( Issue 1055 ~ TUESDAY 5 APRIL 2011 )
UNKLE: THE (R)EVOLUTIONCONTINUES FRACTURED FAIRY TALES: FROM FILM TO FASHION DUNLOP VOLLEY: COURTING SUCCESS SUPANOVA BRISBANE: REVIEWED
SOUL REVIVAL FREE
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 firstname.lastname@example.org NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS www.iﬂog.com.au ART DEPT email@example.com Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT firstname.lastname@example.org PRINTING Rural Press DISTRIBUTION diﬆ email@example.com SUBSCRIPTIONS www.isubscribe.com.au 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 firstname.lastname@example.org
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...
THINGS TO DO THIS WEEK
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…
GIRLS JUST WANNA DROP BOMBS
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 SHECanDJ.com website from Thursday 7 April.
LIVE, DIRECT, VERY BRIGHT
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.
ROCK IN A HARD PLACE
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. co.nz 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... BLINK182 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.
MONEY DON’T MATTER NOT ONE TO SUCCUMB TO THE TEMPTATIONS OF ‘BLING BLING’ RAP, JOHN STEPHENS – AKA JOHN LEGEND – IS ONE OF A SELECT FEW ARTISTS CURRENTLY PUSHING CONSCIOUS HIP HOP SOUL TO THE MASSES. HE TALKS AMERICAN PRESIDENTS, COLLABORATIONS AND THE ETERNAL STRUGGLE FOR MUSICAL IDENTITY WITH CYCLONE.
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.”
I WONDER WHY PEOPLE “AREN’T INSULTED THAT
RAPPERS ARE TALKING ABOUT HOW RICH THEY ARE AND WHAT THEY’RE WASTING THEIR MONEYON. 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. ”
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
SOUL REVIVALISTS: THE CLASS OF 2011 JAMIE WOON: THE FUTURIST
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.
BOBBY LONG: NORTHERN BLUES
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.
DWELE: NEO-SOUL UNDERDOG
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.
WHO’S AFRAID OF FOLLOWING THE LEADER? IN 2011 FRACTURED FAIRY TALES ARE BIG BUSINESS, IN BOTH FILM AND FASHION. CYCLONE TRACES THE LINE FROM TWILIGHT AND RED RIDING HOOD TO CATWALKS AND THE MAKEUP COUNTER.
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 www.miijo.com) 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?
TWO IN A ROOM NINE ALBUMS’ WORTH OF RELEASES IN FOUR YEARS? UNKLE MAIN MAN JAMES LAVELLE WOULDN’T HAVE IT ANY OTHER WAY, AS ANGUS PATERSON DISCOVERS.
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
HIP HOP SOULSTRESS KAROLINE TAMATI – AKA LADI6 – LOVES EUROPE SO MUCH SHE’S PLANNING ON MOVING TO BERLIN, BUT IT’S GOT NOTHING TO DO WITH SHARING TRUCKSTOP MEALS WITH GIL SCOTTHERON, AS CYCLONE DISCOVERS.
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
PICTURE OF HEALTH WITH KFC’S CONTROVERSIAL NEW BURGER THE DOUBLE SPARKING OUTRAGE AMONG NUTRITIONISTS, DAVE DRI PUTS IT TO THE TEST – AND DISCOVERS IT’S NO WORSE FOR YOU THAN SOME OF THE FAST FOOD WORLD’S SUPPOSEDLY GUILT-FREE OPTIONS.
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.
DOING THE DOUBLE-DOUBLE
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
ANNOUNCEMENTS FILLING THE CAGE
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
EPIC GO EAST(ERN BLOC) YOUNG MAN
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…
STILL THE CHAMPION
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…
SWF SEEKS NON-MUSIC INDUSTRY TYPE
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.
GO WEST, LIFE IS PEACEFUL THERE
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…
HORDERN THEM IN
TRANCE STATE FULL
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.
WINGMEN ATTACKING MARS
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.
APRIL & MAY ANIME
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 jpf.org.au.
ALY & FILA
A BIT BITTY
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 10kfreemen.com.
BO SELECTA? REWIND!
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 voidsound.com. 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…
THE BIG O-S
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.
A BRIEF LOVE-IN
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.
WE CAN HAS PARTIES?
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 DAY IN APRIL
YOU’LL BE APPLES
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)
ITCHY & SCRATCHY
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
MENTAL COMBAT Hip Hop With BLAZE
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 ures.com, 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.
PALE AND SPARKLING
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 email@example.com 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. com.au 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 firstname.lastname@example.org 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 email@example.com with WAX in the subject line. Entries close 9am Friday 8 April.
CLUB CLASSICS DJ PLAYMATE
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 InduďŹ†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
7 6 5 7
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.
DROP THE LIME
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
MORE THAN JUST A SPORTS SHOE, THE DUNLOP VOLLEY CONTINUES TO GRACE THE FEET OF TRADIES, HIKERS AND HIPSTERS ACROSS AUSTRALIA. LIZ GALINOVIC SLIPS ON A PAIR AND TRACES THEIR JOURNEY. 38 3DWORLD
P VOLLEY SANDSHOE,1939-PRESENT
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.
FASHION PERENNIALS W
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.
HOT AND BOTHERED
DJ STIFFY’S WIDE WORLD OF SHORTS
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.
FOUR WHEELS GOOD, TWO WHEELS BETTER
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.
REVIEW JAMES GRANT
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?
THE WEEK ALBUMOF
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.
PHIL WEEKS & DAN GHENACIA Deeper (Robsoul)
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
THE LINCOLN LAWYER
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
JERSEY SHORE SEASON ONE
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
IN THE FIRST STOP OF ITS JAUNT ACROSS AUSTRALIA’S BIGGEST CITIES, THE SUPANOVA POP CULTURE EXPO COMPLETELY TOOK OVER BRISBANE’S RNA SHOWGROUNDS AND OFFERED ALL MANNER OF GEEKY DELIGHTS SMORGASBORD-STYLE TO THE HUDDLED, COSTUMED MASSES. MITCH KNOX WAS THERE, BUT ONLY BECAUSE HIS SERVER WAS DOWN. PHOTO BY JAZZ MINOGUE.
TALK NERDY TO ME
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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SIZE MATTERS? 10”.
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.
SIZE MATTERS? 5’ 7”.
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.
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SELF-EMPLOYMENT Share Pro Recording Studio.opportunity for engineer/producer take career to whole new level in pro studio.You get access to all gear and rooms guaranteed 4 full days per/week if not more.Share Rent $270per/week. www.jumbostudios.com.au Ph:0450 144 399 iFlogID: 12091
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: THE001Music@hotmail.com iFlogID: 12220 Roland RS-505 Paraphonic $1799 Ultimate analogue string synth! Pics, sounds and details at: www. synthservicemelbourne.com.au 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. com.au iFlogID: 11986
OTHER Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com for free web-site and information on how to buy. Enquiries: (02) 9807-3137 eMail: firstname.lastname@example.org 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 www.caloundramusicfestival.com.au 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. Infovision@yayabings.com.au. 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. com.au 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. www.silentdiscoking.com. 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@ northies.com.au 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. giglaunch.com.au iFlogID: 12353
MASTERING Mastering by Wayne Lotek (UK), award winning producer of Roots Manuva and Speech Debelle. From $50 per track, online service available or come into the Melbourne studio. All styles catered for, reggae, hip hop specialist. Email: email@example.com Phone: 0394170760 iFlogID: 12202
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 www.nathaneshman.com 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 firstname.lastname@example.org or see www.bizwebsites.com.au. 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! tinyurl.com/indiemunity 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 www.majormusicgroup.com and get 15% off all packages when mentioning this ad. iFlogID: 12013 Register Today its FREE www. ozmusiccentral.com.au 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 www.custard.net.au/ 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. com.au. 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 email@example.com or www. hype33.com 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@ bigmusic.com.au 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 firstname.lastname@example.org iFlogID: 12208
PHOTOGRAPHY Cardboard Box Studios www. danebeesley.com T: 0402 327 153 iFlogID: 12345
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: www.lotek.cc Email email@example.com 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 www.musicentourage.com or call 0403 498 103 iFlogID: 12045
TUITION AUDIO TRAINING @ BIG MUSIC
Live sound engineer available for bands and tours. Experience in all aspects of live sound. Competitive rates. e-mail: firstname.lastname@example.org Ph: 0402 934 430 iFlogID: 12229
TECHNICAL SUPPORT @ BIG MUSIC
GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Rock, pop, jazz, theory, etc.etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 email: email@example.com iFlogID: 12304 Studio Skills for Singers & Rappers. Do you want to do a recording, but have no studio experience? Do you get into the studio and feel uncomfortable, can’t seem to get a good performance? 1 hour weekly sessions. cityofninegates.com/studioskills firstname.lastname@example.org iFlogID: 12320
VIDEO / PRODUCTION Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. www.kontrolproductions.com iFlogID: 12198
MUSICIANS AVAILABLE OTHER Acoustic duo available! Covers and/or originals. Harmonising Male/female duo mixing it up between guitars + keyboard. We have a great PA: 2x Mackie SRM450V2 speakers, 2x Shure Beta 58 Microphones, 1x Yamaha MG-166CX Mixer + leads, stands etc. myspace.com/aprilskyproductions 0433 946 982. iFlogID: 12100
NOT AVAILABLE FOR FREE ADS. CL Professional sax / flute player available. Can read and improvise. Jazz/ funk/rock/pop/afrobeat/reggae/dj etc. Call Mike 0420435760. iFlogID: 12312 We are a friendly jazz band that plays music to the style of Nat King Cole. Perfect for romantic situations, weddings, anniversaries, small cozy clubs - very affordable. For more information, contact Chris 0419 272 196 - email@example.com - www.yayabings. com.au/jazzband iFlogID: 11753
PA / AUDIO / ENGINEERING Amazing sounding PA System + experienced engineer for hire around Sydney - $50/h. Gear: 2x Mackie SRM450V2 Speakers, 1x Yamaha MG-166CX Mixer, 2x Shure Beta 58 Microphones + leads, stands etc. More microphones can be arranged if required. 0433 946 982. iFlogID: 12098
Drum Lessons That Rock. Private. All levels. Record your session to CD in a sound treated room. Pro equipment inc. dw Collectors Series. $60 per 90 minute session. 10% off - March offer. Call Anthony on 0425250492 for more info. iFlogID: 11954
Big Music & Multimedia in Crows Nest now offer audio enthusiasts the chance experience audio training in a real studio environment. Receive software training on Protools, Cubase, Garage band and more. Sessions are customised to your needs. Don’t waste time learning the things you don’t need. Hone your skills, and enhance your productions. Contact Saul Muscardin on 8622 6555 or send an email to firstname.lastname@example.org iFlogID: 12200 Do you want to get into Audio Production? Learn one on one with Australia’s pioneering electronic artists. We specialise in Ableton, Logic, Cubase, Garage Band, and Reason. Contact us on 0425248484 www.machinemusik.com iFlogID: 12034
SONG WRITER CAN I WRITE, RECORD AND PRODUCE A NEW SONG EACH WEEK... FOR THE NEXT 6 MONTHS? youtube.com/helmutuhlmann - Well i’m trying to do it whilst keeping them original, unique and experimenting around with different genres! youtube.com/ helmutuhlmann iFlogID: 12102 NEED BEATS?? NEED MUSIC?? NEED PRODUCTION?? UK Mercury Prize Award Winning Producer Wayne Lotek (Roots Manuva/ Speech Debelle/Ninja Tunes/ Big Dada) Specialist in Hip Hop, Reggae and Urban styles. Negotiable/affordable rates. More info and discography www.lotek.cc email@example.com iFlogID: 12210
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Published on Apr 4, 2011
3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...