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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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CLASSIFIEDS ACCOUNTS DEPT accounts@3dworld. (03) 9421 4499 PRINTING Rural Press (02) 4570 4444



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1 Derek {K} @ GPO

5 Saturday @ Family

2 Frat Club @ Regatta Hotel

6 Saturday @ X & Y Bar

3 Saturday @ Birdee Num Num 7 Sensation Saturdays @ Shooters 4 Saturday @ Electric Playground

8 Whatever Wednesday @ Uber 7








Neither act is in Brisbane at the moment, but Bitrok and The Loops OF Fury both cut their teeth in the clubs of Bris Vegas so it’s a massive win to see them both on a release from Elite Force’s U&A Recordings – The Loops remixing Closest Strangers on Bitrok’s debut U&A EP Push The Envelope…


The local product ion win doesn’t stop there, with The Surecut Kids Remix of Yo Majest y alumni Shunda K’s new one I’m Da Best the pick of an EP release burst ing at the seams with eight different versions and a handful of a capellas…


It’s not quite of Lolcat or Babies With Laser Eyes standard, but The Michael Bayifier should provide at least five minutes of dist ract ion during those long, lonely days in the office. Head to, upload your pic, and make some magic happen…



As you’ve probably guessed of late, we love our sport here at 3D HQ , but even we’re st ruggling to give a fuck about the Commonweath Games. They should have invoked the mercy rule on day two…


We know times are tough, but the latest Sydney “trend” of people carting goon bags around with them to minimise the cost of a big night on the town is taking things a little too far…


That the weight loss drug Reduct il has been pulled from the market because it could allegedly cause overweight people to suffer a heart attack or st roke, which it’s technically supposed to prevent…

THE LINE-UP FOR the 2011 Future Music Fest ival will be dropping Thursday 14 October, and if our mole at Future HQ is on the money we can quite safely say expect the unexpected… JOINING THE USUAL suspects including Hilary Clinton and American First Lady Michelle Obama (the chart topper) in Forbes magazine’s Most Powerful Women In The World list are pop stars Beyonce Knowles and Lady Gaga – because the judges are obviously impressed by anyone who can frock up in cuts of meat… THE DEBUT ALBUM from Aussie hype act The Temper Trap is set to get a fresh lease of life when Conditions – Remixed hits shelves through Liberation on 5 November. The cast taking the glue and scissors to their tracks is top shelf, with Siter Bliss & Rollo, PVT and Rusko all having a shot at the title… SYDNEY JEWELER TO the stars Stefano Canturi has designed a necklace featuring a one carat pink diamond for a Barbie Doll expected to raise $510,000 for breast cancer research when it goes up for auction in New York later this month. Which means Call Girl Barbie can probably retire… NEED A MEMENTO of Groove Armada’s farewell jaunt around Oz? The White Light collection of reworked and beefed up live versions of tracks from Black Light, plus new track 1980 and the rare History (Love Mix), will be out exclusively through JB Hi-Fi and online via iTunes from Friday 22 October…



Many members of LA’s Brainfeeder Collect ive have visited our shores on an individual basis and the popularity of said grouping has skyrocketed as a result. Numerous high profi le albums from founder Flying Lotus have certainly helped, and it’s perhaps only The Gaslamp Killer who has gained notoriety solely for, well, just being himself! Meanwhile in Glasgow, Hudson Mohawke has been busily carving his own warped niche on Warp as part of the likeminded LuckyMe Collect ive. Each capable of summoning the gnarliest of basslines, jagged rhythms and out-there sample abuses, they’ll be a force to be reckoned with on a 2011 tour that brings the trio together. They kick off at the Tivoli (Brisbane) on Sunday 2 January thanks to Dank Morass before heading to The Forum (Sydney) on Friday 7 January and finishing up at The Outfield (Melbourne) on Saturday 8 January, where support comes from Harmonic 313, Killa Kela, Mamiko Motto, Kito, Kiat vs Cherry Chan, Shamik and more. Tickets to the Brisbane leg are available through Ticketek at $52.30. Sydney and Melbourne details are TBA. STRIP STEVE AND DAS GLOW


Fifty releases down the track and Boysnoize Records is st ill going st rong, ranging well beyond French Touch inspired sounds and into ever more interest ing elect ro-infused concoct ions. As the label’s more recent additions Das Glow, Rynecologist and Strip Steve potentially have the most to gain and as such the most to prove in their association with the recognised brand. Fireworks can fairly be expected when they hit the decks at Monastery (Brisbane) on Thursday 21 October and Roxanne Parlour (Melbourne) on Monday 1 November. Candy’s Apartment (Sydney) fi rst hosts Rynecologist on Friday 22 October and later Strip Steve and Das Glow on Friday 29 October. The latter two also perform at The Ruby Tramp (Gold Coast) on Friday 22 October. USHER


The last time Usher made his way down under was for a blink-and-you-missed-it promo visit in May – on that occasion tickets to his performance on Sunrise were snapped up in two minutes flat, so if you want to see the R&B superstar do his thing in the flesh you best read on. On the back of his contentious Raymond V Raymond long-player and its extended play follow-up Versus, the man will bring his slick beats and dynamic st yle down under in early 2011, hitting Rod Laver Arena (Melbourne) Saturday 19 March, Newcast le Entertainment Centre Tuesday 22 March, Acer Arena (Sydney) Wednesday 23 March and Brisbane Entertainment Centre Saturday 26 March. Visa card holders and Frontier members will already have the skinny on their pre-sale options – everyone else will get their shot when general tickets go on sale from 9am local time on Monday 25 October.







GENERAL OUTLOOK Tall, dark st rangers are the invention of bogus horoscope writers. The truth is, most st rangers are short and pale. AQUARIUS (20 JAN TO 18 FEB) The changing seasons herald a new chapter in your journey. Specifically, you’ll be arrested for mail fraud. PISCES (19 FEB TO 20 MAR) You will be quizzed regarding your knowledge of a sport betting scandal. Deny everything and eat the betting slips. ARIES (21 MAR TO 20 APR) Stop drinking coffee after midday, or risk getting a bad case of the shakes and the sweats. And diarrhoea. TAURUS (21 APR TO 20 MAY) Why would you ever consider posing for sexy photos in ZOO Weekly? Just the name is enough to put me off. GEMINI (21 MAY TO 20 JUN) You need to know things that can’t be learned in books. You have to live it. Get your hands dirty. Kill your neighbour’s dog. CANCER (21 JUN TO 21 JUL) Heroes come in all shapes and sizes. Though the size is rarely XXXL and the shape is rarely “blimp”. Get in shape fatty. LEO (22 JUL TO 21 AUG) A thorough shower is what you need. And when was the last time you had your diaper changed? VIRGO (22 AUG TO 21 SEP) Stop picking at your fingernails. You don’t look “hip and in control” when your fingertips are bleeding. LIBRA (22 SEP TO 22 OCT) Sitting on a park bench by yourself makes you look like either a pervert or a guy whose life is falling apart. SCORPIO (23 OCT TO 21 NOV) Your inability to maintain an erect ion will go into witness protect ion after it witnesses a mob killing. SAGITTARIUS (22 NOV TO 20 DEC) Your blog will become so irrelevant that you will get a phone call from the Internet telling you you’re banned for life. CAPRICORN (21 DEC TO 19 JAN) Don’t quest ion your phone bill. Just pay it. They have you by the balls. What are you gonna do fight the phone company?

ASPIRING ARTISTS LOOKING for exposure could do worse than submitting their work to Mambo. To enter the Mambo Global Artist Search, you’ll have to submit three original designs to entries@ mamboartistsearch. com by Saturday 30 October – designs will be put to public vote on Facebook with the winner announced in early November… A STATUE OF Kevin Bacon which was commissioned by the brains behind Baconnaise and (you guessed it) made entirely of bacon recently sold for US$4,150.06 on eBay. The money will be donated to charity Ashley’s Team, who bring joy to childhood cancer patients and their families, while the lucky buyer gets the most ridiculous piece of art ever created… TECHNO MIGHT NOT be the first thing that comes to mind when you think of Steve Aoki, but the folks behind the I Love Techno compilations think otherwise. He helms the 2010 edition of the Belgiumbased fest ival’s mix CD, with acts like Etienne De Crécy, Fischerspooner and Green Velvet featuring on the set which drops 22 October through Balance Music… SELLING OVER 40 million albums hasn’t been enough to keep the wolves from R&B singer Toni Braxton’s door, with the American star fi ling for bankruptcy with debts allegedly somewhere between $10 million and $50 million. If she’s not even sure how much she owes, it’s little wonder she finds herself in financial


The prospect of spending a weekend in the Barrington Tops world heritage listed wilderness SOLA ROSA area north of Sydney is a fantast ic proposition in and of itself but that said, you may as well suck up natural beauty and have a good party at the same time right? The promoters behind Subsonic Music Fest ival seem to agree as they’ve got plenty of artists and bands gracing the bill of their Friday 3 – Sunday 5 December event at Mountain Valley Resort that should amply help you along – whether live or elect ronic music floats your boat there’s something to fi ll the gap. Michael Mayer, Extrawelt, Dominik Eulberg, Boris Brejcha, Tobias Thomas, Telefon Tel Aviv, Heinrichs & Hirtenfellner, Antix, Timelock, Sensient, Earthling, Kora, Dubmarine, Opiuo, Sola Rosa, Tijuana Cartel, Hermitude and Mista Savona are but a snapshot of what to expect. Early bird tickets start at $90 + bf and are available now through THUNDAMENTALS


The 12 months worth of constant activity since releasing their debut album Sleeping On Your Style have done little to slow the Thundamentals, and their seemingly boundless love of the road continues with the Still Sleepin’ Tour, which marks the band’s last set of appearances in support of the album. The four-piece will appear at The Step Inn (Brisbane) on Friday 19 November, The Brewery (Byron Bay) Saturday 20 November, The Gaelic (Sydney) Sunday 21 November, The Espy (Melbourne) Monday 22 November and The Beach Road Hotel (Sydney) on Friday 3 December. Ticketing details yet to be confirmed.



A near instant success in elect ro house circles, US DJ/producer Static Revenger (aka Dennis White) boasts a catalogue of highly charted tracks and remixes which feature heavily in the sets of the globe’s biggest DJs. Though the Luciana collaboration I Like That and big room anthem Happy People are largely responsible for his current place in the limelight, White has spent as much time behind the camera as he has the mixer, and is responsible for an awesome array of videos for artists such as Paul van Dyk. He tours throughout October, starting at 600 Sounds V8 Supercar post-event (Gold Coast) before heading to La La Land (Byron Bay) on Friday 22, then travelling southward to Soho Nightclub (Sydney) Saturday 23, Fusion (Melbourne) Saturday 30 and finally Neverland (Melbourne) Sunday 31. For a taste of the act ion, head to


Ohio-raised, Brooklyn-based band The National have been creeping their way into hearts and minds for the better part of a decade, none more dramatically than that of President Barack Obama, who used their THE NATIONAL track Fake Empire thoughout his election campaign. Their slow-burning, lyrically sensitive sound has however ranged outward to ever more diverse audiences since, and their fifth (and internationally acclaimed) album High Violet pushes the envelope further still with a sound the band describe themselves as akin to “hot tar” or “loose wool”. They’ll be heading our way for headline appearances at not only the Falls (Lorne) and Sunset Sounds (Brisbane) festivals, but also sideshows in Sydney and Melbourne. Tickets to their gigs at The Enmore (Saturday 8 January) and Palais Theatre (Sunday 9 January) are available now through Ticketek and Ticketmaster respectively. More info at





CALENDAR OCTOBER 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 PARTY, SAM LA MORE – Saturday 16, Great Northern Hotel INC: DJ GRAZ, HESSE – Saturday 16, The Met BAR9, SKISM– Saturday 16, Step Inn 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 DAS GLOW, RYNECOLOGIST, STRIP STEVE – Thursday 21, Monastery TRI-LAMBDA: PAPER SCISSORS, TOY BALLOON – Thursday 21, Alhambra UP LATE: B6 – Friday 22, Gallery Of Modern Art DISCO DISCO: HOSTAGE – Friday 22, Monastery VINYL SLINGERS – Friday 22, Alhambra 600 SOUNDS: THE POTBELLEEZ, SNEAKY SOUND SYSTEM, IAN CAREY AND MORE – Friday 22-Sunday 24, Broadwater Parklands STATIC REVENGER – Friday 22, LaLaLand THE RED EYES – Friday 22, The Brewery MOBIN MASTER, TENZIN – Friday 22, Platinum THE WINNIE COOPERS, THE OPTIMEN, COALITION CREW – Saturday 23, Fitzy’s Loganholme THE RED EYES – Saturday 23, Step Inn BABYLON SOUNDSYSTEM, DRUMSOUND, BASSLINE SMITH – Saturday 23, Step Inn NONSENSE: MIKE MONDAY – Saturday 23, Barsoma VANDALISM, TIMMY TRUMPET – Saturday 23, Platinum DJ SPINDERELLA – Saturday 23, Cloudland


THE LONGAWAITED COMEBACK album from Take That now has a title and a release date. Progress is slated for a Friday 26 November release, and keep your eyes out for a promo clip of The Flood featuring Gary, Howard, Jason, Mark and Robbie rowing a boat down the River Thames before that… A SURVEY CONDUCTED by the Aust ralia Day Council Of NSW has found Darryl Kerrigan from The Castle to be the fi lm character that Aust ralians feel most represents us as a nation, just pipping Mick Dundee and Muriel. We can’t believe Mick Taylor from Wolf Creek didn’t get the nod… IN RELATED NEWS, the team behind The Castle start shooting their next fi lm with the working title 25 in Melbourne in November... SHE WENT OFF the radar after a brief period of hype due to the birth of her baby girl, but Baltimore starlet Rye Rye is back with Sunshine, featuring guest verse by none other than MIA – whose NEET Recordings label her debut album Go! Pop! Bang! will be released through in January 2011… MIDDLE EARTH MIGHT be moved from New Zealand to Aust ralia if indust rial disputes derail the proposed fi lming of The Hobbit on the Shaky Isles. Canada, Scotland and Ireland are also reportedly keen to host the product ion, while director Peter Jackson has suggested Eastern Europe – all of which seem more likely to pass for Middle Earth than our wide




The Monastery team have a busy summer planned for keen club goers. Friday 19 November sees Black Candy take over the venue with DJ Bam Bam in the hot seat; Loot N Plunder and Redial get busy on Saturday 20 November; Bass Kleph brings is along for the ride on Saturday 27 November, and the Round Table Knights change it up on Friday 17 December. There are also rumours of a Frenchman who blurs the lines between tech, prog and elect ro potentially having the club rammed on Saturday 8 January. Watch this space.


Don your scariest Halloween cost ume and prepare for the coming storm as Hellements brings the darkness to Barsoma on Saturday 30 October. Techno boffins Spektre occupy the headline slot, while the rarely seen Phil K makes a welcome appearance in support. Local supports from Digital Divide, Tranceducer, Stuart

Krafty Kuts is easily the most identifiable crossover artist to spring from the loins of the once rampantly popular breakbeat movement, and he continues to make enough noise to ensure he continually cleans up Best International DJ and Best Breaks DJ awards at various ceremonies across the globe. While relatively quiet in the st udio of late, he’s st ill a force to be reckoned with behind the decks and should have his audience at Great Northern Hotel lapping up every last beat on Saturday 13 November. Supported by Skool Of Thought. Tickets $35 from the Great Northern and Wild, Vertical Transport, Adam Swain, Rich Curtis, Mr Killen, Emmy Lou, Werk-E and Sabot4ge. Tickets $20 + bf through Oztix.


Bitrok are well noted for their fusion of breakbeat, techno and elect ro sounds both at home and internationally. While they’ve several releases for labels such as Dead Famous and Title Fight behind them, the latest through Elite Force’s U&A Recordings is easily their biggest to date. The Push The Envelope EP also features a remix from kindred locals, The Loops Of Fury, plus a retouch from Elite Force himself.


Perhaps better known for their F#%k Fluro parties at GPO, FF Events have teamed up with The Met to re-launch the recently renovated lower level – Coco Lounge – with a fashion forward event dubbed INC. On Saturday 16 October the revamped area will be unveiled for sporting fresh

private booths and table service facilities that are aimed at attract ing Brisbane’s young social elite. Few bookings then could be more appropriate than eyewear connoisseur and fashion elitist DJ Graz, who’ll be joined by Hesse.


Soulwax drummer One Man Party brings a manic energy reminiscent of his band mates to the plate at the Great Northern Hotel on Saturday 16 October for the next instalment of Brat Pack. Support comes from Sam La More, Rushton, Easy P, And Oh! and Red Mayne. Tickets $14.30 through Oztix; whether you come in cost ume is up to you!


Adicts and Deep Space Entertainment are joining forces for a Saturday 16 October shindig at the Step Inn featuring UK beatsmiths Bar9 and Skism. Vertical Transport, Sangers & Ra, Khemical Kurt, Depthcharger, Remix, KayLi and more support. Tickets through Moshtix.






MOUSE ON MARS – Wednesday 27, The Zoo TRI LAMBDA: STATURE:STATUE, FARE EVADER, BIRDS OF PREY – Thursday 28, Alhambra 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 Playground UP LATE: RIO LOBOTOMY – Friday 5, Gallery Of Modern Art YACHT CLUB DJS – Friday 5, The Zoo THE BASICS – Friday 5, The Clubhouse PIER BUCCI – Friday 5, 12 Lounge Bar KID KENOBI, MC SHURESHOCK – Saturday 6, Family MAGGOT MOUF – Saturday 6, Step Inn GRAMOPHONEDZIE – Saturday 6, Alhambra SCOTT LANGLEY – Saturday 6, Electric Playground PRAXIS & BASSCREEPS: RESO – Saturday 6, Step Inn JASON DERÜLO – Thursday 11, Brisbane Convention Centre UP LATE: VAN SHE TECH – Friday 12, Gallery Of Modern Art JASON DERÜLO – Saturday 13, Brisbane Convention Centre KRAFTY KUTS, SKOOL OF THOUGHT – Saturday 13, The Great Northern Hotel TOMAS FORD – Saturday 13, Brisbane Powerhouse AKIL, LOUIS LOGIC – Sunday 14, X & Y Bar PHILADELPHIA GRAND JURY – Friday 19, The Hi-Fi THUNDAMENTALS – Friday 19, The Step Inn BLACK CANDY,DJ BAM BAM – Friday 19, Monastery THAT FESTIVAL: REGURGITATOR, MIAMI HORROR AND MORE – Saturday 20, Cabarita Beach

IF YOU MISSED Splendour In the Grass and its accompanying sideshows, you get a second bite at the cherry – Triple J’s cameras caught some of the best acts and will be screening them on ABC2 this month. You’ve just missed LCD Soundsystem, but Florence + The Machine at Sydney’s Hordern Pavilion airs Monday 18 October, while Hot Chip at the same venue airs the following week... WRESTLING FANS WILL probably be aware of DVD releases featuring John Cena, Kane and Undertaker vs Batista arriving through Shock in December, but cartoon enthusiasts will be more interested in two volumes of Fat Albert And The Cosby Kids. And there’s got to be a demographic out there for The Man Show presents Girls On Trampolines… ON A MORE serious note, anyone with an interest in hip hop history will want to pick up the Breakin’ Collection of cult breakdancing fi lms Breakin’, Breakin’ 2 and Beat Street when it comes out on 8 December, also through Shock… LIKE THE STAR who originally played the titular character, the fourth Mad Max fi lm is allegedly in st rife. Fury Road has been delayed again, with fi lming now scheduled to start in early 2012 – enough time for Mel Gibson to have at least 13 more meltdowns… NOT ONLY IS the somewhat ambitious The Best OF Nelly Furtado due in November, but it’s a two-disc set. One for the Furtado completists if such a beast exists…




Birmingham techno artist Surgeon recently authored the latest instalment in Fabric’s lauded compilation series and as a result, has sprung back into the sphere of attention amongst local fans. Rather than mark a return to form, Fabric 53 merely indicates how adventurous Surgeon has always been and is as inst ruct ive as it is challenging. The local supports for his Thursday 21 October appearance at the Step Inn should be equally so. Paul Abad leads the charge with alongside Elroy 4.0, Baax, Lone Pariah and Nam Shub Of Enki, the latter performing a specially crafted live set at close. Tickets $25 through Oztix.


Melbourne indie rock four piece The Basics have thrown the rule book out the window with their self-titled live album which has been made available for free download from By no means a new model, the move has earned them a nod

Taking inspiration from their notorious home town for their latest album Surface Parasites, The Winnie Coopers have const ructed an album which offers much more than a commentary on the neon-soaked, plast ic environment – instead offering honest, vulnerable insight into their growth and development not just as musicians but also as people. Produced by Magoo, and including guest appearances from pop songst ress Kate Miller-Heidke and Butterfingers member Evil Eddie, the album is about as definitively Queensland as one could expect. The official album launch takes place at Fitzy’s Loganholme on Saturday 23 October with support from The Optimen, Coalition Crew and more. $20 on the door. from ex-EMI Chief John O’Donnell and precedes a full physical (CD/ Vinyl) release. The band perform at The Clubhouse on Friday 5 November in support.


The Finders Keepers Markets take place again on Saturday 6 – Sunday 7 November at the Old Museum, showcasing the work of emerging designers and artists from across Brisbane. The Spring/Summer markets will be expanding across three st udios of the Old Museum, meaning more stalls and hence more room! The markets will once again host live music performances and a garden café. Free admission.


Elements Collect ive are breathing fresh air into the Brisbane hip hop scene with a brand new st udio located at 17 McLachlan St, Fortitude Valley. From the confines of fantast ic facilities, greenhorns can up-skill with various Brisbane hip hop veterans

teaching everything from B-boying/Bgirling to MCing, DJing, aerosol art, beatboxing and more. Classes take place on evenings from Monday – Saturday and regist ration is recommended to ensure a spot. Contact fl ix@ elementscollect ive. or head to elementscollect ive. for more info.


Praxis, Low Ammo, Rukus, SixBux and Deliverance are on the case and bringing you a massive official pre-party for Deliverance Fest ival. If you’re unable to get yourself along to the tast y three-day broken beat focused outdoor event, this Saturday 23 October shindig at the Step Inn should fi ll the void. International guests Babylon Soundsystem, Drumsound & Bassline Smith and Arct ic join local supports Invict us, Ribery, Restser vs Moista Cloister, Speaker Wrath, Pushy Vagrants, Kurrupt, Subliminal Dubsterz, Duos and de la Haye.







T WAS AUGUST ’99,” CAMERON JAMES BROWN, BETTER KNOWN FOR HIS FRENETIC Australian dancefloors enjoy with HYPE WORK ON THE MIC AS MC SHURESHOCK, RECALLS OF THE ORIGINS OF HIS overzealous MCs didn’t even cross ASSOCIATION WITH JESSE DESENBERG, AKA KID KENOBI. his mind. “My manager at the time said she had bumped into this guy Kid Kenobi and he was playing good breaks. I was “When we first started working working with [pioneering Brisbane breakbeat DJ] Shredlock doing breaks and the B-Boy Allstars and the together and I’d hear him get Rapid Fire crew at the time. on the mic, it [would] always just “I came down to Sydney to [play] this drum’n’bass party and we’d organised to get a gig at the snow in instantaneously psyche me up,” Thredbo. So [Kid Kenobi and I] jumped in the van and did the big road trip and then we had a great set – to Desenberg recalls. “I about ten people – in this bar that was just absolutely hilarious. There were ten people there but they were all just loved him as a performer and I on ecstasy; it was a gurn-fest and a half!” he laughs. “So we went back and started talking about st uff and I didn’t really think too much about was like, ‘Beyond being a good DJ and all of that sort of st uff, you seem fairly cool’, and then it was seven in ‘Do I like MCs or do I not like MCs?’. the morning and we were standing there with our shirts off gurning hard, looking at the snow just going, There was just a connection we had ‘Yeahhhh!’. And that was that immortal morning, where we both went, ‘Let’s work on this and see if we when we worked together that act ually can do some more shows together’.” worked. With the early rave days, because we’d both shared that experience It almost sounds too easy, but Australia’s most recognised DJ/MC tag-team didn’t hit the st ratosphere by we were both coming from the same place chance. Brown – originally known as MC NO3 – had already forged a reputation as a formidable MC and had the same intention when we were in Brisbane’s fledgling rave scene throughout the 1990s, and also co-fronted funk outfit Zephyr Timbre performing to really raise the energy level at a time when the band seemed poised to step up a tier on the back of countless international supports. of a room, that’s always united us.” Desenberg, meanwhile, began plying his trade in Sydney clubland in 1996, pushing the then nascent breakbeat sound as it slowly but surely worked its way from the side room of clubs to the main stage of Desenberg and Brown arguably united the summer festivals around the turn of the century. clubbing public of Australia as the breaks wave crested, their first Clubbers Guide To The pair have spoken in the past about their desire to create a DJ/MC team in the mould of British Breaks compilation for Minist ry Of Sound in liquid drum’n’bass master LTJ Bukem and his longtime man on the mic Conrad, and it’s hard to 2002 (and a rapid-fi re sequel later that year) argue that they haven’t hit their mark. Surprisingly, Desenberg says the love/hate relationship




YOU’RE ALWAYS GOING TO BE SELLING OUT IN SOMEONE’S EYES AND YOU’RE ALSO GOING TO BE CREATING THE‘GOOD OLD DAYS’AT THAT POINT IN TIME FOR SOMEONE ELSE.” soundtracking big nights in across the country and still maintaining its vitality today. More Minist ry compilations and a long st int on the music indust ry treadmill ensued. “[Clubbers Guide To Breaks] was sort of like an end point of a journey,” Desenberg says. “For me that whole [breakbeat] movement started around the same time that I started DJing in ‘96; that was where the seeds were. So for me it was such an awesome time musically as well as career-wise. Each day of each month of every year we’d hit a new height.” “The most exciting bit,” Brown adds, “was standing there performing a sound and a genre with not only a good mate, but something I was really passionate about. We just got lucky, you know. The stars aligned and everything happened at the right time and it’s helped us really forge our careers.” The heights that Desenberg and Brown scaled through the early to mid-noughties attracted the inevitable backlash, Desenberg copping the brunt of it for allegedly abandoning the sound he’d made his name with – the fact breakbeat’s lustre faded somewhat post-2005 conveniently overlooked by the DJ’s detractors. “I think you’re always compromising,” he muses on the evolution of his sound. “Or not compromising necessarily, but adapting. There’s always people who are going to be going ‘You’re compromising, you’re selling out’, but new people are going to come along and say, ‘Th is is the best thing ever’, and be looking at it from a totally different angle. And then you’ll grow again and they’ll be the ones going, ‘You’re selling out’, so there’s always this turnaround, this ladder of evolution, you know? Generations come and go and they’ll always have perspect ives on what you’re doing, and you’re always going to be selling out in someone’s eyes and you’re also going to be creating the ‘good old days’ at that point in time for someone else. I used to get a little bit worked up about it, but these days I’m like, ‘I’ve heard the same thing many, many times before’.” The days of the duo clocking up intercontinental frequent flyer miles at a rapid rate are seemingly behind them, both now occupied with solo product ion careers, label concerns and family life (Brown is already a father while Desenberg’s partner is expecting in March). But after a seemingly interminable wait, they have finally put the finishing touches on their first collaborative production release – the Ten EP on Desenberg’s Klub Kids imprint marking a decade (give or take a year) of dancefloor shock and awe. Fittingly the three-track effort is like a condensed history of the duo’s career, taking in the dubstep jungle rave of Safe Sound, appropriately title acid-breakbeat stormer Acid Break, and straightforward dubbed-out bliss of the head-nodding Freedom Calling, on which Brown contributes a vocal that is more sung than rhymed. It almost sounds like they’ve been happily biding their time waiting for the musical worm to turn back in the direct ion of dancefloor bombs driven purely by bottom end. “There was a lot of music coming out that I wasn’t really into,” Desenberg says of the second half of the noughties, “and it was a real struggle to find something that I was into, that was closer to what I really wanted. Then with the Safe Sound single, we got a guy from England called Rack N Ruin to do a remix and it’s a straight-up jungle breaks sound. And we were like, ‘This is fresh, but it sounds just like ten years ago’.” “There’s people releasing jump-up jungle songs at the moment and they’re calling it bassline glitch or something like that,” Brown says. “And this is the cool thing about the ten-year thing as well: being a part of the dubstep movement [now], when you listen to not only dubstep but drumstep, it’s old school. It’s old school and it’s breaks and this is why I’m really excited at the moment.” “[The scene] is finally coming back to what we really feel is close to our hearts,” Desenberg offers. “Australian audiences are starting to get their ears tuned to bass music again,” Brown continues. “When electro came in and just took over with its big gaping shirt, it just fucked things for a lot of us. Just to look at the way things are going now it’s really exciting, and to act ually have the tools to be able to put the sound on the table and to give back to the punters – and to have had that ten years of experience to know what we want to hear and now know how we can make that – Jesse and I just look at it like we’re at the beginning again. But this is an exciting beginning.”

& A


FTER SPENDING SO MUCH TIME IN EACH OTHER’S POCKETS THAT IT’S HARD TO IMAGINE ONE WITHOUT THE OTHER – in the same way that the name Sasha automatically brings John Digweed to mind – Desenberg and Brown now focus more time on their own endeavours than their team efforts. Desenberg in particular has been as notable for his work away from the decks in recent times, setting up his Klub Kids label in 2008 to disseminate the work of Hugga Thugg (aka Desenberg’s brother Myles), Two Fresh (his collaboration with brother Myles) and his own solo production – something Desenberg is very much at ease with in 2010 after years of uncertainty. “We were so busy touring and doing the gigs for so long and I think, for me personally as well, I had a lot of psychological barriers that I had to get through as well,” Desenberg explains. “Having a successful career as a DJ kind of gave me a bit of pressure in terms of when I went into the st udio I had this huge thing on my shoulder going, ‘It has to be amazing’. All this kind of thing goes on in your head as well as being a perfectionist anyway, it just seemed like this mountain to climb that seemed impossible. I put in the hours and I feel like it’s finally coming together, not just technically but knowing what ingredients are needed in order to finish a track. It’s finally come together and it’s such an amazing feeling of relief and freedom to finally get to that point.” Brown has gone down a similar route. Now happily ensconced in Sydney, earlier this year The Shureshock Project (helmed by Brown with production from longtime Perth cohort Greg Packer and Brisbane-based Danny Rhodes) delivered their first EP of original drum’n’bass. After that release was bungled by an international dist ributor, Brown has become involved in the start-up DubRave label alongside Triple J/Funktrust alumni Will Styles, who has remixed the first MC Shureshock solo release You’re The One for the label. “We’ve got another four or five EPs lined up, just sitting there waiting to go,” he reveals. “We’ve hooked up with [dist ribution company] Inertia, and the boys down there are solid and really professional, so this is looking like hopefully my crack at making this a real job!”

WHO: Kid Kenobi & MC Shureshock WHAT: Ten EP (Klub Kids) WHERE &WHEN: 600 Sounds at Broadwater Parklands (Gold Coast) Friday 22 October, Fat As Butter at Camp Shortland (Newcast le) Saturday 23 October, Family (Brisbane) Saturday 6 November, LaLaLand (Byron Bay) Thursday 18 November, Chinese Laundry (Sydney) Saturday 20 November, Brown Alley (Melbourne) Friday 26 November, King St Hotel (Newcast le) Friday 10 December, Never Land Bar (Gold Coast) Saturday 11 December, Onefiveone (Woollongong) Saturday 18 December, Big Day Out at Gold Coast Parklands Sunday 23 January, Big Day Out at Sydney Showground Wednesday 26 and Thursday 27 January, Big Day Out at Flemington Racecourse (Melbourne) Sunday 30 January




• Exclusive streaming of Röyksopp’s Senior album • • Your friendly neighbourhood Bar Hop guide • • All the usual 3D shit •







There’s no musical movement worth mentioning that Gilles Peterson has not been involved in over the past two decades. Whatever your bag, Peterson has either picked it, played it or passed it on to the person who’s signed it and put it in front of you. In the mid-1980s, he compiled the Street Sounds label’s Jazz Juice compilations and introduced a generation of pre-rave university goers to jazz-dance and bossa. In the early 90s his work with the Acid Jazz label gave homes to Jamiroquai and Brand New Heavies while Talkin’ Loud, his own label of around the same time, would go on to pioneer drum’n’bass, garage and techno with artist s like 4Hero, MJ Cole, Innerzone Orchest ra and Roni Size/Reprazent. Surviving the past ten years, when soulful vibes took a backseat to harsher, colder sounds dominating dance music and rock’n’roll found its way back in to clubs, Peterson uses his new two-disc Worldwide compilation for BBE to look back on the successes of the decade and

reward the casual listener of his show. On it, he claims to be the fi rst person to play future classics like Amerie’s One Thing or Dizzee Rascal’s I Luv U and while there’s no way we can be exact ly sure, he wouldn’t be where he is today without a healthy dose of self-assuredness. While his current label Brownswood’s rapid-fi re Brownswood Bubblers series picks obscure current and soon-to-be-released winners and his recent efforts for Ubiquity Records (including Gilles Digs America 1 & 2) allow him to go back and pick from more than 50 years of record releases, it’s a safe bet the new effort for BBE would have been a breeze to compile, given that he was picking songs that have resonated with him and his dear listeners over the past 12 years. After a few timeslot changes on ‘the Beeb’, an ever growing DJ schedule and a new-found knack for product ion and remix work, Worldwide catches Peterson at his most contemplative and candid.



WHAT’S THE STORY BEHIND THE WORLDWIDE COMPILATION? “You need to get the finished copy because it has a really good booklet with sleeve notes and photographs and a lot of my heart and history in it. BBE were desperate to do a record and I promised [label owner] Pete [Adarkwah] I would do a record for them but the idea was originally for Defected who I did an In The House with, and then Pete really wanted it and it was a bit political because I took it to BBE and [Defected] were a bit pissed off, but I’ve known BBE for years and we have always supported each other at a radio level, whether it was the early compilations, the Roy Ayers st uff, the Dilla st uff, or whatever. Pete said, ‘I’ve never done it before’ except we did the Maida Vale Sessions CD which was very complicated. We had to license music from the bands, the labels and the BBC which took fucking ages. Th is record was more about kind of celebrating what I have done on Radio 1 and all of the records I was fi rst to play, so it is a bit about showing it off. The radio show plays Seun Kuti, but it also plays Benga, Theo Parrish and Little Dragon. Th is is not a record for the nerds who just want the latest or the really rare Digs America st uff or the upfront st uff, it’s for the causal listener of my radio show. Th is isn’t for the messageboard freaks. It’s for normal people.” WHAT DIDN’T MAKE THE CUT? “There were three songs on the album we had on originally. We licensed Gnarls Barkley’s Crazy, LDN by Lily Allen and Just by Mark Ronson,

which are all songs I was fi rst to play but you know what? You know, I can’t ever hear Crazy again! As good a song as it is, that record has taken on a life of its own. Same with Lily Allen, I couldn’t have her next to Erykah Badu, with all due respect. On the other hand we do have Amy Winehouse in there, which st ill sounds good.” ARE THERE ANY ARTISTS, SONGS, LABELS OR MOVEMENTS YOU REGRET PLAYING? “I have played some total dross in my day, as I keep getting reminded. I played that boy band who did a cover version of a soul song… Blazing Squad. Th is teenage boy band from the estate, ooooh I got battered for playing that. In truth I don’t play enough blatant pop music. I think there’s nothing better than spanning it out. My mate went to university in Manchester and there was a good club scene there and, on a Tuesday night, there was this spot called Berlin when I was about 18 or 19. Colin Curtis used to DJ there and one night he played Art Blakey & The Jazz Messengers, followed by The Cool Notes who were like this really bad pop, like a bad British Shalamar or something. The dancefloor changed – all of the [jazz] dancers went off, then another lot went on and I thought, ‘that’s the shit!’ A bit of me is not frightened of throwing in the odd very uncool track, I think.” SO WHAT ABOUT THE WINNERS? WHAT STILL RESONATES STRONGLY WITH YOU? “Dizzee Rascal, I am most proud of, I think. I played I Luv U fi rst. I had the demo of it at the back end of my time at Talkin’ Loud and back then it sounded weird and out of place, you know, because it was the beginning of grime but suddenly now it really works.” SO IF THIS IS A COMPILATION ABOUT LOOKING BACK, WHAT IS HAPPENING RIGHT NOW? “Do you know how massive dubstep has become in England? It’s as big as drum’n’bass ever was. What’s happened is, whereas d’n’b was what it was and everybody knew what it was quite fast, it peaked quickly, and it’s maintained, to be fair. Dubstep has taken longer to get to a point but now it’s like the masses understand it and pop music is fusing with it so it’s more comfortable than drum’n’bass ever could be because it’s getting into mainst ream subconscious. I was DJing with [reggae historian] David Rodigan at Best ival the other week. There’s a very young crowd there and they were going fucking crazy to him. They knew all of the lyrics of all of the reggae classics and these kids are barely 22, singing all of this General Levy and Dennis Brown st uff. I thought to myself, ‘how did that happen?’, and it’s a combination of dubstep and YouTube. Dubstep has brought reggae back to the people. Someone like Mala sees that – he’s a reason why that scene is so balanced, he’s like a godfather figure. The new generation are quite punk about their approach, though.”



In 1987 Gilles Peterson and Eddie Piller established the label as a jokey response to the acid house movement. Before moving on in 1990, Peterson A&R’ed releases by Galliano, A Man Called Adam, Brand New Heavies, Snowboy and Terry Callier. The label would later go on to release James Taylor Quartet, Gregory Isaacs, Corduroy, Barry Brown, Mark Brydon’s pre-Moloko act Cloud 9 and a soon to be monumental discovery in Jamiroquai.


In 1990, Peterson set-up Talkin’ Loud through Phonogram Records (it later became Mercury Records). A tip of the cap to his club residency at Dingwalls with Patrick Forge, Talkin’ Loud released ’97 Mercury Prize winners Roni Size/ Reprazent, ’98 Mercury Prize nominees 4Hero and the 2000 nominee MJ Cole. Other notable releases came from Nuyorican Soul, Incognito, Young Disciples, Omar, UFO, MC Solaar, Nicolette and more.


Named after the storage facility for Peterson’s immense record collect ion, this 2006 venture has again captured exciting trends and updated old faves. From singer/ producer Ben Westbeech, to jazz crooner Jose James, the ‘death jazz’ of Japan’s Soil & ‘Pimp’ Sessions, the Brownswood Bubblers series and beyond, this label further joins the dots between st yles old and new. Check Havana Cultura for a new school of Cuban musicians recently remixed by the likes of Carl Cox, Louie Vega, Michel Cleis and Seiji, amongst others.

FINALLY, IS THERE ANYTHING YOU MISSED OUT ON SAYING WITH THIS COMPILATION OR INDEED ANY OTHERS? “I didn’t put any St Germain or Jazzanova on this. Act ually, there’s quite a lot I didn’t put on there but I’m pretty happy with it. It’s always going to be difficult. Th is compilation is not for me. Well, it is and it isn’t, you see. The thing I like about this comp is that some of these people don’t license their tracks to compilations. People like Erykah Badu. They were really sweet. Even Dizzee! They don’t normally give tracks to indie labels so it’s a nice representation of the past ten to 12 years of my show and it opens the door to a new chapter.” WHO: Gilles Peterson WHAT: Worldwide (BBE/Inertia)



ot so long ago American national Ian Carey asked a generation to Get Shaky, and he was particular about it – “Get shaky after school,” he asked. Nowadays he’s asking something different. “It’s probably a good time to talk about my latest track, Last Night. It’s a collaboration that features Bobby Anthony and Snoop Dogg,” he confesses. Yes, put down your Glocks – rapper Snoop Dogg has gone elect ronic. “Th rough a friend of a friend Snoop and I had known each other for a few years. The collaboration was one of those things that just happened very quickly.” Last Night is based on everyone’s personal experiences. “Last Night is about many things. It can be how you wake up in the morning and realise you’ve drank too much the night before. We’ve all been there,” Carey laughs. Carey grew up in small town Maryland, USA, about two hours from Washington DC. He got into music young – his father was a live sound engineer and ran a sound reinforcement company. Carey senior engineered for Kool And The Gang, amongst others. When Carey was around seven years old, and during his summer vacations, he travelled from east coast to west coast of America with his father to a variety of concerts. Music was built into the Carey way of life. “I learnt quite a bit about music from my father. My father showed me how to make a living from music and was a real-life example of someone heavily involved with music. Because he was involved in the indust ry I learnt the basics of sound engineering,” he explains. Little surprise then that Carey junior knew music was the right career of choice. “DJing has always been my fi rst passion but I knew I had to make records to really get my name out there. DJing wasn’t going to pay the bills so I knew I had to diversify,” he says. Carey played drums in high school, which included a performance for a marching band during a parade. During college his musical awareness expanded. Bands, drums and guitars were losing the fight to hip hop, scratching and graffiti. Carey discovered a new scene – hip hop and Baltimore graffiti writing. But that wasn’t enough. House music pricked his ears and gained his interest. “With graffiti I always ran the risk of getting arrested. The DJing side of things provided me with the creativity and artist ic license that I needed.” His partnership with Jason Papillon, using the Soul Providers disguise,

has also reaped rewards as their fi rst single, Rise, went mainst ream across Europe. Ambitious, hungry for success and heavily into the elect ronic divide, he quickly became jaded with the American house music landscape. So he moved to the Netherlands and then, in 2006, he moved to Spain. He says it was the best decision he’s made. “By the time I made up my mind to move I had made a few records and was flying back and forth to Europe anyhow. So it made sense to make the move to Europe.” Carey the DJ has st reet credibility. The American native’s performed as a DJ since 1993 and worked as a record producer to great success. Forever the chameleon, Carey’s used guises like Ian “45” Carey, Illicit Funk and The Ian Carey Project to release sounds. But then in 2008 arrived Get Shaky. Released under the banner of The Ian Carey Project, it shook dancefloors and wobbled over to the commercial province. That Get Shaky was picked by the Czech Republic to be the official goal song at the IIHF Ice Hockey World Championships in Germany says much about the song’s power. However being pigeonholed as the bloke who made it is a bugbear. “It depends on the territory but in a way it does bother me about being pigeonholed as I’ve act ually had a lot of different records out there. In Brazil, Get Shaky only made it to 20 or 30 on the charts while another one of my records made it much, much higher. In Aust ralia and New Zealand I’m probably more known for Get Shaky than anything else, so it really does depend on the territory,” he explains. Carey’s now trademark reverberations have grown, developed even, to become smarter. The American house scene has also grown, which is why Carey moved back to his homeland. “I moved back to America last year and am now based in Miami, Florida. I’m more est ablished and so is house music in America. You’re now seeing more R&B, pop and urban artist s working with and moving towards elect ronic music producers. There is much more house music being played in American clubs these days.” He sees himself as a conduit for young up-and-comers who want to get their music heard. His label, GFAB, provides the medium. “The label’s not about me releasing my work. It’s a vehicle for others. I don’t make money from the label but I get to hear a lot of music from talented artist s.” Carey has seen a few changes throughout the years. The superstar DJ tag may have peaked and subsequently trailed off, but marketing has played a greater part in the DJ’s current standing in popular culture. “DJs as a pop icon is a new thing. Everything’s more of a marketing challenge these days. To stay on top of the game is all about marketing. That is both good and bad as it’s not always about a DJ’s performance and technical skill. Like it or loathe it, the marketing challenge is part of the job.” WHO: Ian Carey WHERE & WHEN: Oktoberfest at UNSW Roundhouse (Sydney) Thursday 14 October, 600 Sounds at Broadwater Parklands (Gold Coast) Friday 22 October, Fat As Butter at Camp Shortland (Newcast le) Saturday 23 October (afternoon), Pure Ivy at Ivy Saturday 23 October (evening), Neverland (Melbourne) Friday 29 October





he elect ronic music timeline is pock-marked with careers which have defined genres, clubs, labels and trends that have come, gone or otherwise been resurrected. Some of the characters behind the most pivotal changes have however, often faded into obscurity never to return; or at least not in the fullest sense. Timo Maas on the other hand never left his post, and it could be fairly said that the many different masks he has worn throughout his illust rious career have simply melted away to reveal a newer, more compelling one. From the hard trance of Die Herdplatte to outings with Kelis on Loud and misunderstood collaborations with Brian Molko (Placebo) on Pictures, Maas has always dwelt in his own rather unique creative zone. Most commentators will point to his seminal remix of Azzido Da Bass’ Dooms Night as the watershed in his career, yet it’s arguably the critically ill-received Pictures which has pushed Maas into new beginnings. Fans of more underground elect ronic music can thank their lucky stars it happened: if it weren’t for Maas spending time in professional limbo he’d likely not have come to collaborate with Santos (Sante Pucello) and hence, pumped out the percussive club mega-weapon Subtellite. While Maas could hardly have been called unproduct ive at any point in his career, his st udio partnership with Santos has propelled a mindbogglingly massive slew of original tracks and remixes from his rural German locale into clubland. As Mutant Clan they’ve covered impressive musical ground, but it’s with their recently established label Rockets & Ponies that the dynamic duo will infl ict the most long term dancefloor devastation. The established direct ion, as much as the name of the label, all came down to timing. “Years ago – four years ago or so – I was in Bulgaria for a gig in Sofia,” Maas recalls. “When I arrived I was walking with the promoters to some restaurant and I was just looking at this girl walking by who was very beautiful and [the promoter] said, ‘you know what Timo, we call these girls here “Rockets”’. I said, ‘Really? Okay what else exists here in Bulgaria other than Rockets?’. They said, ‘Well we have “Ponies” which are also beautiful girls but a little bit smaller and we have “Bears”’... nobody wanted to talk about ‘Bears’ so I really liked the name and it st uck.” Maas’ many eccentric gigging stories could fi ll several volumes but at the end of the day, not wholly indicate what makes him tick as an artist. His push back into underground house and techno has both reinvigorated his career and given Maas substantial cause to take a retropect ive glance at it. Balance 017 neatly encapsulates the sentiment by throwing a line between the past and present, with an emphasis on the latter. The seminal EQ Recordings compilation series (now released through the newly formed Balance Music imprint) has afforded Maas considerable freedom, which as a veteran of the process, he hasn’t taken for granted. “I had more space and I was not so pushed to go into a certain direct ion,” he explains. “What I really, really love about the Balance compilations is that the guys said, ‘Hey, do what you want, be crazy, be open-minded and we’ll licence everything together so do what you want’. I like the idea of that; just spread myself out and do what I really want to do – not just keeping it clubby but also eclect ic and open-minded. I felt pretty comfortable to do it that way because there aren’t much platforms left


worldwide where you can do this; when you go for any more commercial compilation they start asking [whether] you can take this track on, or this track on… automatically you can’t do 100 percent free, your st yle of music. When I do a mix compilation that’s what I want and that’s also why I haven’t done [one] for many years.” Finished some time at the end of August, the two disc compilation includes a veritable treasure trove of exclusive material from Maas and his Rockets & Ponies artist roster. “I was listening to thousands of tracks really and I tried to make a tracklist ing that brings what I love to do when DJing out there; bring a trippy mix together,” Maas

enthuses. “[There’s] a bunch of tracks and remixes that I asked the camp of Rockets & Ponies to do something just for the album and I was describing what I’d like and the guys did it. There’s 14 or 15 exclusive tracks on the album that are out of our camp. Balance 017 also ought to be indicative of what to expect from Maas’ forthcoming artist album. While understandably vague about the nascent project, he’s keen to point out what it won’t entail. “I’m not jumping on the David Guetta train,” he says, tongue fi rmly in cheek. “With a lot of respect to David … he has really opened the market worldwide for all of us and the vocals are back in dance music and that’s due to him. I don’t like the music but it doesn’t matter – he’s done really well and deserves everything where he is but I’m not going into this melodic st uff. We started [the album] half a year ago [and] when finished, it will be out on Rockets & Ponies [in] summer of next year. My experience of the past years working back where I came from, indie/underground, more experimental… obviously has an influence on the album. I have to be vague because it is vague at the moment and I don’t want to talk too much about that. What I try to achieve is doing something that is different and in an ideal case scenario, is as timeless as I think my old albums were.” WHO: Timo Maas WHAT: Balance 017 (Balance Music/EMI) WHERE & WHEN: Chinese Laundry (Sydney) Saturday 16 October (afternoon), Brown Alley (Melbourne) Saturday 16 October (evening), Barsoma (Brisbane) Sunday 17 October




n inexplicable fascination with Aust ralian hip hop music has seen 26-year-old Andrea Baranski dedicate a large part of the past five years to mastering the craft of MCing and writing songs uner the Class A moniker. After several independent releases, the Class In Session mixtape and 2008’s Class With Parker EP, this year sees the gifted artist release her highly anticipated debut album Me, Me, Me And Him: The Secret Life Of A Receptionist. Having been voted Aust ralia’s Best Female MC in the Awards in 2008 and 2009, Branski’s hard work and talent have seen her grace the stage alongside a list of international legends – Dilated Peoples, Jean Grae, Talib Kweli, Gift Of Gab and J-Live as well as national heroes Hilltop Hoods, Urthboy, Mantra and Ozi Batla. In spite of her many accomplishments Baranski remains somewhat astounded by her success as she reflects on the beginning of her musical career. “I was 16 when I started and I can’t believe I am st ill doing this 10 years later. I have no idea why I started, I just did and have not been able to stop since – it’s just bizarre that’s it’s taken over me and my life.” Growing up in Geelong, Baranski was fi rst exposed to Aust ralian hip hop via community radio stations showcasing the st yles of local MC’s Fatty Phew, Thorts and Bias B. “It just st ruck a chord with me st raight away. I was already into hip hop like Notorious BIG and Salt-N-Pepa, so when I heard an Aussie accent I just feel in love with it,” she recalls. “So I started writing rhymes in my room, listening to The Formula every Saturday, taping it and trying to write my own verses and copy other people’s st ruct ure.” After teaching herself to rap, Baranski found a mentor in local rapper Fatty Phew, who taught her how to perfect her flow. From here the hard-working MC gained the confidence to enter her fi rst open mic night which she ended up winning. Since this time Baranski’s natural confidence on stage has continued to be one of her st rongest attributes. “I love performing so it’s just all tied in nicely together. I did dancing and singing for seven years so I’m

I AM WHO I AM. I FEEL THAT HONESTY IS THE BEST POLICY. MY MUSIC IS REALLY STRAIGHT UP ABOUT WHO I AM AND THAT’S MY IMAGE.” used to being on stage,” she explains. “These days rap shows are not just people standing there and spitting verses, it’s act ually about putting on a really entertaining show. When I’m const ruct ing my own shows now it’s definitely about using different parts of your personality and relating to the audience – there are so many factors involved.” In a genre of music largely dominated by men, Baranski has generally been embraced and nurtured by her peers although she does acknowledge that being female brings about its own types of challenges. “People can be really judgmental about females especially in terms of appearance. I guess it has been kind of st range because I don’t look like a rapper but then… what is a rapper these days? I don’t really try to put on a fake image for the public. I am who I am. I feel that honest y is the best policy. My music is really st raight up about who I am and that’s my image.” Me, Me, Me And Him: The Secret Life Of A Receptionist is testament to this honest approach, documenting tales of heartache and self-discovery. “The album is about my life at the time I wrote it – being a receptionist by day and being a rapper in my secret life then trying to balance the two. It’s also about my relationships with men. I’ve just tried to be really honest and I hope that people will relate to it.” WHO: Class A WHAT: Me, Me, Me And Him: The Secret Life Of A Receptionist (Other Tongues/MGM) WHERE & WHEN: ANU Bar (Canberra) Friday 5 November, The Cambridge Hotel (Newcast le) Saturday 6 November, The National Hotel (Geelong) Thursday 18 November, Northcote Social Club (Melbourne) Friday 19 November, Step Inn (Brisbane) Friday 26 November, The Gaelic (Sydney) Saturday 27 November






pace disco is back – Italo, too. Now Sydney’s Flatwound – Christopher Soulos and Jack Prest – are reviving the funky disco house that dominated swanky clubs in the late ‘90s. But they’re reinventing the music with an awareness of everything that followed it – post-Daft Punk French touch, elect ro and minimal. Indeed, Flatwound are music buffs, their very name referencing the bass guitar st rings Bernard Edwards favoured in the Chic days. Still, Super Space Dope Funk, encompassing the single Android Funk 6, is surely the best album never to show on Naked Music. Flatwound have already received support from Triple J, and DCUP, who co-produced the massive We No Speak Americano with Yolanda Be Cool, has decreed their music to be “dope”. They’ve even remixed the Brit Justin Harris for Neon Records. The two members of Flatwound couldn’t hail from more divergent backgrounds. Prest was once a true blue B-boy, but he embraced house – and disco – by way of funk. “I used to be so staunchly against house – I was like, ‘Four-on-the-floor, that’s crap, why would you do that?’,” he confesses. Today the DJ discerns less separation. “I’ve realised how close the development between hip hop and house act ually is. They’re very much two sides of the same coin, in a lot of ways, particularly if you look at what was happening in Detroit with Derrick May and the techno st uff there and the Chicago house scene – it was hip hop, but just at 120bpm.” Prest has long played the domestic circuit. He’s DJed with the hip hop groups Good Buddha and Horrorshow. “I did the cuts for their first album,” Prest says of the latter. “I’ve known those guys for ages. They went to the same school as me – [they were] a few years below. I booked them for their first ever gig where Urthboy came along and saw them – and I DJed for them at that show – so I was involved with those guys just as they were beginning.” Prest also made beats for Third Estate, helming It’s Time. In later years,


he’s disseminated his buzzworthy Sydney City mixtapes, a mash-up of Crowded House and The Herd (Crowded Herd), and an EP through Obese. Soulos is an oldtime bassist and Minimoogist – and muso-for-hire. He was partying during the original disco era – before Prest was born. Over the years Soulos has liaised with many an Aust ralian and international act, the most exciting Jermaine Jackson. “I was his bass player when he was in Sydney – we did the national tour,” he recalls. Soulos bought Jackson’s records second hand ahead of time to learn the material. A rehearsal tape finally arrived and Soulos discovered that it contained some new music – with prominent Minimoog – so he’d likewise st udy that. “The same Moog that’s on this album with Flatwound toured with Jermaine.” More significantly, Soulos has had his own band, the Latin jazz Espirito, since 1982.

When the unlikely pair started collaborating, they were a group of four. The enterprise fell apart. “One of the guys moved to Bathurst to go to uni,” Prest says. However, he and Soulos had established a rapport, and a balance, their music neither too polished or too raw. Says Prest, “Me and Chris were working together, we [both] had a day job at the time, and we were really keen to get together and work on some st uff. At that time, he just had one little computer in the corner of the room and his bass guitars and keyboards and st uff. We started working on this track, which ended up being our fi rst single, Littlemore, late last year – and it just grew from there. It’s been a really natural progression over the last three years. Now I’m sitting in a room that’s got four sets of monitor speakers, a whole rack full of gear, a mountain of synthesisers, an elect ric drum kit... and it’s just really naturally built up around us.” There are surprises on Super Space Dope Funk, with Keren Minshull featured on the Latin house Our Love Will Last. She sang Euphoria’s 1991 chart-topper Love You Right, although controversially model Holly Garnett st arred in the video. Minshull is an old friend of Soulos’ who lives nearby. “She sounds exact ly the same as she did in Euphoria – she sounds exact ly the same as she did when she was 20,” he enthuses. “She’s got an amazing inst rument, it hasn’t wavered, and she smokes – so it’s an amazing thing!” Flatwound fi rst performed live at Sydney’s Melt – Soulos remembers Hercules And Love Affair were present – and they’ve since developed a set that, like their music, integrates ‘live’ product ion and traditional inst ruments. Prest occasionally picks up his trumpet. Flatwound share a love of the visual arts (Soulos has sculpted and painted, while Prest has a degree) and so they’ve roped in ex-Gerling skinsman Paul Towner, aka Dead Galaxy, to create images for the show’s backdrop. Above all, Flatwound are continuing to evolve. They’re now joined by a live drummer. Says Soulos, “I was doing this gig, we were doing all Top 40 whitebread pop songs, and I was playing with

this drummer called Dave Marsalis. I said, ‘Dave, what are you doing these days?’ He said, ‘I’m just playing with the Hilltop Hoods, mate’ – ‘cause we were doing jazz records together. I said, ‘The Hoods? Man, I’m doing this funkdisco experiment called Flatwound, you wanna come and check it out?’ Now he’s playing drums with us. I love Dave’s drumming. I wasn’t expect ing him to be totally heavily into the hip hop scene, ‘cause I knew him from the rock and the jazz scene – that’s like a parallel universe to me.” WHO: Flatwound WHAT: Super Space Dope Funk (One World Music) WHERE & WHEN:

The Sandringham Hotel (Sydney) Saturday 16 October, The Croft Inst itute (Melbourne) Saturday 23 October, Butcher at Alloneword (Brisbane) Saturday 20 November




know a lot of people were worried and thought this was going to be some cynical, soulless remake, but we made this as a labour of love,” insists Matt Reeves, writer and director of Let Me In, the fi lm that dared to translate Swedish marvel Let The Right One In for American audiences. An act that fans so deplored the very idea of, that Reeves was installed as Fanboy Enemy Number 1. Reeves, who had seen the original prior to its release and been so in awe he initially resisted the offer to helm the remake, had his every anxiety compounded when the fi lm hit and was hailed as one of the finest cinematic offerings of 2008. “The tension had been building all along,” he recalls. “I remember when we finally went to Comic-Con, I was terrified. I was really proud of what we’d done and the sequences we had but I also knew these people were passionate, passionate about Tomas Alfredson’s fi lm and I thought ‘are they even going to give a chance to what we’ve done?’” That the original was a coming-of-age tale within a horror genre pict ure was one of the attributes that most attracted Reeves to a remake. The story of a young boy so punished by the meaner bites of adolescence juxtaposed perfect ly with that of a 200-year-old vampire in a 12-year-old girl’s body, cursed by an affl ict ion that literally forces her to bite back. “In a very, very beautiful way [John Ajvide] Lindqvist’s novel was a vampire story that was obviously about coming of age, and that was the metaphor – he was talking about the pain of growing up that way and being bullied, and how that felt like a horror story. So to me in doing the fi lm the key was to try and put as much into that boy’s point of view as

possible: to him, life was like a horror story. The thing that really got me was the idea that being bullied at school should be just as horrific as anything in the fi lm because for him that is truly horror. So that was the guiding compass: to say ‘how do we fi lter this through a boy’s experience?’” Luckily Reeves was able to find a young actor equal to the task set by the original’s Kåre Hedebrant, the role of the bullied 12-year-old who finds solace in an unusual ally going to The Road ’s remarkable Kodi Smit-McPhee, while Kick-Ass’s Chloë Grace Moretz is equally compelling as his fresh-faced, old-souled mate. Insist ing that neither watch the original so as to be faithful to their own inst incts, a request he extended to all the cast and crew who had yet to see it – “I wanted us to try and make this thing from the perspect ive of those who were passionately committed to a story and to try and find our own way of telling it – Reeves was mesmerised by the performances. “I feel blessed,” he begins, “those kids are extraordinary; that this adult tale falls upon the shoulders of these two children and they are so beautiful… I’m just excited that somehow we were able to do that. Even if you don’t like the fi lm I feel you have to appreciate with these kids are doing. “From Greg Fraser, the cinematographer from Aust ralia, to the cast, Michael Giacchino with his amazing score, everyone… I’m proud of the movie because I’m proud of them.” WHAT: Let Me In WHERE & WHEN: Screening in cinemas from 14 October






torytelling is important to Colognebased Tobias Thomas. On top of being a hugely respected DJ and producer, known for his ability to take listeners on melodic journeys rather than just dose them with fleeting shots of musical gratification, he’s also a well-regarded music journalist, making him equally fluent with prose as with notes when it comes to creating. While discovering his handy gift for a neat turn of phrase at school – “teachers would say ‘well, you don’t know a lot about the subject but you know how to write’ – even if I didn’t know the subject I was writing two sides [of paper] just to fool the teacher into thinking I had something to say,” he laughs – it was a risky career change on his father’s part that influenced Thomas’s desire to entertain. “Originally he was a doctor, but deep inside he wanted to do something totally different. He was interested in theatre, music and singing, poems and literature, but was kind of in the situation that a lot of young people, me included, face in the beginning of their adulthood: they do something normal because maybe their parents are expect ing it. So he took a risk for a moment in his life and that had a big influence on me. “He started direct ing st udent theatre. I was helping him, together with my brothers – I was doing the lights, my mother did the make-up or the cost umes… so I felt attracted to being backstage, involved with something that was produced and offered to a crowd. I didn’t find it so interest ing to be in the audience; I felt it more exciting to be there in the place where things were created, where you have stage fever. So when I got into clubs for the fi rst time when I was maybe 16, I got the same excitement – not to be in front of the bar but behind the bar, not in front of the DJ booth but behind it, entertaining people and offering something.” As a 16-year-old raised in a small town in Southern Germany, Thomas’s musical education in clubland was Italo disco and elect ronic pop bands like Depeche Mode, before punk and new wave caught up with him. “I then started going


into clubs that did not play elect ronic music but more rock, like The Smiths,” he recalls. “These are the two poles that influenced me – the electronic side and the pop side.” Yet nothing would change his life quite to the extent of moving to Cologne at 22. Not only did attending university in Germany’s fourth largest city feed the beast that Tobias says “just wanted to party”, it also provided the setting for he and longtime friend Michael Mayer to meet the crew that would ultimately form esteemed techno stable Kompakt. “Spring of ’93 we found this little record store called Delirium, one of the fi rst elect ronic record store franchises in Germany, and that was run by all the people you know now as Kompakt – the Voight brothers, Jörg Burger and Jürgen Paape. We became really close friends. We were smoking a lot, drinking a lot and just spending time together 24/7. Reinhardt [Voight]

was already into producing music so that was really the doorstep into it. Mike then decided to work there; I didn’t feel it was the right decision for me, but from that point on I was a part of the family. I could always go in there because it was my closest friends running it, take some records with me, sleep on the sofa… whatever I wanted.” Citing the ‘90s as being an ideal era to “invent your own professional profile; it was a very liberal and free time, and nothing was really defined”, Thomas forged himself as a DJ-slash-journalist, editing respected music magazine SPEX, and as the noughties kicked in he began turning serious heads with his remixing (often in collaboration with Michael Mayer) and mixtapes. His mix trilogy for Kompakt, Für Dich (1999), Smallville (2003) and Please Please Please (2007), demonst rated his uncompromising, impassioned approach: rather than loosely knit together a select ion of new music, Thomas pains over the st ruct ure, pace and emotional impact to create something he bills as “timeless”. It’s something he says audiences should expect from his sets on the forthcoming Kompakt 4 tour, which sees Thomas make his Aust ralian debut, joined by bedfellows Michael Mayer and Dominik Eulberg. “I don’t choose records for being really crowd-pleasing or for my personal taste, ‘oh I really like this track, I really like that track’, and play them without any order – I would never do that,” he explains. “I try to put them together in a very consequent order; like a story, you would never use the middle before the beginning, or the end before you’re there. The mood of the place, the number of people who are already there, the lights, the time… all that counts for me to make a decision on what’s next. “That makes the whole set like a story that people feel really comfortable following. I also think it’s really necessary that during the storytelling the people who are listening give you some kind of response – if they’re just silent, and don’t give you any looks or gest ures, or feedback of any kind, then you’re really lost. Because the story that you tell is full of quest ions, the quest ions always need an answer, and if the crowd is not answering it’s the worst DJ experience you can ever have.” WHO: Tobias Thomas WHERE & WHEN: Kompakt 4 at Barsoma (Brisbane) Saturday 27 November, Luna Loca (Gold Coast) Sunday 28 November, Kompakt 4 at Brown Alley (Melbourne) Friday 3 December, Subsonic Music Fest ival Saturday 4 December


DJ Shadow recently dropped two tracks for free on his website. It was for a limited 24 hours only, but cyberspace turns that into forever. It won’t be hard to track them down. So what are they like? Hmmn... Def Surrounds Us was interest ing for at least one listen with it’s tricky 808 drum patterns, but the soulful folk tune I’ve Been Trying was a more conventional moody piece with a 60s type vocal that at least has st yle that doesn’t irritate on subsequent listens. Sure the price was right, but what we all probably want is another album like Entroducing. Yeah right! It’s never going to come from Josh Davis, because he’s obviously moved on artist ically and is not interested in repeating himself. There are too many wannabe successors who have followed his path to mention here, that is until I heard… Dutch beatmaker Crookram (Chris Angelovski). Unlike Shadow this dude loves the internet’s capabilities so much he just gives it all away for free on the regular. But don’t let that cause a shrug to your shoulders. His music is all that and more. Seriously, his latest album Welcome Aboard is absolutely bloody fantast ic. It is exact ly what I want from inst rumental hip hop. It was on repeat for almost the whole day I heard it again recently when it turned up again randomly on my iTunes. I had to come back in the room and check what it was again. It’s a totally sampled affair with all sorts of vinyl history and fi lm snippets brought together to form a totally compelling 52 minutes. The variety is remarkable, the digging skills are evident and the ear for memorable hooks and beautifully layered compositions are all displayed with a talent that shouldn’t be found for free on the net. You can find more it via his own Bankrupt Recordings label, but if you would prefer to hear his earlier material then go to the site and grab his 19/76 EP and various other remixes. Another artist who also travels over a similar soundscape, though less embellished, is DJ Scientist. He’s just dropped his album The One Man Band. It’s an instrumental version of the album The One Man Band Broke Up that he produced for rapper Ceschi, but before you delve into that gem, search for his and DJ Arok’s German Christian funk mix Godly Grooves from last year. Sure to blow your head with the extremely funky religious fervour contained...



here has never been quite as much to the work of Pablo DiazReixa as has been suggested. Alegranza!, the 2008 sophomore album of the Diaz-Reixa’s El Guincho alias, saw mainst ream and counter-cultural inst itutions alike champion the Spanish musician’s sample-heavy post-modern exotica as some kind of considered attempt to reinvent pop music in his own image – but matters have never been quite so grand. “I recorded Alegranza! in like a week,” Diaz-Reixa admits of his breakthrough. “I did all the work at home on the sampler and it was very quick. I recorded that album because I had written a whole bunch of songs that I couldn’t really play with my old band. It was pretty much an album designed to be played live. Alegranza! was not that big of a success, really. A lot of people got into it but, pretty much from the moment it came out, I was just looking to get back into the st udio.” The eclectic haberdashery that was Alegranza! was, more than anything else, a product of the music of Diaz-Reixa’s Spanish upbringing colliding with his ambition as a popular artist and limitations as a developing musician. “I’ve always tried to write songs with melodies and hooks and that sort of thing,” the producer considers. “It’s interest ing because a lot of people try and tell me that I write dance music and I don’t think that’s really proper. While there are elements of dance music in what I do, it’s not st rict ly dance music. “To me, proper dance music is like, seven-minute tracks that are designed to be played in clubs and my st uff is just music that you can dance to if you want. And you can say that about a lot of pop music. If you look at the biggest pop hits, a lot of them have really st rong rhythms that you can dance to if you want.”

Nowhere is this more evident than on Diaz-Reixa’s recently released third album Pop Negro – as its title suggests, an unabashed pop record. DiazReixa’s vocals and songwriting have been pushed to the forefront of his work while the hypercolour sample-past iche of Alegranza! has been replaced with highly polished (albeit densely layered) live inst rumentation. “I think, where Alegranza! sounded better live than on record, Pop Negro might be kind of like the opposite,” DiazReixa explains. “I think of the st udio as my natural habitat. I feel more comfortable there than anywhere else. I’ll spend hours just working on the sound of a kick drum for one particular song or figuring out how to perfect ly EQ a hi-hat.” Still, the most telling aspect of the album’s creation is the involvement of mixer John Gass. An acclaimed American mixer, Gass has previously worked on records by Michael Jackson and Mariah Carey and brought his own sense of sheen and polish to Pop Negro – transforming Diaz-Reixa’s dense collages into the shining and shimmering pop songs “Yeah, the songs has like 90 to a hundred tracks and, to be honest, I’m not very good at mixing my own st uff. I love mixing other people’s st uff but, with my own, I’m not very object ive and I need a fresh set of ears.”

WHO: El Guincho WHAT: Pop Negro (Young Turks/XL Recordings/Remote Control Records) WHERE & WHEN: The Gaelic (Sydney) Fri 10 December, Meredith Music Fest ival Saturday 11


December, East Brunswick Club (Melbourne) Wednesday 15 December, The Clubhouse at Tempo Hotel (Brisbane) Thursday 16 December






ipping at the dregs of the day’s 17th coffee, Gareth Harrison sits in his hometown café, st ruggling to avoid the bevy of analytical stares from passersby as he finds himself unable to steer clear of all conversation Bowie-related. “I’m a massive fan,” Harrison gushes. “I’m going through something of a David Bowie renaissance at the moment. His greatest era would have to have been around the time of [Jim Henson’s 1986 fi lm] Labyrinth – I think most people would agree with that. After then he started hooking up and collaborating with crappy 90s bands and dressing ridiculously, wearing horrible blue suits with giant shoulder pads.” Increasingly conscious of his public surroundings, the musician becomes sidetracked. “The music scene here in Ballarat is really odd – it’s both varied and quite concentrated at the same time. For example you’ll see metal guys and folk people all turning up to the same shows. When [Guy Chappell-Lawrence and I] were younger we were quite into metal ourselves… You can definitely experience the influence we’ve taken from that genre at our live shows. It wasn’t until we fi rst started hearing material by The Avalanches and 2ManyDJs, then guys like Girl Talk and Z-Trip that we combined everything we’ve enjoyed over the years to create mixes for ourselves. “We were always friends with people in bands, but not all the same genre. When we started out, we were just sitting around at cafés listening to each other’s mixes, trying to add a really wide range of musical st yles and having a laugh at what we could come up with. It was like a game show on CD – you could have fun guessing where the samples came from. We’re lucky anyone ended up putting us on the bill at all,” Harrison lets slip. “. “The fi rst name we came up with was The Lap Dancers – but that idea was immediately trumped by the phrase: ‘No. That’s a shit name’. Guy’s


the kind of person that you need to make think an idea was his, to convince him to go ahead with it. One day he was wearing a sailor outfit in his MySpace profi le, so I came to him with that and the name Yacht Club. That’s where we’ve come from and we’ve st uck with it.” Strict ly speaking the music business is a far cry from Harrison’s early occupational pursuits, however it’s clear that dashes of his previous profession remain with him and the Yacht Club. “I st udied brewing at university, then went on to work with a couple of different brewing companies,” he recalls. “I hate to think what I’d be doing if I was st ill there… It’s a bit depressing. “I’m really happy where I am at the moment and the direct ion that we’re heading in musically. Anything can happen at the live show and we’re looking at expanding this beyond the mash-up genre. It’s basically a house party on stage – or music trivia for the dancefloor..”

WHO: Yacht Club DJs WHERE & WHEN: Corner Hotel (Melbourne) Thursday 14 October and Saturday 16 October, Fat As Butter at Camp Shortland (Newcast le) Saturday 23 October, Harbourlife (Sydney) Saturday 20 November, Harbourlife (Gold Coast) Sunday 28 November, Falls Fest ival (Lorne) Wednesday 29 December, Sunset Sounds (Brisbane) Thursday 6 January


The ‘collab’ is typically nothing more than a cross-promotional gimmick in contemporary urban music. But, happily, there’s st ill scope for some musical adventures. John Legend’s bonding with The Roots culminated in the failsafe Wake Up!. Now Mark Ronson has yielded his third (and brashest) collaborative album in Record Collection – with a new ‘band’, The Business Intl. Ronson lately admitted to (an antagonist ic) NME that he felt pressure to prove himself after 2007’s covers set, Version. In the UK he’s experienced a “backlash”, media types suss of his privileged upbringing (they were mean to James Lavelle, too). OG Flavas has to wonder if some Brits just didn’t appreciate an Aussie (Daniel Merriweather) singing a song by English indie idol Morrissey – especially when our boy’s Stop Me... was vast ly superior. (Hatas!) Ronson, no mere ‘celebrity DJ’, has brought a fresh perspect ive to hip hop, rock and pop since revitalising Nikka Costa’s career. Regardless, the producer is at pains to reinvent his steez here. Gone is the retro-soul perfected on Amy Winehouse’s Back To Black. In fact, Record Collection might be Ronson’s response to Kanye West’s inventive 808s & Heartbreak. West was inspired by Phil Collins – and Ronson is likewise reconfiguring his 80s synth-pop influences. However, Record Collection also harks back to the vintage (well, early 90s) hip hop st ylings of his debut, Here Comes The Fuzz. Sonically, Record Collection represents postwonky brilliance but, at points, it suffers from having too many players involved. The songwriting could be tauter – a few songs are lost in the arrangements. There’s a sense that Ronson is so determined to break out, that he’s too far ahead of himself. The nu-elect ro Bang Bang Bang is fab, even if Q-Tip leaves MNDR’s Amanda Warner to do all the work. The Drums’ Jonathan Pierce co-wrote the psy-pop Lose It (In The End) with an energised Ghost face Killah – and Ronson’s own sublimated singing. The highlight? The dreamy Afro-pop Somebody To Love Me, featuring Boy George. It’s a big ask for Ronson to match Do You Really Want To Hurt Me – but this serves as a lovely return for one of the great ‘blue-eyed’ soul singers. Curiously, Merriweather, signed to Ronson’s Allido, doesn’t appear...


All Th ings House with BEN KUMAR The latest Capers is again brought to you direct from the Athletes Village in Delhi. It’s not all used condoms clogging the drains and super monkeys though. The music has been of an elite standard, fantast ic for jogging to. Just like the current crop of new music releases, it’s dangerous under foot: one could easily step in shit, eg the new Potbelleez single (which should be renamed from Hello to Fuck Off ). Let’s hope the Potbelleez collaborate with Sidney Samson for the single Hello, Riverside. It would be an event so awesome, not even the launch of the ‘WWTD’ (What Would Tiësto Do?) bracelets could surpass it. Capers always delights in singling out rapidly rising producers, so take a bow John Talabot. His st yle is house-meets-cosmic-disco, and he’s been chiming in with shimering gems of remixes, Blue Daisy & Anneka’s Raindrops being one of the latest to strut the Talabot look. Think lushmelodics-meets-the-Permanent-Vacation-label’scurrent-sound and you’ve arrived. Sander Kleinenberg is an artist who spent the fi rst-half of the last decade kicking goals and the last-half being red-carded from the pitch with each successive release. His album 5K is due for release in November, and it will be interest ing to see what he can deliver. Fearing that he may have “done a Guetta”, Capers may not hold much hope. German producer Tensnake continues his amazing form, having just released a double CD for Defected’s In The House series. It treads the fine line between nu disco and house, and commercial and underground, immensely well. 3D World has already tweeted that it could easily be the house compilation of the year, and workers at the Kumar’s Capers call centre agree. As a bonus, Tensnake is also touring Aust ralia around Christmas/New Year. The New Year and 2011 are hurtling towards us like rotten fruit thrown at a bad trance DJ, and two decent Capers-st yle touring rumours have crossed the newsdesk in downtown Mumbai. They concern two artists that will have regular Capers readers in a lather, that’s all we can say. All will become apparent after the respect ive parties make their official announcements – that’s how the pappadum crumbles.




t its heart, Chris Coe’s work is defined almost entirely through balanced contradict ion. Superficially, the Melbourne producer and DJ’s career as Digital Primate has, since the early 1990s, been an indecipherable and illogical mess. There’s been collaborations with avant-garde performance artists, releases on respected techno imprints like Pro-Jex, legendary club nights like Centriphugal and an almost unending st ream of leftfield detours into genres like hip hop, elect ro, grime and reggae. “As far as I’m concerned, it’s all techno,” Coe offers in explanation. “I think, to some people, techno is a scary term or something but, as a category, it can be quite loose. It’s all about using technology. In my mind, techno has the same kind of definition as punk. It’s not necessarily a genre. It’s more about an attitude you bring to the music that you make as an artist. It’s about bringing an attitude to your work that allows you to be open about what you want to accomplish as an artist.” At the heart of it all, however, is a refined sense of contradict ion and balance. Th roughout his entire career, Coe has delighted in balancing his wild and experimental aspects with surprising commercial predilect ions. Digital Primate’s most recent album (2009’s Keep Calm And Carry On), for example, was an unsettling series of collaborative dubs between Coe and British dub-reggae wizard The Mad Professor whereas his latest project, Metals, is an elect ro-soul outfit signed to Illusive Records. “For me, I’ve got two criteria – try and find new sounds and keep them on the dancefloor as much as possible,” Coe elaborates. “It’s always been about the inclusion. DJing, for example, is about the inclusion of everyone at the party as opposed to me telling you how it is by playing my music. That, to me, is a punk attitude and that, to me, is what techno is all about – inclusion in whatever musical language is most valid to you. “It is sometimes difficult to balance the two criteria, though. I fi nd when I’m DJing, sometimes, I try and meet both and I just fail miserably,” the producer laughs. “But, when it does happen, people get so excited. It elevates them to an entirely new level. The other night, I was playing this really funky, good, hard techno and I mixed it perfect ly into Once In A Lifetime by Talking Heads. It’s nothing new, of course, but it’s

completely uplifting because it shows the music is not just for the DJ.” To this end, Coe is close to the ideal select ion for the Gallery Of Modern Art’s Up Late series. Ostensibly a DJ and producer (and occasional promoter), Coe’s philosophical disposition and balanced sense of contradict ion also position the Melburnian as a performance artist in his own right. Whereas most DJs are comfortable to exist within their own culturallydesignated paradigm, Coe’s work as Digital Primate consciously interrogates such relationships. “I’ve been wondering how I’m going to approach that set,” Coe laughs. “I’ve always enjoyed playing in places that seem incongruous as it’s kind of an artist ic challenge so I’m looking forward to it. I’m not sure if it’s for dancing as such, though, so maybe it’ll be about engaging with the idiom of dance in a culturally experimental way. Or maybe that’s just a load of wank. In any case, I am act ually looking forward to it.”

WHO: Digital Primate WHERE & WHEN: Up Late at Gallery Of Modern Art Friday 15 October







uke Girgis cut his teeth as a part of Sydney’s Nurcha Records group. The outfit, formed around the label and helmed by promoter Shrek, enjoyed several years of prominence. The label hosted releases from Mind Over Matter and Dave V, and had a particularly act ive presence in the Sydney hip hop circle. Since Nurcha Records’ early-2009 closure, the acts signed to it have been left to handle their own business. Girgis, as it happens, has been leading the charge. It’s not st rict ly as an artist, though, that Girgis has been making moves. Behind the scenes, he has been one of the primary heads responsible for the promotion of one of 2009’s most hyped albums, Inkstains. Many who follwed Nurcha’s and its affi liated MCs’ progress, would be well aware of Phatchance. He currently stands as the most high-profi le member of the Nurcha collect ive, a position that can largely be attributed to the release of Inkstains, his maiden solo LP released last November. “We’ve only really knuckled down in the last 12 months, when we were shopping Chance’s album,” the Shire native explains. “We’ve done a lot of research, and we had a lot of mentors helping us out early on. On Nurcha, it was a really great time, but we were really young, and didn’t do much ourselves.” Do-it-yourself promotion is by no means a new phenomenon in Aust ralian music. Recent years have seen this do-it-yourself approach on dist inct characterist ics, pioneered by a select group of artists. A profound dedication to crafting a professional finished product has been taken up by several acts, Girgis included. The consistent promotion of a high quality product has characterised Girgis’ past 12 months, most predominantly with the lead-up to and release of Inkstains. “I don’t know what it is about me,” he laughs. “Whenever I’m interested in something, I go all out. When music really took a hold of me, I just haven’t stopped.” “I don’t seem to be hitting it as hard as I hit Chance’s st uff,” Girgis muses on the effort he has made to promote The Sound Of Wings, his EP collaboration with Miriam Waks. “I act ually thought that I should maybe get my own manager. But it’s not really an issue. I always seem to be a lot more passionate and vested in my friends’ music than my own.” Musically, the creation of The Sound Of Wings was a simple process. Upon meeting, Girgis and Waks clicked, and chose to work together towards

an EP shortly afterwards. “It could’ve turned into an album,” Girgis says. “We decided to go for an EP, because we were really keen to do something together, but she also had way too many commitments.” One of the EP’s tracks has already gained some remarkable attention. Initially, Burn Churches, a reflect ion on the financially driven motives of some members of the Christ ian inst itution, was singled-out by listeners. After performing the track at a series of events, the track was labeled by some as an attack on religious devotion, and the entire Christ ian apparatus. Th is was far from the case. “It’s a lot better now,” he reflects with regard to the attitudes towards the track. “A lot of people were getting the wrong message from it. People who were open about hating Christ ians liked it because they thought I was agreeing with them. And then there were Christ ians who thought I was openly dissing Christ ianity. But it has calmed down now.”

WHO: Coptic Soldier WHAT: The Sound Of Wings EP (Independent) WHERE & WHEN: The Brewery Hotel (Byron Bay) Thursday 14 October,

Beetle Bar (Brisbane) Friday 15 October



In news that saddened many bass music fans, Mary Anne Hobbs last month hung up her headphones with the broadcast of her last ever show on the UK’s BBC Radio 1. Hobbs had been with the radio station for almost 14 years hosting her weekly two-hour Experimental show (formerly known as the Breezeblock). Over the course of that time, her ear and penchant for hyperbole helped break countless electronic music artists, and indeed entire genres. It’s hard to imagine another figure who single-handedly did as much to break the dubstep and wonky movements (and all their mutant strains) to a global audience. This month in Subdetritus, we pay tribute to the breathyvoiced queen of bass and beats. Mary Anne Hobbs was not always on the cutting edge of electronic music. Her first passions were metal and motorbikes, so at the age of 18 having ran away to London she ended up living in a bus with the band Heretic, helping out as a mechanic and designed sets and cover art for the band. A year later, Hobbs landed a gig writing for Sounds magazine in the UK and not long after found her way on to the pages of the revered/loathed British music paper NME. When James Brown, former deputy editor of NME, decided to leave and co-found Loaded magazine, Hobbs went with him before falling into radio work on XFM. It was there that she got noticed by the-powers-that-be at the BBC. Being a massive fan of the late John Peel and his tireless work breaking new artists on the BBC airwaves, Hobbs jumped at the chance and has enjoyed a long relationship with them ever since. Over the history of her Experimental show, its hard to think of a forward-thinking elect ronic artist, label or sub-genre that she hasn’t explored. Once claiming that she listens to about ten hours of new music a day, Hobbs’ quest to present the finest two hours of sounds on the planet each week was relentless and inspiring. Her Dubstep Warz special back in 2006 was a watershed moment for the genre presenting mixes from the leading producers of the time, and her final show featured an exclusive mix from Kode9 and Burial which was simply st unning. Far from retiring, Hobbs will continue to DJ globally as well as taking an internship at Sheffield University, curating stages for Sonar and Bloc fest ivals and is currently helping Darren Aranovsky with the soundtrack to his new fi lm Black Swan. We wish her all the best.




Along with ‘DJ’, ‘record collector’ and ‘label boss’, one of the titles constantly attached to Gilles Peterson is ‘tastemaker’. Th is can be boiled down to the simple and undeniable premise that ‘if Gilles plays it, it’s good’. Over more than ten years Peterson’s Worldwide radio show has been the origination point for so many of the most important trends and acts in underground black/dance music; the list of massive records direct ly attributable to Peterson is staggering and demonst rates just how important the GP seal of approval is. The Worldwide compilation is a collect ion of the biggest and the best tracks he has broken and/or championed on his radio show, whittled down from thousands and thousands into what is one of the most brilliant compilations in the history of anything ever. The list of tracks here is nothing short of mind-blowing; for unforgettable anthems try Recloose’s Dust, Sebast ien Tellier’s La Ritournelle, RSL’s Wesley Music, MIA’s Galang and Dizzee Rascal’s I Luv U. Then add slightly more mainst ream American gear from Q-Tip, Erykah Badu, Jill Scott and Amerie, some early Amy Winehouse and underground hip hop from Dilla, Madlib, Roots Manuva and Sa-Ra. Cramming in every st yle imaginable Peterson also manages to find room for the dub step of Benga, Gotan Project ’s twisted tango, future soul from Dwele and Spacek, trad jazz from Nitin Sawhney, Theo Parrish’s weirdness and classic Herbert. Apologies for the long list, but there is no better way to demonst rate both how incredibly important Gilles Peterson has been to the music indust ry – and how unfuckingmissable this compilation is. DARREN COLLINS

(Central Station/Universal)

Thank God for UK product ion monarch DJ Deekline. He’s almost invented a new genre – something of a rave, breaks, house, elect ro and garage mongrel which could well be called “break hardcore speed joggle”. Deekline’s set is a standout for its innovation and unremitting take on breaks, hardcore, electro and house. There’s bass galore and more than a nod to those who have danced in sweaty warehouses whilst waving a glowstick. SL2’s On A Ragga Tip and Josh Wink’s Higher State Of Consciousness inexplicitly appear in the mix, which just adds to the thrill. Although its soul is in the right place, the rest of the disc is really a little shambolic. Any compilation that dares to include elements of urban, hip hop, funk, 70s disco, breaks, elect ro,

SOUL MEKANIK Eighty One: Deluxe Edition (Wonk)

UK product ion duo Soul Mekanik have a wonderful ‘acid house’ history. Having been (separately) behind acts such as Candy Flip and Sure As Pure (ask somebody over 35), they came together in the noughties to produce 2005’s Eighty One. So proficiently did they mix underground retro-elect ro-disco with pop sensibilities that at the time the album received rave reviews in the underground and simultaneously grabbed the attention of mainst ream darlings like Kylie and Robbie. So what’s the point of releasing the album again five years later? The answer is twofold; fi rst ly Eighty One sounds just as relevant in today’s climate as it did in 2005, and secondly it now comes with a second disc of remixes, re-edits, extended versions, alternate versions and new

house and pop deserves plaudits for trying to display a new breed of musical modernism. Compiling and mixing a CD that has the Black Eyed Peas, Kanye West, Krafty Kuts, Art Vs Science, Crookers, Tone Loc, Yolanda Be Cool, Reel 2 Reel and Young MC takes some beating. The compilation could have been branded Fear And Loathing In Central Station, such are the narcotic arrangements. Naturally, Ajax takes control of a disc and manages to churn through tracks, edits and samples, including the poor remix of Armand Van Helden’s My My My and the equally toilet take on Young MC’s seminal Bust A Move, while K-Note opts for a welcoming version of dancehall-inspired distorted house following an introduct ion by Killaqueenz, However what all artists have achieved is an insane jumble of hip hop, 70s funk and modern day techno. STUART EVANS

st uff. Best exemplifying the delights of the original release are Wanna Get Wet, a funky party jam featuring sultry English lass coaxing us back to hers, and Go Upstairs which slows things down with some very cool songwriting. Over on the second disc Wanna Get Wet is given the honour of a Greg Wilson re-edit while Go Upstairs has Maurice Fulton retain the original’s walking pace, adding pianos and hand claps. Of the other originals, High On Hope Street slows things down again with a vocal that recalls Alice Russell while at the other end of the spect rum 27/5/01 sports a techno pulse, Elektrik Elephant’s modern elect ro influences pull it towards mainroom dancefloors while the retro-futurist ic kitsch of Take Me Home imagines Visage doing Bambaataa. Also worth checking on the second disc is Freeform Five’s Italo disco-ish re-edit of Don’t. DARREN COLLINS



ONE TRACK MIND CATCALL Swimming Pool (Julian Mendelsohn Remix) (Ivy League)

LUKE ABBOTT Holkham Drones

(Border Community/Inertia) In terms of both aest hetic and composition, Luke Abbott’s Holkham Drones owes much to Border Community boss James Holden’s own introverted 2006 outing The Idiots Are Winning – the very same tempo excursions, snappy st utter edits and lo-fi sounds are all present. However, though it’s a no less challenging listen, Holkham Drones is far more accessible despite sharing similar shortcomings. Like most recent Border Community output the album rests somewhere between home and the club – that it pays no notice to signposts indicating a set course between the two is to Abbott’s great credit. Though resoundingly DIY and a little rough around the edges, it’s not the variety of BC release which likes the smell of it’s own a little too much and is – in parts at

least – more aggressive than could have been expected of Abbott, whose previous releases were replete with pleasantly toytown melodies and gentle atmospherics. The lazy 2nd 5th Heavy opens proceedings with gently evolving melodic refrains and reversed st ring samples, setting the common pace for the album in the process. Unpredictability in Swansong comes like a st ray fist to the jaw, and just like a st ray set of knuckles, is pretty bloody awkward. Fans of Nathan Fake and James Holden will rub their hands together with glee while listening to the uplifting Whitebox and moreso st ill a few tracks on with the more dist inct ively individual Trans Forest Alignment. Hello Tazelaar gives the listener another dose of mildly warm-up friendly hypnosis – beautiful and enrapturing but most importantly, unlike anything else. DANIEL SANDERS

On fi rst listen the only thing I could think of was Robin Sparkles’ Sandcastles In The Sand, but subsequent listens have allowed this charming 80s inspired softcore porn jam (complete with soaring synths and slutty guitar licks) to grow big time. I can imagine bratty kids dancing around their room to it with a hairbrush microphone while dressed in fluoro.


Fantast ic chuggy tech house that takes the slow-burn approach, gradually adding layer upon layer of groovy percussion to the kind of subterranean bassline that just makes your eyes close involuntarily. The reverbed sitar effects, horn stabs and subtle synth washes add to the mellow atmosphere, making this perfect for early sets.

INXEC & MATT TOLFREY Hollywood At Night (Culprit)

Inxec and Matt Tolfrey take a break from the glitchy, mechanical grooves and deliver an absolutely superb slice of deep house. The bassline is the st uff dreams are made of, and the slowly rising chords, sparkly synths and spoken word sample guarantee dancefloor submission. ANDREW WOWK

MOUNT KIMBIE Crooks & Lovers

(Hotflush Recordings/Inertia) The UK-based product ion duo of Dominic Maker and Kai Campos (better known as Mount Kimbie) fi rst started making waves in the bass scene almost two years ago. In particular, the Maybes and Sketch On Glass EPs both released on Scuba’s Hotflush imprint last year turned a lot of heads with their unique aest hetic. Compounding their reputation for amazing product ion has been a st ring of remixes for the likes of The Big Pink, The xx, Foals and Ninja Tune’s woman-of-the-moment Andreya Triana. Their long awaited debut album Crooks & Lovers finally dropped a couple of months back and its impact is st ill being felt. Coming in at under 40 minutes, Mount Kimbie waste no time dist illing their textured sounds over 11


largely inst rumental cuts. For those unfamiliar with the pair’s sound, its all about the texture and ambience. Far from the cold, precise and clinical high-impact assault of dubstep, the tracks across this album have much more in common with Boards Of Canada, Fennesz, Four Tet or Burial. One of the real highlights here is Would Know which glides under layers of reverb and muffled vocals with thoughtfully placed percussion and subtle interruptions. Elsewhere on the album, Mayor provides a playful, steppy outing with arppegiated synths giving way to a very purplesounding lead. Garnering unlikely but welcome rotation on Triple J, Before I Move Off is centred on a warm guitar figure, with strings, vocal snippets and echoes anchoring the organic feel among squelchy bleeps. The record is rounded out with Between Time – a beautiful down tempo guitar piece driven along by a single snare hit. BRAD SWOB

3DPLAYLIST 3D 1. Push The Envelope (The Loops Of Fury Mix) BITROK 2. Sweet 1 EDGE OF COLOUR 3. Swimming Pool CATCALL 4. Your Move (Thomas Schumacher Remix) MARTIN EYERER FEAT SIAN 5. Ill Behaviour DANNY BYRD 6. Sun Demon STEREOLAB 7. Midnight SOLARIS HEIGHTS 8. Hold On (Sub Focus Remix) RUSKO 9. Carpe Diem AARIN F 10. Renaissance: The Masters Series Volume 6 VARIOUS/HERNÁN CATTÁNEO




t may not quite make a Jamie Oliver feature series, but the little appreciated art of Gurner Gast ronomy is on the rise. Over the past decade, the global attitude towards diet has fi ltered through to all levels of society, including those that house the mixed madness of clubbing culture. In tandem, an emergent post-rave party scene has quickly distanced itself from the icons and standards of kandy kid culture. Gone are the initially joyful and ultimately ironic expressions of creativity and individualism, by way of the white gloves, whist les and arms full of bracelets.

More curiously is the move away from a steady diet of Chupa Chups, lungs full of Tiger Balm and Vicks VapoRub and the occasional stomach full of glowst ick toxins. So in the interests of promoting a healthy clubbing diet as spring rolls into summer, 3D World presents the Gurners’ Guide To Gast ronomy. RECOMMENDED EATS Bananas: The staple diet of both third world counties and fi rst world party people alike – ironic given that the usual direct ion of the food chain of party favours flows from Pedro’s farm to Shazza’s pocket. Bananas are referred to as an ‘instant energy source’ due to their high levels of the natural sugars glucose, sucrose and fructose. They also contain a high level of potassium, which won’t mean a lot to you, but will sound profound at 5am when the kick-on is bugging out that you’re act ually trying to eat something.

Up & Go: The commercial name for Sanitarium’s excellent “liquid breakfast ” drink. Small enough to fit into a 1990s raver’s Elmo backpack, Up & Go is almost the unofficial food of a generation of munted masses. There’s enough energy, protein and radness here to power the most ardent of party people, but there’s also an interest ing side story in the fact that Sanitarium is wholly owned by the Seventh-day Adventist Church. [An even littler known fact is that other church groups have attempted to emulate this success, with Scientology’s snack food arm, Insanitarium, not faring so well during the Global Financial Crisis.] Baconnaise: As regular readers should know, everything tastes better with Baconnaise. Despite persistent rumours that Baconnaise is, in fact, people, this perfect blend of mayonnaise and bacon flavour is the most fashionable pantry-st uffer for those impromptu post-club get-togethers. The foodies will appreciate your finely-tuned tastes, and the guy swallowing sugarcubes and talking to the vacuum cleaner is going to lose his shit when he tastes this. In fact, the jar alone should keep the party amused for hours. It certainly did at 3D World. IMPOSSIBLE EATS Weet-Bix: The impossibility of eating a dry Weet-Bix brick after a sneaky double drop has reached infamy as a party game. Many hours of fun have been had with only a stopwatch, a box of the breakfast biscuits, and a pocket of

green Mitsis. The game consists of a number of willing participants, a plate of Weet-Bix and a dist inct lack of any milk, water or beverage of any kind. The winner is considered to be the one that manages to swallow the entire Weet-Bix brick fi rst, although quite what happens next is unknown. To this very day, no clubber in the history of the game has managed to do anything more than jam the biscuit into their mouth, crush it into so much asbestos-like dust, and then laugh the particles back into everyone else’s faces. A 12-Course Degustation Menu: Quite what you are doing at Le Restaurant Tres Cher for 12 courses of extreme food after 12 hours of extreme dancing is a little concerning. Perhaps dragged out by the boss or, even worse, your partner’s well-meaning family. Th is is not good. 3D World won’t lie to you – this is going to be an ordeal. You’re going to be okay for the fi rst few rounds of Pistachio Foam, Molecularised Moose-Meat and Oxygenated Andalusian Ice Cubes, but those stalks of raw wheat look difficult. Hang in until the final course, go easy on the wine, and excuse yourself for the bathroom every ten minutes. Your Own Face: Most noob gurners will forget this one, but it is worth remembering that your own face is not an adequate morning snack. For a start, the energy content of chewing your own gums off is incredibly low. Further more, the lack of flavour and texture make this a relatively unpleasant meal. Best st ick to external foodst uffs.






xxonn are a rare example of true musical unpredictability. A genuinely unusual phenomenon, unpredictable musical acts have long been thought to be a thing of the past on account of all the various paths of creative development having been trod by older musicians over the past 50 years – but, in less than two years, Tom Hall’s one man project has presented the kind of career arc that defies simple logic and rational explanation. “I st ill don’t know what Axxonn’s going to sound like,” Hall laughs – weeks away from the worldwide release of the band’s debut album Let’s Get It Straight. “I’ve always just st uck with the original ethos of taking all the different elements of sound and music that I like and joining them all into single tracks. I really do look at a lot of the tracks as sort of genre mash-ups because they really do blend together elements of other st yles; like house beats with distorted synths and noise guitars.” The project initially began in 2008 as a low-key collaboration between Hall and Ian Rogers (No Anchor, Ambrose Chapel, ex-Iron On) – the pair’s debut EP Should You Fear Hell? released as a free download that December. An almost overtly contradictory collage of artist ic intentions, the duo’s original reputation was built on a foundation of lengthy st retches of crushingly beautiful ambient noise and beautifully distorted live performances. Since that starting point, Hall has delighted in confounding and challenging audience expectations as frequently and fervently as time and circumstances allow – incorporating elements of dance music, synth-pop, heavy metal, shoegaze and the avant-garde into Axxonn’s ever-evolving lexicon and opting for a series of leftfield career developments that would make most bands blanch in confusion (booking an entire European tour with less than five shows under the band’s belt, for example). “I make songs for me fi rst and other people second. I know that may sound pretentious but, at the end of the day, if I’m going to go out and play a piece of music to one or a hundred people, I can only present it honest ly if I’ve made it with the utmost integrity,” Hall explains. “Honest ly, though, I just get really bored really quickly. I am act ually pretty surprised as to how popular Axxonn has gotten over the years.” Axxonn’s forthcoming fi lm clip for recent single Let’s Get It Straight is a prime example of Hall’s chaotic approach to creativity. While the project’s metallic textures and recent support slots for outfits like Isis, PVT, Grey Daturas and Health would tend to suggest Hall may opt for serious and contemplative visual aest hetics, the concept for Let’s Get It Straight is so far removed from such ideas as to be almost patently absurd (albeit typically Axxonn). “We basically just threw a crazy little kids party,” Hall laughs. “We got about 50 little kids there with a jumping cast le – it was awesome. The kids


just lost their shit, though, and in the end they were beating me up. I was sore in places I never knew existed the next day. The basic concept for the clip is that I get called up by a mum asking if I do kids’ parties and then I just rock up at this kids’ party and really cut sick. It was a lot of fun.” Th is has been the joy of watching Axxonn’s career. One has only ever had the faintest concept of what Hall will do next – whether it be releasing an album of metallic drones on cassette (Below The Dead Ones, released earlier this year) or nabbing Triple J radio-play with a primitive house tune (the aforementioned Let’s Get It Straight). The entire Axxonn career can almost be defined as Hall sprinting wildly through his creative impulses without any thought as to where he will end up. “I think a lot of people think they know what Axxonn is about – I think, especially locally, people think of Axxonn as having a specific kind of sound,” Hall considers. “It’s one of the reasons I’m so excited about the album. The material on the album spans nearly 12 months worth of st uff. It’s super eclect ic and I know people are either going to love it or just stand back and go – ‘hey man, what the fuck happened?’.” That said, the greatest surprise has arguably been the project’s success. While, described on paper, Axxonn’s sound and approaches would seem dest ined to relegate Hall’s work to cult status, the project has been embraced by such a wide array of audiences as to intrude upon Hall’s work as a sound and multimedia artist. Hall has even managed to secure a worldwide release for Let’s Get It Straight (Useless Art Records handling the Aust ralian and New Zealand territories). “I’m pretty surprised with its popularity, yeah. I definitely expected it to stay more within the experimental realms in Brisbane,” Hall reflects. “It wasn’t initially intended to be too serious a

project. These days, it’s act ually making things pretty tricky, because I st ill do a lot of work as Tom Hall. There’s a label in France screaming at me for a solo album and I just haven’t act ually had any time to make it yet. It’s becoming an alterego sort of thing.” “I’m constantly surprised as to who latches onto this music and who will come up to me at the end of gigs, though,” the composer considers. “Everyone from very young girls to quite elderly people. I remember playing a gig at Ric’s one night where the barman wanted to kill me and, at the same gig, I had one girl come up to me crying because it was so beautiful and another guy come up and tell me it had changed his life.” WHO: Axxonn WHAT: Let’s Get it Straight (Useless Art Records) WHERE & WHEN:

The Clubhouse at Tempo Hotel Saturday 16 October



HOW DID YOU CHOOSE YOUR MC NAME? “Act ually Tom Thum (Tommy Ill) came up with it. I also just rock Kel.” HOW LONG HAVE YOU BEEN RAPPING? “About eight years.” ARE YOU AFFILIATED WITH ANY CREW? “I have my own group The Kelly Gang and also do a lot of shows with The Coalition Crew, Rainman and The Optimen.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “I’ve been singing forever, but I found my confidence to rap freest yling at The Esky, a dope open mic night put on by Nick 1 (The Serenity) at Ric’s back in the day – those were the days.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “No. I’m a lady.” YOUR BEST SHOW AND WHY? “Very hard to say. I used to sing with Laneous & The Fam Yah, I loved that lots and I really miss singing with them. The Kelly Gang show at Woodford Folk Fest ival NYE 2009 was a big highlight. I think every show I do becomes a new best.” WHAT’S YOUR DREAM COLLABORATION? “I’d love to work with Erykah Badu. Cliché I know, but everyone she works with, I would love to work with too. I’d love to work with Mark Ronson too.” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “Wankers and big egos don’t last long. It’s a very supportive scene. Laidback and real.” WHAT GIGS DO YOU HAVE COMING UP? “The Kelly Gang vs The Coalition Crew at Island Vibe Fest ival Saturday 30 October.” PIC BY TERRY SOO AT ALHAMBRA



COMMONWEALTH GAMES SEVERELY LACKING IN MASTURBATORY CONTENT Th is may st rike most people as completely obvious, but in terms of mast urbation material the Commonwealth Games really doesn’t stack up to, say, the Olympics, and doesn’t come anywhere near a female grand slam tournament. It is act ually making me wonder what the fuck the English were doing when they act ually set about conquering the world. I mean, you would generally assume that the main reason for global domination is act ually to have unlimited access to 24-hour orgies, but apparently the English were way too busy teaching people how to increase their administ rative capacity, which further underlines what I constantly maintain and most Aust ralians agree with: the English fucking suck. COULD RAPPERS BE MORE STUPID PART I Y’know, I always attempt to give people the benefit of the doubt. Take, for example, the guy who attempted to flatten my face with the McDonald’s tray (while in Hungry Jacks, mind you) on Saturday night. No, I didn’t take this as a personal beef that he may have had with me at any time in the past, or recognition of my small number of character flaws. Rather, I understood reasonably well that he was out of his fucking mind on meth. Mind you, the fact he was naked and mast urbating furiously with his other hand was a bit of a giveaway. I’m generally inclined to give rappers the benefit of the doubt also, and generally not assume them to be the pack-raping drug dealers they claim to be. Th is has, in part, been aided by artists such as Ludacris (who has an MBA), Russell Simmons (who has his own exercise videos and credit card line) and Master P (who is a fucking legend). Of course, this all falls down when rappers like Ra Diggs get caught tweeting about a number of armed robberies that have been committed. Jesus, if he’d had a public conversation about it with a megaphone he would have had less chance of getting caught. COULD RAPPERS BE MORE STUPID PART II And another thing – when the fuck are rappers going to realise that getting a decent accountant is possibly more important than having either bodyguards, hookers or caddies in their entourage? Beanie Siegel has joined a long list of rappers who have failed to realise that you might be able to shoot at other rappers, other gangsters or even cops, but when it comes to avoiding tax collectors, you’re basically completely fucked.

ZOMBIE NATION’S HAPPY HALLOWEEN CHART 1. Overshoot (DJ Mehdi Remix) ZOMBIE NATION 2. Forklift JB3 3. What’s Up (Dub Mix) THOMAS GOLD & ALEX KENJI 4. Simple Th ings MAYA JANE COLES 5. Man The Cannons JOE AND WILL ASK

SEIJI 7. ZZafrika ZZT 8. Femme Fatale LAYO & BUSHWACKA 9. Caramellas (Album Version) AEROPLANE

6. Elevator

10. Khatarsis Impossible SIRIUSMO


If you can’t quite wait to see Andy C in the flesh when he hits our shores early next year, this trailer for the forthcoming Behind The Decks doco on his career and his RAM Records label might just push you over the edge. There’s plenty of earnest talking heads, but the club footage looks exciting and the soundtrack of Sub Focus’ Follow The Light is always a winner...





was even a hobby let alone a job!”

WHAT INSPIRED YOUR DJ NAME? “In the space of a few days, the word ‘Juicy’ was everywhere. TV, magazines, newspapers, commercials, shopping centres – everywhere! So I took it as a sign.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “No genre is safe. A Juicy set includes hip hop, Dutch elect ro, rock – even boy bands!”

WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “US Sailors were in town one year and when I played TI’s Bring Em Out, five of them started line dancing. That five then turned to 20, then 20 turned to 50, then the whole club was doing it. I played the song again and joined ha ha.”

WHAT TRACK TURNS YOU ON RIGHT NOW? “At the moment dirty Dutch elect ro is making me moist.”

WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “I don’t remember them for a reason.”

WHAT MADE YOU START DJING? “The love of music. I didn’t know DJing



WHERE & WHEN: Uber West End every Wednesday, Fitzy’s Loganholme every Thursday, Hot Gossip every Friday and Saturday

BUTTER BEATS CHART 1. Bad Boys In Sweden SEX PISTOLS 2. Horny Martian Breaks VARIOUS 3. Look What The Cat Dragged In POISON 4. Lift Me Up MOBY 5. Firestarter THE PRODIGY 6. Mural Art 2 KIRIAKOS LOSIFIDIS 7. Looking In SAS CHRISTIAN 8. Wall & Piece BANKSY 9. Coup D Fatal MIKE GIANT 10. Full Vinyl IVAN VARTANIAN


Since signing his first record deal with Cash Money Records at age nine, Lil Wayne’s talent and eccentric persona has seen him quickly stand out from other rappers to find commercial success and a dedicated fan base. However at 28-yearsold Lil Wayne’s dynamic musical career has been riddled with numerous altercations with the


law – in March this year he was sentenced to a year in prison for possession of a gun. While the rapper has been using his time behind bars to get creative by writing songs and producing music, his legal troubles continue to amass. This week Lil Wayne was served with a federal court summons from Atlanta producer Mali Boi who claims he is the original producer of the hit song Mrs Officer, which has sold over two million copies in the United States alone. Times are tough for


THE IDEA BEHIND OUR NIGHT IS… “Offering quality big name DJs at a really fun party.” WE’LL BE PIMPING THE SOUNDS OF… “Disco, tropical house, indie, house, electro, Dutch and maybe even a little hip hop.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Soulwax’s drummer Steve Slingeneyer aka One Man Party, Sam La More (a guy who shouldn’t need an introduct ion – the guy’s Aust ralian dance music royalty), and then local Byron favourites Rushton, And Oh!, Easy P and Red Mayne.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Special guests, free champagne, dress up themes and clothing giveaways from Afends, Future Vintage and Dim Mak.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Good music, loose times and free st uff.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “The best DJs and the biggest dancefloor.” WHERE & WHEN: Brat Pack at Great Northern Hotel Saturday 16 October

Lil Wayne – he was recently sent into solitary confinement after wardens at his New York prison found headphones and a mobile phone charger in his cell. And his last album Rebirth truly sucked. While he is due for release in early November it appears Lil Wayne may have more court time ahead. It seems President Obama was right when he pointed out Lil Wayne as the type of person American children should not aspire to be...





SUSHI SNAPS 1 Grant Smillie @ The Met

5 Saturday @ Exchange Hotel

2 Residents @ The Met

6 Saturday @ Fridays

3 Saturday @ Bank Bar

7 Saturday @ Limes Hotel

4 Saturday @ Chalk Hotel

8 Super Sunday @ Fox Hotel





3 5 6


1 4 8



















THE REGATTA Frat Club: DJ Scotty, DJ Pete Smith, DJ Mark Z. 9pm. Free. UBER Whatever Wednesdays: Danny Cool, LL Cool James, Van Miert, DJ Juicy vs DJ Vita, Tom Gazal, Morgan Baker, Hey Now, Rockfaud, Bi Polar Whore. X & Y BAR Fuzzy Polaroid, The Better Mousetrap, Charlie Hustle. ZURI Sushi Remixed: Danny T, Jimmy Vegas. 8:30pm. Free. ANGUS GIBBINS

FUSION VILLA NOOSA Ultra Violet. 8:30pm. Free. GALLERY OF MODERN ART Up Late: Digital Primate. 5:30pm. $10. GILHOOLEYS IRISH TAVERN DJ Danny B. GPO Nubreed. 9pm. Free before 11pm/$5 after. THE HI-FI Little Red, Sparkadia, Kimbra. 8pm. $30 (+ bf). KALIBER Jungle Fridays: Chris Kelly. 5pm. LALALAND Feenixpawl, Daniel Webber, Ryan Ryshton. LUNA LOCA Gregor Tresher. THE MET Andee, Pete Smith, Murray Brown, Nick Galea, Bossy (featuring Sharif D), Mr Sparkle. MYSTIQUE Remix DJ Comp: DJs Tuini, Blaze, Master D, Kenny Hustle. MONASTERY Open House with Ill Kid, Jessie, K Time, Tomy, Killafornia. $5 before midnight. NARANGBA VALLEY TAVERN DJ Quintrixx. 9:30. $5. PLATINUM Sam La More, Gerry Morales, Craig Roberts, Joey Mojo. 9pm. $10. PRESSURE LOUNGE DJ Mista, DJ Ricky D. 9pm. $8. THE REGATTA Dubs (live), Paul Bell, Mark Z, Scotty R. 6pm. Free. SQUEEZE CLUB DJ Climate, Maxwell. UBER Van Miert, Chris Kelly, Andy Brown, Rolla D, Cutloose and more. X & Y BAR At Sea, Keep On Dancings, Cutloose, Danny CooL. ZURI Provocateur: Benn Hopkins, Jason Rouse, MC Jamie Lee Wilson, Matt Kitshon, Sexy Scarlet Robyn. Free.

THURSDAY ALHAMBRA Tri-Lambda: Die! Die! Die!. 9pm. $18.40. BIRDEE NUM NUM Birds and Bees Student Party. 9pm. THE BREWERY HOTEL Phatchance, Coptic Soldiers, Johnny Utah. 8pm. $10. ELSEWHERE Steele Justice. 9pm. $12. FITZY’S Vita, Climate, Juicy. Free. DJ Banksy. FUSION VILLA NOOSA DJ Banksy. 9pm. Free. THE HI-FI The Black Seeds (NZ), Kingfisha. 8pm. $35 (+ bf). KALIBER Kaliber Open Decks. 8pm. Free. MERMAID BEACH TAVERN Rewind: DJ Nik Conomos. Free. MONASTERY Dirty Thursdays: Swick, Baby Gee, Alex Terrel, Harry vs The People, Midnight Tango. X & Y BAR The Scraps, Psyants, Harvey Satan, Penny Lame. ZURI DJ Spin Easy, Junior, Mr Sparkles. 9pm. Free.

FRIDAY ALLONEWORLD DotDotDot: Sheep, Ian Clementson, Sharif D, Stephen Smith, Richard Ferrari, Mario Celestino, Gavin Manikus. 8pm. ALHAMBRA Shimmy Shimmy Ya: Joyride, Van Miert, Charlie Hustle, Woodsy, Aniki, LL Cool James. BEETLE BAR Phatchance, Coptic Soldier, Johnny Utah. 8pm. $10. ELECTRIC PLAYGROUND Systamatix, Dylan Braun, Elerv8, Private Property, Censor Th is, Adam Madd, DJ Real. 9pm. EXCHANGE HOTEL James Cameron, Charlie Hust le, Dan, Mitch, Kurt. FAMILY BASEMENT Trance Wars: Angus Gibbins, Dynast y, Karma. 8pm. $10-$15.

SATURDAY ALLONEWORD Stretch, Jad & The Ladyboy, Jinja Safari DJs. 8pm. ALHAMBRA Dodzy, Aydos , Zach Salar , Sharif D. BARSOMA Lets Get Minimal: Gregor Tresher, Animated, Beni Hooks, Emmy Lou. 8.30pm. Free. KIMBRA

ELECTRIC PLAYGROUND Baby Gee, Wahoo, Karma, Murray Brown, Lok Lazy, Kandimann. 9pm. EXCHANGE HOTEL Charlie Hustle, Van Miert, Dan, Mitch, Kurt. FAMILY Christian Luke. 9pm. Free (members)/$15. FUSION VILLA NOOSA Urban City: DJ Shammers, DJ PhaT. Free before 9pm/$5 after. THE FORT Die! Die! Die! (NZ). 2pm. $18.40. GILHOOLEYS IRISH TAVERN Seductive Soul. GPO Cassian. 9pm. Free before 10pm/$10 after. GREAT NORTHERN HOTEL Brat Pack: One Man Party, Sam La More, Rushton, And Oh!, Easy P, Red Mayne. 9pm. $25. HOT GOSSIP The Annual Hollywood Affair: DJs Vita, Juicy, Link On, Khesrow, Humane. Hosted by Knovell Capote. 9pm. $15 from 10pm. LALALAND Rhys Bynon, Miles Jr. THE MET Disko Diva, Andee, Pete Smith, Murray Brown, Nick Galea, Bossy, Mr Sparkle, Roman Flachs, Graz, Hesse, Huthat, Charlie Hustle, Niko. MONASTERY Beni, Noy, Luki, Jmac. Free before 10pm/$10 after. MYSTIQUE Blaze, Metal Jacket, Masta D. 9pm. $15. PLATINUM Andy Murphy, Feenixpawl, Gerry Morales, Craig Roberts, Joey Mojo. 9pm. $20. THE REGATTA DJ Tom Walker, DJ Bossy, DJ Paul Bell. 9pm. Free. RUBY TRAMP Down n Dirty DJs EP Launch. STEP INN BAND ROOM Sage Francis, B. Dolan. 8pm. $40.80 (+ bf). STEP INN TOP FLOOR Bar9, Skizm, Vertical Transport, Sangers & Ra, Arctic, Cosmic Squirrel. THE TIVOLI Tame Impala. 8pm. $42.30 (+ bf) UBER DJs Van Miert, Rolla D, Chris Kelly. 7pm. X & Y BAR Respect Soul night: Butterz, Cutloose. ZURI Benn Hopkins, Matt Kitshon. Free entry.





THE BIG PICTURE Perhaps if Network Ten added some firebreathing women sporting silver hot pants to their Commonwealth Games broadcast they might attain the ratings figures that Channel 7 got for Bathurst – which doubled thre act ion in Delhi. The next round of the V8 Supercars hits the Gold Coast from Friday 22 – Sunday 24 October, and a fi re breather set a performer from Movie World’s Movie Stunt Experience alight to celebrate last Friday. As you do.


OPEN PLAN MARRIAGE Fresh details have emerged this week about the May-December romance of Hollywood stars Ashton Kutcher and Demi Moore. And it ain’t pretty. In fact it’s downright ghast ly. Credible news outlets broke the story, using the two words you never wanted to hear concerning Demi and Ashton: OPEN MARRIAGE. If you need to throw up, now’s your chance. As celebrity couples go, Demi and Ashton have already put us through quite enough hell. Their relationship has been weird from the start. And it isn’t the fact that she is quite a bit older than him (Demi is 46 and Ashton is 31). It’s none of my business if That ‘70s Show teen idol Ashton wants to be married to Demi (who played Michael Caine’s nubile teenage daughter in Blame It On Rio 27 years ago). I can quite happily share the planet with Demi and Ashton, as long as I act ively ignore their constant Twitter updates and the photos of them shopping with Demi’s daughters (who look old enough to have babysat Ashton). We can all just happily ignore eachother. Frankly, I’ve always taken comfort in the fact that as long as Demi and Ashton are married to each other, there’s no chance of either of them ending up married to me. And the thing I’ve always liked about Ashton is that attending his movies is not compulsory. This loophole has allowed me to avoid sitting through films like Just Married, The Butterfly Effect and various other productions that avoided a cinema release. The thing that has always bothered me about Demi and Ashton isn’t act ually Demi or Ashton. It’s Bruce Willis. Bruce and Demi divorced years ago, but ever since she hooked up with Ashton, Bruce has been publicly endorsing them. Whenever you see a photo of Demi and Ashton, Bruce is often standing behind them, smirking like he knows something we don’t. I would ask myself, “Why doesn’t Bruce just get on with his own life?”, if I were them. And with details of this open marriage and Demi and Ashton hosting threesomes, I fear I may have found my answer. Personally I would rather see a sequel to Demi’s late 90s stinker GI Jane than sit through a sex tape starring Ashton Kutcher, Demi Moore and Bruce Willis. Hell, I’d rather see a sequel to Two Girls, One Cup. Until this situation is resolved, I’m too scared to go online. DAVE JORY


TANGERINE DREAM Elect ronic Meditation (Ohr ), 1970. Tangerine Dream is a German elect ronic music group founded in 1967 by Edgar Froese. The group’s debut album Elect ronic Meditation was recorded in a rented factory in Berlin in October 1969 and was considered to have played a pivotal role in experimental music in Germany at the time. Th roughout the 1980s Tangerine Dream went on to compose scores for more than twenty fi lms including The Keep, Risky Business, Firestarter and Miracle Mile.


TENACIOUS D TENACIOUS D (Epic ), 2001. Tenacious D is the fi rst st udio album by the American satirical rock band Tenacious D. The album peaked at #13 in Aust ralia and was best remembered for the comedic track Tribute and its Liam Lynch directed video which achieved cult status. Jack Black makes reference to Tangerine Dream at the end of the Tenacious D track City Hall with the lyrics “Malibu nights, tangerine dreams”.


LITTLE BIRDY Hollywood (Eleven / EMI), 2006. Hollywood is the second st udio album released by Little Birdy. The fi rst single released from the album Come On Come On which reached #18 on its debut on the Aust ralian ARIA Singles Charts and was one of the top most requested songs on Triple J. John Spiker who has played bass for Tenacious D since 2004, worked as Assistant Engineer on Hollywood as well as contributing his vocal and piano playing skills to the album.



BLOG STANDARD 52 SUBURBS Overview: Subtitled “A search for beauty in the Sydney ‘burbs”, 52 Suburbs is a sociologist’s dream blog documenting one lady’s quest to get to know all the various communities that make up the city of Sydney. “I’ve lived in Sydney for over 30 years but have never set foot in most of its 600 plus suburbs,” blogger Louise explains. “Now I’m on a mission to explore and photograph one new Sydney suburb a week for a year in search of the beauty in the ‘burb. Care to join me?” Well in fact we do!

Design: A very clean design that makes you feel like you’re reading an expensive lifest yle magazine. A simple layout makes it very easy to appreciate the quality of content. Recent Post : Suburb No 51 – Alexandria: “Still largely indust rial with pockets of surprisingly quiet residential. Having said that, you can almost see the place changing before your eyes. Warehouses morphing into trendy business complexes.” Quality Of Content: The creator has a great


eye for finding beauty in her surroundings. While the diary itself is a tad longwinded the photos are breathtaking and will definitely change your perspect ive on many of Sydney’s suburbs. Frequency Of Updates: Weekly. Downloads/ Streaming: None. Audience: If you’re a photography buff or fan of lifest yle shows and publications this sophist icated blog will certainly be your cup of tea – or coffee. WWW: www.52suburbs. com.

THE RED EYES DOUBLE PASS The Red Eyes, Melbourne’s dub/reggae monster band, continue to wow audiences with their unique sound, combining masterfully produced beats, soulful, heartfelt lyrics and grooves, with shake the house dub rhythms that have set a benchmark for Australian dub/reggae. They have just released their new album Red Army which is full of character, tight, catchy and brimming with soul. The Red Eyes profile has steadily risen and they are renowned for their larger-than-life festival appearances and successful Australian East Coast tours. The band are currently on the road with the Tour Of Duty tour working its way around the country in October hitting Sound Lounge (Gold Coast) Thursday 21 and Step Inn Saturday 23. For your chance to win one of three double passes to either of these shows simply email your name and contact details to with ‘RED EYES’ in the subjec tline. Entries close 9am Monday 18 October.



JIMMY VEGAS WHERE & WHEN: Zuri Wednesday 13 October, GPO Saturday 16 October, Sunday Sermon at Temple Sunday 17 October, Everything Else Sux at Elect ric Playground Thursday 21 and Thursday 28 October, Shafston Hotel Saturday 6 November

C-MOS 2 Million Ways (Axwell Remix) (Motivo), 2005.

“Th is is an absolute classic! I st ill play this out occasionally and it is st ill a bomb on the dancefloor! I just love its simplicity and the catchy synth hook stays in your head forever! Axwell took a timeless house tune and beefed it up just enough to ensure your heart races when you hear it!”

RED CARPET Alright (Positiva), 2004.

“Alright will be one of most DJs’ classic house tunes! With its slow piano riff and haunting vocals, the track is a melodic monster of a tune and it makes me feel that in the end, everything will be alright!”

ADAM K & SOHA Twilight (News), 2008.

“Although not as old as the other two picks, Twilight is an unbelievable tune, which I st ill listen to with my eyes closed. The sounds within the track are amazing and they give me goose bumps to this day! Check it out!”

HOW DID YOU CHOOSE YOUR MC NAME? “Really long story ha ha, so let’s just say I’m one quarter of the crew.” HOW LONG HAVE YOU BEEN RAPPING? “I have been writing raps since I was about 13, so about nine years.”


WHAT’S THAT ON YOUR SHIRT THERE? “Gold encrusted diamonds.” FAVOURITE COMEBACK LINE? “Frigg off Randy!”

ARE YOU AFFILIATED WITH ANY CREW? “I am also in Vegas Aces (myself and producer Cam Bluff ), and down with the Born Fresh Crew.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “I had just turned 18 (or I may have been 17 st ill – fake ID) and we were so nervous and looking back at the footage we looked so awkward and statuesque, too scared to move. I remember it sparked my love for doing live shows though.”

ha, recently though probably when we were supporting the Horrorshow boys. The crowd was just insanely packed and it was a great atmosphere.”

WHAT’S YOUR DREAM COLLABORATION? “My lord there are so many! Probably doing a song with Antoine Dodson?”

EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “Is vomit unusual? I think that’s pretty stock standard.” YOUR BEST SHOW AND WHY? “We’ve had so many and most I can’t remember

WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “It’s exciting times right now in Brisbane – Red Tape and Born Fresh are merging and there are a lot of talented people prepping releases. Lots of good music and better friends.”


MICHAEL CHUGG AUTOBIOGRAPHY Ever wanted to know exact ly what goes on behind the scenes of the Aust ralian music indust ry? One man who has certainly seen it all – music promoter Michael Chugg – is opening up about his incredible experiences in a controversial new autobiography Hey You In The Black T-Shirt: The Real Story Of Touring The World’s Biggest Acts. For your chance to win one of five copies of the book, email your name and address to with ‘CHUGG’ in the subject line. Entries close midday Friday 15 October.

WHERE & WHEN: Step Inn Friday 22 October

PERSONALITY TEST LLCOOL JAMES HOW WOULD YOUR MUM DESCRIBE YOU? “I’m sure my mum would have my back by saying ‘He’s a nice and responsible young man’.” WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “I just really can’t get into anything too hardcore. Everything from death metal to

hard house doesn’t register for me. So if any ‘hard’ genres never got played again, I wouldn’t miss them.” WHO INSPIRES YOU MUSICALLY? “The pioneers from each genre are generally heroes of mine from disco to hip hop. On a local level it’s the DJs that can rock any party from lounge bars to packed nightclubs and do so week-in and

week-out that inspire me. Guys like Charlie Hust le, Danny Cool, Van Miert, Surecut Kids, Sampology and Cutloose are always great to watch and I can usually pick up something new or trainspot a cool track from them.” NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “The Wombats –

Tokyo (Grum Remix), Mark Ronson – Bang Bang Bang, Big Boi – Shutterbug.” TELL US ABOUT A CLASSIC CLUBBING MOMENT. “There’s been quite a few. One that stands out recently was Van Miert’s recent set at Parklife. It ended up with Jason mixing, Sampology cutting over the top and Charlie jumping around pumping up the crowd. It was heaps of fun, the crowd was really into it and I took some

memorable videos.”

fairs or op shops.”

WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “I think I own more records that normal people would be embarrassed to own then ‘cool’ records. Some stand outs are the Do The Bartman 12” which includes a cheesy early 90s house mix and the a capella. I also have a lot of Whitney, Madonna, Chaka Khan and Boney M records that I’ve picked up from record

SPIKE MILLIGAN QUIPPED HE’D LIKE HIS TOMBSTONE TO READ ‘I TOLD YOU I WAS ILL’ – WHAT WOULD BE ON YOURS? “No longer taking bookings.” WHERE & WHEN: Don’t Come Monday at Birdee Num Num Sunday 17 October, Monastery’s 10th Annual Pornstar Party at Monastery Nightclub Friday 29 October






2. Heartbreaker ARGENIS BRITO 3. Th is Is How We Roll MARCUS VECTOR & SIERRA SAM 4. Rezil TOLGA FIDAN 5. Amber (Jin Choi) PHOIOD

6. Without You ART DEPARTMENT 7. Discogo (Afrilounge Remix) ZOCA MATIC 8. Who Stole The Soul (Anja Schneider’s What Is Soul Remix) TASSILO & SEBROK 9. Tempo (Ray Okpara remix) PAUL C 10. Find Me (SIS Remix) TIEFSCHWARZ FEAT CASSY


The exotic sounds of India and the lavish soundtracks of Bollywood have always been a source of inspiration for artists of the western world. Appropriating the unique sounds of Indian culture to suit the taste of international audiences is not an easy task, but these tracks have hit the sweet spot.


The legalisation of gay marriage came back onto the scene last elect ion, with predictable and depressing results. The Liberal Party is st ill having trouble admitting that gay people exist, while Labor know that there’s a wealth of bigoted pensioners whose vote they need to stay in power. The result: one very annoyed-looking Penny Wong, pretending that she agreed with her party’s decision to refuse to lift the gay marriage ban. Conservatives tend to identify their object ion to gay marriage as being a matter of science. Writing for right wing journal Quadrant, Ben-Peter Terpst ra claims that “families that are missing a father or a mother will be damaged”, and went on to explain that since men can’t breast feed children, their babies will have poor immune systems, which in turn will cost taxpayers millions (the exhaust ive statist ics and references that Ben-Peter accessed for this statement were mysteriously withheld in his article). Hey Ben-Peter, let me tell you something about damaging children. When it comes to pissing all over the inst itution of marriage, heteros are doing it for themselves. Th is brings me to the tale of Two Tone, an unusually large carp fish in the UK who has recently died. Two Tone was a well-known 30 kilogram fish in the Ashford area. He was also known as a homewrecker, because reportedly four marriages had broken up because the husbands of these marriages spent all their time trying to catch him. The argument that gay people pose a threat to the institution is a bit insulting, when all it took was a fish that was a bit larger than the other fish to break up these marriages. Don’t you think that the children of these marriages are going to be a tad upset when they realise that love and family can be replaced by a large fish? Do you think that they’ll ever be able to trust anyone again? Do you think you won’t find them having sex at 15 in a fishing boat with a seven-foot angler in a bodylength yellow rain-suit, because that’s all they know of love? Come now, the gay marriage ban has nothing to do with the children. Children don’t need one male and one female to bring them up – they need one non-jerk and another non-jerk to bring them up. Or even just one non-jerk will do. That’s the only formula that works. HOLLY HUTCHINSON

(Elektra), 2001.

Missy’s Get Ur Freak On uses a beat based on bhangra, a popular music and dance form from the Punjab state of India. The Punjabi melody used is created by the Tumbi, an Indian st ringed inst rument. Produced by Timbaland and featuring Nelly Furtado on the remixed version, Get Ur Freak On was a top ten hit in the UK and US – one of Missy’s most successful songs to date.

PANJABI MC FEAT JAY-Z Beware Of The Boys (Mundian To Bach Ke) (Urban), 2003.

British Indian musician Rajinder Singh Rai aka Panjabi MC’s unique songs fusing the worlds of bhangra and hip hop may never have found a global audience had it not been for an unlikely collaboration with rap superstar Jay-Z. Panjabi MC’s tune Mundian To Bach Ke was released in 1998 with limited underground success


but it wasn’t until a version featuring Jay-Z was released in 2003 that the song really blew up. Th ings have been kind of quiet for Panjabi MC ever since but hey, one hit under your belt is better than none.


(Interscope Records), 2008. Jai Hai, meaning ‘victory to you’, is a Hindi song composed by AR Rahman for the 2008 movie Slumdog Millionaire. The song won an Academy Award for Best Original Song and a Grammy Award for Best Song Written for a Motion Pict ure, Television or Other Visual Media. Dancing girl troupe The Pussycat Dolls gave the track a pop makeover with their English lyric version topping the charts in the US, UK and Aust ralia last year. Rahman performing Jai Hai was a highlight at the Delhi Commonwealth Games Opening Ceremony.




ARTIST NAME: Christ ian Atkins ARTWORK TITLE: AAAGHH!! – Talk To The Hand! FROM: Liverpool, NSW DESCRIPTION OF WORK: “Christ ian Atkins’ multi-layered stencils contain thought-provoking imagery of a chimpanzee with its arm outst retched, in his open palm he presents a hand grenade. It depicts common predicaments faced by individuals and society as a whole. Sex, mass media, temptation, addict ion and confl ict are all issues that can dominate and take over our lives. He explores current debates relating to youth culture, st reet art and the connect ions with the wider community, within his work. Christ ian became hooked on stencil art after attending a workshop with Tom Civil when in high school. Since then he has developed his own st yle and become an act ive artist in his local community, running workshops and producing murals for the local council. He has won a number of art awards and his work is in private collect ions.”

ARTIST NAME: Jak Rapmund ARTWORK TITLE: Life’s Better In 3D FROM: Northcote, VIC DESCRIPTION OF WORK: “Evolution of technology and the de-evolution of human. Why better ourselves when we can buy a better TV? Hopefully one day TV will advance to the point of realism, so I never have to go outside again. I have been cutting stencils since 2005, but I never really took it seriously until I moved to Melbourne from Brisbane. I am a completely self taught, horror loving, paint sniffing, multiple drop-out, selfemployed art bum and I want to make sweet painty love to your eyes.” The winner of the Aust ralian Stencil Art Prize is announced at Oh Really Gallery (Sydney) Thursday 11 November at 4:30pm.

THIS WEEK: G-FUNK G-funk was P-funk until the gangstas came along. In the early 90s, the US West Coast spawned a hip hop genre that would at least temporarily destabilise the East Coast movement originating in New York. And Dr Dre was largely responsible. The fi rst bona fide G-funk tune was his 1992 Deep Cover with protege Snoop Dogg. Always more of a producer than an MC, Dre had launched his career in the electro World Class Wreckin’ Cru, going on to co-found NWA. During the NWA era, his production still followed the East Coast’s boom-bap – and The Bomb Squad’s productions – but he subsequently pioneered a st yle distinct to California. G-funk was influenced significantly by the funky boogie George Clinton and his Parliament-Funkadelic trademarked in the 70s. Dre and Co favoured slower tempos, layered synths, and heavy basslines over hardhitting beats (here, they used soft, or handclap, drums). In fact, G-funk was closer to R&B than NY hip hop, with its melodies, chord progressions, grooves and occasional singers. Ironically, it was less reliant on samples – although many did jack P-funk tunes – and revelled in live inst rumentation. (Dre has stated that he prefers re-played samples for their pliability.) The overall product ion approach was minimalist, however. MCs adapted their flow to the slower tempo, drawling their rhymes. G-funk themes were those of hardcore rap: macking, hust ling and causing general mayhem – very gangsta, gangsta. The deceptively mellow vibe of G-funk proved an effect ive counterpoint for an MC as lethally droll as Snoop, the music itself stealthy and politically subversive. G-funk also reintroduced the talkbox effect




popularised by Zapp’s Roger Troutman, a sometime Clinton affi liate. Dre’s The Chronic represented the pinnacle of the sound. Still, his ‘godfather’ status has been disputed by former novice Cold 187um of Above The Law, likewise aligned early on with EazyE’s Ruthless Records.

Dre co-produced their fi rst album, Livin’ Like Hustlers. Yet Cold 187um has claimed that G-funk was his invention. The beatmaker, too, had a now neglected G-funk track on the Deep Cover OST with Kokane. At the same time, DJ Quik was a key player in G-funk, even more readily bouncing between rap and R&B/soul. Dre’s half-brother Warren G attempted to brand G-funk with his debut Regulate... G Funk Era. He nearly succeeded with the single Regulate, sampling Michael McDonald’s MOR R&B I Keep Forgettin’ (Every Time You’re Near). It was a massive crossover hit. And the song featured G-funk’s singer of choice: Nate Dogg.




TOUR DIARY GROOVE ARMADA FRONT WOMAN SAINTSAVIOUR DOCUMENTS HER TREK AROUND THE COUNTRY ON THE PARKLIFE TOUR – THE ESTEEMED ACT’S LIVE FAREWELL TO AUSTRALIAN SHORES. ARRIVAL – FRIDAY 24 SEPTEMBER Arrived in Brisbane after the longest fl ight known to man with one thing on my mind – how do I deflate my entire body in time to wear a skin tight catsuit for tomorrow’s gig? The boys go off for their time-honoured commitment to rock’n’roll, I go to the hotel gym. Welcome drinks follow and a meeting with Brisbane’s coolest fashion house, House Of Ezis, who’ve made me and the boys some seriously fabulous clothes over the past year. BRISBANE – SATURDAY 24 SEPTEMBER The whole band packs into a golf cart and we begin our madcap journey through the Botanic Gardens to our stage at Parklife. I’m feeling well rested and ready to give Brisbane a chunk of love, until we arrive to see Missy Elliott’s backing dancers warming up back stage. Riiiiiight. They’re a gold hotpant-clad breakdancing army you wouldn’t want to mess with, ever. Their moves, teamed with the spinedissolving bass of Missy’s sound system, have stolen the show. We go out thinking the crowd will have gone elsewhere, only to see everyone st ill there, in their collect ive glory, hands up all the way, lets have it! PERTH – SUNDAY 25 SEPTEMBER Arrived in Perth after another lengthy fl ight and a whole season of The Cleveland Show to grab an hour’s kip at the hotel. Tom and Andy, as they do every gig, have edited a huge chunk of the set at the last minute so we have an impromptu and very loud listening session in Tom’s hotel room, which upstages the cheesy lounge piano player in the reception area as a meringue-clad bride makes her newly married appearance. We take to the stage in Perth feeling very unprepared and my new hair jacket keeps st icking to my lip gloss, a problem I’d never had to deal with before. How do long haired girls do it? The gig was act ually the best so far – thanks Perth, you were ace! MELBOURNE – SATURDAY 2 OCTOBER Myer Music Bowl = RAWK. Best gig in a very long time by everyone’s standards, plus I fell



in love with Darwin Deez backstage, which I might pluck up the courage to tell him in Sydney tomorrow. If he remembers who I am once we’re there. I want to be his radar detector maaaaan. SYDNEY – SUNDAY 3 OCTOBER The st rain of touring is starting to show through now and we’re all feeling a bit emotional about the last live appearance in Sydney. I stand at the side of the stage with a lump in my throat as Andy makes an announcement about it to the crowd and they salute him with a long and rapturous applause. The mood is lightened when an incredibly dedicated and slippery stage

invader clambers on to the front speaker stack and demonst rates how to defeat security and roadies alike, before taking a bow and running off untouched. I make a very rare appearance at an after show (I’m a notorious hermit) in the hope of a Darwin Deez sighting but am left disappointed. My heart is broken. ADELAIDE – MONDAY 4 OCTOBER Left rainy Sydney and arrived in sunny Adelaide for Groove Armada’s final live appearance in Aust ralia, forever. The atmosphere backstage at Parklife was buzzing – all the artists had gotten to know each other, the Dandy Warhols opened their dressing room up as a pop-up bar, Missy Elliott’s dancing crew kept us all entertained with impromptu locking and popping in the catering tent. I caught a sight of Darwin Deez and scuttled off into my dressing room like a giggling schoolgirl. It was finally our time to go on and face the music for the last time, so on went the tasselled Mayan gold leather poncho and off we went. The gig went as smoothly as ever and the applause at the end went on for what seemed like a lifetime. Although I’ve not been in the band for a long time, the family ethos has definitely taken over and our Aust ralian friends and fans have already added to that feeling. It’s been a real blast Aussies, I really hope I can get back out to you soon.” WHO: SaintSaviour WHAT: Woman Scorned (Euphonios)

TUBETIME The incredible world of television with 5SPROCKET

In any given year there are shows that capture the zeitgeist, fi ll the heart of the nation and become ratings juggernauts. Then there are others, shows that are just a factory of suck. These are some that fell behind in 2010: Beat The Star (Channel 7). Hosted by Daniel MacPherson, this hour-long show saw a family and a ‘celebrity’ engage in pissweak challenges to decide who is greater - man or famous man. The fi rst celebrity was chef Manu Feidel. The second celebrity was former basketballer Andrew Gaze. Some of the challenges involved geography, balancing on things, and guessing if the husband has been unfaithful to his wife. Like the similarly staged Minute To Win It, the show is presented in a st udio set packed with hooligan audience members that steal hubcaps for a living. What about the glory days of Man O Man, or It’s A Knockout? The show didn’t fail because of the guests, because, frankly, the guy who does interior decorating on Better Homes And Gardens is a certifiable star. Dear producers - pick yourself up and try again! The programme’s title had so much promise. Beat. The. Star. With what? For how long? Will they be gagged? Bound? Couldn’t it be a beautiful form of retribution for an audience, fed up with years of mediocre Neighbours act ing and flaccid tango moves on Dancing With The Stars? “Tonight’s guest star is Kate Ritchie: your options are pissed off scorpions; a NERF gun; and 13 six-year-olds high on sugar. Do your worst.” The Boss Is Coming To Dinner (Channel 9). Pulled after two episodes, this programme demonst rated signs of incredible potential. It’s a recession era show where the prize is to get off the Centrelink queue and into the high-flying world of the corporate elite. Th ree contestants compete for the job through an interview with their prospect ive employer. The twist - the interview is at the interviewee’s house! Scenes of an uptight middle-aged woman harshly judging a Jack Lemmon in Glengarry Glen Ross type for his Latina pasta and BBQ chicken gourmet dish. Put in a ‘real world’ situation where he has to show his sales pitch by trying to sell boxes of tampons to a male chemist. Failure inevitable.The show becomes intolerable as you watch hopes and dreams catch on fi re, much like the contestant’s cuisine.


LEGEND OF THE GUARDIANS: THE OWLS OF GA’HOOLE The owls are not what they seem. The fi lm opens with cinema-shattering choral music as an owl soars majest ically through clouds. Landing in his house, which is a tree, he starts to tell a story to his owl children, who all have speech impediments. All the owls have broad Aust ralian accents, clearly because David Koch is what ‘todayz kidz’ want to hear. There is exposition about ‘The Guardians’, who are ancient ‘good owls’, but no one knows where they are any more because they either flew away or got shot. Along the same lines there are ancient ‘bad owls’ that have a st upid name, so let’s call them ‘the hg&sy#7’. The little owls coo with amazement at this mythic story, pronouncing their words with the kind of cutesy speech impediments that I imagine all owls have in their youth. Also, just for fun, the family of owls lives with a British snake that’s like Mary Poppins. Two of the owl sons are about to take their first fl ight. Soren (voiced by Jim Sturgess) is the Good Son. The other one is the Bad Son. By this stage of the fi lm you have no idea who anyone is because you’ve never seen so many fucking owls on a screen in your life. Soren and bro’ try to fly without parental supervision and fall to the bottom of a big tree, where a wolf immediately decides to attack them in slow motion. All of a sudden owls come in and rescue them, but not really, because these are Nazi Owls that are taking our cute friends to a slave camp that looks exact ly like Mordor. Their evil queen leader (voiced by Helen Mirren) is very good looking, with cute little owl breasts that make you feel confused sexually. Soren and his brother have a falling out, because bro’ joins the Hitler Youth for Owls. The evil owl army is also mining (difficult because they have no hands) some mineral that makes blue lightning, but this is only important to the movie trailer. Soren is taken under the wing (cough) of a slave elder, who secretly teaches how to spread his wings. “Fly to the Guardians!” says the mentor to our hero owl, as he is pecked to death. I’d run out of frozen Coke by this stage and the school holiday kids were starting to piss me off. Fun fact: bad owls have red eyes and sound like jet planes; good owls have yellow eyes and sound like washed up Home And Away actors. Birds learn to fly, inspirational music. The wacky Robin Williams-esque comedic relief owl appears, with obvious spin off potential. The Mary Poppins snake now lives in a commune of eccentric owls that I assume are on welfare. Rafi ki from The Lion King appears as an echidna with blue zinc on his nose, direct ing the owls to the home of

the Guardians. They finally get there. The Guardians wear nice helmets and have gentle voices that are like little kisses. They only answer to RUFIO! There is an owl training montage set to a song about friendship, some of the lyrics go: “Bird’s eye view... chase your dreams... something... your wings will take you high.” Of course there is a big battle between the good and bad owls, some good owls are lost along the way. The central message of this fi lm is that children learn how to differentiate between a fascist owl state and a democratic owl state, one that values owl liberty and owl freedom. It was directed by Zack Snyder (300, Watchmen) and produced locally by Animal Logic (Happy Feet), but honest ly, this movie is made by, and for, owls. WHERE & WHEN:

Screening in cinemas now 5SPROCKET






Long awaited and probably long overdue, the wait for Playstation’s foray into motion sensor gaming is not only over, but it was well worth it. The obvious comparison is made to the Wii, and Xbox when they get their act together with the Kinect, but it’s going to be a while before the Move can challenge Nintendo’s flagship console in terms of the depth of games and community (your mates probably have an extra couple of Wii remotes they can bring over, but probably not Move ones). That said, the Move is superior in virtually every other aspect. For one – and the obvious one – the graphics are sensational. Without trying a game that st rives for realism (one of the main sports or fi rst person shooter titles), the cartoon games are as clear and crisp as you’d expect from anything on the PS3. The controllers, not nearly as dickie in real life as they appear, are easy to calibrate and have a far better response than Wii’s. At no point did 3D World have to wave it around erratically to get a reading, and in-game they’re far simpler to control as well. The camera is surprisingly good quality, evident on games that require a pict ure of the player for use as an avatar – there’s no Game Cube-era creations like on the Wii. Depth and angle of the controller are implemented and it’s undoubtedly a more engaging experience than anything previously available for home use. In a great st roke of marketing, certain games can utilise two controllers per player – the experience is improved, but all of a sudden you’ll need four of them. And, as 3D World discovered, it’s fine with just one and means you don’t have to put down your beer every time it’s your turn. As it stands the games are pretty basic, but this is such a great base for a gaming genre that it’s surely got to have the other platforms worried. Both thankfully and finally, there’s a reason for the Wii team to be on their toes after years of not being challenged and dominating the


market with little-tono effort. The Move won’t replace the Wii just yet; give it a year or so if the interest ’s there and decent titles with last ing playability emerge. When they do it will leave the current market for dead. START THE PARTY (Supermassive Games) It would become the staple game, but its target market is just too young. Essentially a series of mini-games that have you painting pict ures, popping

bubbles, shaving a cartoon head, brushing a crocodile’s teeth and more movement-based act ivities on the screen, it’s one for group fun. You’ll bore of the single player survival mode in half an hour or so. Player’s avatars are generated from a pict ure taken by the camera before each game, and it’s a brilliant personal touch to the throwaway and entry-level title. SPORTS CHAMPIONS (Zindagi Games) The best of the fi rst batch, it does what it says on the box – various sporting pursuits tailored to the act of swinging your arm. There’s Table Tennis (very impressive in its incorporation of depth, dimensions and angles of spin), Disc (read: Frisbee), Golf (infuriating as a beginner in getting the knack), Bocce (sensational with friends; bocce’s cool again), Beach Volleyball (good fun, but tiring on the arms and a little dull when you’re sick of the rails the players are on), Archery (good fun, better with two controls) and a Tekken-st yle 3D-fighting game called Gladiator Duel (tricky, but satisfying). Th is is the one that has the longest staying power with friends. EYEPET MOVE EDITION (SCE London Studio) Surely this finishes what Tamagotchis started, as in game guide The Professor directs you to clear a sect ion in front of the TV, aim the camera to the floor, sit down in the area and then hatch your own ‘eye pet’ – which looks like a monkey, but comes from an egg. One then plays with the monkey creature, feeds it and st yles it by moving the motion controller around as the camera superimposes the little thing infront of a seated you in your lounge room. Surely hours of entertainment for those under the age of five, even the 3D World team couldn’t help but feel those parental inst incts kicking in. But we’re pretty sure this is the closest that “The Professor” is allowed to get to

children. KUNG FU RIDER (SCE Japan Studio) If you can get over the absurdity of it all, it may provide a fair amount of enjoyment. You play as either an office worker or his assistant who, for some unknown reason, find themselves in the crosshairs of mafia goons and have to escape by steering office chairs backwards down hills as well as ducking, jumping and roundhouse-kicking all the way along. Quintessentially Japanese, the Aust ralian voice overdubs are laughable – in fact, the whole thing is laughable. It’s another one of those games that will surely become irrelevant as soon as there are better titles coming up on offer. Until then, enjoy upgrading your office chair/escape vehicle to a trolley.


FORM + CODE A new book by Casey Reas, Chandler McWilliams + LUST, billed as “A Guide To Computational Aest hetics - In Design, Art, And Architect ure”, is out now through Princeton Architect ural Press. SOFTWARE AIDED INNOVATION A stoner sitting on the edge of a rooftop tells you: “Y’know what? I really looooove software.” Grinning insights follow, some of which make sense, some which don’t. Software can permeate so much of our interactions today, our existence, that it’s easy to take for granted that effectively we live with swarms of robots in our midst. Robots that automatically pay our bills, robots that share communications with friends, robots that search for us, robots that playback media for us. When it comes to robots that might aid us in the creative disciplines though (be it art, music, design or architecture), in what ways are we limited by their design? In other words, in a question that’s at the heart of the Form + Code book, and aimed directly at creatives who use computers – to what extent do we wish to be limited by the constraints of any particular software system? Defining Form as visual and spatial st ruct ures and Code as computer programs and non-computer inst ruct ions (eg IKEA furniture building inst ruct ions, or inst ruct ions for knitting a scarf ), the book wanders through a history of computeraided creative work, and attempts to meaningfully categorise the different ways code can be useful. The book is definitely aimed at non-coders, an attempt to encourage more creatives to explore the options they have available for customising and creating code to make their work. Some general core principles for coding are presented simply, which is followed by examining how the computer relates to form – through defining co-ordinates, shapes, and colour, and then the extra layers of light, printing and fabrication bringing the form to life. It’s an approach which works well, demyst ifying the possibilities, and illust rating them well with a range of provocative examples (in graphic design, typography, data-mapping, digital fabrication, interact ive media, etc). Naturally there’s code to play with (via the companion site, and reinforcing the aims behind the book, co-author Casey Reas, has also co-penned (with Ben Fry) the programming language Processing (free for Mac, Linux and PC at ), which is described as “ a software sketchbook... an open source programming language and environment for people who want to create images, animations, and interact ions”. @JEAN_POOLE



LAST TIME YOU SPOKE TO 3D WORLD YOU WERE CONTEMPLATING A TRIP NORTH FOR THE EUROPEAN SUMMER BASED AROUND BERLIN AND LONDON – HAS THIS GONE DOWN YET? “I spent July and August this year in Europe. I was based between London and Berlin plus I managed to sneak in a cheeky trip to Ibiza.” WHEN YOU HEAD OVER TO EUROPE DOES IT GET YOUR CREATIVE JUICES FLOWING A LITTLE FREER? “Definitely. No doubt this trip was one of musical ‘sightseeing’. I had even been referred to as a ‘techno tourist’ at one point in Berlin. The music in both London and Berlin is really at a head. I think both cities are on par but in different ways, complimentary to each other, which made for a very interesting stay at both locations. Berlin is very much a techno city, with audiences extremely open-minded to all variations of electronic music. Mid-tempo house and a disco revival seemed to be the prevalent players in London, no doubt amongst others... I suppose it depends on where you turn your attention. All things considered, it was a very inspiring couple of months.” WITH A FEW RELEASES UNDER YOUR BELT WITH MURMUR AND TSUBA DO THEY PRETTY MUCH GIVE YOU FREE CREATIVE REIN NOW? “It’s really nice working with labels that I like and respect. I know from past experience that at times it can be an achievement in itself to even have your demos heard, let alone getting the deal. In terms of creative direct ion, I guess they only pick up what they like – I don’t like to rest rict myself when writing music, I find that when you ‘go with the flow’ at the time, the end result is likely to sound more natural and effortless rather than something that is forced.” IS THE WORKING PARTNERSHIP WITH MURMUR LABEL BOSS GEDDES SOMETHING YOU THINK WILL CONTINUE? “We just had a release of our last collaboration, Rework, on the No Fit State vinyl sampler on Murmur. Th is I believe will be the last one, as I no longer live in London, which is what’s required when collaborating – long distance relationships never work out.” SOUND-WISE WHERE ARE YOU AT NOW COMPARED TO 12 MONTHS AGO? “My sound has evolved a little, as it usually does over time. I’m finding a lot of inspiration from the classic sounds of Detroit and Chicago. It’s worth mentioning Moodymann, The Revenge, Motor City Drum Ensemble, Tornado Wallace and Erdbeerschnitzel as stand-out artists over the past year, all having an impact on my musical approach.” WHAT HAVE YOU GOT COMING UP ON THE RELEASES

FRONT OVER THE COMING MONTHS? “I have quite a busy release schedule ahead. I also have a feature track on a various artists compilation on OFF Records. I have a full artist EP Live East Die Young due out later this month on FINA Records, which is a new offshoot of 20:20 Vision Records. In November, I have again another full artist EP A Little Of This on Tsuba Records and, in March, I have an exciting release with Freerange. Under the table, I have some sexy edits out under ‘Fantastic Man’ on labels Wolf Music and Kolour Recordings.” WHO: Mic Newman WHERE & WHEN:

Wham! at World Bar (Sydney) Saturday 16 October, Spice at Home (Sydney) Sunday 17 October, LaLaLand (Byron Bay) Sunday 24 October, Stereosonic at Melbourne Showgrounds Saturday 4 December, onesixone (Melbourne) Saturdays





ICONIC SHOE BRAND CONVERSE HAS WON ITSELF SOME SERIOUS COOL POINTS WITH A NEW AD CAMPAIGN FUSING FASHION, MUSIC AND SPORT, CELEBRATING THE BRAND’S FEARLESS AND FUN APPROACH TO URBAN STREET STYLE. Titled “The Procession,” the ad features the new Star Player Evo shoe worn by Miami Heat basketball player Carlos Arroyo as well as hip hop artists Jim Jones and Doug E Fresh strutting their stuff in a street parade backed by a banging track, Hello Operator by The White Stripes. This clip should inspire even the most dedicated of couch potatoes to grab a pair of Converses and shoot some hoops! In addition to this ad, Converse has teamed up with dance duo Hot Chip and New Order frontman Bernard Sumner to produce a bouncy, house track Didn’t Know What Love Was. You can download the track for free and view The Procession commercial on the Converse website.


Milk & Honey Anytime Anywhere digital tank top ~

DL & Co skull candle ~ $130. Cristiana Cr istiana Love Bites necklace ~ $124.95.

Converse hi tops ~ $90.

Travisty tee ~ $29.

Retrosuperfuture black sunglasses ~ $299.95. 02 9256 8450 Eugenia Kim Max fedora hat ~ $295.

Ghost & Lola Ship Of Fools necklace ~ 60 3DWORLD


Cape Capers


Let’s get wild and declare October the mo month to wear whatever the hell you want! Halloween is right aroun around the corner after all. This electric aqua green cape by Tighttigers Tight will have you dazzling d zling onlookers and incinerating en daz enemies with envy as you y radiate like a superhero in this sh show stopping attire. Bringing a Twilight-style to the streets, stre Sydney label Tighttigers will have you feeling like a hero with their fantastical stunning yet affordab affordable creations. Be sure to see the full ra range at

HOTGOSSIP H Gossip singer, Beth Ditto was the unexpected star of Paris G Fashion Fa Week recently, paving the way for larger ladies when she sh took to the catwalk as a model for Jean Paul Gaultier’s show. sh The size 28 singer looked in her element wearing a textured t pink floral corset, fishnet stockings and black platforms pla down the runway. Ditto also designs a plus-size style sty range for British high street store Evans. Travisty red check shirt ~ $45.

LIL STAR L Tiny and often scantily clad rapper Lil Kim launched her T own ow fashion line at the Charlotte, North Carolina Fashion Week We at the start of this month. Kim’s 24/7 Star: Goddess Collection Co includes embroided mini-dresses, catsuits and futuristic pieces perfect for drag queens and other attentionfut seeking see characters. Interestingly Kim commented that this collection co was inspired by designer pals Marc Jacobs and Donatello Versace. We certainly wouldn’t have picked that. Do

FLORENCE DESIGN F Florence Welch, lead singer of Florence & The Machine, US based, and are inviting fashion designers to create a stage outfit for Florence’s performance at Terminal 5 in New York on November 2. The winner will receive $500 cash and a trip to New York to meet Florence and watch the show. Entries close October 14. For details see

EPIC: Aussie label Romance Was Born’s recent collaboration with jewelers Pandora to create a magical series of photographs to be auctioned for the National Breast Cancer Foundation. Wanna get laid? Send products and info to


FAIL: Trashbag Amy W Whinehouse gearing up to release her own fashion designs wit with British sportswear fi rm Fred Perry. Expectations Expeectations Exp ec are not n high.





A handful of classic analogue photography.


Andy Warhol popularised the format as an extension of his exploration of themes of mass production and pop art expression.


A cornerstone of popular culture, the Polaroid brought instantaneous fun into the hands of an entire generation. Multiple generations have experienced a fascinating artform, an embarrassing host of party photos and increasingly tired Hollywood romance movie montages.


Polaroid announced the discontinuation of the instant fi lm in 2008, creating an equally instant rush to procure remaining stockpiles. Overnight, the price began a steady upward climb, which barely halted at the news of the Impossible Project beginning a fresh run of new fi lm stock.


Retro enthusiasts, hipsters and, at some stage, every band and DJ bio photo.


$50 secondhand for the camera, $1 to $3 per exposure.




Designed for the petit hands of small Asian girls.


Every gang of giggling Sailor Moons from here to Akihabara.


It has Hello Kitty on it.


It has Hello Kitty on it.


Fans of Hello Kitty primarily, but a cheap and amusing gift for any fan of Japanese pop culture. Also a worthy “amusing and ironic” souvenir.


¥1,231.87 (Approx AU$15)

FROM? Tokyo.



Full format DSLR with neck strap and optional battery grip.


Everyone from your fantastic 3D World photographers through to the guy hiding in the bushes last night when you thought nobody was watching…


An incredible 35mm full-frame camera with the ability to shoot 3.9 frames per second, a 0.1 second start-up time and the ability to capture full HD movies.


A relatively expensive price-point for enthusiasts and the life-long obsession for equally expensive lenses that follows.


Serious photography enthusiasts and professions. And kids with rich parents.


$4300 for body. Lenses extra.




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ENTERTAINMENT ASIAN DJ’s and promoters wanted for new Asian Dance Party events. Once a month at Level 1 Chatswood. Contact Peter K @ the Chatswood Club on 9419 5481 iFlogID: 6883 Resident DJ’s WANTED Nth Shore Venue. Level 1 Chatswood, a new venue on the North Shore. Resident nights are up for grabs. Call Peter K @ the Chatswood Club on 9419 5481. iFlogID: 6881

FOR SALE PA EQUIPMENT ROSS PC110 POWERED MIXER 100watt rms. 4 channell with EQ/REVERB. stereo CD input. CUBE STYLE. Very good condition. $300.00 Ph Jimbo on 0428744963. iFlogID: 5837


Promoting a CD? Want to let fans know about your gigs? Take your band to the next level with our competitive rates for your marketing and publicity needs. We strive to bring our artists to as wide an audience as possible conducting a broad media campaign which encompasses national print media and online promotion and an artist administration area allowing access to realtime 24/7 campaign results. We can also look after your paid advertising, sourcing some of the most competitive pricing. Contact 0402257148 or www. iFlogID: 5801

MANAGEMENT Manager wanted for Hip Hop RnB Artist. Contact Jhal on 0421 557 587 or email iFlogID: 7089 MINSTREL MANAGEMENT Connecting acts with Australia’s leading industry professionals. Recording Mastering Photoshoot Timed release stratergies Direct to fan marketing Solicitation to industry & media licensing & sync film clips social networking practices launch shows with promo 4 industry packages avaiable. iFlogID: 7192

PA and lighting hire for your party, band nights (full mixer with operator), discos, fetes, and any other events! We do events all over Sydney, not just the Hawkesbury! 600W-3000W Systems. Email at iFlogID: 7389

PA SYSTEMS, LIGHTS , STAGES We have the gear and have the people. From small to BIG - give me a call for a quote - PA SYSTEMS from $110 - CALL MATT on 0424 399 801 iFlogID: 5236

PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. You can play your own music through it, sing, talk, do a disco, small function, etc, etc, etc. Contact Chris 0419 272 196. iFlogID: 3721





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

Professional Mastering from $110 per track in Australia’s most prolific mastering suites. We have the dedication and experience to make your music come alive using the world’s best equipment. Located in the heart of Sydney’s CBD. Conditions apply email:info@ Ph:(02) 9211 3017 iFlogID: 6217

DOMC MASTERING - $95 PER TRACK Domc Mastering is a dedicated mastering suite located just outside of Brisbane. We specialise in getting your next audio project ready for the public. DOMC work with you to get you the ‘sound’ that you are chasing. iFlogID: 5710 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


PA SYSTEM 3200W FOH FROM $300 Band PA system for hire. 3200w FOH, 2 x 2x15 cabs with subs, 1350w FB, 4 wedges on 2 sends, 16 input desk, FX, mikes/ stands,DIs, icolor lighting. Experienced operator, many satisfied clients. From $300 p/night. Best value for money. Chris 0432 513 479 iFlogID: 5402

PHOTOGRAPHY SETLIST PHOTOGRAPHY Sydney’s Live Music Photography specialist with over 5 years experience in the industry. Artists include Moby, Groove Armada and festivals such as Soundwave, Good Vibrations plus many more. Cheap and affordable for local artists. Go to or email for a quote. iFlogID: 6533


MUSICIANS FOR FUNCTIONS/VENUES Are you thinking of hiring quality musicians that bring an audience ? Do you have a function/event and considering live entertainment ? For a limited period, we are offering a Venue Promotions Package featuring favourite entertainers. If it is about raising your venue profile or just great entertainment you want, contact us now. Chris 0419 272 196 http://infovisionproductions. iFlogID: 5076

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


DETAX GOT ME A GREAT REFUND! Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment &amp; Arts industry tax knowledge &amp; personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email iFlogID: 8597

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


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

NEW MASTERING SUITE SPECIALS 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]

REHEARSAL ROOMS PRIVATE REHEARSAL STUDIO AVAIL Your own private rehearsal room inside CBD recording facility. Hours of access: 7pm - 12pm Mon - Fri 7pm - 3am Weekends - Equipment can be left set up in the room, giving you free storage and time saved on setups. - wall length mirrors - Great for bands leading up to recordings or major tours. - Can be shared between 2 bands quite comfortably. - Security building - Shared bathroom & tea room facilities - walking distance from Central Station (approx 100m) - City views, great vibe - Great recorded rehearsal & demo rates for rehearsal bands at the brain. $450/week min 4 weeks or $400/ week 3 month commitment (works out @ less than $65/rehearsal and includes storage) This space would also comfortably fit 4 workstations with room to spare, so we would consider applications for creative/ music related office use. contact: 0431337488 iFlogID: 6367

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


PRODUCTION/MIXING TUITIONS 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


COACHING. 0435 426 012 iFlogID: 4452

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

MUSICIANS WANTED DJ 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 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

KEYBOARD COVERBAND REQUIRE KEYS 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

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



3D World - Brisbane Issue #1032  

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

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