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CREDITS PUBLISHER Street Press Aust ralia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel 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




PHOTOGRAPHERS Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Kostas Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS ART DEPT Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague

Okay, so we said this was now a Charlie Sheen free zone but the Winning! mix from Sydney-based DJ Helena just passes muster. If you’re a fan of the tuneage of Avicii, Tonite Only and all things big room electro, you best head over to her SoundCloud for a download now…


Are 8-Bit Pantyhose too good to be true? Perhaps, but geek guys and girls alike are falling over each other on the internet trying to work out where to buy them from if such an item does indeed exist. If you get the scoop, let us know…

It might be the sequel we didn’t know we had to have, but the Scream series hasn’t disappointed since it debuted in 1996 and we’re not expecting it to go off the rails with Scre4m aka Scream 4 (geddit?). Wes Craven has got the whole gang (or at least the survivors from earlier instalments) back together, so expect plenty of self-referential horror movie dialogue from the pen of Kevin Williamson in between wondering what Neve Campbell has been doing since Scream 3 came out in 2000. It’s in cinemas this Thursday…

ACCOUNTS DEPT PRINTING Rural Press DISTRIBUTION dist SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). HEAD OFFICE 2-4 Bond St, Abbotsford, VIC 3067 (03) 9421 4499 Sydney: (02) 9331 7077 Brisbane: (07) 3252 9666 HEAD OFFICE





Kevin Smith’s tour of duty promoting new religious horror fi lm Red State has many fi lm indust ry insiders saying the indie fi lm king has lost his way. LA Weekly’s extensive behind the scenes wrap of his misadventures on the promo trail confi rms that yet to be shot hockey fi lm Hit Somebody will be the LA-based New Jersey maverick’s last…



If you’ve recovered from the trauma of his turn in the heartbreaking Blue Valentine last year, you might be ready to ogle Ryan Gosling all over again in the trailer for Crazy, Stupid, Love – though maybe not quite getting the extreme close-up that Steve Carell cops. Gosling plays a ladies’ man trying to teach the newly separated Carell how to win on to all manner of eligible females, while himself falling for the lovable Emma Stone. It’ll be out July-ish, and looks like a chick fl ick even dudes can survive…


Balance Music have gone retro with their flagship Balance series of late, fi rst dust ing off German veteran Timo Maas in the second half of 2010 and now giving progressive house great Nick Warren the reins of Balance 018. The “vintage ginge” is no st ranger to a DJ mix compilation, having repped for Global Underground and Renaissance over the years, but this one may go down as one of his classics. It’s due in stores this Friday…


In the grand tradition of the meme-tast ic Babies With Laser Eyes comes Chicks With Steve Buscemeyes. No explanation necessary, just Google that shit and say a prayer of thanks to the inventors of Photoshop yet again…


ANNOUNCEMENTS PAIN LOVES COMPANY The support acts for House of Pain’s upcoming He Who Breaks The Law Tour have been announced. The IrishTHE HAVKNOTZ American hip hop legends will be joined by mash-up kings, The Havknots, in Sydney and Melbourne, with hip hop group Jungle Traffic will share the stage in Brisbane. Proudly presented by Street Press Australia, it’s happening at Prince Bandroom (Melbourne) Friday 29 April, The Hi-Fi (Brisbane) Monday 2 May and Manning Bar (Sydney) Friday 6. Tickets on sale through venues.



Grammy Award winning DJ Afrojack (aka Nick van de Wall) is jetting from the Netherlands to smash some beats down under. The artist has quickly ascended following the launch of his label, Wall Recordings, in 2007. He has developed a reputation as a genius producer, collaborating with international performers including David Guetta, Diplo, Kid Cudi, Laidback Luke and Steve Angello. His latest effort, Take Over Control, has stormed club charts and radio. The DJ fronted a massive tour of the US in 2010, and is heading our way to present a string of intimate club shows. Afrojack plays Platinum Nightclub (Gold Coast) Thursday 2 June, Home Nightclub (Sydney) Friday 3 and Superdisco at Prince Bandroom(Melbourne) Saturday 4. Tickets available through Moshtix.


Brighton sonic patchwork-pop juggernaut The Go! Team are heading our way to deliver their unpredictable and famously off-the-wall shows. The More PURPLE SNEAKERS DJS Rolling Blackouts Tour will see the group unleash their unique sound, a mix of garage rock, blackploitation and Bollywood sountracks, old school hip hop and indie rock. The raucous group have hand picked local support acts, with pop-mavens Toy Ballon playing Brisbane, and elect ronic duo Fishing hitting Sydney. Psychedelic six-piece Northeast Party House will pump up the volume for the Melbourne show while Purple Sneakers DJs do the whole tour. The Go! Team will play Groovin’ The Moo, along with sideshows at The Zoo (Brisbane) Tuesday 3 May, The Metro (Sydney) Wednesday 4, and The Corner Hotel (Melbourne) Tuesday 10. Tickets available through


Underground kind and superstar of the bass music scene AC Slater is heading our way for a series of pulsating shows. The last year has seen the artist unleash remixes for Boys Noize (Yeah, Shine Shine), Crookers (Cooler AC SLATER Couleur) and Moby (Turn The Music Up) who labelled the remix as one of his favourite songs of the decade. AC Slater has jetted from the underground basements of New York to warehouse raves in East London, along with sets at SxSW, Ultra and Parklife. The DJ is gearing up for Groovin’ The Moo, and will be playing sideshows at Roxanne Parlour (Melbourne) Friday 29 April, Chinese Laundry (Sydney) Saturday 7 May, Onefiveone (Wollongong) Thursday 19, Platinum (Gold Coast) Friday 20 and Monastery (Brisbane) Saturday 21.

FRILL OF THE CHASE No Frills is the latest addition to the label empire of Sydney dance music maverick Tom Piper, and it’s about to unfurl its TRUTH debut release – No Frills Dubstep Vol #1. The double CD is a team effort with Kiwis Truth and Daniel Farley, Micky Slim (UK) and Aussies Haters in the mix, and a tour to launch it is currently criss-crossing our fine land. Details of who is playing where are sketchy, but we can confi rm that Farley hits Hotel Metropole (Ipswich) Friday 15 April before the tour moves onto Brown Alley (Melbourne) Saturday 16, World Bar (Sydney) Wednesday 20 and Family (Brisbane) Saturday 23 with Truth headlining. GHOSTS, NO GOBLINS Sydney elect ronica act Seekae have announced Ghoul and Bardeya as their support acts for GHOUL their upcoming +Dome tour. The group are currently one of the most buzzed about groups, with their latest album hailed as Album Of The Week at many of the nation’s top community radio stations. The tour hits Woodland (Brisbane) Friday 15 April, Manning Bar (Sydney) Saturday 16 and The Toff (Melbourne) Monday 25. Tickets on sale via Moshtix. RIDING BACK IN Brisbane indie-rock grounp An Horse have announced an upcoming tour in support of their latest album, Walls, AN HORSE releasing 29 April. The group recently played a successful show at SxSW, and are gathering steam with a US tour alongside the Manchester Orchest ra lined up for May. Walls follows their acclaimed 2009 debut Rearrange Beds, and is described as ‘an album of distances travelled and distances between loved ones’. They play The Zoo (Brisbane) Thursday 2 June, The Annandale (Sydney) Friday 3,and Northcote Social Club (Melbourne) Saturday 4. Tickets available through venues and Oztix.

YOUNG AUSSIE ACTOR Richard Wilson (The Proposition) has set up Tunes For Change, a not-forprofit organisation using music for worthy causes. The fi rst release featuring the likes of Missy Higgins and Die! Die! Die! sees all money raised going to Aust ralian flood relief – head to www. and pay what you think it’s worth to help the cause... FAUXLESBIANS OF yesteryear tATu have finally called it quits in music. The singers site the bands break-up on going their own way for the last couple of years. They released the Waste Management Remixes album last week... BY THE TIME you read this a new location for Red Bull Music Academy 2011 will have been announced, with Tokyo sadly ruled out due to the earthquake tragedy. Entrants also have an extension until Tuesday 26 April, has the details... ARE YOU A celebrity? Has your name been smeared by unfounded rumors, half-truths or an inaccurate Wikipedia entry? A new site called ICorrect can help you set the record st raight for the small annual fee of $1000... TECH NERDS TAKE note – Store DJ and CMI Aust ralia have a free educational evening for the launch of Traktor T2 coming up. Get along to your local store in Fortitude Valley (Wednesday 13 April), Stanmore (Thursday 14) and Richmond (Tuesday 19)...








Home hi-fi systems have reached saturation point, with the term “audiophile” emerging as a reference to someone invest ing in often short-lived high-end technology or audio theories.










Antione Favre, a Swiss watchmaker, describes an idea for a music box. The means to record the sounds had yet to be devised, leaving Antione with his watches as the theory awaited the means to implement it.

Columbia Records introduce the 12inch microgroove LP recorded at 33 1/3 rpm and pressed in vinyl.

Shellac records are decreasing in popularity as synthetic resins are developed.




The Compact Disc begins its steady penetration in a market st ill split between tape and vinyl.

The UK experiences the birth of acid house, ecstasy use and raves. Danny Rampling begins a career as DJ and promoter that will ultimately culminate in a self-help DJ book.

A Frenchman called Leon Scott attacks the problem from the other side, recording a representation of sound onto a cylinder via smoke and soot. The exercise is largely scientific, without the means to play the recording back.

RCA Victor launch the 45 rpm vinyl single.

The internet begins to favour a fi le format called an MPEG-1 Audio Layer III, or MP3 for short.

Thomas Edison invents a technique of recording and playback utilising a st ylus to play tin foil wrapped around a cylinder. The invention is shelved while Edison works on the elect ric light bulb.

Sir Malcolm Sargent conducts a series of tests at Abbey Road that lead to the product ion of the first stereo LPs.


Product ion of cassette tapes begins in Germany.

The release of Nullsoft’s Winamp audio player adds to the popularity of the MP3 format.

aturday 16 April is significant for a number of reasons – and not just the annual celebration of the birth of R&B superstar Akon and Aust ralian singer turned act ivist turned politician Peter Garrett, for in 2011 it’s the date that Record Store Day unfolds across the globe for another year. While the original idea for a celebration of the unique culture contained within the independent record store was devised in the USA in 2007, Aust ralia has come online and is set to celebrate its third Record Store Day with an unprecedented level of support from label, stores, bands and fans of quality music. The concept of Record Store Day is rich and vivid, and draws from the kind of cultural self-reflect ion that inspired the 1995 movie Empire Records – the story of an independent store attempting to keep afloat amid the unstoppable spread of a major corporate chain. While pitched heavily at the US market, the fi lm is as relevant to the Aust ralian market now as it was then – if not more so, with the news of yet more iconic indie stores going up for sale.





Emile Berliner patents a machine that records vibrations to a zinc disc, rather than a cylinder. This is the fi rst gramophone recorder, imprinting grooves on a flat side of the disc.


The Columbia Phonograph company was formed to market various playback devices, although the cylinder format of military bands remain the most popular.


The world’s finest record is released, signalling the peak of recorded music. Switched On Bach goes multi-platinum, bringing the sound of Moog synthesisers to every home.


American computer programmers Sean Parker and Shawn Fanning join forces to annoy Metallica’s drummer. They found a fi le sharing application called Napster, before being crash tackled by the music indust ry.









The American Graphophone and Columbia Phonograph companies merge to create the ancestor of the Columbia Record Company.

Quadraphonic records are announced. No one cares.


The Apple iPod is launched. It will never catch on.

Fedde le Grand releases Put Your Hands Up 4 Detroit. A lovely city.

The popularity of disc records overtake cylinder recordings, with dancing music overtaking military standards as genre of choice.

The first wearable cassette player is invented by GermanBrazilian Andreas Pavel, with a number of his global patents rejected, notably in the US and UK.

The end of World War I encourages an explosion of popularity of music in celebration of peace, and as a result of the indust rialisation of the war-time economies.


The speed of record playback in the US is standardised at 78.26 rpm, a result that is readily achieved due to the 46-1 reduct ion gearing of the 3600 rpm elect ric motors used at the time.

Sony begin selling the popular Walkman, initiating a legal battle with Pavel and his “Stereobelt” that will rage for decades.

iTunes acquires the rights to The Beatles’ back catalogue.


One such store is Melbourne’s Missing Link Records, with owner and director Nigel Rennard announcing earlier this year that the historic shop and its rich catalogue of local and independent music would go to market – but only on his terms. Speaking with Your Daily SPA (the indust ry newsletter of Street Press Aust ralia, publishers of 3D World), Rennard announced that the decision was understandably a “very big one”, elaborating on his criteria for the potential sale with a clear rule that there would be a stern “thanks but no thanks to JB Hi-Fi or anyone likely to st art selling Lady Gaga records”. Now in his mid-50s, Rennard cites a lifest yle choice as the greatest motivator for the move, but also puts down a generational challenge. “I’m looking for someone that has the same passion that I had in my 20s,” he said, touching on a common theme of the generational shift that continues to take place across the full range of the music indust ry. It’s something that Record Store Day looks to influence with the steady reminder of the value of the local independent store, a wake-up call that Kieron Comerford of Brisbane’s Rockinghorse Records sees slowly taking place.

“It’s most ly the diggers,” he explains of this year’s queries from eager customers, “and the real hip hop DJs or the collectors. They are the ones calling the most at the moment, asking about the rare records. I have been getting more emails this year though from what I’d call the normal music fans, the people asking about the limited band releases.” These one-off releases are aimed at boost ing the appeal of the event with tangible treasure for those willing to wander down to their local store on the day, adding to the live performances and guest signings that are the main drawcard above and beyond the call to arms for the support of a local music scene in real life – a call mirrored by the artists and labels on the other side of the indust ry. One such label is Sydney’s Future Classic, a label that has defied the digital trend and continued to pursue a passion for vinyl releases despite the changes and challenges of a volatile market. Surprisingly, as the major labels often single out piracy as the sole reason for their declining profits, Future Classic’s Nathan McLay has experienced a growth for their particular format of choice. “Official indust ry figures show vinyl sales are act ually up on previous years,” he explains. “The indie market is growing. People are buying vinyl as merchandise items because they love the artist and want something ‘real’. Download codes that come with the vinyl are also a great addition, so you can keep your wax mint and listen to the tracks you bought on your digital players st ill.” That commitment at the label level is one shared by the indie retailers, with even the outgoing owner of Missing Link Records describing his continued passion for supporting the scene, above and beyond the bottom line profit motives of the major chains. “We supported every Aust ralian band that came and asked to sell their products,” Rennard says, list ing a who’s who of the past 30 years of Aust ralian music – from Corpse Grinders right through to Eddy Current Suppression Ring. These stories, and these ties to the local scene, are something that the organisers of Record Store Day are looking to preserve through often unusual means. Back in Queensland, Comerford points to the same digital realm that is often accused of killing music as bringing the Record Store Day concept to life. “It’s picked up in the last couple of years, and more people seem to know more about what we are up to,” he explains. “I’d say that it has grown through Facebook. Th rough all the pages and discussions on Facebook we get people contact ing us, and we’ve got some events planned that they hear about online.” For Rockinghorse, this includes in-store performances, which Comerford describes in understatement as a growing feature of the store. “I wouldn’t say that the live performances roadblock the store, but last year we had the John Steel Singers doing a semi-acoust ic set, and the hip hop DJs downstairs, and that word of mouth seems to keep growing.” Other stores are following suit, with live performances and limited releases supplied by participating music labels and dist ributors adding the sense of exclusivity to the party. There are at least 70 local stores participating officially, including some unique exhibitions like those at Rockaway Records in Logan City, putting together a display of what owner Scott Johnson calls “the most bizarre, weird or just plain bad album artwork collected over the past 20 years”. The display joins a diverse and exciting range of celebrations that matches the full extent of the diversity of the independent stores involved – a source of music knowledge, a holy grail of underground music and a support network for the local musicians that visit, shop and work at them.



t might surprise many music collectors that there is no shortage of fresh vinyl being produced around the world. Certainly in a corner of Melbourne, the steady press of records continues within the Zenith Records facility, maintaining the vinyl tradition where other manufact urers have closed their doors. There are other similar pockets of overseas supply, with local labels sourcing their wax from places as exotic as GZ Vinyl in the Czech Republic, or as old-fashioned as United Record Pressing from Nashville in the US of A, where they presumably manufact urer both kinds of music. For local labels and vinyl enthusiasts like Future Classic, the candle burns at both ends, juggling dist ribution and sales with the finer details of currency exchange rates, international manufact uring facilities and the reality of moving large boxes of heavy records around the world. “We used to press in Germany with a vinyl product ion company Handle With Care managing the process for us,” FC’s Nathan McLay explains of the process. “The fluct uations in currencies made this plant in the UK more cost effect ive. We’d love to press locally but 90 percent of our vinyl sales are abroad so it makes more sense us doing it closer to where the bulk of our customers and dist ributors are. Vinyl’s lovely, but its heavy and expensive to ship around the place.” The options for Aust ralian labels and bands have dropped off since the days of Sonic Youth recording live-to-disc at Corduroy Records in Melbourne in 2005, but the volumes of indie and hip hop records since cut from the likes of Melbourne’s Zenith Records or Sydney’s Vinyl Factory show that the flame st ill burns for the art form in decline. From the label side, the flame burns just as bright, with McLay summing up a common mission statement shared across what remains of the vinyl sector. “We’re resolutely confident that niche, lovedup, hand-stamped, cottage indust ry vinyl will continue to thrive. We do it because we love it, not for the cash.”


BEFORE HE HELD THE BIG CHAIR AT 3D WORLD’S SISTER MAGAZINE TIME OFF, STEVE BELL MANNED THE COUNTER AT SADLY-DEFUNCT BRISBANE INDEPENDENT RECORD STORE SKINNY’S. HE SHARES SOME TALES FROM THE FRONTLINE – UNFORTUNATELY, MUCH OF WHAT WENT ON IN THE BACK OF THE STORE HAS STAYED IN THE BACK OF THE STORE. or a while there at the start of the millennium I was almost certainly the most overqualified indie record store clerk on the planet. The turn of events that led me to leave my coveted (choke) position as a solicitor to work behind the counter at Brisbane’s much-loved Skinny’s are forever shrouded by the mists of time (basically I hated being a lawyer), but I recall having no compunct ion whatsoever about rendering my tertiary qualifications redundant and starting a new career hocking records to hordes of people made in my very image. Geeks that is. Music geeks...


I’ll always look back on the years I spent at Skinny’s as (from a purely vocational perspect ive) the best years of my life. I was managing bands and co-running a label at the time so my tenure was peppered by numerous st ints on the road, which no doubt made things more interest ing, but it was the days on end spent in the confines of the store which were really so alluring. Surrounded by records and CDs and music memorabilia, a heady mix of new releases and old classics pumping through the stereo, talking daily to music lovers of all persuasions, life really was good. How I managed to feed myself I don’t know, because I had a store account which allowed me to take whatever I liked home without paying up front, so whenever the boxes of imperious import stock came in each week it seemed that more releases made their way into my bag than onto the floor. It was a music fanatic’s hallucinogenic fantasy come to life, and we got paid (scantily) for the privilege to boot. Nirvana (not the band) by anyone’s st retch of the imagination... Without doubt, one of the main attract ions Skinny’s for all involved was the instores that we held on a regular basis. They were habitual events, but in peak touring season became proliferate – one


time we had five big name acts hit the store on the one weekend. We had our own rudimentary PA so these were pretty much free all ages gigs, although the bigger international bands would often just take part in a signing to meet and placate their fans prior to their Brisbane performance. These gatherings were immensely popular (for the most part) and also much looked forward to by the Skinny’s staff because (a) they were really fun, and (b) we got to drink at work (which I guess is predominantly the same thing). My primary roles during instores were usually setting up for the gig – moving the floor around to accommodate the masses of people who were (hopefully) about to flock in – and then looking after the bands once they arrived. Skinny’s owners Simon and Denise had this part of proceedings totally sussed and we always had plenty of beer on ice and the obligatory BBQ out the back,



unless it was a big band on a major label in which case flash catering was the order of the day – those spreads were fantast ic... The list of bands we looked after in this fashion over the years was as long as your arm and it was out the back of the shop during the instores where most of the great memories and incidents took place. It wasn’t about meeting famous people – I’m sure I could const ruct a pretty complex chart reflect ing the correlation between fame and being a total jerk, but that’s for another piece – but just about meeting interest ing folk in a laid back setting, where more often than not they


could let their guard down and be themselves. Whether Aust ralian or international, massive or emerging, punk or alternative, major label or indie, none of that mattered once you were sharing a snag and a beer and we got to meet some fascinating people, quite often amongst the band’s entourage rather than the musos themselves. It goes without saying that a lot of things we were privy to stayed in the back of the store, but random memories abound: the well-pissed drummer from Unwritten Law feebly trying to fit his bottle of whisky into a Skinny’s st ubby cooler for about an hour, talking with the derangedlooking singer from Mayhem about his love of country music, a sardonic turn by a legendary Oz rock frontman aff ronted by our received inst ruct ions not to get him pissed before that night’s show, metal maest ro Devin Townsend deciding that he needed a nap mid-signing so just lying on the floor behind the counter and going to sleep, System Of A Down turning their noses up at the fantast ic catered spread and demanding McDonald’s be fetched, Courtney from the Dandy Warhols deciding that he wanted to hang with “real people” and crashing a planned trip to the local – the tales go on, we really did think that we had the greatest gig in the world... Sadly, the march of time stops for no-one. Skinny’s closed down a few years ago, inexorably hit by the myriad of factors which have conspired to close so many indie record shops all over the world. I don’t miss these shops from an employee’s perspect ive – I’d already moved on to greener past ures before the closure – but I sure miss them as a punter. You might be able to access any music you like online from anywhere in the world, but that will never compare to the feeling of fl icking through the record store racks, looking for that elusive treasure from one of your favourite bands, that one that you don’t even know for sure exists but might well be lurking behind the very next record. That feeling of camaraderie shared with other shoppers, that smell of vinyl, the sound of that new band playing on the stereo, the discussions with the clerks, the excitement of rushing home to play that new purchase, eager to pore over the liner notes as you devoured the exotic new sounds which were now forever part of both your music collect ion and your shared life experience... There aren’t many indie stores left anywhere in Aust ralia now, and fewer all around the globe. The concept of a landscape without cool indie record stores is too depressing to even contemplate, and spare a thought for the generations of music geeks to come who will be deprived of the experience of that incredible job behind the counter, immersed in their all-pervading love of music and culture and pinching themselves that they’re being paid to live the dream. We really won’t truly miss them until they’re gone...

TO LIVE AND BUY IN LA ANDREW MAST CRUISES LA’S SUNSET BOULEVARD LOOKING TO SATISFY HIS VINYL FETISH. INSIDE AMOEBA MUSIC HE FINDS MORE THAN HE BARGAINED FOR. moeba Music is referred to as “the world’s largest independent music store”. Standing in the midst of its hundreds of rows of new and second-hand records, CDs, DVDs and, yes, cassettes, it’s hard to argue with that claim. The Sunset Boulevard store is the most recent, and largest of the three Amoeba stores in the US (the fi rst was opened in Berkley in 1990, the second in San Francisco in 1997). It’s existed since 2001, completely defying the declining-physical-music-sales odds. How has it survived? Without doubt it’s because the physical nature of the hunt is st ill a rush for many music addicts. Amoeba embraces the physical experience. The LA store lives in the revitalised entertainment precinct of Downtown Hollywood, amidst hipster bars and indie fi lm multiplexes – not too far from the Hollywood and Vine intersect ion where you can gawp at the Walk Of Fame. Housed in what looks like may once have been a theatre designed in the 1950s (historical information is scarce in a town that thinks ‘modern’), st reet level is a warehouse-sized home to vinyl and CDs of every genre imaginable (Japanese mini-albums? There’s a sect ion. Holiday records? There’s a sect ion). Upstairs is home to the largest display of used DVDs and Blu-rays imaginable (as well as Laserdiscs and VHS), and although only a third of the floor size as ground level it’s also microorganised into every sub-genre they could think of (how can you not fl ick through a sect ion labelled ‘Smut’?). A previous visit to the SF Amoeba saw a whole afternoon disappear – today there is only a few hours before a fl ight back to Aust ralia, so the hunt is refined. No time to glean the boxes of $1 vinyl that line the floors beneath every row of record racks. No time to pile up unheard oddities for a listening session. No time to play the “what Aust ralian acts have their own sect ion?” game (oh, too late, already spotted a Hunters & Collectors divider in amongst the pre-loved vinyl). So it’s beelines to the artists’ sect ions most likely to have some vinyl oddities that are rare back home. Also gotta leave time for the DVDs... One slice of new 10-inch vinyl and one rare 90s club 12” later and it’s up the stairs. Pushing past the usual record shop array of glassy-eyed beard-st rokers, nerd grrrls and hipsters trying to figure out whether or not ironic cassingles are really worth the cash-splash, there’s an entire warehouse wall of second-hand TV-on-DVD to be drooled through (sheesh – they sub-divide into region codes and separate British shows from US series). What are new releases at home are already marked-down



seconds here. Yeah, yeah, you can order the equivalent via Amazon, but really – holding that Eerie, Indiana box-set in your hands makes the decision to buy a whole lot easier. Another experience you can’t get trawling online is the chance to star-spot. Time is tight, and the blinkers are on for this visit but this is Hollywood and Amoeba has become a beacon for celebrities and stalkers alike. Not only have the obvious pop culture-cornerstones like Drew Barrymore and Johnny Knoxville been sighted browsing here, but folk st ill talk of the day Danny DeVito and wife Rhea Pearlman dropped by (perhaps they were trading in some old Taxi and Cheers VHS tapes). Having not even scratched the surface on this visit, it’s time to hit the checkout queue. Yep, there’s a supermarket-type order to exit out of Amoeba (though what supermarket offers a cloak room upon entrance?). The counter staff are far from supermarket-service types, being ridiculously helpful and informative (they must have to pass a music geek exam) – and upon hearing a foreign accent, they shower this visiting guest with as much free merch as can be carried in two hands already gripping the treasures just paid for. No amount of online act ivity is a match for even the briefest of physical encounters. Th is relationship must n’t be allowed to be just a holiday fl ing – the thrill of the hunt must be nurtured and maintained upon return home. Local music stockists, be warned, the craving has been reawakened and it’s looking to paw your goods. Andrew Mast flew to the United States as a guest of V Aust ralia.



Shoot To Th rill / War Machine (Columbia) The original rock gods AC/DC released Shoot To Thrill in 1980 on the album Back in Black. The song made return llast year featuring on d a triumphant h the Iron Man 2 soundtrack.


Rolling In the Deep (Columbia) Rolling in the Deep finds Adele in bluesy gospel mode, sounding powerful but not particularly pop. Release includes l l d a speciall mix, and live version of the single from her new album. Tracks: Rolling In The Deep (Jamie xx Shuffle)/ Rolling In the Deep (Live at World Café)


Places Like Th is (Polyvinyl) In 2007, Aussie band Architect ure in Helsinki returned with a new record to storm the Aust ralian market. h A l k Mashing together elect ro, punk, psychedelia and everything in between, the album has divided fans and critics alike.


God Of Love (Maverick) Bad Brains are widely regarded as among the pioneers of hardcore punk. Th is vinyl release includes l d Let’s Make Love and d It’s Agreeable – two songs previously unreleased in any form.


E EP ((Columbia) On her fi rst outing O aaway from her ggroup Gossip, Ditto doesn’t D disappoint. EP is d a four track – you gguessed it – EP, produced Mobile Disco. d d entirely l by b Simian S Ditto proves that she can get down solo.


A Troll’s Soiree (Fat Beat Records) CSC Funk Band let loose on Troll’s Soiree – a cool cut that has lots of sinister sharp angles l and d a weird i d edge d tto the th cut B-side offers up a darker dubbed out remix version of A Troll’s Soirée by Mari Ayabe.





Bob Dylan In Concert: Brandeis University 1963 (Legacy) Previously unknown recording of 21year-old Dylan at the Annuall Folk Fest ival in h Brandeis d First A Waltham, Massachusetts. The professionally recorded tapes were discovered in a music critic’s belongings.

Swim Remixes (Merge), 2011. Last year, indie artist Caribou released his acclaimed and most unconventional album to date – Swim. F Featuring reinterpretations of his songs S by 13 other producers and artists, Remixes transforms Swim into a conventional dance album – thankfully David Guett-free.


North America Travelougue 2010 (Kufala) Release encompass the greatest moments from the group’s amazing tour 28 day d tour off the h USA and Canada in 2010, celebrating 25 years since Crowded House’s formation.

Abducted / Go Outside (remix) ITNO/Columbia The remix version is exclusive to this RSD release. Tracks include Abducted and Go A Outside (remix).

Translucence (Walt Disney Records) Cuts taken from the French elect ro mavericks’ soundtrack to TRON: Legacy, backed with exclusive l i new cutt Cast C stor. The pict ure disc design mimics the identity discs worn by the fi lms characters, coming in blue, yellow or red and packages in clear cellophane.


Live At Landlocked (Secretly Canadian) Live At Landlocked is Damien Jurado’s fi rst ever live release and last year. It l d was recorded d d on tour t includes fan favourites like Denton, Texas as well as an unreleased song titled Thax Douglas #1 which Jurado wrote about the cult poet for WBEZ Chicago.



ROME (Th ird Man Records) The debut from Danger Mouse and Daniele Luppi’s ROME, with Jack White on Two Against One while Norah Jones sings Black.


Death Cab for Cutie In Living Stereo! (Atlantic) All new music from Death Cab with songs to be featured on the new record Tracks d out in May. M T k include Home Is A Fire, You Are A Tourist and Some Boys.


Lonely Years (Sundazed) These two rare gems, sourced from the mono masters, capture both blues masters in an b h off these h legendary l d bl intimate, st ripped-down setting. The disc features the Mayall composition Lonely Years and the Clapton-penned Bernard Jenkins.


Monday Morning In Lagos Parts 1 &2 (Knitting Factory/MRI) Tracks include Monday Morning In Lagos Pt 1 & 2 (A and B sides, respect ively). Mono recording mastered from the original 1971 Nigerian Release.



Cosmogramma Alt Takes A (Warp Records) Webcam and a physical copy of Cosmogramma were originally required to enable the download versions. Vinyl h d l d off these h alternate l release contains two additional tracks.


Medium Rare (RCA) Medium Rare is a previously unreleased collect ion of 12 cover songs performed by Foo Fighters on 120 gram 12” limited editon vinyl. F h l Tracks in include Band On The Run, I Feel Free and Life Of Illusion.


Wash Out (Sundazed) Nicknamed “The Texas Cannonball”, Freddy King dominated 1970s blues. For the fi rst time on vinyl, l this h single l presents alternate takes of the killer King inst rumentals Wash Out and Butterscotch.


G Griller ((Adeline) New England N Punk rock band P The Frust rators rrecently released EP Griller . E IIncludes the tracks Stigma, West Prettiest S i W st off Texas, T P i st Girl We Need To Talk (It’s Not You, It’s Us).


Town Comp (Matador) While recording their brand-new album, the rock opera David Comes To Life, Fucked Up discovered that they h had h d 15 extra tracks k once the album and associated singles were complete.. All tracks unreleased, and will not be on the new FU album out next month.


The Fall (IGA) Who needs a recording st udio when you have an iPad? As further proof that Steve JJobs’ plan to take over the world is working, Damon Albarn, the k D Alb h head of Gorillaz, created and recorded an entire project on his iPad while on the road during the Plastic Beach world tour.


Don’t Want To Know If You Are Lonely (WBR) Punkers Green Day team up with American Hüsker a split 7-inch fforebears b H k Dü D to release l entitled Don’t Want To Know If You Are Lonely.


Evil (ANTI-) Alternatative rock supergroup Grinderman formed by Nick Cave unsettled many with the eery Evil E l and d it’s ’ twist sted d video d clip. Th is vinyl release features album version and Factory Floor mix.


J James Blake (Universal) The critic’s darling’s debut long-player is sure to display some extra pop and crackle on record. Vinyl includes two V l version off the h new album lb exclusive tracks Tap and the Logic and You Know Your Youth.


Fire / Touch You (Legacy) Th is 45 features the alternate vversion of Fire from the West Coast Seattle Boy box set as well as b Touch 1967 st udio T h You, Y a previously i l unreleased l recording made by the original Experience during sessions for what would later become Elect ric Ladyland.


I Love Rock ‘N’ Roll (Limited Edition) (Blackheart Music) To commemorate T the 30th anniversary of I Love Rock ‘N’ Roll, Joan Jett and The Blackhearts are releasing the album on 180 gram Clear Vinyl on Jett’s own Blackheart Records. 1,000 copies only.


Hounds of Love Collector’s Edition (Audio Fidelity) Kate Bush’s American A breakthrough b Hounds Of Love H had two suites, and each d two songs from f h suite i are on this pink vinyl 10-inch version. Tracks include Th e Big Sky, Cloud Bust ing and Watching You Without Me.


Holy Roller Novocaine (RCA) Kings Of Leon seemingly took over the world at one point in time. Previously issued in E Europe b but never released l d on vinyl this gem included the tracks include Molly’s Chamber, Wasted Time, California Waiting, Wicker Chair and Holy Roller Novocaine.


Born Th is Way (IGA) Gay, st raight, bi, lesbian, or b transgender – Gaga has all markets covered with this song. w While many cited similarities to Whil i d obvious b i i Madonna’s Express Yourself, Gaga’s selfempowerment anthem debuted at #1 around the world and stayed there for several weeks.


Simple Math / The Plan (Columbia) American indie A band Manchester b Orchest ra’s Simple Math has been M as described d b d as chock h k full f ll off monster riffs, vigorous st ring arrangements, deep hooks with miles of melodies. B-side The Plan is exclusive to this RSD release.


Hollywood Tonight / Behind T The Mask (Epic) Since Michael JJackson’s untimely passing, the post humous album Michael lb M h l came and d went without making the splash anticipated. Going back to the drawing board, we now have a dual release in Hollywood Tonight and Behind The Mask.


Na Na Na (Na Na Na Na Na Na Na Na Na) (Warner) A winning track and fi rst single from the group’s Danger Days: The True ffourth h st udio d album, lb D D Lives of the Fabulous Killjoys. The B-Side is previously unreleased track Zero Percent.


Hormoaning (UME) Nirvana are the band that captured the mood of a generation. Hormoaning H was released on w February 5, F b 5 1992 in i Aust A st ralia li and Japan only, during the band’s tour here, and is rarer than hen’s teeth. Th is is its fi rst worldwide release.


Everything Is Possible!: World Psychedelic Classics 1 (Luaka Bop) More than 30 yyears since the release of their earliest a Best Of l st material, l the h band b d released l in 1999. Comprised of 14 of their best-known songs, the album is full of irrefutable classics and timeless Brazilian rhythms.


Flying High Again / I Don’t A Know (Live) (Legacy) Limited edition recreation of original 1981 7-inch single Flying H Highh A Again with Don’t’ Know (Live) on Fl hID the fl ip. Before reality TV, Ozzy was a God – and an appropriate ambassador for RSD 2011.



Immortality / Rearviewmirror (Legacy) Th is double A-side release takes two of the best cuts from the Seattle grunge icons’ classic second Vs – Immortality and l d album lb Rearviewmirror on the fl ip.


London 66/67 (Snapper Music) Limited Edition 180gm Heavyweight White Vinyl. The classic Syd Barrett-era Floyd at their and h most adventurous d d exploratory, London 1966/1967 features two rare performances, including an explosive 17-minute version of Interstellar Overdrive.


Celebrate the New Dark Age (Merge) Originally released in 2008, this reissue of Polvo’s guitar-twist ing seven-song EP on limited-edition 180-gram vinyl is a Merge l d d hallmark. Complete with great sleeve design by Independent Project Press, and a free download coupon.


Let The Dominoes Fall (Collectors Edition) (Hellcat) Deluxe version with full-length vinyl of original album, acoust ic album, 2C CDs and hardbound pict ure lb d DVD, h book.


No One Can Tell/Serated (Dangerbird Records) No One Can Tell is a release from new band Skysaw headed by Smashing Pumpkins’ Chamberlain. P ki ’ Jimmy Ji Ch b l


Wait For My Love (Snapper Music) Tracks include Wait For My Love and May The Circle Remain Unbroken. Packaged Artists k d in an ‘International ‘ Records’ House Bag.


Love Notes/ Letter Bombs (Nettwerk) Love Notes/ Letter Bombs is the follow-up to 2008’s critically acclaimed Honeysuckle kl Weeks k scanning 2,500 copies at Indie retail and 18,000 overall. Tracks include Shoelaces and Fire.


Todd Rundgren’s JJohnson (MPCA Records) Th is project from the 70s super-producer celebrates the centennial anniversary off R Robert the King of the b JJohnson, h Delta Blues. Tracks include Dust My Broom, Stop Breaking Down and Walking Blues.


Y You’re Going To Get It! (Reprise) RSD Exclusive from American rock band Tom Petty and the Heartbreakers. Limited, blue vinyl. 1978 second album.


Russian Recording Presents: We JJust Call It Roulette Vol. 4: It Happened (St Ives Records) A vinyl comp of exclusive recordings Russian artists. Each track d ffrom R was recorded, mixed and mastered by Mike Bridavsky at Russian Recording Studios, specifically for this compilation.


The Rough Guide To African Guitar A Legends (World Music Network) An LP version of a CD release. An enclosed A l d download d l d card d is i included for the full LP and full-length album titled Immortal Franco by the masterful Syran Mbenza and Ensemble Rumba Kongo.


E Blood End ((Secretly Canadian) C A Record Store Day exclusive, D Yeasayer’s End Y Blood presents two B new, unreleased n ttracks from the Odd Bl Blood Tracks Swallowing d sessions. i T k include i The Decibels and Phoenix Wind.





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TRUE BROMANCE SIMON PEGG AND NICK FROST TALK 5SPROCKET THROUGH THEIR NEW SCI-FI ROAD MOVIE PAUL, KEEPING CONTROL OF THEIR INNER FANBOYS AROUND SPIELBERG, AND THE UNLIKELIHOOD OF FLYING SAUCERS STEALING THE ANUSES OF EARTH-BOUND COWS. imon Pegg and Nick Frost love each other. “Eighteen years, st ill mine,” Pegg says. Interject ing and finishing trains of thought, they are in cheery spirits considering they have ten hours of junket interviews to get through. Slacked in hoodies and Star Wars T-shirts, they riff as though they were sitting in the corner of a pub. They think ‘bromance’ is bullshit. “A word that someone has invented to make two male friends seem less threatening and less homosexual,” Frost says. “We’ve all got our best mates,” Pegg chimes, “and you can be honest about how you feel.”


The past decade has seen the writer/performers catapult from the cult British TV series Spaced to the sun and botox of Hollywood with their latest fi lm, the science-fict ion road movie Paul. Building on their reputation as the pop-culture savvy geeks behind Shaun Of The Dead and Hot Fuzz, Paul sees the duo as science fict ion fans on a tour of paranormal America, who befriend the titular alien, voiced by Seth Rogen. A three foot high, grey skinned smart-arse, Paul balances a knack for resurrect ion with cigarettes and a distaste for pants. The fi lm has been on the back of their minds for eight years, helmed by US fi lmmaker Greg Mottola (Superbad, Adventureland) while regular collaborator Edgar Wright was powering Scott Pilgrim. As kids, Pegg and Frost were fascinated with the unexplained. “I remember my teacher Mrs Harvey let me borrow a book called Mysterious Visions,” Pegg recalls. “It was a paperback about alien visitation, particularly the references to it in the bible. Lots of st uff in the bible which could be interpreted as you know extra-terrest rial, pillars of fi re or chariots of fi re.”

In Paul, miraculous events are balanced with a wry sense of weariness, moments of wonder quickly deflated by pressing worldly realities. “As a 41-year-old man, I don’t believe in flying saucers,” Pegg comments. “It’s very, very, very likely if not life-bettable that there’s life on other planets, but I don’t think they stealthily visit us in saucer shaped craft to steal cows anuses.” The pair have found fans in Quentin Tarantino, Peter Jackson and Steven Spielberg, who cast them in the upcoming Tintin movie. They regularly geek out over working with Spielberg. “He knows how much of fans we are, we are self-confessed fans of his but we don’t lose our shit when we’re with him, you know, we just sort of keep it together. You keep a lid on your fanboy,” Pegg jokes. Frost agrees. “But you know, he’s quite enthusiast ic if we do a good take, he’ll kind of laugh and he really enthuses and we just get on with it. And I’ll catch Simon lookin’ at me, and I’ll look at him, and we kinda wink and go ‘ooo’, and then we’ll just kinda carry on, you know.” Frost has figured out the secret to dealing with his idols. “I think you also have to, no matter what you feel inside, once you say to someone ‘Ah I’m a massive fan’, the dynamic will change. It’s no longer person to person, it’s the fan to idol, or whatever it is.” Now the leads in a mainst ream US comedy helmed by an Apatow-affi liated director, the duo are looking to turn their cult appeal in to multiplex success. “Th is fi lm had to be broader anyway because it was expensive, and we had to make sure it would appeal on a grand scale,” Pegg admits. “You know, Shaun Of The Dead and Hot Fuzz are fi lms we’re extremely proud of but they had a very limited appeal, as seen by their sort of box office performance. But on

DVD they’ve done very well. We’ve needed this fi lm to be theatrically, make an impact, you know? And to that end, we’ve had to make the comedy more inclusive, slightly less niche.” The fi lm pays service to their fans, with geek references ranging from Daniel Clowes to Mac And Me, but with a wholly CGI character in an comic-act ion road movie, they are working with their biggest canvas so far. “I act ually think it’s kind of thin that people think that broader is somehow less, is worse. It’s just how it is,” Frost argues. “As fi lmmakers you have to evolve or you become stagnant. And it’s like, well, Universal want to make the fi lm, Universal have put a lot of money in it to make the fi lm, so it has to be slightly broader. So as fi lmmakers you learn to adapt, slightly. And you either make it slightly broader, or you don’t make the fi lm.” Pegg continues to defend their approach, “Smart people like to feel smart. So they like it if there’s something in which they feel only they know, they can understand. And the minute things become slightly more democratic, the slightly more highbrow noses will turn up because it’s not theirs anymore. And I think that’s a slightly cynical aspect of criticism. There’s a skill in appealing to a large audience, but maintaining your own sensibility. You can go out there and do fart gags all you like and everyone will laugh because we all find farting funny, right?” “Depends where you drop them,” Frost counters. WHO: Simon Pegg and Nick Frost WHAT: Paul WHERE & WHEN: Screening in cinemas from

Thursday 14 April


UP IN FLAMES DUBSTEP SENSATION SONNY MOORE (AKA SKRILLEX) TELLS ANGELA KING TALES OF THE ALL-CONSUMING, NONSTOP TOURING SCHEDULE HE NOW HAS TO DEAL WITH AND LIVING THE “REALITY” – JUST DON’T MENTION THE HATERS. onny Moore’s musical journey started with playing in bands when he was 13, first dabbling in punk then moving on to an ambientrock tip. He most notably became the front man for post-hardcore outfit From First To Last at 16, but after two successful albums and countless gigs, Moore suffered vocal problems and retired from the band shortly after surgery. Now, in his latest incarnation as Skrillex, Moore is back front and centre stage. It wasn’t all with an unstoppable bang however. “My record label Atlantic wouldn’t release it,” he says of his debut EP My Name Is Skrillex, released in June last year. “There was some samples in there that Atlantic didn’t want to try and clear, so basically I said ‘fuck it, I’m going to give it away for free’. I’ve already given away so much music for free anyway.” Moore followed up the free EP with another, Scary Monsters And Nice Sprites, this time released by Mau5trap and Big Beat. From all angles, the relationship between Moore and Deadmau5 looks to be a tight one. Moore says he is drawn to Deadmau5 due to the st rength of his product ion, mixdowns and songs. “Perhaps,” he remarks slyly on whether there will be any Skrillex/Deadmau5 collaborative music made in the future. “You never know.” Perhaps the relationship is close due to the fact each artist has had a fair share of multi-page flaming threads on internet forums dedicated to them – most ly of a negative nature. Moore gets clearly livid at the mention of these Internet haters. “Why does every interviewer ask me about this?” he exclaims. “I don’t care about haters, I don’t think about haters. I don’t give a fuck,” he aggressively states. “The reason so many people talk about ‘haters’ is because people interviewing me keep talking about it, and therefore it becomes sensationalised. I’m here to make music and create.” And that, he says, is the “bottom line.” When asked if he ever thought his music would cause so much controversy, he eagerly avoids the quest ion. Similarly, his response to how he countered the quite offensive claims he had ghost-producers. “I don’t go out of my way to answer to any of that shit,” he states. “I made one post on my Facebook and then left it alone.” Haters aside, Moore most certainly has fans out there, which is proven by his extensive touring schedule. He explains how he readies himself for the touring life. “You don’t really prepare, you just dive in – you know what I mean? I’ve been out since October touring,” he reveals. “Today was just a long day, it’s hard work but I hope its hard work – if I get lazy and tired and fat I know I’m not working hard enough. I like to work a lot so today was just so long. “Th is has been an especially exhaust ing day,” he wearily states. “I’ve had about three hours sleep and we had about 12 hours of travel today with trains and airplanes and layovers and walking and unloading bags, putting the bags back on, waiting in lines and sitting down, standing up…a lot of that shit!”



Traipsing from city to city to DJ for only a few hours at a time gives you the feeling Moore is dubstep’s answer to the Energiser bunny, but he doesn’t see it that way. “I don’t see how people can go to fucking college at Boston University and walk miles around all day in the snow, and go from class to class and work a job – that’s machine to me,” he frankly states. “I love making music, I love to travel, some people work in fucking Walmarts and they love to do that – well they might not love to do that but that’s their job and that’s what they do. Some people are maths teachers and I could never be a maths teacher, I hate maths! That’s more mental duress and st rain than I could take!” But is Moore living the dream? “That concept is kind of weird to me,” he states wearily. “I’m defi nitely living the reality that I want, you know? I love music and I want to be involved with people that do music and I want to create awesome music and do different things so I’m definitely living the reality. The nightmare is if I was doing something I didn’t want to do.” Moore once tweeted about the myriad of kids looking especially fucked up at his shows, but when quest ioned about it he seams to take the comment back. “You know what, it’s the funniest thing – compared to raves or other parties I’ve been to I feel like my crowd isn’t that fucked up,” he confesses. “No matter where the hell you are, at any social gathering people are always going to do drugs. I don’t think my music is an exception really.” As for the future, Moore has big plans. “I don’t want to put out one EP and sit back and ride it out for as long as possible, I going to be making a lot more music and doing cool things” he says, “I’m booked until February next year, so there’s no finishing anytime soon but I have little chunks of st udio time booked as well and so I’ll be busy for a long time. Even when I’m not touring I’ll be busy so the next few years for sure, working hard, trying to kind of, you know, make my mark.” WHO: Skrillex WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Superdisco at Prince Bandroom (Melbourne) Thursday 28 April, Oxford Art Factory (Sydney) Friday 29 April, Creamfields at Showring & Hordern Pavilion (Sydney) Saturday 30 April. Creamfields at RNA Showgrounds (Brisbane) Sunday 1 May


NOT FAKING IT he upcoming Creamfields fest ival will like a school reunion with the cool kids when Derrick May and Kevin Saunderson DJ together as Hi Tek Soul. The two became friends at Belleville High School and, along with the older Juan Atkins, sparked a music movement that has since influenced Björk, dubstep and, very indirect ly (and ironically), the elect ro-hop trend – yes, techno. Now, with Atkins recently assembling a Model 500 live show, May and Saunderson, too, are reconfiguring what they do for a younger generation. “We just want to try something different and do something unique,” Saunderson explains. “It’s a one-time thing that we probably won’t ever do again – who knows? Maybe next we’ll make a record together – I can’t speak for Derrick, but you never know. Everything happens for a reason. We think what we do together – playing four decks and with whatever else we add, keyboards or drum machines – will be special and unique and great for people who know, or don’t know us.” May, the driving force behind the vehicle, has other plans. Big plans. He regards Creamfields as a “springboard” for future touring. He intends to tour with Hi Tek Soul in various configurations – with changing personnel. It’s about rebranding Detroit techno. “People wanna know ‘What is Hi Tek Soul?’ and I’m telling them ‘Hi Tek Soul is Detroit techno’ – and that’s really what it is...” Hi Tek Soul isn’t May’s fi rst such union – he’s also played with François K as The Cosmic Twins. Still, May, who has mysteriously avoided the st udio for many years, is less sure about an album with Saunderson. “I think it could be a st udio project if Kevin feels up to it, ‘cause Kevin is the main component to wanting to get it back into the st udio. He’s got much more ambition to going back into the st udio than me. If he had any interest to really push it, we would discuss it, and I’m sure that Kevin could excite me enough where I could consider


something. But that has to come outta Kevin, not outta me. You’re not gonna be able to get me back into the st udio unless you ambush me. “The other day I got ambushed to go see the Just in Bieber movie [Never Say Never] by my daughter. She said she wanted to go see another movie, so I took her to the cinema, gave her money to buy the tickets and, when she bought the tickets, she said, ‘Come on Daddy, it’s theatre number six’. I go inside the theatre – I bought her popcorn – and the movie starts and it’s Just in Bieber’s movie (laughs). Mind you, she’s seen the movie four times already. It was just hilarious. So that’s pretty much how I would have to be bought to a st udio – I’d have to be tricked and bamboozled!” May and Saunderson have both ventured into the pop realm themselves at points. Dubbed ‘The Elevator’, Saunderson, who

was born in Brooklyn and relocated to Detroit as a pre-teen, brought a New York garage feel to his group Inner City, led by the soulful diva Paris Grey from Chicago. They crossed over with Big Fun, the fi rst major Detroit techno hit. Big Fun was a last minute addition to entrepreneur Neil Rushton’s landmark compilation Techno! The New Dance Sound Of Detroit. Virgin touted an Inner City ‘best of ’ as lately as 2003. The always versatile, and less purist, Saunderson also remixed the Wee Papa Girl Rappers and, in later years, Hercules And Love Affair and The Presets (This Boy’s In Love). In the late 80s May unveiled his signature tune Strings Of Life (as Rythim Is Rythim) on his Transmat imprint – and it remains pivotal on his oft-rereleased Innovator anthology. He remixed the Brit band ABC (he doesn’t even own a copy of it), while his jazzy take on Rolando’s Jaguar almost upstaged the original. The Belleville Th ree considered launching a techno pop group called Intellex. They came close to signing to Trevor Horn’s ZTT, home to Frankie Goes To Hollywood, but reputedly May felt ambivalent about performing on Top Of The Pops should they chart. Today the Detroiters are vest ing much in preserving techno’s legacy. A quarter of a century on, Detroit techno mythology st ill compels, the music borne out of its post-indust rial surrounds – and an African American Dream. Techno is historicised as a synthesis of new wave, disco and funk but, more than being an avant-garde variant of Chicago house, it’s a radical abst ract ion of the blues. May appropriated the name ‘techno’ from futurologist Alvin Toffler. Techno caught on in Europe in the late 80s, amid the rave era, but it was soon co-opted. The mainst ream media focused on The Chemical Brothers et al. At home, the music would exist as a counterculture to urban. May wonders if elect ro-hop isn’t but another US fad, as with elect ronica in the 90s. Oddly, will-i-am sampled Good Life for a Rihanna song, Bubble Pop. “I got a copy where she act ually did something with Good Life, but it didn’t make her album,” Saunderson divulges. May has pithily summed up his mission as “trying to save the world from bad music” – he wants to educate. He laments the closure of indie record stores, where new listeners could once learn about the music from staff. Wikipedia isn’t reliable. “People can write whatever they want in their own Wikipedia,” he says. “They can change history – that’s my thing about Wikipedia. I don’t really qualify Wikipedia like a lot of people do, because I consider it to be kind of a detriment to history if it’s handled by the wrong people. People qualify people from things like that, especially with music and art. It’s very easy to fake a whole history.” WHO: Hi Tek Soul WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds Sunday 1 May


BOOM CRASH CINEMA WHAT’S THE BEST WAY FOR PEOPLE TO GET TO KNOW YOUR CHARACTERS? JOSH WHEATLEY LEARNS THAT FOR FILMMAKER GREGG ARAKI, ON-SCREEN CUNNILINGUS LESSONS TAKE YOU BELOW THE SURFACE OF THE PROTAGONISTS OF HIS LATEST WORK KABOOM. S indie fi lmmaker Gregg Araki has carved out a niche over the past two decades producing challenging, unpredictable and usually trippy fi lms. His latest effort, Kaboom, continues to develop the fi lmmaker’s idiosyncratic approach to story, described by the auteur as “a kind of bi-sexual Twin Peaks in college”. Nightmares, sex play, witchcraft, masked men murders, hallucinogenic cookies and the end of the world all knot together in this wild comic romp.


“As a movie goer, I’m getting a bit tired of seeing the same old things over and over and over again,” Araki explains. “I’m really excited to see something completely unique and different. When I started writing Kaboom it was really about that, really about letting my imagination run wild, and not censoring myself in anyway, just letting the story and the characters just get as wild and crazy as they want to. And having that sort of creative space, creative freedom to do so.” Araki’s teenage apocalypse fi lms of the 1990s, including The Doom Generation and Nowhere, harnessed the fantasized experience of youth. They showcase the tapest ry of an era through torn jeans, shoegaze and frequent sex. “There’s a certain frankness to those scenes that is not in any other movies,” he says. “American movies tend to have such a hypocritical and puritanical perspect ive on sex and sexuality, and I think



that’s what makes Kaboom really unique. There’s a sort of emotional nakedness to the sex scenes that is to me, so much more powerful.” The sex scenes in Araki’s fi lms don’t intend to titillate or exploit; sex is as essential as dialogue in defining a character. “What’s really interest ing about sex scenes is that you’re really able to access the character’s most private thoughts and moments in those scenes. One of my favourite scenes in the movie is the cunnilingus lesson between London and Rex, and the example I use is that you could be Rex’s best friend for life and not know him as well as we get to know him in that scene. Because that is where he’s at his most vulnerable and naked and really truly himself, without the layers of the faces that people put on when they’re in public.” Kaboom has a charismatic ensemble cast that is brimming with rising talent, such as Juno Temple and Chris Zylka. “I’m looking for chemist ry and those people that you can’t take your eyes off of, and to me the cast of the movie is just so incredible in that regard, I think they’re all movie stars. They really light up the screen when you’re watching them, you get sort of hypnotized by them. They’re the kind of people that if they walk in to a room you turn your head. That’s kinda what I’m looking for.” Along with eccentric plot lines, dizzying colour schemes and sardonic dialogue, Kaboom boasts a st unning indie-alt soundtrack. “The soundtrack of the movie is one of the best I’ve ever been able to put together, with bands like Interpol and Yeah Yeah Yeahs and Australia’s own Cut Copy, and just these really great bigger indie bands, and there’s also a bunch of really new, sort of up and coming bands that are all incredible.” Music continues to inspire his fi lmmaking process. “I sort of started making movies in a way that was very similar to the way indie bands make music, in the sense that they’re really marching their own drum and doing their own thing, and you know putting their st uff out there and hope that people like it, that it resonates.” The fi lmmaker was recently awarded the Cannes’ Film Fest ival’s inaugural Queer Palm award for Kaboom and the ‘party’ fi lm has been

rapturously received by young audiences, but the fi lmmaker is keen to try new things. “I really appreciate that all of my movies have been kind of very different from each other. I have a sort of pet peeve about fi lmmakers who make the same fi lm over and over again. I’m working on a few things right now and they’ll all be a kind of a departure, but in an interest ing way, I think.” WHO: Gregg Araki WHAT: Kaboom WHERE & WHEN:

Screening now at Chauvel Cinema (Sydney), Cinema Nova (Melbourne), Tribal Theatre (Brisbane)



THE RECORD STORE ESTABLISHED? “2003.” STAFFERS? “If you’re talking about the vinyl junkies that lurk behind the counter feeding their 12” addict ion and providing wax to others similarly affl icted, then there are about four with another bunch who volunteer/beg to hang out when we are busy drinking beer.” GENRES OF EXPERTISE? “Hip hop, drum‘n’bass, dubstep, scratch/ battle records, UK funky, bass music, electonica, funk, soul, rare groove, jazz, big beat dub, second-hand rock, pop, 80s and other assorted goodies that come our way – all in excellent to mint condition.” HIGH FIDELITY OR EMPIRE RECORDS?


“High Fidelity but we’d like to swap Jack Black for Liv Tyler please.” HOW HAS YOUR STORE CHANGED SINCE THE DIGITAL REVOLUTION? “Less dicks come in the store kicking tyres, allowing the true vinyl heads to graze in unrest rained freedom.” WHAT DOES THE COMMUNITY OF YOUR STORE HAVE THAT PEOPLE CAN’T FIND ONLINE? “Atmosphere, beer, conversation, cuties running and shopping at Moon Age – the vintage store we share a premises with. Decks that you can jump on to relieve any itches you may have, also a friendly in house Reverend Dr Groove shoes who will bless your ears with big beats.” WHAT’S ONE THING PEOPLE

WOULDN’T KNOW ABOUT YOUR STORE? “We sell records and we represent Qbert’s Thud Rumble Label in the Asia Pacific and have the only professional vinyl de-warper in the country.” WHAT SPECIAL RELEASES WILL YOU BE STOCKING FOR RECORD STORE DAY? “Beer, a scratch comp and Et’s new album live from his MPC.” OPENING HOURS? “Monday and Tuesday 11am-6pm, Wednesday 11am-7pm, Thursday 11am-9pm, Friday 11am-6pm, Saturday 11am-6pm, Sunday 12pm-5pm.” PHOTO BY LAWRENCE DAYLIE



Come Together Fest ival is giving rising hip hop talents the chance to show their skills on the mic. The competition, run in affi liation with Triple J, will give a young artist the chance to perform alongside the epic all Aussie line up that feautres Drapht, Urthboy, Illy and M-Phazes among others. To participate in the competition, head to triplejunearthed. com. Come Together hits Luna Park Big Top Saturday 11 June, tickets $59 through Ticketek.


Japanese house producer and DJ Satoshi Tomiie is readying to front an upcoming event for FACT. The mixer has written numerous soundtracks, including scores for the Animatrix shorts, along with countless remixes. His track Tears is one of the classics of house-music, and after being acclaimed in both Japan and New York is still hailed as one of the best DJs in the world. Satoshi Tomiie plays Tank Nightclub Thursday 21 April, tickets on sale through Moshtix.




What could possibly be more epic than seeing Snoop Dogg drop rhymes in an intimate environment? Seeing him get blown off stage by Nelly at Star City last Friday night. We couldn’t make this up if we tried...


The track is a quest ionable Pet Shop Boysesque number, but the clip for Japanese group World Order’s Mind Shift – featuring faux slomo mimes in act ion – will have OK Go fearing for their position as the cream of the YouTube stardom crop…


A gold star goes to the Georgian pensioner who allegedly shut off internet in her homeland and neighbouring Armenia while scavenging for copper cable – not just for her achievement, but for piping up with the age-old defense “I have no idea what the internet is”. Advice Dog would be so proud…



Dubstep fans, it’s time to put on a black armband and mourn the beginning of the end – Minist ry Of Sound in Oz have jumped on the bandwagon with the Sound Of Dubstep mix. All we need is a Now That’s What I Call Dubstep compilation and the journey to the dark side will be complete. God help us all…

Inner West Fest ival have bulked up the event with a second line-up announcement. New additions Ozi Batla, Vegas Aces & Seven, Herb, Optimyst ik & Illuminosity, Elect ric Elements Crew and Last Credit join an already massive roster. Showcasing the best in local dance and rock, the two-day event is proudly supported by 3D World. It happens at the Sandringham Hotel over the Easter long weekend, Saturday 23 and Sunday 24 April (the second day housing Hard-Ons and other rock acts). Tickets on sale through Moshtix.


Upcoming art exhibition Askill’s Modern Worship uses a combination of video, st ills and sculpture to examine the idea of the ritual in a modern and chaotic world. The centrepiece of the show is a large-scale, looping video installation that draws on elements of pop culture, Hollywood spectacle and global disaster, bounding from 9/11 to Michael Jackson is Ballardian fashion. It runs for four days only, from Wednesday 20 April to Sunday 24, at Gallery AS in Darlinghurst.


FBi Social continues to develop a name for itself with nights showcasing the best local talent. They are set to host the return of Sydney six-piece Underlapper, who are currently celebrating the release of their third album, Softly Harboured, which is an eclect ic mix of post rock, experimental pop and elect ronica. They are supported by Cleptoclect ics, Scissor Lock and Edwin Montgomery. It happens at FBi Social (Kings Cross Hotel) Thursday 21 April, from 8pm. Tickets $10 on the door.


Sosueme are getting ready to blow of the candles on their fourth birthday cake with a raucous celebration full of weird and wonderful surprises. They’ve lined up a raft of stellar acts with Guineafowl, Parades, Stonefield, Redcoats, Pluto Jonze, Joyride & the Accidents, Mrs Bishop, Bon Chant Bon Rat, The Growl and Furnace and the Fundamentals plus more to come. Happening over three rooms, the night is sure to be huge. It happens at Oxford Art Factory, Saturday 28 May. Tickets on sale through Moshtix.


The Hip Hop International (HHI) Aust ralian Dance Championships are set to kick off its third year of competition. Qualification events will be held in Sydney, Melbourne and Brisbane, with the intent to unearth the best dance crews in the country. If you think you’ve got what it takes, head to Bowman Hall, Blacktown on Friday 15 April at 6:30pm. Tickets available through



We can’t win an Origin series to save ourselves, and now it seems we’ve taken to a politician Queensland tired of long ago with news Pauline Hanson is close to sealing a seat in the NSW upper house. God help us all…


Fox’s angry TV anchor, Glen Beck, is even angrier now – he and his blackboard full of conspiracies has been axed. But now we’re to get local version Andrew Bolt on Ten of a Sunday morning. God help us all…



The Shogun Audio Tour will delivering drum‘n’bass to warm up those cold winter nights, with elect rifying sets by Frict ion, Spect raSoul, The Prototypes and SP:MC. D‘n’b superstar DJ Frict ion has produced some of the biggest tracks of the last year, with Stand Up and his remix of Sweetshop tearing up dancefloors, while Spect raSoul have graced clubs internationally with soulful-meets-sordid bass tunes. The event is proudly presented by 3D World, it happens at Oxford Art Factory Saturday 4 June, from 9 pm. Tickets $37 + bf, available through Moshtix.





The Bamboos are readying to celebrate their tenth anniversary in Sydney, after a sold out celebration in Melbourne. It will be a night of musical mayhem and madness, as Australia’s greatest modern funk and soul group power through their hits across four albums. The eight-piece line-up combines elements of old-school funk, hip hop, mod rock and northern soul, in an unpredictable and blisteringly fun show. They play the Manning Bar Friday 20 May, tickets on sale through Moshtix.


LA based elect ro house, fidget house and dubstep artist Skrillex is heading out to pump twitch energy through our skulls. He’s heading out to play Creamfields Fest ival, but will headline a sideshow at Oxford Art Factory on Friday 29 April with Kobra Kai supporting. Oh, and it’s already sold out. You snooze etc...


UK producer Solo is heading our way to deliver a night of uncontrollably good music, ranging from house to tech and elect ro. Th is big name international act is supported by MattRaD, Th ree Fingers and Awkward Boys. It happens at Club 77, Friday 6 May from 9pm. Entry $15 on guest list.


Sydney’s biggest purveyors of global bass music, Low Society, Void and Foreigndub, have joined forces to deliver Never Say Die, a night of epic scale. Taking over the Manning Bar on Friday 29 April, room one boasts Foreign Beggars, Trolley Snatcha, and Skism. Room two will feature Swindle, Gelis, Paul Fraser, Max Gosford, Beans, and JK47. The balcony will feature more acts with Superfriends, Foreigndub and Sam The Chemist DJing. It kicks off at 9pm, tickets available through and Oztix.


Reckless Republic is set to present the SPICE stage at Creamfields, bringing together a raft of international talent for a day of massive sets. The line-up includes Derrick May, Kevin Saunderson, Sandwell Dist rict, Tim Green, Umek, Murat Kilic, Nic Scali, Jordan Deck, Mitch Crosher and Sam Roberts. It happens at Moore Park’s Showring & Hordern Pavilion Saturday 30 April from 12 noon. More info at


Synergy Percussion is set to present the rarely performed magnum opus by the world’s greatest percussion composer, Iannis Xenakis. The dynamic, once-in-a-lifetime concert happens at City Recital Hall Angel Place on Wednesday 8 June, tickets $50 through the venue.


Acclaimed Aust ralian acid-jazz / funk band Direct ions In Groove are readying for their fi rst run of shows in eight years, playing a series of intimate venues. The gigs boast the group’s original line-up, delivering their classic hits alongside newly written material which incorporates d‘n’b and trip hop into their mix of old-school funk elect ronica. They play The Basement (Sydney) Friday 20 May. Tickets on sale through venues.




Cargo Bar is getting ready to host an EGGstravagANZAC weekend, running from Thursday 21 April to Tuesday 26. It kicks on Thursday with a I Love Long-Weekends bash featuring Hey Now. The party continues with a Easter Sunday/Anzac Eve Party, headlined by DCup, Ember and Jace Disgrace. Anzac Monday will see the venue host the biggest two up stadium in the world, with Bill & Alex from My Kitchen Rules pencilled in for an appearance.


Hip Hop Karaoke is about to return to GoodGod Small Club, hosted by Hip Hop Karaoke royals Ran-Dee and MC Rivals. The night will be loaded with classic track instrumentals, where you can slam your fasttalking skills before a loving and mildly inebriated crowd. It happens Wendesday 20 April.


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

OGFLAVAS Urban news with CYCLONE


There are some st range bedfellows in today’s urban music. After enticing Snoop Dogg to rap on California Gurls, Katy Perry sought Kanye West for her gothic space ballad ET – which beatmaker Dr Luke originally meant for Th ree 6 Mafia. Stranger st ill is the elusive Andre 3000 cameo-ing on a remix of Ke$ha’s banger Sleazy (he turned down Drake!) on I Am The Dance Commander + I Command You To Dance. Nevertheless, the rise of these post modern pop femmes – led by Lady GaGa – has raised the stakes for Beyonce Knowles, who no longer has just rival Rihanna to worry about. Indeed, much has happened since Beyonce dropped I Am... Sasha Fierce three years ago. Word is that Beyonce’s comeback, due midyear, will be bolder – and fiercer. Expect more uptempos. She’s worked with the uber cool axis of Diplo, Switch and MIA’s Brooklyn-based NEET signings Sleigh Bells – in addition to the conservative Ne-Yo – but will that material make the record? Beyonce is also emulating Solange, the more rebellious Knowles sister, who’s collaborated with Of Montreal’s Kevin Barnes. (The Georgian indie band are down with Janelle Monáe, too.) Of course, any ‘experimentation’ could backfire for Beyonce – as it did for Christina Aguilera – if she simply rips off cool niche acts (or dilutes their sounds). Only Madonna gets away with that. And the Glastonbury-bound Beyonce, unlike Solange, is a brand – she has less freedom to manoeuvre... Veteran pop acts are similarly reformulating their sound – and image. The Human League, GaGa fans, deploy auto-tune on their latest LP, Credo – helmed by Sheffield’s I Monster – while those 80s New Romantics Duran Duran hired Mark Ronson to produce All You Need Is Now. Duran have long appealed to a black audience, liaising with Chic’s Nile Rodgers on the funky Notorious. Still, the Brits approaching a hipster like Ronson is idiosyncratic when they reputedly weren’t happy with Red Carpet Massacre – produced by Timbaland’s crew (including Just in Timberlake). The Americans imposed themselves. A humbler Ronson avoids that pitfall, instead taking the band back to 1982’s feted Rio, home of My Own Way (and the avant-garde synth-pop The Chauffeur). Leave A Light On is a romantic ballad in the vein of Save A Prayer. The new Nona Hendryx, Kelis discreetly sings on the decadent The Man Who Stole A Leopard as Duran frontman Simon Le Bon evokes a bygone era of glamour, supermodels and yachts – 80s proto-bling porn.

OVER THE PUMP ydney DJ Kacey Baker has done it all: he’s played clubs, hosted a big radio show, and produced bangin’ tunes. Now, having helped to establish the Wild brand, he’s also compiling the ultra popular Pump It mix-CDs – a series that is even challenging the supremacy of Minist ry of Sound comps. For the latest, Volume 3, Baker shares mixing duties with Femme and Platinum Deejays. Baker is drawn to the ‘dirty Dutch’ sound, in addition to elect ro, his set entailing tracks by Martin Solveig, Afrojack and Duck Sauce. Nevertheless, the DJ, who admires Deadmau5’s versatility, admits that it’s tricky to discern musical trends in what is a “schizophrenic”, or fragmentary, contemporary club culture. “So many DJs now who I know, they play what they wanna play, but they’ve also got three or four other folders of back-up music in case where they’ve been booked for the fi rst time they lose the crowd! Unless you’ve got a residency or you’re playing a fest ival, you have to really take some safety music.” Baker lately parted from Austereo’s 2DayFM, where he was a product ion manager and host. Disillusioned with the corporate nature of mainst ream radio, he’s seeking fresh creative challenges. First, there’s his A&R gig at the Universal-backed Homebrew Records. Then there’s his st udio work. Baker has recently remixed tracks for Jessica Mauboy (the Snoop Dogg-featuring Get Em Girls) and Just ice Crew (Friday To Sunday), yet he’s likewise enjoying success with his original product ions. He teamed with Timmy Trumpet for the sleeper Tromba Ye Ye Ye, which crossed over into Germany’s pop charts. Baker considers this triumph “bittersweet” as, being so far from home, they couldn’t capitalise on it with DJ bookings. But, unexpectedly, the Cronulla boy is also pursuing an interest in fi lm – making music videos. He’s set to oversee one for his forthcoming single Getting Nasty. “As a kid I wanted to work for Disney as an animator ‘cause I was always drawing cartoons. Then, when I turned 18, I discovered computers, so I moved into graphic design. It wasn’t ‘til I was 19 or 20 that I got into DJing – and from that came radio... I’ve just finished up with 2DayFM last year, giving me the opportunity, or really forcing me, to move into something else. I’ve always suppressed the goal of wanting to work in movies and feature fi lms. I thought the best way to do that is to fuse music with fi lm during the time it takes for me to make my way over to Hollywood. But doing music videos is a combination of music and fi lm – I love both of them – so it was just a natural progression along the


way to getting where I wanna go. I’m constantly arguing with myself whether I give up DJing or not. There’s a lot of spring chickens out there and I just know that you can’t be DJing when you’re 50, but you can st ill be shooting movies... So that’s why I’m moving back into fi lm. I no longer have the day job, I’m freelancing, and I’ve just got time now to do what I want.” Baker has an unusually candid bio that includes cheeky swipes at those DJs who rely on ‘sexy’ promo shots, selfgenerated hype, and ghost producers. “I can’t stand all the BS that comes with a lot of it all – maybe it’s scandalous or bitter,” he says cheerfully (and unrepentantly). “I guess I just don’t have the patience for it all.” CYCLONE

WHO: KCB WHAT: Pump It Vol 3 (LNG Music/Universal) WHERE & WHEN: Kandy Bar (Maitland) Saturday 9 April, Envy (Gold Coast) Friday 29 April


SHAKE YOUR DON DON hris Hamer-Smith is known to most as the Sydney based hip hop producer Chasm with a lauded 2008 debut album Beyond The Beat Tape, his work as one half of Ast ronomy Class, as the producer for Dialect rix’s Cycles Of Survival and numerous other DJ, producing and remixing projects. The name Chasm has become synonymous with hip hop product ion in Aust ralia and that’s why it was a bit of a surprise to learn he is also Dr Don Don, the man behind the recent hit single King Of The Stars – a foray into dance music. When it comes to hip hop heads and dance music it’s not uncommon to find the former st retching their sphere of interest into dub and drum‘n’bass. The commercial artists, or hip pop artists are embracing techno and house sounds in a big way but that’s to be expected of such a trend based indust ry. It’s not expected of trueschool hip hop heads who make true-school hip hop. But this is where we learn something about Hamer-Smith that might surprise the fans, he was never a hip hop head in its purest form – he’s an artist, inspired on a whim by whatever grabs him at the time. “I’ve always liked a bit of hip hop but I was more into my punk rock and my rock and my indie sort of st uff. I always had a few hip hop albums – I was into Cyprus Hill and Wu-Tang and st uff when I was a teenager so I was into a bit of hip hop.” In the early 2000s Hamer-Smith discovered samplers and software while in a band, a post rock cinematic inst rumental act he describes as being “pretty different”. “We had a couple of samplers and a couple of mood synths and I used to mess around on them and through them I became interest ed in sampling and more of the product ion side, so I just got some software and st arted making some beats and st uff.” Hip hop became a more prominent scene in Aust ralia and more prominent in HamerSmith’s hearing range. He began listening to it more and more and became “more into the idea of participating in it a as culture”. The music began to inspire him and Chasm was born. Then, after roughly six years making hip hop beats, Hamer-Smith began to crave something else. “In the past year or so I was working in the st udio and I just creatively wanted to do something different. I’d done all the hip hop music and slow tempo music so I just kind of wanted to do something up-tempo for a change. I was just messing around in the st udio and started making these tracks and it turned into Dr Don Don,” he laughs. “It just happened like that – released this single King Of The Stars and it’s gotten a nice amount of love so I’m just


rolling with it at the moment.” Speaking about his music in a laid back way he responds to every quest ion with an inflected chirp as though every answer should end with “it’s no big deal”, giving the impression he’s always just rolled with it. When asked about this he laughs, “it’s all music you know, at the end of the day. I just love making music and being creative so it’s just something I enjoy doing and I try not to think too much about it, I just try to get in the st udio and make st uff and whatever comes out and whatever I like I just run with.”

Th is doesn’t mean that Chasm has been put out to dry and there will be more hip hop beats coming out of the st udio – but fi rst up, the upcoming album from Dr Don Don, apparently hard to describe but “definitely dance music”. “I guess it’s sampling disco records and influenced by a lot of that fi ltered house and French house and that sort of st uff,” he says. “I’m influenced by heaps of st uff from The Avalanches to Duck Sauce and everything in between so it’s just whatever comes out.”

an upbeat disco house track that’s been received rather well over the summer. Its melodic vocals are catchy even though the lyrics themselves have been somewhat disputed. “There is nothing to do with a penis in there,” HamerSmith laughs at the lyrics that have been discerned and spread around the internet. “Nah that’s been funny because at the time I was making it I act ually said to my girl ‘am I hearing this as like... can you hear penis in there?’ and she was like ‘nah man it’s fine I can tell what they’re saying’ and then once it came out I started getting these posts on the internet and st uff but it’s definitely nothing like that, it’s ‘venus or mars’, and not ‘penis, oh my’.” Hamer-Smith is preparing for the release of his second single to come under his Dr Don Don moniker soon to be followed by the album. In the meantime he has the Groovin’ the Moo fest ival tour to contend with and a Chasm album in the works. In light of his musical rest lessness it has to be wondered whether there will be any further genre surprises. “Ummmmm I’d like to dooo... no.... nah... not really. I’m pretty happy with the way it is at the moment. I can’t take on anymore work.”

King Of The Stars is


WHO: Dr Don Don WHAT: King Of The Stars (Central Station/Universal) WHERE & WHEN: Chinese Laundry (Sydney) Saturday 16 April, Groovin

The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, Groovin The Moo at Maitland Showground Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May




Considering that it is Record Store Day this week I’ll just whip through some collectable vinyl that has appeared recently. Tuff Crew drop a limited 300 copies of their retro EP Remember via the label Solid Ground. As is the norm for these contemporary boutique releases the price is hefty at US$53 a copy for overseas orders. But then it does contain six unreleased tracks from 1991-1995. The Diggers With Grattiude lads released another 7-inch from the missing in act ion DJ Paul Nice, with raps from fellow record collector Phil Most on their boutique label. Damu The Fudgemunk probably came with yet another 7-inch this week, his last one was on clear vinyl. Terntable Jediz’ DJ Sheep provided the scratches for Capitol 1212’s latest 7-inch, the 500 ltd copies of the very solid Good Feelin with Cadence, MCM, Dizzy Dust in and Mike G on raps, while early 90s Britcore act TCM was resurrected with the astounding double vinyl collect ion The Criminal Minds on the more elect ronic-focused Rephlex imprint. Stones Th row show no signs of quitting the vinyl releases and the latest extravagant package would be J Rocc’s triple LP Some Cold Rock Stuf. It comes in a gatefold cover with a poster and a st icker sheet. The CD version lacks the paperwork and is also sans five extra tracks. Now that is what makes buying vinyl exciting. I also love the psychedelic look of the new multi-coloured 12-inch from the almost unclassifiable country jazz soul funk act The Slipkids. What a fi nd. Heck, the label has even put out their fi rst playable postcard from weirdo rock nutjob Vex Ruffi n. Kenny Dope’s label Kay Dee spill out with a tast y transparent blue 7-inch for his own funk outfit The Fantast ic Souls with their b-boy friendly version of the Joe Bataan’s Latinesque Aftershower Funk. Last year US re-issue label Secret Stash released a pict ure disc for their second volume of Porno Grooves, the bright yellow vinyl jumped out of the sleeve for their ‘Peruvian Funk’ compilation. Next up will be a collect ion of funky Persian music, though I’m not sure if it will be with pigmentation. You can check out their blog at in the meantime.

THE PERFECT BLEND hile John Blake was good enough at basketball to play for the Sydney Kings, life on the court was not satisfying enough for the man who grew up having family dance offs in the living room with everyone from his parents, uncle and cousins to his square dance calling grandparents. “On Saturday nights we used to get together and put on records and dance around the living room. Like, the whole family. It would have been quite bizarre if anyone looked in.” In the lead up to becoming DJ Soup, Blake was a lanky, gangly teenager who had to find an alternative way to become apart of a growing hip hop culture than the breakdancing his friend and music partner Teop was involved in at school. “There was no way I would be able to breakdance so instead of breakdancing I went and got myself a ghetto blaster with a double tape deck and made the tapes for the breakdancers.” The two friends went on to become the Fonke Knomaads, one of the first hip hop/funk/soul outfits to come out of Oz in the 1990s. And when Teop alighted on a spiritual journey, Blake went on to pursue a solo career as DJ Soup, collaborating with the likes of Blackalicious and Swollen Members, lending his product ions skills to numerous musicians and releasing highly regarded albums and EPs such as Souperloops and Beatroot. While the Fonke Knomaads have recently reunited, Blake has continued to pursue Soup’s solo productions and the latest musical foray comes in the form of his upcoming EP Ubersoup. Blake’s work has never stayed in the same place – he has no fear of meshing and mashing his influences, moving from hip hop to rock, dub, soul, funk and so on – and on Ubersoup he continues to work in this exploratory way. This time he celebrates synths. “It’s fairly different to anything I’ve done in the past. Generally my st yle was chopping up other people’s records into beats and then layering them on top of each other. This one I’ve kind of got completely away from that, got into some other influences that I had growing up like synthesisers and synth pop. “When I grew up I loved things like Yazoo, Eurythmics, Fat Gadget and Jona Lewie, things like that which were all synthesiser based. I kind of got the idea, like they did back then, of using blues progressions and 50s rock‘n’roll but doing it with synths. I entertained that idea using analogue synths and plugin synths for the really good emulations of the old synths... it’s like trying to mix those two influences, synths and


rock‘n’roll.” The fi rst few tracks on the EP st ick to the rhythm and blues/soul influences that Blake has worked with before, albeit with this use of synths giving the tracks an 80s pop feel. While Midnight is a st raight up 80s synth pop track (and a cover of a Yazoo song) the final track is something else altogether with its ode to “elect ro stabs with really slow hip hop beats” that was the signature of haze, a genre that Blake says “poked its head out of America for about 5 minutes”. The end product is a fusion of sounds achieved by listening to a lot of music and reinventing it. As Blake says, “I just pick out the thing of each genre and st yle that I like then put it into my own thing.” LIZ GALINOVIC

WHO: DJ Soup WHAT: Ubersoup (Creative Vibes) out Friday 15 April WHERE & WHEN: The Gum Ball at “Dashville” Belford (Hunter Valley) Friday 29-Saturday 30 April





WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “One of my favourite records is Rodriguez Cold Fact because of the songwriting, social commentary, moody product ion and brilliant croaky vocals.” WHAT’S YOUR FAVOURITE PLACE TO SHOP FOR MUSIC? “My favorite record store is Rockinghorse Records in Brisbane because of the passionate staff and comprehensive select ion of vinyl.”


WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “Would have to be an old Minist ry of Sounds Compilation Sessions Three – some of the best dance tracks ever. I bought this from the Virgin music store at Miranda.”


WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “Ann Sexton – You’re Losing Me. It took me forever to get this record. A friend ended up finding it for me and giving it to me as a present which brought tears to my eyes. It’s such an amazing track.” WHAT’S YOUR FAVOURITE PLACE TO SHOP FOR MUSIC? “Northside. I love all the music in store.”


WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “My Dolly Parton Pepto-Bismol Pink record of Baby I’m Burning is probably my most favourite just ‘cause the colour is so wrong that it’s right and Dolly Parton doing disco is a thing of beauty.”


WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “The A Tribe Called Quest LP The Low End Theory, because it took me ages to find the record. And it was a mission going through various record stores around the city to find it. But I do miss record hunting. It’s the one thing DJs these days never experience – going through hundreds of records to just find the one that you want and st umbling across some gems!”

WHAT’S YOUR FAVOURITE PLACE TO SHOP FOR MUSIC? “My favorite record store in Sydney was Acetate which is now the Shady Pines Bar, so it’s still a cool place. Overseas in San Francisco on Haight Street there are heaps of bins to trawl through. The biggest Amoeba is massive and dirty and cool.”



WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “Gustav Holst’s The Planets. I like it mainly because track one, Mars, The Bringer Of War is one of the most epic pieces ever written, and track two, Venus, The Bringer Of Peace is one of the most beautiful.”


WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “The Beatles – The White Album. Because it takes me to my happy place. I could listen to that record forever.” WHAT’S YOUR FAVOURITE PLACE TO SHOP FOR MUSIC? “I love going to the markets and looking for second hand records. There are always some gems in there.

WHAT’S YOUR FAVOURITE PLACE TO SHOP FOR MUSIC? “Any store with random, obscure st uff in stock and knowledgeable salespeople.”


WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “50 Cent – Get Rich Or Die Trying. Was the fi rst hip hop album I act ually purchased in high school and it was such an awesome album for the time – real good memories!” WHAT’S YOUR FAVOURITE PLACE TO SHOP FOR MUSIC? “I usually buy records from artist.coms, they see the biggest return there and it supports them in a much bigger way.”


WHAT IS YOUR MOST TREASURED RECORDED MUSIC POSSESSION? “My most treasured CD would probably have to be Rumours by Fleetwood Mac. My mum is a huge Stevie Nicks fan so I have been listening to Fleetwood Mac since I was young. If I were to transform into an artist of my choice it would be her. Rumours is that one album I go back to time and time again. It’s such a great Sunday afternoon listen. Every time I listen to it I get such great visuals of running away into a beautiful forest, it’s such an escape from reality.” WHAT’S YOUR FAVOURITE PLACE TO SHOP FOR MUSIC? “Pure Pop Records in St Kilda is my favourite record store. The vibe is so lovely, It’s tiny but they have great vinyls. You can listen to your favourite tunes with great company while you eat yum toast ies!”



OF WHAT YOU DO? “They are very supportive which is a blessing.”


WHERE AND WHEN WAS YOUR FIRST PERFORMANCE? “Jamrock 202 Broadway in May 2010.” WHAT ARE YOUR ALL-TIME FAVOURITE SONGS? “Anthony B – Good Life and God Above Everything, Luciano – Your World And Mine.” WHAT IS YOUR DREAM COLLABORATION? “Anthony B, he is my top inspiration. ” WHAT DO YOUR PARENTS THINK


THE IDEA BEHIND OUR NIGHT IS… “Bringing together lovers of elect ronic music from all around Sydney for a simple purpose, with a professional combination of great local stars along with some of the world’s best across two levels of Soho.” WE’LL BE PIMPING THE SOUNDS OF… “Everything progressive, techno, tech house and quality house.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Desyn Masiello, Anthony Pappa, Murat Kilic, Mesan, Mitch Crosher, YokoO, Andrew Wowk, Garth Linton and Allive.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Mind blowing visuals provided by VJ Bleep, upgraded sound system, some amazing drink specials by our sponsor American Honey, just to name a few.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “To have fun in an unpretentious enviroment with like-minded and forward thinking quality music appreciaters.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “A fest ival itself across two levels with international and local guests at a very affordable price.” WHERE & WHEN: Golden CAge at Soho Sunday 24 April

WHAT DOES THE LOCAL MUSIC SCENE NEED MOST? “More positive vibes, entertainment full of education to empower the people and provide guidance and direct ion.” FAVOURITE VENUE TO PLAY? “Jamrock at 202 Broadway any day.” WHERE & WHEN: Manning Bar Thursday 21 April


HOW LONG HAVE YOU BEEN RAPPING? “In Year 6 I thought I was a pro after I learnt the Lisa ‘Left Eye’ Lopes rap in Waterfalls, then in Year 7 the entirety of Gangsters Paradise, which led to my stepdad taking me to Coolio’s concert as a birthday present. I st ill remember asking my stepdad why so many people were smoking such funny smelling cigarettes.” ARE YOU AFFILIATED WITH ANY CREW? “Dubrave! It consists of DJ Will Styles, MC Shureshock and myself. We have a monthly night at Chinese Laundry. My first single Hardcore is about to be released, and has been signed to the Minist ry Of Sound dubstep compilation.” WHAT CAN YOU

6. Regenerate (Goodwill Remix) BOOKA SHADE 7. Get Up


STANTON WARRIORS 8. Get Together (Tomcraft Remix) SPEKTRE

4. Arcade (Gloumout Remix) FRACTAL SYSTEM

9. Pride ARCHON 10. Fly With Me (Ramon Tapia Fly Lo Dub) COLOURSOUND

5. The Key, The Secret (Natural Born Grooves Remix)

MCBOOTH HOW DID YOU CHOOSE YOUR MC NAME? “My last name is Bowen; it’s just one of my many nicknames I’ve acquired over the years.”



“My boyfriend often asks what my last slave died of, to which I reply ‘not doing as he was told’.” WHAT’S YOUR DREAM COLLABORATION? “An all female super group with Beth Ditto, Shirley Manson, Missy Elliott, Alison Goldfrapp and myself would be kinda cool.”

REMEMBER ABOUT YOUR FIRST GIG? “There was no one there, and I was in charge of the smoke machine, so I was surprised when the fi rst ten people I saw through the haze were fi remen. I thought they were punters in crazy outfits, but it turns out I’d triggered both the fi re alarm and a $1500 fine.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “No, but I did wake up early the morning of the fi rst Sydney BDO show to find one side of my top lip had swollen to the size of a gum ball.” YOUR BEST SHOW AND WHY? “Big Day Out 2011 – all of them! Being on the receiving end of that much energy was mind blowing.” FAVOURITE COMEBACK LINE?

WHAT’S THE BEST THING ABOUT THE LOCAL DUBSTEP SCENE? “I think it’s great that a genre of dance music is creating so much passionate debate. At DubRave we’ve been getting over 600 people to a party with just local DJs; exciting times.” WHERE & WHEN: Flood Fest at Tank Saturday 16 April, DubRave at Chinese Laundry Thursday 21 April, DubRave at King St Hotel Friday 29 April




We’ve all had one of those weekends – Friday night gets a little out of hand, Saturday morning’s hangover/comedown lingers around well into the early evening (or longer in the case of a comedown), your team loses, work is so crazy you head in on a Sunday just to get your Inbox under control but throw in the towel and admit defeat without getting anywhere, then you try to at least tick off one positive box by doing some exercise on Sunday night before staring blankly at Bones or Castle or whichever of the two indistinguishable shows happens to be on at the time as you contemplate the week ahead. Then you sleep through your alarm for an hour, your car’s got a flat battery in a metered parking space that you don’t have time to deal with, then you race the clock all day and before you know it you’ve missed the lunching hour of the rest of the world and just can’t stomach the idea of preparing your own lunch like you said you would every day in 2011. In moments like these, sometimes the only logical course of act ion is to admit defeat and seek out your nearest comfort food. Enter Chickens Plus, a guilty pleasure of choice throughout Sydney and proof positive that you don’t have to succumb to the evils of the multinational franchises to get the this-can’tpossibly-be-good-for-me hit you crave. Our local chapter is located just east of the busy apex where Elizabeth and Devonshire Streets intersect, with the surrounding walkways always overflowing with office workers on the move and quick culinary options at every turn. But it is the lunch break after one of those weekends after all, so Chickens Plus it is. Though it’s hard to look past the burger menu today, there is plenty on offer, from an abundance of what look like lovingly crafted salads to a bain-marie chock full of roast goods which would leave your average suburban food court carvery for dead. We settle for the simplest items on the menu though – the beef burger and fish burger. Yep, no chicken. Ironic, as Alanis might have said. While the former is a little underwhelming, feeling like it was hastily slapped together in rush hour and lacking a little in the bun firmness department, the fish burger ticks all the right boxes – crispy, not too oily and with salad with just the right amount of crispiness. But the piece de resistance of Chickens Plus has always been their hot chips, with salt content so potent it’ll have you salivating from 50 paces. LAWRENCE DAYLIE WHAT: Chickens Plus WHERE: 1/118 Devonshire Street, Surry Hills WHEN: Any given lunch hour (except Sundays)








SUSHI SNAPS 1 Danny Howells @ Chinese Laundry 2 Ininct @ Gypsy 3 Kiss & Fly Saturdays @ Dee Why Hotel 4 Northies Sundays 5 RnB Superclub

6 Saturdays @ The Orient 7 Saturdays @ The Rouge 8 Snoop Dogg & Nelly @ Star City 9 Tinie Tempah @ Oxford Art Factory 10 Ultimate Party Venue @ Jacksons on George

9 6

8 1









8 5




GUESTLIST TUESDAY VALVE Underground Tables: DJ ATO, Myme. 8pm. Free. WORLD BAR Pop Panic. 8pm.

WEDNESDAY BANK HOTEL Girls Night: DJ Sista P. Free. GREEN PARK HOTEL Roll The Dice Night. 7pm. MALBOROUGH HOTEL Student Nights: DJ Moussa. 11pm. Free. NORTHIES CRONULLA Trivia. 7.30pm. OXFORD ART FACTORY Kimbra, Neo, Northeast Party House. 8pm. $18 +bf (pre-sale). WORLD BAR The Wall. 8pm.

THURSDAY BEACH ROAD HOTEL Paper Plane Project. Free. GOODGOD SMALL CLUB Zeahorse, Velociraptor, Count Doyle. 8pm. $10. GREEN PARK HOTEL Live at The Park: Alissa Fedele. 7pm. Free. KINGS CROSS HOTEL FBi Social The Bridge: Eush, Guerre, Reckless Vagina, The Walking Who. 8pm. LUNA PARK BIG TOP Bruno Mars, Diafrix, 7:30pm. $57.70 +bf (pre-sale). HOME TERRACE Unipackers: John Young. 10pm. $5-$10. METRO THEATRE Reggie Watts. 9pm. $42. NORTHIES CRONULLA Global Beats: Matt Rossi. 6pm. WORLD BAR Propaganda DJs. 9pm. Free (students) - $5 (at door).

FRIDAY BANK HOTEL DJ Janette Slack, Frenzie. Free. BOWMAN HALL Hip Hop International

Sydney Qualifier. 6.30pm. $25. CANDYS APARTMENT Liquid Sky: Vengeance, Kryo & Bomber, J.I.A. 8pm. CHINESE LAUNDRY Danny Byrd. 9pm. $15$20. COHIBAR DJ Shamus, DJ Matt Roberts, DJ Jeddy Rowland. 5pm. Free. ESTABLISHMENT Tank: RnB Superclub: G Wizard, Def Rok, Troy T, Eko and more. 9pm. $15. THE GAELIC Purple Sneakers: Chicks Who Love Guns, Redcoats, The Rubens, PhDJ, M.I.T, Minou, Less Than Th ree, Those Pipe DJs. 8pm. $10. GREEN PARK HOTEL After Dinner Funk SEEKAE

Vibes: DJ Meem. 9pm. Free. HOME TERRACE Flite, IKO, Sugar Shane. 10pm. $15-$25. HOME THE VENUE Sublime: Peewee, MC Losty, Flite, Iko, Scotty G, Arbor and more, 10pm. $25. JACKSON’S ON GEORGE Ultimate Party Venue: Resident DJs. 9pm. Free. KINGS CROSS HOTEL FBi Social Club Future Beats: Cleptoclectics, Roleo, Tobio, Jozz Scott, 48/4, Monk Fly, Max Gosford. 8pm. KIT & KABOODLE Falcona Fridays: Alison Wonderland, Softwar and Falcona DJs. 10pm. $10. OXFORD ART FACTORY Peter Combe, The Vaudeville Smash, The Preachers. 8pm. $24 +bf (presale). NORTHIES CRONULLA Club Classics: Natalie Conway, DJ Radish. 5.30pm. SUTHERLAND ENTERTAINMENT CENTRE Forever Young Festival: Xdream, Tenzin, Timmy Trumpet, Sax On Legz and more. TONE Mista Savona Soundsystem, Vida Sunshyne. 9pm. $18 +bf (pre-sale). THE ROUGE Hollywood Gossip: threesixteen, Dibbs, Hobophonics, Deckhead. $5. THE WATERSHED HOTEL Bring on the Weekend!: DJ Anders Hitchcock. 9:30pm. WORLD BAR MUM: Young Revelry, Royston Vasie. 8pm. $10 (guestlist) - $15 (at door).

SATURDAY 202 BROADWAY JamRock Reggae Club. 8pm. ACER ARENA A State of Trance: Armin Van Buurren, Menno De Jong, Alex Morph, Aly & Fila, Shogun, Tydi. 9pm. $119. BEACH ROAD HOTEL Love Jam Festival: King Tide, Bandintexas, Tin Sparrow, 6noir, The Walking Who and more. BANK HOTEL NEWTOWN DJs Adam O (NZ), Matt Randomplay (NZ), Jack McCord (Hed Kandi). Free. BEACH PALACE HOTEL Benny Vibes, Adam Katz. 8pm. Free. CANDYS APARTMENT Blowing The Rest Away, Big Guns, Zomg! Kittens!, Disco Volante, Lights Out, Moowho, Pretty Young Th ings. 8pm. CHINESE LAUNDRY Michael Woods, Scott Wright, Spenda C, Bang Gang DJs and more. 9pm. $15-$25. CIVIC UNDERGROUND Oliver Koletzki. 10pm.


$45. COHIBAR DJ Brynstar, DJ Mike Silver. 8pm. Free. ESTABLISHMENT Sienna: G Wizard, Troy T, Def Rok, Eko, Lilo. 9pm. $20. DEE WHY HOTEL Kiss & Fly: Tom Piper. 8pm. Free. THE GAELIC Ladi6. 8pm. $30 +bf (pre-sale). GREEN PARK HOTEL Saturday Sound Systems: DJ Alvin. 9pm. Free. HOLLYWOOD HOTEL Motion: Dean Dixon, Dave Fernandes, DJ Burn-Hard, Northern Soul Poster Boy. 8pm. $5. HOME THE VENUE Homemade: Aladdin, Flite, Iko, Matt Ferreira, Illya, Suga Shane. 9pm. $25. JACKSONS ON GEORGE Michael Stewart. 9pm. Free. KINGS CROSS HOTEL FBi Social: Straight Arrows, Street Chant, Bed Wettin Bad Boys. 8pm. $10 +bf (pre-sale). LO FI Ginge’11: Likewise DJs, Christina Dior. 7pm. MANNING BAR Seekae. 8pm. $27.75 (student) $15 +bf (pre-sale). NORTHIES CRONULLA Houseblend: Dora D Duo. 8pm. OXFORD ART FACTORY Vincent de Vega, Maya & Shar, Bboy Doo Rok, Aruna Po Ching, Wil Centurion, Ability. 9pm. $15 +bf (pre-sale). PHOENIX BAR Phoenix Rising: Dan Murphy, Johan Khoury, Mark Alsop. 4am. $10. ROBERTSON PARK Global Rhythms: Mucho Mambo, Dereb The Ambassador, Tango Salon. THE ROUGE Dan Mac, Franseco DaRoit, Daniel Farley, Chris Arnott. $10 before 11pm. WATER BAR DJ Damien Goundrie (Hed Kandi). Free. THE WATERSHED HOTEL Skybar. 10pm.

SUNDAY BANK HOTEL DJ David DC. Free. FAKECLUB Spice: Chris Tietjen, Uone, Kontrast DJs, Murat Kilic. 4am, $20. GREEN PARK HOTEL Sunday Lounge Cruz: DJ Playmate. 4pm. Free. JACKSONS ON GEORGE Aphrodisiac Industry Night. 5pm. Free. Sunsets: DJ Danny Sims, Dave White, I Am Sam & Mr Bongolicious. 2.30pm. THE ROUGE Barfly, J Smoove, Matt Nukewood. Free. VALVE Big Bozza Band, Ray Ray Ray and the Jetsons, The Great Awake, The Underground Architects. 7pm. THE WATERSHED HOTEL Afternoon DJs: DJ Brynstar. 3pm. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO SYDNEY@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.


CALENDAR APRIL 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 DIRECTIONS IN GROOVE – Saturday 16, Brass Monkey SPICE: CHRIS TIETJEN – Sunday 17, Fake Club WOMEN OF LETTERS: MARIEKE HARDY, MICHAELA MCGUIRE, LALLY KATZ, HOLLY THROSBY AND MORE – Sunday 17, Red Rattler FUNKY METERS – Wednesday 20, Metro Theatre HIP HOP KARAOKE – Wednesday 20, Goodgod Small Club HEY NOW – Thursday 21, Cargo Bar TIMMY TRUMPET – Thursday 21, Macarthur Tavern MIND OVER MATTER – Thursday 21, Oxford Art Factory SATOSHI TOMIIE – Thursday 21, Tank UNDERLAPPER – Thursday 21, Kings Cross Hotel 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 HEY NOW


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 DCUP, EMBER, JACE DISGRACE – Sunday 24, Cargo Bar MIAMI HORROR DJS – Sunday 24, Ivy OMAR-S, SIMON CALDWELL, KALI – Sunday 24, Tone HOUSEXY: JONATHAN ULYSSES, NICC JOHNSON – Sunday 24, Tank CIRCOLOCO: ANDREW GRANT, RYAN CROSSON, SETH TROXLER, LEE CURTISS, SHAUN REEVES – Sunday 24, Greenwood Hotel BILL & ALEX – Monday 25, Cargo Bar 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 PATTY HUNTINGTON – Wednesday 27, Apple Store George Street 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 FOREIGN BEGGARS, SKISM, TROLLEY SNATCHA – Friday 29, Manning Bar THE GUM BALL: KORA, THE 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 SKRILLEX, KOBRA KAI – Friday 29, Oxford Art Factory 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 THE GO! TEAM – Wednesday 4, Metro Theatre DATAROCK – Thursday 5, Oxford Art Factory WASHINGTON – Thursday 5, The Metro MURS & 9TH WONDER, RA THE RUGGED MAN – Thursday 5, The Gaelic SOLO – Friday 6, Club 77 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 DJ HOUSE SHOES – Saturday 7, Dugout Bar at The Burdekin 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 – 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




mongst the DJ community and dance music world at large, the Technics SL-1200 turntable is one of the holiest and most iconic of objects. DJs speak about the turntable the same way a proud parent discusses their newborn child. Some would have you believe it was forged in the fires of Mt Doom itself.

Introduced in 1972 by Japanese corporation Matushita, the Technics SL-1200 in its original form was made as an audiophile’s turntable, with an extremely st urdy construction and the revolutionary use of a direct drive motor, which was in contrast to the belt drive systems employed by most turntables at the time.

S SL-1200 The design was developed in order to help eliminate the problems of wow and flutter and produced a very quiet turntable that had minimal noise and rumble from the output as a result. The direct drive was coupled with a substantial amount of torque, and these attributes meant the turntable could instantly start and even return to that speed instantly when stopped manually. This meant that for a DJ, someone who relied on split-second timing, it was perfect. Furthermore, the direct drive meant that minimal wear and tear was put on the motor, unlike that of a belt drive. The combination of the ability to start and stop instantly with the pitch (or speed) control made it the weapon of choice for DJs. Now DJs could control the speeds of two or more records so that their tempos were in sync with one another. This gave fledgling New York hip hop DJs such as Kool Herc, Grandmaster Flash and Afrika Bambaataa the ability to create a sonic tapestry of endless beats to keep people dancing – in layperson’s terms, a continuous groove. The SL-1200 MK2 was introduced in 1978 and proved the standard-bearer and most popular variation of the SL-1200 series, changing the rotary pitch control to a pitch slider and adding a ground wire to decrease hum. Coincidentally,

from this period onwards, contemporary music went through a series of revolutions, all arguably fuelled by the turntable and the DJ. Disco, house, hip hop, drum’n’bass and techno all owe a hefty dept to the SL-1200. Whilst disco had cemented its credentials in other ways, it came alive in the nightclubs when DJs would beat-match disco tracks, extending their rhythmic sections and overlaying sections from different tracks on top of one another perfect ly in time courtesy of the accurate sliding pitch control and the instant start of the SL1200. Drum‘n’bass arguably started via the SL-1200, with DJs like Fabio, Grooverider and LTJ Bukem speeding up dubby house and breakbeat tracks beyond recognition by modifying the pitch control inside the decks. This form of music became known as jungle. Meanwhile in Chicago, DJs Frankie Knuckles and Ron Hardy would speed up disco tunes and use their 808 drum machines to put a bigger kick drum behind each beat, giving the world house music. The 1200 provided a rhythmic foundation for hip hop, as pioneering 1970s DJs such as Kool Herc spliced together the drum solos or ‘breaks’ of various records to create one long, orgiastic disco party. Later, hip hop DJs such as Grandmaster Flash would invent scratching

accidentally whilst pausing the record manually with their hands. Hip hop felt the revolutionary impact of the 1200 more than any other st yle, and DJing became an integral part of the culture. Not only did hip hop DJs provide a looped foundation of beats for MCs, they became stars in their own right through the burgeoning sport of turntablism. Part science, part sport, turntablism took the use of the Technics 1200 to the vary extreme. The DMC World DJ Championships, introduced in 1985, celebrated this. Turntablism was a new form of culture, and top exponents like three time DMC World Champion Qbert, developed a scratch notation system, sold instructional videos and DVDs and arrived at the scratch/art collaboration fi lm Wave Twisters (as well as Scratch). Sadly, Technics (since taken over by Panasonic) announced in November 2010 that they were to cease production of the 1200, citing a change in technology and rapidly diminishing sales figures as key considerations. The turntables have held their value extremely well throughout the years, and are virtually indest ructible. Such has been their cultural impact that the London Science Museum has an exhibit consisting of two Technics SL-1200 MK2 turntables.


The 1200 has had minor variations, the 1210 being a black version of the 1200, whilst some limited edition, Japanese-market-only decks have been released periodically to commemorate various anniversaries. One of the most sought after is the SL-1200LTD (released in 1995) with a piano black gloss finish, gold speckles and 24 carat gold-plated tonearm and buttons.


These should have taken over from the 1200. Released in the late 90s when the patent on the direct drive had expired, they were better designed, had a st raight tonearm, were said to work better and had the endorsement of bigname scratch and club DJs. However, DJs were a curiously conservative breed and st uck with tradition, universally thumbing their noses at the Vestax. Nightclubs the world over retained Technics as their standard turntable of choice.


Th is was proclaimed as the ultimate turntable, featuring a digital pitch read-out and bpm counter, heaps more torque than the 1200 and a better quality RCA output (which was one of the 1200’s Achilles heels), yet by the time it was released and accepted as having the specs to topple the 1200, the DJ world had started moving away from turntables.


WIDE WORLD OF SHORTS So, anyways, most of y’all think that I act ually do very little DJing, and the whole ‘DJ’ thing could act ually be some hang-up from 1997 when every dude and their dad was a DJ/graphic designer, and was working on some horseshit multimedia project, and that DJ Spooky was doing ‘really innovative’ work (and, it needs to be added, it was act ually a great time be playing records on account of the fact that nobody seemed to be capable of doing anything without a DJ, eg shop opening, installation artwork, organic market, which inevitably led to a general contempt among society at large, who had basically got sick of having to go anywhere without bumping into some idiot with a few Roni Size records and having to pay $50/hour for the privilege). Anyways, the point is that I do have a record collect ion that craps on most ; here are the tunes that a very select group of people act ually own, and are so Goddamn rare that they were only on Filest ube for six months... Brett Lee vs Duck Sauce – Eye Of The Tiger. Van Helden’s attempt to crack the Indian market. It had all the elements: cheesy cover, crickeer, Bollywood video. There was just one problem: it was shit. S Club 7 vs Wu-Tang Clan – S Club Up In Yo Ass. Th is was act ually an unfinished project that came about through the late ODB’s weird obsession with Rachel S Club. The project got called off when Rachel worked out the ODB’s lyrics were supposed to be read as “club in yo ass”, referring to her in particular. Kanye West vs The Mars Volta – The Concept Album Concept Album. Record execs rightly ditched this project, which was a concept album about concept albums. If you can imagine the most overblown pretentious horseshit that would come out of a supergroup collaboration between Gram Parsons, Roger Waters and, say, Sting, multiplied it by 100, then gave it a central organising principle involving everything Dan Brown had ever written, with a simultaneous fashion show organised by Viktor & Rolf and directed by Lars von Trier, you might come close to imagining how fucking overblown this project was...

The purpose of a music store is to sell music, just like the purpose of a clothing store is to sell clothing. Most clothing stores, it is safe to assume, would be relatively helpful in picking out clothing, colours and st yles. It is unlikely that even the most watered down clothing chain, staffed with bored st udents and backpackers, would suggest that you wear whatever the latest Lady Gaga outfit would be. And yet here I find myself in a chain music store, presented with Gaga and Michael Buble as serious responses to that simplest of quest ions – “Can you recommend some good music?”

Without treading the well-worn path through the battlefields of the commercial-versus-underground war that wages day and night on internet forums, wading knee deep in the fragged remains of commonsense and consumer expectations, it’s safe to say that a music store should be able to interact with customers in a manner that even pretends to maintain an interest in music. Act ual music. Including act ual Aust ralian music. The typical mass chain music store these days resembles the adult equivalent of The Wiggles, a colourful parade of key changes and AutoTune in bright shirts and an avoidance of anything more intellect ually st imulating than an infomercial about drain cleaner. The kind I’d rather swallow than listen to Lady Gaga by choice. Th is experiment is a real one, conducted in two capital cities at brightly lit music chains that were within a five minute walk from an iconic independent music store. In one glossy department store wasteland, the environment of manufact ured meal-time had created a defeatist culture amongst the staff, which through no fault of their own had devolved en masse to achieve the musical relevance of a cardboard box. A few minutes’ walk away, the artist ic equivalent of a nuclear bomb tore away any concern over my “good music” quest ion, sending it into the atmosphere to signal another dimension of musical aliens to pour out of the mouth of an over-enthusiast ic staff member. Digging into my recent purchases and all-time classics, she walked me through shelves and boxes, including her own band’s EP, a self-funded release of the kind that is long since banished from the department store shelves. While online services like attempt to digitise and refine music recommendations, there is st ill nothing quite like tapping into the mind of a full-time music freak, jumping on the mutant unicorns of their music knowledge and flying back to reality with an armful of awesome albums. And not a single one of them Gaga. TOM EDWARDS




AQUARIUS (20 JAN TO 18 FEB) Like the naked floating baby on the cover of that Nirvana album, you will eventually grow up, but people will always treat you like a child. PISCES (19 FEB TO 20 MAR) Earth Wind & Fire’s That’s The Way Of The World is the 493rd greatest album of all time according to Rolling Stone. Rolling Stone has never heard of your band. ARIES (21 MAR TO 20 APR) You may think your life will bloom in to a classic album, like Bat Out Of Hell, but it’s really more like a bad night at the karaoke bar. TAURUS (21 APR TO 20 MAY) Like the Cruel Intentions soundtrack, you are better than the movie you come from. But that’s not really saying much. GEMINI (21 MAY TO 20 JUN)

The movies have taught me that record stores are like Shangri-la for music nerds; a secret cubby house where the entry is granted through the mention of ‘some obscure track you’ve never heard’. Films like Empire Records and High Fidelity have transformed the local indie record store into venues of infinite cool, with employment in one of these funky under-dwellings quickly becoming your favourite fantasy job. The store in Empire Records is going down the drain fi nancially, most ly due to an insistence on over-staffing staggeringly self-absorbed teenagers. Not only does one of them steal $9000 without reprimand, but a single day sees the consumption of hash cookies, back-room sex with a pop star, and a schizoid fi ring off a gun. Each employee is a cut-up in their own idiosyncratic way: a suicidal girl decides to shave her head and have a fake funeral; a skateboard slacker aspires to get in to art school; Renee Zellweger likes to give hand jobs, and Liv Tyler is the elf that got away. They are united in alternative spirit, fighting for the music they believe represents them, bonding by getting angst y and staring at a wall. The work place is a magical and irreverent hang-out, where romance blossoms and by the end of the working day everyone has learned a valuable life lesson. Anthony LaPaglia, the manager of the business, not only seems to tolerate these sackable and frequent offenders, but embraces them. With long greasy hair and a drum kit in his office, it seems that he is more inclined to embrace the youthful nonsense that his st aff provides, enabling him to feel half his age and never become ‘The Man’. John Cusack st ruggles with the pressures of adulthood in High Fidelity, hiding behind a chronological record collect ion and self-deprecating ‘Top 5’ lists. Cusack is one of the kids from Empire Records, plus two decades. Pushing through the daily grind of running a record store, he surrounds himself with a bald nerd (Todd Louiso) and a fat arsehole (Jack Black), who st ill think that reject ing customers on the basis of musical taste is a hip thing to do. His passion for music has now made him a miserable, elitist jerk who has nothing better to do than recall memories of happier times. Make sure that the next time you are in your local record store, take a long hard look at the person behind the counter and say to them, “Don’t worry. Everything will be okay.” Their limited edition tears are well worth adding to your collect ion. 5SPROCKET


Michael Jackson sold over 100 million copies of his Thriller album. You’ve sold nowhere near that many CDs and you’ve worked at a record store for three years. CANCER (21 JUN TO 21 JUL) Just like The Bodyguard soundtrack, you are in most people’s collection, but no one ever plays you anymore. And yet I will always love you. LEO (22 JUL TO 21 AUG) When I think of you, I think of the Fleetwood Mac album Rumours. Mainly because I’ve been spreading a story that you had group sex with a flock of geese. VIRGO (22 AUG TO 21 SEP) If you want to join the army, don’t show up at the recruitment office dressed as Sgt Pepper, because he never act ually fought in any wars. LIBRA (22 SEP TO 22 OCT) Your belief that Bon Jovi’s Slippery When Wet is a superior soft rock album will lead to a fist fight in a vegetarian restaurant. SCORPIO (23 OCT TO 21 NOV) Telling drunks that you produced Jason Donovon’s latest album is unlikely to help you to get laid at your local bar. Try buying some Wipe-On Sex Appeal in the men’s room. SAGITTARIUS (22 NOV TO 20 DEC) Your autographed copy of David Bowie’s debut album will sell for $10,000 on eBay, until someone realises it has been autographed by David Caruso. CAPRICORN (21 DEC TO 19 JAN) Chris Brown’s album hitting #1 in the US will convince you the feminist movement has gone backwards by 100 years.




STYLI Playing a record is a simple pleasure, but the mechanics behind those sounds hitting your ears are anything but. And even the needle that gets dropped on the grooves can take many different forms, the design every bit as inspiring as the music they help transmit‌


DRAPHT The Life Of Riley (The Ayems Records/Sony)

BLACK DEVIL DISCO CLUB Circus (Lo Recordings/Inertia) The influential 1978 elect ronic masterpiece Disco Club created by enigmatic French DJ Black Devil was able to bring a fresh new ambience and feel to the already exhausted 70s disco scene. Although somewhat obscure, Bernard Favre’s initial instalment was rife with elect ronic inst rumentation, ethereal synth melodies and static beats which revolutionised the lo-fi rave genre. Over three decades later, Favre is back with Circus, a record which channels the same radical energy and subversiveness as that of his debut EP. Dubbing this project Black Devil Disco Club, the release is a collect ive of tracks which feature guest vocals from prominent new and old artists from a variety of genres. Haunting opening track Fuzzy Dream combines pulsating bongo drums, distorted elect ronic samples and poetic spoken word vocals by Jon Spencer, which inspire an evocative and intensely nightmarish experience for the listener. The record is consistent, with the twisted melodies being carried throughout. X Paradise couples hollow breathy vocals by Cosmetics with dense echoey baselines creating a ravey and sensual 90s discoesque track. Th is sensual appeal is again duplicated in Dist rust, on which Faris Badwan of The Horrors uses his slurred echoey grunge vocals to compliment the erratic beat within the track. The highlight however comes with the nerveracking jittery horror-disco track My Screen, which features drawn-out gothic vocals from Nicolas Ker of Italian nu-rave five piece Poni Hoax. Circus is, like Disco Club, a masterpiece. AVA NIRUI

The Life of Riley is ready to outshine and lay them all to rest this season. Instantaneously it feels like another classic Drapht record when his siren of a voice delivers over the introductory title track and finds a Trials-twisted old-time record to suit an old rap meant for Brothers Grimm, Down is set free as day breaks on the fourth st unner from Perth’s golden boy’s new label The Ayems Records. Here it is evident that the artist has put his complete self through the paces as a professional on Riley. And with a new label, a new freedom is found by which he flexes his most introspect ive work yet with st rong emotions coursing through the veins of this LP. Air Guitar sees the MC searching within himself for who he really is as an entertainer. Ripping

STANTON WARRIORS The Warriors (Central Station/Universal) Damn, this is freaking good fun. It has enough bass, beats and energy to outlast any baggy trousered raver on happy pills. The Stanton Warriors’ customary funk and bass is all over this nutty and hi-octane assortment of cherry picked tunes – the longed for collect ion of original Stantons output is an altogether barmy affair. Each track on the album was written and produced by the Warriors during touring, with the finishing touches being added in their London st udio. First track from the Stantons’ love chest is Get Up, their latest crossover jewel. Although the opening few bars on Get Up almost sounds like a piss-poor attempt at the equally piss-poor Like A G6, it suddenly transforms into a sloweddown breakbeat bomb that delivers on all

shreds out of a darkened beat, Drapht takes the ultimate dig inward as he tears down Jimmy Recard and sends him to his demise. Tired of trying to re-live the fame of this arrogant fuck, the MC simply kills his alter ego before a takeover. Ironically this track could finally be the one to meet that mark. People Don’t Know puts a hard edge to a rap song, with Abbe May (from Howl & Moan) carrying the hook furiously as D-Rapht sends one out to the ignorant masses and with Bali Party – done in a one-night sesh over a melting Trials beat – N’FA and Drapht both rhyme out that ignorant shit you love. The Life Of Riley’s 13-track affair is built from the best of Drapht’s fi rst three albums and despite being portrayed in Aust ralian music as the artist without a weapon, the vocal assault of Drapht st ill punct uates loud and clear . RIP NICHOLSON

counts. And then it gets nuttier when Bushido, Dakota and Leader all rip it up a little more. The arse-clenching and involuntary dance spasms continue with the elect ro breakdown betas on New York and the old school undertones of Bodywork. It’s all about bass on Turn Me Up Some before the cruising Out Of My Head, which again features the ever-present Ruby Goe, rounds off the album in perfect st yle. There are no shitty external influences to be heard anywhere – no disco, pop, fake elect ro, soul or R&B or any indication of producers trying to conform to something they’re not. The Warriors is a positively charged and stonkingly excellent album. The Stantons reckon they are warriors. On this evidence, you don’t wanna mess with ‘em. STUART EVANS



J ROCC Some Cold Rock Stuf (Stones Th row/Inertia) As member of The World Famous Beat Junkies crew, Californian DJ J Rocc was a crucial part of the 90s trick DJ explosion, overseeing a period of incredible development and innovation in hip hop turntablism. Over years spent as Madlib’s tour DJ, working with both him and the late, great J Dilla, and producing for Peanut Butter Wolf ’s legendary Stones Th row label, J Rocc developed the ideas for his debut solo album, Some Cold Rock Stuf. A solid set of predominantly inst rumental hip hop that goes beyond a mere collect ion of beats into full blown, (dare we say) soundscapes, Some Cold Rock Stuf begins with a tribute to De La Soul’s Cool Breeze On The Rocks, intricately piecing together what seems like thousands of samples featuring the word ‘rock’. From here he

develops an Endtroducing... fi xation, emulating Shadow’s early, moody boom-bap on Don’t Sell Your Dream (Tonight), adding trippy, crackling spoken word to Stop Trying and orchest ral touches to Thru The Tulips. Yet at this point Rocc seems to get bored of this bong smokesoaked head-noddery and gets his groove on with Party, a glorious rollerskating excursion though percussive disco, laden with st rings, horns and whist les. Continuing the variation, Chasing The Sun’s beautiful keys uplift it from the darkness, Malcolm Was Here is a taut, experimental jazz workout while Take Me Away goes back to Rocc’s roots with a pure hip hop battle track designed to get all up in your grill. While not in the league of the likes of Shadow’s aforementioned classic, with Some Cold Rock Stuff J Rocc has shown himself to be an accomplished producer in his own right. DARREN COLLINS

(AWAL) Spend Is Dough is one of those records whose asymmetrical beat fi rst confuses, then seduces. A deceptively light-footed groove riding elect ro-funk bass splurts, rollicking stop-start percussion and Gabor’s ironically sweet vocal, perhaps its proper precedent is Basement Jaxx at their most nervy 10 years ago.

BUTTERBOX Cups (Vicious Bitch) In retrospect, we can all agree that there was something kind of sympathetic about TV Rock’s Flaunt It, right? Yes? No? If you answered “yes”, you’ll like Cups, its atonal chanted “la la la la la” hook and rudimentary rap reaching for that same unconsenting pleasure principle sweet spot as “this track designed to make you cream”.

ANNA LUNOE & WAX MOTIF Love Ting (Sweat It Out!) The appeal of Love Ting is the appeal of its central sample, a harmonised vocal vamp surrounded by iridescent fl ickers of Chic guitar. Perhaps it’s the influence of the disco edits scene that discourages act ually going places with the groove, but this is good fun nonetheless. TIM FINNEY

3DPLAYLIST 3D VARIOUS/VANDALISM, IAN CAREY & JOHN COURSE Vicious Cuts 2011 (Vicious/Universal) Nowadays Vicious compilations are few and far between. However when a Vicious compilation is released they’re sandwiched between an array of other albums all fighting for a punter’s dough and consideration. The Vicious label has been churning out sacred songs for around 20 years, so the label has boundless credibility and a tubthumpingly grand back-catalogue. Vicious Cuts 2011 is everything a Vicious Cuts assemblage has previously been – heavy on the elect ro, with big name DJs who add another layer of wham-bam to the blend and beats. Early signs are good as Vandalism kicks off with A-Trak’s take on Robyn’s Indest ructible. The terrible elect ro mix of Martin Solveig’s current favourite Hello soon follows, as do


the big-boys of elect ronica – Deadmau5, Laidback Luke, Wolfgang Gartner and a few of Vandalism’s own works. Ian Carey and John Course share mixing duties on the second disc as Carey starts with his latest pop pleaser, Last Night, which also features the weight of Snoop Dogg. His plump picks are Axwell’s Nothing But Love, Alex Guadino’s I’m In Love and Avicii’s fantast ically catchy Street Dancer. And then it’s over to Coursey with Miami Horror’s Holiday and the Freemasons’ Believer the choice cuts. Commercial club mixes circa 2011 are all sounding a bit too samey, with the same st yle, same approach and same direct ion generally taken by all. The result is a safe and predictable approach to elect ronic music. That’s not to say Vicious Cuts 2011 isn’t without its good points, it’s just most of the good st uff is all too familiar from other compilations. STUART EVANS

1. Lights Out – Decade VARIOUS/STEVE LAWLER 2. 21 MARCUS INTALEX 3. Ramses DYSPHEMIC AND MISS ELIZA 4. Yikes! LONDON ELEKTRICITY 5. Impermanence AGORIA 6. Buenos Aires NICK WARREN 7. If Th is World (Simon Garcia’s Private Dubtherapy remix) MARVIN GAYE 8. Make Some Noise BEASTIE BOYS 9. Eight JOSH GABRIEL 10. Strawberry Drums Forever (Danny Howells Edit) THE BEATLES


Million Dollar Drop (Channel 9) opens with the complete prize pool in cash, piled on a table. Blue and red lights crash across the st udio as a couple of contestants swagger towards the payload. They are in their mid-twenties and regard themselves as ‘the boys’, one introducing the other as “went to Europe with this queer”. Somehow they have found their way into the TV equivalent of an instant scratchie, and the show feels like you’re watching bogans at the casino, but on fewer pills. The program’s twist has the contestants start with a potential million dollars, with each incorrect answer seeing bundles of cash plummet down a glass chute. Over a tedious hour that makes an afternoon train ride seem pleasant, they grind through eight quest ions that a wellinformed ape could answer correct ly, covering subjects like “Chris Lilley” and “Circles”. “I did sports management so I didn’t have to learn much about circles,” says one. After an hour’s work answering eight quest ions, ‘the boys’ left empty handed, their ignorance of useless popculture trivia deflating their grandiose dreams and leaving them with the residue of the working class. At the other end of the spect rum, Millionaire Matchmaker (Arena) sees an obnoxious warthog host named Patti seeking out viable flesh receptacles for the population’s lonely top 1%. With a microwaved face and eyelashes made from the tears of immigrants, she showers abuse at anyone unfortunate enough to be sucked into her vacuous dimension. One of her clients, Derek Tobacci, is a middle aged web-entrepreneur looking for “a girl with a great ass” and a cure to his receding hairline. Another client, Bryce, is a chast ity belt-wearing princess who is as charming as a colonoscopy. Patti pairs them with ordinary shlubs, a st ripper and a high school maths teacher, members of the penniless majority that need to impress with ‘mild conversation’. Derek is easily impressed with his date – Bryce, however, sat in silent scorn at her ‘common’ dinner date, cushioned by the superiority that her wealth provides. No stable ‘matches’ were found. 5SPROCKET



Strap yourself in for a rollercoaster ride of sexual violence and high-octane ass kicking act ion with Sucker Punch. It starts with the psychological decay of Baby Doll (Emily Browning), whose mother has died – her step-father has found a hobby in abusing her and she now finds herself trapped in an insane asylum that doubles as a whorehouse. As if it couldn’t get any worse, the bug-eyed blonde is draped in this season’s latest Lolita fashion, which happens to be ‘schoolgirl/Sailor Moon’. She pulls together a posse of vict imised hotties that have names like Amber and Sweet Pea and Rocket. Th rough the power of erotic dance, they break away from the daily grind to fight in a reality fuelled by their collect ive delusions. Battling against giant samurai and Nazi zombies not only provides the femme Power Rangers the means to their escape, it also gives

the popcorn chewing nerd six minutes of bubble gum dynamism. It’s best not to watch Sucker Punch while looking for hallmarks of character or plot. Filmmaker Zack Snyder (300, Watchmen) continues to thump his adolescent ‘auteurist’ fist, st ruggling to balance showy sequences of leather clad, gun-toting ladies with a painfully laboured setup of Gothic exploitation. Snyder has argued that Sucker Punch is a feminist fi lm – it’s quite obvious the women’s liberation movement was most ly about dressing up in bondage gear and kicking the arse of a dragon. Fusing elements of high design, digital art and soulless performance, he delivers an overblown spectacle that is genius and utterly moronic at once. Sucker Punch is a weird and interest ing mess, a masterpiece in synthetic cinema and a fi lm most of the universe is dest ined to hate. 5SPROCKET WHERE & WHEN: Screening in cinemas now



You know who Just in Bieber is, but you don’t like him. You’ve only heard a phrase of his hit song, ‘Baby something’, and from those three bars you have decided that Bieber is dest ined to go the way of the Tazo. Wearing an ensemble of a purple jacket, purple cap and purple sneakers, this teeny-bopper idol has everything you’ve always wanted, and a jet-ski. It didn’t take long for Justin Bieber: Never Say Never to spring out of the indust ry think tank, a hast ily thrown together documentary that intercuts a live show at Madison Square Garden with behind the scenes footage of the Bieber’s global conquest. With guest appearances by Usher, Miley Cyrus, and Will Smith’s son, it is an inoffensive love letter to the fans that made young Just in a star.

Girls between the ages of 5 and 13 clearly need someone to look to, and they don’t seem to understand the full implications of a “Marry Me Just in” placard. Footage of fans being selected to appear on stage, in a moment of artificial romance with their idol, is cut against scenes of thousand-st rong hyperventilating pubescents screaming and storming gates. The backstage scenes are equally dist ressing, with Bieber’s vocal coach angling to be a surrogate mother (“I’m a 54-year-old childless parent”) and various hangers-on turning blossoming talent into a marketable and soulless indust ry. Never Say Never would be a great double feature with Michael Jackson’s This Is It, where you see a young talent’s ascent to the st ratosphere of fame, then the crippling aftermath of such success. But, with God on his side, maybe it’s time we put a little more faith Biebs. 5SPROCKET WHERE & WHEN: Screening in cinemas now




AS TECHNOLOGY MOVES RELENTLESSLY FORWARD, DAVE DRI DISCOVERS THE MUSICAL APPLICATIONS OF TODAY ARE STILL DRAWN TO THE TRICKS OF THE PAST. The appeal of the vinyl format goes well beyond nostalgic memories of record store missions, liner notes or the quest ion of how to categorise a record collect ion. It could st ill be argued that the jumble of artful album covers formed a large part of the visual appeal of amassing a record collect ion, a topic visited in no small measure in the fi lm High Fidelity. That same obsessive compulsion can st ill be found in the digital domain, with no shortage of emulations available on a range of portable devices. From the iPhone side come all manner of offerings, with some of the more entertaining including the original Scrambler “scene” in the insanely fun RjDj app. Scrambler featured a simple visual of a turntable with a single steady breakbeat responding to touch, position and motion. By grabbing, shaking and tiling the iPhone, the beat sped up, stopped and scratched. Th is experimental example has been taken to a more traditional extreme with Baby Scratch, again featuring the familiar turntable overview with the addition of a crossfader, a kill switch and a microphone mode to record your own loops or beatbox beats on the spot. If the tracking of this free app isn’t accurate enough for your tastes, then try the $5.99 Flare Scratch from the same developer, kicking things up a notch with direct access to your iPod song library, a zoom mode for increased accuracy and even a bundle of battle records. All in the palm of your hand, ready to battle any suckas that step up to you. Word. For the purists though, nothing will ever replace the feeling of real vinyl at your fingertips. For these fans, the closest digital solution is the range of time-code vinyl systems ranging from the familiar Serato and Traktor, through to the DIY and hacker favourite, Ms Pinky. All require a software application to convert the data being read off of specially constructed time-code records, but the tact ile response of the system ensures that it’s a particularly fr-fr-fr-fresh option for those unwilling to give up on their turntables or the immediacy of scratching records just yet. The open source community has joined in on the fun too, with the availability of the popular TouchOSC controller application on Android inspiring a flood of “visual interface” devices that run the gamut of visually familiar turntable and CDJ emulations through to experimental extensions that push the limits of imagination. One such example is Todd Vanderlin’s AR Scratching, a visually st unning use of augmented reality to re-purpose the way we interact with records. In plain English, the system is a clever use of the augmented reality concept, in which a small graphic design held in front of a webcam triggers a preprogrammed response. The new Nintendo 3DS contains this technology as a way to “insert” gaming characters onto the real-time video feed of


a particular surface in the real world. AR Scratching makes brilliant use of this by requiring the user to place a special label on a piece of vinyl, which the software tracks as a cue for the manipulation of a song fi le. The “wow” moments come when the software superimposes a realist ic record label of the song being played, and by allowing the user to interact with the audio fi le through simple manipulations of the record. At last there is a useful outlet for the universally lame “wicky-wicky” deejay motions made by the clueless masses. The current system is otherwise basic, but the development potential raises exciting quest ions and possibilities. Something a little more advanced (and realist ic) than “throwing records at zombies”.

Since the advent of popular music, record stores have operated in two dist inct ways – customers either sought them out to purchase that which they had already heard and enjoyed or, alternatively, to purchase something they had heard they would enjoy. As popular music has developed and recording has become more accessible, the latter category has monumentally eclipsed the former. Such has been the expansion of the second category, it’s ultimately evolved into an entirely new variety of consumer – the explorer. A significant contingent of the music-loving public is now geared not towards seeking out music they have previously heard or heard about but, instead, perpetually seeking out new musical experiences. Consumers like this have always existed, of course – but they’ve never been the prevailing demographic. Not until now, in any regard. So, what is the difference? Feasibly, one would again leap to the internet but, again, that’s a simple answer to a complicated problem. Certainly, the internet has compounded matters but, really, there’s just too many people making too much music. Put simply – internet or no internet – a physical record store cannot even begin to accommodate the sheer scope of music being produced. Consider, for example, an outlet like Beatport. If that entity were to become a physical store, it would be expected to effect ively stock and maintain somewhere in the region of a million CDs or vinyls at any given time. It simply doesn’t work. What we really must ask ourselves, though, is “is this really such a problem?”. Yes, from the perspect ives of nostalgia, it’s disappointing to lose the romance and personality of the record store. Still, it’s not as if we haven’t received something in return. We now have access to more music than we could ever possibly consume. There are entire universes of sound to discover out there. Effect ively, we have a packet of musical Tim Tams that will never run out. MATT O’NEILL


RADIO HEART BY GARY NUMAN ~ $20. Record Paradise (03) 9534 9344

YOU SCARE ME TO DEATH BY MARC BOLAN ~ $30. Record Paradise (03) 9534 9344

FAREWELL AUNTY JACK BY GRAHAME BOND ~ $20. Record Paradise (03) 9534 9344



SATIN BOYS, FLAMING CHIC BY GOLDFRAPP ~ $15. Record Paradise (03) 9534 9344


REFLEX BY DURAN DURAN ~ $20. Record Paradise (03) 9534 9344

SILVER BEATLES BY THE BEATLES ~ $30. Record Paradise (03) 9534 9344

WALK DON’T RUN, PERFIDIA BY THE VENTURES ~ $40. Record Paradise (03) 9534 9344

NOT FOR SALE. Private collection.

~ $50. Record Paradise (03) 9534 9344

MARION MANN SELF-TITLED ~ $50. Record Paradise (03) 9534 9344





SHURE M447-H ~ $99. w


RTRIDGE ~ $119.






am eri c




app a

ax .w w w


s mu


.ne t

r um


d or

o s.c







$1 5.







be .o



r ds co


m .co

pr om oo nly .


1962-present (but only just).


4 inches x 3 inches x 3/8 of an inch.


Between five and 60 minutes of audio per side.


Opened up the possibility of charming the opposite sex with mixtapes showcasing your sublime musical taste; questionable mixtapes can be recorded over; official releases had a cool blippy noise at the top and tail; can be played in ghetto blasters.


Audio quality deteriorates quicker than the musical output of the Black Eyed Peas; the tape has a habit of clogging up ghetto blasters; no one actually owns ghetto blasters any more.

FOR? Indie bands who think they’re hip for releasing recordings no one will ever be able to play.


LIFESPAN? 1963-1982.


Roughly the size of a small house brick.

STORAGE CAPACITY? 46 minutes approx.


Created by the people behind Lear Jets; have a cool name; can be used as a weapon if you get carjacked.


Like the cassette above, only more so. And albums and songs had to be split and re-ordered. And they never worked in ghetto blasters.

FOR? That cool uncle to impress you with his collection of Pink Floyd cartridges every Christmas.



1992-present (but only just).


Roughly the size of a Sao – preferably not a soggy one.


Between 80 minutes and 45 hours – handy if you want to archive a Sven Väth after-hours set.


More reliable than cassettes, less brick-like than eight-track tapes, more compact than compact discs, able to leap small buildings in a single bound (not true).


Mean well, but were already superfluous in a world with compact discs. iPods hammered nails in their coffin. Vinyl records will spit on their grave.


No longer have a practical use that we know of.


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

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

ENTERTAINMENT Freelance Fashion Mag Columnist/ Blogger for D.H.A Magazine. Regular column featured in mag plus on blog. Email dhamagazine@gmail. com for info iFlogID: 12178

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

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FOR SALE AMPS CARVER 1800W PA HEAD.Rack mount.Split mono.with BOSE controller/pre-amp.8 speaker outputs. Very loud.In case.Cost over $2500. Sell $850.Ph.0428744963. Cooroy. iFlogID: 12112 Vase All Valve Guitar Amp 1960’s Trendsetter 60 series.with vibrato. very loud.great tone.with 2 2/12 matching cabs.perfect original working condition.made in australia. suit collector/enthusiast. $1200. Ph.0428744963. cooroy Qld iFlogID: 12118 Fender Blues Deluxe 40 watt tube amp for sale $1200 (negotiable) or trade for smaller amp plus cash difference! includes footswitch (channel select and reverb on/off) and amp cover. please call arturo at 0451668661 or email turo388(at) iFlogID: 12155

Fore Sale,, Bogner Shiva Guitar Head iFlogID: 12369 Contact Chris 0419272196 iFlogID: 12462

can be arranged if required. 0433 946 982. iFlogID: 12098

Peavey Bandit 80watt guitar combo.2 channel footswitchable. reverb/ saturation.great fat tone. USA made.VGC. Ph.0428744963. Cooroy iFlogID: 12116

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Mixing By Wayne Lotek. Come into the studio (Melbourne) or upload tracks and start downloading finished mixes within 48 hours. Add tape warmth with our 8 track analog stem mixing service. From $100 per track! Call now! (03)94170760 iFlogID: 12208

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

OTHER Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO for free web-site and information on how to buy. Enquiries: (02) 9807-3137 eMail: iFlogID: 12392 bluesfest byron bay easter time 2x return tickets with rex airlines departs sydney 22/4/11 8.10 am arrives ballina 9.50am departs ballina wednesday 27/4/11 10.10am arrives sydney 11.55 am total cost$730 phone 0405088122 iFlogID: 12011 Microphone, Rodes Classic 2, Top of the line studio Valve microphone, Custom spec 1” Dual Diaphagm capsule, alot pickup patterns. Vintage custom Jensen output transformer. Never used/New! in case beautiful for Vocals,acoustic instruments just $1250 half price bargin 0410500334 iFlogID: 12613

NOT AVAILABLE FOR FREE ADS. CL Tenor Saxophone for sale used Temby Custom Pro Silverplated 5yo $1500 good cond. Call Mike 0420435760 Sydney. iFlogID: 12310

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

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

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

HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Info-

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 - - www.yayabings. iFlogID: 12534

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MANAGEMENT Open Muzic Records is a new London based record label that is focused on talent, whether it’s Rock or R&B, Pop or Metal, we feel we have the ears to spot a star! Applications being taken. www. iFlogID: 12353

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: Phone: 0394170760 iFlogID: 12202

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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

Big Music Technical Services offers the Sydney Music community the best in Audio & Hi-Tech support, DAW design, DAW setup & integration, studio consolidation solutions, software and hardware troubleshooting. Both in house or on-site visits. Break free from technical hitches and frustration. Get your studio sorted, and get back to making music. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@ iFlogID: 12206

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Come and record with Award winning UK Producer Wayne Lotek in his Melbourne studio. Purpose built space with sound proof recording booth, analogue and digital tracking available. From $350 per day. More info: Email or call 0394170760 iFlogID: 12204 Have your songs produced, mixed & mastered by industry professionals who know how to get the best from your songs at AFFORDABLE RATES! Visit www.nathaneshman. com or call 0403 498 103 iFlogID: 12543 Is your band looking to record a CD? Providing ARIA quality production for bands & artists wanting to record a single, EP or Full Album at affordable rates. Visit or email studio@ to request an information brochure. iFlogID: 12600

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Professional sax / flute player available. Can read and improvise. Jazz/ funk/rock/pop/afrobeat/reggae/dj etc. Call Mike 0420435760. iFlogID: 12312




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

3D World - Sydney Issue #1056  

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

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