on stage is addict ive and I could definitely learn so much from her.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “My parent’s encouragement has got me to where I am today. I believe family support is vital when it comes to achieving success.” WHAT DOES THE LOCAL MUSIC SCENE NEED MOST? “More people need to be aware of music and rising artists in the local area.” FAVORITE VENUE TO PLAY? “I love performing at clubs because the energy all round is pumping and this psyches me up even more on stage.” WHAT’S YOUR BEST ALL TIME GIG? “The best gig of all time to date would be The Children’s Hospital Charity Night. I was supporting a charity close to my heart and I had 13 amazing dancers who supported me that night and the audience appreciated our time we gave up to support the cause.” WHERE & WHEN: Miss Lebanon Aust ralia Beauty Pageant at Grand Westella Saturday 7 May


CKYSLF FRIDAYS AT BEACH PALACE HOTEL THE IDEA BEHIND OUR NIGHT IS… “Pict ure this is if you will... you finish work on a Friday and want to forget everything that happened in that week. But it’s ever so cold out or basically you just can’t be bothered to go to the Cross. Th is is what you want! It’s fun, it’s cheap and it’s the answer to everyone’s prayers. Party to some of the best music the Eastern suburbs has to offer and not be too far from home.”

unforgettable acts such as E-cats and Kato!”

WE’RE PIMPING THE SOUNDS OF… “Everything from commercial house to dirty dub.”

THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “The biggest beats, the best buckets and the hottest hosts...”

THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Local talent like the Hoodlmz, M9, Tigerlily, Runamuk and Jay Royal as well as

THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Bubble machines, buckets and big blue booty holding couches... and babes.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Long nights you won’t remember, close to home, with the slight smell of salt in the air.”

WHERE & WHEN: CKYSLF Fridays at Beach Palace Hotel every second Friday



There are places to go for fashion, some for food. Others are a hipster hangout, driven by a blog or a weekend review, adding a sense of spectacle and brief glimpses of cafe theatre to the act and art of slipping into a seat for a coffee or a meal. Other places just… are. A casual home away from home, or a bohemian hangout without lines and certainly without worries. The risk is, of course, to mistake a run-down café for an example of bohemia, or for a few worn down tables and holiday souvenirs as a carefully established and lovingly maintained homely vibe. Luckily Appetite Cafe leans to the latter, with the warm welcome of a large bench table and the mix and match of indeterminate decor hiding around the perimeter and peripheral view, focused as we are on a menu with the all-important all-day breakfast. There is of course the faithful hangover indulgence, the Big Breakfast, but the signature dish of Haloumi Hash Browns can’t be passed up. Nor can the left-right punch of both a round of coffee, and freshly squeezed juices. One of the coffees fails to arrive, but the juices are the perfect runway for the hangovers to begin their taxi up and away from tired minds. Fitting the mood, everything is relaxed and under control – minus the MIA muggacino. The food arrives, with the Haloumi Hashbrown deserving its reputation, the cheese worked into the potato for a subtle and salty texture. Ast ride, a perfect ly poached egg and all the trimmings to make the long day ahead look a little less difficult. The BLT similarly fits the bill, though given the dryness of the bread perhaps would be better served with an upgrade to Turkish. The fries on the side are also tast y, if giving the impression the deep fryer oil is due a change. The juice disappears fi rst , a crisp and sweet squeeze with a faintly green colour, fi led away as a mystery for another time. Noticing the surroundings again, we’ve got the painted brick of the art-peppered walls and the corrugated iron of a bar, above which busy yet smiling heads bounce around like upended exclamation marks. One of these, attached to a body as we discover, finally brings the lost coffee, and with it, the temptation to simply linger here all day. As if to stress the low-key bohemia, there’s no EFTPOS at the register, but by this stage nothing is a problem. In our heads, we busk outside to earn our keep, but in reality we pay with cash, and leave with a weekend to get on with. DAVE DRI WHAT: Appetite WHERE: 82 Regent Street, Redfern WHEN: Weekdays 7:30am-5pm; Weekends










SUSHI SNAPS 1 Chinese Laundry Saturdays 2 FBi Social Media Indury Launch Party 3 Kiss & Fly Saturdays @ Dee Why Hotel 4 Saturdays @ Carmens 5 Pure Ivy

6 RnB Superclub @ Tank

7 PUMA X Atrium Pop Up Store launch


8 Saturdays @ Empire 9 Saturdays @ The Orient 10 Skybar @ Watershed 7

3 1



7 6 5 7



5 10



GUESTLIST TUESDAY VALVE Undergroud Tables: DJ Ato, Myme. 8pm. Free. WORLD BAR Pop Panic: DJs Cris Angel, Nickles, Pablo Calamari. 8pm.

WEDNESDAY MALBOROUGH HOTEL Student Night: DJ Moussa. 11pm. Free. TONE CDR Sessions: Mala. 6:30pm. WORLD BAR The Wall. 8pm.

THURSDAY BEACH ROAD HOTEL Paper Plane Project. Free. ELEVEN Inhale: Pursuit Grooves. KINGS CROSS HOTEL FBi Social: The Retreat, Terry Serio’s Ministry of Truth, Johnny Took, Violet Pulp. 8pm. GREEN PARK HOTEL Nicky Kurta. 7pm. Free. HOME TERRACE Unipackers: John Young. 10pm. $5 - $10. OXFORD ART FACTORY One Take Pop Up Party: Tinie Tempah. 8pm. $38.70. TRINITY New Era: Michael Woods. Free. WORLD BAR Propaganda: Urby, Mush, Johnny Segment. 9pm. $5 (students) - $10 (general).

FRIDAY CANDYS APARTMENT Liquid Sky: Starfucker DJs, Sohda, Fngrlckn, Minor Delay. CHINESE LAUNDRY Meat Katie, Dopamine, Athson, Filth Collins, Autoclaws. 9pm. $20. COHIBAR DJ Jeddy Rowland, DJ Mike Silver. 5pm. Free. THE GAELIC Purple Sneakers presents Last Night: Parades, Little Scout, Particles, PhDJ, Randall Stagg, BenLucid, Kill The Landlord, Rigs & Rads. 8pm. $10. GOODGOD SMALL CLUB Firehouse. 10pm. $10. GREEN PARK HOTEL After Dinner Funk Vibes: DJ Dirt Box. 9pm. Free. HOME TERRACE Sublime: Losty, Peewee, Nix, Energiser Bunny, The Dirty Stopouts, Bionic, Morphee. 10pm. $20 - $25. HOME THE VENUE Delicious: Flite, IKO, Suga Shane. 10pm. $15 - $25. JACKSON’S ON GEORGE Michael Stewart. DIAFRIX

9pm. Free. KINGS CROSS HOTEL Dappled Cities, Midnight Juggernaut DJs, Canyons. KIT & KABOODLE Falcona Fridays: Jezabels Afterparty, Nina Las Vegas, Falcona DJs 10pm. $10. MAYS Vexta. 6pm. OXFORD ART FACTORY DMZ, Mark Pritchard, Steve Spacek, Victim & Paul Phraser. 8pm. $40 +bf (pre-sale). TONE Bon Chat, Bon Rat (launch), Andras Fox, Sui Zhen. 8pm. TANK RnB Super club: G Wizard, Def Rok, Lilo, Troy T, Eko and more. 10pm. $20. THE ROUGE Shock Horror at the Rouge: Sirius Moonlight, Calling in Sick, Just Haus, Kid Mike. $5 (guestlist). STAR CITY Nelly, Snoop Dogg. 8pm. $179. THE WATERSHED HOTEL Matt Roberts. 9:30pm. WORLD BAR MUM: Bang Bang Boss Kelly, Ed Worland, Places People, Big Dumb Kid, Jack Colwell & The Owls, I Am The Agent, Toy Temple. 8pm. $10 before 10pm, $15 after.

SATURDAY 202 BROADWAY JamRock Reggae Club: Nick Toth, Joe, Prince Andrew. 9pm. $15. ANZ STADIUM Supafest 2011: Snoop Dogg, Nelly, Taio Cruz, Bow Wow, Timbaland. 12pm. $145- $189. BEACH PALACE HOTEL MidPalace Saturdays: Steve Frank. Free. CANDYS APARTMENT Disco! Disco! Vengence, Teez, Disco Volante, Wizzfizzkid vs. Free Distortion, Knocked Up Noise, Boy Genius CHINESE LAUNDRY Garden Party: Danny Howells, PQM, Jeff Drake, Jamie Mattimore. 2pm. $35 +bf (pre-sale). CHINESE LAUNDRY Drop The Lime, Jus Haus?, A-Tonez, Trent Rackus, PQM, Robbie Lowe, Matttt, Club Junque, DJ Moto, Georgia & Morgan, Mike Hyper. 10pm. $15 before 11pm, $25 after. COHIBAR DJ Anders Hitchcock. 8pm. Free. DEE WHY HOTEL Kiss & Fly: Tom Piper. 8pm. Free.


ESTABLISHMENT Sienna: G-Wizard, Def Rok, Lilo, Troy T & Eko. 9pm. $20 FACTORY THEATRE The Herd, Joelistics. 8pm. $20 + bf. GOODGOD SMALL CLUB Shrug: Max Cooper. 10pm. $25. GREEN PARK HOTEL Saturday Sounds Systems: DJ Rubz. 9pm. Free. HOME THE VENUE Homemade: Aladdin Royaal, Matt Ferreira, James Spy, Dave Austin, Flite, I.K.O, Sammy Soul, Sez, Uncle Abe. 9pm. $20 - $25. JACKSONS ON GEORGE Michael Stewart. 9pm. Free. KINGS CROSS HOTEL FBi Social: DZ Deathrays. 8pm. $8 +bf (pre-sale). NORTHIES CRONULLA Saturday Night Live: DJ Radish Top. OXFORD ART FACTORY The Belligerents. 8pm. Free. PHOENIX BAR Halfway Crooks: Captain Franco, Toni Toni Lee, Levins. THE ROUGE Anthony Hopkins, Dejan Sem, Chriss Arnott, Guy Tarento, Micko P. $10 (guestlist before 11pm). SOHO Dubspects: Glovecats, Haters, Filth Collins. SURRY HILLS FESTIVAL Unseen Sculptures. 11am. Free. TONE ‘I like It Like That’ Orchestra, Samba Soul Kingdom. 9pm. $20. WENTWORTH HOTEL Skybar. 10pm. WORLD BAR Wham!: Wax Motif EP Launch, Raye Antonelli, James Taylor + MC Shureshock, Johnny Rad, Ember, Telefunken, Adam Lance, Matt Weir, Say Whut?! 8pm. $15 before 10pm, $20 after.

SUNDAY FAKE CLUB SPICE: Murat Kilic, Robbie Lowe, Matttt, Tomass. 4am. $20. GREEN PARK HOTEL Sunday Cruz Lounge: Linda Jensen. 4pm. Free. JACKSONS ON GEORGE Aphrodisiac Industry Night. 5pm. Free. TONE Play For Japan: Simon Cadwell, Prize, DJ Silvio and more. 5pm. $20. THE ROUGE Barfly: J Smoove, Matt Nukewood, MC Kidd Kaos. Free. WORLD BAR Disco Punx. 6pm. Free. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO SYDNEY@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.


CALENDAR APRIL INHALE: PURSUIT GROOVES – Thursday 7, Eleven Nightclub HEAVYFEET – Thursday 7, Trinity ONE TAKE POP-UP PARTY: TINIE TEMPAH, DIAFRIX, DJ IZM – Thursday 7, Oxford Art Factory MEAT KATIE – Friday 8, Chinese Laundry VEXTA – Friday 8, MAY’S. SNOOP DOGG, NELLY – Friday 8, Star City DAPPLED CITIES, MIDNIGHT JUGGERNAUT DJS, CANYONS AND MORE – Friday 8, Kings Cross Hotel ‘I LIKE IT LIKE THAT’ ORCHESTRA, SAMBA SOUL KINGDOM, RUSS DEWBURY – Saturday 9, Tone HALFWAY CROOKS: CAPTAIN FRANCO, LEVINS, TONI TONI LEE – Saturday 9, Phoenix SHRUG: MAX COOPER – Saturday 9, GoodGod Small Club THE BELLIGERENTS – Saturday 9, Oxford Art Factory TOM PIPER – Saturday 9, Dee Why Hotel THE HERD – Saturday 9, The Factory DANNY HOWELLS, DROP THE LIME – Saturday 9, Chinese Laundry SPICE: MURAT KILIC – Sunday 10, Fake Club SUPAFEST 2011: SNOOP DOGG, KERI HILSON, NELLY, TAIO CRUZ, BOW WOW, T-PAIN, BUSTA RHYMES, CIARA – Friday 9, ANZ Stadium REGGIE WATTS – Thursday 14, Metro Theatre BRUNO MARS, DIAFRIX – Thursday 14, Luna Park Big Top DANNY BYRD – Friday 15, Chinese Laundry MISTA SAVONA SOUNDSYSTEM, VIDASUNSHYNE – Friday 15, Tone Nightclub XDREAM – Friday 15, Forever Young Festival TIN CAN RADIO – Friday 15, World Bar GLOBAL RHYTHMS: MUCHO MAMBO, DEREB THE AMBASSADOR, TANGO SALON – Saturday 16, Robertson Park LADI6 – Saturday 16, The Gaelic SEEKAE – Saturday 16, Manning Bar OLIVER KOLETZKI – Saturday 16, Civic Underground TIMMY TRUMPET & ROB PIX – Saturday 16, Soho MASQUERADE PARTY: JOLYON PETCH Saturday 16, Ivy MICHAEL WOODS – Saturday 16, Chinese Laundry SPICE: CHRIS TIETJEN – Sunday 17, Fake Club TIMMY TRUMPET – Thursday 21, Macarthur Tavern MIND OVER MATTER – Thursday 21, Oxford Art Factory INDEX: CHRIS CLARK – Friday 22, Tone TOOTS AND THE MAYTALS, LUCIANO, JAH MESSENGER BAND – Saturday 23, Enmore Theatre ALL SORTS: TEN THOUSAND FREE MEN & THEIR FAMILIES –Saturday 23, Tone CADELL – Saturday 23, Ivy THE INNER WEST FESTIVAL: SKETCH THE RHYME, REVERSE POLARITIES, THUNDAMENTALS AND MORE – Saturday 23, Sandringham Hotel BONE THUGS-N-HARMONY – Saturday 23, Blacktown Olympic Park ROBERT BABICZ – Saturday 23, Chinese Laundry


MAD RACKET: RED RACK’EM – Saturday 23, Marrickville Bowling & Recreation Club ALEX KIDD, XDREAM – Saturday 23, Woodport Hotel WE HAD PARTIES: MUM, GIRL THING, TEEN SPIRIT, F.R.I.E.N.D/s, GHETTO BLASTER AND P*A*S*H – Sunday 24, The Gaelic ALTON MILLER – Sunday 24, The Manhattan Lounge SPICE: JAVI SAMPOL – Sunday 24, Fake Club JOHN LEGEND, LOWRIDER – Sunday 24, State Theatre DESYN MASIELLO, ANTHONY PAPPA – Sunday 24, Soho MIAMI HORROR DJS, BAG RAIDERS – Sunday 24, Ivy CIRCO LOCO: RYAN CROSSON, AUDIOJACK, SHIT ROBOT, ANDREW GRANT – Sunday 24, Greenwood Hotel MIAMI HORROR DJS – Sunday 24, Ivy OMAR-S, SIMON CALDWELL, KALI Sunday 24, Tone DJ KRAZY KON – Monday 25, The Basement JOHN LEGEND, LOWRIDER – Monday 25, State Theatre SHE POOL PARTY: MARK FARINA – Monday 25, Ivy Pool MIDNIGHT JUGGERNAUTS DJS, GLOVECATS, AJAX, STARFUCKER DJS, TRUMPDISCO, LIGHTYEAR – Monday 25, Ivy CHRIS BROWN – Tuesday 26, Acer Arena BO BURNHAM – Tuesday 26, The Metro STRANGE TALK – Wednesday 27, The Harp TIN CAN RADIO – Wednesday 27, The Cambridge Hotel STRANGE TALK – Thursday 28, Good God Small Club JUSTIN BIEBER – Thursday 28, Acer Arena CASSIAN – Friday 29, Woodport Inn THE GUM BALL: KORA, VASCO ERA, SPACE INVADAS, THE BAMBOOS, CHASE THE SUN AND MORE – Friday 29 Saturday 30, Dashville Outdoor Arena RNB SUPERCLUB: G-WIZARD, DEF ROCK, TROY T - Friday 29, Tank STRANGE TALK – CBD Hotel Newcastle NATURALLY 7 – Friday 29, State Theatre CREAMFIELDS: DEADMAU5, MARTIN SOLVEIG, SKRILLEX, GABRIEL AND DRESDEN, WYNTER GORDON, KEVIN SAUNDERSON AND MORE – Saturday 30, Showring & Hordern Pavilion CASSIAN, JONATHAN COWAN – Saturday 30, Chinese Laundry TIM & JEAN - Saturday 30, Oxford Arts Factory MAY HERBIE HANCOCK – Sunday 1, Sydney Opera House SPICE: JAMES TAYLOR – Sunday May 1, Fake Club HERBIE HANCOCK – Monday 2, Sydney Opera House DJ KRAZY KON - Tuesday 3, Ultra 18s DATAROCK – Thursday 5, Oxford Art Factory WASHINGTON - Thursday 5, The Metro MURS & 9TH WONDER, RA THE RUGGED MAN – Thursday 5, The Gaelic SAMPOLOGY – Friday 6, Oxford Art Factory


PAUL WEBSTER – Friday 6, Home DATAROCK – Friday 6, Oxford Art Factory TIMMY TRUMPET & ROB PIX - Friday 6, Mean Fiddler WASHINGTON – Friday 6, The Metro HOUSE OF PAIN – Friday 6, Manning Bar OVER-REACTOR – Friday 6, Tamworth Youthie WHAM!: KID KENOBI – Saturday 7, World Bar CASSIAN – Saturday 7, 151 SPICE: GARRY TODD & JOHN DEVECCHIS – Sunday 8, Fake Club UNKLE – Monday 9, Sydney Opera House NEW YORK FAREWELL: TEN THOUSAND FREE MEN & THEIR FAMILIES – Tuesday 10, Tone BEN SHERMAN BIG BRITISH SOUND: BALL PARK MUSIC, STRANGE TALK, BOY IN A BOX, STEP-PANTHER + DJS SHAG (FBI) & SWEETIE (FBI) – Thursday 12, The Gaelic THE CAT EMPIRE – Thursday 12, Annandale Hotel CUT COPY – Thursday 12, Enmore Theatre TIMMY TRUMPET & ROB PIX – Friday 13, Phriction Nightclub AREA51 – Friday 13, Home FBI SOCIAL: SKETCH THE RHYME – Friday 13, Kings Cross Hotel LOWRIDER – Friday 13, Annandale Hotel GARY NUMAN – Friday 13, Enmore Theatre KATY PERRY, ZOWIE – Friday 13, Newcastle Entertainment Centre SPICE AFLOAT MIDNIGHT CRUISE: JORIS VOORN & EDWIN OOSTERWAL – Saturday 14, Bella Vista JOHN COURSE – Saturday 14, Soho KATY PERRY, ZOWIE – Saturday 14, Sydney Entertainment Centre MARK WALTON – Saturday 14, World Bar N-TYPE – Saturday 14, Oxford Art Factory OVER-REACTOR – Saturday 14, Caringbah Bizzo’s THE CAT EMPIRE – Saturday 14, Enmore Theatre





n a tennis court, in the sweltering Aust ralian heat, a man raises his arm in the serve gest ure; in the Snowy Plains a young woman scrambles up a sandstone boulder and looks out over a valley; construction workers on the Sydney Harbour Bridge squint as the sun sparkles on the water of the harbour; little kids in the polo shirts reserved for school sports days run around a playground; a man pauses on the roof he’s tiling to wipe the sweat off his brow. It would make a great ad campaign for Tourism Aust ralia provided every scene shared a common thread – every one of these people must be sporting a pair of Dunlop Volleys. The Dunlop Volley is Australia’s number one selling sports shoe. Designed in 1939 by the Aust ralian tennis hero Adrian Quist, it’s gone on to become the national roof tiler’s shoe of choice due to its formidable grip. It was this grip which inspired Quist in the first place. While in the United States of America competing in (and winning) the Davis Cup, he came across a particular kind of yacht shoe that was unique because of its sole. Back in Australia, at the Dunlop Rubber factory where he worked, he set about designing what would become the tennis shoe with a herringbone patterned sole – the pattern being responsible for the grip. The original design, maintained to this day, is a canvas shoe with a rubber sole and a coloured stripe around the ankle. The most famous green and gold stripe was added in the 70s and pink and blue st ripes have been just as popular as the plain, all black model. While this boating-come-tennis shoe

spent its early years on the courts, it soon became everybody’s favourite outdoor sneaker. Decades after the Volley’s birth, in a weird twist of its tennis and boating origins, tennis player Pat Rafter was interviewed wearing a pair after sailing in a yacht race and claimed they were great shoes for boating. Because of the shoe’s immense popularity amongst roofers and various other tradesmen, Dunlop invented the Safety Volley – the original Volley but with the inclusion of a a steel toe to meet worksite safety requirements. Bushwalkers also love them as they’re ideal for walking around rock pools. And if the outdoors is not your thing, they go perfect ly with a vintage t-shirt at a rock concert. They’re also cheap – well, here in Australia they are, but if you’re in Manhattan they can set you back $60 where a boutique owner has them imported. Steven Alan, who owns several boutiques in NY and LA, fell in love with the shoe after seeing them on the feet of construction workers who were working on the Sydney Harbour Bridge while he was holidaying in Australia. There is one aspect of the Volley that could be criticised but is instead looked upon with a strange endearment – it falls apart pretty quickly and in the same place every time. It happens at two points where the canvas meets the rubber, up front at the big toe point and along the sides where the shoe is at its widest. But if you’re grumbling about durability, one quick Google search turns up numerous articles and blog posts all displaying proud photographs of the Dunlop Volley’s famous holes. The years have seen very few changes made to the original design until recent consumer demands saw the Volley gain a few new colours, lose a few stripes, gain a few, and introduce a men’s leather range (ladies, you’ll just have to get the flu come winter). But with all those changes, the original canvas Volley is still made, still an Aussie favourite and next year it will be official uniform for the Aust ralian team at the opening ceremony for the 2012 Olympics.


hile the Dunlop Volley has endured as Australia’s favourite sport shoes for 72 years, there are quite a few items of fashion that we take for granted that have stood the test of time in our constantly evolving society. Jeans were originally worn by workers in America in the 18th century specifically because of their durability. In the 19th century the gold rush kicked off in California and a man named Leob Strauss took the opportunity to supply miners with clothing that would last. He later changed his name to Levi. In the 1930s jeans became a staple in every cowboy’s wardrobe as western fi lms became a staple in every cinema; in the 50s they became the signature fashion of teenage rebels like James Dean; the 60s saw them embroidered for the hippies and by the 80s they were on the catwalk. In the 40s and 50s American designer Claire McCardell saw the potential in hoodies as a fashion item when she was devising a range of everyday sports wear. While some people see the hoodie as a symbol of lower socioeconomic criminals coming to getcha, come winter it will be one of the highest selling items of st reetwear couture. Who would have thought its design was an evolution of the habits worn by monks in the Middle Ages? Another fashion item which has endured for nearly 100 years with origins (albeit disputed) down under are Ugg boots. These were invented by 19th century sheep farmers with st rict no waste policies who put every bit of their stock to good use. The hide protected from moist ure while keeping their feet warm and dry, much like the feet of the competition surfers in the 60s who ran shivering from the sea into their sheepskin boots. It was entrepreneurial surfers who popularised the boot internationally – Pamela Anderson made it worse and in recent years it’s been a feature on the catwalks of New York, Paris and Milan. These days when the blistering cold of the winter months set in, there will be many an Aussie, American, Asian and European slipping their foot into a piece of dead sheep and thinking it heaven on their feet.



EMONEM? So, that joke’s probably been made a zillion times before since Eminem decided that he didn’t need to be funny anymore and thought that sounding like a Linkin Park cover band was act ually a good idea, but the quest ion I’m asking this week is: does he really need to drag Dr Dre with him on this poetryscribbling, moon-staring Robert-Smithof-The Cure type road trip through post-divorce angst? Can’t he just make songs about smoking weed again? Oh, sorry, I forgot, it’s called Detox. I mean, why didn’t he just call the album 10-Day Exercise Regime? FIVE DAYS OF CABLE As wonderful as the sensation of cable television is, particularly in developing countries, where being in a hotel room behind a large fence and kilometres of razor wire generally gives you a good feel for local culture and puts you in touch with the common man, particularly when you decide that the 2001 Côtes du Rhône will go well with your steak, and then get excited about the Scotch select ion, when, of course, the alternative would be some $2 noodles, a 50c beer and a $5 hand job (which, when you think about it, is probably underpriced in a global context; I mean, imagine if, say, Starbucks started offering hand jobs for $5, equivalent to the price of a very large coffee.). So, anyway, the point is that alongside the positives of the steak and Scotch, the downside is that watching cable for five days can make you completely lose touch with reality. To wit: not being aware of the cultural abomination that is Far East Movement’s Like A G6 was a great thing; now its image has been permanently seared on to my synapses. Please make it stop or I’m going to cut out my brain.

On February 11, Matt De Grout, journalist for 2UE Radio, appeared on Triple J on the show Hack to discuss climate change. Although De Grout is a sports journalist by trade, he had st rong opinions on the topic of climate change, and made the following argument: ‘The issue I have with this entire debate is the uncertainty therein. The cost of what we are discussing to change. The cost of a carbon tax, the cost of carbon pricing in general for a globe is too phenomenal for science that I would argue at this point is st ill inaccurate.’ The following week, De Grout contacted the show’s presenter, Tom Tilley. He wanted to apologise for his performance on the show. He made the following comments about what he had said the previous week: ‘I came on, and I felt the need to do two things. One was to sound informed, and the other was to sound passionate on the issue, and to be completely honest, I’m not passionate. It doesn’t affect me enough that I lose sleep over the issue. I tried to come across as an expert that I’m not. I tried to quote science that I don’t know.’ Tilley asked De Grout ‘do you think there’s a social pressure to pretend like you know what you’re talking about on climate change?’ De Grout: ‘Absolutely. I sat on air for half an hour with you last week and suffered that great indignity. People feel like they should because politicians have made it a big issue, but for most people it has become over-politicised’. In other words, De Grout felt that because he had conservative political views, he had to come onto Triple J and also be st rongly against the carbon tax, since it’s a Labor policy. A lot of the talk about climate change has stopped being about climate change, and started being about who you hate in politics. In the US, as little as two or three years ago, Republicans such as John McCain almost agreed with Al Gore in advocating a response

to climate change. But now, the climate change debate in the US is fiercely driven by a growing conservative belief that Climate Change is a fict ion made up by liberals. Meanwhile, in the UK it was originally the main conservative party that told the Labor Government to hurry up and organise an Emissions Trading Scheme. Matt De Grout said some very ridiculous things when he went on hack. But by coming back on the following week and act ually admitting that he had felt like he had to passionately argue against it makes him a kind of climate change denier Jesus in my eyes, because somehow De Grout has had an insight that very few of his conservative 2UE colleagues will ever notice: that they might know politics, but don’t know climate change. HOLLY HUTCHINSON

SHEEN VS SNOOP Th is act ually would have been much better if Snoop had decided to do this a lot earlier. And fi lm and record it while on Sheen’s five-day coke-and-porn-star orgy, then release it in a DVD souvenir box set, with an additional audio commentary.




AQUARIUS (20 JAN TO 18 FEB) When celebrity vet Dr Katrina Warren steals your dream diary, you’ll hire a burnt out ex-cop to track her down and get it back. PISCES (19 FEB TO 20 MAR) Insist on eating the very best food and having intercourse with the most expensive escorts, both male and female. ARIES (21 MAR TO 20 APR) With petrol prices going through the roof, you may need to find another, cheaper base ingredient for your home made energy drink. TAURUS (21 APR TO 20 MAY) Oh Taurus, what am I gonna do? I’m sorry to moan but there’s just no one else I can talk to. Will you buy me lunch next week? GEMINI (21 MAY TO 20 JUN) Your enviable ability to fall asleep on a plane before it even takes off will severely hamper your ability to get your pilot’s license. CANCER (21 JUN TO 21 JUL) I’m not saying your parent’s are cheapskates, but after you were born and they drove you home from the hospital, they asked you for petrol money.

After years of abuse and intimidation on the roads, bicyclists have taken matters into their own hands with a st inging series of attacks against automobile drivers. Starting their campaign with snide glances, bicyclists have now turned to witty retorts in order in order to defend their right to bike. The image of bicyclists has also been overhauled, with the famous tight latex shorts being replaced by sensible business slacks. Fluro helmets are now out of vogue, with asymmetrical sculpted haircuts now protect ing their skull from oncoming trucks. With few funct ional bicycle lanes available, groups of environmentally-


friendly wankers are reclaiming the roads, one condescending look at a time. The attacks began when overweight bicyclist Michael Sheehan responded to a car driver’s insult – “You’re gonna have to pedal faster than that” – with “Sticks and stones may break my bones”. The driver, who is yet to be named, stopped the car at traffic lights and poked and tickled Mr Sheehan, until he submitted an apology. The situation soon descended into a chunky farce of snot and giggles. “We offered to drive Mr Sheehan home, but he refused,” officer at the scene Constable Sergeant Anthony Nest said. “He now has a deep phobia of anything on four wheels, and sandals, though that may be unrelated.” Thomas Spanque is a managing accountant at an advertising agency who has recently become a bike rider. “I ride to work every day, ride home every day, and usually go for a ride once I get home. It’s so good to get exercise and do something good for the planet. There are so many people out there that are just making the world worse by driving.” His work colleagues aren’t impressed. “Thomas is a such a fucking tool now,” an anonymous co-worker offered. “No one likes him.” A recent st udy founds that bicyclists are, generally, between 18-30, are non-smokers, vegetarians and self-righteous douchebags. As member of the National Organisation Of Bicyclists, Mr Spanque recently campaigned for Penny-Farthings to be allowed on busy roads

and highways. “These are the classics, the Rolls-Royce of bikes. They’re fine and delicate, but they are the only way to get around in st yle.” Sales for replica Penny-Farthing bikes have spiked in the last decade, with total sales of the product going from zero to four. Mr Spanque says he has occasionally insulted difficult drivers on the road. “Most ly I just flash my iPad. When they give me the shits I just wave it in front of their windscreen and they know that I’m better than them.” He says he has not yet been punched in the face, but expects it to happen soon. 5SPROCKET

LEO (22 JUL TO 21 AUG) I’m not saying you have a lousy personality, but I heard that when you were 10, your parents sat you down and asked if you could just be friends. VIRGO (22 AUG TO 21 SEP) You may wish to be creative, but the truth is you are a drone, with no real talent or creativity. Consider a job in telemarketing. LIBRA (22 SEP TO 22 OCT) If a single breath mint can give you confidence, imagine how confident you’ll be with 600 mints crammed in to your mouth at once! SCORPIO (23 OCT TO 21 NOV) Your life will be like an episode of Packed To Th e Rafters this week – an hour long and with a commercial break every ten minutes. SAGITTARIUS (22 NOV TO 20 DEC) How much do you really know about the guy who writes your horoscopes? CAPRICORN (21 DEC TO 19 JAN) Your Inbox is full but let’s face it, you have plenty of time to get st uff done.





Canberra progressive house prodigy Jaytech has not only found a perfect label home in the deeper, more melodic Anjunadeep wing of trance legends Above & Beyond’s Anjunabeats stable, but also a perfect sparring partner in the label’s A&R head James Grant. They face off for the second time over a disc each on the Anjunadeep:03 entry into the brand’s annual compilation series. Who will emerge victorious?


2562 Fever


VARIOUS/JAYTECH & JAMES GRANT Anjunadeep:03 (Anjunadeep/Onelove)

Something that’s become an annual pleasure are the Anjunadeep compilations, which in the same manner as their preceding Anjunabeats releases offer a st unning collect ion of fresh sounds for anyone enamored with that label’s output. While head honchos Above & Beyond have often overseen mixes from both labels, they’ve since handed the Anjunadeep reins to A&R head James Grant and Aust ralian prodigy Jaytech. Last year’s standard was sky high, have they matched it in 2011? Grant’s disc easily had the edge last year and this time his mix starts off sounding almost like a 2000-era deep progressive mix that’s been given a tech-infused product ion facelift. A warm mix of techy rhythms, deep house and melodic progressive, the tunes aren’t quite as unique this time around, but it’s st ill brimming with beautiful melodies, deep basslines and some absolute pearler tunes. The sublime grandeur of Andrew Bayer’s Dist ractions anchors the mix, Paul Keeley redefines extravagance with the heartfelt chords of Relic. It’s Jaytech’s mix that’s the real revelation this time round. Big, powerful and bordering on trance at times,our boy from Canberra comes powering out with plenty of euphoric energy, with Suspect 44’s Japanese Schoolgirls taking us on a rollercoaster of an emotional ride in particular. Th is is an essential purchase for anyone even slightly smitten with Anjunadeep. The label has replicated Anjunabeats’ approach of recruiting the fresh talent who have what it takes to push the sound forward, and that’s about the best compliment you can give a dance label. ANGUS PATERSON

Unbalance, 2562’s previous record, is st ill considered one of the best records to emerge from the dubstep genre. One of the key releases in the ongoing (and increasingly championed) merger of dubstep and techno, the album’s surprisingly lush blend of multilayered polyrhythms and minimal synth textures immediately catapulted its creator to the forefront of his genre following its 2009 release. Fever, therefore, arrives with more than a handful of expectations attached to it. As equally exceptional as its celebrated predecessor, Fever nevertheless represents an intriguing shift in aest hetics for the Dutch producer – comprised entirely of manipulated disco samples. Stylist ically, it isn’t a huge departure. Cuts like Cheater and Aquatic

DURAN DURAN As You Need Is Now (Shock)

Even though Duran Duran are approaching a combined age of 836, they’ve managed to ditch the peroxide and continue to make noise. Not all of that noise has been good, mind you. Back in the 1980s, when people ran around with floppy hair, Duran Duran were trendsetters. Inbetween getting their white suits dry-cleaned, Simon Le Bon and co made the wonderfully likeable The Wild Boys and Rio. Life was good. All You Need Is Now is Duran Duran taking a stab at getting funky with the kids of today and releasing an album that’s produced by arguably the hottest producer on the planet, Mark Ronson. And for the most part Ronson has achieved the remarkable – he’s made Duran Duran just a little bit cool again. Blame The Machines is a trivial nod to the 80s as it’s really

Love Affair continue to showcase 2562’s characterist ically percolating rhythms while luxurious tracks like Flavour Park Jam and Juxtaposed demonst rate the same finessed understanding of atmospherics that made the producer’s 2008 debut Aerial such an engrossing listen. As one might expect given the genealogy of its sounds, it’s an infinitely rawer and livelier piece of work. Compared with Aerial ’s sleek minimalism or the glacial textures of Unbalance, Fever is a very dry and funky record. Th is is by no means a shortcoming, though. Many will consider it one of the album’s many st rengths. It’s act ually quite remarkable that 2562 has managed to craft three dist inct ively brilliant records in succession without recycling his sound. It’s just that many listeners will be looking for a retread of Unbalance – and, rest assured, they will not find it in Fever. MATT O’NEILL

a mini elect ro-pop effort. The Man Who Stole A Leopard is a magnificent track which harnesses the spirit of Duran Duran without resorting to churning out the same old sound. Leave A Light On rekindles memories of Save A Prayer as it’s the first ballad that blokes Le Bon, Rhodes, Taylor and Taylor have released in eons. Ronson and the boys have also displayed savoir-faire with the support artists – Kelis, the Scissor Sisters’ Ana Matronic and Debbie Harry all feature. Harry’s inclusion is predominantly interest ing as Safe (In The Heat Of The Moment) is really the Blondie singer rapping over a disco track. Duran Duran could have raked it in and simply resorted to churning out an endless supply of “Best Of ” albums. Instead they’re prepared to take a risk. As You Need Is Now sounds like the boys are enjoying themselves – and it shows. STUART EVANS


ONE TRACK MIND KULTRUN A Moment In Time (F-Act Mix) (Indigo Records)

D’OPUS & ROSHAMBO Past Time (Mercury Switch Lab/Inertia)

At this point, Aust ralian hip hop has become so thoroughly ubiquitous that it’s no longer enough for a record to be competently made – it needs a point of difference. Upon fi rst listen, D’Opus & Roshambo’s Past Time fails to deliver such a requirement. Roshambo’s powerful flow is more than competent but seems largely indist inguishable from the work of his predecessors and peers and D’Opus’ lush product ion work appears to be wrought from the same spare kick-snare patterns and layered inst rumental textures that have grown to typify the genre’s aest hetics. Fortunately, there’s a little more to it. Sitting comfortably within their genre’s confines, the Canberra duo are nevertheless clever and creative enough to deliver an original spin

on a now-classic sound with their second album. Opener All I Need finds Roshambo’s muscular flow dancing trickily over what could almost be a waltz, the st uttering multi-layered backdrops of cuts like Action Montage and Sound Is A Weapon showcase formidable skill and imagination on the part of D’Opus. To be clear, Past Time is very much an Aust ralian hip hop album. It’s shimmering and sunshine-fi lled and detractors are unlikely to be converted. Th is is, however, arguably the pair’s greatest coup. Past Time is innovative and intriguing but it manages to be so without distancing itself from its foundational sound. In act ual fact, it excels at the fundamentals just as triumphantly as it handles innovation. It takes considerable skill to be, at once, accessible and subversive but D’Opus and Roshambo nail it with almost suspicious ease with this record. MATT O’NEILL

Aussie prog houser Kultrun gets his original sparkly, slightly techy midset original turned into a slamming progressive trance trip that sounds like it came st raight out of one of Digweed’s sets back in the early 2000s. Th is one is all about the heavy bassline.


Heavily drawing on the vibes of the west coast sound championed by the likes of Halo and Hipp-E, but adding an unmistakeable Chicago edge, you’d be hard pressed to find any house lover who wouldn’t enjoy this. Filled out heavily with fi ltered, shuffly percussion, warm keys and reverbed vocal loops, Deeper has an irresist ible “chug” factor.

CANCEL STANDARD Letters Down (Exit Records)

This is about as far as the definition of drum‘n’bass can be stretched – and it certainly won’t be for everyone – but those with a taste for experimentation, quirkiness and a love of music that doesn’t conform to any sort of rules are going to eat this up. With clicky, minimal beats, stabby acid bass, bizarre mechanical noises and epic amounts of swing, this is futuristic business. ANDREW WOWK

VARIOUS/PETE TONG & RIVA STARR Future Underground (Defected)

For a man who’s been in the indust ry for over two decades, there’s little left to conquer for Pete Tong. Future Underground has veteran Tong lined up with apprentice Starr to bring the clatter to the masses. Tong the musician isn’t as widely recognised as Tong the radio host or DJ, so compilations have always been a medium to showcase what he considers to be ‘essential’. Future Underground is, like the name suggests, looking towards the future – with an emphasis on what future beats may sound like and what club pups will be dancing to in the coming months. And the future according to Tong and Starr is positively geared towards the underground. Given that it’s a Defected release it’s obvious that it’ll include a smorgasbord of


soul, funk or disco nudge somewhere. But the shift towards diversity is abundant throughout Future Underground. Maybe it’s a deliberate Defected stance or maybe it’s the ever-changing audience that dictates the music, which, in places, is almost akin to mid 90s UK garage. So Tong and Starr battle through blends by the likes of Reboot, Steve Bug, Santos, Maya Jane Coles, The Japanese Popstars and Round Table Knights. The artists may not scream ‘big name DJ’ but Santos’ Hold Home, Steve Bug’s As It Was, Riva Starr featuring Rettore’s Splendidub (Pirupa Remix) and Leon’s Cause I Love You are all fi rst-rate. Both jocks delve into records that are heavy on the rhythm and soul and light on BPMs, backed (for the most) by an expressive vocals. Its pace is pedest rian, but Future Underground is a deeper take on the soulful and vocal tilt. That’s what Defected is all about after all. STUART EVANS

3DPLAYLIST 3D 1. Maybe Soon (Insilico Remix) RICH CURTIS 2. Hasta Le Verdad JAVIERA MENA 3. Soft Power EP EDGE OF COLOUR 4.Bizness TUNE-YARDS 5. Handmade HINDI ZAHRA 6. I Beweave It VOCKAH REDU 7. The Wolf FEVER RAY 8. I Want It HARVEY PRES LOCUSSOLUS 9. Delta Swamp Rock VARIOUS 10. Baby Come Back PLAYER


The Apprentice is back for its 11th season, adding celebrities to its very predictable formula like sea monkeys to a birthday cake. They are each playing for charity and whatever TV exposure they can get. Donald Trump does a quick turn and adjusts a purple tie. An extreme close up of his eyes tells you he is a a relic fighting off the aging process with heavy plastic surgery and a media career, much like the contestants. Teen idol David Cassidy, Survivor winner Richard Hatch and Meat Loaf bring their respect ive talents to the male team, be it dead nerve endings or history of criminal convict ion. The opposing female team includes Dionne Warwick, Star Jones and hearing impaired Oscar winner Marlee Matlin. It’s a spectacular select ion of washed-up celebrities, taking on cartoonish proportions when they are lined up; a cowboy next to a woman holding a dog in a bag next to a foamedmouth Gary Busey. Trump challenges the teams to sell PIZZA PIE-YA for a day. Gary Busey becomes the Pepperoni Prophet (spelled Profit), dressing himself as a religious nut with lightning fried hair, spewing incoherent tirades at passers by. “Come in and buy some piz za! It makes you put on your clothes like a fish!” He is specifically told, “Gary, please don’t throw the pepperoni at customers.” A blonde supermodel becomes the saucy chef, saying “I’ve been a mom for sixteen years and cooking in the kitchen is part of my job.” Team leader Richard Hatch thinks Cassidy is a whiny bitch that has st upid ideas. Scrambling to call in favours from his remaining ‘celebrity’ friends, Cassidy would break down and cry if the botox hadn’t severed his tear ducts. In the final boardroom scenes, Hatch verbally rips out Cassidy’s spine, smacks him in the face with it, and reinserts it in his body through his sphincter. Dest royed and heading home, Cassidy looks through the rain tapped window, thinking about how much he hates Richard Hatch and how everything is all his fault. 5SPROCKET



When I am inevitably arrested, I want Matthew McConaughey to defend me in court. In The Lincoln Lawyer, the hard-jawed surfer dude deftly demonst rates how he would not only save me from horrible encounters in prison, but probably give me a surfing lesson because he’s that kind of guy. Tired of playing the role of ‘door knob’ in a series of crappy romantic comedies, McConaughey has surrounded himself with an ensemble of great actors (William H Macy! Bryan Cranston!) who lift him on their shoulders to become the smooth talkin’ southern attorney Mick Haller. Haller has st reet smarts and Batman-like detect ive skills, that complement his “Ah’m the shiiit” swagger. Chummy with biker gangs and lowlife scum in sequences of arrogant wit, the lawyer is soon out of his depth when defending rich kid Louis Roulet (Ryan Phillipe), a manipulative psychopath accused


of assault. McConaughey’s eyes sink deeper into his skull as he is overwhelmed by the odor of “evil”. Not even his ex-wife, a clothed Marisa Tomei, can help him fi nd inner peace. Tortured by the thought that he may have put an innocent man in the slammer, while his client does horrific acts, he downs whiskey for most of the second act . Surprisingly, The Lincoln Lawyer is a briskly paced and entertaining thriller with plotting weaknesses compensated by the genuine charisma of its star. You might even consider seeing the next Matthew McConaughey fi lm, because maybe one day, you could be playing the bongos naked at midnight and you’ll need his help. 5SPROCKET WHERE & WHEN: Screening in cinemas now



Jersey Shore is Goodfellas meets schoolies. In this MTV reality show, eight twentysomething New Yorkers live in a share house on the beach for the summer. They plan to ‘pick up’ with impressive demonstrations that showcase the whiteness of their teeth and the size of their biceps in relation to their head. Unlike The Real World or Big Brother, there is a minor spin on the ‘stick em in a house and tape em’ format: the characters are Italian. They call themselves ‘Guidos’ and ‘Guidettes’ – it’s a ghetto thing, doing it as if they are trying to reclaim the meaning of a world that they lost to upper-middle class aff luence. Mike, an Alpha ‘Guido’, has given himself the nickname ‘The Situation’, because of his impressive six pack. Stupid and puppy-like, he tends to refer to himself in the third person. Nicole, the loudest ‘Guidette’ in the house, goes by the name Snooki. She has an explosive and obnoxious personality, her insecurities coated with layers of bile-orange spray tan. Imagine Minnie Mouse after a fi lthy night out, wandering the st reets of the Red Light dist rict at 6 am, eyeliner running down her face. Vomit st uck to her chin. Stumbling forward wearing only one shoe. The house members work at a Jersey t-shirt store occasionally, but most ly they just drink

and fantasise about happiness. Sitting in a jacuzzi with three topless blondes that they st umbled upon on the st reet. Red plast ic cup in one hand, spaghetti thin underpants in another. Measured haircuts and gold crucifi x necklaces. Monologues about the importance of family meals. Breathy grinding on a leopard print bedspread. “We were gettin’ intimate it was gettin’ sexual. Our faces were touching.” Rock song soars, it’s a trashbag romance in blossom. As the sunset closes on another episode, The Situation st ares over the ocean, fi nally realising the importance of friendship. 5SPROCKET





erds are a notoriously fickle group of people, but you can’t really blame them. Seriously, you try spending the better part of your adolescence mercilessly getting picked on because you’d rather read books or code HTML or, y’know, think than make indiscriminate calls on people’s sexuality just because they’re interested in such things. Experiences like that tend to make subcultures jaded, even a little bit cynical. It’s surprising, then, that it seems like the organisers of this year’s Supanova Pop Culture Expo are completely unaware of this fact. Indeed, the problems for 2011’s event started before the gates even opened. ‘Supa-Guest ’ (and – let’s face it – major draw card) Christopher Lloyd pulled out of appearing all of a day before it was set to begin, undoubtedly jamming a thorn in the side of at least a respectable percentage of the people planning on going, regardless of how good the reason was. Fickle, yes; but nerds are equally a dedicated bunch. Even the non-appearance of Doc Brown doesn’t seem to have dampened spirits too much: by the time the gates open on Saturday morning it’s clear that, for all the various whimsy sure to be on show, the organisers weren’t expect ing this-size crowd. The lines snake around corners and down st reets; the wait for some is excruciating, but inside things aren’t much better. The Exhibition Hall, temporary home to the wide array of exhibitors and pedlars in attendance, becomes a slow-moving pseudo-crush as punters attempt sadly to navigate their way around the narrow walkways, avoiding whatever groups have stopped mid-path for a photo opportunity and dodging the quickly-forming queues in front of the poorly-placed Domino’s Pizza outlet, which faces (and consequently almost blocks) the only thoroughfare out to the rest of the event’s attract ions. Outside, where there’s a little more room to


move, the atmosphere is tangibly lighter. Large groups of cosplayers happily pose for Facebook moments, and even the folks in the massive lines forming hours in advance of celebrity appearances do not seem discouraged that they paid good money to stand in a foam and latex bodysuit for ages so they can get a glance of Tom Felton from the back of a theatre crammed with hundreds of other people in foam and latex bodysuits. There are, however, two notable points on which the convention simply excels: fi rst ly, the celebrity speakers they have amassed are act ually genuinely interest ing. Whether it is Ben 10: Ultimate Alien’s Greg Cipes sitting cross-legged on-stage and asking people up to sit with and quest ion him, Full Metal Alchemist ’s Mike

McFarland proving to be surprisingly engaging and funny, True Blood ’s Denis O’Hare obliging people by responding to quest ions in TB character-accent, or even Felton wishing an audience member’s sister luck for her impending maths exam over the phone, the stars here all come across as likable, witty and even a little bit charming. They happily field arrays of quest ions from the well thought-out to the utterly inane all without batting an eyelid. The other major st rong point that persists throughout the weekend is, naturally, the effort to which people have gone to present a good cost ume. Not only that, but these folks’ genuine happiness to be stopped for presumably hundreds of photos over the

course of the convention doesn’t seem to diminish even as the days wear on and fatigue sets in. The sights are glorious. An Alien fights a Predator. Two guys dressed like Daft Punk start impromptu dance parties with cosplayers in the st reet. The Joker walks past, holding hands with Wonder Woman. It’s act ually kind of beautiful. If there is a truly depressing moment during the convention, it comes watching any panel that consists of local creators (which brings us back to the notion of fickleness). While the auditorium is full for speakers like Felton, a grand total of 18 people are in attendance to listen to the Aust ralian comics creators’ Q&A on Sunday afternoon. It’s genuinely tragic: if anyone act ually needs the support of those in attendance it’s our local talent, yet they’re speaking to a virtually empty room. Th is is not helped by the general scheduling of the event, which seems to have problems of its own – for example, the live cross to Sydney to speak with Sucker Punch act resses Abbie Cornish and Emily Browning is listed as occurring in the same time and place as the utterly ridiculous but totally hilarious ‘Kamehameha Blast Off ’ competition. Guess which one this author accidentally wound up watching. Still, organisational gripes aside, the ultimate goal of the weekend is surely to have fun and show a little love for the fringe side of things, and Supanova has delivered this in spades – albeit thanks largely to the unfl inching enthusiasm, child-like wonder and dedication put forth by all geeks great and small. Supanova hits Melbourne Showgrounds Friday 8 - Sunday 10 April and The Dome (Sydney) Friday 17 - Sunday 19 June.


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A ball on a rope tied to a long pole.


Developing your adolescent biceps.


Easy to play.


Can smack yourself in the face.


As a parent, you can say: “When I was a child, all I needed for entertainment was a ball on a string.” g



Around 7cm in diameter.


Easily malleable rubber toy, can come in standard spherical and turkey-shaped form.


Relieving stress and muscle tension.


Allegedly helps calm your nerves.


Doesn’t solve the problem that made you explode with rage.


As a hat on a duck.




Comedienne with mop of red curls and high pitched nasal voice.


Occasional sitcom laughs.


Starred in classic television shows such as I Love Lucy, The Lucy Show, Here’s Lucy and Life With Lucy.


They’re not very good.


For sedating senior citizens with conservative wit.






Advertising Sales Assistant Parttime sales position for D.H.A Magazine. Min. 2 days req. (pref 3). Office in Underwood area (Brisbane). Position is commission only with monthly bonus opportunities. To apply forward your resume and covering letter to dhamagazine@ iFlogID: 12176

EDUCATION & TRAINING Music Cavern has a Vacany for a Brass and Woodwind tutor and a vocal tutor. Both Urgently Needed. For more info email iFlogID: 12262

ENTERTAINMENT Dj work wanted.Dynamic and experienced melbourne club and mobile dj,seeks new opportunities.With a passion and intelligence to do everthing to rock the dance floor.From corporate to club gigs I`ve done it.With a massive collection of music styles. PH:0407558139. iFlogID: 11808 Freelance Fashion Mag Columnist/ Blogger for D.H.A Magazine. Regular column featured in mag plus on blog. Email dhamagazine@gmail. com for info iFlogID: 12178 SEEKING DJS with wide library of music and own equipt. for various parties around Sydney Metro. iFlogID: 12029

PROMOTER Manager Required for fast-emerging Entertainer with pop-rock Album on iTunes and exciting Show in Sydney. You’ll need Music Industry experience and enthusiasm. Together we’ll conquer the world of entertainment. Phone Geoff NOW at Extraordinary Entertainment. Mosman: 9969 1179. Commission structure. iFlogID: 11898

SALES & MARKETING I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ iFlogID: 12394 PASSIONATE & ETHICAL CHARITY FUNDRAISERS! Do you love animals, people, the environment? Help the worlds best charites by becoming a face to face fundraiser. We offer: Great Base, Super, Bonus & Incentives. Fun teams, no weekends, trips away & more! email: iFlogID: 12288

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Apple E-MAc for sale. Bondi NSW. 17” iFlogID: 12186

DJ EQUIPMENT CME Bitstream 3X midi controller & travel briefcase. They say the best midi controller ever made. Used by robert babicz, boxcutter, prodigy, etc. In great working order. Bargain for $350 (RRP$999). SMS 0424 632 077 iFlogID: 12454 Novation Nocturn midi controller. Perfect dj controller for tracktor/ ableton or production work. Plug-in and play. Assign any parameters with learn function. As new condition with box/manual/receipts. Heading o/s. $120. SMS 0424 632 077 iFlogID: 12456 Redsound SoundBITEmicro Audio/Midi synchroniser and Loop Sampler. “Richie Hawtin won’t leave home without one” apparently. As new with box - Bargain $120 (RRP$349). Heading overseas. SMS 0424 632 077 iFlogID: 12450 Serato Scratch - 2x Unopened control cd’s, 1x unopened coloured vinyl, 2 used coloured vinyl + all cords etc. Box, receipts and everything. Once packed could almost sell as new. Quick Sale! Going o/s. $450 - Bargain! SMS 0424632077. iFlogID: 12452

KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with sturdy keyboard stand and damper (sustain) pedal. Worth over $7,000 sell for $4,295 including delivery to any mainland state. Currently in Perth. Phone 0439 301 165 late evening Email: iFlogID: 12220 Roland RS-505 Paraphonic $1799 Ultimate analogue string synth! Pics, sounds and details at: www. iFlogID: 11984 unique keyboard back pack in perfect condition, white and black just like a keyboard, only one in the world, better than the best thing you have seen this week, $9 iFlogID: 12166 Yamaha CS-15 $899 Perfect condition. Modified for extra fast LFO. More pics, sounds and details at: www.synthservicemelbourne. iFlogID: 11986

OTHER Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO for free web-site and information on how to buy. Enquiries: (02) 9807-3137 eMail: iFlogID: 12392 bluesfest byron bay easter time 2x return tickets with rex airlines departs sydney 22/4/11 8.10 am arrives ballina 9.50am departs ballina wednesday 27/4/11 10.10am arrives sydney 11.55 am total cost$730 phone 0405088122 iFlogID: 12011

NOT AVAILABLE FOR FREE ADS. CL Tenor Saxophone for sale used

Temby Custom Pro Silverplated 5yo $1500 good cond. Call Mike 0420435760 Sydney. iFlogID: 12310

PA EQUIPMENT PA New. AKG Cardiod Mic, CBI 30’ XLR-XLR Mic cable,EV SXa 360 12” Active Speakers x2,Hercules b/stand,Hercules Speaker stand x2,Neutrik male XLR connector x2,Neutrik stereo jack connector x2,Soundcraft Notepad Mixer. Value $5000+ Sell $3650ono. 0449168398 iFlogID: 12056

MUSIC SERVICES BOOKING AGENTS Artists and bands needed to play Caloundra Music Festival 2011. Applications being taken now. Head over to and click Get Involved, then Artist Applications to find out more. iFlogID: 12349

EP RELEASE BANDS are you looking for an Album/ CD Release Venue in Sydney’s CBD? If so then we could be the place for you! The Manhattan Lounge in Martin Place wants to hold your next Launch- call Denise 02 9223 5585 iFlogID: 12308

HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Contact Chris 0419272196 iFlogID: 12460 PA, Lighting, Stages, Drum Risers - We deliver - We Setup - We Operate - OR DRY HIRE from as low as $99 a PA system CALL, EMAIL MATT TODAY - www.musiccavern. iFlogID: 12270 The ultimate party equippment used in clubs, festivals and house partys. Wireless headphones in hot pink and cool black and a transmitter allows you play two dj’s on 1 dance floor, from only $5 a headphone. au for more info. iFlogID: 12373

MANAGEMENT Northies Cronulla is seeking bands / musicians for it’s upcoming open mic night on Tuesdays “Break The Silence II” Please register your interest sending links etc to jac@ iFlogID: 11926 Open Muzic Records is a new London based record label that is focused on talent, whether it’s Rock or R&B, Pop or Metal, we feel we have the ears to spot a star! Applications being taken. www. iFlogID: 12353

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OTHER Best Quality Backing Tracks - Get a custom made backing track for your original songs or covers. Any key...any style! Ready for live performances! Visit or call 0403 498 103 iFlogID: 12049 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much more from $399 including Hosting! Contact or see iFlogID: 11593 JOIN US on facebook, help us share and promote fresh, new, independent music from around the world. Like our page and we’ll keep you updated! Share your music, we want to hear it and want to share it! iFlogID: 11933 Major Music Group is a brand new Brisbane based business that offers independent bands affordable publicity, photography, graphic design, website creation, bio writing and more. Check us out at and get 15% off all packages when mentioning this ad. iFlogID: 12013 Register Today its FREE www. be part of something bigger iFlogID: 12326 Songwriter available. I write catchy, positive, marketable and popular songs with broad appeal. APRA Full Member. To hear samples of my work go to raoulmclay. 0434 300 959. iFlogID: 12225 Songwriting Society Of Australia Non profit Org for songwriters. Provide Mnthly Open Mic Nights, Workshops, Network, Outdoor Concert,Mnthly Newsletter, Platterlog Listings, Discounting Recording. Sydney Area Lean to perform,Write,Record. Ph 9294 4236. E-mail songsoc@ozemail. Membership $45.00 p.a. iFlogID: 12214 Would you like to be signed to an overseas record deal? We are shopping your material/music at the Music Matters Conference in May 2011. For more info email or www. iFlogID: 12416

Big Music Technical Services offers the Sydney Music community the best in Audio & Hi-Tech support, DAW design, DAW setup & integration, studio consolidation solutions, software and hardware troubleshooting. Both in house or on-site visits. Break free from technical hitches and frustration. Get your studio sorted, and get back to making music. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@ iFlogID: 12206 Mixing By Wayne Lotek. Come into the studio (Melbourne) or upload tracks and start downloading finished mixes within 48 hours. Add tape warmth with our 8 track analog stem mixing service. From $100 per track! Call now! (03)94170760 iFlogID: 12208

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RECORDING STUDIOS Come and record with Award winning UK Producer Wayne Lotek in his Melbourne studio. Purpose built space with sound proof recording booth, analogue and digital tracking available. From $350 per day. More info: Email or call 0394170760 iFlogID: 12204 Demo Song Production - have your songs professionally arranged, produced, mixed & mastered for only $309. We’ll even supply a session vocalist. Call 0403 498 103 (*conditions apply) iFlogID: 12047 Looking for something more than just a recording studio? Want to work with a recording company that will support you long after the recording project is completed? visit or call 0403 498 103 iFlogID: 12045


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3D World - Sydney Issue #1055  

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

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