ELECTION 2010: THE FINAL COUNTDOWN LET’S MINI!: LET’SMINI!: THE COOPER S CAMDENREVIEWED BE KIND, REWIND: BEKIND,REWIND: THE END OF TRASH VIDEO PEZZNER COMES ALIVE
ISSUE1024WEDNESDA ISSUE1 024 WEDNESDAY1 Y18AUGUST20 8 AUGUST T 2010
MISSY ELLIOTT GROOVE ARMADA CUT COPY CHIDDY BANG MIDNIGHT JUGGERNAUTS THE DANDY WARHOLS KELE (BLOC PARTY) SOULWAX DARWIN DEEZ THE WOMBATS WASHINGTON BUSY P YOLANDA BE COOL VS DCUP DAN BLACK BAG RAIDERS OU EST LE SWIMMING POOL WOLF GANG DELOREAN MIX MASTER MIKE JACK BEATS SINDEN BRODINSKI DJ MEHDI UFFIE AC SLATER THE GLITCH MOB AJAX HOLY GHOST! MEMORY TAPES CLASSIXX NEW YOUNG PONY CLUB JESSE ROSE GYPSY & THE CAT GRUM THE SWISS FLIGHT FACILITIES ANNA LUNOE THE STAFFORD BROTHERS FEAT TIMMY TRUMPET LAST DINOSAURS DZ THE RESIN DOGS FEAT ABSTRACT RUDE THE CAIROS MISERE ELKE MITZI THE COALITION CREW TOM THUMB BROTHERS DEAD BEAT BAND CC THE CAT PAM PAM PAM BAMBINI RUBBER JOHNSON MAJIKBOX AUDUN AYDOS BABY GEE BENIBEE BRETT J BRETT SELLWOOD CHARLIE HUSTLE CUTLOOSE DANIEL WEBBER DANK MORASS DJS DANNY T DEEGZ DLUXX DOWN’N’DIRTY DJS EMBER FANS GAVIN BOYD GERRY MORALES GIV HABEBE JIMMY VEGAS JOEY MOJO KAARDON KEEN? KIERON C LT80 MAGGIE COLLINS MORGAN BAKER MUMBLES NICK GALEA NOY SANGERS & RA FEAT MC KITCH SI-CLONE STRETCH THE SURECUT KIDS THOMAS J TROPICS VAN MIERT WOLFIE WONGO
SATURDAY 25TH SEPTEMBER 2010 . MIDDAY-10PM . PARKLANDS, GOLD COAST TICKETS ON SALE NOW . TICKETS, INFO & T&Cs: PARKLIFE.COM.AU
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CREDITS PUBLISHER Street Press Auﬆ ralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel CrichtonRouse LURE EDITOR Rupert Noﬀs SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAliﬆer, Ben Kumar, Bethany Small, Blaze, Brad Swob, Bryget Chrisﬁeld, Carlin Beattie, Chloe Scardina, Clare Dickins, Darren Collins, Darryn King, Dave Dri, Dave Jory, DJ Stiﬀ y, Gloria Lewis, Graham Cordery, Guido Farnell, Guy Davis, Holly Hutchinson, Huwﬆon, Jane Stabler, JC Eﬆeller, Jean Poole, Jeremy Wood, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa Weﬆ, Monica Connors, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney, Tom Brabham
Brad Marsellos, Carine Thevenau, Corey Brand, Cybele Malinowski, Daniel Munns, Dave Dri, Kane Hibberd, Koﬆas Korsovitis, Luke Eaton, Monique Eaﬆon, Philip Poyner, Terry Soo ADVERTISING DEPT firstname.lastname@example.org NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Sarah Blaby QLD – Adam Reilly, Melissa Tickle
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WE HAVE THE POWER So it looks like what happens in Queensland is going to decide Elect ion 2010. Can’t we juﬆ make Mal Meninga the nation’s leader now so we can all get on with our lives? FESTIVAL-RAMA We’re ﬆ ill a couple of months out from summer, but already it’s looking like another epic season of feﬆ ival fun in the sun with big announcements through for Summaﬁeldayze and Sunset Sounds this week. We need a holiday juﬆ thinking about it… WE’VE GOT THAT VIBE With so many boutique labels going the way of the dodo, it’s good to see little Aussie battlers Creative Vibes rising from the ashes after 18 months on hiatus. Hopefully we’ll see the re-emergence of the local elect ronica EP/album release on the back of it…
RICH BITCHES Thank goodness Julia Gillard scrapped the planned tax on mining companies – with Clive Palmer holding his position at the top of Queensland’s rich liﬆ with a paltry personal worth of $6.48 billion, and QCoal owner Chris Wallin leaping into second with a mere $2.5 billion, we can underﬆand why the poor guys weren’t too happy about K-Rudd’s proposal… A TOUCH OF GLASS The glassing incident at the Victory in the early hours of Thursday morning is being hailed by traders as an indication that the governmentenforced glass ban doesn’t work. But we can see it being used as an excuse by the relevant authorities as a good reason to ban beer bottles as well. Un-Auﬆ ralian. Oh, and well done to the fucktard glasser… CRAZY KAT We don’t know whether to be amazed or bemused by National Party senator Bob Katter’s elect ion campaign Ad. He’s either the political equivalent of MacGyver or a satiriﬆ of the higheﬆ order…
THE LINEUP ISN’T even out yet, but the Good Vibrations Feﬆival team are conﬁdent in what they’ve got on oﬀer as they’re oﬀering pre-sale tickets to Jam Music members already. Word is you can expect a line-up announcement midSeptember... PRODUCER MARK RONSON has lured in some impressive names for his third album Record Collection (due out September) including Q-Tip, Wiley, D’Angelo and the London Gay Men’s Choir. Following zany ﬁ rﬆ single Bang Bang, the recently released second single Lose It (In The End) featuring Ghoﬆ face Killah is equally dope. Another high ﬁve to Ronson... THE PRODUCER OF the ﬁ rﬆ two Star Wars ﬁ lms, Gary Kurtz, has revealed he walked out on Return Of The Jedi after creator George Lucas changed the initial dark direct ion of the trilogy closer. Lucas has also released cut footage from Jedi showing Luke Skywalker making his lightsaber. Fascinating ﬆ uﬀ... SPEAKING OF AWESOME trilogies, Toy Story 3 is now oﬃcially the higheﬆ grossing animated ﬁlm of all-time, and in the process has taught Mr Lucas that you don’t need Ewoks to close a trilogy on a high... WELL DONE TO the youngﬆer with ﬁne aim who hit Juﬆin Bieber in the head with a water bottle at a gig laﬆ week, totally redeeming him or herself for being at his concert in the ﬁrﬆ place. Well done Biebs for keeping on playing – prima donna rockﬆars take note...
A NEW SUMMA
The summer feﬆ ival season is always entertaining and Summaﬁeldayze usually provides a good portion of the fun. The 2011 inﬆalment is set to be no diﬀerent, with David Guetta, Miami Horror, Riva Starr, Bob Sinclar, Boys Noize, N*E*R*D, Erol Alkan, Tinie Tempah, Yuksek, Chromeo, Dennis Ferrer, Claude Vonﬆ roke, Plump DJs, Juﬆ ice and Armand Van Helden. Summaﬁeldayze takes place at Doug Jennings Park on Sunday 2 January. Tickets on sale via Ticketmaﬆer and inthemix.com.au from 9am, Thursday 19 Auguﬆ.
Sunset Sounds is set to enter 2010 with a bang thanks to a massive line-up that includes Public Enemy, Interpol, Joan Jett & The Blackhearts, Klaxons, The Living End, The National, Angus & Julia Stone, Tame Impala, Ladyhawke, Cold War Kids, Peaches, Paul Kelly, Hot Hot Heat, Ash Grunwald, Children Collide, Cloud Control, Boy & Bear, Yacht Club DJs, Washington, The Bamboos, Tijuana Cartel, Chris Baio and more. Sunset Sounds takes place Wednesday 5 – Thursday 6 January 2011 at the Brisbane Botanic Gardens. Tickets available through Ticketek.
In operation since 1998, the Red Bull Music Academy has been pulling together the disparate threads of the music world to provide fresh faced talent an opportunity to meet pioneers of days gone by, check gear, play clubs, swap musical visions, discover secrets, attend lect ures and collaborate in ﬆ udio sessions. On the other hand, the RBMA Tour makes it possible for everyone and the select few to join in the fun. The lateﬆ oﬀering focuses on truly cutting edge bass music, drafting Martyn (3024), Illum Sphere (Fat City/3024) and Tokimonﬆa (Brainfeeder Collect ive) for a series of mind blowing shows, one of which happens at Family Saturday 18 September. Tickets $15 + b/f through Moshtix.
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GENERAL OUTLOOK A little spring clean might help lift your spirits. Otherwise you could smoke ice and sexually assault a rabbit. AQUARIUS (20 JAN TO 18 FEB) You need to get out of your current relationship. It’s a prison. It’s like The Shawshank Redemption without the hope. And the sodomy. PISCES (19 FEB TO 20 MAR) As the ﬁsh, you may ﬁnd yourself gutted, scaled, ﬁ lleted and eaten this week. And that isn’t a metaphor. ARIES (21 MAR TO 20 APR) Don’t answer the phone or your front door after 9pm this week. Only cops and bad news come calling that late. TAURUS (21 APR TO 20 MAY) Try to reinvent yourself this week. The old you clearly isn’t working and I don’t think there’s any point trying to continue that way. GEMINI (21 MAY TO 20 JUN) What makes you think you can take a $400 shopping trolley to transport $40 worth of groceries home? Why not abduct the check-out girl as well? CANCER (21 JUN TO 21 JUL) Your lateﬆ torrid romance will end abruptly when your lover is arreﬆed on suspicion of being a ﬁct ional character. LEO (22 JUL TO 21 AUG) My anaconda don’t want none unless you got buns hon. You can do side bends or sit-ups, but please don’t lose that butt. VIRGO (22 AUG TO 21 SEP) Those terrible secrets you’re keeping locked inside will come out this week when you ﬆart talking in your sleep on the bus. LIBRA (22 SEP TO 22 OCT) Watching the sun come up makes you either an early riser or a drug addict. Try to get a healthy sleep pattern going. SCORPIO (23 OCT TO 21 NOV) Your inability to maintain an erect ion will become public knowledge when it is mentioned on Ashton Kutcher’s Twitter account. SAGITTARIUS (22 NOV TO 20 DEC) A ﬁne dining experience will go pear shaped when you accidentally swallow a lit candle and begin hyper ventilating. CAPRICORN (21 DEC TO 19 JAN) Are you keeping the pressure on? Do you have the eye of the tiger? What about the penis of a panda?
MIA THREW A hissy ﬁt earlier this year when New York Times journaliﬆ Lynn Hirschberg depicted her as a pretentious fashioniﬆa lapping up a life of luxury incongruent with her political activism. Fortunately for MIA, her lateﬆ Hype Williamsdirected video XXXO, featuring her rolling around with ﬂowers and diamonds in designer outﬁts, completely dispels this. WANNABE SOCCEROOS COACHES can ﬆart preparing for more sleepless nights with Sega announcing that Football Manager 2011 will be out before Chriﬆmas this year. Well, they’re only chance of coaching Auﬆralia if they weren’t born here and live overseas, but you get the point... JUST AS WE had pinned Inception as movie of the year another contender has entered the ring. Boaﬆing an all ﬆar caﬆ of Summer Bay’s and Ramsay Street’s ﬁneﬆ, Tomorrow When The War Began looks certain to clean up at this year’s Dolly Teen Choice awards. We’re hoping Wally Lewis makes a cameo as Lincoln’s father... THIS WEEK’S GUEST 3D World diariﬆ Lindsay Lohan is rumoured to be getting an early mark from her court ordered 90 day ﬆay in rehab. Fair enough – it’s gotta be hard to get any good gear at a place like that... MORE NEWS FOR Sega fans – SEGA Mega Drive Classic Collection hits PC in September, featuring Altered Beaﬆ, Sonic The Hedgehog and Golden Axe among many more. They don’t make them like that any more...
RETURN OF TASTE
One of Auﬆ ralia’s moﬆ noteworthy and adventurous labels, Creative Vibes Recordings, seemed to have taken the long walk when it closed shop in 2009. Brought to life in 1994 with a mission to broaden the musical landscape it was one of only a few high proﬁ le outlets for credible underground music. After 18 months of dormancy, founder Peter Pasqual is teaming up with MGMs Sebaﬆ ian Chase to resurrect his brain child. Previously limited by ineﬃciencies in logiﬆ ics and diﬆ ribution, we can rightly expect good things to come. In fact, the reinvigorated label is turning to one of its ﬁ rﬆ signings, DJ Soup, to relaunch it with his forthcoming EP. Keep an eye on cvibes.com for more info. ICE CUBE
As popular on the screen as he is on the ﬆage, Ice Cube is a true phenomenon of the entertainment world. Firﬆ raised to international attention as a member of NWA, he’s returning to our shores in support of his new album I Am The Weﬆ with a brand spanking new ﬆage show which blew minds moﬆ recently at California’s Paid Dues Feﬆ ival. Ice Cube will be performing numerous gigs around the country with support from UK grime MC Scorcher, ﬆarting at Luna Park (Sydney) on Friday 22 October. Then he’s oﬀ to Fat As Butter Feﬆ ival (Newcaﬆ le) Saturday 23 October, Palace Theatre (Melbourne) Wednesday 27 October, Tivoli Theatre (Brisbane) Saturday 30 October. Tickets available now through Ticketek and redanttouring.com. BARONESS
DOOM METAL FURY
Metallica are soon to hit our shores with their World Magnetic Tour. While fans would be happy enough to see Metallica alone, quality supports are always welcome and few could match the calibre of Fear Factory, who’ve recently been tearing around Europe on their own Fear Campaign tour in support of recent album Mechanize. Also joining the fray is doom metal four piece The Sword, Lamb Of God and Baroness. The former two join Metallica on all September dates while the latter join them throughout October and November. Tickets for the Wednesday 15 and Thursday 16 September gigs at Rod Laver Arena (Melbourne) and the Saturday 18 September gig at Acer Arena (Sydney) are ﬆ ill available through Ticketek. All gigs throughout October and November at the Brisbane Entertainment Centre, Rod Laver and Acer Arena are completely sold out. THE BARONS OF TANG
For the paﬆ three years The Bohemian Masquerade Ball has pushed the boundaries of artiﬆ ic expression and helped bring the worlds of performance and art ever closer together with a cabaret format, which fuses independent music, circus, sideshow, burlesque, roving performance and inﬆallation. The Barons Of Tang headline but line-ups diﬀer wildly from location to location, the moﬆ noteworthy include The Factory Theatre (Sydney) on Saturday 25 September, Bangalow Hall on Friday 8 October, The Old Museum (Brisbane) on Saturday 9 October plus Open Studio and The Thornbury Theatre (Melbourne) on Thursday 21 October and Saturday 23 October respect ively. Further info and tickets from thebohoball.com.
CALENDAR AUGUST BLISS N ESO – Friday 20, The Tivoli LATE NIGHT ADDICTION: MIDNITE SLEAZE, DAN FARLEY – Friday 20, Monastery LEE COOMBS – Saturday 21, Barsoma LOWRIDER – Saturday 21, The Zoo THE 808S – Saturday 21, Electric Playground LUCIANA– Saturday 21, Family DROP: PEZZNER – Friday 27, Family MOMMA’S BOY – Friday 27, Monastery DIRTY DISCO YOUTH – Friday 27, Never Land Bar HORRORSHOW, SETH SENTRY – Saturday 28, The Zoo SEPTEMBER GENE PETERSON – Wednesday 1, The Arts Centre Gold Coast WASHINGTON, SCOTT SPARK, WINTER PEOPLE – Thursday 2, The Zoo AHMET SENDIL – Friday 3, Barsoma UP LATE: TOWA TEI – Friday 3, Gallery Of Modern Art PROK & FITCH – Thursday 9, Platinum IN SEARCH OF SUNRISE – SOUTH AFRICA: RICHARD DURAND, JONAS STERNBERG – Friday 10, Family RICHARD DURAND – Friday 10, Family LIONS AT YOUR DOOR – Friday 10, The Troubadour PROK & FITCH – Friday 10, Electric Playground UP LATE: CANYONS – Friday 10, Gallery Of Modern Art CHILDREN COLLIDE – Friday 10, The Zoo BRAINFEEDER COLLECTIVE – Sunday 12, X&Y Bar TIKI TAANE – Sunday 12, Fitzy’s UP LATE: DJ KRUSH – Friday 17, Gallery Of Modern Art REUBAN KEENEY – Friday 17, Monastery SUBTRAKT: LEE BURRIDGE – Saturday 18, Barsoma DUB DAY AFTERNOON: NEACOMBO DIFFUZION, FIREHOUSE, DARKY ROOTS & MORE – Saturday 18, Jubilee Hotel BUCK 65 – Saturday 18, The Spiegeltent SUBTRAKT’S 3RD BIRTHDAY :LEE BURRIDGE– Saturday 18, Barsoma BUCK 65 – Sunday 19, The Spiegeltent UP LATE: DOOM & HOODRAT – Friday 24, Gallery Of Modern Art MANIFEST: HERMITUDE, BENZA, DUBMARINE, EDITOR AND MORE – Friday 2426, 9790 Cunningham Hwy, Tregony PARKLIFE: MISSY ELLIOT, SOULWAX, GROOVE ARMADA, GRUM, MIX MASTER LUCIANA
TWITTER’S NEWEST SUPERSTAR Kanye Weﬆ has tweeted, “Juﬆ met with MTV and it’s about to go down! VMA’s!!!!!!!!!!”, which presumeably means he’s allowed back and will be given a bottle of vodka to swig wholeheartedly until he climbs on ﬆage during an acceptance speech from Juﬆ in Bieber this year. Or maybe he’s performing, which would be nowhere near as entertaining... THE MOST WONDERFUL Katy Perry seems to have made cameo appearances everywhere in Oz but the 3D World oﬃce. Very disappointing Katy... WITH NEWS THIS week that the Hilltop Hoods’ State Of The Art album has gone double platinum and Bliss N Eso’s Running On Air is gold after less than two weeks, it’s ﬁnally oﬃcial – skip hop has ﬁnally caught on, and it’s only taken about 20 years… AUSTRALIAN DANCE MUSIC’S breakout ﬆars of 2010 Yolanda Be Cool join Denzal Park and Nervo in mixing one disc each of Onelove’s Smash Your Stereo 2010 compilation. With an all-local DJ caﬆ, we’re a little disappointed they didn’t subtitle the three disc set Aussie, Aussie, Aussie... IF YOU’RE ALREADY plotting annual leave for 2011, you might want to take the dates for next year’s Coachella feﬆival in the California desert into account – and buy tix in advance as laﬆ year’s event sold out every day. It runs from Friday 15 to Sunday 17 April, and you have the 3D World guarantee that it will be awesome...
It’s been a while between drinks for Brisbane fans of Lee Burridge, but they’ll be getting their juﬆ desserts on Saturday 18 September at Barsoma for Subtrakt’s 3rd Birthday bash. Ever at the forefront of deep tech house in Brisbane, the Subtrakt crew will not only have a ﬁne line-up of local supports but are also bringing Burridge’s currently favoured warm-up DJ Mike Khoury along for the ride. Leo Hede, Adam Swain and Rikki Newton also support. If you missed the second birthday celebrations with Steve Bug, don’t miss this.
Island Vibe 2010 is set to shake up Home Beach at Point Lookout with an even bigger line-up than laﬆ year’s event. From Friday 29 – Sunday 31 October you can catch Ladi 6, Groundation, Paula Fuga, Darky Roots, Zennith, Kooii, Rhythm Hunters, Impossible Odds, Paua, Djambouki, 20,000 Leagues, de la Haye, DJ Muﬆaphaa, Andy Dub, Landsoaken and plenty more. Second round tickets $175 + b/f through rudekatrecords.com.
Could it be that the Swiss techno maﬆer is headed back our way? Indeed it is: Deetron is slated for a Friday 1 October appearance at Family for DROP which should see many tech heads making a mess downﬆairs. As on ﬁ re as he ever
has been, his recent EPs for Circus Company (Each Step feat Seth Troxler) and Green (Collide) are an indication of impressive form.
BREAKS & ENTER RELAUNCH
Four years ﬆrong, and more popular than ever before, Queensland’s leading breakbeat night enters a new era, moving to Brisbane’s moﬆ celebrated underground music hub, Barsoma. In celebration, ADICTS are combining scene legend Lee Coombs and rising ﬆar Marten Hørger for a double header of epic proportions on Saturday 21 Auguﬆ. Support from Sangers, DataDex, Juﬆ Iyan, Vertical Transport, Helskanki and Ellboss. Ticketing details yet to be released.
FROM TURKEY WITH LOVE Ahmet Sendil should be familiar to Auﬆ ralian tech house fans as his remixes for Yello, Alex Kenji, Martin Eyerer and Koen Groenveld have been a common ﬁ xture in the playliﬆs of many local DJs, as have his original tracks released through Sender Records, Weave Music and Highgrade. He gueﬆ ﬆars at the Barsoma on Friday 3 September for the next inﬆalment of Let’s Get Minimal.
TICKLED PINK Thanks to Chugg
Entertainment and Civil Society, the playful, genre-defying Pink Martini are making a return visit to Auﬆ ralia this October. Beﬆ known for their critically acclaimed albums Hang On Little Tomato, Hey Eugene! and Splendor In The Grass, the thirteen piece band will be performing at the Caloundra Music Feﬆ ival on Sunday 10 October. Adult tickets $73 through caloundramusicfeﬆ ival.com – regiﬆ ration required.
100 GOOD REASONS
Local ﬆreet wear label Onehundred lauch their debut range with the help of Lambda at Alhambra Lounge this Thursday 19 Auguﬆ. Each t-shirt design is themed around 100 and comes in a limited edition of 100, so make sure you get along to pick up a potentially rare design. Our suggeﬆion is a tee dedicated to Steve Waugh’s memorable century oﬀ the laﬆ ball of the day at the SCG all those years ago.
SWAP & COP 2010
Brisbane Swap & Cop is back for a 2010 re-bout on Saturday 11 September at the Bleeding Heart Gallery. Over thirty participants are invited.Table bookings $20 dollars; shoot an email to info@project4000. com.au for regiﬆ ration details.
CALENDAR CYPRESS HILL
PARKLIFE: MISSY ELLIOT, SOULWAX, GROOVE ARMADA, GRUM, MIX MASTER MIKE, UFFIE AND MORE – Saturday 25, Gold Coast Parklands OCTOBER CYPRESS HILL – Friday 1, The Tivoli DROP: DEETRON – Friday 1, Family UP LATE: NICK GALEA – Friday 1, Gallery Of Modern Art GODSKITCHEN: ANDY MOOR, JOHN O’CALLAGHAN, MARCEL WOODS, WIPPENBERG – Saturday 2, Electric Playground DIMITRI VEGAS & LIKE MIKE – Saturday 2, Platinum OPEN FRAME FESTIVAL– Wednesday 6, Powerhouse UP LATE: KID KENOBI – Friday 8, Gallery Of Modern Art CALOUNDRA MUSIC FESTIVAL :PINK MARTINI – Sunday 10, Caloundra UP LATE: DIGITAL PRIMATE – Friday15, Gallery Of Modern Art SAGE FRANCIS, B DOLAN – Saturday 16, Step Inn WHITE RHINO: SURGEON – Thursday 21, Step Inn UP LATE: B6 – Friday 22, Gallery Of Modern Art 600 SOUNDS: THE POTBELLEEZ, SNEAKY SOUND SYSTEM, IAN CAREY & MANY MORE – Friday 22-24, Broadwater Parklands MOUSE ON MARS – Wednesday 27, The Zoo UP LATE: DEXTER – Friday 29, Gallery Of Modern Art ISLAND VIBE FESTIVAL: LADI6, GROUNDATION, OPIUO, PAULA FUGA AND MORE – Friday 29-31, North Stradbroke Island NOVEMBER PENDULUM – Wednesday 3, The Tivoli PENDULUM – Thursday 4, The Tivoli UP LATE: RIO LOBOTOMY – Friday 5, Gallery Of Modern Art SCOTT LANGLEY – Saturday 6, Electric Playground JASON DERÜLO – Thursday 11, Brisbane Convention Centre UP LATE: VAN SHE TECH – Friday 12, Gallery Of Modern Art JASON DERÜLO – Saturday 13, Brisbane Convention Centre DELICIOUS DJS – Saturday 13, Platinum DESYN MASIELLO – Saturday 20, Platinum DECEMBER STEREOSONIC: TIËSTO, CALVIN HARRIS, CARL COX, RICARDO VILLALOBOS, ANNIE MAC, TECHNASIA AND MORE – Sunday 5, RNA Showgrounds
IT’S TAKEN A while, but Dirty South’s Phazing has ﬁnally hit the top of the ARIA Club Chart, no doubt thanks in some part to having Tiëﬆo and Norman Doray on the remix package. Melbourne’s Andy Murphy also enters the charts at #42 this week with the Apﬆer remix of Reach For The Lazers, while Chardy’s remix of The Phonkers’ Rock Your Body juﬆ scrapes in at #49... PAYING TRIBUTE TO their residency at FIXED in New York, Simian Mobile Disco have worked their magic creating a new mix CD, suitably entitled Simian Mobile Disco Is Fixed. The UK duo comprised of James Ford and Jas Shaw has mixed up tunes by Conrad Schnitzler, Paul Woolford and DJ Hell, describing Fixed as “a beacon of hope in a sea of generic bangers”. It’s currently slated for an October release... THE NEW CLIP from James Lavelle’s UNKLE has an Auﬆ ralian touch, with director John Hillcoat behind the camera for The Answer, which features an introduct ion from Brit actor Ray Winﬆone – ﬆar of Hillcoat’s The Proposition. Top tune, top clip, everyone wins... THE TING TINGS have been quiet of late, working on their sophomore album Massage Kunﬆ – we’re not making that up by the way. Lead single Hands, recorded in Berlin and mixed by label mate Calvin Harris is a global shout out to everyone who’s working too hard. Thanks guys, we appreciate it...
As Brisbane’s love for all things Brainfeeder Collect ive continues to grow, members of the LA based beatloving group will continue to head our way. Dank Morass is again on the case in bringing Flying Lotus collaborator Samiyam to a new home at X&Y Bar on Sunday 12 September. A lover of soul, beats and hip hop, he’ll be bringing his live, fuzzed, future funk to a chilled audience with support from Puzahki, Milesago, Walrii, Swob and Danck. $15 cover.
LIKE IT LIKE THAT
Electro pop princess Luciana is billed for yet another live performance in the Family mainroom, bringing an impressive repertoire of hits and a seriously feiﬆ y, in your face attitude along for the ride. Expect the likes of Yeah Yeah and I Like That from the sometime Fedde Le Grand, Bodyrox, Mark Knight and Deadmau5 collaborator in an explosive Saturday 21 Auguﬆ performance. Supports yet to be conﬁrmed.
Support slots for Hilltop Hoods and the odd spot at Splendour In The Grass are all in a day’s work for Sydney based hip-hoppers Horrorshow. The ﬆart of their Inside Story Tour earlier this
year was a smashing success, and the follow up Walk You Home Tour with Melbourne artiﬆ Seth Sentry ought to be equally so. It hits The Zoo on Saturday 28 Auguﬆ, tickets $19.40 through Oztix.
An Horse return to Auﬆralia in October for an eaﬆ coaﬆ tour with Gainesville and Florida’s Againﬆ Me! Formed in Brisbane, the band has enjoyed a massive couple of years abroad touring the US, Canada, UK and Europe with Silversun Pickups and Tegan & Sara and also earned plenty of headline and feﬆival shows. Currently working on a follow up to their debut album Rearrange Beds, they’ll perform at The Hi-Fi on Thursday 7 October.
Disco Nap ﬁ rﬆ came to national attention with a Triple J Unearthed win for Sounds Of Spring, and have since dropped their debut album Running Red Lights; a ﬆory of a man’s soul searching and attempt to break the rules of a life he’d set for himself. They perform at The Troubadour on Friday 20 Auguﬆ with support from Dan Parsons, Blame Ringo, Scott Bromiley, Jane Elliott and Hannah Griﬃths. Tickets $13.30 through troubadour.oztix. com.au.
Brit-rock legends The Charlatans return to Auﬆralia this year in support of their lateﬆ album Who We Touch, which will be out through Shock Entertainment by Tuesday 17 September. A journey through euphoria, darkness and delirium, according to frontman Tim Burgess it’s ultimately “a soulful voyage”. The band performs at The Hi-Fi, Wednesday 10 November. Tickets available from Friday 20 Auguﬆ through Moshtix.
Fans of Maﬆerchef will be familiar with Auﬆralian celebrity chef Maggie Beer’s ﬆ unning big, bold button necklaces and it turns out they’re created by BrisStyle’s resident button fashioniﬆa Kellie Chriﬆie. For a piece of the action, head along to The BrisStyle Indie Designers Market at St Auguﬆine’s Church Hall (Racecourse Road, Hamilton) on Saturday 4 September between 9am and 2pm. Come with a full wallet to pick up plenty of “Maﬆercrafted” goodness.
Extreme diet methods, a school councillor with problems and an anorexic girl who can’t ﬆop eating are but a small part of the hilarious Beautifully Dead. Awkward Product ions’ lateﬆ comedic play shows from Wednesday 8 to Saturday 11 September at The Space at The Gold Coaﬆ Arts Centre.
LISTEN WITHOUT DISTRACTION
ED SIMONS S TAKES KRIS SWALES S BEHIND FURTHER, THE SEVENTH ALBUM FROM THE CHEMICAL BROTHERS S AND ONE BRIMMING WITH AS MUCH AMBITION AND POSITIVITY AS HE AND COHORT TOM ROWLANDS HAVE SUMMONED ACROSS NEARLY 20 YEARS OF MAKING BEAUTIFUL MUSIC TOGETHER.
E LIVE FAST, DIE YOUNG,” Ed Simons quips at the end of a lengthy dissertation on the easy-come, easy-go attitude to popular music circa 2010. Simons himself admits to being as guilty as the next person when it comes to consuming music in the digital age, but he and longtime ﬆ udio partner Tom Rowlands have boldly asked The Chemical Brothers’ loyal fanbase and the world at large to break bad habits and digeﬆ new album Further as a single liﬆening experience – one beﬆ enjoyed with the mesmerising visual accompaniment provided by their regular collaborators Adam Smith and Marcus Lyall. The fact that it’s their ﬆrongeﬆ longplayer since Surrender roared out of global boomboxes in 1999 certainly helps their cause, but even for such a venerable act it’s something of a risky proposition given dance music is perhaps currently more track-focused than any time since the Second Summer Of Love. “That was one of the conversations we had when we were thinking we had
to do something diﬀerent,” Simons explains of the concept behind Further. “Music has become so transient, and the involvement you have with it. And that’s not a bad thing, but you know I can sit down at the Apple with the AIM and I’ll juﬆ get pinged lots of music – within an evening I’ve got like 20 new tracks from friends and going on blogs, and I kind of
liﬆen to it a bit and then I feel like I know that artiﬆ and I feel like I’ve got something out of the music, but I haven’t put anything into it. And however untrendy it is, we felt like the immersive experience of liﬆening to an album is ﬆill an exciting thing. So one of the aims of the project was to make a situation where people would get as much out of the music as we do when we’re sitting there in the ﬆ udio with it on full blaﬆ and mixing it. ‘Cause it can really make you feel things, it can make you feel diﬀerently. “I have to drive like an hour to Tom’s ﬆ udio to work and be feeling a certain way,” he continues, “and then as soon as I get in the ﬆ udio and he played me something he’s been working on in the morning, I feel totally diﬀerently. I felt that other people should be able to get that experience. So making the visual
accompaniment, this idea of playing it live at some ﬆage ﬆage [they performed Further in its entirety with a series of shows at London’s Roundhouse in May], was all about getting people to liﬆen to the whole album from beginning to end and get an experience from it. “I’d seen the DVD in progress and obviously played with the visuals, but I hadn’t sat down with a friend and got into it,” Simons admits. “I act ually did that the other day, when I’d had a few drinks – me and my ﬂatmate.
I act ually did have the experience, I was like, ‘Wow, I haven’t done this, I haven’t juﬆ concentrated on one thing’. I’m usually reading the paper, emailing, doing something when I’m liﬆ ening to music. en emailing liﬆening music And to juﬆ liﬆ liﬆen to music is quite a revelatory, revolutionary thing nowadays.” With Further, perhaps more so than on any album from a band who emerged practically fully formed with 1995 debut Exit Planet Duﬆ (see A Fanboy’s Guide To The Brothers Chemical overleaf), the whole truly is greater than the sum of its parts – a fact illuﬆrated perfectly with teaser track Escape Velocity, a 12-minute synth porn joyride that makes more sense two tracks into Further than it ever could on its own. “That’s what an album should be,” an animated Simons pipes up, “that’s where they come alive, because music juﬆ works because it’s part of a whole. Escape Velocity we’d been playing a lot in isolation when DJing, and the only place where it made sense was at the end of a set. “It works where it is on the album, but as a piece of music it was pretty epic, as you say – maybe not as epic as this conversation!” he laughs. “It works as a club record – yeah, I love it. Every time you make an album you’ve got a few tracks… it’s good to know at three o’clock in the afternoon [that] in seven hours you’ll be on a ﬆage, and to have that to play to people, it juﬆ sends crowds of people insane you know, it’s great.” That Simons ﬆill gets the live buzz speaks volumes for the pair’s collect ive headspace at the moment, and it’s reﬂected in the wide-eyed, wondrous look at the world and love that is explored in the vocal fragments that litter Further.
“There’s some love there,” Simons ponders. “There’s some positivity and happiness in the record. I think we’re both positive at the moment record – we’re really happy to be making music that gets to people. There’s always kind of been, some of the words that Tom has used and written, there’s always that kind of positivity – yeah. We’re from the E generation,” he chuckles, almoﬆ to himself. “We’ve had our lulls in our relationship and in some of the music – we’ve always been pleased with everything that’s had our name, but some of it has been a ﬆruggle. But it’s a ﬆruggle we enjoy, you know. We always get on, you know, we’re friends, and we’re not going to let anything alter that. You get more and more grateful to have the opportunity to do the thing you love, and I think that has come through in this record.” WHO: The Chemical Brothers WHAT: Further (EMI) WHERE &WHEN: Brisbane Riverﬆage Friday 4 March, Rod Laver Arena (Melbourne) Wednesday 9 March, Sydney Entertainment Centre Thursday 10 March
A FANBOY’S GUIDE TO THE BROTHERS CHEMICAL
DAVE DRI, 3D WORLD’S RESIDENT ACOLYTE OF THE CHEMICAL BROTHERS, EXAMINES THEIR CAREER AND SUGGESTS SOME STUDY MATERIAL FOR THE NOVICE LISTENER.
HE PERFECT SOUNDTRACK for the career of The Chemical Brothers is perhaps one of their own recordings. Press play on Surrender’s timeless classic, The Sunshine Underground, and let the tentative plucks and phasing sitar-like swells trace the early career of the pair – the Mancheﬆer days, the bedroom boombox sessions, and the hints of the psychedelic rock inﬂuences that would underpin an entire career. As the drums kick in, we move through the rapid-in-retrospect success of debut single and classic cut Song To The Siren, the Junior Boys Own label antics and the diﬆancing from the ill-fated Duﬆ Brothers moniker. Card carrying fanboys will claim an Exit Planet Duﬆ heritage, but it was really the support and incredibly on-point programming of ABC’s Rage video show that broke Setting Sun through the televisions, and impressionable minds, of Auﬆ ralia. The outdoor rave aeﬆ hetic fell in sync with the end of another summer of love, but the younger brothers and siﬆers were glued to the screen as a rapid ﬁ re assault of ﬆ robe-lit bodies danced madly amid a mild comedown crisis that had yet to be explored. How many kick-on parties involved a second glance at a queﬆ ioning cat we might never know, but there is no doubt that the next wave of product ion geeks were boxing beats of the blockrocking kind in their science classes. Hiﬆory might continue to nervously nudge the short-lived Big Beat genre aside, but the impact of The Chemical Brothers and their fellow scene ﬆealers, ranging from Leftﬁeld to Fatboy Slim and The Prodigy, is unforgettable by virtue of chart impact alone. No small feat from what was essentially a collect ion of spotty English kids living with their parents, scrounging Junos and Akai S950s and telling each other how good Ebenezer was. It doesn’t matter where the journey began, but the ﬂoodgate opened on the hyﬆerical fan’s favourite, Surrender, and the relative embarrassment of Big Beat the genre turning into Big Beat the repetitive compilation album concept. Escaping the predictable, the band paid homage to their Mancheﬆer days with a slice of New Order on Out Of Control, notable for a not-quite-banned performance on video playliﬆs. Not that anything could, or will, eclipse the universal appeal and double-drop inspiring Hey Boy Hey Girl. Catch a raw glimpse of this maﬆerpiece on the Radio 1 Anti Nazi Mix from 1997 to get a peak up the wizard’s sleeve, and a taﬆe for the length the duo will develop
an idea, a set of samples or a tweak of their infamous EMS Synthi until they achieve perfect ion. The follow-up album, Come With Us, is moﬆ notable for two key events. The former elect ronic battle weapon and white label cut, It Began In Afrika, featured in the Triple J Hotteﬆ 100, and the Auﬆ ralian tour took in Brisbane’s Feﬆ ival Hall for not only one of the moﬆ memorable live elect ronic shows of all time, but one of the ﬁnal elect ronic acts to grace the hallowed ﬆage prior to demolition in 2003. The years slip closer to recent memory, though we try to forget The Salmon Dance from 2007’s We Are The Night as well as we have the failed Left Right from 2005’s Push The Button. Neither were ﬆandout albums, but both were previews of the genius and maturity of the lateﬆ album to hit the ﬆores, iPods and torrent servers. Whatever the expectations, and whatever the hype, there is no queﬆ ion that Further is the moﬆ mature and moﬆ meticulously produced oﬀering from the duo yet. A good set of headphones and a retail CD version will change lives, and continue to inﬂuence the next few waves of future producers and party people like those before. And yes, that really is a horse whinnying.
TRASH VIDEO CULT MOVIE HIRE OUTLET,1995 – 31AUGUST, 2010
BAZ MCALISTER TALKS TO TRASH VIDEO OWNER AND LOCAL CULT CINEMA ICON ANDREW LEAVOLD ABOUTTHE LITTLE BRISBANE BUSINESS THAT (ALMOST) COULD.
t began as a duﬆ y ﬆore in a little hole-in-the-wall underneath The Zoo, Fortitude Valley in 1995. In 2000, it relocated across town to more salubrious premises in Weﬆ End. And this month, it closes its doors forever. Yet Trash Video will live on in the hearts of the legions of freaks and geeks to whom it has been a beacon of counterculture for the paﬆ 15 years.
More than anything, though, it was literally the childhood dream of its visionary owner Andrew Leavold. For him, and for those who frequented it, Trash was more than a shop – it was a “ﬁlmic laboratory”, a jumping-oﬀ point for countless cinematic adventures, a home base for ﬁ lm premieres and trivia nights, a place for networking with friends and fellow fans.
But as a fringe business, the rewards were never ﬁnancial. The 2003 SBS documentary Escape From The Planet Of The Tapes chronicled Leavold’s attempts to keep the shop solvent, and it was an Aussie battler of a business all the way to the end. As Leavold contemplates liquidating his ﬆock, ﬁnally cracking his extensive video collection and selling it oﬀ to who-knows-where, 3D World ﬁnds him in a contemplative and philosophical mood.
WHAT GAVE YOU THE IMPETUS TO OPEN THE SHOP, BACK IN ’95, A FRESHFACED 25YEAR-OLD? “It was an idea I had when I was about 10 – and that was back in the early days of Betamax! I imagined an ideal ﬆore, where all the ﬁ lms I liked were in order. Quite an anal concept for a 10-year-old – but the idea ﬆ uck. As soon as I got my ﬁrﬆ
paycheque when I ﬆarted working at Centrelink in 1991, ﬆraight out of uni, I spent it on a pile of movies. That pile grew until it needed a shop to be in.” BRISSIE LEGEND HAS IT THAT YOU TALKED SO MUCH ABOUT THIS DREAM OF OPENING A VIDEO SHOP THAT YOU WERE BADGERED INTO GOING THROUGH WITH IT BY YOUR FRIEND (AND FELLOW POP CULTURE FREAK) JAMES STRAKER? “Yeah, he was seriously the guy who kicked my arse. There was a shop under The Zoo, two doors down from his, which had been empty for a long time. Straker said ‘I want to go to this video shop! I’m sick and tired of hearing about it, I want to act ually rent something from it. Get your arse into gear!’.
ONE MAN’S TRASH IS ANOTHER MAN’S PLEASURE So I signed on the dotted line almoﬆ on a whim. That was the lubricant that got me sliding along.” WHAT WERE THOSE FIRST FEW WEEKS LIKE, AS A FILM FAN THRUST INTO THE POSITION OF ACTUALLY RUNNING A SMALL BUSINESS? DID YOU THINK ‘WHAT HAVE I GOTTEN MYSELF INTO?’ “I’d done a small business course but that doesn’t prepare you for the hell that is retail. Having to deal with everyone else’s eccentricities as well as your own is really quite ﬆartling. You think of yourself as a ﬁ lm freak but my God, there are such freaks out there with their own little peccadilloes and quirks and fetishes... weird fetishes. My Lord, I’ve heard some fucking ﬆ range requeﬆs.” WHAT SORT OF THING? “Moﬆ are unprintable – but there’s been this Nazi fetishiﬆ who has been coming since the 90s who speciﬁcally wants ﬁ lms featuring women wearing Nazi uniforms from the waiﬆ upwards and 50s underwear from the waiﬆ downwards.”
THAT SOUNDS PRETTY DAMN SPECIFIC. “Really speciﬁc. Luckily we had one ﬁ lm which could fulﬁ l his needs – 1977’s Red Nights Of The Geﬆapo. Beyond that, he’s going to have to go out and make his own, I think. I think he did. Oh, God, that’s right, he did. He threatened to bring in a copy of his Super 8 ﬁ lm…” SO WHAT WAS IT THAT FINALLY SPURRED YOU ON TO MAKE THE DECISION TO CLOSE TRASH’ DOORS? “It was time to move on. 15 years is a long time… I feel like the shop is a weight around my neck now, and it’s now ﬆopping me from pursuing creative ﬁ lmmaking opportunities that are presenting themselves at a rate of knots. My dad passing on, this year, was the catalyﬆ, I suppose. Your universe changes forever. It makes you take ﬆock, and it made me realise I’d been quite miserable for a long time – not juﬆ from the relative poverty of having to run a small business on very limited resources but also feeling like I’d been forgotten, purely because a lot of our cuﬆomers have moved on to something newer and shinier.” SPEAKING OF WHICH – YOU’VE MANAGED TO HANG ON THROUGH SOME MAJOR CHANGES IN THE INDUSTRY. THE DOMINANCE OF CHAIN RENTAL STORES, THE RISE OF INTERNET RETAIL AND EBAY, THEN DOWNLOADS AND WEB VIDEO. HAS THE CULTURE MOVED ON? “In a word, yes. The idea of renting rather than buying something is quite an anachronism. Even paying for something at all is becoming an old-fashioned idea. Culture right now is something that can be inﬆantly obtained and inﬆantly disposed of, and that makes me sick. Our original brief was to put together a library of ﬁ lms that are diﬃcult to source, and the internet comes along and within ﬁve years, everything’s available. The pressure then is on the individual to collect, in much the same way an individual 100 years ago was judged on their library of books, you are now judged on your DVD collection.” AND TRASH VIDEO’S SHELVES ARE YOUR COLLECTION. WHAT ARE YOUR FEELINGS ON SELLING IT OFF? “You know, I think I’m really over the idea of ownership. You get to the point where you have so much ﬆ uﬀ weighing you down. You want to be free of it. I’m more into the idea of adventures now, of experiencing something rather than collating and cataloguing it. So the focus for me in the laﬆ ﬁve years has been seeking out undiscovered territory, ﬁ lmically speaking, and documenting it. I’m more about writing and ﬁ lmmaking and researching than being a shop-monkey. I had a dream to own a video shop – I’ve done that. I had another of being a professional ﬁ lmmaker, and I’m doing that now. If one muﬆ go to allow the other to thrive, then that should be an easy decision to make.” AND WHAT OF YOUR LOYAL CUSTOMERS OVER THE YEARS? “I’ve had people express their opinions in quite violent terms – not towards me but towards the grimness of the situation. More than anything it’s a ﬆark reminder that fringe culture in Brisbane is under attack, and it is subject to the whims of economics and consumer patterns juﬆ like any other business. Juﬆ because something should survive doesn’t mean it will. Trash going is symptomatic of a larger trend in culture which saw the Regent close, and before that the Valley Twin, the Village Twin, the Boomerang Cinema, juﬆ about every indie video shop in Brisbane. What’s next - Rockinghorse Records? There aren’t too many of those iconic fringe places left in Brisbane.”
ANDREW LEAVOLD’S TOP THREE TRASH VIDEO CAREER MILESTONES.
RUBBING SHOULDERS WITH GIANTS
“Among the proudeﬆ moments were all the various premieres we had, which gave me access to some of my biggeﬆ ﬁ lm heroes. Introducing John Waters at the Powerhouse this year – that was a huge kick. And then meeting him backﬆage and getting to jabber with him for half an hour. Getting a photo with him, trying to ﬆeal his mouﬆache…”
SCHMOOZING AND BOOZING
“Having people in Melbourne, of all places, recognise me after the SBS doco Escape From The Planet Of The Tapes screened and buying me free drinks juﬆ on the basis of them liking the ﬆory. The doco really played up the idea of someone being able to realise their dream and have it taken away only to realise it was replaced by a better one.”
SEARCHING FOR WENG WENG
“Getting to put my hands on the grave of Weng Weng [the 83cm tall Filipino ‘midget James Bond’]. I realised that even though the shop was not doing well and there was very little chance of making a documentary out of the search for Weng Weng, in this cemetery in Manila I’d achieved this dream I dared to have – to get as close as possible to this bizarre midget Filipino superﬆar.”
POLAR ECLIPSE TECH-FUNK PIONEER LEE COOMBS HAS HELPED SPEARHEAD A GLOBAL MOVEMENT, BUT ADMITS TO LIZ GALINOVIC THAT THE GREATEST ACHIEVEMENT OF HIS CAREER IS THAT IT’S STILL GOING.
ee Coombs thrives oﬀ challenge and change. He’s been in the game for 20 years but he juﬆ keeps changing the rules and not necessarily to compliment the waxing and waning of scenes and fads. For Coombs, it appears to be a personal luﬆ for continual reinvention of music. The way Coombs, his talent and his career are described conjures up images of angiogenesis – the growth of new blood vessels from preexiﬆ ing ones – as he falls upon musical ﬆ yles, taking them apart and mutating them with others. Articles about him conﬆantly use the word “attack”. In the late 80s he attacked the decks and he attacked the acid house scene; by the 90s he was attacking breaks. The following decade his angiogenic nature had taken over as Coombs was taking inﬂuences from many eﬆablished musical ﬆ yles and creating a new ﬆ yle – tech funk. “Tech funk is the name we gave to our music – we being, me, Meat Katie, Elite Force, and I suppose Dylan Rymes was involved as well,” he recalls. “We thought that we weren’t juﬆ doing breakbeats and we weren’t doing juﬆ techno so we decided to give our music a new name and we do have a funk element to our ﬆ uﬀ and we have a very techy element. It’s not a funk mix, its tech house really; I suppose that’s how you should describe it. With the funk comes breakbeat and old school elect ro, and with the tech is the techno inﬂuence so that’s basically what we do. And all the tracks have all those elements.” He may grow new music out of pre-exiﬆ ing music but he’s not the type to become inspired by obscure sounds like the clattering of plates in the cafe where he gets his morning coﬀee. He’s not really into “ambient ﬆ uﬀ ”, preferring the power of rhythm. Nor does he ﬁ nd his inspiration limited to dance music. “It can be anything, I can be out somewhere and I can hear a DJ play some ﬆ uﬀ and then that will spark me to go oﬀ and write some new music. Or I can be sitting in a car and someone can put a CD on... I can liﬆen to something and juﬆ hear something in there and think ‘wow, that’s going to work really well with a beat’ and then pull it out and use it. That’s what I mean by anything, anything musical.” Hey may claim to rule out drawing inspiration from obscure, non musical sounds, but there have been some possibilities ﬁ led away for other projects. What about a beat that could go really well with a rhythm or a melody? A special beat, from a special place? “What I was going to do was sample [my daughter’s] heartbeat from inside my wife’s belly. It was the doctor, our specialiﬆ doctor, he said ‘you should sample that’. He was act ually into my music. When I met him he was a DJ, our doctor was a DJ and he was into Lee Coombs, can you believe that? And he said ‘you’ve got to sample the heartbeat’ but I never act ually got around to taking recording ﬆ uﬀ in there. But that’s something that isn’t really music that I probably could have done.” What Coombs has been doing lately is making more music that continues to push at boundaries culminating in the 2009 album Light And Dark, something he considers to be one of his moﬆ ambitious projects yet.
“Light And Dark is an album that I didn’t want to make as a ﬆ rict ly total club album, I’ve done that before. I wanted to write an album that could do the teﬆ of time a little bit more, make it more of a ﬆory, and have a ﬂow to it.” Yet this wasn’t enough and not long after its release Coombs was hard at work remixing the album into something else. “The tracks [on Light And Dark] vary a lot. There’s some slow ones, some dance ones and what have you, but the remix album is really juﬆ ﬆ raight up club mixes for DJs. We’re hitting all the bases basically.” Meat Katie, Dopamine, Zodiac Cartel and Atomic Drop all lend a hand alongside Coombs in the tweaking which features on Light And Dark Remixed, which Lot49 dropped
earlier this year. What they have produced is a DJ’s dream album, not to mention danceﬂoor enthusiaﬆs who will ﬆ ruggle to ﬁnd a moment to run to the bathroom or the bar for fear of missing a beat or a climax. “I think my favourite remix at the moment is this track on the album called You Make Me Crazy remixed by Atomic Drop, and they really turned it out really well. It’s a killer on the danceﬂoor, juﬆ dirty grinding head funk music which is what we like to play out in clubs. And I did two mixes of Light And Dark and one of them was a like a deeper groovy mix and the other one’s a big room slamming kind of elect ro tech house mix. They’re my favourites.” In the paﬆ 20 years Coombs has continued to impress music lovers and induﬆ ry ﬁgures, the latter of whom continually seek out his skills and services. Of a long liﬆ of accomplishments he picks out his New Order remix as a great achievement, but is also grateful for the longevity of his career. “One of my greateﬆ accomplishments is the fact that I’m ﬆ ill working,” he laughs. “I’ve been doing it a long time, it took me all over the world, I’ve met a lot of amazing people and the fact that I’m ﬆ ill there and people ﬆ ill want to hear what I’m doing, I muﬆ be doing something right. It’s a really good feeling.” WHO: Lee Coombs WHAT: Light And Dark Remixed (Lot49 Records) WHERE & WHEN: Rock Like Th is at Lounge (Melbourne) Thursday 19 Auguﬆ, The Maram (Canberra) Friday 20 Auguﬆ, Breaks & Enter at Barsoma Saturday 21 Auguﬆ, Envisage at Slip Inn (Sydney) Saturday 28 Auguﬆ
SEATTLE SUPER SONICS IN AN AGE WHERE HOME STUDIO TECHNOLOGY MOVES STEADILY TOWARDS THE QUALITY OF THAT ENJOYED BY THE INDUSTRY’S BIG BOYS, SEATTLE HOUSE PRODUCER PEZZNER IS PROUD AS PUNCH OF WHAT HE’S COAXED OUT OF HIS GHETTO RIG ON DEBUT ALBUM THE TRACKS ARE ALIVE. KRIS SWALES PASSES HIM THE GAFFER TAPE.
he paﬆ decade’s digital revolution has been a double-edged sword of sorts, bringing the technology to make dance music into the lounge rooms of any would-be producer who fancies chancing their arm, and subsequently seeing the marketplace (not to mention the blogosphere) ﬂooded with music which is perhaps beﬆ left on the hard drive that spawned it. But for every hypercompressed, poorly conceived musical oﬀering there’s a producer turning their ideas to gold with the bareﬆ of product ion necessities, and Seattlebased house veteran Dave Pezzner is foremoﬆ amongﬆ them. Beloved of the deep house fraternity and a sprinkling of their progressive brethren since he ﬆ rode out on his own in 2008 (he’d previously been part of Jacob London with high school buddy Bob Hansen), Pezzner emerged virtually fully-formed with a series of well-received releases on Jimpﬆer’s Freerange Records – and his winning run continues with debut album The Tracks Are Alive. It’s hard to imagine any self-respect ing deep house jock not having at leaﬆ a few of the 13 tracks it contains in their wallets, and all of them were created using the same tools hobby producers the world over have at their disposal. “Every song on the album was completely written in Windows 7 running FL Studio,” Pezzber reveals. “I also used Native Inﬆ ruments Komplete Collect ion with Kontakt, Battery, Guitar Rig, Elektrik Piano and Acouﬆ ic Piano for a lot of the sounds – especially the guitars, orcheﬆ ral brass, pianos, ﬆ rings, mallets... moﬆ of the organic sounds. I use Native Inﬆ ruments Battery to slice up any music samples, and Kontakt for any multi layered sample kits. “As far as hardware is concerned, my set-up is simple and coﬆ eﬀect ive. It’s a modeﬆ PC set-up that would coﬆ you no more than US$400. I don’t own an outboard mixer nor is my desk in a ﬆ udio. I’ve always had my set-up out in my living room near the television, because my ﬆ udio computer also doubles as the family computer.” It’s a situation many of the world’s music makers would be familiar with, but Pezzner has not only been able to wreﬆ control of the computer from his family, but also work expansively despite the inherent limitations of his ﬆ udio. “At times I’m ﬁnding it a bit challenging, but it’s the same challenges I’ve always had, so I’m used to working in this environment,” Pezzner explains. “I fantasise about the day when I can aﬀord to rent a ﬆ udio, or move into an apartment where I’m able to have my own ﬆ udio room, but until then I have to use what I have. The thing is – and I’m sure we’ve all heard this before – there’s no piece of gear or software that’s going to make you a better artiﬆ. Creativity and craftsmanship are things that come from inspiration and pract ice. So whatever tool it is that you use to create your art – the better you know that tool and the more inspired you are, the better your art will be.”
Pezzner clearly knows his tools better than moﬆ. The Tracks Are Alive is a cohesive and assured debut which takes lessons learnt from the European deep house maﬁa and infuses a healthy dose of Weﬆ Coaﬆ USA into proceedings, subtly introducing elements of 60s psychedelia (on opener Three Out Of Five), California hip hop love (cue the synth lead of Chiuso Per Ferie) and guitar (the hidden track following Laﬆ Call) alongside the occasional introspect ive downtempo moment. Though not a true DJ mix it does sound like a work meant to be liﬆened to as a whole, and Pezzner says it was also conceived as such. “The only songs that were already written before I ﬆarted on the album were Almoﬆ Here Part 3, and the secret song after Laﬆ Call – all the other tracks were written speciﬁcally for this album,” he says. “The idea of creating a long-player with interludes and
segues and an overall ﬂow had been ﬂoating around in my head for years, so I think this all came pretty naturally. After I ﬁnished all the tracks, I proposed a set order to Jimpﬆer, who then compiled the album with a bit of his own creative vision. In the end it was a fully mixed long-player that was maﬆered as one track, then separated into track IDs.” Though he ﬆ ill doesn’t have the ﬆ udio set-up he’s dreaming of, Pezzner is living comfortably from his house music product ion, which he occasionally supplements with corporate product ion work. But his underﬆanding of the nuances of deep house is obvious, the result of half a lifetime of pract ical experience. “Elect ronic dance music caught attention in the early 90s when I was in High School,”he recalls. “By the time I was in my senior year, my close friend Bob Hansen and I had formed an elect ronic ‘band’ [which became Jacob London]. It’s hard to explain now how obsessed we became with making music but by the time we graduated high school, we pretty much made a pact that we were going to take our music as far as it can go. For me, it meant making dance music my life; to never let anything get in the way, to always be working on new music, learning new techniques, underﬆanding the dynamics of the danceﬂoor. “It also meant an ultimate goal of living a life where my art can suﬆain me ﬁnancially, so that I can have the time I need create more art, and the cycle can continue. Maybe when you have such an important longterm goal, and you do nothing but work towards making it happen, you’re only going to result in success.” WHO: Pezzner WHAT: The Tracks Are Alive (Freerange Records) WHERE & WHEN: Shrug Plus +1 at Civic (Sydney) Friday 20 Auguﬆ, Mama Said at Circus (Melbourne) Saturday 21 Auguﬆ, Drop Seventh Birthday at Family (Brisbane) Friday 27 Auguﬆ
NOTHING ELSE MATTERS
MARK FITZPATRICK & MARTIN DINGLE WALL
THE BACK-STORY OF THE NOTHING MEN IS ALMOST AS INTERESTING AS THE FILM ITSELF. ESPECIALLY SINCE IT INVOLVES STEVEN SODERBERGH. ALICE TYNAN TALKS TO DIRECTOR MARK FITZPATRICK.
ilmmaking is all about timing. The ﬆars need to align – in all senses of the term – for a product ion to be ﬁnanced, ﬁ lmed, and ﬁnally released on to the big screen. Th is capricious relationship between ﬁ lmmakers and tempus has never been more evident than the 13-year rollercoaﬆer Auﬆ ralian writer-director Mark Fitzpatrick went on to create his ballsy drama The Nothing Men. Screenwriting grants, Hollywood handshakes, sold-out ﬆage performances, and a race againﬆ Steven Soderbergh are juﬆ some of the highlights of Fitzpatrick’s remarkable tale. It could almoﬆ trump the ﬁ lm, which ﬆars veteran actors Colin Friels and David Field amongﬆ a small group of factory workers forced to wait two weeks for their redundancy payouts. So on the brink of the ﬁ lm’s release, Fitzpatrick’s relief is (underﬆandably) palpable. “I was running on bald tires, let me tell you!” the ﬁ lmmaker admits with a laugh. “I wrote it in ’97 and I got three writer’s grants from the Auﬆralian Film Commission [AFC]. Then I had a plethora of producers after that… but the AFC kept knocking them back.” In the midﬆ of what he diplomatically describes as, “a lot of tumultuous times with the AFC,” Fitzpatrick was wooed by Hollywood, with big gun producer Gale Anne Hurd (The Terminator, Aliens, Armageddon) vying for the project and Jeﬀ Goldblum ( Jurassic Park) angling for a role. “His agent called us up twice! [Gale] oﬀered me a whole bunch of money and I knocked it back because she wanted it lock, ﬆock, and barrel. I wasn’t going to direct and I was juﬆ going to lose it. “So after years and years and years, I juﬆ kept writing other ﬁ lm scripts while that was in the drawer…[then] in 2003 I decided to write it as a play.” Predominantly set in the increasingly tense and clauﬆ rophobic factory room, The Nothing Men is well suited to the ﬆage. “People seem to think it’s a ﬁ lm adapted from a play, but it’s act ually not,” Fitzpatrick explains, before further outlining the plan to use the play to secure ﬁ lm inveﬆors. “We contacted so many inveﬆors and not one turned up, but we ended up ﬁ lling out the [Newtown Theatre, Sydney] every night. I think we could have run it for another year!” Caﬆ in the ﬆage adaptation was Home & Away alumnus Martin Dingle
MARTIN DINGLEWALL SAID, ‘THE UNIVERSE IS SAYING NOW’S THE TIME AND AWAY YOU GO.’ I WISHED THEY’D TOLD ME BEFOREHAND, I WOULD HAVE BEEN A LOT MORE RELAXED!” Wall, who “took the bull by the horns” producing the ﬁ lm, as well as co-ﬆaring as Wesley, a worker brought face-to-face with the haunting consequences of his paﬆ. Th is is where Soderbergh comes in. “We were the ﬁ rﬆ in this country to shoot on the [high deﬁnition digital] RED camera,” Fitzpatrick proudly intones. “Steven Soderbergh was shooting Che [on RED]…and we thought, ‘ours is only a three-week shoot; if we can get ours in the can and edit it, we’ll be the ﬁrﬆ.’ We didn’t. He ﬆ ill beat us because he was miles ahead, but we were the second in the world to use it.” In the face of so much ‘loﬆ’ time and so many ‘missed’ opportunities, Fitzpatrick remains sanguine. “Martin Dingle-Wall said, ‘Liﬆen Mark, you were meant not to get [the ﬁ lm] up. The universe is saying now’s the time and away you go.’ I wished they’d told me beforehand, I would have been a lot more relaxed!” WHAT: The Nothing Men WHERE & WHEN: Screening in cinemas now
STORM FRONT GIVEN THE TASK OF CAPTURING THE ESSENCE OF PROGRESSIVE HOUSE MASTER JOHN DIGWEED ON FILM, PABLO CASACUBERTA TELLS ANGUS PATERSON HE WANTED TO CREATE A DJ DOCUMENTARY WELL OUTSIDE THE NORM.
he dance music documentary is a format that’s often at odds with the underﬆated seriousness that dance culture insiﬆs to be about. It’s typically full of congratulatory backslapping, ﬂashing lights, sexy dancing babes, as well as an obsession with capturing that single moment in the peak of a build-up when everybody has their hands in the air – and ﬆ ringing it into one endless euphoric montage. So when it comes to the musical ﬆalwart that is John Digweed, it’s not surprising we’ve been treated to a completely diﬀerent approach. His lateﬆ Bedrock compilation Structures features what could possibly be two of the moﬆ polished and enthralling mixes we’ve ever heard from the man, but fans are given a taﬆ y extra bonus in the form of the Eye Of The Storm documentary directed by experimental ﬁ lmmaker Pablo Casacuberta, who’s had extensive success both as a visual artiﬆ as well as a materials director for TV and short ﬁ lms during his 20-year career. In the same way that Digweed doesn’t play by the rules of ego-driven DJ culture, neither did Casacuberta intend on conforming to what was expected of him. “He didn’t seem to crave ‘the power’ of being on ﬆage,” Casacuberta says of the underground house maeﬆ ro. “He wasn’t under the limelight at all. He was a myﬆerious, very kind guy, who seemed to be thinking all the time, although he also looked very inﬆ inct ive and quick. I am not particularly into ‘coolness’, and similarly, John didn’t seem to be concerned at all about being cool. He is simply too much into the music he plays to be diﬆ racted by such matters. So I ﬁgured that there was enough myﬆery about him to secure a good documentary.” One indulgent luxury that Casacuberta was aﬀorded was the assumption his viewing audience would have an exiﬆ ing awareness of Digweed’s ‘public persona’, which opened up all kinds of creative possibilities. “I always approached the shots following the same motto: ‘tell me something I don’t know’. To do so, I have to think how I can see the artiﬆ in ways that haven’t been seen before. Once you decide
to depart from the old beaten track, you are entirely free to go anywhere. And it certainly helps a lot when you ﬁnd an artiﬆ like John, who was as intereﬆed in experimentation as I was. He didn’t have any preconceived ideas or no-go zones. He wanted this project to be and to feel very open.” While Digweed might be the antithesis of huge house music personalities like Erick Morillo and Roger Sanchez, he’s got his own brand of charisma. He’s described by Casacuberta as the moﬆ reﬂect ive, softly spoken and kind guy that you could imagine, and intereﬆ ingly, it’s exact ly how many of his fans would perceive him. “When I saw his performances, I got the sense his intereﬆ in the music over seeded his intereﬆ in his own performance, which I saw as a very loving way of approaching his craft. I like characters that have something unique, and John was certainly one of those.” The visual framework of Eye Of The Storm is conﬆructed from a dreamlike palette of visuals that goes well beyond quick cuts in nightclubs and slow-motion shots as faceless punters pump their ﬁﬆs in the air. Inﬆead, the documentary is full of moody, often abﬆract images that are obviously meant to align with what we’re hearing from the interview subject, though not necessarily in a predictable fashion. Imagine Diggers ﬆrolling surreally through a museum, while oﬀ camera he talks about all the music he’s collected over the years. Or a young child running through the desert, as Digweed recounts his formative years as a musician and a DJ. “The mind doesn’t work linearly,” Casacuberta says. “If we try to represent a mental process, that representation shouldn’t be literal but somehow subtle, and ﬆ ill be able to relate to the subject matter that is being discussed. I try to go about it in an intuitive way, trying to feel what associative ideas I get from a particular theme. By doing so, you achieve a much more intimate exploration of ideas, even when the subject of the discussion is entirely conceptual. The unusual nature of the images invites a more reﬂect ive reading of what we are seeing, and somehow suggeﬆ that what we are seeing
are mental images, rather than situations that act ually happened.” That’s not to say there aren’t scenes that capture the intensity of a pumping nightclub. However, even these see Casacuberta experimenting with a number of diﬀerent approaches – caﬆ ing the DJ in silhouette, ﬁ lming from many diﬀerent angles, and capturing the more abﬆ ract moments that somehow manage to capture the exhilaration more accurately. “I think clubs are designed to facilitate a diﬆorted perception of reality. Diﬆorted in a nice way, but diﬆorted nevertheless. The lights of a club follow patterns that don’t exiﬆ anywhere else, and that are meant to produce an experience that is somehow alienated from the common, everyday life perception of things.” It’s a location that’s ripe with visual ﬆ imulation, described by Casacuberta as akin to a “fairground landscape”, so it’s hardly surprising that ﬁ lmmakers often get sucked in by the moﬆ obvious moments. “It’s exploding with visual ﬆ imuli and full of very odd, very crazy characters that are all sharing a kind of enormous, collect ive imaginary scene. I tried to convey the feeling that there is something glorious about being on the danceﬂoor of a club, but also something absurd, and even funny, and that all those feelings are entirely compatible with each other. I tried to focus in that diversity of points of view rather than juﬆ showing people dancing collectively. To focus on particular faces or body positions is the beﬆ way to remember that a crowd is always made of very diﬆ inct ive individuals.” WHAT: Structures/Eye Of The Storm (Bedrock/
MENTAL COMBAT Hip Hop With BLAZE
Laﬆ year producer/beatmaker Exile dropped his inﬆ rumental album Radio to much acclaim, but the real beauty was that it was a highly conceptual album created entirely by sampling whatever came over the air from the radio ﬆations available to him in Los Angeles. He then tweaked them on his MPC and turned out 15 tracks for the eclect ic Plug Research label. Well now he’s gone bonkers and come back with Radio AM/FM and the free downloadable album Radio Remixes. That’s a ﬆaggering 36 tracks in all over two releases, but with the original album it takes it to 51. Holy crizzap! That’s almoﬆ three hours of music. Only this time he’s handed over the reins to a plethora of people and let them put their own spin on this unique idea, with a hefty amount skirting around a more experimental slant, so if you don’t mind the sound of ﬆatic and plenty of radio knob ﬁddling then you should be enthralled by the results. I’ll persevere and try to mention the beﬆ tunes from both of these new versions. The vocoder used for Population Control is utilised on all ﬁve versions from the drum machine funk/elect ro version via Ricky Rucker to the Chris Alfaro aka Free The Robots heavy drum rework and to The Grouch and Eligh rapped eﬀort. The next beﬆ track would be In Love where DJ Day adds some jazz bass and ethereal keys, while Kan Kick drops some ﬆraight ahead hip hop drums and Milo 1 gets all wobbly Detroit ﬆ yled. DJ Rhettmatic adds cuts galore to his version of It’s Coming Down and then Alchemiﬆ and Evidence spit lyrics for their own conﬆruction. Marco Polo pulls out a remarkable joint with Torae and Ruﬆee Juxx on the vox. The posse track comes large with the beat ﬂ ipping Mega Mix complete with verses from Fashawn, Blame One, Big Tone and ADaD. Exile’s partner from his Emanon days, Aloe Blacc, hooks up with Coss for So We Can Move while the always liﬆenable and moﬆ recent collaborator Blu jumps down for Love Line. The only tune that features a female is the lateﬆ video clip tune Your Summer Song in which J.Mitchell gets soulful for a bass heavy almoﬆ wonky hopped glitch feﬆ. These tunes will be moﬆ appreciated by the J.Dilla fans and the elect ronic Boomkat.com type visitors. Be warned it’s a heavy load to take in on one liﬆen so spread it out evenly to fully appreciate.
QUIET TALKER NATHAN THOMPSON TELLS CYCLONE HE HOPES TO JOIN ESTEEMED COMPANY BY TAKING THE BRITISH URBAN SOUND TO THE USA WITH HIS WORK AS GIGGS.
he British urban scene has upﬆaged that of the US in 2010 with Dizzee Rascal’s raucous appearances at Big Day Out, Professor Green’s crossing over, and Taio Cruz challenging Jason Derülo as R&B’s break-out ﬆar. Now London MC Giggs, aka Nathan Thompson, is dropping Let Em Ave It. And his record is very grime – and villainous, if not gangﬆa – with no Dance Wiv Me moments. “There’s a lot of truth and reality on there,” Thompson announces. The MC acquired the “Giggs” nickname from his spontaneous giggling, yet he was previously known as the darker Hollowman. Far from cracking up, he’s rather serious as an interviewee. Thompson, whose drony ﬂow (and uniquely Anglo take on the Dirty South’s chopped and screwed) is his trademark, speaks little – another conference call ended ominously early – and, when he does, he’s barely audible. But Thompson isn’t necessarily surly. His local record label maintains that he’s juﬆ “shy”. Thompson hails from Peckham in South London, where he was raised by a single mother. He himself was a dad at 21. Prior to launching a music career, Thompson copped a jail term for gun possession that continues to haunt him. On his emancipation, he resolved to turn his back on crime, the aspiring MC circulating mixtapes. So successful were these that he began to lay down his empire, SN1 Entertainment, which today encompasses a clothing line – and a ﬆore in Peckham Market. In 2008 Thompson went viral with Talkin’ The Hardeﬆ, freeﬆ yling over the beat of Stat Quo’s Here We Go. His ﬁrﬆ album proper, Walk In Da Park, issued independently, followed. Thompson scored a deal with XL Recordings, home to acts as diverse as Dizzee, MIA, Jack Peñate, Adele and Vampire Weekend. Nevertheless, the MC has since claimed that XL’s MD was warned oﬀ from signing him by police. “I don’t know what they told him,” Thompson says. Of course, that ensures for good PR in rap – but it’s no fabrication. “Nah, that’s the truth!” he insiﬆs. “That’s what happened.” Thompson is moving forward with Let Em Ave It, led by Look What The Cat Dragged In, though the album is not without its digs at authority. The MC consciously approached this album diﬀerently to his debut, which he describes as being “juﬆ for the ﬆ reets”. He had to reintroduce himself. “It’s saying where I’m coming from and what I’ve achieved and why I rap about the things I rap about.” Thompson is shrewd – and ambitious – and intends to eventually
concentrate on playing a facilitator, grooming other artiﬆs. He act ually fancies doing a Plan B – and act ing. “I might, I wouldn’t mind trying it – I might give it a go.” He’s had oﬀers. But his current focus is conquering the US: Thompson is determined to prove to the Americans that Brit MCs have the goods. “It’s next in the plan – I’m gonna take over the world, man,” he says. In fact, Thompson has spent time in the US “networking” and, in Atlanta, arranged a song with BoB, Don’t Go There, which, confusingly, isn’t on Let Em. There was a time when British MCs ﬆ ruggled to be heard, Dizzee reckons that the rock audience has been more loyal to him that hip hoppers. Yet Thompson holds that this is changing. “It’s changing slowly – it’s not all the way there, but it’s juﬆ more supporting than it was before. Obviously, it’s a whole new thing for them – like, the music I’m making is new to the UK mainﬆ ream – so it’s going to take time for them to get behind it all the way, but it’s slowly getting there.”
WHO: Giggs WHAT: Let Em Ave It (XL Recordings/Remote Control/Inertia)
STEPHEN MANDERSON MIGHT BRING A QUINTESSENTIALLY BRITISH SOUND AS PROFESSOR GREEN, BUT CYCLONE DISCOVERS HE’S MORE RUDEBOY THAN CHAV RAPPER.
rofessor Green, aka Stephen Manderson, is a quintessentially British rap superﬆar. He recently lauded his champion Lily Allen in Elle by saying his favourite three things about her were her honeﬆ y, her love of Jammy Dodgers biscuits, and her “bottom”. He didn’t even say arse. Manderson is ﬁnally unleashing his debut, Alive Till I’m Dead, which includes the hit Juﬆ Be Good To Green. That song’s hook, which Allen sings, is nicked from the old SOS Band jam via Beats International. Still, Manderson is “nervous” about how his album will be received – it subsequently debuts at #2 in his homeland. Manderson isn’t gobby, or sullen, but thoughtful and articulate. The Eaﬆ Londoner has had countless setbacks, not leaﬆ a brutal attack in a nightclub that saw him ﬆabbed in the neck with a broken bottle. Manderson is the product of a broken home, his teenaged parents splitting soon after his birth. He was raised by his beloved grandmother on a Hackney eﬆate. Manderson was considered suﬃciently clever to attend a ‘good’ school, but he chose to ﬆay with his mates at a comprehensive. The bored ﬆ udent then ended up dropping out. While Manderson had his share of run-ins with the law, one serious, he managed to land a decent job at a design company. Today Manderson believes that his father’s absence was the catalyﬆ for his youthful misdemeanours.
“My familial situation was a weird one in that my Dad was in and out of my life as a kid and that really played havoc with me and my conﬁdence. It took me a long time to ﬁnd myself ‘cause I didn’t have him there consiﬆently. My Mum was there, but I was brought up by my grandmother. I have a lot of insecurities. I guess I had a lot to prove.” His father died in 2007. Yet Manderson’s career prospects changed for the better. On a whim he’d entered a battle comp at a Camden bar – and won. Manderson progressed to successfully battling at London’s The Jump Oﬀ, where Mike Skinner spotted him. He rapped on the underground joint Stereotypical Man, Skinner producing. The MC realised that he needed to focus and not be diﬆracted by the ﬆreets.
Manderson recorded an album for Skinner’s The Beats, but it never materialised, the label going buﬆ. The MC had to then extricate himself from The Beats’ parent, Warner. (Manderson holds no grudge againﬆ Skinner, who contributed the Alive... ‘bonus’ cut Crying Game.) “It was a little bit discouraging at ﬁrﬆ, but I’m quite persiﬆent, so I juﬆ carried on, plodding along,” Manderson says of the impasse. “I carried on making music behind the scenes. I wasn’t able to push anything. But I think that actually made me work a lot harder, and I got a lot better at my craft, so it might have been a blessing in disguise. It was hard at the time, but now I think it worked out for the beﬆ.” He secured a new deal with Virgin. Little of the old album was salvaged – his new songs were better. Manderson resembles Eminem – he has the crewcut, the tattoos and the moody press shots – but musically he’s closer to Jay-Z with his combination of wry comedy, showmanship and vulnerability. (His top MC is The Notorious BIG.) Like Hova, Manderson digs his pop. I Need You Tonight, Alive’s lead single, samples INXS. When given the beat, the MC avoided replaying INXS’ original until he’d written his verses. “I’m not as cool as Michael Hutchence was,” he laughs, “so I could never have done it in the same vein he did! Mine had to be a bit more selfdeprecating.”
WHO: Professor Green WHAT: Alive Till I’m Dead (Virgin/EMI)
OGFLAVAS OG Urban news with CYCLONE
We can’t liﬆen to Eminem’s Recovery forever, so is there any fresh urban music on the horizon? Happily, fans of alt hip hop and R&B have plenty to look forward to. The only problem is that some release details remain sketchy. Reports persiﬆ of a Cee-Lo Green album, Lady Killer, for which he’s soulfully reinterpreted Band Of Horses’ No One’s Gonna Love You. The Gnarls Barkley crooner ﬆ unned with What Part Of Forever oﬀ the Twilight: Eclipse OST but, less credibly, cameos on Travie McCoy’s Dr Feelgood. N*E*R*D were due to drop Nothing but, after the Nelly Furtado-featuring Hot-N-Fun ﬁzzled, perhaps they’re ﬆalling. Meanwhile, Pharrell Williams can be heard on the Swedish House Maﬁa’s electro house smash One (Your Name). Kanye Weﬆ should save the day with his next album, the prog (rock) hop single Power generating heat. Oh, and he’s ditching the naﬀ title Good Ass Job.... Will ‘Ye’s protege Kid Cudi regain ground from fellow emo-rapper Drake with Man On The Moon II: The Legend Of Mr Rager? The Cleveland MC is touting his sophomore as “dark by nature”, compared to his debut, as it deals more with reality (read: fame) than his dreams. ‘Ye pops up on the oﬃcial lead single, Erase Me, which sounds like UNKLE. Cudi’s GOOD Music labelmate John Legend’s laﬆ album, Evolver, didn’t perform as hoped, despite the zany uptempo Green Light with Andre 3000. Now he’s teamed with The Roots for the socially-conscious covers set Wake Up!. OG Flavas can’t wait to hear Legend’s take on Donny Hathaway’s Little Ghetto Boy. Not satisﬁed with helming the ﬆellar How I Got Over, The Roots’ ?ueﬆ love is also launching a supergroup led by Amy Winehouse. Laﬆ ly, Mark Ronson has conﬁrmed his third album, Record Collection, for September. He’s doing a Florence Welch and adding the name of a phantom band – The Business Intl. Don’t expect covers, although Ronson has again secured several unlikely collaborators. He’s moving away from retro soul, inﬆead embracing 80s synth-pop – and revelling in golden era hip hop. Gueﬆs include D’Angelo, members of Duran Duran (Ronson is producing their album), and Boy George (Somebody To Love Me). And Ronson himself sings this time – check out his Lose It (In The End) with Ghoﬆ face Killah (co-written by fellow hipﬆer Jonathan Pierce.
2010: AN ELECTION ODYSSEY
The ﬁnal in our week-by-week guide to the 2010 election campaign, including our election day predictions.
But(t) Abbott’s polling solid where it counts: Libs are owning marginal seats.
The High Court decision to overturn early electoral role closure to favour Greens with lots of younger voters now eligible.
The Sex Party’s drug decriminalisation policy, thought of as looney by anyone not a fan of The Wire, was endorsed by a top criminologist. Shiiiiiiiiiiit!
A Fred Nile candidate says he’s previously quit Labor, Libs and Democrats. A Christian Democrat who likes a party or two.
The three stooges (Rudd, Hawke and Latham) continue to distract from Labor business (but it’s oh so entertaining).
What! Libs said to have not played dirty enough! Ouch! That anti-Abbott ad by GetUp must have stung.
Leaked emails reveal dissent over preference deals. Proves their emails are more exciting than their tweets.
Gillard takes on another Labor leader, now blaming Vic’s Premier for loss of southern support. Ms G, isn’t that your backyard?
The election isn’t even lost yet and Turnbull is said to be sniﬃng around for the leadership again. Maybe he’s ‘acclimatised’ for the gig now.
Those pesky leaks reveal a bigger spat looming; they’re divided over private school spending. Old school socialism vs old school tie?
MAY WE SUGGEST
Poll surge! Nope, not a dodgy porno starring Julia Gohard but a real-life return to form for the ‘real’ Gillard.
Will get over the line by a fraction. But will the PM be the ‘real’ Gillard or the mining corps’ fembot?
Will experience a swing but not enough to win. Abbott will be discarded like last summer’s Speedo’s.
Will gain the power of balance in the senate. Everyone will be quoting Reservoir Dogs: “Fuck, where’s Brown?”
ABC’s Kerry O’Brien accused of letting Gillard talk more than Abbott. Sheesh, if Abbott had a ‘real’ alter ego he’d get extra talk time too.
…and, the indies will be everywhere if parliament is hung. Tea parties to be hosted by the Mad Katter.
THE WILD SIDE OF ELECTION 2010 JULIA GILLARD AND TONY ABBOTT ARE DOING THEIR BEST TO PUT YOU ASLEEP THIS ELECTION CAMPAIGN, BUT THAT DOESN’T MEAN THERE’S NO FUN TO BE HAD. SCOTT FITZSIMONS LOOKS AT THOSE HAVING A GRAND OLD TIME ON THE TRAIL AND THOSE WHO ARE HARBOURING INSANITY.
e’re having a ball act ually, I think because we have no expectations,” Fiona Patten, leader of the Auﬆ ralian Sex Party tells 3D World. Patten had juﬆ been marching in the Melbourne Equal Love same-sex marriage promoting rally, but had to run home to plug her phone into the charger to continue our chat. “I mean we’d love to win a seat, but we haven’t got any expectations of the campaign so we’ve found that to be really refreshing and it’s enabled us to really have a lot of fun. Laﬆ night in Perth, South Auﬆ ralia and Melbourne, and I think Brisbane, we all went on pub crawls. We all went down diﬀerent ﬆ reets in Melbourne and by the time we got to the city there was about 30 of us and we were juﬆ getting mobbed by people.” It’s been a while since a Victorian candidate to the Senate, like herself, admitted to going on a pub crawl while the countdown to the elect ion is in single ﬁgures, but then again Patten’s party are trying to shake things up (see her debate on Sunrise with the Family Firﬆ party – she made poor Wendy Francis look a loﬆ and decidedly uncomfortable doting Grandmother). Born out of opposition to the proposed internet ﬁ lter, they’re now classifying themselves as a civil liberties party, the only real one in the race. “I don’t think the general public, and particularly the people that I’m meeting, probably under 35s, are connect ing with either political party,” she says. “And moﬆ people are pretty disengaged with politics these days. And certainly the campaign that the major parties have been running I don’t think has engaged anyone’s passion.” A percentage of the increased proﬁ le they’re getting this year has their name to thank, which was a suggeﬆ ion of the late leader of the Democrats Don ‘Chippy’ Chipp. He ﬁgured the name was suitable, and would help them ﬆand out in the sea of mid-range parties, if they were dealing with issues of sex and gender. Campaigning on the back of policies regarding the internet ﬁ lter, the un-banning of X-rated ﬁ lms, same-sex marriages and the rights of euthanasia and abortion, they’re also pushing for the decriminalisation of all drugs. “We want to decriminalise all drugs, which means we don’t want to legalise them and we certainly don’t want to legalise drug dealers so drug dealing ﬆ ill remains an oﬀence,” says the party’s Regiﬆered Oﬃcer Robert Swan. “But we want to decriminalise all personal possession of drugs, doesn’t matter what they are, whether it’s sleeping pills or marijuana or alcohol or cigarettes or heroin or crack or cocaine, it doesn’t matter. Whatever drug, we say they should be legal to possess and people should be prescribed these drugs by chemiﬆs and doctors, so that
chemiﬆs and doctors take over running.” The thinking is, that by moving drug abuse from the criminal juﬆ ice syﬆem to the health adminiﬆ ration, they’ll be able to combat the problem through professional channels and curb the fact that, “70 percent of people in jail in Auﬆ ralia are in jail for crimes associated with the personal possession of drugs.” It’s a tough one to sell to the conservatives, but Patten’s convinced they’ve a large portion of the mainﬆream public behind them. Right now though, they’re focused on the laﬆ week of electioneering. “Well I know where we’re having the after party,” she laughs, “we really are playing it day by day. But we are hoping to launch a live music policy so the Sex Party can be fully complete with sex, drugs and rock’n’roll.”
When you number all those little boxes this weekend, hover your pencil over these guys for a moment or two. ROSALYN TOWNSEND/PHILLIP TOWNSEND (VICTORIA) Another husband/wife duo, proving that One Nation isn’t dead yet. Highlights from their party policy document include; on education, “Emphasis on responsibility, competition and discipline. We will reinﬆate School Inspectors, ensure Chriﬆ ian Values, Patriotism and Morality. Aptitude teﬆs will be conducted.” On multiculturalism; “One Nation will abolish multiculturalism and the Racial Discrimination Act, promote assimilation, nationalism, loyalty and pride in being an Auﬆ ralian.” We could go on. CHRISTIAN DEMOCRATIC PARTY (NATIONAL) By the word of God and by the love he inspires, Fred Nile’s party are open to everyone so long as you take your world view from the Bible’s pages. “CDP is opposed to laws that prevent or hinder anyone from living peaceably in accordance with His religious beliefs (for inﬆance, antidiscrimination laws should not be used to force a Chriﬆ ian into renting accommodation to a homosexual couple).” SENATOR ON-LINE (NATIONAL) A party with no policies, they pledge to turn each matter in the Senate into an online poll where you, dear reader, can caﬆ a vote in matters of the upper house. STEPHEN MAYNE/PAULA PICCININI (VICTORIA) You may recall Mayne of this husband and wife duo, he once scored 1.98 percent of the votes when he ran againﬆ an incumbent Peter Coﬆello. He also founded the Crikey website and has had a career littered with controversy – moﬆ famously when News Limited columniﬆ Glenn Milne pushed him oﬀ ﬆage at the 2006 Walkley Awards.
All Th ings House with BEN KUMAR Welcome back to Kumar’s Capers, and you can tell the Ibiza season is ﬁ rmly dominating dance music, much like the Queensland State Of Origin team over the hapless Blues. Big room hedoniﬆ ic tunes are in (good), as are ludicrous cash-in compilations (despicable). So what’s shaping up this year to emerge? It appears tech sounds continue their dominance over clubland, with a tinge of the African in the form of tribal drums. Label CR2 is getting a bit more underground cred with this approach, whilﬆ regular producers like Aﬀ kt, Coyu and Uner remain ﬆ rong. The club versions of Damian Lazarus’ Smoke The Monﬆer Out are set to dominate. Elect ro house has been given a ﬁ rm Greg Inglis-ﬆ yle “don’t argue”, and not a moment too soon. Moﬆ of those on the sinking ship have moved over to techier sounds anyway. All aboard the bandwagon! Of signiﬁcance in the album ﬆakes is eternal Ibiza artiﬆ Chicane, with Giants. Th is is hotly anticipated, but from what I’ve heard so far, it’s like the Wallaby Rugby Union team – it’s got some lovely passages of play but is let down by a lack of imagination. The requisite dreamy ambient tunes are there, but some of the trancetaﬆ ic tunes are juﬆ tacky. The Anjunabeats ﬆable is vying for label of the year for the third time running, and new compilation Anjunabeats Vol 8 is, while a bit too trancey for my taﬆes, is sure to excite a hoﬆ of people into what is becoming an accessible melodic direct ion for the trancemeiﬆers. On the singles front, Azari & III may have hit it big with the indie kids (and house puriﬆs) with anthem Reckless (With Your Love), but they’re going to take it to the clubs big time on the basis of the Indigo EP, out in September on Tiga’s Turbo Recordings. Make sure you grab the EP because it’ll have a cut that’s not going to be released anywhere else! Name to watch out for is the deliciously aﬃ xed Nacho Marco, a house producer du jour kicking all sorts of goals. His remix of Groove Armada’s Paper Romance is solid, but the originals Lose Control and Rising shine, making great use of vocals and melody. Until next time, ﬆay tuned for my internet radio series, titled The Pod Caﬆe Syﬆem. Oh, and a diatribe about DJ competitions decided by votes – no playing advantage, they’re simply oﬀside!
STATE OF FLUX
ON THE BACK OF A SUCCESSFUL DEBUT EP THAT THE BAND THEMSELVES DON’T RATE, EKHI LOPETEGI OF DELOREAN TELLS NINA BERTOK THEIR FIRST ALBUM IS A COLLAGE OF TEN YEARS OF MUSICAL INFLUENCES.
rom hardcore punk, to upbeat pop, to tech house… It’s pretty much unheard of in club circles, but Barcelona foursome Delorean have dipped their toes in many diﬀerent musical waters before embracing their current dance leanings with debut album Subiza.
“All of us came from punk and hardcore bands in Basque,” chief songwriter Ekhi Lopetegi announces. “It was probably about 10 years ago now and I can’t remember much about those days but that’s how we ﬁ rﬆ met. We were going to lots of shows and sometimes we pract iced together until we got bored and wanted to try something diﬀerent. We wanted to surprise ourselves but also people who knew us for the music we were doing then. I guess we didn’t really care what they would think because we did it anyway.” It was several years ago when Delorean ﬁ rﬆ ﬆarted turning their attention to pop tunes and layered melodies, but it wouldn’t be until 2009 that the band really found its niche. Embracing every genre it had covered since 2001, Lopetegi and his band of ex-punkers combined all their eﬀorts into their debut Ayrton Senna EP which garnered rave reviews from Pitchfork and the Guardian soon after. Conﬁ rming that 2009 was deﬁnitely a good year for the band, Lopetegi claims Delorean were now ready for bigger and better things – ﬆarting with a re-introduct ion. “Everybody seemed to love the EP but to be honeﬆ , we weren’t really that thrilled with it,” Lopetegi confesses. “We didn’t hate it or anything, but I can’t say we were that happy with the songs. To us, they ended up sounding too watered down and juﬆ really safe, which was not what we were trying to do. Let’s juﬆ say we were shocked that the reviews it got were so good.” More than anything, according to Lopetegi, Delorean wanted Subiza to “speak to the people”. By that, Lopetegi says he means that the band’s main focus is always for the audience to feel the music rather than merely hear it. “The basic idea was to mix house music and pop music but it was more about the vibe rather than juﬆ the sounds,” Lopetegi explains. “We produced it with a big focus on the texture and the layers underneath. The EP was ﬆ ill us being caught halfway between the indie-rock live
band sound and elect ronica, so there is a huge gap between the EP and the LP.” Lopetegi claims that those who followed Delorean’s remixes sometime around 2008 and 2009 would have seen this album coming. Their remix work on tracks for The Teenagers, The Myﬆery Jets and The Big Pink provided a glimpse into the future sound now found on Subiza in 2010. “The EP was always not much more than juﬆ a ﬁ rﬆ try for us,” says Lopetegi. “Now that the album is done, we feel like a certain way of doing things has come to a completion with this album. Once you know how to do something, when you maﬆer your own techniques, you move onto the next level. “For us, that’s the live show which we’re not 100 percent happy with yet. We think of Daft Punk as a reference to how we want to look and sound live, without copying obviously! I saw them in Barcelona three years ago and it blew my mind. If we can work on a set like that from beginning to the end, that would be amazing.”
WHO: Delorean WHAT: Subiza (True Panther/Remote Control/Inertia) WHERE & WHEN: Parklife at Gold Coaﬆ Parklands Saturday 25 September
SUBDETRITUS Bass Culture with BRAD SWOB
DANIEL SANDERS CATCHES UP WITH DUANE BURIANI-GENNAI AND WAYNE SMITH, MELBURNIANS FETED OVERSEAS FOR THEIR PRODUCTION WORK AS MIDNITE SLEAZE.
uane BG (Buriani-Gennai) and Wayne Smith have worked towards their current ﬆate of success evenly and methodically but you could be forgiven for thinking them an overnight success – under the Midnite Sleaze moniker they’ve racked up an ﬆaggering amount of remix requeﬆs from labels such as Spinnin’, Armada, Slip n Slide Floorplay, Safari and Onelove, all of which have rolled in thanks to their competition winning remix of Roger Sanchez and DJ Oliver’s Transatlatins track I Can’t Live Without Music. “I think winning that remix competition for Roger Sanchez’s Stealth label early laﬆ year was a big ﬆep forward for us in getting attention from a lot of European dance music labels and DJs,” Buriani-Gennai admits. “Now we’re so busy that we can’t keep up with all the labels that want to release some music from us, so, it’s a good problem to have!” Far from being a recently eﬆablished team, Buriani-Gennai and Smith have been at it behind the decks and in the ﬆ udio for the better part of three years, and the eﬀort is ﬆarting to pay dividends. Their ﬁ rﬆ visit to the USA in March of 2009 for Miami Winter Music Conference saw them play several gigs there, and also a show in San Diego which helped make the prospect of a return visit possible. A ﬁve show 2010 whiﬆ leﬆop tour of Southern California was cut short only because of their day job responsibilities back home – the sheer number of releases on their schedule seems to indicate that may not laﬆ forever though. “Our ﬁ rﬆ single for Stealth will be coming out in the next month or two we believe, it’s called The Diﬆortion,” Smith ﬆates. “We’ve also got another of our two singles that we signed to another German label called Housesession which is really big over there and we’ve got a whole bunch of remixes that ﬆill aren’t out yet. There’s one on Nervous Records out of New York, there’s also one on Star 69 – another American label,” Buriani-Gennai reveals. “We’ve probably got about six or seven vocals already laid down for [other] tracks that we juﬆ haven’t been able to get to because of our busy remix schedule – it’s juﬆ been hectic. We’re at that point where we have to do remixes to sort of keep our name out there [but] now we have the drive to really push some of our original
music out. We’ve always managed to do some originals but not quite to the extent that we’ve wanted to.” On a local level, their Saturday night Future Bomb show on Melbourne’s Kiss FM is also helping them build proﬁ le and introduce some much-needed diversity to the commercial house music soundscape, drawing new liﬆ eners in as a result. “It’s opened up so many doors,” Smith enthuses. “We’ve had some great support from Tim Byrne the ﬆ ation manager, he’s really believed in us and is really pushing us.” “He gave us one of the main slots on a Saturday night and we’ve been able to push some really cool music that we felt there was a lack of on Saturday night in terms of radio shows,” Buriani-Gennai elaborates. “We’ve tried to push all the club music that we like, and also try to ﬁt in some great gueﬆ DJs from overseas that we feel don’t get enough exposure in Auﬆralia.”
WHO: Midnite Sleaze WHERE & WHEN: Monaﬆery Friday 20 Auguﬆ
In our queﬆ to make sense of the world of bass music this column has chieﬂy looked at dubﬆep and its elder cousin drum’n’bass. But there is a sound, an aeﬆ hetic, that is juﬆ as old as dubﬆep yet is ﬆ ill without a galvanising name. At various points referred to as beat music, woozy, aquacrunk, future beats and (ﬆaggeringly) purple wow, wonky by any other name is ﬆ ill juﬆ as sweet. Running almoﬆ side by side with dubﬆep, there is every chance that when the tome of early 21ﬆ century elect ronic music is written that wonky will be viewed as the more experimental and inﬂuential of the two. The origins of wonky cannot be discussed without mentioning one man – the late J Dilla. Born in 1974, Dilla’s ear was tuned to the rich musical legacy of his hometown Detroit. Motown soul, Detroit techno and the city’s own brand of hip hop launched Dilla on a path that found him producing tracks for the likes of A Tribe Called Queﬆ, The Pharcyde, Buﬆa Rhymes and Common. After hooking up with LA-based producer Madlib, Dilla eventually found a home on legendary left-of-centre hip hop label Stones Th row. His trademark drum programming was derived in part by a refusal to snap all his beats to a perfect quantised grid – giving them a more human, natural sound. He also was among the ﬁ rﬆ to signiﬁcantly build upon the incorporation of synths and elect ronic bass blueprinted by Afrika Baambaata’s Planet Rock which themselves were often unquantised. After losing his battle with lupus, Dilla passed away in February 2006. The raw Dilla elements of unquantised drums and synths have resonated across the globe with a new generation of producers from many diﬀerent genres. Initially, the two international ﬆ rongholds of the movement were found in Los Angeles and (not so likely) Glasgow. Home to one of the ﬁgureheads of the sound in Flying Lotus, Los Angeles has been fertile ground for wonky beats built around Lotus’ own loose collect ive Brainfeeder which is home to the likes of Samiyam, Ras_G, The Gaslamp Killer and Lorn. On the other side of the pond, Glasgow’s Lucky Me collect ive have added their own ﬂair to the sound incorporating playful, ﬂuroescent synth tones from the likes of Ruﬆ ie, Hudson Mohawke and Mike Slott. Now a truly global movement with ﬁngers in hip hop, dubﬆep, funky and house, the queﬆ ion has become – how unquantised can shit get?
THE ALBUM OF WEEK
BLISS N ESO Running On Air (Illusive)
MATTHEW DEAR Black City
(Ghoﬆ ly International/Inertia) New Yorker Matthew Dear is a man of many aliases – creator of crossover techno ﬆormers like Mouth To Mouth as Audion, producer of minimal weapons under his False and Jabberjaw pseudonyms, even indie-folk band leader with Matthew Dear’s Big Hands – so it’s somewhat ironic that the music he produces under his own name plays furtheﬆ from type than his followers would expect. And though it does have elements of darkness, his fourth album Black City is shot through with an undercurrent of joy and playfulness, like a loveletter to a city which exiﬆs only in his heart. Anyone looking for a frame of reference could do worse than Damian Lazarus’ amazing 2009 collect ion Smoke The Monﬆer Out, as Dear similarly creates evocative, wiﬆ ful songscapes which are decorated by his deep monotone, sometimes augmented by layers of highpitched harmonies. I Can’t Feel even recalls the alterna-blues of sadly lamented 90s underground heroes Morphine – if the band were fed through a vintage sequencer with quantize funct ion set to ‘wonky’. Elsewhere Little People (Black City) is semi-euphoric ﬁ ltered elect ro-disco, slightly oﬀ-kilter cowbells coming at you from one channel as a spooky chorus of falsettos chimes in at the climax. Slowdance is as good a descriptor as any for its languid, wall of synths after hours pulse, while Soil To Seed echoes some of LCD Soundsyﬆem’s druggier moments and You Put A Smell On Me channels the Kick-era elect ro-funk of INXS, only with freebasing arpeggiated undercurrent and nightmarish vocal interplay. Dear’s willingness to operate on the fringes of conventional songwriting reaps repeated rewards, and while it’s not entirely clear what Black City is all about (even the short ﬁ lms on his website which document the album’s creation shed little light on proceedings), it’s a place well worth visiting. KRIS SWALES
Bliss N Eso set the bar ridiculously high when they released Flying Colours in 2008 – an album of conceptual originality that took Auﬆ ralian hip hop into exciting new territory and cemented their ﬆatus as one of Auﬆ ralia’s moﬆ innovative acts. But they’ve taken a diﬀerent approach with their follow-up Running On Air, essentially going back to basics, rediscovering and paying homage to a diﬆ inct ly Auﬆ ralian ﬆ yle of hip hop in its pureﬆ form. Themes of national pride, self belief and “mateship” saturate Running On Air, leaving you with a warm sense of cultural familiarity. The album doesn’t get oﬀ to a great ﬆart, the ambiguous Never Land voiceover disjointed and largely irrelevant to what follows. Flying Through The City next up is faﬆ and fun,
A-Diction Walkin’ Alone
(Independent/Obese) Contrary to this album’s title, A-Dict ion’s MCs Breach and Boltz go in with a heavy gueﬆ liﬆ – beats from M-Phazes, Mules, Jase and Xcise & Dutch, plus artiﬆs Haunts, Billy Bunks, Fraksha, Scott Burns and the infect ious Vida-Sunshyne pack the album, at times overshadowing the Melbourne pair. The title track drops a deliciously addict ive head-nod by Lewis One and Consiﬆent follows, inviting Bekah back to assiﬆ on a hook that didn’t really need help. Drop The Beat balances it out, a dope beat with an all-over soul-tan from Vida-Sunshyne making this an album feature. Capital Vices looks fantaﬆ ic on paper – all-in with Scott Burns, Billy Bunks, Fraksha, Whisper and Raven – but over M-Phazes’ beats it comes together a little lackluﬆ re. However, when Choose Mics get their hands on Who Can? We Can with fresh tone from Haunts they make a swing jam that’s done with perfect measure from homeboy Mules. Finishing on Hold On provides an encore track with M-Phazes at his ﬁneﬆ. On Walkin’ Alone, A-Dict ion seem joyous juﬆ to be heard doing what they love moﬆ – homespun Oz hip hop. RIP NICHOLSON
sampling Kiwis Quincy Conserve and with a mean bassline from producer Hattori Hanzo. The spirited Addicted is where the album really warms up, optimiﬆ ically overcoming the trials of life with an infect ious chorus and a fun reference to Chuck Berry’s Johnny B Goode. Lead single Down By The River does well to encapsulate Bliss N Eso’s experience of recording this album in the Victorian bush, describing a blokey paradise of BMX biking, smoking bongs and shooting guns. LA rapper Xzibit pops up on People Up On It and RZA himself gueﬆs on Smoke Like A Fire but regardless of their notoriety these song are amongﬆ the leaﬆ captivating. Elsewhere ubiquitous super producer M-Phazes injects his magic into Children Of The Night and rising ﬆar Matik makes a great impression on the uplifting Weightless Wings. TASH HALO
AFRICA HITECH Hitecherous (Warp/Inertia)
Africa Hitech is a collaborative eﬀort between producer Mark Pritchard (aka Harmonic 313) and producer/vocaliﬆ Steve Spacek, who recently worked with Katalyﬆ on the Space Invadas album. Both based in Sydney, the pair experiment with 2-ﬆep and plenty of bleepy synths on their debut EP Hitecherous. Opening track How Does It Make U Feel sets the tone with Spacek lending his vocals to a housey hook set over retro-sounding bass ﬆabs and Nintendo vibes. Said Speed, like moﬆ of the EP, is an inﬆ rumental ﬆeppy aﬀair with dreamy synths washing over a repeating bass loop. The appropriately–titled Lash Out is a deﬁnite nod to Degenerate-era Vex’d but manages not to sound too derivative with its well-executed sawtooth bass, harsh snares and playful synth lead providing this outing’s highlight. Boingy is more ﬆ raightforward 2-ﬆep business, while One Two features vocals of Steve Spacek in a futuriﬆ ic dancehall track akin to The Bug. As a bonus track for digital buyers Too Late is a spacey dub adventure, with a cavernous bassline complimented perfect ly by Spacek’s soulful croon. BRAD SWOB
ONE TRACK MIND CYANTIFIC 88mph (Cyantiﬁc)
Everyone’s favourite purveyor of early morning grooves returns with another break loaded, sub bass driven, ragga vocal and munt ﬆ rings littered jam that will have heads skanking and swaying at the same time. It’s not new, but when you’re that good at bringing old school jungle sounds up to date, why change?
OPERON VS SILENT SHADOW MADLIB Madlib Medicine Show #5: The Hiﬆory Of The Loop Digga (Stones Th row/Inertia)
Arguably the only reason US hip hop producer Madlib isn’t held in the same eﬆeem as the late J Dilla is because he is ﬆ ill alive. Though far more low-key, Madlib ground out a reputation over the course of the 1990s, working with the likes of The Alkaholiks and his own acts Lootpack and Quasimoto. It was between these projects, that Madlib locked himself away and pounded out an endless number of beats; some ﬁnding their way to MC friends, some set aside for years. The Madlib Medicine Show is about shedding lights on these pieces, one ‘album’ every month for the duration of 2010, this ﬁfth edition deemed good enough to get a local push. Conﬆ ructed much like Madlib’s beloved Beat Konducta albums,
VARIOUS Deep Medi Releases Volume 2 (Deep Medi/ Inertia)
Continuing on from the ﬁ rﬆ retrospect ive collect ion of 12-inch releases from Digital Myﬆ ikz conspirator Mala’s label Deep Medi, comes the second inﬆalment. Th is compilation features two tracks each from Kromeﬆar, Queﬆ, Silkie, Tunnidge, Goth-Trad and Mala himself, representing a good cross sect ion of deeper dance ﬂoor dubﬆep.The ubiquitous Kromeﬆar, who seemed to be putting out a new track everyday for a while there, has two of his better cuts here in the form of Marz Attackz and Rainy Days. Queﬆ’s siren-laden The Sea Front and the more dubbed out vibes of Deep Inside give way to two intereﬆ ing tracks from Silkie – Hooby with its propulsive percussion and aﬀect ing synths and the contemplative I Sed. Tunnidge’s Face Melt and Geddeon up the wobble factor while not being completely over the top. The diﬆ inct ive well-produced sounds of Japan’s Goth-Trad are represented with Law and The Clown which are the moﬆ upfront dance tracks on this release. But predictably the true highlights of this compilation are Mala’s own tunes – it doesn’t get much deeper than the bass pressure of Miracles. BRAD SWOB
it contains a series of 30-odd two-minute-long inﬆ rumental pieces, loops essentially built from his no doubt jaw-dropping record collect ion. If these pieces are an insight into that collect ion then Madlib has very broad taﬆe; mellow jazzy chops sit next to hardcore thug funk, boogie down basslines, trippy weed-soaked melodica and analogue sci-ﬁ weird shit. His skill lies in serving up both music for the hips and the head, one minute funky and friendly, the next dark and menacing, one beat dense and heavy the next spacious and free ﬂowing. Moﬆ of these, murky, duﬆ y, lo-ﬁ beat abﬆract ions are more forward-thinking than the tripe that is often served up 10 to 15 years later and several are put to work toward the end with a few vocal tracks from Madlib himself and his CDP crew. Madlib Medicine Show #5 is a fabulous how-to in beat-making, an insight into how frighteningly proliﬁc one man can be in the ﬆ udio. DARREN COLLINS
OPIUO Slurp And Giggle
(Additech Records) For an artiﬆ’s debut album to arrive with the sort of cocky swagger that encapsulates Melbourne based Kiwi Opiuo’s sound, is almoﬆ unheard of. And Slurp And Giggle almoﬆ perfect ly describes its contents, 12 tracks of quirky, trippy and funky-as-fuck future beats that’ll have the corners of your mouth curling up at the same time as your head bounces up and down in time. Coming with such a cohesive sound does have its problems – although it all sounds diﬆ inct ly Opiuo, you’d be hard-pressed to single out a track in a line-up, and when you expect closer Petrichor to take you to another planet it settles into the same formulaic groove. But it’s a small quibble, and one only a hard marker would make if loﬆ on the danceﬂoor in the squelchy halftime wonder of Robo Booty, cooing vocal samples of Oﬀ Chops, and vaguely Balaeric beauty of Water Mouth (featuring assitance from Sun:monx). And the densely layered sound design of Slurp And Giggle makes it a collection fans will ﬁnd themselves making new discoveries in with each liﬆen. GLORIA LEWIS
(Camino Blue) Deep, warm d’n’b that’s equal parts thump and gurn with its dark, growling bassline, crisp, rolling drums and multiple layers of smooth, lush ﬆ rings and pads. Watch the drop after the breakdown – guaranteed to get the entire danceﬂoor closing their eyes and having a little moment.
ADULTNAPPER FEAT BIG BULLY Lie To Me (Culprit)
A funky deep house cut, equally at home early on in the night or in the late hours when it’s time to get deeeeep. Fairly light-on in terms of elements, it relies on wobbly, groovy bassline, falsetto vocals and basic piano ﬆabs and rolls to create a simple groove that never gets boring.
SVY & MAINER 133Q (Gut Feel Records)
Floaty progressive house out with a low, ﬆabby bassline, funky percussion, delightful chords and atmospherics. Th is isn’t exact ly going to set the world on ﬁ re but it’s the sort of tune that will get heads nodding and feet tapping during a warmup set. ANDREW WOWK
3DPLAYLIST 3D 1. Duppy Writer ROOTS MANUVA MEETS WRONGTOM 2. Black City MATTHEW DEAR 3. 20 Years Of Beats & Pieces VARIOUS/NINJA TUNE 4. Kryptonite DJ FRESH 5. Kompilation PLASTIKMAN 6. Enter The Wu-Tang (36 Chambers) WU-TANG CLAN 7. The ‘Umu KOOLISM 8. Central TECHNASIA 9. Barking UNDERWORLD 10. New Forms RONI SIZE/REPRAZENT
ARTWORK ©2010 THE WEINSTEIN COMPANY. ALL RIGHTS RESERVED.
PRIVATE PROPERTY (OZ JR & DJ WAITY) WHERE AND WHEN WAS YOUR FIRST SET? “Central Station battle in 2006.” WHAT’S YOUR FAVOURITE ALL TIME 12? “All time would be Booka Shade In White Rooms (Neo mix) and Leave The World Behind by Axwell, Ingrosso, Laidback Luke and Angello.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “The boys dancing and trying to pick up.” WHO ARE YOUR FAVOURITE DJS? “Clearly Axwell, Fedde le Grand, Calvin Harris, Hook N Sling, Sam La More, Avicii, 2manyDJs.” WHAT’S THE WORST REQUEST YOU’VE GOT? “Blow My Whiﬆle by Alligator Project.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “They love it, although if they came out and saw us play and how loose we can get, they would be oﬀ us – plus it’s too loud.”
WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “Summer club scene.” FAVOURITE CLUB TO PLAY? “Elect ric Playground.” WHAT’S YOUR BEST ALL TIME GIG? “Steiny’s Party – Sunshine Coaﬆ, played a massive four hour set with about 600 people packed into a warehouse, with full lighting set-up. Everyone was loose and no ﬁghts – how good. Sick party.” WHAT GIGS HAVE YOU GOT COMING UP? “Residency at Elect ric Playground every Saturday.” PIC BY TERRY SOO AT ZURI
DJ STIFFY’S WIDE WORLD OF SHORTS
FEDERAL ERECTION In determining who I might act ually vote for this weekend (because, frankly, this whole campaign has been about as politically inspiring as watching Hotdogs from Big Brother hoﬆ the Logies), it occurred to me that I should act ually ditch the usual queﬆions I ask myself – ie who is act ually going to both increase unemployment beneﬁts and lower the qualiﬁcation criteria for bad arts grants – and revisit what I have done in previous elections, and work out which candidate is act ually less painful to maﬆ urbate over, which is generally judged by the sheer length of time required to dump my load on the front page of the Auﬆralian Financial Review, or, failing that, number of bliﬆers. At which point I was reminded – as Mrs Stiﬀ y has previously mentioned on numerous occasions – that Kevin Rudd “is one of the moﬆ womanly men I’ve ever laid eyes upon”, which act ually led to the 2007 voting decision being a bit of a no-brainer – i.e imagining Kevin Rudd in drag was act ually a massive turn-on (which inevitably ﬁts in with my taﬆe in pornography), and this tipped him over the line versus John Winﬆon Howard, who would have act ually got my vote if he’d simply learnt to pluck his friggin’ eyebrows. At which point, you’d say Tony Abbot is a clear choice, citing his chiseled abs and ability to not get an erect ion while in front of television cameras, over Julia, whose face (you would imagine) would look much better spurted with unnamed white viscous liquid. However, more than two hours and many bliﬆers later, both failed to act ually get a result, and I’ve had too many bad experiences with home-made Tasmanian pornography to take Bob Brown even remotely seriously, and frankly, voting for the Auﬆ ralian Sex Party is juﬆ way too obvious, which inevitably led me to the Citizens Electoral Council, mainly because I know that they’re so paranoid and weird, they’ll probably act ually read this, which will increase my readership by about two people – an increase of 200 percent. And, when you’ve got a new editor/publisher to impress, the numbers are all that matters.
YOUTUBE OF THE WEEK
“Who’s the baddeﬆ dude in the galaxy? Who’s slicker than Superﬂy?” Who else but Lando Calrissian. If only George Lucas would ﬆop raping and pillaging the childhoods of millions and front up the cash to make Blackﬆar Warrior, and blaxploitation spoof of Lando’s life and times modelled on Black Dynamite.
After serving a harsh-but-fair 13 days of her 90-day prison sentence, wild child Lindsay Lohan is out of the slammer and spending some quality time in rehab. It turns out LiLo used her time behind bars to write a journal which she hopes to turn into a book – a 3D World mole provided us with these excerpts revealing her complex inner turmoil... 21 JULY “How did I end up in this hell hole?! Eeeks! I don’t deserve this at all. Prison is way budget lol. How did Paris survive in this place? Oh that’s right – Jesus! I will turn to the Lord.” JULY 25 “Thank God no one can see me in here! FYI, I’m wearing an orange jumpsuit and one-size-ﬁts-all ‘granny panties’ and
have to tie knots at the sides to keep from falling down. Eeeks! These are by far the darkeﬆ days of my life…” 29 JULY “Missing my bellas KimKard, SamRon and PeaGel. Am ﬁnding it hard to ﬆay in character as Linda Lovelace surrounded by all these bull dykes lol.” 1 AUGUST “The food in this place
is foul… Thank God I already ate half a ﬆrawberry this month – ﬆill really full.” 3 AUGUST “Twitter withdrawal too much. Eeeks. Gotta go to rehab.” 6 AUGUST “ Feeling totally Girl Interrupted right now, rehab for 90 days with a bunch of freaks. Oh and P.S – Resnick have the worﬆ interior decorator ever...the renovations
on my room are tackier than a Queer Eye for a Striaght Guy episode...vomit.” 8 AUGUST “ In art’s and crafts thearapy today I made myself a cardboard cell phone.” 8 AUGUST Erneﬆ Hemmingway once said “Always do sober what you said you’d do drunk.” - Hello?! That’s what got me in this mess!!
WITH THIS HOT “I’M RUSSIAN GIRL WHO ONLY WEARS MARC JACOBS AND LISTENS TO HARD HOUS ON SOUNDCLOUD...”
DIPLO IS EITHER LIVING A NIGHTMARE OR MET THE ULTIMATE WOMAN.
3 DEGREES OF SEPARATION THE FIRST DEGREE
THE KEY : THE SECRET URBAN COOKIE COLLECTIVE (Pulse-8 Records, 1993) One of the moﬆ enduring early 90s dance-pop anthems, The Key : The Secret peaked at #4 in the Auﬆ ralian Top 50 chart and was followed into the Top 10 not long after by Feels Like Heaven. Although original vocaliﬆ Diane Charlemagne has long since parted ways with the band, they ﬆ ill remain act ive on the live circuit – no doubt in part to this being remixed and charting again in 1996 and 2005.
THE SECOND DEGREE
INNER CITY LIFE GOLDIE (FFRR, 1994) Diane Charlemagne has also given voice to tracks by Moby, High Contraﬆ and Meat Katie across her decorated career, but she’s ﬆ ill synonymous with Goldie’s seminal jungle long-player Timeless and its lead single Inner City Life in particular. Close to two decades after its release it’s ﬆ ill considered the high point of Goldie’s (not to mention engineer Rob Playford’s) recorded career, and one of the ﬁneﬆ jungle tracks of all time.
THE THIRD DEGREE THE WORLD IS NOT ENOUGH GARBAGE (Radioact ive/MCA, 1999) When not on Celebrity Big Brother, Goldie ﬂexed his act ing chops in the 1999 James Bond ﬁ lm The World Is Not Enough. The ﬁ lm was more notable for Garbage’s theme song than its entertainment value – indeed Shirley Manson and co delivered the only memorable Bond theme of the paﬆ 20 years.
5 3 4
1 Exhibition Races @ Eagle Farm 2 Friday @ Zuri
5 Rhythm & Cutloose @ Alhambra
3 MyďŹ†ique @ The Arena
6 Saturday @ Bank
4 Residents @ The Met
7 Saturday @ Exchange Hotele
6 4 2
DOORS Tone Def. 9pm. STEP INN Inferno: Whiskey & Speed, Acorea, White Circus, Symbolic Weapon. 7pm. Free. THE REGATTA Frat Club: Pete Smith, Mark Z. 9pm. UBER Whatever Wednesdays: Top 40, R&B, house and hip hop treats. 7pm X&Y Maggie Collins. 11pm. ZURI. DJ’s Danny T & Jimmy Vagas 6pm. Free. DANNY T
NEVER LAND BAR Ball Park Music PLATINUM Residents Gerry Morales, Craig Roberts, Joey Mojo. PRESSURE LOUNGE DJ Mista (Hitmen Crew) , DJ’s Ricky D and Bounce. SHOOTERS Vision Friday Republic All Stars Kartoon Kidd Broski ea Kut MC Steez. 8pm. SIANA VALLEY Respect Music DJ Lucas Black. SIN CITY A-List Friday: Kronic. Guestlist. STEP INNTrash Video: Hits, The Shrewms, Lobster Prophets. 8pm. THE TIVOLI Bliss n Eso, Diafrix, Mind Over Matter. 8pm. $42 (+ bf) THE REGATTA Oarsome Friday DJ Paul Bell with DJ Marky Mark Z. 9pm. Free. ZURI Provocateur: Dj Benn Hopkins. 6pm. Free entry. X&Y Danny cool. Cutloose. 10.30pm.
THURSDAY ALHAMBRA Lambda Lambda Lambda: Martin Party, The Belligerents, Lambda DJs. 9pm. ALLONEWORD Fleet Street Launch Party: Arku, Walrii. 9pm. THE BEDROOM Ladies Night. CLUB 299 Snitch: 9pm. $10 (guestlist)–$12. FITZY’S Vita, DJ Climate. 8pm. Free. FUSION VILLA NOOSA Th irsty Thursdays: DJ Banksy,free entry. KALIBAR Open Stage. 8pm-12. MICK O’MALLEY’S DJ Six T. 9pm. Free. NEVER LAND BAR Misere. THE PRESS CLUB Life Funk: Ol’ School Thursdays. 9pm. SIN CITY DJ Fly Girl Tee. Free before 11pm. X&Y Penny Lame, Harvey Satan. 8pm. ZURI Glamorous: DJ Mista join resident DJs Bossy & Mr Sparkles. Free entry.
ALLONEWORD Eames, MC Fly, Jad & The Lady Bug, Ted Timber. 8pm. $10 after 10pm. THE BEDROOM Seductive Saturdays: Brent D, Malx. Guestlist. 8pm. BARSOMA Breaks & Enter: Lee Coombs, Marten Hørger, Sangers, DataDex, Just Iyan, Vertical Transport, Helskanki, Ellboss. BOOGIE LOUNGE Djs Blaze Metal Jacket, Masta D. ELECTRIC PLAYGROUND 808’s Wild Electro Tour: Wahoo Karma, Elrv8, Lok Lazy and Kandimann. ELSEWHERE Secret Love Heros: Audun, Giv & Thomas J. 10pm. FAMILY BASEMENT Luciana (live), Jeremy Iliev, Chris Wilson, Habebe, Tim Plunkett + Velvet Motion Dancers 10pm. $10-20. FAMILY TOP FLOOR Huoratron (FIN), Kayli, Tag Team, Seany, Danny T + The Judy Dolls. 10pm. $10-20. FUSION VILLA NOOSA DJ Greg Jackson. 9pm - late. Free. GPO Hump Day Project: Trav White, Morgan Baker, Jimmy Vegas, Dodzy. Free before 10pm. THE HI FI Midnight Juggernauts. $30+bf. 8pm. HOT GOSSIP Dj Juicy, Djs Vita, Enzzo, Khesrow and Humane. NEVER LAND BAR The Liberal Party. PLATINUM InTheMix50 2010 Club Tour : Staﬀord Brothers. Free Entry.
THE PALAZZO VERSACE DJ MalAdjusted from 8pm. QBAR DJ Joel Jackson. 8pm. ROOM81 DJ Lucas Black, from 8pm. SIN CITY Stilleto Saturdays: Kronic. Guestlist. THE ZOO Lowrider. 8pm. $15.30 (presale). ZURI Saturdays: Dj’s Ben Hopkins, Matt Kitshon. 9pm. Free. X&Y Butterz, Slynk. 10.30pm.
SUNDAY CLOUDLAND Capitol Groove. 3-6pm. ELSEWHERE Sunday Night Royale: Adam Hunter. Giv (Soundtraﬃ k). 10pm. FAMILY BASEMENT Dave Aude (US), Harry K + Karma $10-15. FOX HOTEL Kronic, Juicy, Vita, FEF, Tooshoes, DJ Della. 2pm. QBAR Sunday Sunset: Kris Iwaniuk from 4.30pm. SHOOTERS Savage Island Album Tour: Savage, Monstah Ganjah, DJ Tikelz. 8pm. SIN CITY Vegas Style Sundays: Kronic. Guestlist. X&Y Quiet Riot DJ’s. 7pm. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO BRISBANE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.
FRIDAY THE BEDROOM F Me its Friday: Brent D, Malx. Guestlist. 8pm. THE BASEMENT Comedy in The Basement: 6.30pm. $18. CLUB HOUSE Papa Vs Pretty. 8pm. Free FAMILY BASEMENT Nik Fish, Karma, F&E, Dynasty Free 9pm. Free before 10pm. FAMILY TOP FLOOR Jordan Who?, Dr Rob, Tag Team, Wolﬁe & LL Cool James. 9pm. Free before 10pm ELECTRIC PLAYGROUND Mark Dynamix, Sasha Vatoﬀ and Matt Kitshon. ELSEWHERE The Ether Release Party: Dead Beat Band, Cool Calm Collective, Audun. 9pm. MONASTERY LNA Silent Disco: Baby Gee, Habebe, Danny T.
HOW DID YOU CHOOSE YOUR MC NAME? “ I have an uncanny ability to remember some obscure information and my birth name bears a resemblance to it.” HOW LONG HAVE YOU BEEN RAPPING? “I wrote my ﬁ rﬆ terrible raps in ’94, liﬆening to Katch on the Phat Tape hip hop show on 4zzz.” ARE YOU AFFILIATED WITH ANY CREW? “Started oﬀ with DNO in Two Dee in Decipher, often found loitering with The Coalition Crew more recently.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “Not much. Maybe it was more of a loose jam with Raman and Two Dee at Chanel Direct around ’99.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “Well, if we are going there, I’d say there’s been some loose bowel movements resembling unusual ﬂuids but that would be an overshare right?” YOUR BEST SHOW AND WHY? “Usually I say the Ice Cube support
MCB BOO OOT TH RAINMAN
WHERE & WHEN: Monaﬆery Thursday 19 Auguﬆ . Alhambra Lounge Friday 20 Auguﬆ. Monaﬆery Saturday 21 Auguﬆ. X&Y Sunday 22 Auguﬆ. Parklife Feﬆ ival (Gold Coaﬆ) Saturday 25 September.
because he was probably my favourite MC growing up but for something diﬀerent I’d say doing an early version of Auﬆ ralian Story at Livid on a small showcase set with DNO, Two Dee and Raman. It was my ﬁ rﬆ experience of performing in front of a fairly big crowd - getting a good response and thinking ‘shit, this is the pretty much the beﬆ feeling’” WHAT’S THAT ON YOUR SHIRT THERE? “Sorry, I sneezed and I don’t have very good eyesight. Muﬆ have missed that, my bad.” FAVOURITE COMEBACK LINE? “Kind of obvious but LL Cool J ‘don’t call it a comeback…’” WHAT’S YOUR DREAM COLLABORATION? “ Well recently I saw on iTunes that people who bought my album also bought Kesha – that’d be an intereﬆ ing combo. Not really a dream though, maybe more of a nightmare.”
WHAT’S THE BEST THING ABOUT THE LOCAL HIPHOP SCENE? “What’s the beﬆ thing about the length of a piece of ﬆ ring? WHAT: Rainman WHERE & WHEN:
The Hi-Fi Saturday 9 October
(Poker Flat Recordings), 2006. “Th is release is amazing, as are any of Trentemøller songs. I guess this one juﬆ beats them all and is one of the ﬁ rﬆ songs I really got into.”
ARIA CLUB CHART 1. Phazing (Tiëﬆo/ Norman Doray/ Original mix) DIRTY SOUTH
7. Teenage Crime (Axwell & Henrik B mix) ADRIAN LUX
2. Gotta Make A Move HOOK N SLING FEAT SNOB SCRILLA
8. Elect ric Boogaloo (Find A Way) (Riva Starr/Hump Day Project /Chris Fraser/ Chardy mix) WILEY FEAT J2K & JODIE CONNOR
3. One (Your Name) SWEDISH HOUSE MAFIA FEAT PHARRELL 4. Freefallin’ (TV Rock/Denzal Park Mix) ZOË BADWI 5. The Bum Song TOMMY TRASH & TOM PIPER 6. Elevated (Dabruck & Klein/Club Mix) TV ROCK & TARA MCDONALD
9. California Gurls (Armand Van Helden/Passion Pit/ MSTRKRFT mix) KATY PERRY FEAT SNOOP DOGG 10. ADD SUV (Armand Van Helden mix) UFFIE FEAT PHARRELL WILLIAMS
FEIST My Moon My Man (Boys Noize Remix) (Boysnoize Records), 2007.
“Boys Noize has always been one of my favourite producers and this remix of Feiﬆ’s My Moon My Man is amazing, juﬆ really well remixed with the vocals.”
JUSTICE Waters of Nazareth
(Ed Banger Records), 2007. “I really like this release because the whole ‘†’ album from Juﬆ ice is amazing, and I guess this song oﬀ the album juﬆ really caught my attention and got me really into Juﬆ ice.”
IS THIS THE WAY TO A COMEBACK ?
Don’t know who Tony Chriﬆ ie is? Ask your mum, maybe even your nana. Be warned they may get all miﬆ y-eyed as they recall his melancholy troubadour smash of 1971, I Did What I Did For Maria (it’s about avenging the death of his wife). If your family are recent escapees from the UK, your dad’s even likely to raise a pint of warm ale, throw his arm around you and ﬆart singing “sha la la la la la…”. Y’see, in the Brit of Great, Chriﬆ ie’s other hit of ’71, Is This The Way To Amarillo?, is a national anthem – from pub to terrace, holiday camp to ironic singalong. Never far from the memories of the English, Chriﬆ ie was revived in ’99 with a top ten hit Walk Like A Panther, written by Jarvis Cocker and recorded with left o’ centre elect ronic nerds All Seeing I. In 2005, Amarillo was released as the Comic Relief theme and became that year’s biggeﬆ selling number one. So? Well, he’s back. It’s been reported that the deep-voiced crooner is recording a northern soul album for the Acid Jazz label (a ‘90s powerhouse with Brand New Heavies, Corduroy, MJ Cole and Galliano). Once again Cocker is involved but so too is Róisín Murphy – Acid Jazz was once home to her Moloko partner Mark Brydon’s outﬁt Cloud Nine. The album Now Is The Time is due next year. But Chriﬆ ie ain’t the ﬁ rﬆ UK crooner to use elect ronic beats to soundtrack a comeback: TOM JONES The Welsh crooner turned heads when he ﬂ irted with the club scene back in ’88, covering Prince’s Kiss with synth-hop outﬁt Art Of Noise. It was a global hit and it’s been diﬃcult to keep Jones out of the clubs since. Since then he has worked with everyone from Chicane to BT, covering everyone from Talking Heads to Yazoo. And, in ’99 he scored another club crossover smash, his collabo with Mousse T on the ﬆ ill inescapable Sex Bomb. DUSTY SPRINGFIELD Around the time Jones found success with Art Of Noise, 60s soul singer Duﬆ y Springﬁeld joined forces with elect ro pop duet Pet Shop Boys. The collision of camp gave them What Have I Done To Deserve This?, one of the big sellers of ’87. Springﬁeld continued to dabble in the dance pop world until her death in ’99,
even recording with Darryl Hall of Hall & Oates fame at one point. SANDIE SHAW The barefoot pop ﬆar was a contemporary of Springﬁeld’s back in the day and had a ﬆ ring of comeback hits in the 80s that are associated with indie fop Morrissey. However, prior to Morrissey turning her into an alt. darling, Shaw had been lured out of retirement in ‘81 by elect ro boﬃns Heaven 17. With their side project British Elect ric Foundation, the former Human League members recorded an album of covers featuring fave singers of old. Shaw was featured alongside Tina Turner (her big comeback was to come a few years later) and Gary Glitter, but it was her version of Anyone Who Had A Heart that was released as the lead single. SHIRLEY BASSEY Leading the way in the Brit Pack of crooner comebacks was Ms Bassey. In fact, she jumped on the dance beats so early, it wasn’t even a comeback, she juﬆ ﬆayed at the top. Bassey embraced disco in ’79, even releasing 12” remixes of This Is My Life (La Vita). She kept up the club work by teaming with Swiss elect ro disciplinarians Yello in ’87 for the lush The Rhythm Divine. A third decade of dance led to Propellerheads working with her in ’97 for the aptly titled Hiﬆory Repeating. A fourth decade of dance found her releasing a remix album in 2000 featuring Kenny Dope, Spinna,
Groove Armada and Nightmares On Wax. We are expect ing her to tweet a link to a dubﬆep mp3 any day now. CROON CHOONS Other Brit bellowers to try a lil’ dance include Lulu, who teamed up with Take That and Joey Negro for a cover of Dan Hartman’s Re-light My Fire in ’93 (also the year Brothers In Rhythm remixed her Independence single)… Scottish yodeller Karl Denver was quiet for nearly 20 years before being drawn to the baggy rhythms of Happy Mondays, gueﬆ ing on Lazyitis in ’89… Husky 60s sex kitten Marianne Faithfull began dabbling in ’79, with the dirty and sometimes dubby Broken English set and in 2002 she hopped in with Billy Corgan, Sly & Robbie, Beck and Blur for more chilled beats on Sex With Strangers… Scott Walker may have been the American-born son of German parents but the UK was his home after he found success there with pop balladeers The Walker Brothers. Calling him eccentric is an underﬆatement and it was no surprise that his dabbling with elect ronica was on the more experimental side. His 1995 album Tilt was darkwavesque avant-garde, and 11 years later he followed-up with the even denser The Drift, released on the iconic indie label 4AD.
DANCE MUSIC HUB CHART 1. Billy Jean At The Weekend (Extended Mix) LONDON DJS 2. Droids Love (Vocal Mix) GREENPOWER FEAT BYZE 3. OMG (Gordon & Doyle Remix) JASON BORN 4. Big Booty Bitches (edit) BOMBS AWAY 5. Flawless 2010 THE ONES VS DJ RED & JOSH DUPONT 6. Feels Like A Prayer MECK FEAT DINO 7. Forever JAMES TALK & RIDNEY 8. Shut The Fuck Up 2010 (Luke Payton Bigroom Remix) STFU VS BOOGSHE 9. Rock So Well (Club Version) SLIN PROJECT 10. Better Oﬀ Alone (Extended Mix) M25
SUSHI SNAPS 3 Whatever Wednesday @ Uber
1 Super Sunday @ Fox Hotel 1
2 The Fashion Xchange @ Chalk Hotel
ON THE FLOOR WITH
MARTYN ILLUM SPHERE TOKIMONSTA (HOLLAND / 3024 RECORDS)
(UK / FAT CITY / 3024 ALL CITY)
(US / RAMP BRAINFEEDER)
SAT. 18TH SEPTEMBER THE FAMILY
ELROY 4.0, SCIENCE PROJECT, ERTHER, DANK MORASS / TIME: 9PM TICKETS AVAILABLE FROM OZTIX.COM.AU / redbull.com.au/rbma
3 DEGREES OF SEPARATION THE FIRST DEGREE
TROLLEY FOLLIES One of my neighbours (I don’t know who) is in the habit of walking his groceries home from the supermarket in a shopping trolley, which he then abandons outside my house. The trolley sits there until some drunk comes along, abuses it, then dumps it upside down in a creek or up a tree. I’m getting tired of this so I’ve tried to eﬆablish exact ly when this person is doing his grocery shopping, so that I can ﬆare out my front window and catch him abandoning his ﬆolen trolley outside my house. My plan is to confront him and, if all goes well, ﬆ ick a shopping trolley up his arse. What makes a person think that buying $30 worth of groceries entitles them to the permanent use of a $400 shopping trolley? Why not juﬆ go down to the parking lot and carjack someone? Save yourself the walk home. I used to love the supermarket. It felt like a social event. Interact ing with people. Making choices. Easy liﬆening music. Free food samples with toothpicks in them. It was like a cocktail party. But now it’s juﬆ a breeding ground for trolley thieves. Many supermarkets have a hotline number where you can report the location of an abandoned trolley. Some supermarkets even pay for the information. That’s because these trolleys are expensive. Nothing you can buy at the supermarket coﬆs as much as a trolley. That’s why, whenever you see someone pushing a trolley full of groceries up a road that is nowhere near a supermarket, you should confront them and challenge them to a ﬁﬆ ﬁght. Seriously. These people are criminals. And if you’re reading this and thinking “I ﬆeal trolleys”, then you need to ﬆop, because you have no right. As long as you’re committing crimes at the supermarket, you may as well abduct the checkout girl at gunpoint. She gives you your change and you juﬆ order her into the trolley. Th is Wild Weﬆ mentality down at the supermarket needs to ﬆop. The only people who are entitled to a free shopping trolley are the homeless. We all know that. And that’s only because no one wants to put their groceries in a trolley that has been tainted by a hobo’s dirty laundry. If you have a house, you don’t get a free trolley. It’s that simple. DAVE JORY
LEADER OF THE DEMOCRATS ??? (Auﬆ ralian Democrats), 2010. Since 1999, when they negotiated the fateful GST deal that alienated many supporters and divided their ranks, The Auﬆ ralian Democrats have faced a multitude of problems trying to revive their party .Over a decade later they are an invisible entity within the current political landscape as we march towards an elect ion. With no oﬃcial leader or concrete political policies, the possibility of the Democrats capturing a position in parliament is not ﬆ rong. However with the Liberal and Labor parties serving up lack luﬆer campaigns could the time be ripe for the Democrats to win back the hearts of a disenchanted public? Or are they in fact dead and gone?
THE SECOND DEGREE
DEAD AND GONE TI feat Juﬆ in Timberlake (Atlantic), 2009. Dead and Gone a song by American rapper T.I., featuring singer Juﬆ in Timberlake could perhaps be a very ﬁtting theme song for the Auﬆ ralian Democrats unless they make some type of revival in the next month. In spite of it’s morbid themes and depressing chorus “Juﬆ tryin’ to ﬁnd my way back home. But the old me’s dead and gone” this was act ually a successful release for TI being nominated twice at the 52nd Grammy Awards, for ‘Beﬆ Rap/Sung Collaboration’ and ‘Beﬆ Rap Song’. Proof perhaps that even songs suitable for a funeral can be commercially successful when packed correct ly.
THE THIRD DEGREE
WINNER Jamie Foxx (J Records), 2010 Winner by American singer/actor Jamie Foxx is exact ly the type of self indulgent and overly optimiﬆ ic tune required to revive the dead and get a party ﬆarted. It’s the ﬁ rﬆ single oﬀ Foxx’s fourth ﬆ udio album Body which was released for digital download earlier this year. The song features Juﬆ in Timberlake and rapper TI. Foxx used his powers of persuasion to realise the collaboration explaining “The way I got him on the track—’cause he wasn’t gonna get on the track—I juﬆ literally said, ‘Man, my people suﬀered for 500 years.’ I said, ‘You owe me this.” Winner.
WHAT INSPIRED YOUR DJ NAME? “Birth.”
THING YOU’VE SEEN IN A NIGHTCLUB? “Every Saturday night at GPO at midnight, something weird happens with all the residents in the DJ box, no one can describe it, but it gets weird, really weird.”
IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “Bit of this, bit of that. I like all ﬆ yles, I try to squeeze whatever works in a set.”
WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? Michael Jackson ones are pretty bad… leave it to the original…
WHAT TRACK TURNS YOU ON RIGHT NOW? “The Silver Sneakers have got some huge ﬆ uﬀ coming out at the moment – world class.” WHAT MADE YOU START DJING? “I could get drunk and work at the same time.” WHAT’S THE WEIRDEST
DJBOOTH TRAV WHITE
THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “‘On disc two track 14 – that one’, are you kidding?”
WHERE & WHEN: GPO Saturday 21 Auguﬆ
60 MINUTES JUST JUMPED THE SHARK, PISSED ON THE SHARK, SET THE SHARK ON FIRE & THEN GAVE THE SHARK A JOB AS A 60 MINUTES REPORTER.” IT SEEMS TRIPLE J’S VIJAY KHURANA ISN’T MUCH OF A MARK LATHAM FAN.
BUTTER BEATS CHART 1. The X Miniﬆa PROFESSOR GRIFF 2. Diggin’ Beats DJ JOHN IDEM 3. Bad Muthafucker DJ FRICTION 4. Knocked Out Loaded DUKE ELLINGTON & JOHNNY HODGES 5. Jazz Party 19
GENE KRUPA 6. A Wild and Crazy Song FENDERELLA 7. Counter (Avanti Feat Bottin Remix) BEPPE LODA 8. Th is World HORACE ANDY 8. Use Your Illusion GUNS N’ ROSES 10. GI Blues ELVIS PRESLEY
INDUSTRY WATCH HOW WE LIVE AT NEVER LAND BAR
THE IDEA BEHIND OUR NIGHT IS… “To show people and help the experience How We like to Live! Friendly vibe, great people, a juﬆ in general a killer party.” WE’LL BE PIMPING THE SOUNDS OF… “Indie/old school/funk/disco early in the night with the How We Live DJ’s – The combined forces of Brett Sellwood and Never Land’s own up and coming Cory Fletcher – hoﬆ ing amazing talents with the lateﬆ and greateﬆ in all things party music.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… Dirty Disco Youth – 19yr old producer/ remixer/DJ recently signed to Stever Aoki’s Dim Mak records. Major support by the likes of The Bloodly Beetroots, Crookers, Don Rimini, Fukk Oﬀ ﬀ and Disco Riot. THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Bootlegs and mixes no one has ever heard before, both from friends/DJs and the induﬆry’s beﬆ.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES... “Surecut Kid’s ﬆ yle, Kid Kenobi’s taﬆe and Yacht Club’s Vibe.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “ A great venue oﬀering comfort, desire, and all things sexy, with more than juﬆ friendly ﬆaﬀ that will remember your ‘usual’. We ﬆ rive to be, a community based venue/club to help our friends and fans relax and un-wind from their weekly ﬆ ress.” WHO: Dirty Disco Youth WHERE & WHEN: How We Live at Never Land Bar Friday 27 Auguﬆ
TWEETER OF THE WEEK
@KEVINRUDDEXPM I won’t ﬁ lter your internet. Juﬆ pict ures of redheads. 5:46 PM Aug 10th via Tweetie for Mac To those in the media calling my playdate with Julia ‘awkward’, I deny that it was so; the knuckle duﬆers were there BEFORE I arrived. 5:50 PM Aug 10th via Tweetie for Mac Saw a tall, bald guy limping today. Wasn’t Peter Garrett. Juﬆ had a broken leg. 5:52 PM Aug 10th via web Who else is expect ing the ‘real Julia’ to ﬆart walking outside with a cigarette in her mouth and using the phrase “ya fucken cunts”? 5:53 PM Aug 10th via Tweetie for Mac The beﬆ thing about getting that UN job? I get paid even MORE now for doing nothing! 6:02 PM Aug 10th via Tweetie for Mac Of course no one is taking the Coalition’s Broadband policy seriously; Abbott probably drew it up with crayons. 6:04 PM Aug 10th via Tweetie for Mac Source of new Murray-Darling plan’s water: my tears. 6:20 PM Aug 10th via Tweetie for Mac Of course Rooty Hill voters are undecided; they’re fucking ﬆ upid. 1:32 PM Aug 12th via Tweetie for Mac
WE’VE GOTTA ZIP
Maybe I’m juﬆ getting older but does anyone else notice how conﬁdent kids are these days? In one bus ride, I am informed by a two teenaged girls, thanks to their inbuilt speaker syﬆems, that they are really proud of who they are. “Like fuck. He said I should respect myself and not sleep around. Like, who the fuck says that?” Again, maybe it’s a generational thing, but like Oprah does! There was a time when only Americans were allowed to go from head to mouth without a ﬁ ltration mechanism. Apparently that’s changed. Not only will teenagers announce their whoredom to the bus, they take it for granted that the music they like is and should be enjoyed by everyone else. Then they self-assuredly engage in music talk as they play DJ on the bus with their phones. “Oh my god, I haven’t heard that song in so long!” Calculating their age, I’m guessing “in so long” to be six days? I turn down the volume on my iPod in case it bothers the person next to me on the bus.
It seems George Michael completely gave up on keeping his public image respectable a long time ago. The Grammy Award-winning singer has made headlines once again laﬆ week after being charged with possession of cannabis and driving under the inﬂuence of alcohol or drugs in London. No surprises here! For over a decade Michael has been arreﬆed, convicted and publically shamed on more occasions than anyone cares to count. It’s as if he has juﬆ said “fuck it – yes I take drugs, yes I have sex in public toilets and yes I was a member of Wham – this is me, take me as I am or bugger oﬀ ”. Michael’s public fall from grace began back in 1998 when he was arreﬆed for “engaging in a lewd act” in a public toilet in a park in Beverly Hills, California. After pleading “no conteﬆ” to the charge and serving some community
service time Michael cheekily made a video for his single Outside featuring men dressed as policemen kissing. In 2006 George was again accused of engaging in anonymous public sex, this time at London’s Weﬆ Hampﬆead Heath Park with a 58-year-old unemployed van driver. A year later, the troubled ﬆar was found guilty of driving under the inﬂuence of drugs and admitted that he had a problem with cannabis use only to be arreﬆed again in 2008 for drug possession in a public toilet. Anyone see a pattern here? At 47 years old and with another convict ion under the belt it seems that Michael is determined to ﬂush every ounce of credibility down the toilet – preferably a public one...
BOOKA SHADE CHART 1. TEENAGE SPACEMAN (BOOKA IN SPACE MIX) Booka Shade 2. PACHA ON ACID Afrojack 3. SOY COMO SOY Makossa & Megablaﬆ 4. COME CLOSER
Robert Babicz 5. MARCHING TO IT Javier Logares 6. CARRIER Jackmate 7. MOSES (BONUS) Sascha Funke
Either I’m juﬆ considerate or am a complete pushover. Besides, allowing someone to go through your song liﬆ is equivalent to giving them permission to see you undress. I can see how this wouldn’t be a problem if you were the teenaged slut from the previous scenario. And that’s exact ly what she did. She played her Ke$ha-esque (see I’m not that old) song for the bus from her shitty little phone with a shitty surround sound. In the movie Greenberg, Ben Stiller says: “I’m freaked out by you kids because your parents were too perfect at parenting. All that baby Mozart and Dan Zane songs. You are all ADD and carpal tunnel. I hope I die before I end up meeting one of you in a job interview.” Where are all the shy kids who hide their
8.DIS (KINK REMIX) DJ T. 9. HAPPY BIRTHDAY Pan-Pot 10. NUMB DEAF AND DUMB (DJ PIERRE REMIX) Detroit Grand Pubahs
pimply faces? Where are all the pregnant teens who are too ashamed to show their faces? Have they embraced their awkwardness and burﬆ out into song? Damn you Glee! With teenagers walking around like they own the world and adults crawling deeper and deeper into a hole of uncomfortable small talk and courtesy one-night ﬆands, it won’t be long before rangas rule the world. From here on out nice guys will always ﬁnish laﬆ (re: Michael Cera’s dying career) and the cocky will rise and prosper (re: Team Orange from Jersey Shore). “Having said all that folks, we’ve gotta zip.’’ Like seriously, who the fuck says that? KOMI SELLATHURAI
HOW DID YOU CHOOSE YOUR MC NAME? “Yuin Huzami (pronounced you and who’s army) was born from doing everything myself. Beats, product ion, recording, engineering, artwork and publicity. One man shows and anything else needed.” HOW LONG HAVE YOU BEEN RAPPING? “Messed around a little in high school but ﬆarted making tracks in 2000.” ARE YOU AFFILIATED WITH ANY CREW? “Coalition Crew is my main thing, but I am a notorious ‘rap slut’ who often gets around with Kelly Gang, Laneous and the Family Yah, Kryptamiﬆ ik, Rainman, Grass Roots and have
MC BOOTH YUIN HUZAMI
and was three days into that super naﬆ y bird-ﬂu virus that knocks you out for a week. I was so fucked up and almoﬆ spewing into the mic in front of around 1600 of Brisbane’s hard core gangﬆa rap fans.”
NICK JARVIS IN EDINBURGH
WHAT’S THAT ON YOUR SHIRT THERE? “A shirt my Dad designed which has the well known image of Che Guevara with the caption ‘Cliché Guevara’.” gueﬆed with a dozen others in my time.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “I ﬆarted taking music seriously juﬆ before going overseas for a year and as a result I act ually recorded my ﬁ rﬆ track in San Diego with a dude named Eiry Fly, and rapped in front of an audience for the ﬁ rﬆ time in Stockholm with a group called Lyrical High. It was a packed show and a great ﬆarting point to be international before ever being local.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “I supported Ice Cube with Rainman a few years ago. I had a broken leg so was on crutches
FAVOURITE COMEBACK LINE? “Other than ‘you and who’s army?’, if someone said ‘as if ’ i’d say ‘as ifn’t’.” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “The talent – so many great artiﬆs, so few venues that support them.”
HOW DID YOU GET YOUR DJ NAME? “It came to me in a dream.”
WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB?
IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “Imagine a road trip with Ol’ Dirty Baﬆard, Danzig and Mr Oizo.”
WHAT TRACK TURNS YOU ON RIGHT NOW? “Ratatat – Drugs.”
WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “A proliﬁc Auﬆ ralian indie DJ mashed New Noise by Refused with Bootylicious. Oh no.”
WHAT MADE YOU START DJING? “The Invisibl Skratch Piklz Vs Da Klamz Uv Deth routine. The whole 14 minutes.”
THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Pet Shop Boys – Fairground.”
DJBOOTH NIKK C
WHO: The Coalition Crew WHERE & WHEN: The Fort Fun Raiser Saturday 28 Auguﬆ, Manifeﬆ
Friday 24 September, Parklife at Gold Coaﬆ Parklands Saturday 25 September, Fitzy’s Saturday 23 October
ON THE LUNATIC FRINGE
FRISKY AND MANNISH
Former 3D World Editor Nick Jarvis now lives in Edinburgh; a city that is currently in the midﬆ of Fringe, an event many Auﬆ ralian feﬆivals look to for inspiration. This is his weekly wrap. Seven days deep in the Fringe and the touriﬆs and celebs have arrived en masse (spotted so far – Dylan Moran, although to be fair that could have been one of a million shambling Irish lookalikes). Sadly the sun has decided to make only brief cameos, but that hardly matters when every available courtyard and building in town has been turned into a bar (those which aren’t pop-up theatres) and they’re all open ’til 5am. (In a country where the usual turf-out time is midnight, ﬆaying out ’til it’s time for work is an extravagant luxury.) Seven days and seven shows – so what have been the highlights so far? To be completely honeﬆ, I’ve not seen a dud show yet - even the deﬁnitively Am Dram (Amateur Drama) line-fumbling ﬁ rﬆ year ﬆ udents performing The Slacker’s Guide To Weﬆern Theatre inspired with their irrepressible enthusiasm. Frisky and Mannish’s 2009 Fringe hit School Of Pop visited Auﬆralia earlier this year, and this Fringe they’ve graduated to The College Years with a thesis in Collision Theory – a PhD-worthy concept that explores what Lily Allen has in common with Noel Coward, what Florence (of ‘and the Machine’ fame) owes to Madison Avenue, and what Creep would sound like as a Hi-NRG Balearic rave-up. While Frisky and Mannish display admirable popchops, they lack the divine charisma displayed by the Barbershopera quartet, whose lateﬆ a cappella musical Apocalypse? No! goes ﬆ raight for the pleasure centres, with ﬁnely honed chemiﬆ ry, aﬆounding harmonising and puntaﬆ ic, punchline-ﬁ lled songs. Meanwhile, Alex Horne’s Odds is a maﬆerclass in expert crafting, weaving together predict ion gambling, quantum mechanics, his newfound passion for golf and being called a ‘fucking retard’ by a ten-year-old into a break-neck dissertation on mathematical probability – with far more jokes than you might expect. Also includes the moﬆ charming use of PowerPoint yet developed...
FILMREVIEWS TUBETIME The incredible world of television with 5SPROCKET
The New Inventors (ABC) showcases innovative (cough) homemade gadgets that are yet to reach the product ion line. Following through on their midnight lightbulb moment, three conteﬆants show their wares and juﬆify their place in the Centrelink queue. On the program there is a panel of people who work in the ‘inventor’ induﬆry who quiz the amateur Einﬆeins on how their mobile cat propellor works. They ask sensible queﬆions like, “Will people use this?”, to which the conteﬆant says, “Yes, my siﬆer loves it.” One of the gimmicks featured on the show was the ‘Oyﬆer Sauna’, a product designed to make the experience of consuming oyﬆers remotely intereﬆing. Oyﬆers are put into a case of tupperware that is loaded with dry ice. Th is is then served to cuﬆomers, who will almoﬆ certainly be blown away by a shitty device used on Star Trek. Applause all round. Another recent invention is the ‘bendy surfboard’, useful so the Bra Boys can quickly spot and beat you. The show runs on ﬆretched grins and limited enthusiasm, fueled by the high spirits of dreamers that are yet to be deﬆ royed by induﬆry and cold hard truth. Here’s a challenge for all you eager inventors out there - why don’t you invent a hoﬆ that isn’t exact ly the fucking same as David Koch. Now to This Is Your Day With Benny Hinn (Channel 10), a show that is ready to deliver the good news to anyone ready to hear it at four in the morning. Benny Hinn has a Carribbean tan and white toupee ensemble, too busy praying over viewers’ letters and drinking margaritas to do the hard yards. This is left to one of his ﬂock, a female hoﬆ who is a cross between Martha Stewart, a melted candle, and Sydney’s eaﬆern suburbs. As she rants her body convulses as if she is doing the robot by way of exorcism. She moves as if her bones want to jump out of her body. “God is not Santa Claus!” she screams, between ﬆories of harveﬆs. Do ﬆories of harveﬆ ﬆill apply to Orange County? Fruitful growth. Some branches. Pruning may be involved. Metaphor loﬆ somewhere. “When I am being purged and pruned how do I survive the valleys between the mountains?” You live where? A Road Runner cartoon? Chriﬆ, this shit has more exposition than Inception. Sadly though, the show didn’t answer the biggeﬆ queﬆion of all - do soccer mums go to heaven?
SCOTT PILGRIM VS THE WORLD Comedy these days is pretty boring. In an age of comedians on Twitter scoﬃng 140-character quips every two minutes (Look at me! I’m so funny!) and mega-celebrities mouthing oﬀ narcissiﬆ ic nothings, everyone knows their audience, everyone is trying to make everyone else laugh, and everyone is conﬆantly on. Comedy’s become cheap – there’s fuck-all spontaneity left because you can already tell where the joke’s going to go. Enter Edgar Wright and his adaptation of the rather successful Scott Pilgrim comic book series. Having caﬆ indie go-to guy Michael Cera, who’s become something of a male Molly Ringwald of this generation, there are certain expectations of the ﬁlm; basically, that Cera is going to do that thing he does. And, being an Edgar Wright ﬁ lm, he of Shaun Of The Dead and Hot Fuzz fame, there are going to be pop culture references galore. Combine the two – plus the original comic books were fairly pop culturefriendly themselves – and you’ve got the potential of twee-geek overload. Scott Pilgrim exiﬆs in a world where video game power bars pop up during moments of conﬂ ict, where incidental TV show music soundtracks scenes, where people wear T-shirts advertising Sharpies, where the words ‘sweet’ and ‘totally’ are omnipresent, and where musicians are God. Which is not too far removed from the world moﬆ of us live in, right? (It’s also about ‘a guy’ who wants to get ‘the girl’, but that’s the extent of the plot you’re going to get in this review.) The ﬁ lm works because of its incredibly nonchalant nature, it’s a self-aware ﬁ lm that doesn’t wink at the audience; it takes a ﬆep back and lets you use your brain-thing. Not unlike reading Hipﬆer Runoﬀ. It sets up jokes and doesn’t bother ﬁnishing them, it puts forward ridiculous gags that, under anyone else’s supervision, would’ve been slammed in your face.
Scott Pilgrim combines elements of comic books, video games, and ﬁ lm so perfect ly that you’re left wondering exact ly what medium you are experiencing. It’s about as far removed from ‘ﬁ lm’ – the canvas that has brought forth to the world maﬆerpieces by such artiﬆs as Kubrick, Scorsese, and Lynch – as you’ll experience this year, which makes it one of the year’s moﬆ exciting cinematic outings. It feels like somebody’s put an augmented reality screen over the ﬁ lm and turned its level to ‘Bonkers’. Wright has created a movie that at the same time celebrates and takes the piss out of everything, including itself. Scott Pilgrim vs The World is the ultimate ﬁ lm in that OMG I’M SO INDIE genre that has spiralled out of control, but it’s also its death-knock. You have to hope that Hollywood gets the message. WHERE & WHEN:
Screening in cinemas DCR
With DAVE DRI
1965 MINI COOPER S – MAGICAL MYSTERY MINI In 1966, The Beatles’ manager, Brian Epﬆein, gifted a Mini to each of the Fab Four. In keeping with his LSD-inspired journey, George Harrison gave his a psychedelic paint job and, only a year later, a lead role in the band’s ﬁ lm, Magical Myﬆery Tour.
2010 MINI COOPER S CAMDEN Not since The Italian Job has a Mini looked so cool. Th is season’s Mini Cooper release includes the celebration of 50 years of the diminutive motoring icon in the form of the Mini Camden and Mayfair. It can be hard to keep up with the Mini range, both on the road and on the lot, so the Camden and Mayfair are beﬆ diﬆ inguished as an exclusive kit extension to the Cooper, Cooper S turbocharged and Cooper D hatch models. The Camden especially leaps ahead of an already ﬆ ylish range, sporting Midnight Black, White Silver or Horizon Blue metallic paint, 17-inch cuﬆom wheels, anniversary badges, a cuﬆom Harmon Kardon sound syﬆem, and Mission Control. Oh yes, Mission Control – beﬆ described as the lovechild of HAL 9000, Red Dwarf, and Douglas Adams’ sci-ﬁ classic, The Hitchhiker’s Guide To The Galaxy. BMW dub this “situationdependent information and advice”, in true German ﬆ yle, but the owners and manufact urers of this classic British car can never quite rule out its heritage. Hence the rather queﬆ ionable English accents (and English humour) as the Engine, the Computer, and Climate Control speak to each other, relating levels of fuel and the ﬆatus of the engine. The driver is not spared from this bizarre conversation, being lect ured if a window is open or if the roads are wet, and encouraged to get juﬆ a little bit reckless by way of the infect ious “Let’s Mini!!!” shouts from the enthusiaﬆ ic engine if the car detects a hard turn or eager acceleration. The overall eﬀect is charming, amusing, and annoying all at once. The only truly fruﬆ rating aspect is that the car “voices” momentarily mute any music being played while speaking, but the levels can be adjuﬆed and the Mission Control unit can be turned oﬀ by a handy switch under the glove box. Gimmicks aside, this is a serious bit of fun, as any Mini fan can atteﬆ to. The Cooper S version of the Camden comes in a 128Kw four cylinder, twin-scroll turbocharged format with a direct
injection engine racing through the kinds of tight corners and iconic handling that inspire grown men to fold themselves into the diminutive frame. For those new to the range, these are faﬆ cars with a legendary ability to glue themselves to a road like a highpowered go kart. BMW’s fussy attitude towards eﬆablishing the perfect driving position has resulted in highly conﬁgurable seating that allows for a performance approach to driver ergonomics, high visibility and a curiously roomy cabin. There’s a serious driving experience lurking under the racing ﬆripes. For another level of exclusivity (if the 50th anniversary badges, bi-xenon headlights and Union Jack indicator frames aren’t enough), the Mini cuﬆom catalogue is available for owners to take a modular approach to swapping out some of the car’s conﬁguration, allowing for a ﬆaggering combination of rear vision
mirrors, ﬆripes, British themes and even driving shoes. The expense doesn’t always do much to diﬀerentiate the ﬁnal product from the base model, and the eﬀect is often at odds with the subtle schemes that are hand-picked by the experts. The experience is no doubt enjoyable, in much the same way that matching scarves and anoraks muﬆ be, but the fascination with such small details says wonders both about the Mini range and the typical Mini owner. In the Mini Camden and Mayfair ranges there is an easy mix of the beﬆ of German engineering, and the beﬆ of a legacy of British culture. Certainly the Mission Control funct ionality epitomises this balance in one useful and amusing, if slightly embarrassing, feature. One for the Mini puriﬆs and inner-city driving enthusiaﬆs alike. COST: $43,900 RRP STOCKISTS: www. mini.com.au
2001 BMW MINI COOPER – GERMANS FOR ITALIAN JOBS The rebirth of a classic nearly ﬆalled as BMW went back to the drawing board after the small matter of ditching lead manufacturer Rover mid-project. Thanks to some impressive driving in 2003’s box oﬃce smash The Italian Job, the relaunched Mini is a pop culture icon once again.
2009 JOHN COOPER WORKS WORLD CHAMPIONSHIP 50 – ZOOM! There’s only 500 of these in the world, and half of those are probably smashed to pieces by now. Created as a tribute to the 50th anniversary of the Formula One World Championship title won by racing legend Jack Brabham, this is the top line in cuﬆomisation. Rumour has it if you let this Mini go slower than 50km/hour, Keanu Reeves gets run over.
SOUNDADVICE Gear reviews with DANIEL SANDERS
Lying nearly horizontal, managed to catch some 180 degree immersive ﬁlms recently, at the Melbourne Planetarium as part of MIFF. UNDER THE DOME The Melbourne Planetarium is located at Scienceworks Museum in Spotswood and features a “16 metre domed ceiling, reclining seats, a ﬆereo surround sound syﬆem and has recently been upgraded to incorporate Sky-Skan’s DigitalSky project ion syﬆem”. In pract ice, this means craning your neck around everywhere to see what’s happening beyond your peripheral vision. MIFF featured three compilations of dome ﬁ lms, and I opted for the experimental collect ion – which could’ve been called screensaver collect ion and only a couple of ﬁ lms would’ve suﬀered by that description. DOMEFEST/ELUMENATI Part of the compilation came from Domefeﬆ(.com), an annual screening curated by Artslab, an interdisciplinary arts centre in the New Mexico desert (artslab.blogspot.com). A big of googling reveals that feﬆ ival to be connected with another group, Elumenati(.com), virtuoso specialiﬆs in the ﬁeld immersive project ion design. Which also happens to be a group that Johnny De Kam (founder of VDMX and vidvox.net) has done a lot of work with. Small world dome thingy. Anyways, beﬆ ﬁ lm of the evening? Celeﬆial Mechanics by Scott Hessels (2005), which aimed to visualise the manmade aerial technologies between us and the heavens, ﬆarting from police and news helicopters, and working through a range of transmitters and satellites, beautifully evoking their processes as it unfolded. Less good? Cosmic Dance, self-described as “aﬆ rophysics meets Bollywood”, and a painful 48 minutes of a patronising female hoﬆ, who when not speaking down to the audience, was being washed in cliched special eﬀects and dancing with the universe. Or something. DIY DOMING “DomeXF is a content plug-in for Adobe After Eﬀects, Windows version. For fulldome producers, it is a key tool for transforming ﬂat-screen content to the dome. The DomeXF plug-in for Adobe After Eﬀects is available from Sky-Skan for US$395”, according to www.skyskan.com JEAN POOLE
NATIVE INSTRUMENTS TRAKTOR KONTROL X1 Since its 2000 release, Native Inﬆ ruments’ Traktor DJ software has revolutionised the way we perform, shifting an entire generation of jocks away from record bags and CD wallets towards the humble laptop computer. However, all versions of Traktor, from LE right up to the all singing and dancing Scratch Pro, suﬀer the same achilles heel: how intuitive and performance focused it is depends entirely on conﬁguration and control. It’s no silver bullet without good hardware. Digital vinyl syﬆem versions of the software have given us near-ﬂawless access to the transport sect ion of our virtual decks for some time via control vinyl and CDs, but there have been few MIDI controllers which have fully taken advantage of Traktor’s controller manager to leverage a complete hands on experience with the software. Veﬆax, Allen & Heath, EKS
and Stanton have each come close but it was always going to be Native Inﬆ ruments who’d push the boat out the furtheﬆ. Enter Traktor Kontrol X1 – their ﬁ rﬆ foray into the DJ controller market. DJ controllers have largely fallen into two categories – the all-in-one, which aims to replicate the two decks and mixer experience, and the auxiliary controller which focuses on eﬀects, loop and transport control. NI have their very own answer to the ﬁrﬆ category on the way quite soon and it’s perhaps unduly ﬆolen attention from the more auxiliary Kontrol X1. The resultant moﬆ common queﬆ ion has been, “with that on the way, why would I want the X1?” There are several very good reasons: it’s inexpensive, compact, light, durable and has a wealth of LEDs so you can see what’s happening without looking at the screen. It works as well for novices as professionals with the default mapping, which aims to give the user broad control over the eﬀects, browse, looping and transport sections of two decks. While you can teach any old MIDI controller to perform these tasks, the X1 automatically maps on the ﬁrﬆ connection and communicates with Traktor using NI’s Native Hardware Library. This results in higher resolution control over all parameters and true plug-and-play functionality. It is however, limited by its intended purpose. There are eight knobs, four push encoders and 28 assignable buttons on oﬀer that are doubled by a shift layer accessed using a button in the middle of the controller. A further layer is added to the 16 transport buttons via the hotcue button, which also doubles using the shift button. It can also be put into MIDI mode from the front panel by pressing shift and then hotcue, thus giving such Scratch Live users (and more) access to plenty of control. While potentially confusing, this gives enormous scope for tech savvy DJs keen on remapping the device for complex control scenarios. You
could for inﬆance map it to control Traktor’s excellent internal mixer or even access four decks. The only task it’s not so proﬁcient at is scrolling through tracks, as encoders will never be as smooth and accurate as a jog wheel. Likewise, jocks used to using a fader for pitch adjuﬆment may ﬁnd buttons and an encoder ill suited to their modus operandi. However, NI clearly expects the device to be used in conjunction with Traktor Scratch Duo or Pro, thus addressing the issue using turntables or CDJs to provide such control. That being said, it’s hardly essential and if you’d rather avoid the hassle of rigging a DVS and want full access to Traktor’s extensive functionality, the KX1 should top your wish liﬆ.
COST: $299 RRP STOCKISTS: www.
native-inﬆ ruments. com/en/company/ resellers/
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VOTE 1 THE GREENS greens.org.au/larissawaters
Authorised by Sam La Rocca, Queensland Greens, 102 McDonald Road, Windsor 4030 QLD
PETER SAVILLE’s 1979 artwork for Joy Division’s Unknown Pleasures album is rock’n’roll history. Just as the Manchester post-punk band redeﬁned a musical movement, Saville redeﬁned the concept of the record sleeve. As an artist, Saville bucked the trend for DIY scrap’n’clutter, so popular with the punk aesthetes of the time, without being drawn back into the overcooked art of punk’s ememies (prog rock and disco). Minimalism was key. The simple lines, representing galactic pulse readings, were originally black on white. But the white lines on black are now a part of the rock uniform (obligatory ﬁrst-time alt.festival wear, usually chosen from a selection including Ramones and The Clash tees). To commemorate founding Division member Peter Hook’s performance of the Pleasures album, with orchestra, in the UK on the weekend, Saville produced an “updated and new interpretation” of the notorious tee. This time it’s gold on black. Only 250 were produced. And festival attendees in Sussex had ﬁrst dibs on them. Get scouring eBay now - will go nicely with the Unknown Pleasures trainers that New Balance released back in ’07.
PLACE A NEW ORDER NOW
Personal baggagependants by Emily O’Br ien ~ P.O.A. Exhibiting at Craft Cubed
Living Dead Skullcans
Skullcandy Abel headphones makes the bass feel like a swarm attack by the renegades of funk, soldiers of Jah, hip hop nation , all at once. So, no, Skullcrusher is not just a clever ever name ~ $119.95. www.skullcandy.com
Doc Martens Classics
Flowers ~ $220. ww w.drm
StrikeMeDown bling necklace ~ $19. www.beserkclothing.com
Keds Chukka white smoke canvas ~ $89.95. 03 8878 3000
~ $59.95. www.onesclothing.com
‘‘00 00’ 0 0’S ’Ser eries Dispat pa ched
Take attitude to the street with the new Oakley Oakl DISPATCH™ allowing you to change up the colours, Oakley introduce introd interchangeable “O” icons. icons The frame comes with two different sets set and additional “O” icons are available available so you can give your pair the look you want. ~ $169.95. www.oakley.c ey.com.au
WORLD W WOR OR RLD LD
Napolean long black mascara ~ $33. www. napoleanperdis .com
Puma graphictee ~ $50. 1800 811 511
No Tomorrow flowerz tee ~ $79.95. www.notomorrowclothing.com
Puma Dallas suede sneaker ~ $130. 1800 811 511
The LML Star 2150cc Scooter ~ $5773. www.lmlaustralia.com
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Former Project Runway Australia model LUCY MCINTOSH reveals both her ‘caring’ and ‘hair-caring’ sides to RUPERT NOFFS.
TELL US ABOUT YOUR INVOLVEMENT IN MELBOURNE SPRING FASHION WEEK (MSFW)?
“As ‘the face’ of MSFW I’m most looking forward to representing my city in the industry I love. I love the fact that the public will be able to get to know me on a personal level, rather than just being a ‘face’, I will be a ‘face with a voice’. A voice that is extremely proud of Melbourne and Melbourne’s fashion industry.” YOUR BREAKFAST SEMINAR IS CALLED ‘CARING IS THE NEW FASHION STATEMENT’. DO YOU THINK PEOPLE IN THE FASHION WORLD ARE REALLY STARTING TO HAVE A CONSCIENCE? “We are all human, no matter what industry we are in. And, as humans we all have a moral and ethical conscience. ‘Caring is the new fashion statement’, I believe, doesn’t necessarily suggest that the fashion industry doesn’t have a conscience, but in fact represents that we all - even those not within the industry - are starting to care more about our health and lifestyle choices. There is always talk in the media of the ‘paper thin’ model and how that sets a bad example of what beauty is, but in saying that, we as a nation are one of the most overweight countries in the world and this too isn’t the health ‘conscious’ image we should live by. Caring - about your health and feeling good about yourself, no matter what size or shape you are - is the new fashion statement.” DO YOU THINK MELBOURNIANS ARE BETTER DRESSED THAN SYDNEYSIDERS? “Haha! That’s hard to say. I love Melbourne and they always say you can tell by the way one dresses, where they live. We dress differently, I’m sure because of climate and culture, etc. Sydney is generally warmer and
LUCY MCINTOSH has more of a beach vibe, where as Melbourne is more artsy and alternative... Blending our city life wardrobe with a more eclectic, vintage edge.”
Sass & Bide, Toni Matechevski, Arabella Ramsay, LIFEwithBIRD, Yeojin Bae, Thurley… The list goes on.”
WE HAVE SOME AMAZING AUSTRALIAN FASHION LABELS STILL GOING STRONG AFTER 20 OR MORE YEARS - BUT ONLY A FEW. IT IS PRETTY TOUGH. WHAT DO YOU THINK THE SECRET IS?
I AM CONSTANTLY TOLD I HAVE GOOD HAIR. DO YOU THINK GOOD HAIR DAYS GENERALLY MAKE FOR BETTER DAYS?
“With anything in life, I believe that if you are passionate about something you will never give up on it. It’s all about believing in yourself and persistence, never giving up. As Australians, the best thing we can do is support the local fashion industry and buy home-grown fashion. Some of my favourite fashion labels are Australian:
“Yes! I am absolutely hopeless at doing my own hair... Haha... So when I get to have my hair done and it’s looking good, the day seems just that little bit better.” Melbourne Spring Fashion Week happens from Monday 30 August to Sunday 5 September.
SIZE MATTERS? 32 inch.
PROS? It’s all about price with this set – and it’ll look amazing compared to the hefty unit your parents sent with you when you moved out of home.
CONS? No apps, 3D or coffee-making ability.
FOR? The entry level, no frills buyer.
SAMSUNG LED 6500
SIZE MATTERS? 32 inch.
PROS? Samsung apps give you standards like Twitter, ensuring you don’t even have to leave your bed for that important early morning overshare.
CONS? Still not a patch on Apple’s app store.
FOR? Those who want to combine web with TV – carrying the brown paper bag out of the adult store is now a thing of the past.
32 inch – see a pattern forming?
PROS? Comes with an iPod dock, built in JPEG viewer and MPEG-4 recording/ playback on SD card.
CONS? Universal remote only works with other Panasonic devices. Serious sound lovers will need to connect an external system.
FOR? If you want a bedroom like that of Kevin Smith’s character in Die Hard 4, this is a good start.
EMPLOYMENT ADMINISTRATION BASS PLAYER WANTED. Good bass player wanted for original blues/funk/rock band must have transport and a good sense of humour. iFlogID: 6528 Campaign Coordinator/Assistant - fun fast paced company looking for organised self starter to join the team. Must have outstanding communication skills and great Office skills, some lifting involved, immediate start, for more details www.mediatree.com.au iFlogID: 7096 Casual Staff wanted for Store/Cafe, Street Posters and Pole Posters distribution. Flexible days and hours, some nights and weekends available. All training provided. Join our fun energetic team. Email resume to email@example.com iFlogID: 7115 Client Services Coordinator 2+days/wk - you will look after research, report collation, campaign logistics, briefs and pitch preparation. You need outstanding communication skills, initiative, attention to detail and be willing to learn. More details go to jobs at www.mediatree.com.au iFlogID: 7099
ROBBIE WILLIAMS IMPERSONATOR Established Sydney based “Robbie Williams Tribute” is looking for a Robbie Williams Impersonator. Applicant must has Carisma!! Look, sing and have the stage presence of Robbie Williams. Agency Backed with Gigs waiting!! Call Brad for an Audition on 0404 065 976. iFlogID: 6434
VOCALSIT / MC’S WANTED Male or Female vocalists or MC’s wanted for Downtempo, electronic, trip hop or whatever its called. Either way its a bit dark and moody and very much beat driven. If interested then send a demo to firstname.lastname@example.org iFlogID: 5893
ADVERTISING / MEDIA Do you get a thrill from creating something from nothing? I do and I want a sassy young someone to join me as a business partner in my latest project - an online service for Sydneysiders.. tmb08@live. com.au. iFlogID: 6893
ENTERTAINMENT ASIAN DJ’s and promoters wanted for new Asian Dance Party events. Once a month at Level 1 Chatswood. Contact Peter K @ the Chatswood Club on 9419 5481 iFlogID: 6883 Music Industry Interns.We are looking for unpaid interns to assist with music management company. Involves PR, media servicing, websites, etc. Email CV to belinda@ hype33.com iFlogID: 7078 Resident DJ’s WANTED Nth Shore Venue. Level 1 Chatswood, a new venue on the North Shore. Resident nights are up for grabs. Call Peter K @ the Chatswood Club on 9419 5481. iFlogID: 6881
PROMOTER New Venue LEVEL 1 CHATSWOOD seeking partner for entertainment. We provide the premises, you provide the people or event. Contact Peter K @ ChatswoodClub on 9419 5481. Live Music,Dance Parties, Album Launches all welcome. iFlogID: 7052
PROMOTER WANTED NTH SHORE Huge “Metropolis” Style Venue up for grabs for the right promoter. Located in Chatswood, massive venue with Bars upstairs and downstairs. Call The Chatswood Club on Help St 0294195481 and ask for Peter K iFlogID: 6607
VOLUNTEER Wanted: Current Uni students in Sydney and Melbourne to profile their uni courses positively and constructively for a socially important project. Please email madeleine@bathtubproductions. com for more info. Big thanks. iFlogID: 6871
balsplus.com. Dream Cymbals and Gongs, Metro Drums plus more. iFlogID: 6948
NOT AVAILABLE FOR FREE ADS. CL (used) pearl eliminator double pedal. NO rust, NO sqeaks, well lubricated, complete parts including manual book. pick up only at Sydney area. 0420772928 iFlogID: 7085
SABIAN CYMBALS Sabian 20” AA Rock ride, Sabian 17” med thin crash, Sabian 14” AA Regular hihats all with Ragone case. As new, $700, ph 0419760940 iFlogID: 5821 Tama Starclassic Maple 6 Piece Shell Kit. Professional Kit/Insane Price! $3100 ono. All shells are 100%! Must sell FAST!! You can see the kit live in action on “Hey Hey Its Saturday” here, h t t p : / / w w w. y o u t u b e . c o m / watch?v=CfdmoyfP55s All info contact 0410334141. iFlogID: 6869
ACOUSTIC GUITAR MATON M225
Maton M225 Solid Sitka Spruce soundboard Queensland Maple Back, sides & neck Rosewood with dot inlays fingerboard Australian Made Original Elixir strings Natural Finish $750 *pick up in Sydney area iFlogID: 3645
Bass Quad Box, Marshall Bass Quad Box. Loud and great sound. Original wheels, good condition, $250, 97590970 iFlogID: 7111 For Sale Eden D112XLT bass cabinets $1250.00 Mint condition EDEN SOUND Please contact iFlogID: 6823
MESA BOOGIE TRIPLE RETIFIER Rare original 2 channel Mesa Boogie Triple Rectifier head. Better sounding than the newer 3 channel one. It is in superb condition. Comes with footswitch. $3200 email email@example.com iFlogID: 5996
PEAVEY WINDSOR GUITAR AMP 100 Watt all valve/tube head. HUGE hardcore tone. Incredible bottom end. Has been professionally modified 2 channel foot switchable. Runs EL34 power valve. Mint condition $750.00 ono. 0428744963. Cooroy iFlogID: 6510
CD / DVD CDS AND DVDS $5 EACH HUGE SELECTION FOR A LIST DONT MISS OUT EMAIL: STEVESBACKINTOWN@HOTMAIL.COM iFlogID: 6734
COMPUTERS PLAYSTATION 2+7GAMES 1 MEMCARD GRANTOURISMO4 TIGERWOODS08 GTA3 GUITARHERO3+GUITAR URBANREIGN FIGHTNIGHTROUND3 GOLF. $220 ONO, 0424487379 PICKUP ONLY iFlogID: 6732
DRUMS $250 for a 20” cast, hand-hammered ride cymbal? If you are not Dreaming already, go to www.cymbalsplus.com. Dream Cymbals and Gongs, Metro Drums plus more. iFlogID: 6946 $250 for a 20” cast, hand-hammered ride cymbal? If you are not Dreaming already, go to www.cym-
FENDER PINK PAISLEY STRAT. Genuine 1980’s Pete Townshend jap model. all original. in case. amazing action. beatiful tone and sustain. plays great. nice patina. very rare. suit collector. EXCELLENT CONDITION! $2500.00 Ph Jimbo on 0428744963. iFlogID: 5835
FENDER STANDARD STRATOCASTER Brand New Fender standard Stratocaster.(Mexico) Updated model including new tinted neck. Different colour options available. Package includes Guitar, gig bag and stand. RRP $1100 Logans Price $756 Heaps of other Fender bargains instore. Logans Music (02) 9744 2400 www.loganspianos.com.au AUTHORISED FENDER DEALER iFlogID: 6618 Gibson Les Paul Custom 2004 Black Beautiful condition, beautiful guitar. Selling for the great price of $4,500. Contact 0410736672. iFlogID: 6913
GIBSON SG STANDARD LEFTY Brand New Gibson SG Standard Lefthanded guitar. Heritage chrery finish including Gibson hard case. Logans Price $1999 WOW! (righthanded also available!) Logans Music Burwood (02)97442400 w w w. l o g a n s p i a n o s . c o m . a u AUTHORISED GIBSON DEALER iFlogID: 6614
GUITAR AMPLITUBE IRIG AmpliTube iRig. Plug your guitar into your iPhone/iPod touch/iPad and jam anywhere with world class guitar and bass tone right in the palm of your hand - from the leader in studio-class guitar and bass software. Simply plug the iRig interface into your mobile device, plug your instrument into the appropriate input jack,
plug in your headphones, amp or powered speakers, download AmpliTube for iPhone Free and start rocking! You’ll have at your fingertips the sound and control of 3 recombinable simultaneous stompbox effects + amplifier + cabinet + microphone just like a traditional guitar or bass stage rig! Add amps and effects as you need them — you can expand your rig with up to 11 stomps, 5 amps, 5 cabinets and 2 microphones in the AmpliTube iRig app custom shop. ONLY $59.99 UNBEATABLE Logans Music (02)9744 2400 www.loganspianos.com.au iFlogID: 6545
HUGE SALE ON MARTIN GUITARS MUSIC@NOOSA’S MARTIN SALE ALL NEW GUITARS HAVE A LIMITED LIFE TIME WARRANTY. OMC28E WAS $5495 - NOW ONLY $3895 DCX1KE - WAS $1795 - NOW ONLY $1429 OMCX1KE WAS $1795 - NOW ONLY $1429 OMC1E - WAS $2795 - NOW ONLY $1995 **ALL GUITARS COME WITH FREE CASES** SECOND HAND DEALS D16RGT - GOOD CONDITION ONLY $2195 1973 D18 IN EXCEL COND W/CASE $3795 1972 D28 IN EXCEL COND W/CASE $3995. CALL US FOR MORE DETAILS 07 54743033-TIM iFlogID: 6512
IBANEZ PRESTIGE MBM1BK IBANEZ PRESTIGE MBM1BK. Matt Bachand’s (Shadows Fall) Signature guitar features an EMG 81 humbucker in the bridge position for razor sharp attack and incredible sustain, and an EMG 60 humbucker in the neck position for massive crunch. Gloss black finish with Matt Bachand’s signature skull graphic. Pearloid body binding. Includes ibanez hard case. Made in Japan RRP $5295 Logans Price $2645! 50 % off BRAND NEW 1 ONLY LOGANS MUSIC BURWOOD (02)9744 2400 www. loganspianos.com.au AUTHORISED IBANEZ DEALER iFlogID: 6549 Maton EM225C, acoustic electric guitar, cutaway and pickup, new condition, first to see will buy. Melbourne, can meet metro. $900 ONO. Call or text Heath on 0431862350 iFlogID: 7087
SECONDHAND MARTIN D28 SECONDHAND MARTIN D28 IN MINT CONDITION WITH ORIGINAL DELUXE HARDCASE - ONLY 6 YEARS OLD, HARDLY USED. ONLY $2795 CALL US FOR MORE DETAILS 07 54743033-TIM iFlogID: 6537
KEYBOARDS KORG TRITON EXTREME88 A rarely used example of this classic and much sought-after synthesizer in excellent condition. Price includes delivery to any destination on mainland Australia. iFlogID: 3583
OTHER 1993 Ford Laser, 1.6L 4 Cylinder Manual. 150,000km’s. Rego March 2011. Perfect condition mechanically. Recent Major Service. Sony X-Plod Headunit + Pioneer Speakers. Air Conditioning. Power Steering. Sydney Based. $1,500 ONO Call Chris for inspection: 0414 901 411.
A good book still makes a great present: Journo’s Diary is heaps of fun, describing the comical misadventures of a young cadet journalist as he copes with the good, bad and ugly life throws at him. Go to www.journosdiary.biz iFlogID: 7021
BURLESQUE & DRAG EYELASHES Petticoats & Gallantry has launched a new range of exclusive, boutique handmade & decorated false eyelashes perfect for going out. With a mix of over-the-top dramatic lashes suitable for Performances, Burlesque, Drag and even just for a special night out, you’re sure to find some one-of-a-kind false eyelashes to wear. Each pair is customised and decorated by hand in a variety of themes, and commission orders are very welcome. www.petticoatsandgallantry.com. au Look for us on facebook for exclusive promotions. iFlogID: 6658 GUITAR FX BOSS MT-2,OD-20,CS-3. ROLAND GR-20 GUITARSYNTH. DIGITECH JAMMAN,HENDRIX. PICK UP ONLY DEEWHY 0424487379 iFlogID: 6728
LITTLE MUSIC SHOP IN THE LANE Have YOU been to our shop. Sales / Repairs / Hire / Service / Rentals / Trade –Ins / Tuition. We also deal in Pre-Loved equipment. OPEN Monday to Saturday - MUSIC CAVERN - JOHN LANE , Beenleigh - 3807 5688 iFlogID: 5234 Music and memorabilia - Pink floyd ,Sexpistols ,AC/DC ,Michael jackson ,Black sabbath ,Iron Maiden ,The Beatles ,Roger waters ,dave Gilmour ,Midnight oil ,Deep Purple , Kate Bush ,Abba ,Elvis T shirts ,stickers ,Records ,Cd’s ,Tapes ,Videos , Dvd’s etc 95530355 0401623388 iFlogID: 7113 Rwc specialists Fastford.com. au New & used Parts and panels suit most makes/models Wheels,Tyres,all parts Find out why over 5000 cars throughout Victoria proudly display the Fastford/Fast Bunny vehicle signage 0401623388 (03)95530355 iFlogID: 7101 SO WHY BUY MUSIC WHEN YOU CAN GET IT FREE! Check this out www.musicforcause.com the best unsigned artists compiled into music genre packs 100% download proceeds for charity great new way to find brillant unsigned musicans Give it a GO iFlogID: 6979 www.immoralfashion.com.au - Some of Australia’s best and cheapest alternative fashion and footwear for guys and gals. New Rock Boots from $289 | Demonia Shoes from $59 | Dusk Moth Pants from $99 iFlogID: 7146
PA EQUIPMENT ROSS PC110 POWERED MIXER 100watt rms. 4 channell with EQ/REVERB. stereo CD input. CUBE STYLE. Very good condition. $300.00 Ph Jimbo on 0428744963. iFlogID: 5837
MUSIC SERVICES BAND MERCHANDISE
CITY VENUE WANTS ORIGINAL BAND A new original night has started a a very popular Sydney venue, in the heart of the City. Venue runs cover bands 7 nights a week, and has a great in house PA system and operator. Venue is Trialling Original Bands on Monday nights, and its a great opportunity for bands to get exposure. Venue has a steady stream of clientele, so no need to drag your fans along. Venue prefers 3-4 piece guitar based rock acts, which perform mainsteam radio friendly original music. Looking for good Sydney bands, as well as interstate bands who maybe be touring Sydney and would like to tack a monday night show onto their tour. Interested acts should email me a link to their website, or myspace. Email promo to : kypo@ bigpond.net.au. Your welcome to call Kypo on 0404 065 976, but its best to send me your promo first. iFlogID: 5963 MUSICIANS: Make download cards to attach your music to your merch and sell at shows! Get 30 FREE at www.MerchMusic.com! iFlogID: 6842
ON LINE BOOKING AGENCY Australia’s first online booking agency with a difference!!!! For Artists & Promoters iFlogID: 3466
THE SPACED ARE HERE! www.myspace.com/thespaced iFlogID: 5584
BOOKING AGENTS SYDNEY’S PREMIER DJS Do you want to book some of Australia’s finest DJs? Our agency supplies the most experienced & popular DJs for festivals, clubs, bars & corporate events. We can set up a roster of stellar DJs for your club or offer you the very best in DJs, or the hugely popular DJ based bands, for your event. Contact us today at firstname.lastname@example.org or visit www.thegrooveacademy.com.au. iFlogID: 5847
EP RELEASE Hey kids,Have you got your copy of ‘DEATH TO DERROS’ yet? If not,do so now.Available on I-Tunes and many other Music sites.Or download some FREE tracks on TRIPLE J UNEARTHED. GET SAM ON THE RADIO!www.myspace.com/samschindler07.GRUNGE PUNK ROCK! iFlogID: 6769
RAPPERS / MC’S / HIP HOPPERS Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. www.statelymanor.com.au for details. iFlogID: 4510
SPECIAL OFFER!!!! Special Packages available for artists and bands!! Whether being recording/mixing. With networks to many studios around town your project will sound great and professional whilst working within a budget!! OUR PASSION IS TO CREATE RECORDS THAT GIVE THE LISTENER A HARD HITTING, FRESH SOUND THAT PUSHES BOUNDARIES, WHICH STANDS UP AMONGST THE INTERNATIONAL MARKET. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE AND DO ALL
For a limited time. Free online andprint classifieds Book now, visit iflog.com.au
GENRES. For a full list of our credits see myspace.com/mixinthelab. Contact us on 0424 462 945 or Email at email@example.com iFlogID: 6287
HIRE SERVICES KARAOKE & JUKEBOX HIRE
applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email Detax@optusnet.com.au iFlogID: 6840
Superstar Karaoke & Jukebox Hire is friendly, efficient and affordable. We’ve also got the BIGGEST selection of songs with over 10,000 karaoke tracks and over 5,000 jukebox songs. Plus, we update our song lists monthly so we have the classics and all the newest hits! Visit www.superstarkaraoke.net.au today and see how we can assist you with making your next party or function one to remember. iFlogID: 6041
Jagged Edge Communications is a boutique service specialising in professional press kits for bands, musicians and artists. Press kits, are compiled by a media professional with experience in public relations and entertainment journalism, from $200. For more information visit jaggededgecommunications.com. iFlogID: 7069
MUSIC PUBLICITY AND MARKETING
Manager wanted for Hip Hop RnB Artist. Contact Jhal on 0421 557 587 or email firstname.lastname@example.org iFlogID: 7089
Promoting a CD? Want to let fans know about your gigs? Take your band to the next level with our competitive rates for your marketing and publicity needs. We strive to bring our artists to as wide an audience as possible conducting a broad media campaign which encompasses national print media and online promotion and an artist administration area allowing access to realtime 24/7 campaign results. We can also look after your paid advertising, sourcing some of the most competitive pricing. Contact 0402257148 or www. aaaentertainment.com.au iFlogID: 5801
Professional Mastering from $110 per track in Australia’s most prolific mastering suites. We have the dedication and experience to make your music come alive using the world’s best equipment. Located in the heart of Sydney’s CBD. Conditions apply email:info@ benchmarkmastering.com Ph:(02) 9211 3017 www.benchmarkmastering.com iFlogID: 6217
MUSICIANS FOR FUNCTIONS/VENUES
DOMC MASTERING - $95 PER TRACK
Are you thinking of hiring quality musicians that bring an audience ? Do you have a function/event and considering live entertainment ? For a limited period, we are offering a Venue Promotions Package featuring favourite entertainers. If it is about raising your venue profile or just great entertainment you want, contact us now. Chris 0419 272 196 http://infovisionproductions. yayabings.com.au iFlogID: 5076
PA SYSTEMS, LIGHTS , STAGES We have the gear and have the people. From small to BIG - give me a call for a quote - PA SYSTEMS from $110 - CALL MATT on 0424 399 801 iFlogID: 5236
PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. You can play your own music through it, sing, talk, do a disco, small function, etc, etc, etc. Contact Chris 0419 272 196. iFlogID: 3721
MASTERING BENCHMARK MASTERING
Domc Mastering is a dedicated mastering suite located just outside of Brisbane. We specialise in getting your next audio project ready for the public. DOMC work with you to get you the ‘sound’ that you are chasing. iFlogID: 5710
promote dangerous driving iFlogID: 6076
GET IN THE KNOW!
HEARTICAL SOUND SYSTEM HIRE
From the people who brought you TheMusic.com.au comes two new free news resources, The Daily News Feed and Velvet Rope; the only source of music business and industry news you will ever need! Each morning the Daily News Feed posts crucial music business news, helping you stay current with Aussie and overseas breaking stories. Velvet Rope is brought to you via Door Bitch and is a weekly news column that keeps you up to date on the happenings of the music biz. From job opps, news, events & a bit of back room gossip, Door Bitch has it covered. It’s out every Friday at noon. Check out the new news at www.TheMusic. com.au iFlogID: 5089
Band PA system for hire. 3200w FOH, 2 x 2x15 cabs with subs, 1350w FB, 4 wedges on 2 sends, 16 input desk, FX, mikes/ stands,DIs, icolor lighting. Experienced operator, many satisfied clients. From $300 p/night. Best value for money. Chris 0432 513 479 iFlogID: 5402
GUITAR GODS AND MASTERPIECES
PROFESSIONAL SOUND AND LIGHT
COMING SOON New tv show on C31 Digitalor watch online at www.c31.org.au Supporting Australian Guitarists and Led Zeppelin.Featuring Instructional licks,Performances and Interviews by our best.Includes Guitar Health with Dr Jim - James Cargil,Hosted by Jasmine Young,Artists include Steve Morse,Geoff Achison,Brett Garsed,Bruce Mathiske,Jeremy Barnes,Jimi Hocking,Michael Dolce,Dutch Tilders,Nick Charles,James Ryan,Simon Patterson,Lloyd Speigel,Marcel Yammouni,Matthew Fagan,Juan Martinez Ortiga,Pete Fidler,Sergio Ercole and many more.Make sure you press retune on your digital box and go to number 44 iFlogID: 6306
DO YOU AND YOUR BAND WANT TO STAND OUT? WE HAVE THE BEST STUFF FOR YOUR GIG’S, WE ARE THE PROFESSIONALS IN SOUND AND LIGHT, WE HAVE THE TOP OF THE LINE GEAR AND WE ARE READY TO GIVE YOU AND YOUR BAND THE SHOW YOU NEVER FORGET Call Roger on 0447025967 iFlogID: 5704
Jumpn’Bones PRODUCTIONS DRUMMER / PRODUCER / DJ PRODUCTIONS & PERFORMANCES 0430 829 875 - Matte J Meli SYDNEY iFlogID: 7039
MATTHEW GRAY MASTERING - $99
MARKETING AND PROMOTION
$99 per song +gst for online mastering via our secure servers. Analog chain, digital chain, mix evaluations, online mastering and attended sessions - we ensure your mastered product sounds amazing. www.matthewgraymastering.com. iFlogID: 3422
A rockin’ salute from the Team at Clk Click Publicity! Clk Click Publicity is a music and entertainment publicity company that specialises in providing excellent quality management, marketing and PR services in order to promote music, film, arts and events in Australia. We have an introductory offer that will blow your mind, and keep your pockets full! For a limited time Clk Click Publicity can whip you up a professional Bio and Press Release for only $100. We can also organise band photos and logo creation for a very reasonable price. If you’re interested in finding out about our full range of publicity services, we’d love the opportunity to have a chat with you and put together a proposal for your next release, event or tour. For further information please shoot us an email at email@example.com or visit our website at www.clkclickpublicity.com We look forward to working with you! iFlogID: 5312
OTHER Contact rocketashwin@myspace. com for more information iFlogID: 6763
COOL PERTH NIGHTS
LEGAL / ACCOUNTING
Cool Perth Nights weekly mailout features all the coolest live music, theatre, indie film screenings and art exhibition happenings in and around Perth Western Australia. Sign up via www.coolperthnights. com and receive this clean presented and very fun info each Wednesday lunchtime WST. iFlogID: 4351
DETAX GOT ME A GREAT REFUND!
FOOTAGE FOR VIDEO CLIP NEEDED
Detax will maximise your tax refund or minimise your tax liability, by
Heavy rock band Drop Tank are making a film clip. We need your home videos of burnouts, skilled driving, awesome machines in action, to use for our song about a car. We will be pixellating numberplates (and faces if needed), so send all killer, no filler to: Droptank or firstname.lastname@example.org via sendspace (Any format will do but AVI or MPEG-2 is preffered) or to: DROP TANK PO Box 443 Brookvale NSW 2100 www.myspace.com/ droptankband *Drop Tank does not
soundornot.com iFlogID: 6047
SPACE SHIP NEWS. COM.AU Perth Music News Your one stop for local Perth music news, gig guides, photogrpahy, reviews, bands, CD’s & more... Sign up to our weekly e-news & keep up to date! www. spaceshipnews.com.au iFlogID: 4790
PA / AUDIO /
From small PA to large high powered rigs. Crystal clear custom built mids and tops cabs with heavy duty bass bins. Suitable for indoor and outdoor events. delivered, set up and operated. Call Derek for quotes on 0423979396 iFlogID: 5135
PA SYSTEM 3200W FOH FROM $300
THE CHEMISTRY OF SOUND As Engineers/Producers our passion is to create tracks that give the listener a hard hitting, fresh sound that sonically sounds PHAT and pushes the boundaries of what music currently sounds like in Australia, which stands up amongst the international market. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE ALL GENRES. We’re located at Level 7 studios and the studio is decorated in some of the most appreciated vintage and modern gear which provides our clients an incomparable advantage in the sense of both the analogue and digital domains. Artists we’ve worked with include: Pharrell Williams, N.E.R.D., Kanye West, INXS, Black Wallstreet and a myriad of local artists such as Hyjak, Potbelleez, Vice Verser, Thundamentals, Fame, Tycotic, Rai Thistlewaite (Thirsty Merc), Wendy Mathews, Gin Wigmore, Tim Freedman (The Whitlams), Carl Riseley, Hoodoo Gurus, Wes Carr, You Am I, and many more. Contact us on 0424 462 945 and check out myspace.com/mixinthelab iFlogID: 6186
PHOTOGRAPHY If rock n roll is the collected voices of the outsiders, then Dane’s camera; its Egglestonian frankness, immediacy, and oft-kilter worldview, is their microphone. www.photodane.com iFlogID: 6942
SETLIST PHOTOGRAPHY Sydney’s Live Music Photography specialist with over 5 years experience in the industry. Artists include Moby, Groove Armada and festivals such as Soundwave, Good Vibrations plus many more. Cheap and affordable for local artists. Go to setlistphotography.com or email email@example.com for a quote. iFlogID: 6533
SIMON BENNETT PHOTOGRAPHY Simon is a Sydney press photographer working for fairfax media. He has a passion for live music photography and it shoes in his images. Plus with his experience
in editorial work, he can produce exceptional images for his clients. Reasonable Rates Contact Simon on: (Mobile)0414415818 (Email) firstname.lastname@example.org and simon. email@example.com www.stayclassysydney.com iFlogID: 6294
POSTERS ILLUSTRATOR AVAILABLE NOW! Professional illustrator available for any project. Book covers, children’s books, album art and much more. Based in Melbourne, drawing world wide! Excellent rates. www.paulikin.com -Phone: 0403 996 129 or email firstname.lastname@example.org iFlogID: 4701
RECORDING STUDIOS AFFORDABLE SYDNEY PRODUCTION Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. www.statelymanor.com.au for details. iFlogID: 4508
LEVEL 7 STUDIOS Historical recording location in Sydney’s CBD. SSL console, Huge control room and a great live room all at affordable rates. Complete record/mix/master/CD duplication packages available with our experienced producer/engineers. email: info@benchmarkmastering. com Ph: (02) 9211 3017 www. level7studios.com.au iFlogID: 6215
SONG PRODUCTION FOR WRITERS Are your songs failing to impress publishers and labels due to poor production? Have radio quality production done on your songs. Mixed and mastered, ready to pitch to artists, labels and publishers. check out audio samples at www. myspace.com/nathaneshman ONLY $349 per song. Call: 0403 498 103 Email: email@example.com iFlogID: 6524
STUDIO SPACE FOR LEASE Studio space for lease in Kogarah. Aprox 20 square meters adjoining rehearsal room. Looking for proffesional engineer/producer with own equipment to run a business out of our new rehearsal/recording studio. Please send expressions of interest to firstname.lastname@example.org iFlogID: 6356
THE LAB STUDIOS We are experienced risk takers that not only know the rules, but also know when and how to break them! We have been engineering and mixing for over 15 years and have worked in Sydney’s top studios. We also have our own Mixing/ Production studio called The LAB, located at the famous Level 7 studios which is decorated in some of the most appreciated vintage and modern gear in combination of a myriad of assorted software and plug-ins that provides our clients an incomparable advantage in the sense of both the analogue and digital domains. THIS IN COMBINATION WITH MANY STUDIO CONTACTS AROUND TOWN, YOUR PROJECT WILL SOUND GREAT AND PROFESSIONAL WHILST WORKING WITHIN A BUDGET!! For a full list
of our credits see myspace.com/ mixinthelab. Contact us on 0424 462 945 or Email at thelab1@ hotmail.com iFlogID: 6285
REHEARSAL ROOMS PRIVATE REHEARSAL STUDIO AVAIL Your own private rehearsal room inside CBD recording facility. Hours of access: 7pm - 12pm Mon - Fri 7pm - 3am Weekends - Equipment can be left set up in the room, giving you free storage and time saved on setups. - wall length mirrors - Great for bands leading up to recordings or major tours. - Can be shared between 2 bands quite comfortably. - Security building - Shared bathroom & tea room facilities - walking distance from Central Station (approx 100m) - City views, great vibe - Great recorded rehearsal & demo rates for rehearsal bands at the brain. $450/week min 4 weeks or $400/ week 3 month commitment (works out @ less than $65/rehearsal and includes storage) This space would also comfortably fit 4 workstations with room to spare, so we would consider applications for creative/ music related office use. contact: 0431337488 iFlogID: 6367
REPAIRS GUITAR & AUDIO ELEC REPAIRS Well known guitar & audio electronics repairer, Have done work for alot of the big names in the industry. Professional work, Great rates, Quick turnaround. Guitar Bass Amps FX Studio & Live Sound Equipment. Call Luke on 0450 998 861 or Email: antmusic76@ hotmail.com iFlogID: 6209
ROCKIN’ REPAIRS GUITAR TECH Do you live to play? Whether you’ve just bought a new guitar or an old favourite is feeling a little faded, we’ll bring the best out of it! Rockin’ Repairs is based in Point Piper in Sydney, Australia and offers restrings, setups, upgrades and repairs for all guitars and basses; no matter what you play or how you play it, we’ve got the tools and techniques to breathe life back into even the most mistreated guitar. We treat every instrument individually; time, care and love is taken with each job to get the best from your guitar. We work hard to give you the feel and the sound you want. 0405 253 417 tara@ rockinrepairs.com www.rockinrepairs.com iFlogID: 5992
TUITION 1ON1 DMT offers one on one tailor made lessons and courses in all areas of audio engineering, dance music production, DJing and live performance. Your tutor is a working lecturer and a passionate active electronic music artist. Call - 0439713934 iFlogID: 6861
ABLETON CERTIFIED TRAINER Ableton certified trainer and author of Ableton video training for Groove 3 (USA) Craig McCullough is available locally in SE Qld for private Ableton and music technology training. Mobile: 0431 556 746 email: abletontrainer@optusnet. com.au iFlogID: 4154
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3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...
Published on Aug 17, 2010
3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...