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CREDITS PUBLISHER Street Press Australia 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, 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, 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

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 NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Sarah Blaby QLD – Adam Reilly, Melissa Tickle ART DEPT artwork@3dworld. Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno

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SUSHI SNAPS GETANIGHTLIFE.COM 1 Black & White @ Family 2 Frat Club @ Regatta Hotel

5 Saturday @ Electric Playground

3 Saturday @ Birdee Num Num

6 Saturday @ Monaery

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7 Saturday @ Zuri



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Brisbane’s CityCycle launched its bike hire scheme and, unlike our lesser cousins in Melbz, our council has remembered to supply helmets (even though down south it’s still illegal to ride without them – d’oh!).


For those of us who love snooping through other peoples’ houses (yes, we go through bathroom cabinets!), the Unlock Your City caper on Saturday was bliss. They even opened a Masonic temple – we found no sign of goats.


So Saints supporters are putting a positive spin on Saturday’s loss – they like to point out that it took the Pies two weeks to beat them.


Hello, Victoria! Lionel Richie? Can we expect Celine Dion next year?.


Another local awards night was drowned out by audience chit chat despite the ceremony going by faster than a gram of gak. However, Midnight Juggs won best Dance and Urthboy best Urban. Highlight was the M-Phases All-Star number (featuring Illy, Muph, Candice Monique and more).

“I’M SORRY... IT’S AMANDA...” Oops!

IN THE GRAND scheme of highly anticipated soundtracks, the TRON: Legacy set from Daft Punk is right up there – not to mention the fi lm it’s supporting. The soundtrack is out Friday 26 November through Universal, but the website is up now. If you head to tronsoundtrack. com, click in the black border of the screen and type the word “derezzed” you never know what you might hear… SPEAKING OF THE French robots, we can only imagine what they concocted when they teamed up with N*E*R*D to produce a song for the group’s eagerly anticipated fourth st udio album Nothing. Fortunately we won’t have to wonder for much longer – Hypnotize U drops 15 October, with the album to follow 5 November... A RECENT SURVEY by PRS For Music has found that certain songs are more likely to get the male waterworks happening. Everybody Hurts by American group REM is the song most likely to make men cry, closely followed by Eric Clapton’s Tears In Heaven and Hallelujah by Leonard Cohen. At 3D World we’re more likely to tear up at inappropriate Daft Punk bootlegs ourselves... CANADIAN NEW WAVE rockers Metric are giving aspiring beat wizards the opportunity to win $1000 for the best remix of their song Gimme Sympathy if they “sculpt this mix with a wild spirit, and don’t be afraid to be bold and take chances”. Head to www.indabamusic. com before entries close 18 November....



The already enormous Peats Ridge Fest ival line-up has just been given a boost with the addition of the legendary Itch-E & Scratch-E, Hungry Kids Of Hungary, Ganga Giri, OKA, Jinja Safari, Deep Sea Arcade, Fire! Santa Rosa, Fire!, Guineafowl, Laneous & The Family Yah, Chocolate Strings, Flatwound, Monkfly, Arkest ra, Leigh Woods, The Cairos and many, many more. The well loved Dubshack will also make a return with performances from Big Bud, Shamik, Westernsynthetics, Dizz1, Mark Walton, Vict im, Foreigndub, Sofie Loizou and again, many more. A greatly expanded arts program and redesigned, sustainable toilet and shower systems ought to make the 29 December – 1 January event a visually and physically pleasant experience also. Further info and ticket sales through peatsridgefest SLEIGH BELLS


Sleigh Bells’ debut album Treats – which featured singles Tell ‘Em and Rill Rill – has undoubtedly earned them a spot near the top of many a music lover’s 2010 highlights and their appearances at Field Day (Sydney), Falls Fest ival (Lorne) and Sunset Sounds (Brisbane) fest ivals should likely generate more hype than a LiLo spill. The Brooklyn duo are commonly held to be best heard live, as Derek Miller’s synth-heavy beats and pounding riffs clash with Alexis Krauss’ melodic chants for a truly explosive auditory experience. Side shows at Prince Bandroom (Melbourne) on Friday 7 January and The Forum (Sydney) on Saturday 8 January will keep the fest ival averse among us satisfied and the support acts - Vampire Weekend’s Chris Baio, Seekae and the Purple Sneakers DJs – should have even the pickiest concert goer in hysterics. Tickets on sale through Ticketek from Friday 15 October. QUA


Genre blending German elect ronica pioneers Mouse On Mars will soon be hitting our shores and though a welcome proposition on their own, they’ll now be accompanied by some similarly challenging but enrapturing local acts on each leg of their October Antipodean tour. They kick off on Wednesday 27 at The Zoo (Brisbane) with Qua, B6 and Anonymeye before heading to Oxford Art Factory (Sydney) Saturday 30 with Seekae and Qua, while supports come from Qua and Clue To Kalo in their last Eastern Seaboard gig at The Corner (Melbourne) Sunday 31. Tickets available from Oztix or Moshtix for selected gigs. Though relatively quiet in the st udio of late, Mouse On Mars’ label Sonig boasts a wealth of new and quirky tunes to appreciate. You can check it out at





PARKLANDS GOLD COAST SATURDAY 19 FEBRUARY For tickets and all details go to 18+ only. Valid I.D. must be shown to gain entry. Public Transport to and from the event is highly recommended.





GENERAL OUTLOOK As a group, let’s all just try and get along for God’s sake. Stop act ing like such a bunch of arseholes. AQUARIUS (20 JAN TO 18 FEB) As your elect ricity bills skyrocket, you might consider living by st robe light. Th is will halve your costs. PISCES (19 FEB TO 20 MAR) There will be some interest in you for the lead in Jersey Boys, until opening night jitters result in a death. ARIES (21 MAR TO 20 APR) It’s not my fault none of your ‘predict ions’ ever come true. What am I some kind of myst ic? No. TAURUS (21 APR TO 20 MAY) Try being nicer to people. You don’t always need to correct people’s grammar and tell them their breath st inks. GEMINI (21 MAY TO 20 JUN) No one understands your hopeless attempts at ‘st reet art’. You are no Banksy, that’s for goddamn sure. CANCER (21 JUN TO 21 JUL) Amid rumours of an affair with a plush toy, you will find it difficult to get any real work done this week. LEO (22 JUL TO 21 AUG) A fall down a long fl ight of stairs will give you the perspect ive you need to finish every level of Angry Birds. VIRGO (22 AUG TO 21 SEP) You need to remain calm and avoid st ressful situations, such as your own wedding, or a cattle auct ion. LIBRA (22 SEP TO 22 OCT) A homophobic slur will lead to a small brawl which will escalate in to a full scale choreographed st reet fight. SCORPIO (23 OCT TO 21 NOV) Your inability to maintain an erect ion will give you the edge in an important job interview this week. SAGITTARIUS (22 NOV TO 20 DEC) A steroid related accident will leave a dozen people in hospital with second degree burns and you charged with arson. CAPRICORN (21 DEC TO 19 JAN) Has anyone ever told you your breath smells exact ly like the breath of actor Jeff Bridges? It’s uncanny.

LOCAL HIP HOP artist Urthboy is giving his latest single Your Thing to youth mental health awareness group Reach Out, who will use the song to encourage young people to contribute to the making of a video clip about things they are passionate about. Entries close 18 October – for details see BARELY A WEEK goes by without Lady Gaga pulling some ridiculous publicity st unt. If the meat dress was not foul enough, the attention loving pop singer was recently snapped out in public wearing a cape made entirely of human hair – the similarities to Chewbacca were uncanny... IF YOU THINK the contestants of The Block have no fucking idea, you may have a chance to outshine them soon. The team behind MasterChef Australia are seeking contestants for a new show called The Renovators, in which you’ll have six months to make over some of Australia’s most rundown homes. www.therenovators. if you’re that way inclined... THEY’VE BEEN SMASHING up the Juno charts of late, and Melbourne imprint Lightspeed Recordings return with their next release – Running Man/Traveller from 7he Myriads of St Petersburg, Russia. If disco is your thing, this package featuring remixes from Oliver DAC and Permanent Vacation signing Moonoton is waiting up your favourite alley…


With a 2010 Greater Sydney Tourism Award now under the belt, Playground Weekender returns to Del Rio Riverside Resort north of Sydney for another helping in 2011 with a bigger and even more bad-arse 3D World KOOL AND THE GANG co-presented line-up of international and local acts. The epic fi rst trumpet call announces the near arrival of disco/soul/funk legends Kool & The Gang, crowd-favourites De La Soul, Kate Nash, Four Tet, Wailers, Roy Ayers, The Middle East, Tunng, Toro Y Moi, King Tide, Norman Jay MBE, LTJ Bukem, Rosca and Strange Talk. Big the fi rst announcement may be, but it will likely pale in comparison to the allegedly soon to be announced “headline acts”. Tickets for the Thursday 17 – Sunday 20 February boutique camping and music fest ival will be available from 9am Monday 11 October and start at $199 + bf for three days or $219 + bf for four. More info and ticket purchases at, but could be worth booking that annual leave now! INTERPOL


As the headline act at Falls Fest ival (Lorne) and Sunset Sounds (Brisbane), Interpol sideshows were always going to be in high demand. Thankfully fans have a Tuesday 4 January show at the Enmore Theatre (Sydney) and another on Friday 7 January at the Palace Theatre (Melbourne) meaning Queenslanders might want to start booking fl ights now. Interpol’s self-titled, independently released fourth album sees the band returning to its roots, with a little help from from David Pajo (bass) and Brendon Curtis (keys) has more than made up for the shortfall on stage at the very least. Tickets on sale Thursday 7 October. THE MELODICS


Five piece Melbourne indie elect ro rock sound clash group The Melodics are hitting the road in support of forthcoming EP release Paint Me Gold, and touring in conjunct ion with four piece theatrical rock group [ME] – also soon to release their single Naked. Both will be purportedly packing enough synths, guitars and drums to kill several pack animals as they gig throughout November at venues including Melt Bar (Sydney) Thursday 11, Ivanhoe Hotel (Sydney) Friday 12, Great Northern Hotel (Byron Bay) Thursday 25, X&Y Bar (Brisbane) Saturday 27 and The Bended Elbow (Geelong) Thursday 9 December. Hit and for more info. ARMITAGE SHANKS


Since 2002, Chaz Royal has ceaselessly broadened the reach of burlesque entertainers with a host of fest ivals and small events dedicated to the under-appreciated, but increasingly popular art. The Aust ralia bound Chaz Royal’s Big Top Burlesque Follies! enlists ringmaster Armitage Shanks to present the ever lovely vaudevillian temptresses Queen Beeby Rose, Magenta Diamond, Lola The Vamp, Lilikoi Kaos, La Viola Vixen, Fez, Sarina del Fuego, Dolores Daquiri, One Trick Pony, Mark Winmill, Vesper White, Willow J, Strawberry Siren, Kelly Ann Doll, Imogen Kelly and more. It hits The Thornbury Theatre (Melbourne) Friday 15 October, Red Room (Sydney) Saturday 16 October and The Globe Theatre (Brisbane) Sunday 17 October.





CALENDAR OCTOBER OPEN FRAME FESTIVAL: SUN ARAW, OREN AMBARCHI AND MORE – Wednesday 6, Powerhouse POCKET MUSIC: BIT SHIFTER, NULLSLEEP, HUNZ, DOT.AY – Thursday 7, Mana Bar TRI-LAMBDA: THE SHAKE UP, BOSS MOXI, BLEEDING KNEES CLUB DJ SET – Thursday 7, Alhambra PETE MAYES – Friday 8, Platinum UP LATE: KID KENOBI – Friday 8, Gallery Of Modern Art HYBRID – Friday 8, Barsoma MONSTER MASH – LET THERE BE LAPTOPS: JASON FORREST, YOBKISS, MONSTER ZOKU ONSOMB AND MORE – Friday 8, Step Inn GOODWILL – Saturday 9, Platinum JASON MORLEY, AYDOS, ZACH SALAR, DARREN SKAAR – Saturday 9, Alhambra BRISBANE SOUNDS HIP HOP SHOWCASE: THE OPTIMEN, RAINMAN, VEGAS ACES – Saturday 9, The Hi-Fi MARC MARZENIT – Sunday 10, The Sky Room PRAXIS & DUBTHUGZ: DOCTOR P – Sunday 10, Electric Playground TRI-LAMBDA: DIE! DIE! DIE! – Thursday 14, Alhambra PHATCHANCE, COPTIC SOLDIER – Thursday 14, The Brewery Hotel UP LATE: DIGITAL PRIMATE – Friday15, Gallery Of Modern Art SAM LA MORE – Friday 15, Platinum GREGOR TRESHER – Friday 15, Luna Loca PHATCHANCE, COPTIC SOLDIER – Friday 15, Beetle Bar ANDY MURPHY, FEENIXPAWL – Saturday 16, Platinum BRAT PACK: ONE MAN ARMY – Saturday 16, Great Northern Hotel SAGE FRANCIS, B DOLAN – Saturday 16, Step Inn GREGOR TRESHER – Saturday 16, Barsoma TIMO MAAS – Sunday 17, Barsoma CONCRETE BLONDE – Tuesday 19, The Hi-Fi THE RED EYES – Wednesday 20, Club Envy WHITE RHINO: SURGEON – Thursday 21, Step Inn TRI-LAMBDA: PAPER SCISSORS, TOY BALLOON – Thursday 21, Alhambra UP LATE: B6 – Friday 22, Gallery Of Modern Art MOBIN MASTER, TENZIN – Friday 22, Platinum MOBIN MASTER

IF TRACK TITLES can be used as a judge of a track’s quality, the second release from new Melbourne imprint Text Book Music should be an absolute belter. Paul Beynon’s Psychedelic Beach Doof will suit those into hypnotic tribal vibes, while he teams up with production partner and label chief Darius Bassiray for a smashing Balls Deep Remix and Atlantan Rob Dowell gets a good roll going on his take... FANS OF 1980S act ion fi lm soundtracks – and we know there are a lot of you – should head to the Mad Decent blog, where DJA & Dirty South Joe (aka Blood Bros) have put together a DJ mix featuring just that. First Blood takes in anthems from Transformers: The Movie, Kickboxer and the Rocky fi lms, and our own John Farnham even features… LIFELONG FANATICS OF Star Wars are celebrating/cursing news that George Lucas has given his blessing for a re-release of all six fi lms in 3D. Star Wars: Episode I – The Phantom Menace will be the first to hit screens in February 2012. If you make it through that again, the other parts of the saga will emerge at the same time each year. A great way to ensure the legacy lives on and geeks continue to line Lucas’ pockets… THE VIDEO FOR Duck Sauce’s chart smasher Barbra Streisand is up at and features more cameos than you can poke a chopst ick at – DJ Premier, DJ Mehdi, Diplo, Santigold and more are among them...



Auditree have already brought their fair share of brilliant international DJs to Barsoma but are continuing the trend with the latest instalment of Nonsense. On Saturday 23 October the promoters take over the venue for a Full Moon Party featuring UK house personality Mike Monday, local electronica duo The Frollix, Robohan, Christopher Brooks, Patrick Stewart and a secret international guest. Ticketing yet to be confirmed.


DJ Spinderella from Grammy award winning female hip hop trio Salt-N-Pepa is heading back to Aust ralia for a national tour that hits Cloudland on Sunday 24 October. The celebrated artist will be supported by Danny Cool, Slynk, Aniki, Van Miert, Rola D, Gavin Boyd and Ben Reeve. Just to make double sure you get your groove on good and proper, Cloudland has a casual dress code on the day – and better st ill it’s free!


Coffs Harbour’s Open Arms Fest ival now sports a greatly expanded line-up with the announcement of the Enchanted Woods Stage. The Living End, Birds Of Tokyo, Grafton Primary, Hungry Kids of Hungary, Horrorshow, Behind Crimson Eyes, City Riots and Metals will now be joined by Skyrptcha, Cabins, Bonjah, Barons Of Tang, Ebb N Flo, Motion Poets Art, Thad Lester, The Moniters and Twisted Funk. Tickets and more info at openarmsfest ival. com.



Soulwax drummer One Man Army sits somewhere in the shadow of his band mates, the 2manydjs. Well gather one, gather all – he’s stepping up to the plate at the Great Northern Hotel on Saturday 16 October for the next instalment of Brat Pack. Supports come from Minist ry Of Sound jock Sam La More, Rushton, Easy P, And Oh! and Red Mayne. Tickets will set you back $14.30 through Oztix – whether you come in cost ume is up to you!

The Brisbane Hip Hop Showcase at The Hi-Fi on Saturday 9 October already sported a wide array of local beat merchants with The Optimen, Rainman, Calski, Yuin Huzami and Vegas Aces on the bill, but now sports up-andcomers BroadKast, DEADLY hip hop award nominees Impossible Odds and The Winnie Coopers to boot. All that talent will set you back a measly $15 on the door.


The free event goodness keeps on coming at Barsoma with the latest from Let’s Get Minimal. The much vaunted Gregor Tresher brings the sounds of modern German techno to Brisbane for a one night only affair in advance of what is set to be a massive release schedule that includes fresh sounds on labels such as Drumcode, Ovum and his own Break New Soil. Saturday 16 October, supported by Animated, Beni Hooks and Emmy Lou.

The parting of Jurassic 5 was cause for mourning amongst hip hop fans and yet, as is often the case, out of something bad has come good. J5 MC Akil has jumped back into the spotlight with his fi rst solo album Sound Check, a rounded yet high spirited outing which sees the artist in typically fine form. He performs at X & Y Bar on Sunday 14 November with support from singer-songwriter Louis Logic. Tickets available now via Oztix for $22.50 + bf.








DISCO DISCO: HOSTAGE – Friday 22, Monastery THE RED EYES – Friday 22, The Brewery (Byron Bay) VINYL SLINGERS – Friday 22, Alhambra 600 SOUNDS: THE POTBELLEEZ, SNEAKY SOUND SYSTEM, IAN CAREY AND MORE – Friday 22-Sunday 24, Broadwater Parklands THE RED EYES – Saturday 23, Step Inn BABYLON SOUNDSYSTEM, DRUMSOUND, BASSLINE SMITH – Saturday 23, Step Inn NONSENSE: MIKE MONDAY,THE FROLLIX, ROBOHAN, CHRISTOPHER BROOKS, PATRICK STEWART – Saturday 23, Barsoma VANDALISM, TIMMY TRUMPET – Saturday 23, Platinum DJ SPINDERELLA – Saturday 23, Cloudland MOUSE ON MARS – Wednesday 27, The Zoo TRI LAMBDA: STATURE:STATUE, FARE EVADER, BIRDS OF PREY – Thursday 28, Alhambra BAG RAIDERS – Thursday 28, The Hi-Fi BAG RAIDERS – Thursday 28, Great Northern Hotel BAG RAIDERS– Friday 29, The Hi-Fi UP LATE: DEXTER – Friday 29, Gallery Of Modern Art LOUIS LA ROCHE – Friday 29, Family ANGGER DIMAS – Friday 29, Platinum SUPERPITCHER – Friday 29, Barsoma HELLEMENTS: SPEKTRE, PHIL K – Saturday 30, Barsoma BAG RAIDERS– Saturday 30, Coolangatta Hotel RORY PHILLIPS – Saturday 30, Alhambra D. RAMIREZ, CHARDY – Saturday 30, Platinum ISLAND VIBE FESTIVAL: LADI6, GROUNDATION, OPIUO, PAULA FUGA AND MORE – Friday 29-Sunday 31, North Stradbroke Island NOVEMBER PENDULUM – Wednesday 3, The Tivoli PENDULUM – Thursday 4, The Tivoli BINGO PLAYERS – Thursday 4, Electric Playgroun UP LATE: RIO LOBOTOMY – Friday 5, Gallery Of Modern Art YACHT CLUB DJS – Friday 5, The Zoo CROP HOUSE & PRAXIS: PIER BUCCI – Friday 5, 12 Lounge Bar KID KENOBI, MC SHURESHOCK – Saturday 6, Family MAGGOT MOUF – Saturday 6, Step Inn GRAMOPHONEDZIE – Saturday 6, Alhambra

SO HOT RIGHT now producer Tensnake continues his golden run by taking the scissors to Scissor Sisters’ Any Which Way. The original has been getting mixed react ions at 3D HQ , but the remix has all the quirky 80s disco touches you’d expect from the Hamburg producer. And you can peep it for free at the RCRD LBL blog... CALVIN HARRIS IS said to have choked on his caviar after hearing US pop singer Chris Brown’s new single Yeah 3x. The UK producer let loose via Twitter, claiming the song plagiarised his 2009 hit I’m Not Alone. Harris has earned the wrath of Brown’s fan base, but has st uck to his guns. “Chris Brown fans: I don’t care that you call me a ‘nobody’: stealing is st ill stealing, doesn’t matter who you are!” You tell em Harro... YEP, IT’S ANOTHER Daft Punk reference, but we know the kids love ‘em. And so do British breakbeat act NAPT – they’ve given the Frenchies’ Too Long the bootleg treatment, and you can grab it from now… A NEW LINE of life like Just in Bieber dolls will be out in time for Christmas this year. The doll will showcase the Biebs dressed in a range of looks including “st reet st yle”, “awards st yle” and “red carpet st yle”. And if that is not enough the doll also “sings” his hit songs One Time and Somebody To Love. We’ve already got the Christmas decorations up in anticipation, December will be totes awesome...



The brutally enormous Island Vibe 2010 line-up is expanded with the third and final announcement from promoters that adds Olmecha Supreme Sound System, Archie Roach, The Versionaries, Spankinhyde, Kelly Gang vs Coalition Crew, Yindi Band, Ida, Flowkab Deuce, One Time, Bird Fire All Stars, Nuff Ska ‘n’ Rocksteady, Billy Dread, Sistas Moocha and Afreeka Earth Dance to the event. Stradbroke Island performers Clara D and The Broad Band, Midjimberry Road featuring John Malcolm, Pippi Lips, Straddie Songwriters Collect ive, Straddie Island Singers and Quandamooka also join the ruckus. Tickets and full info at


The Remix brings thirty-five hip hop dance crews and around seven-hundred participants from schools across the Greater Brisbane region to the Riverstage for an epic head to head battle on Saturday 23 October from 6pm. Proudly presented by Brisbane City Council in association with Fresh Elements, The Remix also features Nate “Nacho Pop” Mendelsohn as MC and special guest performances by Rock Steady Crew’s Mr Wiggles and worldfamous choreographers Buddha Stretch and Robert Rich. Free entry.


Do names such as Transformers, Metropolis, The Beat, Tracks, Rosies, or City Rowers ring a bell? If you’re one of many night owls likely to st ill have a Friday’s key ring, souvenir shot glass or bar uniform hanging around, now is the time to share the love and contribute to Brisbane nightclubbing

retrospect ive Clubbed Out. With an end goal to curate a major social history exhibition in 2013 and a published book, Pauline Bell’s Clubbed Out will bring together both cherished and laughable memories. More info on how to get involved at


Proper gamers ought to be well familiar with the words “it’s time to kick ass and chew bubblegum”, and indeed, it’s that time again… though it’s been an epically long wait! That’s right, Duke Nukem Forever is only a short way off thanks to developers Gearbox Software, the President of which will be paying Mana Bar a visit on Saturday 16 October with a countrywide exclusive playable version for public access. It’s a one night only deal so don’t miss out!


Elect ro collect ive Bombs Away – comprised of Thomas

Hart, Sketchism and Jackness – have recently signed with James Todman’s Gold Coast based Midnite Music, bringing the fi lthy wobble of Big Booty Bitches to the public in the process. Already featured on Central Station’s Elect ro Clubland, Skitzmix 36, Pump It Up Vol 2 and Wild Summer 2011 compilations, the track is quickly growing into a certifiable hit. Check out more at letmeseeyourswagger. com.


Canadian pop maest ro Owen Pallett is headed Aust ralia side for a whirlwind 2011 tour in support of his recent orchest ral pop album Heartland. The conceptual narrative piece invites the listener into a whole new fict itious landscape replete with intense atmosphere and skillfully const ructed arrangements. Heplayst he Old Museum Studio on Tuesday 25 January; tix and info through





ONCE THE DOMINANT FORM OF ELECTRONIC DANCE N MID1999 THE BRITISH DANCE MAGAZINE MIXMAG LISTED ITS TEN BEST COMPILATIONS OF ALL TIME. Most were MUSIC EXPRESSION, THE DJ MIX DJ mix CDs. At the top was 1994’s Renaissance: The Mix Collection by Sasha COMPILATION IS NOW TEETERING and John Digweed. That feted compilation (see ICON story on page 24) assured, not ON THE EDGE OF THE ENDANGERED only the duo’s international celebrity, and Renaissance’s status as a superclub, but also progressive house’s domination of dance music. SPECIES LIST. CYCLONE TALKS TO SOME OF AUSTRALIA AND THE Renaissance introduced the mix CD concept to dance fans – and demonst rated the WORLD’S HEAVYWEIGHT LABELS ON potential for what would grow into a huge global market. It likewise enabled Geoff Oakes to develop a brand, Renaissance’s mix CDs tying in with events world-wide. THE FACTORS CAUSING A SLOWRenaissance eventually became a partner in Sasha’s Emfire and released Digweed’s DOWN IN COMPILATION SALES, Transitions series. And it inspired other mix CDs – including the similarly ‘prog’ Global Underground. AND HOW THEY PLAN TO KEEP THE MIX CD RELEVANT IN Now, 15 years after that inaugural volume, Renaissance has gone into administ ration. Renaissance’s fate is intertwined with that of the wider dance culture. The economic downturn THE DIGITAL AGE.


has coincided with profound technological changes that are reshaping the music indust ry. Is the mix CD doomed like the CD single before it? Labels are dealing with a saturated compilation market, rampant illegal downloading, the proliferation of podcasts, and even covermount CDs on mags like Mixmag. However, dance labels, here and abroad, maintain that the mix CD is st ill viable for them – and a means of breaking music. Just don’t ask for figures. Minist ry Of Sound Aust ralia, though selling music via its own Webstore (and iTunes), enjoyed 2009’s biggest dance comp in Sessions Six, according to ARIA. “If anything, physical compilation sales are holding up better than sales of ‘artist ’ albums – in the dance music, or elect ronic genre, anyway,” says Chris Fraser from Onelove Recordings. Onelove’s Smash Your Stereo 2010 encompasses a mix from the white-hot Yolanda Be Cool. Sydney DJ Nino Brown has established a homegrown R&B mix CD brand – an achievement in itself considering that the urban demographic is fi xated on US product. But 2009 Blazin’ was Aust ralia’s top-selling R&B collect ion of that year. “Mix CDs are a great way to push new and local music and show it can fit in with the best that the world has,” Brown says. “I always try to include some great Aust ralian R&B and hip hop in the Blazin’ tracklists.” The New Millennium Eve was disast rous for the dance biz – that is, apart from Aust ralia’s. British promoters lost significant money. The hyper-commercial dance scene of the late ‘90s imploded. Th rough the noughties, dance regenerated itself – but it was a watershed decade. Old – and complacent – players were supplanted by the new, hungry and/or rebellious. In 1999, Fabric nightclub opened in London and was soon issuing cutting-edge mix CDs monthly, its music policy eclect ic and selectors ultra-cool (John Peel!). It’d be simplist ic to attribute Renaissance’s woes solely to declining music sales – and the ‘net. (The company was burnt in 2008 when, just two days prior, its Wild In The Country fest ival was cancelled.) Nevertheless, Renaissance’s mix CDs have long lost their sheen. It st uck to prog even as the genre stagnated – despite recruiting fresh stalwarts like James Zabiela. The tenth anniversary edition of Sasha & Digweed’s legendary mix was not a remaster but a “recreation” – and less magical. Read internet forums about Renaissance’s insolvency and many express disillusionment in the brand. It st ruggled to evolve – or reinvent itself. By time Renaissance diversified, reaching out to a M.A.N.D.Y., it was too late.



Zabiela gave away copies of a recent Renaissance mix CD on tour. Hercules And Love Affair’s Sidetracked floundered in Aust ralia. Renaissance’s last mix CD, a second Sidetracked, this time from La Roux, didn’t act ually materialise here, the local distributor Stomp reportedly shedding Renaissance. As it happens, Stomp is one of two Australian music distributors to hit the wall lately, the other being Shock. Both now have new owners. In 2008 Central Station, with a greater stake in mix CDs, re-emerged from the collapse of its parent Dest ra – the dance indie’s management took over. Stomp’s Tom Pandzic devised Balance, the Aussie mix CD series that undermined Renaissance’s cred by approaching prog’s more inventive DJs such as James Holden. Having quit as Stomp’s General Manager, Pandzic has launched his own Balance Music. He’ll continue to market the series – first up, an instalment from Timo Maas – while looking after Fabric plus Global Underground, with EMI distributing.


Gallery of Victoria for loungey Pandzic is realist ic about shifting consumer patterns. “I’m not compilations – or what Marketing Manager sure if the mix compilation is on the brink of extinct ion, but it may Brendan Williams calls “tastemaker vehicles”. be eligible for the endangered species list over the next five to ten years,” he says laconically. “Due to changes in the way music is being DJ Donni 1, the entertainment director at Ku consumed, it was always inevitable that there was going to be an impact De Ta, has mixed another CD for the famed Bali on sales with the physical format. But I st ill believe that fans of artists restaurant-cum-nightclub, its packaging worthy of a and DJs hold some value and a level of respect for the amount of work coffee table book – “a labour of love,” says Williams. The that goes into compiling a mix-compilation and ultimately st ill want invest ment should pay off – Ku De Ta 4: Sunset Soundtracks a tangible asset to collect. Podcasts and live DJ sets are definitely a lot is, like Jose Padilla’s Café Del Mar, the kind of set that sells more accessible in the current age – which is great – but the quality of over an extended period, the line already surpassing Hôtel a mix compilation, and the level of detail spent producing them, will Costes. Onelove have adopted cross-promotional st rategies always hold more value over the other mediums.” – those buying the latest Smash Your Stereo can win a VIP Fabric’s club briefly went into administ ration mid-year – it was liable experience at Stereosonic. “So far the response has been great – for debts accumulated by its sister venue, Matter – but its future is now and it has definitely been reflected in sales,” Fraser says. !K7 go for apparently secure, as with its critically-acclaimed comps. “The mixed CD similar, if more subtle, buyer incentives, Sharp reveals. “We like to is st ill very important to us,” says Geoff Muncey, head of Fabric Records. give something extra – like a download card or additional CD for “It provides a musical snapshot of what you could expect to hear at our the unmixed tracks, as well as a CD booklet.” Vicious Recordings are nightclub – for those not able to visit us themselves.” embracing opportunities afforded by the internet – and not just for promotion. The Aust ralian dance label offers exclusive online mixes The mix CD format remains influential. Some 15 years on, !K7’s through beatport and iTunes in addition to its annual “boutique” DJ-Kicks is st ill relevant, the next volume from German IDM type Vicious Cuts CDs. Apparat. To this day, Kruder & Dorfmeister’s ‘90s DJ-Kicks is imitated. Orientated more to ‘home listening’ than dancing, the series has And there’s hope yet for a ‘new’ Renaissance. Its rival Global musical fluidity. Not all its mixers are ‘DJs’ – but they are identities, Underground returned after entering voluntary administ ration often innovators. Berlin’s John Sharp, who handles !K7’s international in the early 2000s – and yielded Sasha’s Involver. marketing, feels that consumers trust compilations to expose them to fresh music – and trends. “The vast availability of music means it’s becoming too laborious to create custom playlists, therefore they’re handing the power back to the DJ as curator, to show one possible path through the sea of music,” he suggests. Some DJs are reinventing the mix CD. Canadian techno futurist Richie Hawtin crafted 2001’s DE9: Closer To The Edit with the then controversial Final Scratch. Sasha, too, harnessed new software for his edit-heavy Involver, blurring the dist inct ion between the mix CD and ‘artist’ album. Girl Talk’s albums belong to another category again, the American “sampling” songs, as opposed to mashing them up – and relying on the ‘fair use’ clause to circumvent legal dramas. Pandzic, however, is cautious about radicalism for the sake of it. “DJs like Richie Hawtin and Sasha have had a huge influence on technology trends and advancements within the DJ community, but I don’t think this always translates to the majority of consumers who purchase mix compilations... The quality of music and programming are the most important elements of a mix.” Yet others, like Fabric, are committed to HE GLOBALISATION OF DANCE MUSIC HAS presenting a quality physical product. Their CREATED MORE OPPORTUNITIES FOR DJS TO TOUR, CDs are “collectable”, says Muncey, but it’s had a downside. There’s greater scope for internet piracy. coming in tins with unique artwork. Melbourne’s Level Two Music The dance community remains divided on illegal fi lesharing. Some DJ/producers see has a history of unleashing it as democratising music. Others have fatalist ically decided to use the situation to their original concepts, once advantage, allowing tracks to be freely circulated so as to promote their careers. Indeed, blogs teaming with the are now an important media outlet. But, to date, even in dance music, the concern has been National about the uncontrolled dissemination of tracks, not mixes. Last summer The Shapeshifters’ Simon Marlin was unfazed at the prospect of their Summadayze mix CD being uploaded – the fi le was too huge. “I think downloading [mixes] is a bigger nightmare at the moment than act ually going and buying one,” he chuckled. Nevertheless, SoundCloud accepts big fi les, and it’s easy to access countless cool podcasts, so why buy a mix CD? The rise of Napster at the end of the ‘90s caught the majors by surprise. Yet iTunes launched in 2003 and is today the world’s leading digital music retailer. An independent elect ronic counterpart, Beatport, based in Denver, followed the next year, its founders encouraging DJ “ambassadors” like Richie Hawtin. Melbourne’s Vicious Recordings works with both sites on mix projects. In fact, five years ago Vicious provided iTunes Aust ralia with its very fi rst dance mix – and the fi rst in the ongoing Vicious iCuts series. Vicious is also marketing exclusive mixes globally via Beatport, the flagship – Vicious Cuts Beatport, mixed by Vandalism – drawing on the label’s own catalogue to avoid any territorial licensing complications. “Beatport profi led it heavily on their homepage, and in all their e-flyers, giving Vicious a massive boost of credibility internationally, with DJs from all over the world sending us props,” says label manager Lorne Padman. “Many individual tracks started to float to the top of the Beatport charts on their own merits, helping that artist, but also reciprocally helping the visibility of the compilation and our brand.”


















enaissance: The Mix Collection has been called both one of the greatest dance albums of all time, and the greatest DJ mix of all time. These are more than substantial plaudits, but completely deserving. Released in October 1994, the triple disc box set was one of the earliest commercially produced DJ mix CDs. The Journeys By DJ and Minist ry Of Sound Sessions series predate it slightly, but The Mix Collection is universally hailed as the breakthrough DJ mix CD. There was initial scepticism that a completely mixed CD based around a nightclub and two DJs would sell – let alone an expensive triple disc set with beautiful packaging and artwork. The burgeoning sales of DJ mixtapes on the underground in the early ‘90s pointed in a different direct ion. Renaissance, eager to present their brand as both pioneering and quality, dived in. While many factors assisted, the success of The Mix Collection rested fi rmly on a great product. The two DJs at the helm were at what some contend was their creative peak. Both were amazing in their own right, but their pairing made the world hail them as dance music’s answer to Lennon and McCartney. Renaissance, the club, started in 1992 as an idea of founder Geoff Oakes and Sasha, with the brand emphasising quality. Lavish parties were held, often in English country manors. The décor was plush and the advertising both extensive and classy. Sasha recommended John Digweed become a Renaissance resident, and the period from ‘92 until the release of The Mix Collection could easily be described as salad days for the pair. Across three discs the pair managed to capture that vibe. They displayed an eclect icism which was as much a product of their own savvy as it was a reflect ion of those times. Into the melting pot, Sasha and Digweed poured the last few years of their vast music collect ions, accumulated knowledge and dancefloor expertise. The result was not just a collect ion of good music – it was quite obviously a labour of love several years in the making in both Sasha and Digweed’s heads. The three mixes tap into the core of human experience on a dancefloor – feelings of joy, playful passages, dark moody stanzas and, like any good plot, the tension and suspense is built brilliantly until triumphant feelings are unleashed at the end. The mixing is supremely inventive and managed to elevate thinking amongst the converts and freshmen as to what a DJ mix could achieve. Not having today’s wealth of unreleased tracks and editing software available, Sasha and Digweed simply got creative with what they had. Long blends, rare tracks, clever overlays and changes of tempo, mood and st yle abound, yet the sheer awesomeness of The Mix Collection is in its flow and cohesion. Both Sasha and Digweed became famous for their “journey” st yle mixes and this is indeed the blueprint. If the word ‘epic’ is overused, it’s because the term was defined on this mix. 24 3DWORLD

The opening salvo of three different mixes of Leftfield’s Song Of Life on disc one is closely followed by Digweed’s fi rst foray into product ion (with Nick Muir as Bedrock) – For What You Dream Of. The theme from the fi lm Blade Runner has a house vocal from Inner City spliced over the top – these are a taste of the inspired choices in evidence. It is difficult to believe the mixes are 16 years old. Testament to the collect ion’s longevity is that it is both an instant time capsule and a timely reminder of music’s power to transcend the confines of its era. Geoff Oakes, interviewed in 1999, recalled fondly getting his personal, unheard, copy of The Mix Collection. He boarded a plane to Bali and played the CD for the fi rst time, sitting in a beachfront villa. He ranks it amongst the greatest experiences of his life. Needless to say, The Mix Collection brought incredible attention to a number of entities. Sasha and Digweed became superstars, booked globally on the st rength of the mix alone. Renaissance, as a club and brand, became even more synonymous with quality than its founder Geoff Oakes imagined it could be. The word “superclub” found its way into popular lexicon and became associated with the club. Renaissance became the benchmark, and they could not have asked for a better representation of their brand’s raison d’etre than this compilation.

MORE RENAISSANCE MASTERPIECES SANDER KLEINENBERG Everybody, 2003 A natural choice for the series, Sander’s fi rst Everybody mix came at a time when progressive house had grown stale and needed an element of fun injected back. Everybody did everything it set out to do – it pitted fun and funky tunes besides jacking club monsters and reminded the world how joyous clubbing could be.

JOHN DIGWEED Renaissance: The Mix Collect ion Vol 2, 1995 Diggers at the helm by himself – some argue this is every bit as good as its predecessor. It certainly showcases Digweed’s authoritative ability to build mood and emotion and then unleash hell when the need arises.

HERNÁN CATTÁNEO Renaissance: The Masters Series Vol 1, 2004 The wild-haired Argentinean was already hot property but this brought the world knocking. Hernán managed to capture a ‘classic’ Renaissance sound and make it his own across two exceptionally programmed mixes. This is truly a work of art.




etermination, boundless passion and chance encounters have seen singer Am8er make her creative dreams reality. After travelling the world for the past few years writing and recording her debut album, she has returned to Aust ralia to release the provocative new single 10 Date Commandments featuring infamous hip hop diva, Lil’ Kim. The song certainly has girl power anthem written all over it, especially since star songstress Lily Allen gave it her seal of approval via Twitter. With commandments including “Keep it simple and fun, don’t over think it/ men are genetically dumb…” and “No rooting on the first date, tell him he’s your first not the 28th”, the single’s straight-up edge is intent on pushing buttons. “I love being provocative,” Am8er explains, “I love creating react ions, getting people thinking. It’s not being provocative for the sake of it. I like getting peoples juices flowing and I love people challenging me. I love learning from other people so it works both ways.” Pushing boundaries has always been part of Am8er’s character. Brought up in an all-female household with her mother, grandmother and aunt, the singer attributes her confidence and go-getter mentality to an unconventional upbringing. “Living with all these women I was always allowed to have my say, I was never pushed aside – it was very bohemian, creative and warm. It was just free, there was no ‘you have to do this or that’.” After learning to play the piano by ear at the age of four and singing, dancing and act ing throughout her school years, Am8er set her sights on moving to New York and finding herself an agent. “When I was little New York just seemed like the most fascinating exciting place on the earth, it was where it was all happening – the energy and opportunities,” she recalls.“ I was a huge Madonna fan and she went to New York so I wanted to go. It appealed to me because it always seemed really exciting.” Travelling back and forth between New York, London and Berlin to perform anywhere and everywhere – from small venues to train stations and parties – turned out to be a challenging yet enlightening experience that influenced the singer in a number of ways “As a person it makes you st ronger and more ferocious, you have to adapt to the pace and competition. As an artist it pushes you, even when I would moan and complain about being alone in New York or London - you’re really more creative when you’re feeling a bit down. I sort of like that challenge.” Am8er’s years of hard work were rewarded by fate when a chance meeting with record producers Dallas Aust in (Madonna, P!nk, Gwen Stefani,


TLC) and Ollie J (Madonna, The Prodigy) led to them producing her album, Strawberries And Kittens in London. “Working with Olly and Dallas I’ve learnt that chemist ry and understanding is so important going into a st udio,” she reflects. “It was just one of those circumstances you can’t really explain.”

IT’S NOT BEING “ PROVOCATIVE FOR THE SAKE OF IT. I LIKE GETTING PEOPLES JUICES FLOWING AND I LOVE PEOPLE CHALLENGING ME.” Th is chemist ry was also found when Am8er collaborated with Lil’ Kim, the pair since becoming tight friends. “Working with her was phenomenal – she’s a nut job, she’s awesome. I was intimidated at fi rst but I just st yled it out, we got on so well. We speak all the time now and she’s coming out next month.” So exact ly what does Am8er hope to deliver Aust ralian audiences? “I want them to be provoked mentally, I want them to have a laugh to enjoy a really great pop song, listen to the lyrics and have fun with it and take from it what you will. I love when people listen to my music and then dictate to me what I was thinking when I wrote it. I say cool – if that’s what you think that’s awesome.” WHO: Am8er WHAT: 10 Date Commandments (Island/ Universal)



round the middle of last year, dance music lovers the world over collect ively salivated in anticipation of the rumours of two bonafide heavyweights teaming up. In the red corner was the original DJ wunderkind A-Trak (Alain Macklovitch on his driver’s license). From winning the world DMC Scratch title as a pimply faced 15-yearold, through to touring as Kanye’s resident on the wheels of steel, it was onwards and upwards to starting what has become one of the world’s most respected hipster imprints, Fool’s Gold. Still a few years shy of 30, the New York resident of Canadian heritage has been steadily building his product ion mojo to fit into his adopted house tempo’d sets. In the blue corner was the veteran house producer who needs no introduct ion to this planet’s clubbers, having been releasing chart topping house since his huge remix of Tori Amos’ Professional Widow back in ‘96. One can’t help but be impressed by a quick glance over Armand Van Helden’s catalogue – he’s one of those artists you’ve just always known of, but the sheer quantity of quality tracks he has released places him in the very upper echelon of house producers. You Don’t Know Me, Flowerz, My My My, NYC Beat, Bonkers (with Dizzee Rascal) - all Van Helden, all anthems. What Macklovitch and Van Helden also shared in common was where each of their roots began – hip hop. Van Helden though is quick to point out that such cred wasn’t a pre-requisite for he and A-Trak to get along. “The thing about A-Trak is that it wouldn’t have mattered to him if I had a hip hop background or not. He’s just cool in general.” 3D World caught up with Van Helden by phone from his home in NY, on the verge of Duck Sauce’s fi rst tour of Aust ralia. “He knows my hip hop history,” he continues of his new product ion partner, “he knows I used to make party break records and a lot of people in the hip hop community kind of know who I am –

I’m not tooting my own horn, it’s just that I made a little noise that’s why they know who I am. But not really on a mainst ream level, more like an old school, underground level. So he kind of knew my roots, but I didn’t know how much he was act ually involved in hip hop. He was more involved in hip hop than I’d been. He’s done more in hip hop than I’ve ever done, which is kinda cool.” The two met loosely through Macklovitch’s brother, Dave-One of Chromeo. At the time A-Trak was about to wrap up his time as Kanye West ’s tour DJ, handing over the reins of that gig to his good friend DJ Craze, allowing him more time to monitor his fledgling record label – as well as his own fledgling producing career. While Van Helden and Macklovitch had become friends, it wasn’t until Van Helden heard a collaboration of A-Trak’s with Dutchman Laidback Luke that his

curiosity was piqued. “He had just started that record label Fool’s Gold when I had met him. He was getting busy. He’d moved to New York and had all these things goin’ on, he was busy and was just grindin’ out. So it just happened to be around the time he did [Shake It Down] with Laidback Luke,” Van Helden shares. “You know Luke is a friend of mine as well, and I was like ‘Maybe me and you should do something?’ And we didn’t know what it was [we’d do], we would just do like one song, a collabo, ‘cause that’s what he did with Laidback Luke. That’s how it started. We didn’t have the Duck Sauce name or anything yet, we just wanted to make a song.” While Van Helden knew he wanted to get in the st udio with Macklovitch, he had no idea what genre of music they’d be attempting. Macklovitch however was dead keen to play to his product ion partner’s st rengths.

“[When] you do a collabo and you end up in the st udio together you just look at each other and you go ‘Ok what now?’. In this case I’m like ‘So what are we doing?’, and he was like [fi rmly] ‘Disco house’. And I looked at him and I was just like ‘Ok!’. I know what that is, that’s easy. For him it was basically going to be fun, for me it was like he couldn’t have asked for an easier st yle.” Thus Duck Sauce was born, releasing the twotrack EP Greatest Hits, featuring the soon to be ubiquitous (Final Edition sampling) aNYway. Still at this point Van Helden really only thought they’d created a bit of an oddity. There were no plans for more tunes such as their current club bomb Barbara Streisand, let alone touring and even current talks of an album. It was supposed to be a little one-off side project. “To be honest I thought it was just more of a cool thing. Originally I thought that maybe some people in like lounge bars, or something like a little pub with like modern people, trendy kind of people. It just has that vibe to it. I figured that was kind of all it was going to be. I didn’t expect any bigger than that, I really didn’t. Maybe [A-Trak] was thinking bigger.” Van Helden continues. “You have to admit when it came out, it was not like you had another record to mix with it! You would be playing like whatever your set was, and then you’d play that and you didn’t really have another record and you’d go ‘Oh’. I mean that’s cool but if you could have three or four similar things then it’s a little bit more fluid. But this record was just out there by itself, it was kind of funny.” WHO: Armand Van Helden WHAT: Duck Sauce – Barbara Streisand (etcetc/ Universal) WHERE & WHEN: Shore Th ing (Sydney) Friday 31 December, Field Day (Sydney – Duck Sauce set) Saturday 1 January, Summadayze (Melbourne) Saturday 1 January, Summafieldayze (Gold Coast) Sunday 2 January





don’t see any downside in house music getting more mainst ream at all,” Belgian DJ/producer Dimitri Thivaois argues. “I just see more opportunities. If someone would choose and decide to stay underground, they will always be able to do so. They will just have to make sure that they stay inventive enough to come up with something new all the time and to keep creating a new movement. If music didn’t evolve, it would just get really boring. “Almost everything starts out as ‘underground’ anyway, and then after a while it will become more accessible for a bigger crowd or even go mainst ream. And I am happy we are in the time where house reaches a big public. For us, we are getting chances that were never there before.” According to the brothers, it was David Guetta who also set the tone for big collaborations in 2009, which encouraged more artists to work together – something that Dimitri and Mike claim will only help the house scene grow. In the duo’s case, this has lead to a working relationship with the Swedish House Mafia among many others over the past year. Since then, Sebast ian Ingrosso has gone on to praise the brothers as his ‘Breakthrough Producers Of 2009’ in DJ Mag – something of a dream come true for the duo.. “We remixed Leave The World Behind which was big in Ibiza. We really owe [Swedish House Mafia] a lot for giving us so much support and the opportunities they gave us. We respect them a lot and are really happy for them, they are blowing up so much. I don’t think anyone will be able to stop them in the coming years.” “Apart from doing the mixes for Axtone, we just released Pump Up The Jam on Refune, of


FAMILY AFFAIR which we’re really proud of,” Mike adds. “Leave The World Behind was definitely what made us get noticed by the big public, but we’ve been bubbling under for a while now. We’ve started working on our album and have some very interest ing collaborations lined up!” Unfortunately, as Dimitri claims, the duo can’t say a whole lot more about the upcoming album at this point except that some of the guest appearances will be “big”. For the time being, however, Mike says that the duo’s live shows are as much a priority as the album itself – especially with the brothers making their allimportant debut on the other side of the world this month. “It’s indeed our fi rst time here [Aust ralia] and we’re really excited about it!” enthuses Mike. “We’ll also bring along a lot of new edits, so you’re in for a surprise!” “Mike’s part of the set is very extended,” Dimitri adds. “He also takes the time to write some special vocals for certain tracks, so it’s much more than just MCing for him. He also helps me out with digging deeper into the FX. Since there are two of us, we have more opportunity to interact with the crowd.” And while the duo is happy to go mainst ream in the near future like their idols, Mike is adamant they’re st ill very much one foot in the underground at this time. “We tend to blend in a few commercial touches with underground tracks. The balance has to be there. We don’t want to be radio DJs – absolutely not. But we also do like to give the crowd what they like, so we try to find the right balance. It’s possible to educate but entertain at the same time, and that’s working great so far.” It most certainly is, and as Dimitri points out, it

shows in the amount of time the brothers get to spend at home – or away from it, to be precise. Although being Belgium natives, the duo have been touring the world so much in the past 12 months that they st ruggle to keep up with their own scene. “We act ually are not so much in Belgium anymore, as we travel so much,” says Dimitri. “So we wouldn’t be able to give a hundred percent correct view of our scene. But I can say that no- one in the world can top Tomorrowland – that fest ival just tops every product ion we’ve ever seen so far. I would recommend all of you to go down there next year on July 23 and 24. You’ll know what I’m talking about!” While Mike claims the best part of touring the globe with his brother is that he has someone to share the memories with, Dimitri adds that the only pain is having a brother who always wants the window seat on a plane. “Sometimes we argue but we get over it quite quick,” Mike says. “That’s the advantage you get of working with family. We’re honest with each other, though, so I think that reflects in our tracks. We’ve been getting so much great feedback from the indust ry. I think it’s important when you do send out a track into the world that it’s going to be worth looking at. I see a lot of people over-promoting and spamming an empty shell, and that just has no point in my opinion. But I’m quite sure there is no exact formula to it – f there was, I’d be happy to space some extra cash for it!” WHO: Dimitri Vegas & Like Mike WHERE & WHEN: Elect ric Playground (Brisbane) Friday 8 October, Chinese Laundry (Sydney) Saturday 9 October



t’s been a whirlwind year for homegrown heroes Yolanda Be Cool, and as Johnson Peterson explains, he and cohort Sylvester Martinez have barely had time to take a breath, let alone take stock. “We’re definitely pinching ourselves and going, ‘yeah, this is crazy’,” he laughs. “For example Sylvester and I were sitting in some beach bar in Portugal drinking sangria and I was like ‘y’know, all our friends are at work right now’.” Ever since the gypsy house funk of their DCUP collaboration We No Speak Americano hit the st ratosphere, topping the charts overseas in over a dozen countries, Yolanda Be Cool have been living in a state of perpetual disbelief that something they consider to be almost embarrassingly st raightforward could be such a runaway success. Extensive touring through the European summer has only further boggled the duo’s minds. “I always wanted to go to Moscow and we went there three times, places like Latvia and Bulgaria, we played a really good club in London called Cable with the Chew The Fat! crew for their 13th birthday – to do gigs like that and get paid to do them is amazing.” The dream does have its downside though: while Yolanda Be Cool consider bringing the beats to new places an absolute privilege, life on tour can sometimes be toil even for the most party-hardened. “Sometimes when you’ve caught three planes, your bags haven’t shown up, you haven’t seen light all day because you’ve gone st raight to a nightclub, then aren’t going to see light in the morning as you’re going st raight to the airport, you just want to be at home,” Peterson admits, his voice faltering under the weight of memories that are evidently tiring even to recall. He’s willing to concede, however, that Yolanda Be Cool hardly make it easy on themselves when it comes to self-preservation. While the crowd get funked up to Americano’s infect ious groove, Peterson and Martinez are equally likely to be found sucking life’s marrow. “Yeah… we get pretty debaucherous to be honest,” chuckles the former mischievously. “Touring is not that hard really, but we make it hard for ourselves. If you finish DJing at 4am but have been drinking soda water all night, it’s probably not that hard to get a plane at 10 in the morning. But if you’ve just drunk a bottle of vodka and have decided to stay in the club for an extra two hours, then go to an after-party, you’re probably making your

job hard, rather than the job is hard.” Soon the duo will begin work on their Americano follow-up. Don’t be fooled by a certain track called Gypsy Moves that mysteriously hit YouTube purporting to be the new Yolanda Be Cool/DCUP collaboration, spawning edits that spread like wildfi re across the internet – Peterson sets the record st raight that they had absolutely nothing to do with it. “Someone really sneakily made that track and just put it out under our name, and all of a sudden there were a hundred versions,” he explains, sounding remarkably composed considering he’d have every right to be pissed. “The positives that we took out of that was there are definitely lots of radio stations waiting to hear what we’ve got, and obviously when you’ve had one track go well it’s a lot easier to get people to listen to your next one; we’ve just got to come up with the goods.” Despite remaining tight-lipped about what Yolanda Be Cool have in store for clubland next, admitting only that they have “really fi xed ideas about how they want it to sound”, one thing Peterson will guarantee is that they’ll take the time to act ually clear any samples used before it’s released this time, which wasn’t exact ly the case with Americano’s vital ingredient, Renato Carosone’s Tu vuò fà l’americano. “With Americano we sort of didn’t clear that sample until it was number one [in the charts],” shares a repentant Peterson. “There wasn’t really a roadblock, more like a financial fuckup. They wanted to clear it but they wanted to clear it on their terms, but because the track was already out there we didn’t really have much to stand on. Definitely the next record’s sample we’ll clear it fi rst.” Shepherding the next release, as with We No Speak Americano, will be Sweat it Out label head Ajax, who Yolanda Be Cool credit with possessing the kind of obsessive tendencies necessary to make a track truly sing. “He’s such a perfect ionist, it’s really admirable, he doesn’t let anything out unless he’s completely happy with it, and always makes the point that if you can work on something more and make it better it’s always worth doing it,” Peterson waxes.

“He’s also such a great DJ, and plays such great music that if he likes it there’s a good chance other people are gonna like it.” As for the continued demand for Yolanda Be Cool to drop Americano in their sets, luckily the boys remain more than happy to oblige. “I think it’d be rude to say you get bored of playing it when there are people getting paid $10 an hour to clean toilets,” Peterson says. “Sometimes it’s nice playing a set to a crowd that doesn’t want to hear it, but at the moment most people do, so we give it to them.” WHO: Yolanda Be


WHAT: Smash Your Stereo 2010 (Onelove/ Sony) WHERE & WHEN: Good

Vibrations Fest ival at Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February, Gold Coast Parklands Saturday 19 February




IN LIGHT OF THAT RECENT INCIDENT INVOLVING SARAH MURDOCH, 5SPROCKET TAKES A TRIP DOWN MEMORY LANE VIA YOUTUBE TO RECALL OTHER MEMORABLE MOMENTS OF DISASTEROUS AUSTRALIAN LIVE TV. 9. MORE LIKE DRUNK STAMOS Former Full House star John Stamos hit the couches with Kerri-Anne Kennerley in 2007 to promote his st int on ER. Smashed on the hotel mini-bar, Stamos read Kerri-Anne’s words off the auto-cue, said that a Daily Telegraph writer had a small penis, and was making lurid and offensive gest ures to our nation’s beloved K-K-Kerri-Anne. The team of publicist monkeys were quick to call it “jet lag” but I’m sure copious amounts of booze would be needed to get your through the sludge of Mornings With KAK. 8. CROSSING TO THE BOAT NOW! On 15 May (back when Kevin was PM), Jessica Watson sailed her boat Ella’s Pink Lady into Sydney Harbour, thus completing her epic solo voyage around the world. From 9am three television networks decided to broadcast the live feed to her boat arriving. For the next excrutiating five hours we were treated to Kochie & Mel and Karl & Lisa improvising their way through footage of a boat that doesn’t do anything or go anywhere. “Th is just in – she will be landing in the next 15 minutes.” 7. YOUR HUSBAND’S A LUCKY MAN Only a few hours on from partying at the 2009 Logies after party, Karl Stefanovic turned up to co-host The Today Show predictably intoxicated (read: totally fucking hammered). Slurring his words, ranting about teens, being human for the fi rst time, he truly was a smooth operator. Karl: “How good does Lisa Wilkinson look with zero sleep? I applaud you and I salute you and I praise you... Your husband is a lucky man. That’s all I can say.” 6. IN YOUR FACE! Big Brother was a truly horrible show that, apart from the occasional “they’re taking a shower!” montage, has thankfully drifted out to the oceans of forgetfulness. But the words ‘turkey slap’ live on. Housemate John held down Camilla on her bed. Housemate Ashley decided to slap his dick on her face. Camilla then said “Guys! That was so funny!”. They all had a group hug and drank lemonade. John Howard, A Current Affair, and Alan Jones didn’t seem to get the joke, of course. So lame. 5. LIVE AND UNPLUGGED Ben Lee went on The Panel. He played a song that no one remembers and even less like. Ben Lee was really into it. Ben Lee decided to rock out. Ben Lee jumped onto desk. Guitar said, “Fuck it, now’s my chance!”


The amp cord came out of Ben Lee’s guitar. Ben Lee was bewildered and looked like a moron. Everyone laughed, and now it’s on the internet. 4. WHAT? I SAID I LIKED HIM! Bert Newton was co-presenting an award with Muhammad Ali at the 1979 Logies. They had a chat for a while, talking about sports and television. Bert Newton – wide eyes and shit-eating grin. MuhammadAli – makes birds explode in fear of his st rength. Bert Newton slipped up mid-convo saying (of Ali), “I like the boy.” Unfamiliar with the cultural experience of people that were not male, white, and on television, Newton st umbled into upsetting a tower of muscle. Ali called racism, Newton called a cab. 3. ROOM FOR IMPROVEMENT Keen to restart her media career post-Big Brother, Gretel Killeen got a pixie cut, put on a happy face, and decided to host the Logies. Poor Gretel. Self-depricating jokes fell flat amidst a room full of coked-up Home And Away stars. Set up ‘surprise interviews’ awkwardly collapsed. Her new look made her seem as if she was going through chemo. At one point she was lowered on to the stage dressed as an angel. The credits rolled at the end of the show: “Gretel Killeen’s material written by Gretel Killeen.” 2. AND THE WINNER IS Sarah Murdoch makes a little mistake – announcing the incorrect winner of Aust ralia’s Next Top Model. Initially announcing that Kelsey was the winner, she was blasted by an earpiece that said nast y and impersonal things. Realising her error shortly after, Murdoch led us through a horrible couple of minutes. No, the other girl won. Foxtel blamed bad communication and the perils of live TV. 1. BLAME IT ON THE BOOGIE Hey Hey It’s Saturday! returned last year for a couple of episodes. Taking us back to the golden era of 1993, the show’s rapid fi re tastelessness broke all boundaries. The high (or low) point of the show was the Red Faces skit where a troupe of white men donned blackface and impersonated Michael Jackson moves. Harry Connick Jr (“Some of my best friends are black people”) took serious offence, and a morose Darryl had to apologise. In a couple of days the clip went viral, further test ifying to the world that we, as a nation, are a bunch of racists. Go Aust ralia! What do you think should be at number 10? What’s the best moment of Aust ralian live TV you’ve seen implode on itself? Email




t’s 10am on a packed train just outside of Würzburg. Though this small city is three hours away from Munich, the train is full of Oktoberfest revellers hoping to arrive in time for lunch. Like Aust ralians, Germans understand the concept of preparation. Scattered groups on the train breakfast on frisbee-sized pretzels and weisswurst (white sausages) with honey mustard. The excitement is evident everywhere. For some, this is their biggest event of the year, anticipated months in advance. Before the train has even reached halfway, the fest ivities get underway. In the country for beer, champagne or Breezers aren’t an option – it’s amber ale or nothing. However, bottled radler (shandy) is acceptable early on. Far from being illicit, alcohol on trains is the norm. There’s even a drinks trolley doing the rounds. Most of the locals are well-equipped though, some with packs of cheap party shots. On the bottom of each mouthful-sized bottle is a number. The bottle is knocked on the wall the corresponding amount of times, then the lid placed on the end of the nose. A round of “cheers” is completed with the bottle held between clenched teeth. Then, heads are thrown back in an attempt to drink without the lids dropping off. By the time the train hits the city, the long-distance travellers are no more sober

than the pre-drinkers who started closer by the event. However, to follow the train would cloud the true nature of the fest ival. There’s more to it than just getting legless. To begin, it’s held in September – not October – as is sometimes believed. The fi rst was in 1810, to commemorate the marriage of the King Ludwig and Queen Therese. The venue is st ill located in the centre of Munich, with the queen supplying her name: Theresienwiese. To most locals, however, it’s just known as the “wiesn” (field). Despite dozens of cancellations due to cholera epidemics and wars, Oktober-

fest’s popularity has ensured longevity. Beer hasn’t always been the focus, though. In the past, horticulture and horse racing played major parts, but today, its aims are more specific. Strolling down the st reets of the fairground, the number of families and older couples is surprising. Screams echo from the rollercoasters clattering overhead, while st rength-testing machines buzz loudly to applause. Sideshows line the way, offering the usual st uffed toys for winners. Then there’s the food – every kind of sausage imaginable, cheese platters, giant pretzels, sau-

erkraut, roast chicken, pork and duck. Or for the sweet-tooth, doughnuts, chocolate covered fruit, candied cashews, peanuts and almonds are on offer. All in all, it’s like the Royal Show, except the poxy showbags have been replaced by beer. Oktoberfest isn’t just for drunkards: it’s a family affair too. Back at Munich station, it’s as frantic as any peak hour. With the wiesn just one stop on the subway, crowds are st reaming underground. There’s little need for direct ions; most foreigners just follow the masses of funny outfits. The men wear checked gingham shirts and lederhosen (soft leather pants with suspenders). The women look suitably bust y in their dirndls. Or, as midget Kim Kardashian cleverly tweeted after her visit this year – “drindle”. These outfits aren’t a joke, either. A full female kit starts at €200, while some department stores stock jewel-encrusted dresses worth ten times that much. Like anywhere else, the mens’ fashion is a little more consistent (and boring), though no less expensive. Alighting from the metro, however, it becomes apparent that none of this act ually matters. There’s no fashions on the field or best dressed award. People are here to have fun, not pose. Admirably, there’s no entry cost to the grounds, nor any rule against bringing your own alcohol




Thankfully, entry to Oktoberfest will probably always be free. However, the prices inside are carefully monitored by the German public, with outcry when things get a bit too pricey. In 2010, a litre of beer costs around €8.50. In ‘09 that figure was €8.00. Expect a similar rise for next year. Main meals inside the tents run at about €15, but food outside is cheaper, with large bratwursts in bread cost ing around €4. Accomodation can be the biggest killer, with the most popular backpacker hostels charging €60 a night.


City: Würzburg Population: 133,195 (31 December, 2009) Language: Franconian National Drink: Bier Currency: Euro (AUD1.00 = EUR0.711366)

inside. Scores of attendees sit on a hill taking advantage of this. Even though it’s just past midday, the slope is decorated with the bodies of middle-aged men who’ve drunken themselves into a st upor. Th is isn’t quite as easy it would seem though. There’s only a few walk-in bars on site, the most clever being an old carousel converted into a revolving pub. The stereotypical drunken experience occurs in one of 14 tents, though to call them this is vaguely ridiculous. Even the word marquee doesn’t suffice. They’re giant halls, each one sponsored by a different brewery. As such, each has its own theme. The front of the Lowenbrau (Lion Brew) tent sports a four metre effigy that periodically roars at passers-by. On the inside of another, ten-foot high hops plants spell out the name of the company. In the Hipodrom, German celebrities mingle with their international counterparts. Getting a table can be difficult, especially on weekends, though there’s a reservation system which covers the busier times. Just entering is an experience in itself. With tables covering every available piece of floor space, wait staff run frantically back and forth serving the only size of beer available – one litre. Grandparents sit in earnest conversation with their grown-up grandchildren, local men laugh uproariously,


while Aust ralians and other booze-loving nationals st and on their benches singing. With some tents holding 6000 drinkers, it’s a wall of sound. At the centre of all this merry-making is the band, whom Germans bestow a rather large level of importance on. Outsiders are often myst ified by this devotion, as the songs are most ly the same, regardless of venue. More confusing, however, is the music itself. There’s rarely anything contemporary; only traditional folk music to which everyone seems to know the words. Central to this is Ein Prosit, played

The venue, the wiesn, is 103 acres. Between all 14 tents, there are about 100,000 seats available. The largest tent on record held 12,000 drinkers. Over six million visitors pass through the gates each year, while in ‘07, just under seven million litres of beer were served. Despite 2010 being the 200th anniversary of the event, it’s been cancelled a total of 24 times due to epidemics or war.


after every few songs and urging listeners to drink up. A trip to Oktoberfest seemingly implants this ditty deep in the brain for days after. However, after a night in the thick of the act ion, it’s easy to understand it all. Like any DJ, the band leads the party. From the quiet hours in the morning when they’re just background, to prime time when the crowd is hanging on their every note. Still, one can’t help but notice the irony – the foremost purveyors of mnml techno cool crowning their national event with oompa-loompa music, that is.


Germany’s train system is extremely modern and efficient. The best trains typically feature power outlets for laptops and other appliances. When travelling alone, tickets can be expensive, even for a relatively short journey. However, travel in a group, and the situation improves dramatically. Regional offers such as the Baden-Wurttemberg or Bayern ticket allow five people to travel between cities for no more than €30.


Emirates flys to Dubai/Dubai to Munich. Return Airfare: $2,128.00 (from Sydney)/ $1,998.00 (from Melbourne) / $2,105.00 (from Brisbane). Cheapest Hotel Room – Room only accomodation from AU$111 (per night twinshare) via Current Foreign Affairs Status – Exercise Caution. See for updates. Entry/Exit Requirement – Germany is a party to the Schengen Convention, along with 24 other European countries, which allows Aust ralians to enter Germany without a visa in some circumstances. Make sure your passport has at least six months’ validity from your planned date of return to Aust ralia.


Despite the obvious talent of some freest yle focused MCs, very few ever make a successful transition to the recording arena. One of the more prolific Sydney battle MCs is The Tongue. He’s now onto his second album after 2007’s Shock And Awe, but this time he’s channeling the vapours of Roots Manuva whilst st ill retaining his own dexterous grasp on the English language and thereby elevating the intelligence quotient of Aussie rap dudes. Hermitude’s deejay Elgusto handles the majority of the beats for The Tongue’s new album Alternative Energy and keeps proving himself again and again with various members of the Elefant Traks roster. Dizz1 seems to favour the dark British electronic Big Dada sound for his two tracks and Kid Fict ion and P Major also skirt around this territory, but for me it was M-Phazes’ Right Words (also carrying a verse from Urthboy) with his use of the magical harp and its evocation of dreamy sunshine that proved to be a highlight for my ears. Central Coast singer Ngaiire provides the chorus for that tune, as well as for the next one that turned my head in gracious surprise. I hear Oxymoron and I’m instantly sold. If you’ve ever seen Hermitude in act ion with their live shows then you may have heard them drop the occasional Elect ro tune. They’ve never recorded them for their albums, but this might be the closest we get to one from either member. No diss to The Tongue, but I’d love an inst rumental on 12”. The only Elgusto tune that didn’t work for me was Proof Of Life, which I found meandering and particularly draining with some highly irritating off-key singing that was more Bizmarkie than Andre3000. Thankfully The Tongue is far more gifted with his lyrics than with his extended vocal abilities. He colours the album with varying shades of moods, whether it be the vibrant attitude of the Joyride chorused Crazy to the more despondent seagull strings of Sick Of It All to the more humourous The Enforcer, in which he satirises those who try to restrain an artist’s direction. The one track that could easily have the word beautiful attached to it would be the quietly stunning title track, like a mini-epic with its gradual build, one extended verse and a brilliantly executed twominute-plus outro. Exquisite st uff keeping the horns and piano restrained until the final moments. Extraordinary.





t’s been quite a while since we heard much at all from Frankfurt’s Gregor Tresher. Absent though he is from Beatport banners and bedroom DJ charts, the lauded international DJ/producer has certainly not been rest ing on his laurels. Rather than spending copious amounts of time in the st udio as he had in the past , Tresher has instead been dedicating himself to progressing his label Break New Soil Recordings, which he launched last year with sophomore album Th e Life Wire. Though critical response to the album was mixed, the resultant remixes were as st rong as they come – the efforts from Petar Dundov and 2000 & One are earmarked by Tresher himself as being particularly powerful. As with the universally appreciated A Thousand Nights before it, The Life Wire came out in three parts on vinyl and digitally – a move that just ified Tresher’s move to establish his label. “I find more fair to the people to give them a single releases so they can pick their favourite tracks – the vinyl market is different now and has been for years, so I think it makes sense to break an album down. It was two vinyls and then the remixes so that’s not really many releases.” Since completing the release schedule Tresher has performed admirably in an A&R capacity, bringing artists such as Ilario Alicante and Karotte into the Break New Soil fold. However, the job has been far more challenging than he anticipated. “It takes way more time than I thought it would,” he says playfully. “Setting up the label and listening to demos and all of that st uff really takes up quite a lot [and] that was one of the reasons I’ve not been working in the st udio a lot over the year. I’m set up [now] and can concentrate on going back to the st udio again.” Of all the forthcoming Tresher releases, few are more tantalising than a remix he’s done for Marc Romboy and Stephan Bodzin. Tresher remains tightlipped as to which track he’s been working on from their back catalogue, but sounds sufficiently excited enough to warrant following suit. “I have been working on original material quite a lot,” he enthuses. “They’re for release on Adam Beyer’s Drumcode label in early October –

that’s going to be a double 12-inch so it’s quite a lot of original material [and] I think it’s the best st uff I’ve done for some time. “It’s a classic techno label and that’s exciting for me – to have new material that’s again going in a new direct ion as I’m not really known for doing banging techno. I’ve also been working on material for Josh Wink’s Ovum and on remixes of Johannes Heil for Cocoon and Extrawelt with a release on my label… there’s quite a lot of new music coming.” The product ivity spurt stems from a much earlier move to a new st udio, which in turn inspired the refreshed sounds that punct uate The Life Wire. “I think it’s a good thing to break out of routines,” he explains. “When you work on a set-up for a long time you find yourself always starting over with the same st uff and the same sounds you know and like when you do new tracks – I think it’s a good thing to change these and find new ways of producing music.”

WHO: Gregor Tresher WHERE & WHEN: Darkbeat at Brown Alley (Melbourne) Friday 8 October, Subsonic/Chemist ry Warehouse Party (Sydney) Saturday 9 October, Luna Loca (Surfers Paradise) Friday 15 October, Let’s Get Minimal at Barsoma (Brisbane) Saturday 16 October








ake it from Aust ralia’s number one urban/R&B DJ Nino Brown – you never really make it, you’re always making it. Quite simply, the second you rest on your laurels, you began to fall of the radar, and hence, success never equals rest according to Brown, who dropped the 2010 edition of his famous Blazin’ series in January. “It’s a false perception that you’re act ually able to ‘make it’,” he claims. “I’m very appreciative of the fans and the people who say ‘DJ Nino Brown is Aust ralia’s number one urban DJ’, but that always puts a lot of pressure on me to do great things all the time. And believe me, when I do things I want them to be incredible, not just cool. The whole point is to keep giving everyone more and better each time so that they keep coming back. “You don’t ever get to sit back, trust me. I see people who want to make it for the fancy cars and to be on MTV, and I have one thing to say to them – ‘you’ll never get there’. It may be such a cliché, but if you love what you do and you have talent, it’s the only way it will happen. Period.” It’s hard not to take his word for it when Brown’s list of achievements over the past 15 years has included making Aust ralian hip hop history by becoming the fi rst ever hip hop DJ to sign to a major record label in 2002. Moreover, Volume 5 of his Blazin’ series went platinum while Blazin’ 2007 and 2008 were certified gold. “I’m probably DJing interstate about four times a week,” Brown says of his hect ic schedule. “That’s the norm, though. I am literally always on the road. There is a good fest ival coming up [Summerbeatz] which will have some awesome artists like Flo Rida but also some Aust ralian talent like Stan Walker. The thing with urban events is that sometimes people get all funny about it because it’s not considered cool or whatever. I personally love them because people want to dance at a club, but at a fest ival people are there to hang out and go crazy, so you can showcase your DJing skills a bit more. The point is that these are really massive, fun events.”

To Brown, this is a clear sign of urban music becoming more mainst ream in recent years, something that the DJ considers to be both a good and bad thing – depending on which side you look at it from. “It’s happened worldwide in the last five years especially,” Brown claims. “When I started out, it was st ill a bit more underground. Usher has been making music now for 20 years but it’s only in the last five or ten years that he’s gone mainst ream. Or the Black Eyed Peas, they were touring Aust ralia for years in small venues but then they just blew up and became mega huge. “Back in the day, artist s were happy to let you use their record on your CD, but now they don’t need the DJ assist ance anymore. It’s a good thing for the artist , but it’s bad for people like me sometimes because it makes it harder to get songs when you’re making a compilation.”

WHO: Nino Brown WHERE & WHEN: Glamorou$ at Zuri (Brisbane) Thursday 7 October,

Another World Fest ival at Hisense Arena (Melbourne) Monday 1 November, Summerbeatz at Brisbane Entertainment Centre Friday 19 November, Summerbeatz at Acer Arena (Sydney) Saturday 20 November, Summerbeatz at Rod Laver Arena (Melbourne) Thursday 25 November


There have been great R&B covers, none more riveting than K-Ci Hailey’s rendition of Bobby Womack’s If You Think You’re Lonely Now, but not many. When artists can sample so liberally, perhaps covers are not as enticing (and, with no prospect of publishing royalties, less lucrative). However, now John Legend, born John Stephens, has cut a set with The Roots. Covers albums are traditionally what pop artists do when their careers are in trouble. It seems too early for the Grammy-winning Stephens to be facing that prospect. Still, it’s unfair that, of all the neo-soul males, Stephens, the most consistent, hasn’t yet achieved iconic status. The singer, signed to Kanye West’s GOOD Music, is onto his fourth album in six years – D’Angelo has presented two since 1995. Regardless, the covers album benefited Mark Ronson. Stephens has always stood apart from his grittier peers, having majored in English at the University of Pennsylvania – he namedrops James Joyce. At any rate, there’s nothing half-arsed about the socially-conscious Wake Up!. Stephens was inspired to remake Civil Rights-era and protest songs from the 60s onwards during 2008’s presidential campaign – a campaign that (of course) culminated in Barack Obama becoming America’s fi rst black president. Not all of his select ions are obvious – take Bill Withers’ Vietnam War I Can’t Write Left Handed, here an extended funkrock jam. The lead single, Wake Up Everybody, was previously recorded by Harold Melvin & The Blue Notes – Stephens sings alongside Canadian Melanie Fiona. Common, one of the album’s three MCs lending a contemporary feel, raps smoothly – and tastefully. The Roots have had a staggering year with How I Got Over, their st rongest album in ages. It was a complex, sombre and agnost ic work – and so Stephens’ more motivational Wake Up! provides a wonderful counterpart. Stephens excels with his version of Donny Hathaway’s Little Ghetto Boy, to which spoken word poet Malik Yusef offers a pointed prelude – it’s a song famously reinvented by Dr Dre on The Chronic with Snoop Dogg. The Ohio native’s reading of Wholy Holy is not as mellifluous as Marvin Gaye’s, yet jazzier and very churchy. The stand-out? Stephens’ joyous cover of Nina Simone’s I Wish I Knew How It Would Feel To Be Free. He performs just one original – the low-key Shine.


So news regarding the D25 tour – featuring Carl Craig, Moodymann and Theo Parrish – and tours from Stacey Pullen, Daniel Bell and Model 500 (Juan Atkins, ‘Mad’ Mike Banks, Mark Taylor and DJ Skurge) has plenty of us wondering what we’ve done to deserve a Detroit techno love-in. It’s pretty fricken unlikely that we’ll have so many luminaries headed our way en masse again any time soon, so you best make the most of it. If you’re anywhere but Melbourne or Sydney that’ll mean a couple of fl ights or a roadtrip, but who cares right? You’ll be enjoying some seriously interest ing music – certainly if Model 500’s recent OFI/Huesca release on R&S is anything to go by. Classic techno it ain’t. Also soon to hit shelves is the curious five year anniversary compilation from Berghain/ Panorama Bar affi liated label Ostgut Ton, appropriately titled Fünf. Not that we’d have cause to complain about the label simply doing a typical retrospect ive two-disc affair – they’ve put a little more effort in and recorded the sounds of the aforementioned club itself for the adventurous O-Ton artists to mangle – sounds of fridges, humming amps, toilets, st robelight clicks and resonating surfaces. If this all sounds a little too far up its own backside fear not; there are plenty of synths and 909s that bulk out the four gigs worth of samples used. With Ben Klock, Shed, Len Faki, Soundst ream, Luke Slater, Steffi, Marcel Fengler, Prosumer, Ryan Elliot, Margaret Dygas and more on the case, this shit is certifiably hot. Better yet, I’ll be headed to Berghain/ Panorama Bar for the Saturday 30 October 5 Jahre Ostgut Ton Compilation Release Party so you’ll hear all about it. Also for O-Ton fans, the latest release from Peter Van Hoesen’s Time To Express is an absolute cracker. 61 Center Returning Vol 2 sees Van Hoesen in collaboration with Yves De Mey as Sendai on the grippingly dark dubsteppish tool Northeast, running solo on the huge Hope In Honesterror, and enlisting fresh talent in the form of SP-X – whose tough, dubbed out Extract rounds out the release. Kenton Slash Demon’s Matter EP pushes in the exact opposite direct ion – as you’d expect from Sun – but will st ill appeal to those looking for tracky tools thanks to the slow-groove remix from Runaway.





n a musical sense we are both so eclect ic we come from a broad perspect ive across music. But for us,” Gibbs says of his partnership with fellow MC Mastermind, “we just want to challenge the hip hop indust ry or culture in a positive way. I think there’s a negative st igma attached to hip hop so in the lyrics and the music that we write, we just wanted to bring out a positive difference, and performing in a group we’re able to do that.” Although BroadKast have honed themselves into a well-synchronised unit, it stemmed from an unlikely friendship between the MCs who came up through the ranks of Brisbane’s underground individually. “We were both involved in writing and producing. Ironically we knew each other before we formed BroadKast but we didn’t really like each other. It’s funny how things change. It was a roller-coaster to get to where we are right now.” Together they rock a show with the best of them. Gibbs states, “We always try to make our shows as interact ive and as fun as possible for the crowd.” The live call and response, freest yles and throwing punch-lines at each other are well-oiled and pract ised by mastermind and Kaleo, who seem the perfect marriage in local hip hop. “Definitely, you need to work hard and pract ise. Freest yling isn’t necessarily something that’s gonna come easily but naturally we connect very well and it’s important to have good chemist ry on stage, purely from a performance sense obviously.” And BroadKast are here to show everyone just what an MC is supposed to be about. “To be a good MC you need to be quite holist ic. It’s not just about having dope rhymes – you need to have a range of skills. Freest yling is one component which is a really important one because it can help you become a good MC. You have to be quick on your feet and [having to] respond so quickly, you can develop a wide range of vocab and skills. “We don’t claim to be the best freest ylers around,” Gibbs laughs, “but we give it a go and we enjoy ourselves and we present the full pict ure of what an MC is and that’s important to us. So hopefully our music and our shows do that and the audience get on board and enjoy the whole gambit

of what it means to be an MC.” As part of a showcase of our River City’s finest hip hop acts, BroadKast’s album launch will this weekend bring out Boomtown’s elite. “Something that we wanted, apart from being the album launch, was a bit of a showcase of the Boomtown of Brisbane hip hop. The Optimen have been doing it for a while now and we love their music and to get on the bill with them and Rainman and Winnie Coopers and Vegas Aces who are up and coming, I think it will be a dope show and the perfect way to launch our album.” The 15-track Clearing The Air LP will drop simultaneously with the launch. “[It’s] most ly produced by Mastermind and myself and it’s a really good blend of hip hop,” Gibbs says. “The meaning behind [the title] is that we’re trying to not necessarily say that the radio is full of rubbish, but BroadKast is here with new sounds – time to clear the air.”

WHO: BroadKast WHAT: Clearing The Air (Zee Real Records) WHERE & WHEN: Brisbane Sounds Hip Hop Showcase at The Hi-Fi Saturday 9 October





uy into the hype and Alan Parley, known as DJ Host age, is one of the most blogged about DJs and producers in the world – without even having a web st rategy. “Any web st rategy requires me to be organised,” he laughs. “Th e internet’s speeded things up as I don’t have to rely on the post offi ce.”

He’s technologically savvy and musically adaptable – a marketer who is his own product . Technology works in tandem with music outputs, which often mean results can be heard in minutes, even if tracks are dist ributed for free. “I got to the point where I just wanted people to hear my music. If people aren’t buying I fi gured they may as well just take it. I get a buzz from making a tune in one day and then st icking it on the ‘net the following day so people all over the world can hear it. When people st art to tell me that my track went off in this city or that city, it’s a huge buzz,” he explains. Parley has provided an essential mix for Radio 1, toured globally and is signed to Jason Forrest ’s Nightshifters label. He’s also found a few minutes to release his EP, Roll, and the popular Light2Dark mix. As much as Parley the artist has grown, his earlier days were drast ically diff erent. “I lived on a farm and was driven to extreme boredom. I list ened to acid house and hip hop and used to spend time plodding round the barn, asking my relatives what music they’d like to hear on the st ereo,” he says. His preference was to play Altern-8’s Full On… Mask Hysteria album repeatedly, or Hip Hop And Rapping In The House compilations. Farm life wasn’t for him. “I got tired of shovelling shit on a farm that was in the middle of nowhere. A mate of mine gave me a cassette of some rave tunes, so I gave him a blank tape and asked him to tape as much of it as possible. It was primitive but that was the st art.”

Aged 12, he st opped taking music request s. “Th at’s when I played my fi rst live gig. It was nothing more than me rhyming and rapping into a microphone with a few piano riff s in the background. I had a crappy NWA cassette and wrote diff erent lyrics so my mum wouldn’t fi nd out what I was list ening to. It was shit. What makes it worse is that the gig was at a Scouts’ hut,” he laughs. So rapping wasn’t his forte and abruptly halted his lyrical vocation. However he didn’t stop producing, an early effort being his obscure 2000 release, Money Well Spent. “I reckon it must have sold about 30 copies. For one track I sampled a metal nail fi le. I was at a st range creative place when I made that. I don’t even have a copy as it’s rubbish,” he tells. Parley’s infi ltration and principal hit thus far was the 2009 I Get High, of which Crookers, AC Slater, Annie Mac and Lee Mortimer are known admirers. MSTRKRFT’s Jesse Keeler has signed him to his Teenage Riot Records label as well as being featured on the Aussie tag, Idiot House. His music tip is house, elect ro, techno, dubstep, bass and a smidgin of drum’n’bass. “I go to raves and list en to a lot of music. It’s a good thing that I like so many genres of music as some of the best st uff has the best bits of everything.”

WHO: Hostage WHERE & WHEN: Monastery (Brisbane) Friday 22 October,

Chinese Laundry (Sydney) Saturday 30 October



NECESSARY? Leftfield Musings with MATT O’NEILL


I’ve been negotiating the ramifications of a rather starting realisation of late. It fi rst started when I encountered the work of experimental audiovisualists Semiconductor late last year; specifically, their Brilliant Noise work. A ‘symphony of the sun’, Brilliant Noise is comprised of audio and visual recordings of the sun’s radiation. While typically exist ing at frequencies and spect rums either invisible or inaudible to humans, such frequencies were documented and effect ively transposed by Semiconductor so as to create new works of art. The startling realisation, however, didn’t arrive until I discovered that Semiconductor were but one of many acts seeking inspiration in the inaudible. There is an entire movement of sound artists operating across the globe who have made it their business to translate the sounds of stars, elect ricity, radiation and countless other imperceptible phenomena. Noted sound art academic Douglas Kahn is even devoting an entire book to it. The alarming truth that this movement illust rates is that, as a species, we are reaching the limits of our physical capacities in regards to artist ic engagement. The optimist ic belief, for me at least, has always been that our species’ capacity to create is infinite but that cannot possibly be true if we are limited by our own physical capabilities. I’m sure it’s not quite a profound realisation for others as it is for me personally but it’s been doing my head in for a good couple of months. I suppose it’s a lot like realising that you aren’t immortal. On one level, it’s somewhat depressing. You’re forced to realise there are only so many configurations and patterns in the world and, in the end, it’s all the same – and, if that is the case, why bother engaging with the world at all? It all ends the same so what is the point in leaping through the manifold hoops of interact ion to get to the end of the road? On another level, though, it’s utterly liberating. If there’s only so much potential in the world; the best of it must logically already exist for you to find and enjoy. You needn’t worry about individuality, originality, innovation or creativity – you can just opt for the purely hedonist ic perspect ive of pursuing pleasure. That said; one cannot help but wonder, what is joy if it doesn’t arrive at the end of st ruggle? As I said, a startling realisation. Th ink about it.



VARIOUS/TIMO MAAS Balance 017 (Balance Music/EMI)

AKABU The Phuture Ain’t What It Used To Be (Z Records)

Though he may talk ‘future’, Dave Lee is all about the past. Not that that’s a bad thing – under his endless number of pseudonyms including Joey Negro, Doug Willis and Jakatta, Lee has always created retro magic and his latest project, Akabu, is no different. Previous Akabu releases, including Ride The Storm and I’m Not Afraid Of The Future, have shown off Lee’s oft-hidden ‘elect ronic’ side and now seems the perfect climate to fully reveal it on a long-player. As betrayed by his spelling of “Phuture”, as Akabu, Lee looks back to the history of elect ronic dance music and puts his funky stamp on it. The album begins in the early 80s with the elect ro-disco of the title track yet immediately fast forwards several years into the acid squelches of Crystalized and Hi-Jaxx, a couple of nods to the legendary DJ Pierre (indeed a member of Phuture) in the rough Sax My Bitch Up and smooth Heatwave On Mars, and Behind The Mask which recalls the dark soulfulness of both Danny Tenaglia and Murk. You Want It All is probably the closest Lee st rays to today’s main room house sound, the lush Another World flaunts influences from 90s labels such as Glasgow Underground, Pagan and Guidance, while no tribute to house music history could be complete without saluting Larry ‘Mr Fingers’ Heard. Th is comes with the beatless, Tony Momrelle featured Life Is So Strange (recalling Heard’s work with Robert Owens) and very Can U Feel It/ Washing Machine-like Another Generation. When the bulk of your work is based on the music of the 70s, the 1980s are indeed the future, and on The Phuture Ain’t What It Used To Be Dave Lee has done a magnificent job of aping the sounds of house music’s pioneers. Outstanding. DARREN COLLINS

The lauded Balance series has come under some fi re of late. Impressive experimental efforts from Joris Voorn and Agoria have nonetheless divided followers, with many calling for a return to the dancefloor-focused progressive flavours with which Balance built its reputation. Calling German tech/prog veteran Timo Maas into the cockpit raised hopes that this would be a more club-oriented set, and in some respects Balance 017 delivers on its promise. The fi rst disc shares a common spirit with SOS’ corresponding set for Balance 013 – melodic, beautifully programmed, and taking plenty of time to make its point. Maas originals Morning Beauty and A Day After George open proceedings in cinematic fashion, the latter conjuring images of rowing a boat through a humid New

MARCEL WOODS Musical Madness 2 (Central Station)

Th is year the trance faithful have been searching in new and different places to find that exciting thrill again, and the record box of Marcel Woods ain’t a bad place to go looking. He’s currently in the country performing as part of this year’s Godskitchen tour, and with Musical Madness 2 we get a close look at how he does things. The fi rst mix takes us down a relatively rest rained slab of techy trance that’s about as close to tech house as the genre can get. Featuring the usual suspects like Marco V, Jerome Isma-Ae and Woods himself, it’s full of rolling techno rhythms, chunky, st rippedback hooks and big trancey synths. As it moves along, the dominant influence shifts from tech house into tough techno.

Orleans bayou. Names like Deetron, Dana Bergquist and Peder G (remixed by Sasse) and DJ Koze litter a tracklist ing which is at times playful, Henrik Schwarz and Kuniyuki’s Once Again standing out with its jazzy piano grooves. A deep tribal sect ion gives way to the familiar syncopated clatter of Danny Tenaglia’s Elements, before Forian Hollerith’s annoying Fluxus derails what should be a rollicking finale. The tribal undercurrent bubbles over on disc two, Maas’ Mutant Clan project with Santos delivering tribal tech perfect ion with their remix of Adam Port & Santé’s Faire Des Sianes among others. A slow and steady acid build-up into Hardfloor’s classic Acperience 1 is st unning, and although Maas’ ambient widescreen remix of Placebo’s Ashtray Heart should explode into another 15 minutes of bombs, it’s a satisfactory conclusion to a solid rather than spectacular addition to the Balance pantheon. KRIS SWALES

Next up, Marcel revs up his second mix with his very own quirky anthem The Bottle. Sporting a massive elect ro bassline worthy of the Swedish House Mafia, along with the unforgettable refrain of “Are you ready for some old school?” it’s a perfect example of just how far the boundaries of trance can be pushed out. It sets the tone for a mix that gradually climbs into trancier territories. There’s a touch of ‘flatness’ to Musical Madness 2, and Woods’ programming is solid without ever being remarkable, with the tracks bleeding into each other a little. That said, the top quality of the tunes can’t be denied, especially when we’re starved for the good st uff this year. Th is is trance absolutely saturated with techno, and all the better for it. ANGUS PATERSON




Another melodramatic piece of trance-rap from UK grimesters Roll Deep, slightly more stern and less cheesy in its buzzy riffing than its predecessor Good Times, but even more pointless in the rapping department. Once again producers of the year Ill Blu save the day with a dazzling syncopated epic of a UK Funky remix.

ICE CUBE I Am The West

(Lench Mob/Inertia) Mike Epps is once again back to selling quarters because of Ice Cube’s long waits between album drops. With his ninth LP I Am The West, Cube returns to doing what he does best – gangbanging for the grape and gold, just in case you forgot which side he’s from. With as many producers as tracks, Ice Cube goes all out with beats, from the crunking kind (from Jiggalo and Bangladesh) to the creased khakis and Chucks kind (Sir Jinx, Hallway Productions) behind Cube’s unrelenting Westinfested war cries. Too West Coast features Westside Connect ion’s WC and narrator Keith David followed up by lead singles I Rep That West and Drink The Kool-Aid respect ively. Staying in step with a generation belonging to his son and fellow MC, Doughboy features

THE QEMISTS Spirit In The System (Ninja Tune/Inertia)

One always feels a little guilty criticising truly talented musicians, and The Qemists’ Spirit In The System is probably one of the best demonst rations as to why that you’re likely to find this year. The Brighton trio are among some of the most talented sonic artisans currently operating within dance music and their sophomore album is an almost irresist ible work of commercial drum’n’bass genius – but one st ill expects more of the group. There is no denying the craftsmanship behind explosive rave-ups like Fading Halo or Life’s Too Short, or the canny accessibility of anthemic mid-tempo numbers like Dirty Words or Apocalypse. The entire record is basically a Dummies’ Guide for anyone looking to do Pendulum’s rock-inflected drum’n’bass correct ly


with OMG on She Couldn’t Make It On Her Own – father and son trade raps about pimping over some ATL crunk bleeps and bottom bass by Bangladesh. A Milli Martian beat bounces like a 6-4 as No Country For Young Men suddenly spikes a rise in the LP. Here, Cube references Hollywood’s pop culture in one of those simple-ass jams that gets buried in an album. Hood Robbin’ finds Cube going comic book hero on corporate bullies with Suave House’s T-Mix who keeps the beats jingling through Your Money Or Your Life. Concluding his one-sided argument, Ice Cube serenades the night-life of his LA over places like Miami on the R&B laden Fliptones track Nothing Like LA and reinstates his allegiance to the west – though the beats go down more like Southern syrup than gin and juice. If I Am The West is any indication, it seems there is nothing new to be said by Ice Cube. RIP NICHOLSON

– but the band are capable of so much more. Spirit In The System is an incredible party album – fun, energetic, aggressive and damn wellmade. It is not, however, last ing or particularly inventive. Th is is not suggest the band should throw in the d’n’b towel and become a Radiohead tribute act, but one can’t help but feel the group are capable of offering something more challenging and rewarding than their current Chase & Status/Pendulum hybrid. The record’s true artist ic potential is glimpsed only in moments – the live drum-breaks of The Only Love Song, or Kellermensch’s lonesome blues-inflected vocal on the pounding Bones. Hurt Less is perhaps the only comprehensive example of the band’s potential for greatness, a barnstormer decorated by clever stabs of originality like tom-heavy drum patterns and, most affect ingly, guest vocalist Jenna G’s poetic meditations on self-medication. Stunning. MATT O’NEILL

TODDLA T FEAT WAYNE MARSHALL Sky Surfing (Ninja Tune/Inertia)

Conversely I’m pretty suspicious of non-UK Funky, psuedo-hollertronic attempts to mix house with dancehall/rap these days, probably because it’s usually so smug and limp sounding. Thankfully Toddla T’s Sky Surfing is a bouncy ragga-house anthem with awesome piano vamps and singjay Marshall in fine form. Unsurprisingly, this comes with spot-on funky and bassline remixes from Douster and DJ Q.

KYLIE MINOGUE Get Outta My Way (Warner)

Th is is widely being hailed as a fine, classic Kylie anthem – is it Jacques Lu Cont’s signature blurry, bruised synth-chords, or the manic procession of Kylie’s vocal hooks culminating in a huge chorus? Of course, it’s both, and while Get Outta My Way doesn’t quite match Love At First Sight or The One, deathless dancefloor singalongs are so obviously Kylie’s st rength it’s a wonder she tries anything else. TIM FINNEY

3DPLAYLIST 3D 1. Super Space Dope Funk FLATWOUND 2. Bag Raiders BAG RAIDERS 3. In The House VARIOUS/TENSNAKE 4. The Traveller SHED 5. Watergate 07 VARIOUS/LEE JONES 6. Italo Crimewave HUMAN LIFE 7. Airplane SUB FOCUS 8. Laser Storm ELROY 4.0 9. May Day Radio WESTERNSYNTHETICS 10. Clubbers Guide To Breaks VARIOUS/KID KENOBI & MC SHURESHOCK




here is something called fashionably late,” laughs Torbjørn Brundtland, addressing why synth-full Norwegians Röyksopp are only just getting around to releasing an album that was originally touted for release in 2009. “That is not our official policy, but I like to get people’s expectations up. Even if we don’t live up to them at least people get relieved when we finally show ourselves.” ‘Fashionably late’ isn’t, of course, the real reason why the public are only just getting their ears on Senior, the brooding and introspect ive companion fl ipside to last year’s exuberant Junior. But like most things to come out of Röyksopp, it sure sounds cool. “Seriously though,” Torbjørn tries again, this time dislodging the tongue from his cheek, “they were meant to be a lot closer together, which would have underlined how they were connected a bit more; the truth about the gap is most ly about giving the albums the attention they need.” Arriving at a time when the traditional album concept has been rendered almost obsolete by the cherry-picking age of downloading, it’s even more surprising that Röyksopp would commit not simply to a dual album arrangement, but make the second so unashamedly uncommercial it doesn’t feature one obvious single among its nine tracks. Senior in fact has far more in common with Vangelis circa Blade Runner than it does uplifting hookladen cues like Happy Up Here from its younger celebrated sibling. “We were not expecting people to be prepared for it, but it seems they are,” a relieved Torbjørn admits. “It seems to us as if people have understood the concept. We’ve always had a fascination for the energy level in music, from really energetic music with the emphasis on rhythms, hooks and vocals, to something that doesn’t really feel like it gives you energy at all – music that’s more low-key, and probably looked upon as more personal and lonesome experience. “We don’t feel that our universe should just contain one of the two extremes, it should incorporate it all, and on Junior/Senior we just wanted to purify the expressions: make Junior this instant, in-your-face catchy, uplifting, energetic piece, and Senior dwell on music that’s not necessarily catchy at all – that has to grow

with you in order to be enjoyed.” With Torbjørn and his partner Svein Berge each hitting their mid-30s, and eight years having elapsed since their magnificent debut Melody AM gave the world the euphoric twinkling of Eple, now might seem a reasonable time to expect a record which takes stock of advancing years. Yet Torbjørn maintains that to Svein and himself, who began collaborating nearly two decades ago, taking a reflect ive approach to music making is certainly nothing new. “I think it’s no different now than it was 20 years ago,” he offers. “Ever since we were kids we’ve had this pensive side, a philosophical side, not only did we enjoy computer games and fi lms like Aliens and The Abyss, but discussing philosophical sides of life, which tends to be more a ‘senior’ thing to do. We have both of these sides in us, and don’t see how they’re mutually exclusive in any way. They’re just part of a whole; to be able to be childish and enjoy the simple pleasures, but at the same time be analytical, and look at the broader mechanics of life.”

The true challenge of making Senior, he insists, wasn’t so much tapping into a new emotional palette, as writing an album designed to be experienced in its entirety, rather than mined for a few radio-friendly standout tracks. “It’s certainly more difficult to write an album than it is random songs, because there is something that happens when you put music together – songs can act ually kill each other,” Torbjørn explains. “If you’re making tracks that are meant to be listened to by themselves you don’t have to worry. So it’s a bit const raining making an album; we just thought it would be nice to do this now while people st ill know what an album is. The worst part of making it was that some people could be disappointed, and we hate to disappoint people.” Dramatic a departure as Senior is, it not only threatens to rub existing fans up the wrong way, but misrepresent the duo’s oeuvre to new listeners looking to begin their education on album number four. Which made the record label’s willingness to sign off on the project even more remarkable. “If you’re trying to do anything with a label these days you will find that they’re limited in what they’re willing to do – record companies nowadays don’t like to take chances,” Torbjørn rues. “So we were just astonished that EMI would be on board. It’s great that we’ve reached a point where we have so much trust that people are willing to jump on board a project like this with us, knowing that there’s not going to be a radio hit anywhere.” The Junior/Senior experiment finished release-

wise, Röyksopp are now conceiving the best live format to suit playing an album that doesn’t exact ly encourage jumping around (“we’re thinking to a seated audience”) but fear not, when Brundtland and Berge make their long overdue visit to Australian shores, they’ll very much be in party mode. “Playing in Australia has become a joke because there’s been so many times we’ve attempted to come and there’s always been something in the way. But I do hope we can make it out, and not just limit ourselves to playing Senior, but perform the whole shebang, our whole spectrum,” Torbjørn says. “So we’ll see you in 2055…” WHO: Röyksopp WHAT: Senior (EMI)






ogether with his brother David “Denman Rockers”, Trevor Destouche – better known as Flinty Badman – formed the Ragga Twins MC duo back in London circa 1990. Early on, the Twins hooked up with product ion team Shut Up And Dance who, apart from getting into a fair bit of trouble cheekily using noncleared samples, also recorded and released several singles and 1995’s debut album Reggae Owes Me Money. “You never think that you are going to be in it for so long, you just work hard and hopefully stay in the game long enough,” Destouche speaks with genuine sincerity. “We always knew that our talent was good enough to take us to a certain level and we’ve done quite well in the music, when we started we didn’t know the Ragga Twins would last 20 years and we’re glad to have done that. It’s a real good achievement I think.” Surprisingly, 2010 marks the fi rst time the Ragga Twins will make it to this side of the world, performing at Paradise In Bali in November. Destouche explains how they came to be involved with the fest ival. “Utah Jazz was out there [Aust ralia] last year, he said to me that a guy was asking about the Ragga Twins. I contacted Alex [Jungle Box] and he was down for it – he was down for what we wanted to do,” he says, adding that their trip to the southern hemisphere had been a long time coming. “We’ve been waiting for years to get out there, man,” Destouche exclaims. “I wish we were going for a month, but we will make the most of it while we are there.” Destouche says the duo have a sweet show in store too. “Expect a lot of energy, a good show – a good party you know,” says Flinty, who


will be accompanied by DJ Krucial and several other vocalists, debuting new material from their forthcoming releases, True To The Game mixtape and their second album. “There is going to be a bit extra [at Paradise],” he reveals, “Because this is the fi rst time we have been there, we are going to have to put on the performance of our lives.” Paradise won’t be the fi rst time the Ragga Twins have hit a main stage before – though as Destouche explains, a past experience back in 2006 didn’t quite go to plan. “We did Glastonbury for the fi rst time this year, which was amazing. Last time we were meant to do Glastonbury it was raining a lot and when we got there was no way we could have got to our stage,” he says glumly, “We didn’t have our wellies, we would have got soaked! We got to Glastonbury and everything, parked up, but just couldn’t make our way to the stage.”


With 20 years in the scene, Destouche is unfazed with prospect of performing to a new generation. “I would think a lot of them know about us, maybe even from their parents,” he says. “We go a few places and we meet a lot of people and they say things like ‘Yeah I said to my mum I’m going out tonight’ and my mum said to me, ‘Where you going?’ And I said ‘Mum I’m going to a club to see the Ragga Twins’ and their Mum would be like ‘Oh, I used to go and see them, you’re going to have a wicked time!’, it makes me sound old,” he laughs. “Hopefully the word has been passed down from their mums and dads and they are looking forward to seeing us.” WHO: Ragga Twins WHERE & WHEN: Paradise In Bali Fest ival at Lotus Pond (Bali) Sunday 14 - Monday 15 November



DE LA HAYE WHERE AND WHEN WAS YOUR FIRST SET? “January 2003 at Liquid Reality, Jubilee. A friend gave me half his set for my 21st birthday present.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “One out of 28 years of music? That’s a hard one but De La Soul – 3 Feet High and Rising and Konfl ict – Messiah (Original) are definitely in there.” WHO ARE YOUR FAVOURITE DJS? “Loxy, DJ Storm, Phace, Nymfo, Randall, Spect raSoul, Kryptic Minds.” FAVOURITE CLUB TO PLAY? “Fest ivals, anything outdoors.’ WHAT’S YOUR BEST ALL TIME GIG? “2009 Sun And Bass Fest ival (yearly week long drum’n’bass fest ival in Sardinia, Italy). I opened the Feline stage (Feline is DJ Storm, Alley Cat, Chickaboo, Alite) in the outdoor area of the main club Ambra Night which looks amazing. Everywhere you look there’s some big name, and on the dancefloor were five of my good friends from here and we’re in Italy – bit surreal but was wicked!” WHAT’S THE WORST REQUEST YOU’VE GOT? “Used to get the ‘have you got something I can sing along to, like...’ a lot but have not had many lately. The last bad one I got was at Liquid Sessions at Ahlumbra, this really drunk chick kept yelling out a country singer, have completely forgotten which one but it was at a d’n’b night.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “My sister just told me that Dad tells everyone he has a famous DJ for a daughter (ha), he’s even come along to some events.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “More venues for underground music! Less wanky dress code nonsense.” WHAT GIGS HAVE YOU GOT COMING UP? “Deliverance Pre-Party at the Step Inn Saturday 23, Pistol Whipped at Hot Gossip Sunday 24, Island Vibe Fest ival Saturday 30 October, Deliverance Fest ival After-Party at Birdee Num Num Friday 26 November.” PHOTO BY TERRY SOO AT X & Y BAR



GROOVE ARMADA = PHIL COLLINS So, anyways, I underst and that the whole Parklife thing is happening, and, yes, for those in the import-export business it marks the beginning of what is effect ively the st rong selling season (Parklife, Spring Racing, Christ mas, NYE, followed by more fest ivals than you can poke a st ick at, running well into April), but what I did notice when I act ually bothered to check the st ate of the music at said fest ival is that Groove Armada act ually remind me of Phil Collins. Now, obviously, the bald skin-basher’s cover of You Can’t Hurry Love could possibly go down as the lowest point in Western civilisation (rivalled by Dire Straits’ Twisting By The Pool – both, frankly, make anything to do with Lady Gaga look like Albert Einstein), and GA obviously haven’t done anything even remotely as crap as that, however, it’s the whole slacks-andcheck-shirt look – ie very sensible, ie very Dad-like – which makes me think that they are act ually the kinds of guys that might act ually listen to Phil Collins, leading me to ponder the possibility of the new Groove Armada record being a ‘great present for Dad this Christ mas’, which is itself a scary thought, particularly if you start seeing guys wearing clothes from Gaz Man driving their Ford Territory around to Black Light.

ANJA SCHNEIDER CHART 1. In My System (Spencer Parker Re-Edit) THE GATHERING 2. Lolo SIS 3. Funky You SEBROK 4. Ride With Me (Matthias Meyer Remix) ROBERTO RODRIGUEZ 5. Breathe (David Labeij Remix) MILTON

JACKSON 6. Kaya DIGITALINE 7. No Need For Chicago AND.ID 8. Varna Vibes (Mr G remix) LAUHAUS 9. Chic Easy SEAN MILLER 10. Calling Chicago SOUL MIGRANTZ




PRODUCT WATCH: MICHAEL JACKSON – THE EXPERIENCE MJ’s post humous new video game raises the quest ion of what act ually const itutes a Michael Jackson ‘experience’. If someone came up to you in the st reet and said to you, “I just had a Michael Jackson-esque experience”, would you assume that: a) their children or possibly they had just been molested by a weird, skin-bleaching pop star; b) they’d turned up to the Grammys with Brooke Shields and/or a chimpanzee; c) they’d just had their music video directed by Martin Scorsese; or d) they’d found themselves taking cheap shots at a dead, weird and tragic figure. Yes, the answer is d).


PRODUCT WATCH II: JAY Z DECODED Precisely why anyone has to attribute greater meaning to Jay-Z’s lyrics through some utterly misguided intersect ion with 20th century art will go down as one of the greatest mysteries of the decade, rivalled only by the mystery of how the fuck Crazy Frog act ually happened. At what point do people need detailed explication of “Now that’s Spanish chick, French chick, Indian and Black/That’s fried chicken, curry chicken, damn I’m gettin’ fat”? What’s fucking next: Cliffs Notes for Lil Jon and the West side Boyz?

Flight Facilities and Giselle’s cracking debut track Crave You has only recently received the fi lm clip treatment via Melbourne collect ive Moop Jaw (responsible for clips from Sally Seltmann and Via Tania among others), with a st unning model dancing in a suburban front yard housing a smoke machine and some nice gender-bending mirror imagery going down...



WHAT INSPIRED YOUR DJ NAME? “The term ‘twobble’ is yet defined, but we have intentions to establish it as an everyday household name in the future.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “A blend of heavy elect ro house, wobbly basslines and funky hip hop infused with a mash-up of nuskool, old-skool and even primary school party favourites.” WHAT TRACK TURNS YOU ON RIGHT NOW? RB: “Kraymer – Like This (Figure Remix). As the Italians would say – this song makes me ‘arrapato’.” JR: “Jack Beats – Out Of Body, makes me moist.”

WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “A nightclub is a weird environment, but to look up mid-set to see both our mums rocking out to dubstep is way up there.”


TWOBBLE TWINS WHAT MADE YOU START DJING? “We both had early influences from the rave culture, but our passion to deliver high energetic, fun fi lled sets that appealed to most stereotypes of society inspired us to join forces and with our powers combined we are the Twobble Twins.”

THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “There are so many lame song requests, like Lady Gaga – someone seriously has to do something about her/him. But the most idiotic request was when fest ival organisers told us to stop playing after the crowd had broken through the security barrier.”

WHERE & WHEN: “Front Left Party at The Coffs Hotel (Coffs Harbour) Friday 8 October, Trip Kicks Indoor Fest ival The Great Northern Hotel (Byron Bay) Saturday 9 October, Open Arms Fest ival Coffs Harbour Showgrounds Saturday 20 November.”


A few years ago Lady Gaga, or Stefani Joanne Angelina Germanotta as she was known as back in the day, was just another wannabe star slogging it out in New York. Now that Gaga has well and truly unleashed herself on the world and reaped the financial rewards ($62 million this year), everyone involved in launching her career is looking to cash in. Last month former boyfriend and producer Rob Fusari settled a $30 million lawsuit against the star, and now singer-songwriter Wendy Starland, who claims to have introduced Gaga and Fusari, has her paws in Gaga’s wallet too. (Anyone else think that’s a bit of a st retch? Compensation for an introduct ion – really?) Starland claims Fusari promised her that “if she could find and introduce him to such a singer, they would work together to develop the singer and share equally in any revenues earned as a result”. Starland says she was cut out of the deal after Germanotta signed a record contract with a major label

and is therefore suing for breach of an (oral) contract. So what does Lady Gaga make of all this? Well she has bigger concerns – fighting for the rights of her gay and lesbian fanbase, the singer is on the warpath to against discriminatory US military laws. Th is quote sums up her case “Equality is the prime rib of America, but because I’m gay, I don’t get to enjoy the greatest cut of meat my country has to offer.” Yeah, it doesn’t make sense to us either...


2. The Queen Is Dead THE SMITHS 3. Hail To The Th ief RADIOHEAD 4. 100th Window MASSIVE ATTACK 5. The Secret Life Of Punks VARIOUS


6. Royal Highness KOTTONMOUTH KINGS 7. Mind Control STEPHEN MARLEY 8. Solid Rock TEMPTATIONS 9. Before We Were So Rudely Interrupted ANIMALS 10. Const rictor ALICE COOPER


THE IDEA BEHIND OUR NIGHT IS… “To launch our brand new future beat record label Ender – a new local record label born from the flourishing Brisbane bass scene. With an artist roster of local and international producers frying up low-slung frequencies, colour saturated synth work and swerving drum rhythms, the future of the label is in exuberant hands. As an international guest, we have none other than the UK’s Deadboy. This is going to be a properly fucking sick party with lots of exclusive label giveaways on the night. So bring some crew and come and be a part of it!” WE’LL BE PIMPING THE SOUNDS OF… “Dubstep, glitch hop, UK garage, future beats, hip hop.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Deadboy (Numbers, UK), The Ender Roster, Elroy 4.0, Herts, Puzahki, Epoch (NZ) and Walrii (Dank Morass).” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Exclusive label giveaways including CDs, T-shirts and st ickers.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Free entry, sick beats, massive basslines and wobbly synths, reasonably priced drinks.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Exclusive live sets from local producers and a hot UK producer.” WHERE & WHEN: Ender Record Label

Launch at Barsoma Saturday 9 October










1 Mirror Mirror Agency Launch @ Lightspace


2 Residents @ The Met

3 Saturday @ Chalk Hotel 4 Saturday @ Limes Hotel 5 Second Birthday @ White Lotus




3 3










2 4








BRISBANE POWERHOUSE Open Frame Festival: Sun Araw, Oren Ambarchi and more. THE REGATTA Frat Club: DJ Paul Bell, DJ Pete Smith, DJ Mark Z. 9pm. Free. UBER Whatever Wednesdays: Van Miert, Danny Cool, Master P, DJ Vita, Morgan Baker, Jimmy Vegas, Tom Gazal, Fef, Sneaky Pete, Habebe. X & Y BAR The Catchment, Holly Terrens, Maggie Collins. ZURI Sushi Remixed: Zen Zen Zo, Danny T, Jimmy Vegas 8:30pm. Free.

THURSDAY ALHAMBRA Tri-Lambda: The Shake Up, Boss Moxi, Bleeding Knees Club DJ set. BIRDEE NUM NUM Birds and Bees Student Party. 9pm. ELECTRIC PLAYGROUND Everything Else $ux: Murray Brown, Wahoo, Kayli, Morgan Baker, DJ Josh, Censor This, Sketti, Huckleberry Thinn. 7pm. DANNY COOL

8:30pm. Free. GALLERY OF MODERN ART Up Late: Kid Kenobi. 5:30.$20. GILHOOLEYS IRISH TAVERN DJ Danny B. GPO Jimmy Vegas and Friends. 9pm. Free before 11pm/$5 after. KALIBER Jungle Fridays: Chris Kelly. 5pm. LALALAND Daniel Webber & Ryan Rushton. THE MET Neon Nights: Grant Smillie, Nick Galea, Murray Brown, Pete Smith vs Andee. MYSTIQUE DJs Tuini, Blaze, Master D, Kenny Hustle. MONASTERY Black Candy: One Man Party. NARANGBA VALLEY TAVERN DJ Quintrixx. 9:30. $5. PLATINUM Peter Mayes, Gerry Morales, Craig Roberts, Joey Mojo. 9pm. $10. PRESSURE LOUNGE DJ Mista, DJ Ricky D. 9pm. $8. THE REGATTA Dubs [live], DJs: Paul Bell, Mark Z, Scotty R. 6pm. Free. STEP INN Monster Mash – Let There Be Laptops: Jason Forrest, Yobkiss, Monster Zoku Onsomb Monster, WTEM, DJ Peer Pressure. 8:30pm. $10/$8 before 10:30pm. SQUEEZE CLUB DJ Climate, DJ Adz. UBER DJs Van Miert, Chris Kelly. X & Y BAR The Ninjas, The Royal Orleans. ZURI Zuri 2nd Birthday: DJ Chantal, Monique Unique, Bela De Fro, Benn Hopkins, Jason Rouse, Matt Kitshon. 6pm. Free.


FITZY’S Vita, Climate, Juicey. Free. GLASS BAR Kerbside Collection. 8:30pm. Free. KALIBER Kaliber Open Decks. 8pm. Free. MANA BAR Pocket Music: Bit Shifter, Nullsleep, Hunz, Dot. Ay. MERMAID BEACH TAVERN Rewind: DJ Nik Conomos. Free. MONASTERY Dirty Thursdays. $5 with Uni ID, $10 without. X & Y BAR Dusinane, Friends of Ben. ZURI Urban DJ Nino Brown, Junior, Mr Sparkles. 9pm. Free entry.

FRIDAY ALHAMBRA Aniki ft. Butterz, Charlie Hustle, LL Cool James. BARSOMA Hybrid, Sangers, Adam Swain, Dan Abbott. 8pm. $20. ELSEWHERE Electronic Boogie Show: Audun. 10pm. EXCHANGE HOTEL Charlie Hustle, Dan, Mitch, Kurt, TJ. FAMILY BASEMENT Starfuckers: Hookie, Mr Disorder, Trentertainment, Knickers, Sveta, Karma, Harry K. $15. Free before 10pm/Members $10 or free before 11pm. FAMILY TOP FLOOR Brand Spank’d: Moonchild, Jordan Who? Tim Fuchs, Dr Rob. Free before 10pm/Members $10 or free before 11pm. FUSION VILLA NOOSA Venus Envy & DJ.

ALHAMBRA Jason Morely, Aydos, Zach Salar, Darren Skaar. BARSOMA Ender Record Label Launch: Deadboy, DJ Deadly, Elroy 4.0, Puzahki, Epoch, Walrii, Herts. Free entry. ELSEWHERE Secret Love Heros: DJ Khris and Thomas J.10pm. EXCHANGE HOTEL Van Miert, Dan, Mitch, Kurt, TJ. FAMILY BASEMENT Jeremy Iliev, Chris Wilson, Habebe, Tim Plunkett, Jason Morley. FAMILY TOP FLOOR Hey! Hey!: Dub Thugs DJs, Nick Thayer, Tag Team, Wolfie, Danny T, ONE MAN PARTY

Seany, The Judy Dolls. FUSION VILLA NOOSA Greg Jackson. 9pm. Free. THE HI-FI Brisbane Sounds Hip Hop Showcase: The Optimen, Rainman, Vegas Aces, BroadKast. GPO Derek K and Residents. 9pm. Free before 10pm/$10 after. HOT GOSSIP Juicy, Vita, Link On, Khesrow, Humane, Hosted by Knovell Capote. 9pm. $15 after 10pm. LALALANDRhys Bynon & Miles Jr, Easy P & Stu Lister. MONASTERY Elmo Is Dead, Luki, Noy, JMAC, Sketti, K Oh!. Free before 10pm/$10 after. MYSTIQUE Blaze, Metal Jacket, Masta D. 9pm. $15. THE MET Disko Diva, Murray Brown, Pete Smith, Andee, Nick Galea. PLATINUM Goodwill, Gerry Morales, Craig Roberts, Joey Mojo. 9pm. $20. THE REGATTA Scotty R, Bossy, Mark Z.9pm. Free. RUBY TRAMP Residents: Down n Dirty DJs, Splice. 10pm. $10. UBER DJs Van Miert, Chris Kelly. 7pm. ZURI MC Jamie Lee Wilson, Benn Hopkins, Matt Kitshon, Mick Burill. Free entry.

SUNDAY ELSEWHERE Sunday Night Royal: Stretch Paper Cranes, Giv. 10pm. ELECTRIC PLAYGROUND Praxis & Dubthugz: Doctor P. 10pm. FAMILY BASEMENT Fluffy: Harry K, Karma. $10. Free before 10pm. KALIBER Jules Woo. 6-8pm. LALALAND Easy P, Stu Lister. SKY ROOM Marc Marzenit. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO BRISBANE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION




BEST HIP HOP/URBAN ALBUM URTHBOY Spitshine (Elefant Traks/ Inertia)



Following two prior nominations, 2010 has proved to be a great year for Tim Levison aka Urthboy. He beat an impressive list of nominees, two of whom – Horrorshow and Ozi Batla – are signed to his own independent record label Elefant Traks. Levinson’s third solo album has proven to be his most successful to date, having also been nominated for an Aust ralian Music Prize in 2009. Outside of music, Sydney-based Levison has contributed to a number of community programs, most recently penning a song in support of youth mental health awareness group Reach Out. Urthboy, M-Phazes and Lowrider have also been nominated for ARIA Awards alongside Bliss N Eso and Space Invadas. THE CONTENDERS Horrorshow – Inside Story (Elefant Traks/Inertia) Lowrider – Round The World (Illusive) M-Phazes – Good Gracious (Obese Records) Ozi Batla – Wild Colonial (Elefant Traks/Inertia)

BEST DANCE RELEASE Art vs Science – Magic Fountain (Green/MGM) Miami Horror – Sometimes (EMI) Midnight Juggernauts – The Crystal Axis (Siberia/Inertia) Pendulum – Immersion (Warner Bros UK) Yolanda Be Cool and DCUP – We No Speak Americano (Sweat it Out/ Central Station)

BEST URBAN ALBUM Bliss N Eso – Running on Air (Illusive) Lowrider – Round The World (Illusive) M-Phazes – Good Gracious (Obese Records) Space Invadas – Soul:Fi (Invada/Inertia) Urthboy – Spitshine (Elefant Traks/Inertia)


The Juggernauts were always going to roll their opposition in this field given their profi le is light years ahed of their competitors, but the result isn’t as cut-and-dried as the uninitiated would think – these are all quality releases. Yet The Crystal Axis is definitely the most epic in scope and achievement, its widescreen bombast perhaps not having the hit parade imapct of its 2007 predecessor Dystopia but certainly being a much more singular listening experience. A rumoured collaboration with Solange Knowles (aka Beyonce’s little sis) was held off for thr starlet’s own forthcoming album release, but the Melbourne trio of Vincent Vendetta, Andrew Szekeres and Daniel Stricker clearly didn’t need her assistance. Midnight Juggernauts are the only nominee to also feature in the ARIA Best Dance Release nomination, with Space Invadas getting a nod in the Best Urban Album category. THE CONTENDERS Faux Pas – Noiseworks (Sensory Projects/Inertia) Jamie Lloyd – Beware Of The Light (Future Classic) Nick Thayer – Just Let It Go (Independent) Opiuo – Slurp And Giggle (Addictech) Space Invadas – Soul:Fi (Invada Records/Remote Control)



AND THE WINNER IS... The next big thing in reality television might just be a show called So You THINK You’re Aust ralia’s Next Top Model?. Because apparently there are no guarantees anymore. But when Sarah Murdoch blundered her way through the finale of Aust ralia’s Next Top Model, she fulfi lled the hopes and dreams of every person who ever sat through a dull reality series and longed for something more. The new recipe is simple and delicious. Get the two finalists on stage and whip them into an absolute frenzy. Remind them, in front of the screaming audience, that after all the blood, sweat and tears, everything comes down to “this moment”. Then announce the wrong person as the winner. Then you drag the moment out while the runner-up (who thinks she just won) delivers an excruciating acceptance speech. Then you freak out, admit the mistake, recrown the proper winner and end the series with everyone standing there looking like a bunch of complete arseholes. Why didn’t somebody think of that before now? Everyone involved in this mess is publicly mortified by it and they have every right to feel that way. It was moronic. But they should take comfort in the fact that none of us act ually cares about the result of a reality show. The only reason I’ve ever watched live reality TV is because I was hoping to see a huge gaffe like this. Hell, I’ve been praying for it. And, like many people, I never even watched Aust ralia’s Next Top Model, I just saw the clip on YouTube. 20 years ago, no one cared who Aust ralia’s favourite dancer was. Or Aust ralia’s favourite housemate. Or our favourite amateur chef. So if these deeply irrelevant quest ions have to be repackaged as top rating prime time entertainment, the least they can do is botch it up completely right at the crucial bit. The predictable twist is that Sarah Murdoch and the two finalists, who all looked like such losers standing together at the end, are act ually total winners. Once you’ve participated in something this hilarious, you can pretty much name your price as far as I’m concerned. And while I doubt any of them will ever reach such zany heights again, we’ll always remember how funny they were at the end of Australia’s Next Top Model. DAVE JORY

DJ SHADOW ENDTRODUCING (Mo’ Wax/FFFR), 1996. Credited as a key figure in developing the experimental inst rumental hip hop st yle associated with the London-based Mo’ Wax label, DJ Shadow’s fi rst full-length work, Endtroducing, featured Lyrics Born and Gift of Gab. It is st ruct ured completely out of sampled elements, including hip hop,jazz, funk, psychedelia, old television shows, interviews and percussion tracks. Endtroducing made the Guinness World Records book for “First Completely Sampled Album” in 2001.


FATBOY SLIM YOU’VE COME A LONG WAY, BABY (Skint), 1999. You’ve Come a Long Way, Baby, Fatboy Slim’s second st uido album set the benchmark for big beat music, receiving praise for its original use of samples and hooks. Gangstar Trippin’ was one of four singles released off the album and sampled DJ Shadow’s Entropy. The songs catchy repetitive lyrics “We gotta get dat gangsta shit” captured the hearts and minds of wannabe gangstas worldwide.

THE THIRD DEGREE LEN STEAL MY SUNSHINE (Work,1999) Canadian alternative rock group Len are best known as a one-hit wonder for their song Steal My Sunshine. The upbeat track encapsulates a fun loving hippy vibe and was a fitting tune for the soundtrack of the cult hipster fl ick Go starring a very unpolished, pre-Tom Katie Holmes. The fi lm which glamourously depicts a group of twentysomethings hust ling drugs, scoring cash and stealing cars also famously featured Fatboy Slim’s tune Gangsta Trippin’ during a pivotal car chase.




The world mourns the past week’s loss of Jimi Heselden, the 62 year old philanthropist and multimillionaire owner of the Segway company. Only acquiring the manufact urer of “rich geek scooters” in December of 2009, the exact cause of death is not yet fully understood. What is known is that Mr Heselden was found at the base of a nine metre cliff at River Wharfe, near his residence in northern England. Found nearby was a Segway-st yle vehicle, believed to be a prototype of an offroad model. To help in their invest igation, the West Yorkshire Police are calling on anyone who might have seen Mr Heselden in the lead up to the accident. The supplied description of “black trousers, black shoes, a light blue shirt and a white sports jacket” seems somewhat conspicuous without the more useful description of “a rich white guy on a ridiculous looking upright scooter”. The Segway itself is a curious by-product of a “not quite The Jetsons” society, mixing a futurist vision with a disregard for pract icality and fashion. The technology is a truly fantast ic mix of gyroscopes, computers and elect ronics, all of which allows the rider to control the device by simply leaning in the direct ion desired. Recent models boast top speeds of up to 19 kilometres per hour, which is hardly going to achieve escape velocity from any situation more serious than being glared at by an unhappy hamster. Falling down a cliff is something close to an impressive achievement for the scooter equivalent of riding a park bench into the path of a gang of Tai Chi pract itioners. Not that the Segway rider is entirely immune to injury, despite clearly being invincible to the mockery of fellow humans. A report from the George Washington Hospital emergency room in Washington DC has specified 41 cases of


Segway related injury between April 2005 and November 2008. Each, no doubt, replete with a story more embarrassing than the usual crop of genitalia-involved emergency room tales. As for the future of Segway? Time will tell. The world domination predicted when the product launched in 2002 never quite occurred, despite the company championing press photos depict ing Google creators Larry Page and Sergey Brin riding early models. Google was, in fact, an early adopter of the scooters for their Googleplex campus at Mountain View, California. Google was also an early adopter of the Snuggie, and the ShamWow towel, so this is less to do with revolutionary, selfbalancing, mobility devices and more to do with billionaires looking to spend their money. All the same, Segway claim to have sold “tens of thousands” of their scooters to date. To those brave masses we at 3D World say: “Keep away from cliff s”. At least until the Inspector Gadget model is released in late 2025. DAVE DRI

tracks like Veridis Quo. That album’s big single, One More Time, featuring Romanthony’s heavily processed cords, signified the apotheosis of French fi lter house.



THIS WEEK: FRENCH TOUCH ‘French touch’ is in many respects too nebulous to exist as a genre – it’s less a sound than an ethos. In the 90s Daft Punk’s fi lter house and Air’s spacey, dreamy downbeat represented the dual aspects of French touch. Common to both st rains was the influence of an earlier European (and French) disco st yle, the original space disco, as pioneered by Cerrone – plus a very Gallic eccentricity. Daft Punk’s Thomas Bangalter is the son of French disco producer Daniel Vangarde, something he’s always played down. Daft Punk initially released singles through Slam’s Soma imprint in Glasgow, their music a synthesis of disco, elect ro, house, techno and acid. The duo, already reluctant to show their faces, signed to Virgin and presented 1997’s cult Homework. One of the tracks is Teachers, in which they pay props to the US figures inspiring them – and this reverence for black (and Hispanic) American music was important to the ‘clubbier’ French touch. In fact, Chicago’s DJ Sneak created a template for fi lter house, his defining moment the mid-90s’ You Can’t Hide From Your Bud on Classic. But the French weren’t merely emulating. They put their own touch to the music. It was more ‘pop’ – yet playful.



Overview: Fashion Label owner and cultural commentator Sarah Jane Owen blogs about her many loves including pop art, hip hop, tattoos, fashion, advertising and celebrities. Design: Classy and simple. Lady SJ’s minimalist st yle of layout and design perfect ly contrast the busy and bright images posted. Recent Posts: Betty Boo (Sex Bomb Cartoon). London face tattoo. Batman tights. Frida Kahlo in Calvin Klein advertisement. Quality Of Content: While the subject ive musings of one


At the opposite end of French touch were Air. The pair’s 1998 breakthrough Moon Safari, with singles such as Sexy Boy, references their indie roots, elect ronic producers like Jean Michel Jarre, soundtrack composer Ennio Morricone, and Serge Gainsbourg. In the same way that, as Motorbass, Philippe Zdar (later of Cassius) and Etienne de Crecy pre-empted Daft Punk’s French house, Dimitri From Paris unveiled his loungey Sacre Bleu before Air’s

Moon Safari. The two tangents of French touch converged when, in 2001, Daft Punk, then enamoured with art rockers ELO, veered off into synthpop on Discovery

Bangalter had a hand in other French house classics: Bob Sinclar’s early Gym Tonic, Stardust’s Music Sounds Better With You (alongside Alan Braxe), and So Much Love To Give (with DJ Falcon, Braxe’s cousin). Today French touch has largely been superseded by the French noise associated with Just ice, who’re signed to Ed Banger, the label of one time Daft Punk manager Pedro Winter.


WONDER IF “IBIEBS FULLY UNDERSTANDS... JUST person’s perspect ive on culture are often nauseatingly narcissist ic and self indulgent, Lady SJ’s tend to be more about appreciation of the images and videos posted rather than her opinion of them. Frequency Of Updates: Weekly. Downloads/ Streaming: Video st reaming. No

downloads. Plenty of links. Audience: Probably more of an interest to girls but only slightly. Men’s st reet wear and tattoos are a recurring theme. Great blog for artist ic inspiration, new trends and subcultural happenings. WWW: www.






HOW DID YOU CHOOSE YOUR MC NAME? “Well, my real name is Chance – I think there’s something about bad puns and ‘Ph’ Fs that captured the 15-year-old version of myself – Phrase and Drapht are working it too, ha ha.”


HOW LONG HAVE YOU BEEN RAPPING? “Well, I’m 22 now, my fi rst onstage appearance was battling at 16 – but I’d been dabbling (albeit poorly) before then.”

FAVOURITE COMEBACK LINE? “I don’t really do ‘lines’, I prefer awkward noncommital rambling.” WHAT’S YOUR DREAM COLLABORATION? “Probably Death Cab For Cutie, this is only because my girlfriend would likely see st raight through the Katy Perry track.”

ARE YOU AFFILIATED WITH ANY CREW? “I Forget, Sorry!” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “It was launching a games room at a library in Glebe, there were three of us in my group at the time, there were two microphones both plugged into an off yellow speaker your grandma might use for Karaoke nights at hers. The crowd of 4-11 year olds were rapt with our

of food coloured flour water and Dulux. I ruined maybe three sets of clothes in total, I’m st ill picking paint out of my hair.”

performance and became lifetime fans – only one of them cried.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “Not personally, but my stage partner Coptic Soldier is a big fan of the cheeky spew, it only takes half a middie of light to get him going.” WHAT’S THAT ON YOUR SHIRT THERE? “Funnily enough, dried paint. We shot a clip for Inkstains yesterday involving about 60 litres

WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “Probably the diversity and competition, there’s such a small pie and so many talented artists vying for a piece that the overall sound and output is really impressive. Only a few years ago I found it a real challenge to find local CDs I enjoyed, nowadays it’s a st ruggle to keep up with who is doing what – the younger generation are very innovative.”

WHERE & WHEN: The Brewery Hotel Thursday 14 October, Beetle Bar Friday 15 October

COSMO CATER CHART 1. Junofest DEXTER 2. Epic VINCENZO & LOVEBIRDS 3. OFI (Mad Mike Remix) MODEL 500 4. Smoke ‘n Mirrors (Bottin Remix) ALI LOVE 5. Milky Way CLAES ROSEN 6. Japanese Garden THE MODEL

7. Let Me FOURWARD 8. Any Which Way (Tensnake Remix) SCISSOR SISTERS 9. Timeshift SUBTECH 10. Words (Jester Dub Mix) GOOSE WHERE & WHEN:

Barsoma Saturday 4 December and Friday 31 December


Let me ask you a quest ion – when a man wandering around on the st reet comes up to you, wearing his wig on backwards, hands you a brochure and tells you that we are all cloned from an alien race who lived on Mars millions of years ago, do you believe him, just because he said that Tom Cruise told him so? No, you do not. You would make the decision that his sources were not sound enough for you to believe him. And yet, in the world of journalism, as soon as someone says any crazy shit, their claim, no matter how unfounded or how outrageous it is, is available to every other media source in existence as a valid source of information. Take, for example, the tale of ‘Th e Fat Finger.’ Earlier this year a st ory broke about how the stock market crashed because a stockbroker had mashed his keyboard with his chubby fi nger, accidentally adding a ‘b’ for billion, inst ead of ‘m’ for million to the price of some stock that he was trying to sell, and this freaked out all the other stockbrokers, who st arted selling the shit out of everything they owned. When reporting on the incident, every news source in existence was happy to report on the story. What no one ever stopped to find out was that it’s not in any way possible for a typo to fuck up the stock market. If it was, the stock market would constantly be getting wiped off the face of the planet. But no one bothered to check up on that, nor did they want to, because it made for such entertaining news. So where did this claim come from? Well, it could have been literally anyone. US news force CNBC were the fi rst ones to make the claim, simply saying that they had heard it from “several sources”, without ever bothering to explain who all these sources were, and if they were crazy. From there, all other media sources then simply cited CNBC’s as their source for the story. Who doesn’t love this round-and-round kind of media? Using this kind of approach, you can pretty much say anything in the media and get away with it. For example, did you know that Barack Obama is act ually from Venus? Who are my sources? Oh, you know, a guy wearing his wig on backwards told me. Isn’t that a good enough source for you? HOLLY HUTCHINSON




While everyone else switches from long pants to shorts for the summer, sportsmen switch from shorts to long pants as we bid farewell to the footy season and say hello to Pakistan’s fave pastime. Here’s how we saw that last week fashion unconcious football.


ARTIST NAME: Shaggy Bat ARTWORK TITLE: Exposed FROM: North Perth, WA DESCRIPTION OF WORK: “Growing up I thought if I could just get one piece of art in a ‘proper’ art gallery then I would be completely and utterly content. Th is moment has come and gone a few times and yet I have discovered that while it is a good feeling it is not contentment. I have discovered that it is in the little moments of raw creativity like drawing with crayons alongside my little niece and nephew that I find out what being an artist is all about... simple joy shared! It is the simple, frightening and yet beautiful gift of being known that keeps drawing me back time and time again to discover that there is beauty amidst the ashes of life. The gazelle is me and the bird represents the freedom of knowing that I am loved.” The winner of the Aust ralian Stencil Art Prize is announced at Oh Really Gallery (Sydney) Thursday 11 November at 4:30pm.


ARTIST NAME: James Ottaway ARTWORK TITLE: Art Defines Us FROM: Launceston,TAS DESCRIPTION OF WORK: “My name is James or Earwig, I have been an art appreciator for a long time, I recently discovered the artist ‘Banksy’ who inspired me into Street Art. I have been making stencils for almost two years. Th is is A 5 layered stencil self portrait in which I am painting my own body into existence. Materials include 5 spray paints; 3 ‘White Knight’ Quick Dry Gloss Enamel, 1 ‘Aust ralian Export’ and 1 ‘Fiddly Bits’ High gloss enamel. Colours include bright green, heritage green, cream, ochre and matt black. 1 ‘Renoir’. Canvas panel is 100% cotton.”




Collingwood’s readiness for the challenge following the week before’s draw. Crucially, pivotal players who had quiet games last week – Pendlebury, Swan, Jolly, O’Brien, Ball – stepped up to match their gallant teammates. Heath Shaw and Daisy Thomas, the skipper Nick Maxwell and Sharrod Wellingham were all superb. And Steele Sidebottom? What a match from such a young player. The noise of the Collingwood army was electrifying. Well done Mick, Eddie, the players and the rest of the ferals.

Wayne Bennett. Is he now the greatest coach in League history? The Dragons victory has installed him as a seventime winning premiership coach. After taking on the job at St George in 2009, he led the Dragons to the minor premiership in his first year, before claiming this year’s title to cement him as one of the all time greats.

St Kilda’s bottom six. It always looked like they’d struggle and, man, did they. Eddy, Peak, McQualter, McEvoy, Baker and Dawson might as well have been sitting in the cheer squad. Saints need to do some recruiting – and fast. Stephen Milne had a shocker. The Sniveller went from almost immortal to virtual spectator this week.

The Roosters’ second half. Sure, they finished last in 2009 and should be mighty proud of making this year’s decider, but the second half they dished up at Telstra Stadium was atrocious. After leading 8-6 at halftime, the Roosters crumbled to a demoralizing 32-8 defeat, with their defence opening up wider than the dunny door at George Michael’s place.

St Kilda’s kicking for goal. No side can be one goal, eight points at halftime in a Grand Final and expect to still be in the contest. But Nick Riewoldt’s rushed behind, when Heath Shaw snuck up on him on the goal line and spoiled a certain goal, signalled it was not to be St Kilda’s day. Ugly, too, is the prospect of a Pies dynasty. Please, God, no.

The death of a man during celebrations for the Dragons’ grand final win. Police allegedly used a taser to subdue one man who was later arrested and taken to St George police station, yet a second man was not so lucky after first being capsicum sprayed by police, before losing consciousness and taken to hospital, where he later died. The incident was a deeply saddening end to what has been the worst year for the NRL in its history.

Lionel Richie’s choice as Grand Final entertainment. Surely an Oz act could have been scrounged. What was even more startling was the crowd’s love of the former Commodores frontman – seriously, WTF?

Melbourne’s Channel 9 coverage of the Grand Final. Although the city is, and will forever be, AFL mad, there are still some NRL followers in Victoria who would have loved to have seen the medal presentations. Instead, Melburnians had to wait for the next day’s paper to see that Rooster fullback Darius Boyd had won the Clive Churchill medal. And if they wanted to see the elation on the Dragons’ players’ faces after 31-year premiership drought then forget it – the coverage finished a minute after the final siren.



THE BIG PICTURE It took over 100 years for Aust ralia to get its fi rst Indigenous representative in the House Of Representatives. Dressed for the occasion, Ken Wyatt, acknowledged the traditional owners of the land where the house stands, the Ngunnawal people, as well as the Nyungar people of Western Aust ralia, the land he now represents. Julia Gillard’s st ylist could learn a thing or two about making an impression from Mr Wyatt – Ms Gillard is so beige she makes Richie Benaud look adventurous.

TUBETIME The incredible world of television with 5SPROCKET

In the last week Channel 7 launched 7mate, a digital channel for men, while Channel 9 launched GEM, a digital channel for women. 7mate: It’s good to be a man. Men can do anything they set their minds to, simply because they are men. We can grow facial hair and laugh, like kings, at those lesser men that cannot. If our hair recedes we put on a hat or glass someone. I love Carlton Draught. The best thing about cars is how fast they can go, and the way your guts shake with satisfact ion at the sexual roar of the motor (Fifth Gear). Hate cats. Love dogs. They should put on more ‘real’ comedies like Major Payne and that one about the midget that was a bank robber. I like to watch people cut down trees (Ax Men). Power boat. Ride on lawn mower. Bunnings Warehouse. Magnum PI. Th is shit’s fucking gold. No, seriously mate, it’s like Sesame Street but they call up a Chinese restaurant and Christ, you’ve just got to see it (Crank Yankers). Re-energise. Refresh. Rethink. Family Guy. Hard day at the office, just good to sit down. Scrubs. That’s a nice barbecue. You know what they need – Cool Runnings. Fishing lure. 4WD outback getaway. Steak. Jason Fuckin’ Statham. He’s a serious man right there. Get me a beer. It’s good to be a man. GEM: As a woman I love a good story. Th ings that make me involved; you know, stories that relate to the sensitive side that defines me entirely as a person. Friends was such a great show, if only it could be on television every single day. That Joey makes me laugh so much. I don’t get much down time, what with Cooper’s soccer and Jessica’s piano and tap dance lessons. I always feel like there is a million things to do! It’s so nice to see that episode of Random Acts Of Kindness again. Karl Stefanovic is such a sweetheart. A lot of men could learn from him. He always dresses so well. Tonight I will settle down and watch shows that I can direct ly relate to, because I am just a woman. Th ings like How Clean Is Your House? and McLeod’s Daughters. Woolworths is having a sale? But then Coles has their dollar dazzlers. Cathy Freeman and Curtis Stone, that’s such a great ad. Coles it is. I suppose I should go and put makeup on for no reason apart from me being a woman. Because I’m worth it!



The Girl Who Played With Fire is my favourite book from the bestselling Millennium trilogy by Swedish writer Stieg Larsson. Th rilling, suspenseful, and captivating, it was then disappointing to sit through director Daniel Alfredson’s dumbed down cinematic version. And while it may be efficient and dark enough for many fans of the novel, the fi lm has no heart and, ironically, fi re. The Girl Who Played With Fire (Flickan Som Lekte Med Elden) is a missed opportunity. Noomi Rapace returns as cinema’s most original heroine in years, Lisbeth Salander, who here, unlike in the book, is underused. A year has passed since the events of The Girl With The Dragon Tattoo and the reclusive computer hacker is travelling the world. She returns home to her newly purchased luxury apartment just as journalist-friend Mikael Blomkist (Michael Nyqvist) is about to publish a story exposing corruption and sex trafficking in Sweden. However, when his two lead journalists on the

story are murdered, Salander finds herself the prime suspect. In the book, Larsson maps and fleshes out a plot that not only works, but is also at once logical, suspenseful, and surprising. Th is is largely because he dedicates much of the novel to delving into the mind of Salander and relaying how and why she operates the way she does. Here, in Alfredson’s cinematic injury, despite the two-hour long running time, there is none of this. And by successfully wiping out much of the driving force of the novel, Alfredson has crafted a fi lm plot that is ludicrous, preposterous, and disappointing. Do yourself a favour – skip the fi lm and read the novel. WHERE & WHEN:

Screening in cinemas now ANITA CONNORS






(WITH MIKE SAGER) Tattoos & Tequila

(Printed Matter Press)

(Orion Books)

Music history is littered with sequels we didn’t have to have – Bat Out Of Hell II, Tubular Bells II, every Skitzmix since the rare as hen’s teeth fi rst edition dropped – and on face value Vince Neil’s autobiography Tattoos & Tequila would seem dest ined to join that not so illust rious honour roll. Did the world really need a companon piece to Mötley Crüe’s salacious, warts-and-all, debauched and just plain fucking hilarious 2002 tome The Dirt: Confessions Of The World’s Most Notorious Rock Band? Once you’ve intimately detailed forcing a bulky 1980s telephone receiver into a part of a woman that phones aren’t supposed to go, is there another level of shock and awe to step up to? Well no, there isn’t. But Neil, the Crüe’s onagain, off-again frontman since he was poached from his high school band Rockandi in 1981, apparently felt there was plenty left unsaid from himself in The Dirt (which he claims not to have digested himself, not being the reading type). So with former Rolling Stone contributing editor Mike Sager as his guide, Neil aims to set the record st raight with Tattoos & Tequila. The Writer’s Note – which precedes a story about Neil and his bandmates wiping their cocks with egg burritos so their WAGS couldn’t detect the scent of groupies on them when they returned home – is telling. “Much of the information gathered for this book comes from unreliable sources who may have been abusing substances or undergoing other duress at the time of the events discussed,” writes Sager, and Neil’s version of events – presented in oral history st yle – often contradicts passages from his four wives, various managers and former band mates (only bassist Nikki Sixx speaks on behalf of Mötley Crüe). It’s not an immediately engaging read. Neil doesn’t come across as the smartest cookie in the jar, repeating himself often (especially on the subject of his favourite addict ion – pussy) and not really offering any greater insight than what readers of The Dirt had already gleaned. But it’s st ill a rollicking read, largely because the story of the band’s rise from LA teenagers to rock and roll royalty via albums like Shout At The Devil, Girls, Girls, Girls and 1989’s career high watermark Dr Feelgood is littered with so many trials and tribulations – Neil’s 1984 car crash which killed Hanoi Rocks drummer Razzle, Sixx coming back to life after a heroin overdose – while tales of reckless debauchery


on the Sunset Strip make you wish you were there in the Crüe’s apartment partying with them. The main problem with Tattoos & Tequila is that it skimps on the detail. Why did the Theatre Of Pain sessions produce such slight material? What is the “other stuff that came out” about Neil when the band were trying to get sober that is alluded to by one-time manager Doc McGhee? And just what did go down when Neil and his short-lived replacement John Corabi sat down for a drink just before Neil rejoined the band in the mid 1990s? Neil clearly has an axe to grind with his former band mates – and quite rightly so if the allegations none of them got in contact with him when his infant

daughter Skylar died of cancer in 1995 are true. Though The Crüe continue to tour, Neil is only there for the paycheck and the glory, not the company. As Tattoos & Tequila draws to a close, his new business manager Allen Kovac details how the book, its companion album, Neil’s fledgling Feelgoods bar/ restaurant chain (with Miami and Las Vegas stores to date), his Vince Neil Ink tattoo parlour, his Tres Rio tequila, even Vince Neil Aviation, are all about setting Neil up for life after Crüe. Which essentially makes Tattoos & Tequila a 290 page business card – albeit one that may have you strapping on the leathers and YouTubing Too Fast For Love as soon as you turn the last page.

If you can try to imagine Sex And The City as conceived by someone like Emile Zola and executed by Hunter S Thompson, this would give you some idea – only some, mind you – of what to expect from Melbourne poet Cassandra Atherton’s wild ride of a debut novel, The Man Jar. Taking the deliciously subversive perspective of an ex-nymphet collecting and collating her various Humbert Humberts in the titular receptacle, this extraordinarily brave and sexy book goes places that would make Nabokov positively blush. Although it could be considered experimental writing in the sense that the narrative is piecemeal and divided by sidesteps into the lives of various characters – mainly other nymphets who the narrator’s exes have subsequently taken up with – The Man Jar is anything but unreadable in the William Burroughs sense of the word experimental. In fact, it’s tough to put this book down, and it should probably come with a warning sticker to the effect that it shouldn’t be read in close proximity to anyone you’d best not bonk. There is nary a comma in sight here, and Atherton makes a st ylist ic statement with her wildly short sentences and attention to pop culture detail every bit as bold as her subject matter. Her wordplay and sense of onomatopoeia are those of a superbly seasoned writer, and her feeling for the absurd in the everyday, not to mention the absurdly erotic, is razor sharp. But, surprisingly perhaps, it is the st rong sense of conventional narrative hidden away in the eccentric st ruct ure that shines through most st rongly here. One finds oneself barracking wholeheartedly for the spunky but fragile narrator and the American history professor love and lust of her life. How will it all end? Will it be a Mills & Boon kind of happily ever after? Or something more akin to a porno? Perhaps one of those pornos featuring certain sexual peccadilloes banned in all but a few Scandinavian countries? A mixture of both maybe? Of course, I’m not going to tell you here, except to say that, like Fear And Loathing In Las Vegas, the energy of this book is such that it doesn’t so much end as go sailing off its last page, Thelma & Louise st yle. Whatever happens in the end, though, The Man Jar is one hell of a good ride. TONY MCMAHON


VIDEO COPTERS! So you’ve got a nice tripod, dolly and crane for your DSLR video camera. Maybe it’s time you put the camera on a remote controlled helicopter – like Eric from HOW DID YOU FIRST GET INTO AERIAL PHOTOGRAPHY/VIDEO MAKING? “I had experience in RC helicopter and airplanes from about 10 years ago and was working semi-pro as a cameraman and editor. I found myself catching up on the latest helicopter technology on internet forums and saw people putting cameras on helis and was in.” DO YOU HAVE SOME KIND OF REMOTE VIEWING OF THE CAMERA’S AERIAL PERSPECTIVE? “The heli is equipped with a 900 MHz transmitter to live view the video on the ground. Th is is key to frame the shot, or track the act ion.” WHAT IS IT LIKE TO ‘FEEL’ LIKE FLYING? “Even though I’m not sitting in the heli while flying, sometimes you do really get into the fl ight and it feels like I am looking down at the ground.” YOU ARE STANDING ON THE TOP OF A CLIFF OR SKYSCRAPER. HOW FAR FROM THE EDGE CAN YOU FLY BEFORE YOU START FEELING NERVOUS? “I’ve flown out over 200 metre cliffs with ocean below. You get a nervous feeling as soon as the heli goes out over the cliff – one mistake and you’ll never get you equipment back. How far out depends on the wind, the visual sky or background behind the heli and just how dangerous I feel that day. On a shot like that, anything over 150 to 200 metres out is extreme.” HAVE YOU LOST ANY CAMERAS YET? “Every time the heli leaves the ground it is a dangerous moment – in the past six months of working I’ve crashed the heli with my 5D attached twice. Lucky it wasn’t over the cliff or the water and the camera and lens survived both accidents.” WHAT DO YOU THINK ABOUT THE IPHONE COPTERS? “They’re awesome – there’s so many very cool fl ight toys that are out now for $100 or less. It really allows anyone to get into flying for cheap.” CAMERA TECHNOLOGY YOU’D BE EXCITED TO SEE IN 2011? “A 5D III and the possibility to output raw video would be a game changer. The new 3D cameras are also very interesting and I am working on a new heli that will carry larger camera such as EX1 or the Panasonic 200.” @JEAN_POOLE

SOUNDADVICE Gear reviews with DAVE DRI

VOX AMPLUG & VOX AMPLUG CABINET It may seem like a st range direct ion for a legendary guitar amplifier manufact urer to turn, but the Vox amPlug is a headphone guitar amplifier and popular solution for pract icing on the go. The amPlug plugs direct ly into a guitar, and offers both a headphone output and an auxiliary input that allows for backing tracks or lessons to be played along to. The unit is pocket friendly in size, wallet friendly in price, and has become a staple tool for guitarists needing to pract ice during the quiet times. There is little surprise that the amPlug is so well received, as the market for portable headphone amplifiers has only grown with every new share-house or family home that takes up guitar. It is an excellent and affordable solution for the most minimal guitar pract icing set-up possible, with the extra charm of the throwback design that plays heavily on the success of the legendary AC30 amplifier that is forever synonymous with the British rock’n’roll explosion. The unit does suffer a few faults and trade-offs – namely the “amp head” case design leaning closer towards aest hetics than ergonomics, plus the Gain and Tone controls fall short of recording quality at extreme volumes. It is hard to be too critical though, as the unit is an easy success for its intended purpose, and with a price point that forgives all. The range for most begins and ends with the AC30 emulation, or the Bass model for the bass guitarist looking for some headphone time. The full offering goes on to include Lead, Metal, Acoust ic, Classic Rock and, for extreme fanboys and extreme shredders alike, a bright red Joe Satriani model with an inbuilt distortion and delay setting. Given the runaway success of the amPlug itself, it should be no surprise then that the designers at Vox have released a matching Cabinet design. Th is hand-sized speaker rounds out the classic retro look and pushes the whole package into a highly collect ible kit. Th is is definitely one for Santa stockings, Father’s Day and birthdays, but the surprising part is that

the 0.7 watt speaker is act ually up to the task. The Cabinet does a great job of playing the part of polite pract ice speaker at low volumes, but has the added benefit of an angry retro-buzz when overdriven. For those in on the st udio technique of getting massive tones out of small pract ice amps in recording sessions, this is another option in the creative arsenal. Both the amPlug and the Cabinet run on batteries, although the amPlug’s AAAs, and the Cabinet’s 9V fall short of the 10 and 15 hours advertised respect ively. As both come with batteries included, this gives some time to get a pair of rechargeable AAAs for the amPlug, and to run the Cabinet via the 9v DC input on the side. How long the speaker survives is up to the user, though the severe punishment that the review model survived in recording sessions lends an air of invincibility to its typical task as a mere pract ice amp. It may look like one, but this is no toy. The amPlug unit itself has carved a place in the audio toolkit, as the “go anywhere, play anywhere” approach is served with a device smaller than the average bass guitarist’s self esteem, and for a price only slightly larger than the average drummer’s IQ. Gear for review supplied by COST: $65.00 (amPlug) / $39.00 (Cabinet) RRP STOCKISTS:






EDIA PERSONALITY AND DJ, RUBY ROSE IS CERTAINLY MORE THAN A PRETTY FACE. This year the MTV host made her fashion designer debut collaborating with local label Milk & Honey to produce a collection encapsulating her own unique and edgy personal style. Graphic singlets and t-shirts adorned with messages of equality and self expression encouraging a ‘keep it real’ approach to life as well as razorback drop singlets, mini-dresses and rock-chick biker jackets are all cool yet unpretentious. Denim features prominently in the line with sandblasted, ripped shorts with studded pockets, classic light wash jeans and a denim dress. Ruby’s Milk & Honey jeans (pictured) made headlines last week when Qantas deemed them unsuitable attire for Business Class, forcing the TV presenter to change clothes for the flight. Breaching an airline’s dress code has got to mean certified street cred, right? Grab a pair of these but avoid flight attendants.


Milk & Honey designs by Ruby Rose are available nationally at MYER Miss Shop, Glue, Globalize, and selected boutique stores.






TELL ME ABOUT IMOK? “IMOK [pronounced ‘I mock’] is our baby, literally. We [Roberts and business partner Sandra Mason] started it in 2004 as a platform for us to do what we love, create and inspire others to do so. It has evolved so much from the beginning where we were creating t-shirts and clothing by hand from our lounge rooms. Since 2004 we have been refining our style and have been lucky enough to have exhibitions in both Sydney and Melbourne. The meaning behind IMOK is a philosophy we stand by, to create a world that says ‘I’m OK... if you are?’. This philosophy can be seen flowing out of our quirky and, at times, melancholic collection of illustrations. We have transformed our designs into many artforms including our clothing range, canvases, prints, lettering and greeting cards. We have plans to create a book, vinyl toy and homewares range.” HOW DID IT ALL START? “IMOK was started in 2004 when Sandra and I became obsessed with the Melbourne stencil graffiti scene. After taking some photos of works in the back streets and going to a local street exhibition we were both busting to give it a go. We googled ‘how to stencil’, grabbed a blade and got started. We got our hands on some blank tees, fabric paint and spent a weekend in a haze of masking tape and paint fumes. Back in Sydney I ended up in a Newtown store one night wearing one of our designs, the store-owner liked what he saw and from that moment on we had a business.” WHAT DO YOU THINK OF THE AUSTRALIAN FASHION SCENE? “We like it, it’s progressive and always interesting.” IS IT ALL CHAMPERS, SHOOTS, LIMOS AND AUTOGRAPHS? “Ah no, it’s more like beer, beaches and good times.” YOUR DESIGNS ARE VERY JAPANESE STREET. THEY ARE SOMETHING YOU’D SEE ON THE STREETS OF HARAJUKU OR SHIBUYA. IS THE JAPANESE ART/ FASHION SCENE AN INFLUENCE AT ALL? OR, AM I AN IDIOT? “Well observed, definitely no idiot here. We both have had an interest in the Japanese aesthetic for years. From a kid I was running into all the Asian stores and going nuts


buying stickers, toys, stationary and crazy platform shoes. Still love it today and it shows through our work.” WHAT DO YOU ‘MOCK’ EXACTLY? “Each other.” WHO WOULD YOU LOVE TO COLLABORATE WITH? “Tokidoki, Amy Sol and Luke Feldman.” COULD YOU PAINT MY FACE ON ONE OF YOUR TEES? I’M SURE IT WOULD BE A BEST SELLER. “Yeah wow... If we had a dollar for every ‘amazing t-shirt idea’ that comes our way... you know the rest.” WHERE CAN WE BUY SOME OF YOUR LETTERS, CLOTHING OR GREETING CARDS? “Online at redbubble or instore at Three White Rabbits, 22 Flinders St, Darlinghurst, Sydney.”

TELL ME WHAT IT’S LIKE WORKING WITH YOUR BEST FRIEND? “I have done it numerous times before and it always goes horribly wrong.” WHAT’S YOUR SECRET? “Living in two different states helps... no kidding. We were warned it would never work but I think our mutual respect for each others’ skills and talents is our secret. We both were huge fans of each others’ creative work long before IMOK so it is still exciting to see what we can each produce.” WHAT’S NEXT FOR YOU BOTH? “Melbourne Finders Keepers Market 9-10 October. Creating our own online store. Planning our next exhibition as well as working on a homewares range including mugs, bowls and plates.”

Minkpink blue bikini ~ $79.95. 02 9212 4788

Imok Coco tee ~ $30.

Minkpink pink bikini ~ $79.95. 02 9212 4788

Neoprene Tokyo letter bracelet ~ $132.

Summertime Simplicity Thiss Is Th Thi Is Genevieve G ene Gene enevie neevi vieeve vie ve - a se self-named elff na fnam amed amed am ed label lab aab bel el by by Sydney-based Syddney ney-b ne based bba ased ed d fa fashi fashion shi shi hion on n designer design des ignerr Gen G Genevieve ennevi eevi ev vviev evvee Er, Er, is Er is rright ightt oon igh n tthe hee mon money on neyy th tthis hhiis season. seas eason. a on. on Her Heer su He ssummer mm mme m m r ccollection, oll oll l eect c iooonn, ‘‘There ct The Th h rree Is A L Light igh gh ht T That hat Never hat Never Ne veer Go Goes oess Out O Ou Out’,’,’, iss defi deefined need by by modern mode od rn r n prints p nts pri nts and and unique an unniq iq que ue sil silhouettes i hou ou ueett ttes es - aall ll ea ll eeasily eas asilyy worn wor oor n aand nnd d effortlessly effffort ef orttlles or leeessl slllyy striking. strik st trik r ik iking iki kiing ing. Soft Soof oft ft drapey ft ddrrape apey ap pey pants pant ntts in in a stunning st stun unn nning ing ngg fifissh-scale sh-s h ca hcal ale pprint, rrin intt,, exc ex exclusive xclus lu ussiv ive ive v to th thee llabel, abel, are abe are ppe perfect erfe f ct fec fe ct for foorr a casual caassual cas ual ua day a at at the the beach th beac eac achh or or teamed team eamed ed with wit i h pumps pum pum um ump mps for for or some soome breezy ssom breeezyy night n ht ni nig ht time tim ime ssummer um mm m merr fun fun. un. If I f you yoou u love loove this lov this hiss look look k you, yyou ou u, a m ma max maxi-dress xii-ddres resss is re is also also ssoo available aavvai ailabl ail able ab le in in the thhee same sam am me print. prin i t. t www ww w ww th h isi isisge is sg sge genev g eviev ev v iev eve.c ev ve.c com m

Lyssy May ‘Teahouse’ bag ~ $80.

Sigg water bottle ~ from $19.95.


Toddland’s Cheeseburger Deliciousness wallet ~ $29.95.


LureBriefs Retrosuperfuture tortishell sunglasses ~ $299.95. 02 9256 8450

Retrosuperfuture clear brown sunglasses ~ $229.95. 02 9256 8450

Arnette ‘Agent’ pink sunglasses ~ $139.95.


The latest collections from Italy’s most iconic designers were almost overshadowed last week by a bevy of A-listers attending Milan Fashion Week. Singing budgie Kylie Minogue dazzled in a strapless yellow dress front row at Emilio Pucci and D&G spring shows as did newly-married Aussie model Miranda Kerr who radiated in a divine black mini.

Arnette ‘Blow Out’ teal sunglasses ~ $149.95.

Oakley Havana tee ~ $49.95.


In what would seem to be an unlikely pairing, Georgio Armarni is collaborating with Lady Gaga to design costumes for her Italian concert this December. Armani has previously dressed the eccentric singer for the Grammy Awards and her Alejandro music video. It seems that Gaga’s tasteless raw meat bikini has not dampened her high fashion appeal.


A match made in hipster heaven - Adidas Originals have teamed up with Italian scooter brand Vespa to create the Adidas Vespa Low - a casually styled shoe marrying contemporary trends with colours and designs of old school pop art. Foot Locker and Adidas Originals are giving away a shiny new Vespa LX50 Scooter, valued at $4,999 to one lucky customer who makes a purchase of any Adidas Originals Vespa sneaker. For all the details see


Rihanna rocking a hot-as-hell black corset with zebra-striped jacket and fiery red hair last week while fi lming her new music video for What’s My Name? on the streets of New York City’s Lower East Side. Hot as hell.

FAIL: Wanna get laid? Send products and info to lure@3dwo


Kanye West’s girl Amber Rose trashing up the glam scene at Milan Fashion Week with a series of icky outfits - OTT fur, leopard-print heels and sunglasses (indoors). Proof that money can’t buy taste.




SIZE MATTERS? 60 x 1000mg tablets.


Calcium Ascorbate Dihydrate, Ultrasome CoEnzyme Q10 (Ubidecarenone).


“Helps protect cells from free radicals” according to the container.


Will not make you a Superman/woman.


Anyone too lazy to eat an orange.





SIZE MATTERS? 60 tablets.


Paullinia Cupana (Guarana), Panax Ginseng (Korean Ginseng).


Easy to swallow tablet, will help you to regain the staying power you need.


Has to be taken with food.


People whose get up and go just got up and went.

COST? $13.69.



SIZE MATTERS? 40 tablets.


990 mcg of hypericin derivatives in each tablet.


Cool name.


Sounds more like an affliction than a supplement.


Treatment of low mood or despondency, feeling of sadness and/or tearfulness, loss of interest or pleasure in daily activities, physical and emotional agitation or slowness, irritability and fatigue.

COST? $23.95.





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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. -Phone: 0403 996 129 or email iFlogID: 4701


I’m looking for someone passionate about dance music to assist with the mixing and mastering stages of music production. Please email for details or 0439 457 791. Ta, Jeff. iFlogID: 7190

OTHER MARKETING AND PROMOTION 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 or visit our website at We look forward to working with you! iFlogID: 5312

PA / AUDIO / ENGINEERING HEARTICAL SOUND SYSTEM HIRE 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

0431337488 iFlogID: 6367

TUITION APPLE CERTIFIED LOGIC TRAINER Logic studio training now enrolling. Are you a DJ,musician,songwriter or composer.Fully customised courses for your individual needs,now available. 1,Logic for DJ’s 2,Logic for Beginners 3,Intermediate Logic Techniques 4,Advanced Logic Techniques.I am a Logic Pro User and Apple Certified Logic Pro 9 Trainer with over 17 years experience.Courses are enrolling NOW.Song Surgery “making music technology,simple”. One on One tuition is also provided. Reasonable Rates Call 8212 4522 iFlogID: 7467


Sydney based, agent backed coverband requires a keyboardist. Must have good gear, own transport able to gig most fri / sat nights. We play mostly modern covers and are after ages 18 - 35. Please send your details to iFlogID: 5905


I’m a professional Music Producer and Sound Mixer who has worked with internationally renowned artist such as Seal and De La Soul, and I’m offering private tuition in Mixing and Production. Bring your own session (Logic or Protools) or use one of mine, and I will show the tricks that they do not teach you at school, I work from my home setup (Surry Hills) only, $65 per hour. iFlogID: 4776

Seeking experienced drummer who can play indie/electro rock. EP is finished and set for release early 2011 with management backing, so you must be ready to start rehearsing immediately for promotional shows starting in December. St Peters area. Sample tracks @, email:, call Braden on 0438 363 600. iFlogID: 8146

The Butler Mastering has just moved to a brand new studio on bustling Norton Street in Sydney’s inner suburbs. To help celebrate we are offering some very special pricing... EP $240 / ALBUM $520 We are as passionate about your music as you are, and guarantee our work for a reason. Contact us at or check us out on the web... {iFlog:8165]






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:

DJ Wanted to play live with RNB Hip Hop Band with Management & Agency Backing please email full contact details and also a bit of details about yourself to info@ iFlogID: 7134




Calling all DJ’s, new venue North Shore LEVEL 1 above the Chatswood Club requires resident DJ’s for a variety of nights. Give Peter K a call on 9419 5481 for expressions of interest. iFlogID: 7054

VIDEO / PRODUCTION MUSIC VIDEOS Bands who have recently made videos with us include El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. See examples of our videos on facebook. com/dynamic.screen.content Call Darrin on 0413555857 (we’re based in Sydney) iFlogID: 6681


SERVICES GRAPHIC DESIGN FULL COLOUR POSTERS Visit our website for an extensive price list and other services! iFlogID: 6348

MUSICIAN & BAND WEBSITES Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169 iFlogID: 6665

OTHER 1100 FULL COLOUR POSTERS = $80 Visit our website for an extensive price list and other services! iFlogID: 4554 check out our for awesom e vintage fashion,stuff you can buy, music,film and art! iFlogID: 7032


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




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3D World - Brisbane Issue #1031  
3D World - Brisbane Issue #1031  

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