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( Issue 1057 ~ TUESDAY 19 APRIL 2011 )















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


Only five years ago Desyn Masiello was just about the hottest property in dance music on the back of his instant classic Balance 008 compilation. The purveyor of funky prog par excellence freely admits he went off the rails as the temptations of fame took their toll, but recent DJ sets that have surfaced online indicate he’s back in some semblance of form – so be sure to catch him this weekend at Darkbeat’s Eighth Birthday in Melbourne on Saturday, Sydney’s Soho for five hours of power on Sunday and Brisbane’s Barsoma on Monday…

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 ACCOUNTS DEPT


Yeah yeah, Th readless is soooo 2005, but you know what? They st ill fucking rule. And if you’ve been a long time visitor to, the old favourite “Mozart: Decomposing Since 1791” has just been reprinted – for both the men and ladies. Our exchange rate with the $USD st ill wins, so stock up for the winter now…


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

Kind of like The Onion without the bells and whist les, the McSweeney’s web portal offers up quality writing dripping with cynicism (a trait close to the heart of the 3D World team). While Short Imagined Monologues (sample topic: I’m Comic Sans, Asshole) are worth the price of admission alone (it’s free), Lynsey G’s series on The Conflicted Existence Of A Female Porn Writer is the real eye-opener…






While this coming weekend is all about honouring fallen religious icons and soldiers (who you should definitely take some time to pause and reflect for), you can’t deny that it’s been over-run by the commercial forces of the planet’s chocolate manufact urers. If you must succumb to consumer culture, our hot tip is to ask your friendly local Easter Bunny for some peanut butter fi lled Reese’s Easter Eggs – or at the very least get your friend in the USA to ship some over…

Twitter has thrown up some unlikely superstars in its short but decorated history, none more unlikely than Sockington. Why does a guy post ing 140 word updates in the guise of his cat have just shy of 1.5 million followers? Sidle up to sockington to find out, and try not to get caught up in the paradox of a creature which eats birds as a hobby ‘tweeting’…


The Australian Stencil Art Prize is back in 2011, and if you think you’ve got the skills to at least match last year’s pict ured winner (ELK with his portrait of American hip hop poet Saul Williams) it’s time to get involved. Aspiring Banksys can get the lowdown at – deadline for entry is Monday 1 August…


How awesome are the Beast ie Boys? First they announced that they’d be releasing the sequel to their forthcoming album before the original (but with the original’s tracklist ing), then they fooled everyone by leaking a fake track and now comes the piece de resistance – a half hour promo fi lm for Fight For Your Right (Revisited) featuring Beast ie Boys past (Will Ferrell, John C Reilly and Jack Black) facing off against Beast ie Boys present (Elijah Wood, Danny McBride and Seth Rogen). We think. Anyway, keep an eye out for the front cover of our sister mags Inpress and Drum Media (sorry Brisbane peeps!) next week – they’ll have a QR code which your phone can scan which may be the gateway to all sorts of prizes if you’re lucky...



ANNOUNCEMENTS A DESIGN FOR LIFE DJ/Production duo Designer Drugs are reading for a series of shows throughout Australia in May. The DESIGNER DRUGS group, comprised of Patrick and Theodore Paul Nelson, have delivered over 50 remixes for artists including Mariah Carey and recently released their debut album Hardcore/Softcore. Their latest effort has a dark, throbbing and industrial tone. They play OneFiveOne (Wollongong) Thursday 5 May, Never Land Bar (Gold Coast) Friday 6, Fake Club (Sydney) Saturday 7, Roxanne Parlour (Melbourne) Friday 13 and Monastery (Brisbane) Saturday 14.


Splendour In The Grass have made their fi rst line-up announcement for the 2011 event. Running from Friday 29 July to Sunday 31 July, the event will be the second time the fest ival will be held at Woodfordia north of Brisbane. Headlining acts are Coldplay and Kanye West, in exclusive shows to Splendour. Legacy rockers Jane’s Addict ion will hit the stage, along with The Hives, Britpop kings Pulp and Aussie punkers The Living End. Regina Spektor and Mogwai will play exclusive shows, while The Mars Volta, Bliss N Eso, Pnau, DJ Shadow, Glasvegas, The Grates, Devendra Banhart and the Grogs, Modest Mouse, The Middle East , James Blake and Kaiser Chiefs take to the stage. The massive announcement continues with Elbow, The Vines, Eskimo Joe, Warpaint, Drapht, Kimbra, Children Collide, Architect ure in Helsinki and The Panics performing, among many others. Further acts will be announced in the coming weeks. Tickets are $390 for the event, $120 more with camping. Tickets for the high-demand event go on sale Thursday 5 May at 9am sharp through Moshtix.




Bigsound celebrated its ten year anniversary with the fi rst announcement for it’s 2011 event. The event is a celebration of Aust ralia’s freshest artists and networking, and is a point where artists, media and indust ry converge. Th is year’s event, to be held September 7 to 9 in Brisbane’s Fortitude Valley will have presentations by Alan McGee (founder of Creation Records), ie:music’s David Enthoven & Tim Clark (behind Robbie Williams, Jimmy Page and Ladyhawke), Matador Records’ Natalie Judge (Cat Power, Sonic Youth) among many other significant indust ry heavyweights. Artists are encouraged to apply for a showcase position at the event by visiting


Hip hop star Big Boi is heading out for a series of solo shows. As half of Grammy winning duo OutKast he has sold over 25 million albums and brought the world’s attention to Southern Rap. His debut solo release, BIG BOI 2010’s Sir Lucious Left Foot: The Son of Chico Dusty was one of the year’s biggest releases, charting high internationally and on critic’s end of year lists (including coming in at #6 in 3D World ’s 2010 Album Of The Year poll). Big Boi plays The Tivoli (Brisbane) Friday 26 August, The Enmore (Sydney) Saturday 27 and The Palace (Melbourne) Friday 2 September. Tickets on sale through Ticketek.

STARTING SOMETHING Sydney based label Stop Start have announced their latest signing, Pluto Jonze. The performer PLUTO JONZE is set to launch his selftitled debut EP Friday 6 May and will support it with a national tour. He plays Last Night at The Gaelic (Sydney) Friday 29 April, Rats (Melbourne) Saturday 21 May, Lambda Lambda Lambda at Alhambra (Brisbane) Thursday 26, Oxford Art Factory (Sydney) Sat 28, Beach Road Hotel (Sydney) Wednesday 1 June and FBi Social at Kings Cross Hotel (Sydney) Saturday 4. IN THEIR WAKE Funeral Party have announced their fi rst Aust ralian headline tour. The full-throttle LA FUNERAL five-piece were touted as PARTY one of the hottest bands of 2010 by NME and have been featured in Q Magazine. Their debut album, Golden Age O Knowledge, is a collect ion of dance-punk, vocal bravado and pumping beats. Funeral Party play The Metro (Sydney) Friday 5 August, The Hi-Fi (Melbourne) Saturday 6 and The Hi-Fi (Brisbane) Tuesday 9. Tickets on sale through Ticketmaster, Ticketek and POWER UP The RAW compilation series is set to launch its 2011 instalment, with Chris Fraser manning the controls on disc one, with CHRIS FRASER the second disc featuring the biggest tracks of the last year. Fraser is the music director of Raw FM, had residencies and appearances at the nation’s biggest clubs and dance festivals, and he’ll be touring in support of the album, playing Vanity Nightclub (Gold Coast) Friday 13 May, Chinese Laundry (Sydney) Saturday 14, Fanny’s (Newcastle) Saturday 21, Academy (Canberra) Saturday 4 June and Monastery (Brisbane) Saturday 11 June.

CHANNEL V WILL screen the Beast ie Boys 30 minute short fi lm, Fight For Your Right Revisited, at the same time as audiences around the world. It features Will Ferrell, Jack Black, John C Reilly, Danny McBride and Seth Rogen, in a starpacked ensemble. It screens Thursday 21 April at 2pm... LOCAL MC VENTS is set to release his latest album, Marked for Death on Friday 13 May. The hip hop artist has toured with Hilltop Hoops, and the album is said to be an introspect ive and cynical take on the crazy world we live in... DUE TO THE recent st ring of tragic disasters in Japan, the Red Bull Music Academy 2011 will no longer be held in Tokyo. The location has changed to Matadero in Madrid, Spain, with the application deadline extending to Tuesday 26 April because of the last minute change... UNDERGROUND HIP HOP legend and Ice Cube’s cousin Del The Funky Homosapien is set to make a return with his new album, Golden Era. The 34-track opus will showcase the old school rapper’s masterful funkinfused beats and slacker Californian vibes... ATTN ASPIRING FILMMAKERS. The Oasis Short Film Competition has recently launched, and is looking for high school st udents to make short fi lms dealing with the issue of homelessness. Cate Blanchett is a supporter of the event, which has $25,000 going to the schools of the winning entrants...







artin Solveig is the hottest name in French house – once again. Hello, a reunion with Canada’s Dragonette, has been his biggest crossover record yet, establishing him as a cool alternative to David Guetta. He’s following it with Ready 2 Go, featuring Bloc Party’s Kele Okereke. And there’s an album in the pipeline – Solveig’s fi rst since 2008’s C’est La Vie – entitled Smash. Solveig – real name Martin Picandet – has occasionally appeared a reluctant pop star. He moves in and out of the spotlight. The Paris DJ-cum-producer relished a huge ‘pop’ hit back in 2003 with the funky Rocking Music and fi rst toured Aust ralia behind it, but he didn’t capitalise on that momentum long-term. Still, Picandet, a Chevalier de l’Ordre des Arts et des Lettres (Order Of France for his significant contribution to the arts), denies that he’s uncomfortable with celebrity. “No, I don’t think so. I just don’t naturally consider myself a pop star ‘cause ‘pop star’ is for real pop stars. It’s not really my concern when I make music. I make music basically to have the possibility to exchange this with a crowd – whether it’s more of a live crowd or a DJ crowd – but it’s a lot about having fun.” Lately Picandet has harnessed YouTube to air zany video clips. Indeed, Hello has attracted over 20 million views, the video shot at the French Open, with Picandet’s friend Bob Sinclar cameo-ing. He returned with Initials SHE. The Ready 2 Go clip continues the theme. And, Picandet reveals, another Smash episode, for his next single Turn Up The Radio, will be shot during his upcoming Creamfields tour. He’s even bringing the “fake manager”, Lafaille, from his videos (portrayed by DJ Gregory, famed for the classic Elle!). “I’m flying over with a team. I think we’re gonna have really a lot of fun.” The 30-something is feeling creatively reinvigorated. “Smash is my fourth solo album [and] it was by far the easiest one to do, and I was very surprised, act ually, because at the end of C’est La Vie, I didn’t even know if I was going to go on with doing albums and work like that. I really st arted with Hello and did this video and things went very well. I had in mind this sort of project to work on videos and music at the same time. The success of Hello told me that it was probably an interest ing thing to do and so I kept on doing this and there are now many other episodes and many other tracks coming, and the Smash album is going to be released in June.” In fact, Picandet’s interest in visual media isn’t new: fi lm is a “passion”. (His alias is a tribute to Wings Of Desire act ress Solveig Dommartin, who died suddenly in 2007.) Picandet was never a part of the 90s’ fi ltered disco revolution, let alone ‘French Touch’. As with DJ Gregory, he mined American deep house. Picandet expressed a greater affinity with Dimitri From Paris than Daft Punk. But he’s no traditionalist. Picandet was a musical kid – he sang in a choir – and became a pop fan. His parents gave him turntables as a Christmas present. The teen began as a mobile jock, then landed a job in a record store and which led to his securing a residency at Le Palace in Paris. Picandet also dabbled in product ion and launched a label, Mixture Stereophonic. His earliest key record? The cult Heart Of Africa of 1999. In the meantime, he st udied marketing at university. In 2002 Picandet, aligned with Universal, presented his debut, Sur La Terre, which he’d subsequently describe as “a bit naive” in its product ion values. He’d proffer a remix compilation, Suite, taking in Rocking Music. Picandet felt disgruntled that Universal Aust ralia didn’t do more with a second album, 2005’s Hedonist, picked up by Defected in the UK. It garnered him another hit in the bluesy Everybody. Picandet explored his pop sensibilities on the eccentric Hedonist – he covered Serge Gainsbourg’s Requiem Pour Un Con (Requiem For A Jerk). Along the way, Picandet (and Gregory) lent credibility to Sinclar’s now defunct Africanism vehicle, co-producing Edony.

“I JUST DON’T NATURALLY CONSIDER MYSELF A POP STAR ‘CAUSE‘POP STAR’ IS FOR REAL POP STARS. IT’S NOT REALLY MYCONCERN WHEN I MAKE MUSIC. I MAKE MUSIC BASICALLY TO HAVE THE POSSIBILITY TO EXCHANGE THIS WITH ACROWD…” Smash will be a different album again for Picandet. “I wanted to be a bit more ‘dance’,” he says. “Many of the tracks are good for a DJ to play st raight on the dancefloor and that’s one thing I tried to do because, when I work on albums, I tend to do some more elect ronic pop which applies more to live [shows] and st uff like that, which is what I did on C’est La Vie, but this one is more of a DJ thing fi rst. Then the vocal vibe of the album is very rock and very pop.” Picandet may be no pop wannabe, but he is a crowdpleaser. “The people like it when you play all your own material.” In the past Picandet has said that, at home, he listens to R&B, not dance. With urban acts hiring dance producers such as Guetta, does he, too, plan to venture out? Picandet sounds doubtful. “Well, to me, it’s not really about the scene or the st yle of the artist I collaborate with, I love to collaborate with many artists from different genres. [But] urban artists are not exact ly my speciality, I would say, at the moment. I’m more easy with the rock guys, and with the pop guys, but, with the success of Hello, I got a couple of offers to produce tracks for big act s. I act ually chose to work more with newcomers, or with more indie kinda acts like Kele from Bloc Party, because I wanted to do proper collaborations. be able to hang out a little bit in the st udio [and have an] exchange. It’s a lot more difficult with big acts because they’re so busy with what they have to do and everything, so then you get to speak only to managers and it’s a bit frust rating. So, for the moment, I’m working with Dragonette and Kele and another young girl called Sunday Girl and a few others. I really get to speak to them over the phone and to meet them in the st udio and to record some tracks together.” Brit newcomer Sunday Girl, a Diplo affi liate, will also be accompanying Picandet to Aust ralia, being the vocalist on Turn Up… Signed to Universal, she has aired bloggable singles like Four Floors and covered Laura Branigan’s 80s favourite Self Control. Plus she’s a fashion ‘It’ girl (and Isabel Lucas doppelganger). Picandet didn’t avoid the st udio post-C’est La Vie. He masterminded a fluke smash with Dragonette, Boys & Girls, which Jean Paul Gaultier used to promote his scent, Ma Dame: Rose ‘N’ Roll. Picandet speaks warmly of the iconic couturier. “He’s a very accessible person. My st udio is close to his st udio place and we bump into each other quite a few times in the year. Of course, he’s a bit of a legend here, but he’s st ill very easy and natural. Also he’s really a music person – he’s so interested in music, he knows a lot. Every time we got to have lunch or discuss [things] I was always amazed by the number of new bands and acts he knows, and so we discuss music a lot. It was a great experience and to have the opportunity to collaborate on the video process of Boys & Girls was really very interest ing.” Not that Picandet is into fashion, he laughs, shattering a French stereotype. “I’m not too much of a fashionista – obviously, if you see me.” The dapper Dimitri has programmed runway shows for the likes of Chanel, but Picandet admires from afar. “I enjoy some of the shows and some of the brands and some of the designers. The clothing thing is an interest ing aspect of creativity in the modern world and so I’m interested.”

WHO: Martin Solveig WHAT: Ready 2 Go (Hussle/Universal) WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May



Js and fashion – it’s a potent mix. Martin Solveig isn’t the fi rst DJ to cross over into fashion. That self-described “French ambassador of st ylish club sounds” Dimitri From Paris may be best known for his Playboy Mansion CDs (and his classic debut, Sacrebleu), but he’s programmed runway music for Chanel, Hermès and Yves Saint Laurent. Oh, and Gaultier. In the 80s Jeremy Healy was in the wonky pop outfit Haysi Fantayzee – they had hits like John Wayne Is Big Leggy – and then, like Boy George, reinvented himself as a super-DJ. But Healy has also worked closely with the fashion world. He bonded with (now disgraced) couturier John Galliano. Galliano lauded Healy’s “essential” input into his shows in December’s V Magazine. “You can’t have a show without music – and you most certainly can’t have a Galliano show without Jeronimo,” the Dior designer said of his pal. “I like to break the rules and Jeronimo does that in music… Jeronimo’s ear for music is similar to my eye for fashion, and I think we just click.” What’s more, Healy has served as music director for the annual Victoria’s Secret lingerie spectacular. Another client? Gwen Stefani’s LAMB. Of course, DJing being so cool, a few fashion types are jumping on the bandwagon. New Weekly’s website recently featured a gallery of ‘chick DJs’ – DJs, it turns out, with loads of fashion nous but limited club cred, like Alexa Chung. Leigh Lezark, from the New York DJ crew The Misshapes, is often spotted at fashion shows – and she models. She’s appeared in a DKNY Jeans campaign, although Donna Karan isn’t exact ly on the hipsters’ radar. Some DJs have entered the fashion biz. While not a DJ, dance star Deadmau5 is big on wearable merch – you can snaffle up his T-shirts from US mall rat chain Hot Topic. Roger Sanchez act ually tried to get a fashion line off the ground. Alas, the 2Gether producer encountered problems with his investors. Then there are the designers who are wannabe DJs. Many a designer has expressed a passion for music. Karl Lagerfeld presented a compilation – 2006’s Les Musiques Que J’aime – and Gucci’s Frida Giannini has been photographed with her admittedly impressive vinyl collect ion. Closer to home, Ksubi co-founder Dan Single st ill DJs regularly as Dangerous Dan. He’s on the bill for Splendour In The Grass.



‘AVIN’ A LAUGH WHETHER HE’S SPINNING HOUSE, HIP HOP, RAVE, ELECTRO, DUBSTEP OR SOME COMBINATION OF THE ABOVE, AARON CLEVENGER’S MOST IMPORTANT ASSET AS AC SLATER IS HUMOUR, WRITES STUART EVANS. nspiration is everywhere according to dancefloor dest royer and product ion wizard AC Slater. “I live in Brooklyn, New York, so inspiration is on every corner of the st reet. Music is everywhere in New York,” he says.


He declares another source of insight to sit within a country’s people. “When I’m DJing in the UK or Europe or even Aust ralia, chances are I’ll hear something different. Even online things are different. I’m surrounded by creative people and it’s really like a musical cycle that keeps on going round and round.” Slater, real name Aaron Clevenger, has seen his stock soar. His tracks and remixes have become certainties on a number of UK dance radio stations and have found their way into the sets of Moby, Stanton Warriors and MSTRKRFT. However the American’s musical genesis was much more humble. In a petite West Virginian town, a then 14 year-old Clevenger rummaged through his dad’s music collect ion, only to take it one step further by compiling a few mixtapes. The fledging Clevenger was bold: he mastered DJing and threw hip hop and rap into his mixes. Word spread around high school as he became known as King of the Decks. The Brooklyn local was raised on a staple diet of hip hop until he discovered old school rave – lay culpability at the Chemical Brothers for his love of elect ronic harmonies. “Man, I went to a Chemical Brothers gig and it changed my life. It was a big discovery as I hadn’t been exposed to that st yle of music. After that I went to my local record shop and bought as much elect ronic music as I could get my hands on,” he laughs. From there he’s taken the old breakbeat influence and applied them onto his own ideas and innovations. Clevenger’s a hard cat to describe. His live sets have been known to bang, so piercingly that speakers blow. Musicality is equally as nuts: his st yle is a crossbreed of house, hip hop, rave, elect ro and dubstep, all with the addition of fun and funky house. The American doesn’t rely on being typecast as anything other than bringing a dash of humour into music. “Humour’s so important. People go out to have a good time and to have a laugh and a joke so it’s just as important that people hear that in music. Humour works well,” he says. Laughter is ingrained into Clevenger’s psyche. Before music his aim was to write comedy. Listen carefully and comedic undertones are apparent in his music. His dubstep record, Calm Down, featured witty and meaningless renditions like “why you take my sandwich on my birthday? You know I’m on a diet.” Clevenger’s response is to laugh. “It’s really just joking around. Some fans of the track come up to me and start to quote the lyrics.” There is, of course, a caveat: humour works well providing it’s done right. Clevenger agrees. “Take the Duck Sauce guys and that Barbara Streisand track. It makes no sense at all. The track works though as it is funny and clever.” Hard work has made Clevenger a success, and that hard graft ethic continues to pay off. Clevenger founded the Party Like Us record label and is part of the Trouble and Bass crew, too. The latter collaboration gave

him creditability and, just as importantly, a springboard for additional projects. Take his working relationship with Drop The Lime, an alliance that’s produced the 2010 smash Creepin. Breakbeat, electro and digital club label Party Like Us has become synonymous with fresh up-and- omers like B Rich and Kry Wolf. “Running a label is certainly hard work. It requires a good work ethic and a lot of coffee. I don’t sleep,” he laughs. But his hip hop curiosity is still apparent, freshly evident via his partnership with rapper Dell Harris (previously known as o8o) which resulted in the recently released album Right Now. Musical prowess aside, running a record label requires shrewd business sense and a fair amount of nous. Flagrant online piracy has become rife and artists have seen a novel idea dest royed in minutes thanks to the access of the internet. Nowadays things move quickly. “A lot of music is instantly disposable and people are looking for the next big thing. When something’s new or when something becomes popular, chances are it won’t be new for long,” Clevenger tells. “Running a label is certainly difficult. It’s difficult to remain fresh and requires a lot of energy. Getting a record out there in the public domain can work to your advantage as it creates hype. But just because you generate hype on the internet doesn’t always mean that you’ll get success in the real world,” he says. Clevenger’s remixes and original product ions have made him. Remix wise he now has an envious back catalogue. Boys Noize, Crookers, Steve Angello and Laidback Luke have all received the rework treatment. “I really just try to make records that I like and believe in. It’s always nice and challenging to get into a different territory of music. It could be pop or elect ro or rap. Part of the fun is taking what I know about elect ronic music and applying it to other genres.” WHO: AC Slater WHERE & WHEN: Roxanne Parlour (Melbourne) Friday 29 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, Groovin The Moo at Maitland Showground Saturday 7 May, Chinese Laundry (Sydney) Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May, Onefiveon (Wollongong) Thursday 19 May, Platinum Nightclub (Gold Coast) Friday 20 May, Monastery (Brisbane) Saturday 21 May




CAUGHT IN A MAU5TRAP DIVISIVE, CONTROVERSIAL AND EVER QUOTABLE, JOEL ZIMMERMAN RALLIES AGAINST LUKE MCKINNON ON THE TOPIC OF ON-STAGE BAZOOKAS, THE RELEVANCE OF DJS TO DANCE MUSIC CULTURE AND OTHER MATTERS OF IMPORTANCE IN THE WORLD OF DEADMAU5. n a matter of just a few years, Joel Zimmerman, the enfant terrible of dance culture, has gone from basement dwelling producer to dance music phenomenon. The Toronto native, better known as Deadmau5, doesn’t like being labelled a DJ (he finds the description as a “hopelessly outdated way of describing what he does”) and has been explicitly outspoken about his perception of DJs, exact ly what they do and how they go about doing it (more on that later). Over the past three years – thanks to a st ring of hits on download site Beatport – Zimmerman has effortlessly traversed the musical landscape, leapfrogged the crossroad and arrived promptly at the commercial mainst ream. Where he was once a cult underground hero, he is a now a playable character on defunct computer game DJ Hero. Trying to define Zimmerman’s music is like trying to squeeze a 12-inch record into a CD player. His sonic lacks borders and bounds from elect ronica to progressive house to neo-trance to IDM and everything in between. His diversity and scope has lead to his volcanic rise in popularity, but also to his detractors attest ing that his lack of definition has rendered his music bland, inoffensive and populist. In short, Deadmau5’s music divides like no other – with the online audience in particular. Zimmerman, who it exceptionally act ive online (perhaps to his detriment), has simultaneously become the pip-up boy and the piñata of the online dance community. So, on the eve of his headlining shows at Creamfields, 3D World caught up with the frank 30-year-old and found out just why he thought his music was so divisive. “I swear, World War Th ree will be started on my Facebook page,” Zimmerman says, “but you know what? I don’t know why.” Before 3D World can get the next quest ion out however, Zimmerman, after short consideration, has come up with the answer. “Act ually, I have a pretty good theory for right here and right now and this is just totally interpretative, it could be bullshit, but I believe it to be the truth. “I think that people want something unique in their lives and the more people that hop on board with a certain direct ion that I go, the more it no longer becomes unique to them because they have all these peers and other people that they don’t know biting on to it. I mean, I have my own unique things that are special to me that I’m glad a million other people aren’t in to, so sometimes when I do these genre jumping tracks, I really ruffle a lot of feathers because I’m touching something that feels like it belongs to someone else. “For me it’s about experimentation and doing as much as you can and trying to branch out. A lot of artist s have been careful with their careers to try and dominate and have a st ronghold built around a single identity, whereas I just really want to do it all. And because I want to do it all, sooner or later you’re going to end up pissing on someone’s sneakers because you touched that unique thing about them and that upsets people.” Zimmerman is no st ranger to upsetting people. Like, for instance, his largest consumer base. In 2008, he went on an unprecedented rant in the Irish Times, evangelising against his dislike for DJs who played other people’s records. “It puts me to fucking sleep,” he said. “I don’t really see


the technical merit in playing two songs at the same speed together and it bores me to fucking tears and hopefully, with all due respect to the DJ type that will fucking go the way of the dinosaur, I’d like them to dis-a-fucking-pear! It’s so middle man, they’re like fucking lawyers! You need them, but they’re fucking cunts.” Right. So Zimmerman, for all intents and purposes, hates the very people that allow him to make a living from his music. And as 3D World found out when quizzing the forthright musician about his comments, it is st ill a touchy subject. “Fucking hell,” Zimmerman bellows down the phone. “That’s the fourth fucking interview I’ve done in a row where someone’s brought that fucking st upid thing up. Is it that bad?” After due consideration, 3D World decides that it’s not so much bad, as ironic, given he recently accepted the International Dance Music Award for best DJ. “Whatever, I mean, so have a fucking laugh,” he concedes. And we do, both of us. Zimmerman’s comments are test ament to how seriously he takes both the creation of his music and the performance element of his shows. He is notoriously meticulous, incorporating and utilising a range of audio and visual technology when he performs that transforms his shows from simply playing music into live performance. It is this increased level of showmanship that Zimmerman sees as the major fact or in the increased acceptance and popularity of dance music in the mainst ream media. “I think a lot of talented artists are stepping up the DJ game and doing bigger shows with better product ion and that’s giving rise to dance music’s popularity. For whatever reason and for however long, DJ culture and elect ronic music, which kind of went hand-in-hand, just completely left [stage] product ion out of their shows, but slowly people have been getting more involved in creating a show for a hard ticket sell, as opposed to just an arena full of kids, a loud system and a DJ. It’s like Kiss, they’ve been putting on amazing shows since the 80s and they sound like shit live, but I would go and see a Kiss show again because it is a cool fucking show and it’s worth the price of


my ticket. If I wanted that [a picnic table set-up arena show] I could go home and buy a Dance Mega Mix 95 and appreciate it in the comfort of my own home for a significantly less cost than a day out.” Zimmerman made a name for himself through his music, yet has become increasingly renowned for his live performance, so how does his tread that fine line between staying true to his sound and not spilling over into pure spectacle? “Well you don’t necessarily need to a lot of the time,” he explains. “Like I said with Kiss, their albums sound great, but live, forget it. But their show is what st icks in your mind. So I would go for the theatrics of it all, I mean a guy pulls a bazooka out half way through the middle of the show and blows off a piece of the lighting rig and it’s fucking hilarious, it’s awesome. Now, I’m not saying we should go all smoke and mirrors and create live act ion theatre up on the stage it’s just a complementary part of the music. I mean, if you’re going to start a career doing what Deadmau5 does, I would fi rst and foremost establish a good sound beforehand that’s what’s going to sell this whole thing, that’s what’s going to pay for it all.” It is an interest ing notion that North America’s favourite dance music exponent is act ually a Canadian. Zimmerman has significantly boosted the profi le of elect ronic music into the mainst ream United States market and subsequently, the rest of world, giving rise to a large and vocal audience. Yet, this is a concept that – despite Zimmerman’s significant ego – doesn’t sit well with him. “I guess it’s weird. I don’t think that it’s all me, I think that it’s a whole kind of cumulative effort of a lot of talented producers and the mainst ream market is now starting to look over dance music and we were all just in the right place and the right time making things happen. So I never really buy anyone saying ‘well you’re the conduit’, no, no way, never.” WHO: Deadmau5 WHAT: 4x4=12 (EMI) WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May


TYPE NO POSITIVE OPINIONATED? NET SAVVY? CYNICAL AND CONCISE? LIVE TWEETING COULD BE FOR YOU – PROVIDED YOU’RE NOT INVITED TO THE LOGIES. OUR RESIDENT EXPERT 5SPROCKET DISSECTS THE PHENOMENON. est led in front of the television screen with a bowl of Fruit Loops, select Twitter users are leading a revolution in communication. Delivering minute-by-minute comments posted on Twitter – a ‘Live Tweet’ – people are uniting over a hashtag to deliver hilarious and snarky comments about whatever they’re watching. Imagine the Internet as a cross between Johnny Mnemonic and Virtuosity, where billions of ones and zeros fly across a neon blue universe, going ‘bip bop bip’. Th is is the back end of Twitter, where human thoughts that have been ‘input’ are transformed into microscopic computer creatures, something like Autobot sperm, swimming through digital canals for microseconds until they penetrate the womb of the famous ‘Twitter Whale’. The mythic sea-beast then lays a digital ‘info-egg’, and moments later, a 140-character pearl of wisdom is born unto the Twitter-verse: “Sushi is good.” ‘Live Tweets’ document an experience through a succession of tweets. When you live tweet, you are relaying your thoughts and opinions in short and snappy phrases, that ultimately document ‘what you just did’. For example, you could live tweet a lengthy wait for service at your local dermatologists (“Skin flake peeling. Must not eat”); you could live tweet a masked hold up at your local bank (“Masked man with gun not keen on Dollarmites”); or you could give minute-by-minute updates on the latest episode of Dog Squad (“Needs more dogs”). TV shows are usually dynamite for live tweets. Foodies grouped around Masterchef (#masterchef), making week-nightly jokes about Croquembouche, Foie Gras and Matt Preston, finding them all as funny as a cat wearing roller blades. Equally, there are groups of people that find joy in dissect ing world events and political currents on The 7:30 Report (#730) and Lateline (#lateline), snacking on the latest heavy hitting stories and spitting out their opinion in a snappy sentence. Of course, it is more difficult to compose rich and nuanced analysis of events in a couple of sentences; it’s far simpler, and crafty, to throw out “Gaddafi eats dick ROFL #730” to the information superhighway. For the big wigs that run the media world, Twitter is something ‘new’ and ‘fresh’ and ‘hip’. Not only does it show that the kids love talking about Just in Bieber, but it seems innovative in a way that could only impress a person that owns a Bluetooth earpiece. During this year’s Academy Awards there were over 1.2 million tweets during the ceremony, and host James Franco was getting in on act ion in-between tokes. It is this spirit of vitriol that dominates the weekly Twitter feed of the ABC’s Q And A. Under the hashtag #qanda, thousands of politically tuned arseholes log on to their accounts, roll up their sleeves and wank off to their opinions. The program, which features a guest panel of politicians, social advocates and media figures, embraces audience participation to the point where ‘choice tweets’ from the #qanda feed are coughed up on the television screen like bits of chunky phlegm. It is difficult to follow the feed online, a torrent of ranting abuse with hundreds of new messages posted to the feed each minute. It doesn’t take long before Disagreeable Guest #3 is virtually dragged to the floor of the st udio and mauled alive by hundreds of web-savvy hyenas. A collect ive madness sweeps over the viewers, each screaming at the top of their caps lock to get their incoherent rant heard. Live tweeting is like being at the back of the bus, yelling insults at the people who won’t respond. It’s most ly because of this aspect of live tweeting that has led the TV


Week Logie Awards to “ban” Twitter at its upcoming 2011 ceremony. Unlike the Oscars and Grammys, who act ively encouraged Twitter use in order to boost ratings, the Logies have gone the other route, looking to rest rict the use of the service in order to “keep the spirit of the night”. The Logie Awards have worked tirelessly to ensure that each year it appears shiny and important, like a freshly spray-tanned Getaway host. For the home viewers that are removed from this champagne and cocaine fuelled “spirit of the night”, the Logies can seem like a pitiful circle jerk featuring Aust ralia’s most beloved/unknown ‘stars’. The brains at Logies HQ had a bolt of elect rical cabling shoved up their sphincter in 2009, when live tweets of the Logies lacerated the avowedly mediocre event. It was prime roast ing material, with host Gretel Killeen donning angel wings and st umbling through her ‘comeback’. Wil Anderson, Dave Hughes and members of The Chaser all live tweeted from the event, taking photos of a cheese platter and saying “it’s st ill less than what’s on stage”. The Logies have always been a like watching an out of control bus skid over a family of ducks, but they have become relevant again as the target of collect ive ridicule. Following the 2010 Logie awards, comedian Catherine Deveny was sacked as a columnist for The Age after post ing a series of controversial tweets. Her comments ranged from Bindi Irwin getting laid to Rove McManus’ dead ex-wife. Again, Wil Anderson joked about getting herpes from a nearby John Mayer, and typed “Matt Preston won #logie deep fried it in batter and ate it”. Dannii Minogue even made a Twitter st uff up, by congratulating Alf from Home And Away on his win, ruining the illusion that the event was a ‘live’ broadcast in the fi rst place. It’s damage control for Logies 2011, as they try hold on to what little remains of their dignity. Celebrities are a prized commodity and Aust ralian stars are the best target around for the clever urchins of Twitter. The smart arse commentary has moved from the pub to cyberspace, where thousands of people are flexing their creative muscles in short, sharp tweets, most ly because it’s a whole lot more fun than watching the crap that’s on TV.


Be as creative, insightful and dynamic with your vitriol as possible. You should be tweeting at least once a minute, until the point where Twitter says “You have exceeded your tweet limit”. Swear words are more important than spelling.



HURTS SO GOOD t’s a 20 year anniversary of sorts for the Irish-Americans who last brought their shamrocks and shenanigans to our shores in a massive tour featuring Naughty By Nature and Coolio back in 1996. And this was their only time here, as Daniel O’Connor expresses between bites of a burger at Long Island, New York’s White Cast le. House Of Pain’s upcoming shows will be less of a brawl with blunt weaponry and executed in a more concise and refined manner. “The major difference is it’s not as drunken and angstfueled. It’s more mature,” O’Connor explains. “It’s definitely sharper than before. Before it was like a dull dagger that we stabbed people in the neck with.” The He Who Breaks The Law tour celebrates the inception of the band’s coming together back in 1991. Erik “Everlast” Schrody and O’Connor met at William Howard Taft High School – the same white suburban school in the San Fernando Valley of Los Angeles that gave us act resses Lisa Kudrow (Friends), Dana Plato (Diff ’rent Strokes), Marcia, Marcia, Marcia (Brady Bunch) and west coast hip hop legends Eazy-E and Ice Cube. It was here that NWA were founded, and where Schrody and O’Connor fi rst conceived House Of Pain. “Yeah, we all know each other from Taft, but I didn’t attend the school so much. In other words, I was always ditching class,” O’Connor admits reflect ing back to school days in one of Hollywood’s most vibrant high schools. “We were all in the same circle, it was weird. Divine Styler [who later gave Schrody a spot inside the Rhyme Syndicate rap posse headed by Ice-T] came there for summer school. There was a lot of hip hop st uff going on in there. Th is guy Brett Mazur [Crazy Town] was there, who was producing Bel Biv Devoe and a lot of hip hop shit back then. It’s crazy that such a white suburban high school had that much hip hop talent come out of it.” There has always been a strong rock prevalence in the make up of House Of Pain’s sound. Off the Judgment Night soundtrack they sized up against Helmet for Just Another Victim, and since the anthemic heavy rock Who’s The Man? from the Who’s The Man? soundtrack, House Of Pain have



been synonymous with rap-rock fusion. In growing up, O’Connor explains they had rock music first, then when rap music spread through to the west coast they defiantly adopted it and made it their own. “We all grew up listening to AC/DC and Led Zeppelin and Rush. Being a normal white kid in [the] 70s that’s what you’re listening to – there was no hip hop at the time. When I hear Black In Black with the drums I hear a hip hop beat, when I listen to Led Zep I hear a rhyming pattern,” says O’Connor, who broke down the cultural clash he and Schrody had to overcome to express their love of hip hop. “Between rap and rock music there was a huge cultural clash. Punk rockers hated jocks, they hated rockers. Then when hip hop came around, especially white guys in hip hop – yeah it

was a clash at fi rst, but that’s why we put our foot down. ‘We’re Irish, you don’t like us doing hip hop? Fuck you, blow me’.” When it came their time to step to the bar and get a drink out of hip hop, House Of Pain, now including Leor “DJ Lethal” Dimant, signed a recording contract with Tommy Boy Music and in 1992 their debut album had everyone sculling back a settled Guinness and head-butting the bastard beside them as two drunken Irish MCs and a Latvian-born DJ kicked some shit like Put Your Head Out, Top O’ The Morning To Ya and one of the most celebrated hip hop tracks of all-time, the DJ Muggs produced worldwide smash hit Jump Around. Coming at arguably one of the most exciting time in hip hop’s 30-something year history, their debut LP became a multi-platinum success. By 1996 House Of Pain had dropped two more LPs (‘94’s Same As It Ever Was going gold in the US) and had worked alongside Cypress Hill on projects and jumped in on tracks with Gang Starr’s Guru. The group had reached the heights of success in both hip hop and the music indust ry for their merciless attack of Irish-bred rap. But before a legacy could begin, each member limped away from House Of Pain to pursue other interests. Schrody became Whitey Ford singing the blues – a highly acclaimed solo career away from rap music. Lethal became the skeleton suit DJ/producer for rock outfit Limp Bizkit and Danny Boy honed his talents away from music as a graphic designer before stepping back in for the La Coka Nost ra collective hip hop movement. Still, the House Of Pain stood abandoned until 2010’s widely recognised reunion show at KROQ’s Epicenter 2010. As 2011 rolls through, the group is looking back 20 years since they merged their shotgun-pumping raucous rants and beer-fuelled raps over Irish jigs, bagpipes and kilts. “It’s the twentieth since the inception. We have grown apart and grown back together, and come back in full circle. It just felt like the right time to do it, and we didn’t want to miss that 20 year window either,” O’Connor continues. “It just feels like a combination of all the years, the blood, sweat and tears. And this time everybody got new skill sets sharpened from the 90s obviously. The experience and st rength is way bigger.” WHO: House Of Pain WHERE & WHEN: Prince Bandroom (Melbourne) Friday 29 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, The Hi-Fi (Brisbane) Monday 2 May, Manning Bar (Sydney) Friday 6 May, Groovin The Moo at Maitland Showground Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May

NO ACID CASUALTY CHOCOLATE CONNOISSEUR ROBERT BABICZ TALKS CYCLONE THROUGH HIS SLOW AND STEADY CAREER EVOLUTION, WITH DETOURS THROUGH SELF-ABSORBED MUSIC LEGENDS AND COMMUNIST POLAND ALONG THE WAY. erious techno artiste he might be, but Germany’s Robert Babicz has a sense of humour. Returning to Aust ralia this Easter with his improvised live show, he’s musing over an idea that will fluster promoters. “Hmmm, I think I should buy, like, 100 Easter eggs and throw them on the people.” Babicz even fancies boiling some ‘real’ eggs, as is European custom – although dist ributing them could be very messy. He’s joking, obviously. Still, Babicz is a chocolate connoisseur, albeit an eccentric one. “Last week I played in Mexico and I was eating chocolate sauce on chicken, act ually – and it was so extremely tast y,” he laughs. “I never thought it would work.” Few recognise Babicz as a veteran. It was only after nearly two decades in the elect ronic scene that he toured Aust ralia four years ago. He’s now a regular visitor. “It’s almost like coming home,” Babicz says fondly. “I even thought about moving to Aust ralia because it’s so nice and the people are so friendly there, but I decided against it – it’s too far away. It’s a great country, great people, but it’s too far away!” Based in Cologne, and going by ‘Rob Acid’, Babicz broke out with the UK hit Happy Answer in the early 90s. He cut it on borrowed gear and submitted a demo on cassette to the small label Inject ion. Happy Answer was picked up by London Records – and boom. Babicz went on to disseminate more sophist icated, and experimental, music under numerous handles. He ventured into ambient with an LP on Mille Plateaux. Babicz’s 2007 ‘artist ’ album A Cheerful Temper on Marc Romboy’s Systematic Recordings saw him abandoning the disguises. Last year he unveiled Immortal Changes. He also launched the label BabiczStyle primarily for his own music. And, in 2011, Babicz is enjoying unprecedented acclaim and attention. The German’s career resurgence is partly due to the popularity of minimal in later years – though his music defies such categorisation, being that he identifies more with the amorphous ‘techno’. Ideally, Babicz doesn’t think of his music in terms of any genre. “I don’t care at all about all these st yle police,” he says blithely. “I really don’t care. I just do whatever I want. I think... [you should] believe in your own emotions.” Babicz’s profi le was afforded yet another boost with him presenting his fi rst Essential Mix on BBC Radio 1 last month (it’s on his SoundCloud). “It was a great honour to be on this show,” he says genuinely. Babicz has been amazed at the number of tweets about his ‘mix’. “It was going on for weeks. All the people were like, ‘Oh, listen to this, listen to this, listen to this...’ I think I got a lot of new people who never heard me before, so it’s good... Everyone who starts listening to my lovely music is welcome!” What makes it an even greater coup is the fact that, again, Babicz broadcast a live set. He’s never DJed. “The thing is there’s a thin line between DJs and live acts these days. It’s almost impossible to see if someone is playing just as a DJ or as a live act – like all these guys having just a laptop and some controllers and they are doing something with their computers, but you don’t know what’s really going on. Many


people st ill call me a DJ – it’s st range.” An amused Babicz tells of punters who ask him repetitively for details of the tracks he’s playing, gradually realising they’re all his live. In Cologne, Babicz lived close to the late Karlheinz Stockhausen, but found the elect ronic pioneer dismissive of contemporary music when they spoke. He recalls Stockhausen as an archetypal genius – and inevitably self-absorbed. “He really loved himself a lot – and it’s not bad, it’s okay, because he could concentrate on his own thing. He was really not interested in what’s going on. I met him a few times – and he was really not interested in what other people are doing. He was only, ‘Do you want to talk to me, do you want to talk about my music?’ That’s all.” Babicz himself is open-minded – and progressive. In 1980, and at fiveyears-old, he arrived in Germany from his native Poland, his parents escaping the Communist regime. Paul van Dyk, an East German, has expressed dismay that the former secret police have never been invest igated for human rights abuses. But Babicz is about the present. “I would hope that we just move on and try to make [things] better for the next generation. It makes no sense talking about the past and what has been done – I mean, it’s long ago. I was growing up in a very poor environment, a very basic life, and I was able to do what I’m doing right now, so it’s Okay... The life was not easy for everyone – we know that.” Instead Babicz revels in his freedom – and travelling. Following Aust ralia, he’s off to China, then Poland. Babicz isn’t about to slow down. He’s just issued the compilation Robert Babicz, Volume 001. “[It] was a compilation of some older tracks that never came out in digital formats and some new tracks and most ly playable music for DJs. It’s this club thing – it was like Volume 1 of [my label] BabiczStyle.” Then there are releases on Carl Cox’s Intec and, of all imprints, the uber-prog Bedrock. And a new album is in its early stages. “Right now I’m starting to experiment again,” Babicz reveals. “Marc Romboy told me I have one year left ‘til [when] the next album should come out on Systematic, so I think I will start working again now. I’m already thinking about what type of music I should go for – playing around... I have no plan, but that’s good, like always.” WHO: Robert Babicz WHAT: Robert Babicz, Volume 001 (BabiczStyle) WHERE & WHEN: The Likes Of You at La Di Da (Melbourne) Thursday 21 April, Auditree On The River (Brisbane) Friday 22 April, Chinese Laundry (Sydney) Saturday 23 April





art Claessen has had something of an unpredictable career. Originally operating under the alias Barthezz, Claessen’s initial attempts at music product ion inadvertently rocketed him into the charts – with 2001 singles On The Move and Infected immediately breaking through to mainst ream success throughout Europe upon release. Since that point, however, Claessen has largely shied away from product ion in favour of honing his skills as a DJ.


The past ten years, for example, have only seen the release of approximately 15 of Claessen’s original product ions – little over an album’s worth of material for what is essentially a decade’s worth of work. By contrast, Claessen’s schedule as a DJ over the same period encompassed performances in Japan, Russia, Lebanon, Aust ralia, Spain, Poland and Canada at fest ivals like Trance Energy and Innercity – particularly bizarre given the producer didn’t even learn how to DJ until 2002. “When I started, I was about 20 years old,” Claessen reflects of his origins. “I was really surprised with that fi rst track. I really didn’t know what to expect. My only goal was to get into the Dutch club charts and then it got into the singles charts, and then licensed to all these huge labels all around the world. I think it ended up getting into the singles charts in something like 14 or 15 countries or something like that. “Until a bit over a year ago, I felt I needed at least two weeks to produce a track. It went very slowly,” the producer considers. “I hear from a lot of other producers that producing music always feels like a bit of a st ruggle. With every product ion I’ve ever done, I’ve pretty much always needed to hit a brick wall at least once and then, the next day, it’ll all start to flow. It’s always going from really happy to a bit down and from really st ressed out to totally relaxed.” The rest of Claessen’s career is full of similarly st range developments. The greatest example would perhaps be his relationship with trance. Th roughout his career, Claessen has perpetually associated with the st yle – from being invited to remix Tiësto last year to having his product ions consistently showcased by veterans like Ferry Corsten and Armin van Buuren – but, since dispensing of the Barthezz alias in 2004, has maintained only the most tenuous st ylist ic links to the genre.

“I think you’ve got to attract people with some sort of st yle and if people need to do that with me than I suppose trance is okay,” the producer muses. “If you listen to my radio shows, it’s all just a bit of a mixture of kind of trance, techno and elect ro. It’s all kind of in between those three. I think that most people just notice the melodies in my tracks, though, and if you just pay attention to the melodies than it can just look like trance. “If you’re talking about pure trance, though – like what most people consider to be pure trance tracks – I don’t really play those anymore,” he elaborates. “There’s always these big discussions as to what trance is and whether trance is st ill alive or st ill popular and I think all of those quest ions kind of depend on what you consider

trance to be. There are defi nitely people who have done the same thing for six years and have not been evolving at all – most ly the uplifting st uff. “If you think that is trance, I’m definitely not interested in it,” Claessen laughs. “If you’re looking to people who are really evolving and taking it to other places, though, that’s what I’m trying to do. You know, these days all st yles are getting a little bit closer to each other. Trance is getting a bit more slow. House is getting faster...” Still, there is a broad sense of continuity to Claessen’s work. Specifically, one can view the producer’s career as a gradual realisation of focus. It’s certainly a perspect ive borne out by Claessen’s recent output. Previously a slow worker with a broad st ylist ic basis, recent years have

seen Claessen working at significantly greater pace and with a surprising amount of precision – gradually refining an idiosyncratic blend of trance, house, techno and elect ro in an ongoing series of singles releases. “It changed a lot. I don’t know what happened with me. At the end of 2009, there were some tracks that I wanted to release but it took too much time and some tours were cancelled,” the producer recalls. “I went to the st udio and started to work and I just ended up releasing so many tracks over the past year. I did a B-side in 11 hours and I’ve never done that before in my life.” The ultimate demonst ration of Claessen’s gradual acceleration comes in the form of his current act ivities – the producer is currently crafting his debut album. Unsurprisingly, he isn’t exact ly forthcoming with release dates or timelines but, to his credit, he’s already managed to produce two tracks for the record this year and is fully intent on delivering ten more within the near future. “I’ve only just started. I’ve finished two tracks now so there’s st ill ten to go but I really hope to get it all done by the end of the year. I think, once I’ve done the fi rst album, things will get a little easier. While that album’s being released and promoted, I can start on the next one...” the producer pauses slightly. “If there is a next one. You know, I’m not really sure about it all. I’ve only ever worked on singles. I just wanted to try making an album.” WHO: Bart Claessen WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May





THE KING AND I (AND THE WHOLE WORLD) et’s face it – the average Aust ralian female is uncouth. Precocious, she packs away her weight in booze, drops the ‘c-bomb’, is no st ranger to the odd box flash whilst passed out in a cab and a dolled up night on the town inevitably leads to a spew or piss in a public alley. And when she’s st ill ‘standing’, teetering on six-inch heels with vodka martini in hand, she’s verbally abusing a mate/bouncer/boyfriend in regards to the Zinger burger said mate/bouncer/boyfriend didn’t buy her during a ciggie mission. Bless her. In 2000, set against a backdrop of sweating athletes, Princess Mary of Denmark, formally known as Mezza from the Isle of Inbred, met her prince-to-be at the Slip Inn pub in Sydney during the Olympics. Little did she know infamous playboy Prince Frederik had his eye set on slipping in on her. Fast forward one year, and vows were exchanged, babies brewing and old Mez was transformed overnight Cinderella-st yle from boring bogan to refined royal. Females across the great southern land clung to a brand new sense of hope. If dull as bat shit Mary could rope in a prince, surely they had the situation nailed. It wasn’t too far down the track that the notion took to the screen, and there’s no other greater showcase of the Aust ralian slapper than the Aussie version of 2009’s UK series Ladette To Lady. These chicks were the crappest of the crop. Tattooed, pierced, dribbling drunken messes, their peroxide hair glowed like beacons in the night as they ditched the st ripper pole in hope of climbing a more refi ned and, ahem, well polished regal pole. The ultimate prize should the snot nosed Dukes and Earls of Wankerville stomach the Ladette for the duration of high tea or alternatively until her boobs made a guest appearance is a notch up in rank – no pun intended. So when Prince William graced the country more recently, visiting regional townships st ill swimming in debris from the newsworthy flood water, who could forget the image plastered across ninemsn and countless other online news sites. You’d be forgiven for initially assuming it was an ad campaign for the next Farmer Wants A Wife series as a grubby looking plump female twenty-something waded through sludgy paddocks in gumboots and virginal white (wedding) dress holding a bouquet of flowers watching ever so dreamingly (desperately) towards the horizon for the arrival of Wills. No more backyard bonfi res with the boys from down the road, no more embarrassing mornings waking up in the hay shed – this girl had bigger fish to fry. There’s nothing particularly outstanding about Wills. He’s going bald, looks like his old man Charles, has fairly ordinary dress sense for someone who owns squillions and walks permanently with a large st ick lodged up his arse. But rifle through pics of his smoking hot ex-roots and you’ll see this guys a catch. Don’t underest imate the Wills. One kiss from those lush lips and one st roke through his thinning locks and rest assure you’ll be saved from those hidden promiscuous past times and slutty sins for good. Not so dissimilar to rubbing Buddha’s belly for good luck. The touch, nay the near sight of Wills’ balding head would be enough to cleanse any slapper’s sins for good. That’s what it’s about after all. The fascination with the royal family


doesn’t stop at trying to get a leg up into their ridiculous fortune. It’s also about feeding off their virtues, sucking dry their apparent morals and hoping to God a small piece of it will rub off on you. Aust ralia has until recently stood in the shadows of its pommy older sibling. Combine this with the fact that there’s a well documented man drought (especially in Melbourne) and it’s a lamington/spotted dick match made in heaven. As the big day draws near, tens of thousands of Aussie women of all ages, creed and calibre will flock together around the television like Sex And The City on crack. Starry-eyed, they will romanticise about being Kate, marrying Wills and walking the royal corgies as all the while the reality of their life will snigger at them like a fat kid with the last Mars Bar. When all is done and dusted it’s back to the metrosexual fucktards with the fluro v-neck tees and the outer suburban sleazoids with the jumped up cars. Rohypnol doesn’t look so bad after all.


3D WORLD GETS THE LOWDOWN ON WHAT SOME OF AUSTRALIA’S FINEST WOULD SPIN IF THEY WERE IN THE BOOTH AT THE RECEPTION FOR THE WEDDING OF THE MILLENNIUM. DANNY CLAYTON (THE RIFF,CHANNEL [V]) “Let’s face it, this is a party you would have to ease into like a hot bath because those Royals would be about as tense as a frozen trout. You would have to warm up with some 40s jazz tunes with a beat like some Nat King Cole. I’d then work up to some cheesy 80s remixes to get the Queen dancing (the old tart is sick for Madonna), move into pop territory with some remixes of Rihanna, Katy Perry, Lady Gaga, then blast the fuck out of the room with some dirty electro thumpers like Swedish House Mafia, Tiësto , Deadmau5.” HELENA “I’d open with the Sex Pistols God Save The Queen into Anarchy In the UK followed by Marilyn Manson The Beautiful People and Lady Gaga Bad Romance, finishing up with Dolly Parton DIVORCE.” TENZIN “I would just chuck on a lounge jazz compilation and try fi nd myself a princess.”






BILLIE ROSE WHERE AND WHEN WAS YOUR FIRST SET? “The fi rst big set I played with Reverse Polarities was our debut launch at the Annandale back in 2008. The energy was epic and somehow we managed to sell out the entire venue. Daily Meds then formed in 2009 to play our fi rst set with Sketch The Rhyme at Hibernian.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “As payment for me cleaning out the toilet at my parents second-hand record store I got to select my fi rst 12” at the age of six – ET narrated by Michael Jackson. Totally fruity and jampacked with hilarious sound effects.” WHO ARE YOUR FAVOURITE DJS? “Daily Meds supported DJ Premier at The Forum last year and he was super



slick, bringing the coolness like Ant from Atmosphere, another favourite.”

Her wish was not granted and she got kicked out soon after.”



“Tone is pretty dope. But if Dirty Shirlows ever took over the Ivy Pool Bar, built a floating stage and turned the booths into jelly wrest ling pits, I’d get us a residency asap.” WHAT’S YOUR BEST ALL TIME GIG?

“They are st upidly proud and brutally honest which helps to keep us humble.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST?

“Playing an uncensored Daily Meds set at the Erskineville Bowling Club for my folks’ 60th d’day party. The challenge was to get them all dancing and we did, eventually.”

“Less aggro and more sustainability in terms of quality, so that one day we can abolish that tacky meat market vibe.”


“Inner West Fest ival at the Sandringham Hotel Saturday 23 April, Big Th ings Volume One Launch at Tone Saturday 25 June, Psycho/Act ive Launch at ATVP Gallery Friday 2 September.”

“Last year I got up in tiny gold shorts and a girl started screaming out drunken ramble from the front row, literally clawing at my bare legs because she wanted to kiss them.







If like us you’re lucky enough not to have been sent to another country with a gun in your hand and little else, take some time out over this long, long weekend to ask your grandfather/relative/friend what it’s really like to be in the front line. A little bit of perspect ive goes a long way…


The Coachella fest ival continued its quest for domination of the music universe by st reaming three channels of content live on YouTube over the weekend. If watching the archived content isn’t enough to convince you, track down a copy of 2006’s Coachella: The Movie. And just get the fuck over there already…


All aboard the proggercraft! Nick Warren’s Balance 018 only dropped last week, but already Henry Saiz is trumpeting the arrival of his Balance 019 – which looks to be an artist album in all but name – with a preview on Vimeo. It’s coming in June, have your arm swirls at the ready…



How about that rain over the weekend? Heavy, heavy shit. Though to be honest we’re getting a bit sick of all this wettest /hottest / driest month ever malarkey, so we’re clocking off until “most unicorns at Bondi Beach in August ever” gets broken…


We all know people have got royal wedding fever, but the British man currently auct ioning off a jelly bean which allegedly looks like Kate Middleton is just taking things too far. What next? The Black Eyed Peas releasing songs that sound like act ual music?


Internationally acclaimed fashion and lifest yle photographer Christ ian Blanchard, is readying to run a specialist editorial fashion photography course. The full day handson class gives photography enthusiasts and exhilarating opportunity to work closely with an indust ry leader, and learn the tricks of the trade that only a professional can provide. It happens at Hatch Studio, Saturday 30 April. Cost of the course is $349, through


Head to WOO-HAH! for a night at one of the city’s loosest venues, with energetic mixed beats. Styles including dancehall, dubstep/ future beats, crunk, hyphy, old school hip hop, juke and elect ro will all be pumped through the soundsystem. DJs for the event include Dubious, Saba, Mothball Z, Mark N, Moriarty and JK47. It’s happening at The Sly Fox Hotel, Saturday 7 May from 9pm.


Playing the purest power ballads all night long, Absolute Power is Sydney’s newest club night with a difference. Expect big hair, fists in the air, epic riffs and one big party to the soundtrack of the best power ballads and rock anthems ever written. The venue will be transformed into the set of an 80s music video, with candelabras, fi reworks and white doves. The event launches at The Gaelic, Saturday 18 June from 9pm. Tickets $15 through Moshtix.


Good Friday will be the night to check out Tokyo Disco vs Geisha, featuring two DJs mixing it up in pimpin’ st yle. Lined up is DJ VLRK, along with Cyberman, Voodoo, Casio Ono, Anto Christ, Nacht, Budda, Noveaux and Kobuki. It’s a BYO event, and happening at Vintage Studios, 42 Sydenham Rd Marrickville, on Friday 22 April.


Due to unforseen circumstances, Omar S has cancelled his upcoming Easter Sunday gig at Tone. He has been replaced by DJ Tornado Wallace (aka Lewie Day), a Melbourne based dance producer known for his hybrid of house, techno and deep groove with several stand out releases in 2010, including the Tornado Never Dies and Paddlin EPs. He will front a three hour set, supported by Simon Caldwell and Kali. It happens Easter Sunday 24 April at Tone, from 10pm. Tickets $15 pre-sale through Resident Advisor, or $20 on the door



Make your wish come true and meet the real-life cast of I Dream Of Jeannie! The cast, including Larry Hagman, Bill Daily and that troublesome vixen Barbara Eden, are on a reunion tour and will sign photographs, pose for portraits and meet their fans at June’s Supanova Pop Culture Expo. Supanova hits The Dome at Homebush Friday 17 to Sunday 19 June.


Expect your feet to be elect rified this Easter at Elect ric Dreams. The party night will feature the work of finger dancing DJ Flight Deck, with support by Remus, Chris La Sek, Sandy Johnasson and Trivstar. Come dressed in your brightest shirts to make the most of the black lights. It’s happening at the Shelbourne Hotel on Easter Sunday 24.


Dubstep wave-makers Distortion are gearing up to re-launch Fake this coming Easter. The party night features over 11 DJs, including NZ heavyweight Optimus Gryme headlining. It happens at Fake Club, Kings Cross on Thursday 21 April from 9pm. General entry $20.


Following a highly successful DJ tour with the Big Day Out, Sampology is embarking on a national tour to showcase his dynamic and unpredictable live mash up set. Sampology’s Super Visual Monster Mash is the third instalment in his infamous AVDJ series, mashing TV shows, fi lm clips and vintage footage full of monsters and ghouls. He is supported by Tom Thum, The Hump Day Project, King Lee, and Georgie + Morgan. 3D World presents Sampology’s unpredictable and oneof-a-kind show, playing Oxford Art Factory Friday 6 May. Tickets $20 through Moshtix. TOM THUM


Okay, this whole Rebecca Black thing has gone too far when even a US Christ ian group has redone the vid as Sunday, with the “partying” refrain replaced by “worshipping, worshipping, yeah!” Or is it a very elaborate ironic gag? If not, it proves the devil does get the good tunes.





Live out the dream of a night in New York city with NY Loft Party, inspired by David Manucuso’s famous 1970 underground dance party. The event will be held in a “secret venue” with licensed bars, and sound and lighting transforming the space in to a New York loft. Music for the event will be powered with a full roster of house DJs including Terry A, Tazman, Richie Edwards, Paul Guy and Karl Prinzen in the main room, while the other room powers through the classic beats that defined the scene in its original era. It’s happening Saturday 21 May at a to-be-revealed venue, fi rst release tickets $39 through info@

Shrug have announced a massive line-up of deep to tech house talent for their May instalment, with a headlining performance by Germany’s Kollektiv Turmst rasse. The innovative and experimental DJs are pushing the plimits of house and techno sounds, prolifically touring the world with their unique beats. They are supported by Tim Culbert, Raffi Darkchild and Shrug regulars Robbie Lowe and “deepness in beard form” Dave Stuart. It happens at Tone Saturday 14 May from 10pm till late. First release tickets $15 through Resident Advisor, get in early.


Chicago DJ James Curd is heading out to deliver a set of hip house jams – but heading to us from his new home in Adelaide. The producer has a run of tracks to his name, with We Just Won’t Stop signed to James Murphy’s DFA Records label and Vegabond by his project Greenskeepers was featured on Grand Theft Auto 4. He’ll be digging out his favourite hits for Adult Disco at Civic Underground Saturday 7 May, from 10pm. Tickets $15 + bf, available through Moshtix and Resident Advisor.


Cargo Lounge is celebrating Keystone World Cocktail week by inviting Sydney’s finest bartenders to shake it up behind the bar, for one night only. Like Cocktail meets Coyote Ugly, the night will showcase the art of cocktail mixing, and you will even be able to vote for your favourite bartender and receive a complimentary cocktail on arrival. Take it shaken, not st irred at Cargo Lounge Wednesday 11 May from 6pm. Tickets $40 through




Local act World Champion have launched their fi rst release, and have received support from UK magazine NME. Michael Woodmansey has teamed up with Krist y Wilson to produce their fi rst official single, Dream. The track nods to lo-fi pop and shoegaze, drawing from the rich legacy of Ride, Sebadoh and My Bloody Valentine. World Champion have played in New York, Sydney and Melbourne. Dream is available as a download through iTunes.

Local artist Jugu is set to launch her fi rst music video for her song, The Deep. The track features on the artist’s upcoming EP, Getting Closer. Jugu wrote the song to describe “the floaty feeling you get when you fall in love,” and was inspired by a kiss at Circular Quay. The performer will be launching the video, along with performing songs from her EP with a full backing band at World Bar, Friday 29 April from 10pm. Entry is $15 at the door.



For the fi rst time in Sydney, live music meets performance art at Free Fall, a new artist-run initiative held east Friday and Saturday night in the Cube at Oxford Art Factory. Curator John A Douglas is bringing together the best emerging contemporary artists in a three month program that will explore everything from endurance, art history, painting and cost ume, all with a sense of fun and experimentation. It happens from 8pm, and entry is free.



Love Deadmau5? You might hate Keep Deep, an unofficial after-party for Creamfields. Join musical masseuses the CO-OP and Monkey Tennis DJs plus special guest spinners That Keen crew (BJ, Radar, Disco Stu and NYDRay) and Mr Danny Monk for a wild party night of house. It will be loud, sweaty and out of control, like the best things in life. It’s happening at Tone, Saturday 30 April, from 9pm. Entry $15 at the door.

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

OGFLAVAS Urban news with CYCLONE


John Legend has been linked romantically to his ‘protege’ Estelle, but he’s act ually dated model Christ ine Teigen for four years. Singers going out with models? Yeah, it’s a cliche. Legend has a bit of a rep as a modeliser – and even a lovely, st ylish and Ivy League-educated guy like him cops flak for it. The irony is that today most pop stars – urban or not – are de facto models themselves. (Legend has appeared in a Lexus SUV ad!) With the music indust ry downturn, artists need to diversify to make a buck and so they brand themselves. Beyonce is the Queen of Endorsements – plus she has her own fashion empire and perfume. Rihanna, too, owes much of her fame to the fashion world. She has developed an ever-changing edgy image – and is constantly featured in glossy magazines. RiRi’s universal ‘It’ girl status now is such that she can perform at the Academy Of Country Music Awards (albeit dressed demurely). Rihanna is following the savvy Mary J Blige, who largely popularised the ‘ghetto fabulous’ look globally. Mags that won’t review Blige’s hip hop soul albums will publish a piccie of her. No wonder, then, that Ciara is trying so hard to emulate RiRi’s ‘crossover’ st rategy. Of course, Lady GaGa has raised the stakes with her flamboyant cost uming – and everyone from Nicki Minaj to Jessie J is watching. Diddy’s Bad Boy signing Cassie, aka Casandra Ventura, hasn’t put out an album in yonks, but that hasn’t stopped her from scooping an impressive campaign as one of the new ‘faces’ of CK One – uber-waif Kate Moss being the fi rst in the 90s – along with Sky Ferreira and others. Indeed, Calvin Klein has launched a fashion line to go with the unisex scent. Ventura, with her undercut, is (s)punky. She was already modelling at 12, obviously prior to her music career, in catalogues. She moved from Connect icut to New York, connected with up-and-coming producer Ryan Leslie and, through him (and her manager Tommy Mottola), aligned herself with Bad Boy. Ventura has long mentioned a second album of urban-dance entitled Elect ro Love. Several singles – including 2008’s Lil Wayne-featuring Official Girl – have st iffed, prompting its delay. That Diddy’s own elect ro-disco Last Train To Paris bombed can’t have helped. Anyway, with her CK One triumph, a canny Ventura is now talking up her new single, Bougie Shit...

BOOTING UP he past five years have seen Italy has reposition itself as a genuine player in the European dance sphere. The UK, France and Germany have alternately jockeyed for position as heavyweights in the region, while thriving scenes in the Netherlands and Sweden fight well above their weight. Italy however has emerged from the shadows to slew of quality exports. Chinst rokers will shake their head and point to Italo disco, Mauro Picotto and even Spiller as evidence of Italian pre-eminence, but it’s acts such as Crookers, Mowgli, The Bloody Beetroots and Benny Benassi that have really put the boot on the map. Rome native Nima Tahmasebi (aka NT89) has a theory as to why Italy has jumped ahead. “Because we’re not French, we’re not English or German, we are a mixture between all the st yles without having a specific one – this brings freshness and originality to each scene.” The freshness NT89 brings is what he brands “new” or “power” techno, which borrows from Ed Banger and Zombie Nation in aest hetic. Squelchy, analogue, often tribal and always epic, Tahmasebi has garnered support from luminaries as varied as Laurent Garnier, Tiga, A-Trak and Diplo. Along the way he’s been picked up by taste-making imprints such as Southern Fried and Turbo. The NT89 formula for success? “I only worry about the dancefloor. I do each track to sound big on the club sound system, and that could work well melodically and rhythmically.” Having picked up DJing as a 13 year old, Tahmasebi started dabbling in product ion to make original tracks for his sets. His influences were like so many other of that vintage globally – “the big ones I guess: The Chemical Brothers, Aphex Twin, Daft Punk. Homework changed my life.” His favourite track of all time though is not of those Daft Frenchman – rather Trentemøller’s remix of the Moby classic Go. Tahmasebi has a genuine affect ion for Aust ralia, having tasted our partying ways in his last visit. “Aust ralia is a country who loves to party,” the Amsterdam resident shares. “I saw people who really enjoy and understand what you play, and also people who come just to have fun. It’s the perfect combination for a great party.” Continuing the theme, the Italian sums up the aim of his upcoming trip: “To spread my new sound, and to have a lot of fun partying.” He cites producers Light Year and Th e Finger Prince (aka Gus Da Hoodrat of Bang Gang fame) as being amongst his favourite artist s.


“I played with Bag Raiders in Sydney a year ago and I loved their set, then their album got released and I was amazed. I would really love to remix [Bag Raiders’ massive hit] Shooting Stars if I had the chance!” Tahmasebi is no slouch behind the decks, having long graduated from a st raight up two turntables and a mixer set-up. “My show is basically Traktor 2 running with CDJ-2000s, and two Novation Launchpads, which I use for FX, and cue points as a drum pad.” And his favourite jocks to watch? “I have two: Erol Alkan & Tiga. Th ey are absolutely my favourite in terms of show performance, track select ion, mixing, energy and elegance.” RUSS MACUMBER

WHO: NT89 WHERE & WHEN: Wham! at World Bar (Sydney) Saturday 30 April


SHOOTING FOR SUCCESS he Bamboos may be tied to the ultra-serious deep funk scene, but band leader Lance Ferguson has a sense of mischief. Running late for this interview, the meeting spot a convenience store, the guitarist texts, “Go buy a Blue Heaven Slurpee”. The Bamboos’ chilled-out founder is an improbable arch disciplinarian, although he also manages the group. “The cool thing about the people act ually in the band is, as clichéd as it always is, we are like a family after all these years. So it’s not like I’m dealing with these people who are out of control.” Remarkably, The Bamboos, aligned with the British stable Tru Thoughts, have dropped four albums plus a live set since 2006. For many, Ferguson, who likewise DJs and records as Lanu, is the face of The Bamboos as much as soul diva Kylie Auldist. The Kiwi was originally st udying jazz at the VCA. It was through local DJs such as Ennio Styles and Kano that the hip hop head discovered the amorphous deep funk movement. The Bamboos, who early on played Fitzroy’s Night Cat, can accept credit for opening up Aust ralian audiences to soul. Today Sharon Jones & The Dap-Kings sell out shows here. Ferguson, who has Tongan ancest ry, admits that, on arriving in Aust ralia, he was “shocked” that black music was less “prevalent” than in New Zealand. “There were definitely people here into it, but it was more on the fringes.” It’s not necessarily about colour, he st resses. “Sharon Jones has grown a lot bigger now, but initially she was big in the white college scene in America. I remember talking to Gabriel Roth about their rise to success. He said it’s all the white kids at colleges where they played, it wasn’t like they were embraced by the black American audience – which I thought was interest ing. In


a way it’s a similar sort of culture here that has started to embrace that music – and it’s just spread out.” Artists like Amy Winehouse, Duff y and Mark Ronson have st imulated the mainst ream’s appreciation of soul – and Ferguson isn’t about to diss them. “Soul music is pop music, so I think it’s just as valid,” he says. “There was a Motown revival in the 80s – and it keeps cycling around.” The Bamboos premiered in 2001 with the single Eel Oil/Blackfoot and subsequently offered a second on Kay-Dee Records (co-run by Kenny Dope). After airing the inst rumental LP Step It Up, Ferguson determined to cut “songs”, recruiting vocalists for Rawville – among them Auldist. A then unknown Megan Washington cameo-ed on the Northern soul Side-Stepper, singing a groovy cover of Kings Of Leon’s King Of The Rodeo. In 2010 The Bamboos presented 4, their most successful outing yet (it’s sold in excess of 20,000). Lyrics Born, a Bamboos fan, guested but, in fact, 4 dipped into 60s psychedelia, Ferguson fascinated by how different st yles “collide”. He’s now preparing The Bamboos’ next album, which will further delve into garage psych’. The Bamboos are perpetually evolving, Ferguson disinclined to appease modish purists. “I think every album should be different, but it needs to be in a honest way. It can’t be just, ‘We’re gonna make a different album’, it needs to be genuine – and I feel like it has been for me. That’s mainly because I get bored with st uff really easily. I just love all sorts of different music – I mean, I don’t sit around listening to funk and soul records all day, it’d bore the hell out of me! I listen to everything from techno to folk music to whatever. It just so happens that I have this band and I try to sneak this st uff in there.” It was a coup for an Aust ralian act to sign to Tru Thoughts (mind, Step It Up was issued Stateside by Ubiquity). Ferguson is gratified at Tru Thoughts’ promotional endeavours in spite of its indie budget. The Bamboos have successively toured Europe – and they’ve gigged at London’s prest igious Jazz Cafe. There’s talk of them playing 2011’s Glastonbury. Nevertheless, the expense of nine musicians travelling can be prohibitive. “We’ve lost money on tours before,” Ferguson concedes. The Bamboos have crossed over, albeit in unorthodox ways. Their music has been licensed to TV shows – Grey’s Anatomy, Ugly Betty and Underbelly. Two years ago they made music for the Nintendo Wii video game de Blob. And, as with The Roots, The Bamboos have long backed other performers. Ferguson plays in Washington – and the lady herself features heavily on his Lanu album, Her 12 Faces. (Washington’s collaborator John Cast le engineers for The Bamboos – and is one of Ferguson’s best mates.) He isn’t surprised that she’s become a superstar. “She’s got that ‘thing’. You can have a major label promotional budget behind you and whatever, but that st uff wears thin after a while. They can push people who haven’t got that ‘thing’ for only so long.” Ferguson is producing, having guided Auldist’s two solo excursions. However, he’s seeking challenging projects. “I’m a bit over people coming to me just wanting this retro soul/funk sound.” Music has to be “progressive”, he feels – and, yes, playful. “None of The Bamboos’ records really sound like they’re from 1969 – we’ve always had MCs and st uff. I’ve always tried to put something in it that makes it of the ‘now’, because I’m not into that time capsule mentality.” CYCLONE

WHO: The Bamboos WHERE & WHEN: The Gum Ball Fest ival at “Dashville” (Belford) Friday 29 April, Manning Bar Friday 20 May




Considering that it’s still Record Store Day week, I forgot to mention that Rhymesayers dropped a limited edition ten track compilation of their latest roster and it’s limited to 10,000 copies. As is Blueprint’s double vinyl picture disc for his latest effort ‘Adventures in Counter Culture’. The Truth & Soul label surprises me with an instrumental version of Lee Fields’ 2009 release My World. The North Carolinan has also worked with the Daptone and Stones Throw labels and evokes sweaty references to James Brown in his manner, but this release lets us enjoy the musical backbone unadulterated. Marc Mac and Visioneers have also recorded versions of two classic b-boy tunes. The BBE label go limited with Apache/Shaft In Africa. I’m a fan. Numero Uno Group unleashed the impressive Syl Johnson six LP box set but are now readying a 5x45 box set as well. And rumour is that he will be touring these shores soon. I haven’t listened to nor seen the new music sampling documentary Copyright Criminals, but I just spotted a tast y looking package. It comes with two DVDs, a 12” record, a poster, 25 trading cards and even some download links. Holy moley! On closer inspect ion I see that the vinyl is in fact a collect ion of beats from Clyde Stubblefield. It’s a tad pricey, but compelling enough to invest igate. It’s also interest ing to see soundtracks appearing on vinyl. Sure Daft Punk’s TRON was not that much of a surprise, but the clear vinyl for Inception was nice. As for local releases there’s the third output from Hope Street Recordings with a blinding new 7-inch from the ten piece school band The Cact us Channel from inner-city Melbourne. The two tracks are act ually quite cracking with their hard funk attitude and while one might be a cover of a Porgy Jones New Orleans classic (The Dap) the other is an original (Pepper Snake). Good to see some kids eschewing the laptops and getting down with some real physical kit. From the Queensland label Mighty Highness comes two new records – one from long-time Brissy funk act Afro-Dizzi-Act Remixed (300 copies) and the other from Melbourne’s Ethiopian influenced The Black Jesus Experience with their three track 12-inch Arada. Go for the inst rumental of the latter and there are only 350 copies available.


ydney troupe Sketch The Rhyme are turning doubters into believers with their unique approach to, as the name would have you believe, sketching and rhyming. Lorenz Prichard, better known on stage as P. SMURF, openly admits that the group’s source of inspiration is far from st raightforward. “In a word, it’s hip hop meets Mr Squiggle,” he laughs. “Hip hop meets Pict ionary. We get a squiggle from a member of the audience and work from that, but there’s no puppet and it’s not upside-down. It’s how we’ve adopted some culture we’ve all grown up with.” Although it could easily be assumed that the majority of us love Mr Squiggle, Prichard admits that sometimes the crowd just don’t get their unique version of entertainment. “For us it’s a way to express ourselves in freest yling and improvisation and interact ing with the crowd, but I think if the crowd is lame it ruins the vibe,” he says. “We have to run it into a kooky vibe and make ourselves laugh and that will often turn the crowd around. We did a Jewish fest ival and it was an all aged fest ival, and we did that and it was a really mixed crowd. We had eight-year-olds and 80-year-olds and it was interesting! But I think we get to turn people who wouldn’t automatically be interested in the hip hop and they like the live art side, but its definitely based on the crowd and a good crowd will always make the shows.” Luckily for the members of Sketch The Rhyme, their local crowds have been consistently st rong and supportive and Prichard doesn’t hesitate in crediting the locals for much of their success. “Definitely [the local support has] skyrocketed us in terms of pretty much mouth to mouth, word to word, people brought their friends and wanted to show their friends,” he enthuses. “All the MCs were doing their thing, and everyone was in a scene but everyone’s jumped on board and once you have a good thing, people want to help and they see that it can work. And there’s the fans who come down and support it so we’re definitely feeling the love. “It makes you all warm and fuzzy,” he continues, “especially at the gig, that’s a reminder. The fi rst gigs were at warehouses and we had to take them out because they were getting too big and it was great! It’s a great feeling, and it’s awesome to have your friends down there. I’ve lived in Newtown my whole life so it’s nice to have another reason to say hi to


all your friends, it’s great. I hope it’s because they like what’s going on!” The local support may be amazing, but the ambitions of the group certainly spread wider than their neighbourhood. “[Long term plans] is what we’ve been discussing lately,” he reveals. “We’ve hit a tuning point in how we go about things. The band has just written a new score for the show, and they want to shy a bit away from the pop gigs and adapt it to live shows like at venues like the Opera House, but we’re thinking bigger that that. We want to get out of Sydney. Future wise I think we have to refine our act to the point its going to entertain no matter what and have a st ruct ure to that.” JANE STABLER

WHO: Sketch The Rhyme WHERE & WHEN: Inner West Fest ival at Sandringham Hotel Saturday

23 April, FBi Social at Kings Cross Hotel Friday 13 May


POETRY IN MOTION fter nearly five years, an esteemed Balance release and several globetrotting tours that saw him hiding with Demi and Omid 16B behind the shadowy conceit of the Sex On Substance collect ive, Desyn Masiello has finally returned to his work as a solo DJ craftsman. And according to Masiello, it’s a move he’s taking in deadly seriousness. After all, this is the man who rode the early joys of acid house as a punter before famously reaching the ears of DJs, promoters and booking agents around the world in the late 90s, simply on the back of one immaculately crafted demo mix. “DJing to me is half about dancing, groove for the body, and half about storytelling – the melodics for the mind. To me, the both things are rarely, if ever, done together properly,” Masiello tells 3D World, with the dust barely setting after his annual jaunt to the Miami Winter Music Conference. “DJing is a weird new phenomenon. Some people see it as the latest way to communicate universally to the soul and on par with something like poetry at its best, while some people just see it as beats and grooves to dance too and don’t care for the rest. But there’s st ill a lot of ways to touch people through DJing, and it’s something I’m always working on.” Like so many others over the past few years he was drawn into the hypnotic rhythms of tech house, but confi rms he’s now gradually drifting back towards those inviting melodies he was once so famous for. “I’m trying to bring them both together,” he says, laying down as his lofty goal. Around a decade ago, Masiello gradually and organically built a name for himself on the back of the st rength of his DJing, before reaching a peak with the release of his own acclaimed Balance 008 mix in 2005. By the looks of things, and the nearly poetic way that he discusses his craft, he’s looking to reclaim these glory days once again, and some of his recent DJ sets that have reached the web suggest he’s cast ing the net wider than ever across the spect rum of house music. “Breaking down barriers and categories is very important to me,” he says. “DJing in a poetic sense is about weaving and revealing threads and vibes in music, regardless of the boxes or genres we place the tracks into. Making a good mix across genres is always a challenge, as it takes a lot of time and work to find the music, and putting them together in a mix is even more a challenge. It’s a good thing we like challenges then.” There’s been a lot of disco and deep house that’s found its way into his mix, bubbling away among the more rest rained tech house


select ions, and there are definitely some parallels to be drawn with the often euphoric melodies that Masiello was once famous for reveling in. Does he feel there’s a consistency in the music he’s drawn to? “Probably yes, when talking about melody I’m definitely very specific about what I like. It’s that place between the major and the minor – or the alternation of the two, the inbetween happiness and sadness… The balance feels right there. I don’t like things too happy, where it feels fake, or too dark where it can be depressing. I’m sure in the past I’ve played sets that have more of one than the other, but overall that’s what touches me most.”

It’s not being prickly to suggest that Masiello has had a slightly st rained relationship with Aust ralian audiences at times – while he’d become a hit with clubbers after the release of his Balance mix, the enthusiast ic embrace he’d given to the party lifest yle saw him cancelling one of his returning tours, and effect ively putting his career on hold while he rested and recuperated. Refreshingly though, he’s more than happy to discuss that period of his life with almost startling honest y. “First ly I’d like to apologise to anyone I let down back then, to any fans or promoters, I’m sorry and I am doing my best to make it up to you. Back then though I was in a real bad way, unable to get out of bed let alone get on a fl ight to somewhere. That was well needed time off. I was a real idiot in many ways back then, as in I had no fear at all of anything. I thought I could take and do anything… and I did, and I partied hard and long, it was real rock and roll, and I had no care for my body, mind or soul. The universe gave me a big ticking off and made me very ill for three months, and there were weeks on end I couldn’t get out of bed. I was emotionally and physically dead.” If this sounds like a black point in both his career and his personal life, Masiello found st rength in being able to grow from the st rong lessons that life occasionally deals you. “It was very important for me as I woke up from many delusions, and now I respect myself and this life a lot more. I quit drinking for four years then, and even though I have the odd drink now and again now, I’m now a much more sober and balanced person.” It was also not long after this hiatus that Masiello began working with the SOS collect ive. While he says it was eventually Demi and Omid 16B’s desire to begin producing together that saw him return to his original love of DJing, he says it as an enriching thing to learn and work in a team, instead of just promoting his own name. “There was something non-egotist ical about us all doing something that meant we had to put our personal interests to one side and do something for each other. If I hadn’t taken that time off I might not have had the courage to take that risk, and I’m happy I did. So I have no regrets about anything.” ANGUS PATERSON

WHO: Desyn Masiello WHERE & WHEN: Golden Cage at Soho (Sydney) Sunday 24 April, Easter Excess at Barsoma (Brisbane) Monday 25 April


TIME TO TRACK The Tech Underground with ANDREW WOWK


In amongst all the hype that seems to surround international techno artists who come to visit (which, to be fair, in some cases is warranted), very, very talented Aust ralian artists seem to get overlooked, often unjust ly. So this month I wanted to make Time To Track all about the amazing talent we have right here in Aust ralia. Okay, first up, the Sydney-siders. You really can’t go past Simon Caldwell, Typhonic and Defined By Rhythm. There are plenty more who, if I had the space, I would mention, but these three in particular have something more to them than just great taste in music. Simon’s extensive knowledge of the history of techno and strict ly vinyl-only approach to DJing makes him an absolute joy to watch, particularly because every set he plays is a learning experience for even the most hardened trainspotter. You might wonder why I mentioned El Typho, and my answer

is this: he’s one of a very select few cats brave (and ghetto) enough to play booty techno on a regular basis, and what’s more, the dude has got ridiculous skills. You’d be st roking your chin like crazy while watching him play if you weren’t too busy jittin’ like a motherfucker. Defined By Rhythm deserves his mention because he’s one of the few entirely laptopbased DJs I’ve seen (including internationals) who act ually pushes the technology to its limits and genuinely uses it to approach DJing in a unique, interesting way. Plus there aren’t too many others that can work that deep, druggy vibe quite like he does. And a special mention to SWARM, a crew who for over a decade have to been dedicated to promoting local techno in Sydney. Melbourne has always been techno capital of Aust ralia and it’s easy to see why: Dave Pham, Ben Cromack, Craig McWhinney, Christ ian Vance, Mike Callander and now more recently Claire Morgan. Then of course there are Kazu Kimura and DJ Bold, two expat Aussies who have now gone on to worldwide success. Oh and let’s not forget HMC, without whom, one could argue Adelaide wouldn’t have even developed a techno scene. So please, next time you get all hot under the collar about Carl Cox touring yet again, take a moment to check out the names I’ve listed above, because I can guarantee you that they would eat him for breakfast.

IN THE STUDIO WITH 25 ALBUMS UNDER YOUR BELT, HOW HAS YOUR PROCESS OF PRODUCING MUSIC CHANGED OVER TIME? “In all my experience you have to keep your fan base and also create a new fan base – this will show improvement. What always changes is the way we make music. Youthful days are the driving force in music. New era... new ideas.”


INFUSION LEGACY JUNKIE XL REMIX (Audio Therapy), 2003. “Each layer and vocal is gradually added to create a pure sound that opens the mind. Infusion is also my favourite live export.” HYBRID FINISHED SYMPHONY (Dist inct ’ive Records), 1999.

WAY OUT WEST MINDCIRCUS (Dist inct ’ive Records), 2002. “Apart from it being one of the great closing tracks of last decade, so many memorable images come flooding back whilst listening to this record.”

WHAT CHALLENGES DID YOU FACE PRODUCING YOUR LATEST RELEASE RASTA LOVE? “Touring and making the album at the same time. That is what was most tedious.”


John Glover, Tenzin, Matt Nukewood, Anthrax and Rooney will all be playing at an epic party aboard the Harbour Queen for the Royal Beats cruise on Sydney Harbour this Sunday 24 April. The boat is two levels with a large chillout deck upstairs, plenty of room to move and dance. With some of Sydney’s most loved DJs doing what they do best, this is sure to be the royal event of the year. For your chance to win tickets, email your name and contact details to giveaways@3dworld. with ROYAL in the subject line. Entries close Wednesday 20 April.

“The production that went into this track cannot be ignored. It is such an amazing piece of music which can only be fully appreciated whilst being performed live.”


DID FAN EXPECTATIONS HAVE MUCH INFLUENCE ON THE CHOICES YOU MADE WHEN CREATING RASTA LOVE? “Yes it did in a lot of ways – travelling and meeting people. Our main problem as a people is true love: giving it and receiving it. That’s where the idea came from to name the album.”


discouraged me in any way or form. It’s Jah works and it must be done by man or Jah will use st icks and stones to do it.” KYMANI MARLEY AND JAH HILL AND PETER TOSH ALL WORKED WITH YOU ON RASTA LOVE, WHAT WAS THEIR INFLUENCE ON YOU? “Bless up all the guests on Rasta Love, KyMani Marley, Jah Hill and the legend Peter Tosh – a man of influence. The song Coming

In Hot is a remake of a Peter Tosh’s hit song. I respect Kymani as an artist his talent is outstanding. Jah Hill is a young conscious Miami rapper and to be able to incorporate his st yle into reggae truly proved to be a hit.” WHAT SURPRISES DO YOU HAVE IN STORE FOR AUDIENCES AT YOUR SYDNEY SHOW? “The audiences of Sydney can come out to see fi re all over the sky and see a man flying high – 100,000 percent, nothing less...” WHERE & WHEN: Manning Bar Thursday

21 April


WHAT INSPIRED YOUR DJ NAME? “Our fi rst gig really, the theme for the party was to be inspired by a certain airline so naturally we dressed as pilots and when one of our friends on the dancefloor saw our DJ set-up they said it looked a lot like a ‘fl ight deck’!”



IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Progressive house – we like to have a lot of fun and generally keep it pretty funky though.”

THE IDEA BEHIND OUR NIGHT IS… “Two top-notch reggae superstars live from Jamaica for the very first time in Sydney!”

WHAT TRACK TURNS YOU ON RIGHT NOW? “Mord Fustang – Milky Way. Product ion on this track is spot on especially that disco bassline he’s got going on there.” WHAT MADE YOU START DJING? “The love of elect ronic music and discovering the potential to manipulate tracks the way you want to and probably one too many iPod house parties!” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “A troupe of midgets coming onto the dancefloor and tearing it up!” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “What’s the latest track from David Guetta?” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ?


THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Anthony B and Ce’cile (live from Jamaica), Admiral Kilosh (Kenya), JamRock DJs and Ujahmaa Sound System (Melbourne).” “Pict ure five drunk girls all lined up off to the side of the DJ booth, all waiting patiently for the girl in front to finish their request so that they could get their turn to shout at us to play Only Girl In The World by Rihanna. Funny thing was that none of them could hear the girl in front so they just kept asking for Rihanna!” WHERE & WHEN: Elect ric Dreams at Shelbourne Hotel Sunday 24 April, Sunday Sets at Th ree Weeds in Paddington Sunday 1 May


THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “An amazing stage show and high energy vibes all night.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “If you’re a fan of Sizzla, Jah Cure, Capleton and Lady Saw, you will dig Anthony B and Ce’cile!” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Authentic dancehall, roots, culture, lovers rock and more!” WHERE & WHEN: Manning Bar Thusrday 21 April

Local Flow with MATT UNICOMB

Drapht dropped his fourth full-length, The Life Of Riley, earlier this month. So far, the react ion has been pretty varied. While there have always been an abundance of Drapht naysayers – ever since he started bust ing out his best countertenor on hooks, starting with 2005’s Who Am I? – they seem to be slowly diminishing. The Perth-based MC has broken ground with each of the LPs he’s dropped, beginning with the now cult Pale Rider in the early ‘00s. And while the significance of his st yle has been a topic frequently offered up for debate, the man himself has ensured that he stay one of local hip hop’s most relevant artists. Another one of the Perth guys that’s been a pretty consistent spitter is Mortar. The MC has been around longer than a lot of people realise, and is now one of the true veterans of the Western Aust ralian scene. Mortar fi rst caught attention as a part of Clandest ine alongside Tomahawk and Graphic, and emerged at more or less the same time as perhaps one of the most significant of Aust ralia’s hardcore crews, Lyrical Commission. But while Strut, Trem, Balans and J-Red may have been the most well known act of the ‘03-’05 era, Clandest ine were st ill repping hard. Of the trio, Mortar’s solo career has been the most product ive, spawning several well received albums, including my personal favourite, Mortarshell Symphony.




What sets Mortar apart from the rest of the country’s hip hop community, however, is his sheer willingness to experiment. A seasoned producer, the platforms he chooses to jump on are the kind that most MCs wouldn’t be game tackle – and the kind that sound like Mortar’s the only MC that could get nice on them. It’s important to remember, though, that he made most of them, crafting beats from classical music and fi lm samples, ultimately resulting in some of the darkest melodies to be released in Aust ralia. Mortar and Hunter have teamed up for a collaborative LP, set to be released on 6 May. It’s called Fear And Loathing, with all tracks produced by Mortar himself. You can get a taste of the album over at the duo’s Triple J Unearthed page, where they’ve loaded in a select ion of cuts from the forthcoming album. For a piece of the act ion, hit


FACT FEATURING SATOSHI TOMIIE TICKETS FACT is all about gathering friends, good vibes, nice people and music lovers together to enjoy quality sounds, performances, visuals – no place could be better to introduce FACT to Australia than Tank nightclub. Satoshi Tomiie is set to headline Fact this Easter Thursday 21 April. Satoshi Tomiie will be joined in the main room by FACT’s own Javi Sampol who has had a huge impact on the Sydney house scene since arriving from Barcelona. Sadly, this is one of the last ever events at Tank and one not to be missed. For your chance to win a double pass to the event email your name and contact details to giveaways@3dworld. with FACT in the subject line. Entries close Wednesday 20 April.


A STATE OF TRANCE 500: ARMIN VAN BUUREN ACER ARENA: 16.04.11 “All units stand by. Prepare for transmission. Set frequencies. Connect ing global audience.” These grandiose words have been ringing out across the world over the past month, with the live broadcasts listened to by tens of millions and the set rips dist ributed enthusiast ically via just about every direct download service known to man. The celebrations for the 500th episode of the already hugely successful A State Of Trance radio show has been a marketing triumph for Armin van Buuren and the Armada Records juggernaut, with five massive events taking place across Johannesburg, Miami, Buenos Aires and Dutch city Den Bosch. With the climact ic event descending on Sydney’s Acer Arena on Saturday night, the city’s trance faithful are locked and loaded for a party to remember. The punters filter into the venue nice and early at 9pm to witness upcoming US DJ/producer Shogun warming up the crowd nicely with a well-received set of progressive trance. Future Entertainment’s set-up lived up to the spectacle we’d witnessed from the other cities – giant circular lighting installations hovering over the dancefloor, a massive stage that put the DJ in the spotlight, several video screens, lights and lasers galore plus backstage, a radio st udio hosted by Armin for most of the evening, keeping the millions of listeners worldwide in the loop. Aussie golden boy tyDi was always a forgone conclusion for this party, dropping a tightlywoven set of his trademark “prog-lite” trance that went down a treat. With Menno de Jong


stepping up next though, things were looking a little bleak. Much of the internet chatter during ASOT 500 has laboured on how creatively bereft many believe the trance scene is in 2010, and if there was ever a stage where the detractors seemed to have a point, then it’s during Meno’s set of airy-fairy trance blandness. Egyptian sensations Aly & Fila bring the tempo up a little next with a set just as heavy in driving beats and shrill acid as it is euphoric melodies, only let down by programming that occasionally reduces it to breakdown after breakdown after breakdown. German heavy Alex M.O.R.P.H is the evening’s biggest surprise though. Driving the crowd to distraction with an intro that seems to last for 10 minutes, the wildcard of Deadmau5’s FML thunders across the arena, foreshadowing a choppy, rough around the edges set that brings a welcome touch of unpredictability. Spot on at 3am, the master of ceremonies Armin van Buuren hits the stage, greeted by an appropriately grandiose intro and crowd response. Beginning with a hit of the Eurotrash melodrama that featured so heavily on his Mirage album last year, and reduced Melbourne’s NYE ‘Armin Only’ concert to what

seemed like a pantomime at times, even here the execution is flawless, with the crowd gasping when he drops into a deep patch around half an hour in that reminds us he’s always been about more than back-to-back anthems. As the tempo rises again, Armin can be seen bouncing around the stage and dancing with wild abandon, with an infectious energy and charisma that reverberates throughout the arena. The evening’s finale is a perfect ly-mixed home run of trance anthems, vocal mashups as well as plenty of unexpected moments, including a blinding hit of pumping tech trance in the final half that wallops the loving crowd right across the face. Finishing with a half-hour power trance drive that reaches the end of the road with Going Wrong (and the associated singalong), Armin doesn’t lose the crowd’s attention for a second and all cynicism has been dashed. Even if Armin’s transformation into a Guetta-st yle commercial powerhouse is nearly complete, he’s done it with crowdpleasing panache that you just cannot fault – and this is a party worth staying til the bitter end for. ANGUS PATERSON




ANTHONY B & CE’CILE TICKETS One of Jamaica’s top entertainers, ‘The Trendsetter’ Anthony B has made his mark on the world with his conscious roots music and high-energy live performances. With over 25 albums under his belt including this year’s Rasta Love, his mission continues to be the representation of the poor and oppressed. Th is inspirational reggae artist will be performing all his hits at Manning Bar Thursday 21 April, joined by the st unning Jamaican diva Ce’Cile and local supports. For your chance to score a double pass to the show email your name and contact details to giveaways@3dworld. with ANTHONY in the subject line. Entries close Wednesday 20 April.

THE IDEA BEHIND OUR NIGHT IS… “To jam pack a day with the dopest hip hop the inner west, Sydney and Aust ralia has to offer. The fi rst day is being hosted by Freshly Squeezed, supplying 18 fresh acts over 11 sweet hours.” WE’LL BE PIMPING THE SOUNDS OF… “Recently formed Sydney record label Big Village. Acts on their roster performing on the night include local crew Reverse Polarites, Tuka from the Thundamentals, True VibeNation and Ellesquire from Loose Change. Joining them are more ill MCs, DJs, vocalists and crews than you can poke a stick at it.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Ozi Batla, Sketch The Rhyme, Reverese Polarites, Hyjack, Vegas Aces, Seven, Tuka, Dirtbox Kings, Grouce, Ellesquire, Herb, Nikkita, Milan, True Vibe Nation ,Last Credit, Optimystic, Electric Elements, LC Beats & Rivals, DJ Skae, Luke Presto and Plan 567.”

THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Open Mic at 4pm. Sketch Competitions. Roaming dancers. Cheap beers and jugs all day and night. Basically back to back, non stop hip hop/good times for every person out there who appreciates good music.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Freshness!” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “The sheer volume of this event and the outstanding quality of the performers. Matched with the friendly, upbeat , lets get trashy vibe, that Newtown and the inner west has to offer. A perfect start to your Easter long weekend.” WHERE & WHEN: Inner West Fest ival (Day One) at The Sandringham Hotel Saturday 23 April

DJ DEF ROK WHERE AND WHEN WAS YOUR FIRST SET? “My fi rst set was way back in 2000 at the Ruff Endz Afterparty at the Daintree, Darling Harbour.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “Bob Marley – One Love.” WHO ARE YOUR FAVOURITE DJS? “Invisibl Skratch Piklz, Beat Junkies, X-Ecutioners, SHM, Dirty South, Erick Morillo, Laidback Luke, Dennis Ferrer.” FAVOURITE CLUB TO PLAY? “I have played all over Oz but the clubs that stand out for me are Tank and Ivy in Sydney, Fusion in Melbourne, Sin City on the Gold Coast, Eve in Perth and Arena in Brisbane.” WHAT’S YOUR BEST ALL TIME GIG?


“One that stands out would be playing at Mercury Lounge in Brisbane for an afterarty and Ice Cube and WC got on the mic and MCed my set. I was dropping some West Coast fi re while they were doing their thing on the mic. That was pretty crazy.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “A girl was asking for a track to be played repeatedly and I wouldn’t play it, so she flashed her fake boobs in the DJ booth. I pretty much played the track right away.” WHAT’S THE WORST REQUEST YOU’VE GOT? “Anything that starts with ‘It’s my friends 40th b’day tonight, can u play...?’.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO?

“They are very supportive. But when I was growing up they were always complaining about how loud the volume was or my massive vinyl collect ion.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “Less dodgy promoters putting on half-arsed nights then asking DJs to do their gigs for cheap. It undermines the great scene we have and shows a lack of respect for the DJs who have worked hard to get to where they are.” UPCOMING GIGS? “Rnb Superclub and Not Myself at Tank every Friday, Sienna at Establishment every Saturday, SuperJamm at Establishment Sunday 24 April.” PHOTO BY CARINE THEVENAU


While the 1990s will no doubt be remembered as the decade where pizza delivery franchises launched a concerted assault on Aust ralian shores, in the 00s it was all about the gourmet pizza house – and thus a new world of franchise opportunities was born. Before these were launched into ubiquity, there was a brave old world of proper pizzerias, dishing up their own brand of homespun goodness to a loyal legion of consumers bought up in a world before twofor-Tuesday, cheesy crusts and ‘healthy’ options. So you could mount a case for Redfern mainstay Mamma Mia being either one of the last of a dying breed or a beacon of hope in an era where mailboxes are more likely to collect fast food coupons than act ual letters. Located as it is on the busy Redfern St st rip, where hipsters and football fanatics rub shoulders with enigmatic characters best described as exist ing on the fringes of society (and beyond), its juxtaposition with the neon of one of its franchise competitors over the road is delicious. A bit of healthy competition never hurt anybody after all.

PIZZA mussels is fresh with an undercurrent of ocean taste which is never overpowering, generously covering the thin base and woodfi red to perfect ion. Unfortunately the vegetarian side comes up short of the promised pumpkins and capsicum, with the featured fresh tomato, mushrooms, olives and onions not quite satisfying even if it is more in keeping with a tradition light Italian pizza topping. The Garlic Pizza warm-up is also a little dry on the underside, with perhaps a dash more garlic and mozzarella needed to sate appetites brought up on franchise cheese-fests. Thankfully the Pepperoni Calzone delivers the goods. Crispy on the outside and jam-packed with pepperoni, ‘shrooms, capsicum and onion, it’s the moneyshot on the Mamma Mia menu – and better yet, it’s perfect value if you’re scratching up those last coins on the lookout for some grease content on your next st umble home. LAWRENCE DAYLIE WHAT: Mamma Mia Pizzeria WHERE: 152 Redfern St, Redfern WHEN: Sunday-Thursday 5pm-10pm, FridaySaturday 5pm-11pm

Thought little more than a shopfront with two humble table and chair set-ups inside (this is more of a grab-it-and-go outlet than an eat-in experience, right down to the option of a cheeky slice of the stock flavours on that drunken walk home), the atmosphere is inviting. Th is feels like a family affair – albeit a very quiet, focused family – and the woodfi re oven certainly adds an air of authenticity to proceedings. The menu is relatively st raightforward, offering the usual range of ‘traditional’ pizzas (Margerita, Napolitana, and the very Italian ‘Aussie Pizza’) with chicken, seafood, vegetarian and meat pizzas for the more adventurous. Tonight we plump for splitting one down the middle – Mixed Seafood one side, Veggie Lovers the other. The seafood select ion of calamari, prawns, octopus and











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Armin van Buuren @ Acer Arena Eden @ Favela Fridays @ Ryans Bar Kiss & Fly Saturdays @ Dee Why Hotel 5 Pure Ivy 6 Purple Sneakers presents Last Night 7 RnB Superclub @ Tank


8 Saturdays @ Bar 333 9 Saturdays @ Carmens 10 Saturdays @ The Orient 11 Saturdays @ The Watershed 12 Sienna @ Establishment 13 Sundays @ Northies 14 Sydney Comedy Festival Cracker Night @ Metro Theatre



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GUESTLIST TUESDAY 19 BEACH ROAD HOTEL Dyan Tai, Anothony McKeon. 11:30pm. WORLD BAR Pop Panic: DJs Cris Angel, Cosmic Explorer, Nickles.

WEDNESDAY 20 BANK HOTEL Girls’ Night: DJ Emme Jay. 9pm. Free. BEACH ROAD HOTEL The Holidays, Goldfields. 12am. FRINGE BAR Arsee, Bart, Olie. 8pm. GALLERY A.S. Daniel Askill: Modern Worship. 6pm. KINGS CROSS HOTEL The Chaser Empty Vessel. $15. MARLBOROUGH HOTEL DJ Moussa. 9pm. Free. METRO THEATRE - Funky Meters. 8pm. $70.70. NORTHIES CRONULLA Jamie Lindsay. 7:30pm. Free. WORLD BAR The Wall. 8pm.

THURSDAY 21 BANK HOTEL DJ Jack McCord. 8pm. Free. CARGO BAR I Love Long Weekends: Hey Now. GALLERY A.S. Daniel Askill: Modern Worship. 6pm. GOODGOD SMALL CLUB Rumble: Lanie Lane. 8pm. $10. JACKSONS ON GEORGE Last Rights: Residents. 9pm. Free. MELT Wayphaser, Fox, Berkeley, The Zebs, Hugh Jass. 8pm. $10. OXFORD ART FACTORY Mind Over Matter, Ilz, Coptic Soldier, Johnny Utah. 8pm. $10-$15. THE ROUGE Simon Says: Nacho Pop vs. Lino Type, Eko, C-bu and more. 8pm. $10 on list. WORLD BAR Propaganda DJs. 9pm. $5.

FRIDAY 22 CHINESE LAUNDRY Dubrave: Blaze Trip. 9pm. $15-$20. COHIBAR Jeddy Rowland, Anders Hitchcock. 5pm. Free. COHIBAR DJ Matt Roberts. 6pm. Free. ESTABLISHMENT Sienna: G Wizard, Def Rok, Teko, Lilo. 9pm. $20. GALLERY A.S. Daniel Askill: Modern Worship. 6pm. HOME THE VENUE Homemade: Aladdin Royaal, Matt Ferreira, James SPy, Dave Austin and more. 9pm. $20-$25.

KIT & KABOODLE Falcona Fridays. 8pm. $10. SYDNEY HARBOUR Good Friday Party Cruise. 7pm. $35 - $45. TONE Clark Ikonika, Harmonic 313, Sub Bass Snarl, Semper Fi, Portrait Victim. 2pm. THE WATERSHED HOTEL Bring on the long weekend! DJ Matt Roberts. 6pm. Free.

SATURDAY 23 202 BROADWAY Jamrock Reggae Club. 8pm. BANK HOTEL Meem. 8pm. Free. CHINESE LAUNDRY Robert Babicz. 9pm. $15-$25. CIVIC UNDERGROUND Adult Disco: Mark E. 8pm. COHIBAR Jeddy Rowland, Mike Silver. 8pm. Free. FRINGE BAR Arsee, Bart, Olie. 8pm. GALLERY A.S. Daniel Askill: Modern Worship. 6pm. JACKSONS ON GEORGE DJ Michael Stewart. 9pm. Free. MANNING BAR Club Kooky DJs. 8pm. MARRICKVILLE BOWLING AND RECREATION CLUB Red Rack’em. 8pm. $35 +bf (pre-sale). OXFORD ART FACTORY Trashbag DJs. 9pm. PHOENIX BAR Phoenix Rising: Dan Murphy, Johan Khoury, Mark Alsop. 4am. $10. THE ROUGE Sheamus Sparks, Guy Tarento, Chris Fraser, Tim Mc Gee. 8pm. $10 before 11pm on list. SANDRINGHAM HOTEL The Inner West Festival: Sketch The Rhyme, Reverse Polarities, Thundamentals and more. 12pm. $20. WATER BAR DJ Scott Pullen. 8pm. Free. THE WATERSHED HOTEL Skybar: Un Amore. 10pm. Free. WORLD BAR Wham: Shazam (Bang Gang 12”), Ro Sham Bo, James Taylor and more. 8pm. $15 before 10pm, $20 after.

SUNDAY 24 BANK HOTEL DJ Eddie Coulter. 4pm. Free. CARGO BAR DCup, Ember, Jace Disgrace. 8pm. $10. COHIBAR DJ Brynstar. 3pm. Free. FAKE CLUB Spice: Javi Sampol, Yokoo, Murat Kilic. 4am. $20. THE GAELIC We Had Parties: Last Night, MUM,


Girl Th ing, Teen Spirit, F.R.I.E.N.D.S, Ghetto Blaster, P*A*S*H. 9pm. $20 +bf (pre-sale). GALLERY A.S. Daniel Askill: Modern Worship. 6pm. GREENWOOD HOTEL Circo Loco: Ryan Crosson, Audiojack, Shit Robot, Andrew Grant. 1pm. $40 +bf (pre-sale). IVY Players Club:Miami Horror DJ Set. Bag Raiders DJ Set. JACKSONS ON GEORGE Aprhodisiac. 9pm. Free. JACKSONS ON GEORGE Ressurection: House DJs. 9pm. Free. MANHATTAN LOUNGE Alton Miller, Phil Toke, Michael Zac, Eadie Ramia. $20. OXFORD ART FACTORY Bone Thugs-NHarmony. 8pm. $29 +bf (pre-sale). THE ROUGE Discotronica: Axle, Lost Boy, Implex, Nile Data, Deckhead. $10 before 11pm on list. SANDRINGHAM HOTEL Inner West Festival: Hard-Ons, Zeahorse, Green Mohair Suits, Fait Accompli, Hailer and more. 12pm. $20. SHELBOURNE HOTEL Electric Dreams: Flight Deck. 9pm. SOHO Golden Cage: Desyn Masiello, Andrew Wowk, Mesan and more. 9pm. $25 - $35. STATE THEATRE John Legend, Lowrider. 8:30pm. $74-$107 +bf (pre-sale). TANK Housexy: Jonathon Ulysses, Nicc Johnson and more. 8pm. $20 - $25. TONE Tornado Wallace, Simon Caldwell, Kali. 10pm. $35. THE WATERSHED HOTEL Afternoon DJs: DJ Brynstar. 3pm. Free. THE WATERSHED HOTEL Club Parada. 10pm. Free. WORLD BAR Fortune: Allison Wonderland, E-Cats, Generic DJs and more. 8pm. $10 before 10pm, $15 after.



THE BASEMENT DJ Krazy Kon. 9:30pm. $25. CARGO BAR ANZAC Party: Bill & Alex (My Kitchen Rules). 12pm. FAKE CLUB Spice: Murat Kilic, YokoO, Matt Weir. 4am. $20. IVY Courtyard: Juggernaut DJs, Ajax, Timmy


Trumpet, Starfucker DJs, Lightyear. 2pm. $35. IVY Pool Bar: She Pool Party: Mark Farina. $40 +bf (pre-sale). STATE THEATRE John Legend, Lowrider. 8:30pm. $74-$107 +bf (pre-sale).

TUESDAY 26 ACER ARENA Chris Brown. 6:30pm. $149 - $189. THE METRO Bo Burnham. 8pm. $44.

WEDNESDAY 27 THE CAMBRIDGE HOTEL Tin Can Radio. 9pm. $10. THE HARP HOTEL Strange Talk. 8pm. $13.30. THE POLO LOUNGE Robopop: Randall Stagg, Kill The Landlord, T-Rompf, Smithers & Burns, LL Cool G. 10pm. $10.

THURSDAY 28 ACER ARENA Justin Bieber. 7pm. $65 - $285. CRUISE BAR DJ Dwight ‘Chocolate’ Escobar. 8:30pm. Free. THE GAFF College Party: Kid Finley, Pee Wee Pete. 9pm. Free. GOODGOD SMALL CLUB Strange Talk. 8pm. $10. HOME TERRACE Unipackers: John Young. 10pm. $5-$10. WORLD BAR Propaganda DJs. 9pm. $5.

FRIDAY 29 ESTABLISHMENT Tank: RNB Superclub: G Wizard, Def R ock, Troy T. 8pm. CBD HOTEL NEWCASTLE Strange Talk. 8pm. $13.30. DASHVILLE OUTDOOR AREA The Gum Ball: Vasco Era, The Bamboos, Space Invadas, Chase the Sun and more. 4pm. $117.30 - $137.30. FITZROY HOTEL Mind Over Matter, Coptic Soldier, Ilz, Drakezilla, Vincent Vega and more. 8pm. $7-$10. STATE THEATRE Naturally 7. 8pm. $69 - $79. WOODPORT INN Cassian. 8pm. THE YOUTHIE Tin Can Radio. 8pm.

SATURDAY 30 CHINESE LAUNDRY Cassian. 9pm. $15 - $25. GEARINS HOTEL Mind Over Matter, Coptic Soldier, Johhny Utah. 8pm. $7-$10. OXFORD ART FACTORY Tim and Jean. 8pm. $16 +bf (pre-sale). PHOENIX BAR Phoenix Rising: Dan Murphy, Johan Khoury, Mark Alsop. 4am. $10. SHOWRING & HODERN PAVILLION Creamfields: Deadmau5, Martin Solveig, Skrillex, Chuckie, Simon Patterson, Gabriel and Dresden, Wynter Gordon and more. 12pm. $99.95 - $199.95.

SUNDAY 1 ANNANDALE HOTEL Unsigned Wonders: Finabah, The Never Ever, Call the Shots, Ghosts on Broadway, 1pm, $15. BRASS MONKEY Bon Chat, Bon Rat, 7pm, $14.30 +bf (pre-sale). COHIBAR Brynstar. 8pm. Free. CONCERT HALL SYDNEY OPERA HOUSE Herbie Hancock, 8pm, $112- $143. ENMORE THEATRE Sydney Comedy Festival: Andres Lopez, 5pm, $50-$70. FAKE CLUB Spice: Mia Lucci, James Taylor, Murat Kilic. 4am. $20. THREE WEEDS Sunday Sets: Flight Deck. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO SYDNEY@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.


CALENDAR APRIL FUNKY METERS – Wednesday 20, Metro Theatre HEY NOW – Thursday 21, Cargo Bar TIMMY TRUMPET – Thursday 21, Macarthur Tavern OPTIMUS GRYME – Thursday 21, Fake Club MIND OVER MATTER – Thursday 21, Oxford Art Factory INDEX: 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 INNER WEST FESTIVAL: SKETCH THE RHYME, REVERSE POLARITIES, THUNDAMENTALS AND MORE – Saturday 23, Sandringham Hotel BONE THUGS-N-HARMONY – Saturday 23, Blacktown Olympic Park ROBERT BABICZ – Saturday 23, Chinese Laundry MAD RACKET: RED RACK’EM – Saturday 23, Marrickville Bowling & Recreation Club ALEX KIDD, XDREAM – Saturday 23, Woodport Hotel WE HAD PARTIES: MUM, GIRL THING, TEEN SPIRIT, F.R.I.E.N.D/s, GHETTO BLASTER AND P*A*S*H – Sunday 24, The Gaelic ALTON MILLER – Sunday 24, The Manhattan Lounge SPICE: JAVI SAMPOL – Sunday 24, Fake Club JOHN LEGEND, LOWRIDER – Sunday 24, State Theatre DESYN MASIELLO – Sunday 24, Soho MIAMI HORROR DJS, BAG RAIDERS – Sunday 24, Ivy DCUP, EMBER, JACE DISGRACE – Sunday 24, Cargo Bar CIRCO LOCO: RYAN CROSSON, AUDIOJACK, SHIT ROBOT, ANDREW GRANT – Sunday 24, Greenwood Hotel MIAMI HORROR DJS – Sunday 24, Ivy TORNADO WALLACE, SIMON CALDWELL, KALI – Sunday 24, Tone HOUSEXY: JONATHAN ULYSSES, NICC JOHNSON – Sunday 24, Tank 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 STRANGE TALK – Wednesday 27, The Harp TIN CAN RADIO – Wednesday 27, The Cambridge Hotel STRANGE TALK – Thursday 28, Good God


Small Club JUSTIN BIEBER – Thursday 28, Acer Arena CASSIAN – Friday 29, Woodport Inn THE GUM BALL: KORA, VASCO ERA, SPACE INVADAS, THE BAMBOOS, CHASE THE SUN AND MORE – Friday 29 – Saturday 30, Dashville Outdoor Arena RNB SUPERCLUB: G-WIZARD, DEF ROCK, TROY T – Friday 29, Tank STRANGE TALK – CBD Hotel 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 1, Fake Club HERBIE HANCOCK – Monday 2, Sydney Opera House DJ KRAZY KON – Tuesday 3, Ultra 18s DATAROCK – Thursday 5, Oxford Art Factory DESIGNER DRUGS – Thursday 5, OneFiveOne WASHINGTON – Thursday 5, The Metro MURS & 9TH WONDER, RA THE RUGGED MAN – Thursday 5, The Gaelic DANCE CLUB: 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 DJ HOUSE SHOES – Saturday 7, The Burdekin DESIGNER DRUGS – Saturday 7, Fake Club WHAM!: KID KENOBI – Saturday 7, World Bar AC SLATER – Saturday 7, Chinese Laundry CASSIAN – Saturday 7, 151




s the anger of punk dissolved into the pop leanings of post-punk and new wave in the second half of the 1970s, Gary Numan burst through the Blondies and Buzzcocks with an icy clinicism, presenting a confrontingly dehumanised yet irresistibly infectious new sound. His third album, The Pleasure Principle, contains three of Numan’s most loved and covered tracks – Cars, Metal and ME – which apparently inspired US hip hop artist Afrika Baambaata (as did German synthesists Kraftwerk) to develop an electro-breaks sound which would form the roots of modern hip hop. On the eve of his Australian tour, in which he will play The Pleasure Principle album live in its entirety here for the first time, Numan reveals the chaos and serendipity that went into creating this legendary, award-winning album. WHY DID YOU DECIDE TO BEGIN USING SYNTHS IN YOUR MUSIC? “I didn’t own my own synth until after The Pleasure Principle. I went into the st udio in early ‘78, I was 19 or 20, to make my fi rst album for the record company. They signed me as three-piece punk band and I had written a whole collect ion of punk songs – this was going to be a punk album. I get to the st udio and in the corner was a Minimoog. It didn’t belong to the st udio but a hire company who should have had it collected but they forgot. The st udio let me use it all day. I didn’t know how to set it up or get a sound out of it, so I just sat there and twiddled knobs until something good came out. I was blown away with the sound of it. So I was able to use the Minimoog in the st udio to add a layer of elect ronic noises and replace some of the guitars that should have been on the album. We went back to the company with that album: instead of punk they got an elect ropunk album. The label were not happy, it wasn’t what they wanted at all.” SO YOU LEARNED HOW TO PROGRAM SYNTHS AS YOU WENT ALONG? “The way I got sounds was not through

knowledge at all, it was by pressing every button and every dial, trying to learn what happens. Sometimes it doesn’t do anything at all! Figuring out what else you have to press to make another part work… by doing that I slowly started to learn how synths worked.” BY THE TIME YOU WROTE THE PLEASURE PRINCIPLE YOU WERE ALREADY SEEN AS BRITAIN’S POP-SYNTH WHIZ KID – WERE YOU BY THEN? “After writing Telekon, we quickly went back into the st udio with no money. All I wanted for equipment was a Minimoog for a day and a Polymoog for a day – I st ill didn’t own one, and st ill wasn’t at home with synths, the only time I had a synth in front of me was in the st udio and only for a few hours. I had two number one albums and hit elect ro singles and I st ill didn’t own a synthesiser myself!” WAS THAT SOMETHING YOU KEPT QUIET? OR WERE YOU QUITE OPEN ABOUT IT ALL BEING A BIG RANDOM EXPERIMENT? “I was doing interviews with tech magazines, answering highly technical quest ions and didn’t have a clue about it all! I was supposed to be the number one international artist expert in elect ronic music and I did not have a clue – they’d ask me quest ions about fi lter envelopes and it was like they were speaking a foreign language! It was act ually quite embarrassing for a long time: I couldn’t admit that I didn’t know about it. I had this reputation as a ‘keyboard expert’ so I tried to blag it. Eventually I did learn a bit about it but initially it was a nightmare.” SO WHEN DID YOU FINALLY OWN YOUR OWN SYNTH? “At the end of the three albums I toured and bought a load of synths then, to play live. That was the fi rst time I owned one myself.” WHEN YOU FIRST PLAYED THAT MINIMOOG IN THE STUDIO, WHAT WAS IT THAT ATTRACTED YOU, AND BY DOING SO FINISHED YOUR PUNK

ASPIRATIONS AND BEGAN YOUR LONG CAREER AS AN ELECTRONIC ARTIST? “The thing abut elect ronic music is… that the notes you play and the way you play them can have exact ly the same passion as acoust ic inst ruments, but there’s an added level. You don’t just play notes, but create the sound itself – there’s no other inst rument that does that! That makes it amazing for me – it’s such a fundamental part of electronic music, creating sounds, or it should be because it bloody well isn’t for many people. I find it shocking sometimes to listen to people make music using sounds I was using in 1980! We’ve already heard that, don’t use it again! Electronic music is the only music there is where you don’t ever have to repeat a sound! I get excited even now about making a good new sound – I’ll grab my wife and say, ‘Listen to this sound I made!’ I’m like a little boy in a sweet shop with my enthusiasm for it.” YOU’D JUST MADE REPLICAS AND, AS A FOLLOW-UP, THE PLEASURE PRINCIPLE CAME PRETTY HOT ON ITS HEELS. WHAT DID YOU USE AS INSPIRATION TO CHURN OUT NEW SONGS SO QUICKLY? “I was reading a lot of science fict ion at the time, and it shows in songs like Metal and ME. ME is about what would happen if you were the last person on Earth after the holocaust. I wondered what would happen if the last living person was a machine, but that robots were advanced to such a degree that they were thinking machines, so I wrote ME. ME is the thought of the last living machine in the world. I thought that idea was really fab , what a machine is thinking when everything is gone. A lot of what I was writing at the time came from my love in general of science fict ion.” WHO: Gary Numan WHERE & WHEN: The Tivoli (Brisbane) Thursday 12 May, Enmore Theatre (Sydney) Friday 13 May, Forum Theatre (Melbourne) Saturday 14 May


ince the turn of the 21st century, Gary Numan’s popularity has seen a well deserved surge. Certainly assisted by the elect ro-pop wave which struck early in the century, spawning new bands like Ladytron and Goldfrapp and reviving the flagging fortunes of many of synthpop’s great names such as The Human League and OMD, Numan also had a bite of the cherry due to the patronage of post-industrial poster boy Trent Reznor. On his recent albums Numan has been assisted by techno wunderkind Ade Fenton, who acts as both producer and mentor. Numan admits they have an unorthodox – but successful – partnership. “Ade is fantastic – I don’t think I could get through a day without him! He’s in the band, produces my albums and is my best friend, and has been for some time.” HOW’S YOUR WORKING RELATIONSHIP? “We rub up against each other from time to time as you would expect, but he is very encompassing and we work together very, very well and his contributions have been phenomenal.”

HOW DOES YOUR COLLABORATION WORK? “I record a track at home and give it to Ade, who gets rid of things and puts his ideas on it and gives it back to me. I then put all of my ideas back in that he took off in the fi rst place and send it back to him and together eventually we come up with something. He says my ears are rubbish and he should mix all of my songs and I say then there’s the rubbish you did and… but it works very well. If he does something I don’t like I can just say, ‘That didn’t work for me, take it somewhere else,’ and he’s very cool with that. He’s very supportive of me and what I’m doing. I st ruggle with confidence quite a lot act ually: I love a track in the morning and in the afternoon I think it’s a big pile of poo and have to start again. He’s really good at stopping me from erasing st uff – God knows how many songs I’ve erased thinking they’re no good but I don’t do that any more, now I have this other ear that I value.”


WIDE WORLD OF SHORTS SOME IDIOT TAKES GHB AND NOW WE HAVE TO HAVE A DEBATE ON DRUGS So, anyways, some idiot decided to get high on GHB, he ended up in the back of a car on account of the fact that his friends were high and paranoid, and somehow thought that their version of fi rst aid (which I’m assuming was along the lines of a cup of Lipton and a piece of vegemite toast) would be better than the St John’s version, and now suddenly we’re having a debate on legalising drugs. Not wanting to sound like an arsehole, but people generally take drugs with a certain level of expectation, ie you knock back a pinger and you expect to be hugging everyone in the room and letting those strings wash over you; you smoke some meth and you expect to be counting pieces of dirt in the carpet; you take GHB and you expect to have your heart slow down and possibly die. At which point, there needs to be a general understanding among the pro-legalisation camp and the Fred Niles of the world – sadly, being an idiot is already legal. The best you’re going to manage is to do the same as you do with cars. Taking a few pingers and a couple of joints is a little like driving at 100 in a 100 zone. Breaking the speed limit on the other hand is something like a four-day meth binge. And a car crash waiting to happen? Well, that speaks for itself. TANK TANKS I know all y’all in Sydney are getting all sentimental about Tank closing, and I’m sure all those meaningful conversations in front of the bathroom mirror were so significant that they changed the world (just as dance music was going to end global confl ict), and I do feel for you, but the fact is that you people brought it on yourselves by voting in Clover Moore, who, if you hadn’t noticed, seems to hate everything in the world other than Clover Moore. Precisely how a woman with the personality of a Jacaranda caravan got elected to become mayor of a city known for anal sex and surfing is beyond everyone. What happened? Did you think you were in Melbourne?


Recent research indicates that the average age of Aust ralian ecstasy users is increasing. Th is obviously isn’t because a large pocket of seniors have suddenly decided to start experimenting with ecstasy. What’s act ually happening is that the people who were enjoying ecstasy 20 years ago are st ill enjoying it today. The ‘ravers’ of the 80s and 90s are kicking and screaming in to their 30s and 40s and they’re st ill partying like it’s 1999. People who took ecstasy way back in the old days are very annoying. They love to corner younger people at parties and blather on about how much better the pills were back when they were coming up. According to the ‘original ravers’, the only similarity between old ecstasy and new ecstasy is the shape. But young people are smart. They listen to this and see the truth: it’s not that the ecstasy was better, it’s that these old people were younger. Besides if the ecstasy back in the day was so much better, then why would these leathery old pervs st ill be stooping to buy the new, crappier pills? The real quest ion is, how will this affect the image of ecstasy as a sexy party drug? The answer is: negatively. It’s hard for anything to remain ‘hip’ when the average user has an artificial hip. And a club full of people grinding their false teeth is never going to attract the next generation of customers. I don’t want to sound ageist here, but it’s unseemly and kind of creepy to watch someone in their 50s cartwheeling around a dancefloor high on E – and this might act ually be the edge the Government needs to win the war on drugs. Maybe a few dust y old politicians need to start publicising their own experiences with the so-called ‘disco biscuits’. Young people are genetically hardwired to rebel against the things older people enjoy. If the kids start noticing that the clubs are fi lled with ageing, sweaty politicians high on ecstasy, then ecstasy will be about as popular with the kids as adult diapers. If these trends continue and people continue taking ecstasy into their old age then I wouldn’t want to invest in the ecstasy indust ry. If we start seeing meth lab explosions at retirement villages and drug related killings at Early Bird buffets, the kids will quickly find something else to do. DAVE JORY




AQUARIUS (20 JAN TO 18 FEB) You need to stop reading on the toilet as the two act ivities are now so st rongly associated that you can’t read anything without shitting your pants. PISCES (19 FEB TO 20 MAR) Flushing pets down the toilet is a great way to ensure mutant animals will be living in the sewers for generations to come. So get flushing. ARIES (21 MAR TO 20 APR) Your cat is now officially in a higher tax bracket than you. Th is is deeply embarrassing as your cat is bitching about you to her friends. TAURUS (21 APR TO 20 MAY) By selling your housemate’s computer you’ll solve two problems. You’ll have the money to buy her a birthday present and you’ll know exact ly what she needs. GEMINI (21 MAY TO 20 JUN) Try to survive on a diet of chewing gum, ice blocks and gravel. You’ll find you have more energy and your skin will glow. CANCER (21 JUN TO 21 JUL)

The world has watched in horrified fascination as Libyan dictator Muammar Gaddafi spouts more and more insane ramblings about himself and his regime in the face of uprisings in Libya. But as Gaddafi has so excellently displayed, being completely deluded is not as simple as getting up in the morning, looking in the mirror and saying “Today I’m going to be a deluded bastard, just like every other day in my life”. No, being deluded is much more complicated than that, because as some st udies have recently shown, the brain act ually doesn’t know it’s lying to itself, even if it has all the evidence it front of it. Living in denial is more like a full-time job – and recent st udies suggest that not only will people lie, but they can also delude themselves that they didn’t lie in the first place. In a st udy done by Harvard Business School, a group of st udents were asked to take a maths test. Half of the st udents had papers where some of the answers were ‘accidentally’ on the paper they received, which made it possible for them to cheat, which they did. As a result, their test scores were very high. When these same st udents were then asked to predict how they thought they would go on the next test that they did, they not only assumed that they would do as well as they had done on the fi rst test, they also est imated that they would do even better. But were they just saying this, whilst knowing that they had cheated? Well, they were then told that they could earn $20 if they correct ly predicted their next score. Despite the fact that they could make money if they were honest , the subjects st ill kept claiming they would keep


getting high scores, and as a result they earned less money when their next tests had no answers printed on them. So even when there was an act ual reward at stake, they st ill failed to correct for their deception, as though they didn’t know that they were lying. Sound familiar? Yes it does. When a BBC reporter asked Muammar Gaddafi if he had noticed the 13,000-strong protesters and rebel forces demanding his resignation, he declared “they are cheering for me”. Incorrect, Gaddafi. He definitely wouldn’t have walked away with $20 dollars from Harvard’s studies – and at the moment, he’ll probably be lucky to walk away with his legs. HOLLY HUTCHINSON

Sometimes a good night’s sleep is the most important thing. But this week, it’s more important to have a rape whist le and a bulletproof vest. LEO (22 JUL TO 21 AUG) After another week of being bullied at work, you may find you reach your breaking point this week. Good. Give in to your anger. VIRGO (22 AUG TO 21 SEP) The short film you’ve been making for eight years is act ually so short it is ineligible for even the shortest of short film festivals. LIBRA (22 SEP TO 22 OCT) When life tells everyone that it slept with you and you just lay there like a wet fish, it’s time to move to a new country and change your name. SCORPIO (23 OCT TO 21 NOV) It’ll be just like the Gwyneth Paltrow fi lm Seven this week. If you’ve never seen it, she ends up dead at the end, with her head cut off. SAGITTARIUS (22 NOV TO 20 DEC) How much do you really know about the guy who writes your horoscopes? Would you let me watch you while you were sleeping? CAPRICORN (21 DEC TO 19 JAN) You’ve been churning out the work of late. Now it’s time to put some of these projects to bed and start pimping out your male relatives.



REVIEW After an 11-year hiatus, horror cinema icon Ghostface returns in Scre4m, looking to spook, slash and stab a new generation of fast-talking teenagers and tackle reboots, remakes and ‘torture porn’ cinema with irreverent postmodern panache. Has the comedy slasher series worn out its welcome, or will the latest fi lm give it fresh blood?



BIBIO Mind Bokeh (Warp/Inertia)

TRAVIS BARKER Give The Drummer Some (Interscope/Universal) We already knew about Travis Barker’s long love affair with hip hop. His Souljah Boy Crank That remix had rock drummers worldwide featuring hip hop beats as their set solos. And with the history of hip hop having its foundation in beats and rap being the combo of beats and words, the concept of his solo record featuring guest MCs galore act ually seems logical.

Ambivalence Avenue, Bibio’s 2009 Warp Records debut, represented a significant artist ic milestone for Stephen Wilkinson. Incorporating aspects of future beat and glitchhop into his elect ro-acoust ic folk melanges, the British leftfield producer brought a much appreciated sense of st ruct ure to his previously meandering soundscapes and elevated his work considerably in the process. Mind Bokeh, Wilkinson’s follow-up record (2010 remix album The Apple And The Tooth aside), finds the producer re-introducing that sense of messy spontaneity and aimlessness to his work. While st ill clearly enamored of off-kilter rhythms and st uttering elect ronics, the producer has shied away from the more austere songwriting of Ambivalence Avenue in favour of more spontaneous, less predictable arrangements and

more densely layered soundscapes. More often than not, it act ually works a treat. The noisy chiptune breakdown conclusion of opener Excuses is gloriously fun-fi lled, the washed-out world music loops and densely packed synthesiser textures of Wake Up! are thoroughly immersive. Wilkinson’s talents as a singer-songwriter are not entirely suited to his st yle of product ion. His voice works best with minimal backdrops and tends to flounder somewhat when forced to overpower a more kinetic backdrop (as on Anything New). His songwriting, meanwhile, is simply not st rong enough when placed in a completely conventional background (as on the indie-rock of Take Off Your Shirt). Th is is not to suggest the record is deeply flawed or bad. It’s just a case of a few blemishes on an otherwise pleasant album. It’s st ill very much worthy of attention. MATT O’NEILL

Give The Drummer Some is oozing with radness. It starts off strong with Can A Drummer Get Some where Barker takes a step back by following Swizz Beats’ rock loop and letting the heavy st yle of MC’s Rick Ross, Lil’ Wayne and The Game shine. Similarly in Carry It, RZA and Raekwon’s grimy raps and Tom Morello’s riffs overshadow Barker’s loop. If You Want To is clearly more of a live drummer show, the horns sample and freest yle nature of the drumming matching the more alternative st yles of Lupe and Pharrell. Knockin’ featuring Snoop, Luda, E-40 and Dev really shows Barker’s skills with its intricate 808 type beat with all the trimmings including claps and cymbals. Jump Down also showcases this skill but this time with some help from technology to get that beat-fresh Cool Kids sound. Saturday Night featuring associated punk/ rap band Transplants has a lowrider feel with Slash’s Santana st yle guitar adding to the theme. Once again Barker takes a step back by keeping the beat rather than flaunting it. Perhaps that’s part of the point of this collaborative debut, not just to be the drummer show but to show his different st yles. Can a Drummer Get Some is a creative experience with each track taking you on a different trip. JANN ANGARA

TIM & JEAN Like What (Universal) Like What, the debut album of up-and-coming indie elect ro-poppers Tim & Jean, will have you smiling from start to finish – it is a perfect ly assembled collect ion of catchy pop songs that have a very honest, youthful feel to them. On top of this, the songs are infect ious. And they make you want to party. The album’s synth-driven sound is established from the outset with opener and title track, Like What. It’s a st range choice as an opener, more understated than what’s to come but st ill serving as a good introduct ion to the duo’s sound. The next two tracks, Veronika and I Can Show You, are the standouts. With dist inct elect ro-pop beats and impressive vocal hooks, these are the tracks that will st ick with you. There is, admittedly, a certain indulgent

repetitiveness to the album after this point, with a few very similar sounding songs and a noticeable lack of st ylist ic variation. The album comes to a steady, sustained finish with the very poppy Souls followed by the MGMT-esque Hustle, which provides an upbeat finish to the record that will leave you feeling good. As a whole, Like What feels like an introductory journey of sorts through the musical talents of these two young men, with each track a new display of their surprisingly established sound. The product ion on the album is outstanding and the lyrics on each track are slotted together flawlessly, attributing a sophist ication to the duo that is well beyond their years. Although there may not be a huge amount of musical diversity displayed in the album, you’ll find yourself singing the choruses to yourself on the bus for days, and that’s pretty impressive – especially for a debut album. LUCIA OSBORNE-CROWLEY



VARIOUS/LEFTO & SIMBAD Worldwide Family Volume 1 (Brownswood/Inertia) When a DJ as incredible as Gilles Peterson passes the torch you can bet your house the recipients will be pretty handy themselves. After over ten years of his Worldwide radio shows, live shows and compilation CDs, Peterson has started a new line, Worldwide Family, asking a couple of his crate digging protégés in Belgian DJ/producer Lefto and French DJ/producer Simbad to take the reins in showcasing the music they have uncovered in recent months. Lefto’s select ion is the more considered and better of the two. He begins with the tinkling late night soul of Belgium’s Up High Collect ive, spacey dubby analogue hip hop from Meeting Point, Exile and grooveman Spot and Dela & The Headlesshunters cover of Light Of The

MIND OVER MATTER Just Like Fireworks (I Forget, Sorry!/Other Tongues) Mind Over Matter’s debut album Keepin’ It Breezy kept their name blowing in the winds, however their second is setting the night sky ablaze with techni-colour boom bap and rockinst rumental hip hop designed to bounce, rock and blaze one to. A step above, both in subject matter and musicality. First single Rappers In Wonderland and equally show-off track This Wonderful Life let you know right away that the duo have returned to the record race of 2011 – legit contenders for the title. Smiles Again and Willows have grown and travelled abroad to South-East Asia with Bliss N Eso and in the very poignant track Hollow Eyes the pair comment fi rst-hand on the sleazy side of King’s Cross and Thailand’s sex tourism indust ry. Such dark tales paint a more serious


World’s London Town. The undoubted highlight is UK band Brassroots’ live, horny and very Hot 8 cover of Inner City’s house classic Good Life. Later, Onra donates a disco cut-up that harks back to the glory days of nineties French house. Simbad’s mix is a little more ‘difficult’, warming up with Airhead’s glitchy folk, Illum Sphere’s trippy dedication to Dimlite alongside slo-mo elect ro funk, spacey dub and jazzy almost-d‘n’b before peaking with the atmospheric breaks of Ave Blast’s Glow In The Dark and the techsoul of Kemeticjust. Th ings get really nast y on the way out with drums and more drums hammering, twist ing, mutating and then dest roying everything in sight with Seiji and Ku Bo. Though not for the faint-hearted Worldwide Family Volume 1 demonst rates the future of Gilles Peterson’s Worldwide concept has been invested wisely in Lefto and Simbad. DARREN COLLINS

overtone in contrast to their past releases. The title track rolls over a famed-piano chop as MOM celebrate the enriched and rewarding life as recording artists and the groove continues seamlessly into Harder with Vida’s vocals layering a reggae-smoked emotion over the top of elect ric battle axes all aiding in connect ing with the every man and the hard times of the working life. The guitars keep alive on tracks Off The Chain, and the 80s aerobic track Famous featuring Sam Mcniell on the hook. The fi reworks of such a rock-anthemic album speeding down the hip hop lane matures in full bloom above the rest. Just Like Fireworks shows and proves that the standards of Aust ralian hip hop have increased ten old and garners a solid three fingers, with an extra star for stacking an 8-track EP from the I Forget, Sorry! collect ive on top of 17 tracks, RIP NICHOLSON

A dope nine minute trip through hypnotic vocal chants and echoed washes, funky acid stabs and jittery, freeform drums. Possibly the most experimental Paul Woolford has dared to make his music, and the risk really pays off.

OM UNIT The Timps (Civil Music) It’s thoroughly refreshing to see a track categorised as elect ro and act ually sound like real elect ro. Th is has dark, grimy warehouse back in the 80s written all over it. Simple, mechanical, percussive beats and repetitive, sinister synth stabs that would make even Drexciya proud propel the tune, and really, that’s all it needs.

DAMIEN SCHNEIDER Future Two (Apologue) The beats and bassline have that familiar raw “Berghain” sound, but then absolutely beautiful dub chords and atmospherics soften the edges and make this into a lovely hypnotic groove. ANDREW WOWK

3DPLAYLIST 3D 1. I Mix Therefore I Am SOMA RASA 2. Straight Outta Compton NWA 3. Fabric 57 VARIOUS/AGORIA 4. Space Is Only Noise NICOLAS JAAR 5. Will Do (XXXChange Dancehall Mix) TV ON THE RADIO 6. Ready To Drop KATALYST FEAT KWEEN G 7. Tambourine TEETH & TONGUE 8. Distance D-NOX & BECKERS 9. Absence SNOWMAN 10. Blues For The Red Sun KYUSS


Remember this: Vanilla Ice was the man. Not only had he escaped from the underground laboratory where he was created, he had a hit single on his hands with Ice Ice Baby. Donning pants that are pretty fly for a white guy, and an angular hair-cut that says “I’m really fucking cool”, Vanilla Ice took the world by its horns, and was then horribly gouged by them. Two decades on, he hosts The Vanilla Ice Project (DIY Channel), a home renovations program where the world’s whitest hip hop artist of 1991 shows viewers how to get great resale value on a cheaply bought house. The show is Backyard Blitz meets Cribs, with a posse of former music industry heavies who have turned to home renovation to make a crust. Vanilla Ice is now 43. He st ill has the jivin’ st reet talk, dropping words like “wikid!” and “next!” and “see ya!”. Stories of tough st reet life, of guns and hust lers, have no useful application when you’re varnishing a wooden stairwell. ‘Rob’ wears a baseball cap and his tattoos immortalise ‘the hard knock life’, but these days he is genuinely excited in choosing earthy colours for bedroom walls and applying vapour resistant ceiling moulds. Vanilla finds himself in an odd predicament, riding the coat tails of his former celebrity status to host a cheap home-renovation show, all while insist ing that he is now ‘Rob’ and ‘Vanilla Ice’ only exists in the nightmares of 1991. “I’m Vanilla Ice, and this is my project! Bam!” STOP – renovate and listen. One hand on the steering wheel, and Vanilla Ice nodding along to inaudible music. You can imagine the brilliance of a show called Pimp My House, but there aren’t enough XBoxes and lime-green speed st ripes for it to be a millionaire’s trashy mansion, but Van Winkle earnest ly tries to win us over with his passion for fi x-er-uppers. “We can’t install this if the moist ure level is too high,” he frets, while his children are in the adjacent bedroom readying the walls for a prime coat. The Vanilla Ice Project proves that Rob Van Winkle could survive a nuclear holocaust and st ill be useless to humanity. 5SPROCKET



It’s been 15 years since the white and privileged teens of Woodsborough were fi rst sliced and diced by the ‘Ghost face Killer’, and two sequels and a decade later, the Scream franchise is looking for another shot in the arm. In the latest addition, Sidney Prescott (Neve Campbell) returns to her old stomping ground to push sales on her latest book, a novelisation of the movie Scream 4 (how meta). Moments later, a mangled body is discovered in the trunk of a car. “That body represents originality,” says David Arquette, whose character has now been promoted to bumbling Sheriff. Surgically thin Courtney Cox st ruts on, the skin on her face st retched so tight it’s a trampoline for head lice. The teenagers of the town celebrate the anniversary of the murders by prank calling each other and holding marathon screening of the Stab fi lms. Hayden Panettiere, Emma Roberts and Rory Culkin head a pack of Horror

2.0 youngsters. They’re like the ones in the 90s, except this time they drop the word ‘Facebook’ like they’re in The Social Network. Raised in an era of remakes, reboots and re-imaginings, they know that “breaking the rules is the new rule”. Many deaths follow, and many of them have Ghost face falling down stairs or running in to a door. If you are a fan of the Scream series, you will be surprised by the quality of this belated installment. Directed once again by horror movie icon Wes Craven (Nightmare On Elm St) and penned by Kevin Williamson (Dawson’s Creek), it seems like the fi lmmakers set out to make the most ‘meta’ movie ever, something so self-reflexive that it’s like being trapped in Bruce Lee’s mirror fight. Scre4m is light, fresh and alive; it’s The Godfather: Part II of comedy/ horror/slasher/post modern franchise fi lms. 5SPROCKET WHERE & WHEN: Screening in cinemas now



Fat British science fict ion nerds Clive (Nick Frost) and Graeme (Simon Pegg) are on a onein-a-lifetime road trip through the USA. They are in their late 30s but pretend they are goingon 19, living through stories of aliens with three tits and trolleys of fried snacks. They’re in an RV, trekking from San Diego Comic Con to Area 51, gleefully drinking alien-themed milkshakes and buying novelty bumper st ickers. It all becomes very real when they st umble upon Paul, a three-foot high, chain smoking alien that happens to sound like Seth Rogen. Paul is on the run from military forces, likely because he’s a jerk stoner from outer-space. A parody of the messianic ET, Paul can turn invisible at will and resurrect the dead, as well as come back with snappy zingers that would fit comfortably in re-runs of ALF. The trio of misfits band themselves with a one-eyed religious nut (Kristen Wiig) and 70-minutes of predictable zaniness follows.

The Shaun Of The Dead and Hot Fuzz stars are looking to bring their cult geek shtick to the Hollywood mainst ream, and their screenplay for Paul has a declared Spielbergian flavour. Much of the fi lm is fi ltered through slacker homages to Close Encounters Of The Third Kind, ET and The Sugarland Express. Ably directed by Greg Mottola (Superbad, Adventureland), it lacks the visual dynamism of Frost and Pegg’s work with Edgar Wright and feels overwhelmingly ‘safe’. For all its faults, however, it is a surprisingly charming fi lm. The CG character of Paul is a surprisingly well-rounded character, and deftly takes control of the fi lm. Boast ing an ensemble cast of US comic character actors (Bill Hader, Jason Bateman, Jeff rey Tambour), some clever set-pieces and frequent out-loud laughs, it will feed the soul of your inner fanboy for 90 easy minutes. 5SPROCKET WHERE & WHEN: Screening in cinemas now




VJ NEWS ROUND-UP Seems there’s a bit of momentum picking up in live-pixel land. Lots of fest ivals, ideas and software developments.

MOTORSTORM APOCALYPSE (Evolution/Sony) (Playstation 3) Set in a post-apocalyptic world, so much so that the game was and has been delayed in New Zealand and Japan for fear of making light of dire situations, MotorStorm’s premise is around band of outlaws (or equivalent in a land without laws) who get their kicks by racing through cities. A light-hearted racer that’s all colour, sound and high frame-rate, it’s good for a bash even if there’s not a whole lot of staying power. Races in the ‘festival’ or main game mode are tied together by a cartoon storyline, short snippets of a throwaway backstory that’s all too easy to skip. If you do take the minute to watch the grabs, you’ll find that none of the 2 dimensional characters are endearing or complex. You can say the same for the the racing. A pretty st andard racer, it’s a case of flooring the accelerator and pointing the thing you’re controlling in the direct ion you want it to go. There’s been a bit of thought in that concept as well. As you launch off the top of a building and st raight into the window of a long-abandoned but st ill fully-formed office block, papers, tables, bits of wall and probably bullets from that helicopter hovering just over

your shoulder fly all over the place and obscure the view quite spect acularly. Because it’s so pickup-and-play, both the tracks, perhaps better described as maps or levels, and the different vehicles, primarily bikes, cars and trucks keep things interest ing by being modelled on a Dakar Rally premise of different makes in a wideopen rally. It’s good clean fun (despite the unfortunate apocalypse reference) and worth a bash if a mate’s got it. Staying power’s definitely quest ionable though. TOM BRABHAM

MODUL8 & MAPPING FESTIVAL, GENEVA As well as a thematic focus on video project ions mapped onto non-screen surfaces and shapes, this year’s fest ival will see the official release of MadMapper, a new video mapping software created by GarageCUBE (Modul8) and 1024_architect ure. Fest ival bonus points – Melbourne’s Kit Webster was chosen as one of the few selected from International applicants to show an installation. See more at www. kitwebster. VDMX BETA 8 + LPM, ROME Meanwhile, another gaggle of pixel-heads converge in Rome for the annual Live Performer’s meeting. Notable this year will be the rare fleshy appearance of the VDMX coders from, crawling out of their bunkers briefly to describe some of the benefits of their new BETA 8 (such as built in Syphon support, and a whole range of underlying improvements). AUDIOVISUAL MAX FOR LIVE Melbourne audiovisualist, Zealousy(.com) has been developing a series of interest ing looking Max For Live patches, which he has called Vizzable VJ Plugins, and he recently joined forces with Fabrizio Poce who makes the V-Module suite, and they’ve merged their projects “to provide a comprehensive suite of video, effects and real-time graphics tools for Live.” BUT WHAT DOES IT ALL MEAN? Berlin’s held a symposium in February, with a spotlight on the pract ice of media-based audiovisual live performance considering what ‘liveness’ entails in the age of media technology. A nice list of people, ideas, links, transcripts and videos has been generously compiled by someone in attendance – the UK’s Toby *spark, who is currently framing his Phd on the topic. TEEMING VOID Also well worth a read is the latest piece by Mitchell Whitelaw (resident Canberra theorist and pract itioner in generative art, data visualisation, physical computing and digital materiality), which explores our fascination with glowing rectangles in today’s media ecology and how processes and techniques such as project ion mapping have been offering some ways to explore digital art beyond the screen. @JEAN_POOLE




NIKE AIR MAX 1 ~ $180.

















‘MUSIC’ TOTE BAG ~ $2.80.

EYE LASH SET ~ $2.80.





SIZE MATTERS? 111 minutes.



Gregory Peck, Lee Remick, David Warner and a child that looks evil.


An ambassador and his wife adopt a child who happens to be the Antichrist.


“Attila The Hun. Ivan The Terrible. Al Capone. They were all seven once.”


Heavy, droning Latin chants serve as the fi lm’s soundtrack. Lactus! Dominus!


Once you’ve seen it, all children will look like potential killers.


SIZE MATTERS? 163 minutes.



Willem Dafoe as Jesus, Harvey Keitel as Judas, David Bowie as Pontius Pilate.


Jesus, the son of God, is torn between earthly impulses and listening to his father’s advice.


“Oh No He Din’nt!”


Alternate reality sequence where Jesus marries Mary Magdalene, tells dad jokes and runs an antique shop.


It’s not real.


SIZE MATTERS? 225 minutes.



Jim Caviezel, Monica Bellucci.


Jesus is brutally tortured and humiliated in public, then dies.


“Based on the New York Times #1 Bestseller.”


Something in the dead language, Aramaic.


It doesn’t have Mel Gibson in it.


It kick-started the torture porn genre.






3D World - Sydney Issue #1057  
3D World - Sydney Issue #1057  

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