3D World - Brisbane Issue #1037 by TheMusic.com.au

• JESSICA MAUBOY ON FOLLOWING UP HER DE-BUTT • SHAUN TAN: RETURN TO THE ARRIVAL • TELEFON TEL AVIV: MOVING ON TRAVEL

• HOT AIR BALLOONING OVER CAPPADOCIA

BRISBANE•GOLD COAST

NEO-SOUL’S HIGH PRIESTESS

•ISSUE1037 WEDNESDAY17 NOVEMBER 2010

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

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COVER DESIGN Stuart Teague

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SUSHI SNAPS GETANIGHTLIFE.COM 1 Friday @ Zuri 2 Jolyon Petch @ Electric Playground 3 Saturday @ Birdee Num Num 4 Saturday @ Exchange Hotel

5 Saturday @ The Victory 6 Saturday @ X & Y Bar 7 We Love Techno @ MonaďŹ&#x2020;ery 8 Whatever Wednesday @ Uber

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BRIEFS

EPIC&FAIL

BLUNT INSTRUMENT

EPIC GOOD NEWS HUNTING

After recent pars about The Troubadour, The Globe, GPO and The Exchange being in ﬆ rife, rumours of a new rooftop bar at Monaﬆery and the old home of The Tube/Technomad DiscoTech/Matrix/Indie Temple being leased are a welcome beacon of hope.

SPIRITED WORK

While we love trashing a dodgy bootleg at 3D HQ , we’re not averse to propping the odd good one – so major kudos to local glitch hoppers Blunt Inﬆ rument for giving Radiohead’s Street Spirit the beﬆ re-working we’ve heard since Funkagenda molded it into house music gold…

DEAD AIR

Are zombies the new vampires? US madefor-cable series Th e Walking Dead is the show everyone’s RapidFiring now that True Blood is between seasons. Don’t be caught dead without it.

FAIL FORWARD PASS SIR!

As much as New Zealand winning the Four Nations rugby league ﬁnal on the weekend is “good for the game”, it sucks they had to win it under the little known “any pass less than ﬁve metres forward is acceptable” rule…

HELLO MARTIN, GOODBYE BABS

Although local cuts have dominated the top of the ARIA Club Chart moﬆ of the year, internationals have taken over. Th is week sees Frenchman Martin Solveig’s Hello knock North Americans Duck Sauce oﬀ after a nine week run with Barbra Streisand. Ace clip tho (you’ll get that pun when you see it).

BLUNT INSTRUMENT

Coma-inducing Brit singer James Blunt claimed on BBC Radio to have averted World War III with Russia when he was a NATO troop in 1999, presumably by playing them some of his songs. Sure you did James – and we’re producing this week’s magazine from our new oﬃce on Mars…

NOT JUST ONE of the world’s moﬆ respected nightclubs, Singapore’s Zouk are also regulars in the feﬆival world with their annual Zoukout extravaganza. This year’s edition running Saturday 11-Sunday 12 December features Tiëﬆo, David Guetta, Lindﬆrøm, Seth Troxler and Midnight Juggernauts among many more. Check www.zoukout.com for more info, or enter the Zoukout DJ Search at www.yousingapore. com/au... 69-YEAR-OLD granny Ruth Flower has found a cult following as DJ Mamy Rock. The widow from Briﬆol began spinning in Europe earlier this year and recently wowed a packed crowd of 3,000 at Anaheim’s Electro Feﬆival in LA. Watch out Tiëﬆo… POOR KANYE WEST juﬆ can’t seem to escape his infamous rant during Taylor Swift’s VMA acceptance speech. The rapper became visibly unsettled during a recent interview with NBC when they played a clip of the incident while he was speaking about his empathy for former President George W Bush about being called a raciﬆ... LADY GAGA HAS booﬆed her security team and taken an AVO out againﬆ a ﬆalker. You’d think that walking around in a meat dress would act as decent enough people repellent, especially when you add her music on top... AGING POP STAR Madonna has another reason to hit the gym now that Rihanna has juﬆ scored her eighth #1 on Billboard’s Hot Dance Airplay chart with Only Girl (In The World), eclipsing Madge’s record of seven...

KE$HA

THE CLOCK’$ TIKING

We were a week early with our Ke$ha interview laﬆ week ﬆating that 2010’s breakout elect ro-pop ﬆarlet would only be hitting Auﬆ ralia to play the Future Music Feﬆ ival – in fact fans under the age of 18 will now get a chance to see the self-professed “luckieﬆ bitch on the block” at a series of sideshows around the country. It’s turning out to be a timely trip down under for the 23-year-old born Kesha Sebert, with her new single We R Who We R (oﬀ the Cannibal EP) following Tik Tok right to the top spot of the ARIA Singles Chart. So if you can’t make it to FMF, or want a second bite at the cherry, you’ll want to be at Brisbane Riverﬆage Thursday 3 March, Feﬆ ival Hall (Melbourne) Wednesday 9 or Hordern Pavilion (Sydney) Thursday 10. Brisbane and Melbourne shows on sale through Ticketmaﬆer, while Ticketek handle Sydney. DE LA SOUL

THE SOUL OF THE PARTY

The prospect of the Gorillaz bringing the sounds of their Plaﬆic Beach album (not to mention previous hits like Clint Eaﬆwood and Feel Good Inc) to Auﬆ ralia with a massive band featuring The Clash’s Mick Jones & Paul Simonon, Bobby Womack, Bootie Brown, Rosie Wilson and Kano among others was already enticing enough, but now two quality supports have been confirmed to not only perform their Gorillaz tunes with the once virtual super group, but also play sets of their own! We mentioned laﬆ week that Little Dragon would be here on the back of their Machine Dreams album (juﬆ out through EMI) and join the headliners for a couple of tunes, but even bigger is the addition of De La Soul to the line-up. They of course fronted early hit Feel Good Inc plus the new record’s Superfaﬆ Jellyfish, but also have a decorated career of their own with certified classic hip hop albums like 3 Feet High And Rising and De La Soul Is Dead. Catch this triple-threat at Rod Laver Arena (Melbourne) Saturday 11 December, Sydney Entertainment Centre Thursday 16 and Brisbane Entertainment Centre Sunday 19. JA RULE

SOULJA ON

It wouldn’t be a good urban tour without a laﬆ minute line-up change, and Summerbeatz 2010 is no diﬀerent with Soulja Boy now oﬀ the line-up as he “has decided to not make the trip to Auﬆ ralia” according to promoters Paperchase Touring. The show muﬆ go on however – and how, with Ja Rule announced to be taking the young shock trooper’s place on the bill. Calling in a replacement with worldwide album sales of 35 million is far from a ﬆep backwards for the line-up, and when you add the award winner to a bill which already features Akon, Ciara, Flo Rida, Jay Sean, Travie McCoy and Stan Walker, you’re onto a winner if you like music of the urban/pop persuasion. The roadshow of beats and bling hits Brisbane Entertainment Centre this Friday 19 November, Acer Arena (Sydney) Saturday 20 and Rod Laver Arena (Melbourne) Thursday 25 – get your tickets via Ticketek now.

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STARS

GENERAL OUTLOOK Let’s all join hands and try to feel each other’s love. Then let’s all ﬆart to make out. Then we can have full sex together. AQUARIUS (20 JAN TO 18 FEB) In a Blu-ray world, you are an ex-rental VHS tape in a bargain bin at some piece of shit suburban video shop. PISCES (19 FEB TO 20 MAR) It’s weird waking up in the boot of a car. And that will happen to you twice this week. In diﬀerent cars. What are the odds? ARIES (21 MAR TO 20 APR) Global warming is going to be a problem for you this week, when you slip into way early menopause. TAURUS (21 APR TO 20 MAY) A horoscope writer buddy of mine was bashed by a Taurean and is now in a medically induced coma. So write your own predict ion, prick. GEMINI (21 MAY TO 20 JUN) Underwear and good manners are only going to slow you down this week. So get crazy and get impolite. CANCER (21 JUN TO 21 JUL) Physical exercise will give you emotional grounding this week. Try assaulting a shop keeper then running from the cops. LEO (22 JUL TO 21 AUG) A dugong isn’t really what you’d call a ‘companion pet’. Have you considered getting a cat? Or hiring a proﬆ itute? VIRGO (22 AUG TO 21 SEP) You think you’re better than me? You can ﬆ uﬀ your head up your arse. Th is week is gonna kick your face in. LIBRA (22 SEP TO 22 OCT) Everybody knows what you did laﬆ week and that’s why no one is returning your calls. And it’s why a cat gets nailed to your door on Saturday. SCORPIO (23 OCT TO 21 NOV) Can you really expect to travel the world without a passport? Get your paper work in order for God’s sake. SAGITTARIUS (22 NOV TO 20 DEC) If your life was made into a movie, who would play you? And who would direct it? And do you think it would go ﬆ raight to video? CAPRICORN (21 DEC TO 19 JAN) In the great carnival of life, you are the inbred hillbilly who runs the Haunted House ride and gets ﬆabbed with a broken bottle.

THE CEO OF ARIA, Dan Rosen, has ﬆood by this year’s cringe-worthy awards ceremony. In a recent interview he gave the event a pat on the back for its “great performances” showcasing Auﬆralia’s beﬆ music acts. He obviously spent moﬆ of his time backﬆage where all the beﬆ performances happened... AFTER A KILLER year in 2009, Melbourne rapper Phrase is back with a new single Never Fade. The song was written and produced entirely by Phrase, who also recently tied the knot with soulful song bird Jade McCrae. An album will drop in 2011... MICROSOFT HAVE BEEN made to look the fool by cheeky pop singer Katy Perry, who blaﬆed the software giant for not supplying audiences with promised free drinks at a show they were sponsoring in New York laﬆ week. “It’s Microsoft! Don’t they own half the world?” she commented to thirﬆ y crowds. Is there anything she can’t do?... POPULAR AUSSIE HIP hop artiﬆ Drapht has conﬁ rmed that he has left Obese Records, with his forthcoming album The Life Of Riley to be released independently. “I totally appreciate what Obese has done for me by throwing my career into the right direct ion and I’ll never forget that,” the talented Weﬆ Auﬆ ralian commented to The Vine. Read more on the MC later in these pages… SULTRY SYDNEY DUO kyü took out the Qantas Spirit Of Youth Award for Music in a ceremony held in Sydney laﬆ week…

FOUR PLAY

RATATAT

While many of the Big Day Out artiﬆs are giving the reﬆ of Auﬆ ralia the swerve when it comes to sideshows in favour of juﬆ Sydney and Melbourne appearances, New York City elect ronica duo Ratatat juﬆ can’t wait to get dirty and downright esoteric with the whole country. The sounds of their LP4 long-player are as enchanting as ever, interlocking guitars which sound like George Harrsion jamming with War Of The Worlds leaping out from a sound palette which is always far from predictable. Evan and Mike have been busily criss-crossing the globe in 2010, and Auﬆ ralia gets its turn when the duo play The Hi-Fi (Brisbane) Monday 24 January, Manning Bar (Sydney) Friday 28 and The Hi-Fi (Melbourne) Monday 31. Tickets on sale via consume.oztix.com.au and the usual outlets Monday 22 November. ROUND TABLE KNIGHTS

SHORT ROUND

Ethnic influences have been the flavour du jour for deep and tech house producers for a much of the paﬆ 18 months, but it’s not juﬆ in chinﬆ roke world where the sounds of the world are rearing their head – ‘tropical’ is a buzzword in more elect ro-oriented domains, and that’s juﬆ one of the sounds that Swiss duo Round Table Knights have touched on. And that’s juﬆ on the Caribbean-flavoured monﬆer Calypso, with Cut To The Top displaying a more bouncy Balkan influence. Little wonder than that they’ve found themselves a home on Jesse Rose’s Made To Play label and shared ﬆages with taﬆemakers like Soulwax and Tiga. Now they’re headed our way, ﬆarting at Revolver (Melbourne) Sunday 12 December, then Monaﬆery (Brisbane) Friday 17 and finally United Colours at GoodGod Small Club Saturday 18. MARK BROWN

MARK HIS WORDS

The northern winter is moﬆ often the time that Auﬆ ralia experiences the pleasure of hoﬆ ing the crème de la crème of dance music talent, but rarely do overseas act set up camp in Auﬆ ralia for an extended period. Mark Brown, front man of house music behemoth the MYNC Project, has obviously seen the error in his ways and will call Auﬆ ralia home through our summer and into spring – perhaps to headhunt talent for his CR2 imprint, but also smashing the fuck out of a number of clubs with his recent Beatport chart topper I Feel Love and forthcoming collabs with Wally Lopez, Eric Morillo and Green Velvet. Catch Brown at Platinum (Gold Coaﬆ) Saturday 27 November, Saturday 18 December and Saturday 19 February, Chinese Laundry (Sydney) Saturday 29 Janurary and Lot 33 (Canberra) Saturday 12 February, with further sets in Brisbane and Melbourne ﬆ ill to have the ﬁner details locked in. TORO Y MOI

WHAT’S IN A NAME?

Dreamy elect ronic-pop crossover is enjoying something of a golden age at present, and South Carolina innovator Toro Y Moi is foremoﬆ amongﬆ those generating global heat – and not juﬆ for his unpronounceable moniker. Artiﬆs like Flying Lotus, J Dilla and Madlib have been name-checked by Wire magazine in reference to the troupe lead by 24 year old producer/musician Chaz Bundick, so earneﬆ chinﬆ roking and appreciation will be order of the day when the psychedelic songscapes of Toro Y Moi ﬂoat into Shake Some Act ion (Melbourne) Thursday 17 February, Playground Weekender Saturday 19 February, Goodgod Small Club (Sydney) Wednesday 23 and Woodland (Brisbane) Thursday 24.

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CALENDAR NOVEMBER TRI-LAMBDA: ALBA VARDEN – Thursday 18, Alhambra SUMMERBEATZ: JA RULE, AKON, CIARA, FLO RIDA, JAY SEAN, TRAVIE MCCOY AND MORE – Friday 19, Brisbane Entertainment Centre PHILADELPHIA GRAND JURY – Friday 19, The Hi-Fi ALBA VARDEN – Friday 19, Club House DRAPHT – Friday 19, The Tempo Hotel JAMIE LEE WILSON – Friday 19, Zuri THUNDAMENTALS – Friday 19, The Step Inn BLACK CANDY: DJ BAM BAM – Friday 19, Monastery GRAFTON PRIMARY, INFUSION – Friday 19, The Zoo LOOT N PLUNDER, REDIAL – Saturday 20, Monastery WHITE RHINO: UNTOLD – Saturday 20, Base Backpackers ULTERIOR DOUBLE VISION: VINCE WATSON, ANTHONY PAPPA – Saturday 20, Barsoma CANYONS – Saturday 20, Never Land Bar DIRTY SUNDAYS: STATIC REVENGER – Sunday 21, Titanium Bar FEMI KUTI & THE POSITIVE FORCE – Tuesday 23, The Powerhouse KOMPAKT 4: DOMINIK EULBERG – Friday 26, Luna Loca THE MELODICS – Thursday 25, Byron Bay’s Great Northern Hotel SNOB SCRILLA – Friday 26, Family DJ FEMME, MC LADY LAURYN – Friday 26, Zuri THE TONGUE, SPIT SYNDICATE – Friday 26, The Step Inn RAINMAN – Friday 26, Brisbane State Library THE MELODICS – Friday 26, Coolangatta Hotel JIMMY Z – Friday 26, Coolanagatta Hotel THE PHONIES – Friday 26, The Brewery METRONOMY – Saturday 27, Woodland KRAFTY KUTS – Saturday 27, Family THE MELODICS – Saturday 27, X & Y Bar BASS KLEPH – Saturday 27, Monastery KOMPAKT 4: DOMINIK EULBERG, MICHAEL MAYER, TOBIAS THOMAS – Saturday 27, Barsoma MARK BROWN – Saturday 27, Platinum PRISCILLA QUEENS OF THE NIGHTCLUBS – Sunday 28, Family METRONOMY – Sunday 28, Elsewhere TIGERMOTH – Sunday 28, X & Y Bar TIGERMOTH

A SOME TIME snapper for 3D World, Kane Hibberd has placed second in UK rock bible NME’s annual Music Photography Awards – not a bad feat considering there were over 5,000 entrants from around the globe… IF YOU HAVE a beard, beer gut and like to build ﬆ uff then you are juﬆ the type of guy US pop singer Ke$ha is looking for. The ﬆarlet recently mentioned that these qualities were what she was looking for in an Aussie man, so let yourself go and get yourself to Ikea before she returns to play some shows in March… AS IF PRODUCING the next U2 album won’t be keeping him busy enough, Danger Mouse will be releasing a new weﬆern inspired album titled Rome with vocals from Norah Jones and Jack White on 25 February. Hopefully the winning run from his Sparklehorse collab continues... AUSSIE DJ TWIN siﬆers Nervo were warmly welcomed home laﬆ week, but a recent tweet from Mim confi rmed that the US has a few things we are lacking. “two things I will not tire of in The U.S. 1) toilet seat covers, 2) free diet coke refi lls. It’s great to be back! /M”. Sounds like we’re really missing out… FOR THAT HARD to buy for cousin you never see, the new release from Juﬆ in Bieber looks like the perfect ﬆocking fi ller. My Worlds: The Collection includes his debut in its entirety plus a brand new acouﬆ ic album. Next level shit...

PHONAT

STEREO GETS PIMPED

Stereosonic goers who were disappointed to see Robyn and Annie Mac disappear from the line-up as it initially appeared can take heed that promoters have feﬆ ival goers’ value for money in mind with the addition of two new headline acts – Switch (he of Major Lazer fame) and London-based Italian elect ro bomber Phonat. And that doesn’t even take into account the quite simply humongous line-up of local and national DJs, Jeremy Illiev, Jason Morley, Tim Plunkett, Matt Nugent, Will E & Censor Th is!, Leo Hede, Elliot Clarke, Tim Dart, Bert Brown, Dan Gavel and Jason Haskell juﬆ a handful of the local heroes to be performing at RNA Showgrounds Sunday 5 December.

MORE BASS

Blah Blah Blah @ Riverlife juﬆ got a hell of a lot bigger with the announcement of a ﬆack more talent conﬁ rmed to play the Breaks & Enter and Dubrave ﬆage at the now annual event. Digitalism (DJ Set), Freeﬆ ylers, Soul of Man, Far Too Loud, Rico Tubbs, Atomic Hooligan, Will Styles & MC Shureshock, The Loops Of Fury, Sangers & Ra, Danny T and Helskanki (live) will all be rocking the main ﬆage on Tuesday 28 December – and with four more ﬆages ﬆ ill to be revealed, it’s safe to say only real hard nuts won’t ﬁnd something to tickle their fancy.

BROWN NIGH

There was once a time where Bobby Brown was known for his musical exploits rather than his headline-grabbing activities, and the man who scored big with tracks like Every Little Step and My Prerogative looks keen to get back where he belongs on the

forthcoming Heads Of State tour. Brown will hook up with fellow former New Edition members Ralph Tresvant and Johnny Gill (ironically Brown’s replacement when he departed in 1985) to perform two hours of New Edition classics and their respective solo hits. Get your beﬆ moves primed for their arrival at The Hi-Fi Tuesday 21 December.

PSY VOYAGER

TP Entertainment are keen to drag doofers out of their comfort zone – or perhaps even into a zone of unexpected comfort – when they hoﬆ German live act Neelix (we’re unsure if he’s related to the Star Trek: Voyager chef) at The Hi-Fi Saturday 4 December. The Spin Twiﬆ Records artiﬆ will be joined by Strange Planet, Unseen Dimensions, Multiverse, Burnt Receptors, Rich Curtis, Paul Abad, Face Invada and Scott Walker with Radium Salt on visuals. Get your tickets via www. thehiﬁ.com.au now.

REVENGE IS YOURS!

Static Revenger has been a busy man indeed since he hit Oz laﬆ month, playing shows across our wide brown land and somehow ﬁnding time to work on a collaboration with Melbourne’s Vandalism which has juﬆ surfaced via the eﬆeemed Vicious Recordings label. Until now he’s been beﬆ known for his I Like That collab with Richard Vission and Luciana, but you can ﬁnd out what else is in his quiver when he headlines Dirty Sundays at Titanium Bar Sunday 21 November. Malfunke, Adam + Eve and Bonnas support.

BOOKISH DUO

After a quickﬁ re run through the country in early 2010, New York City elect roindie boﬃns The Books are back – and we’re happy to see them. Considered one of the acts at the vanguard of sonic manipulation and innovation, they play The Zoo Saturday 19 February.

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CALENDAR TOMMY TRASH

DECEMBER U2, JAY-Z – Wednesday 1, Suncorp Stadium MUSCLES – Friday 3, Alhambra HOUSE INSPECTORS – Friday 3, Zuri BROOKLYN BOUNCE – Friday 3, Family REGGAEFEST 2010: MIDNITE, TURBULENCE, SUD SOUNDSYSTEM AND MORE – Saturday 4, The Brewery NONSENSE: TELEFON TEL AVIV – Saturday 4, Barsoma GOTAN PROJECT – Saturday 4, Powerhouse NEELIX – Saturday 4, The Hi-Fi MUSCLES – Saturday 4, Coolangatta Hotel STEREOSONIC: TIËSTO, CARL COX, TECHNASIA, CALVIN HARRIS, CASPA, LUCIANO AND MORE – Sunday 5, RNA Showgrounds JIMMY Z – Friday 10, Bracken Ridge Tavern DJ PLAYMATE – Friday 10, Zuri WESTERNSYNTHETICS – Friday 10, One Bar & Nightclub BELLES WILL RING – Saturday 11, Clubhouse JIMMY Z – Saturday 11, The Wickham WESTERNSYNTHETICS, M-PHONIK, VMAN, CRUZ AND SOFIE LOIZOU Saturday 11, Byron Bay Entertainment Centre MIND OVER MATTER - Saturday 11, The Beetle Bar PANTHA DU PRINCE - Saturday 11, Gallery Of Modern Art JEROME ISMA-AE - Sunday 12, Barsoma PISTOL WHIPPED: JD SAMSON, COCO ELECTRIK, DISTORTED DIGITAL – Friday 17, Step Inn ROUND TABLE KNIGHTS – Friday 17, Monastery DJ HARVEY, DJ GARTH – Friday 17, Barsoma VANDALISM – Friday 17, Platinum LITTLE DRAGON - Saturday 18, Woodland MIAMI HORROR – Saturday 18, The Globe Theatre GORILLAZ, LITTLE DRAGON, DE LA SOUL – Sunday 19, Brisbane Entertainment Centre VANDALISM – Saturday 18, Family BOBBY BROWN, RALPH TRESVANT, JOHNNY GILL – Tuesday 21, The Hi-Fi BLAH BLAH BLAH @ RIVERLIFE: DIGITALISM, SOUL OF MAN, KOOLISM,THE FUNKOARS, THE FREESTYLERS, HORRORSHOW AND MORE – Tuesday 28, Kangaroo Point NO YEARS FESTIVAL: THE SHOUT OUT LOUDS, NEON INDIAN, THE JOHN STEEL SINGERS, JONATHAN BOULET AND MORE – Friday 31, The Powerhouse ALAN BRAXE, TOMMY TRASH – Friday 31, Family CLAUDE VONSTROKE – Friday 31, Barsoma

LAST SEEN HERE on a blink and you’ll miss him bombing raid of the bottom right corner of Auﬆralia in October, Guy J returns on Bedrock with the double-pronged Heliscope EP Monday 22 November. A release to top up an ailing arsenal… IF YOU’RE TIRED of seeing Regurgitator on local shores, they’ve got gigs in Dubai and Bahrain through late November/early December to keep you on your toes. Let us know what Abu Dhabi’s Ferrari theme park is like if you pop over the border… THIS HEADLINE ON news.com.au pretty much sums up everything we love about the world – “Company makes robotic arms you can control over web and lets people use them to play with kittens”. You wouldn’t read about it… ICONS OF THE 1980s The Human League are apparently done with trading on paﬆ glories, the Sheffield trio delivering new single Night People (featuring Mylo on the remix) Monday 22 November. The Credo album follows in March 2011… THE COLLECTIVE EYEBROW of a million luﬆ ing males has raised at Daniel Radcliffe’s revelation that kissing Emma Watson (“a bit of an animal”) in the Harry Potter finale wasn’t exact ly the romantic experience he expected… SYDNEY DJ/ PRODUCER Jamie Lloyd is back with a new release on Vitalik. He shares the honours with Mark Henning & j u g on the Laﬆ Drive EP, out Monday 29 November through your digital portal of choice…

UNTOLD

RAISE THE ROOF

The White Rhino crew are currently at the forefront of local crews pushing the underground sounds of the dubﬆep/techno/future beat crossover, and having notched up wins by hoﬆ ing Surgeon and Scuba already in 2010 are looking to sign oﬀ in ﬁtting ﬆ yle. And they’re doing so with UK DJ/producer/label head Untold, who’ll bringing his unique blend of house, garage, UK funky, dubﬆep and tribal vibes to the Base Backpackers rooftop for a two hour set as the sun goes down Saturday 20 November. There are only 75 tickets available at $25 for the event which runs from 1pm til 10pm, so if you’re keen to see the headliner plus Samedi Soundsyﬆem (live), Ben Oz, Viviandiere, Irikanji, Jimmy Larcombe and White Rhino’s Lone Pariah and Arku (not to mention indulge in a BBQ ) you’d beﬆ get on the case now.

STATE OF PHLUXUS

Brisbane’s award winning independent dance collective Phluxus2 are about to premiere a new production – Boiling Point. Expect to be excited, uncomfortable and entertained by their devious work as the line between viwer and viewee is blurred in their unique dance theatre piece. The performance has four sessions between Thursday 18 and Saturday 20 November – check judithwrightcentre. com for all of the details.

FACE OFF

Ritual Events continue their tireless dedication to the sounds of proggy tech (or it that techy prog?) with the upcoming Ulterior Double Vision party. Featuring melodic techno maeﬆ ro Vince Watson with his full live rig including drum machines, sequencers and Ableton alongside Auﬆ ralian progressive DJ ﬁgurehead Anthony

Pappa, quality tuneage will be in abundance at Barsoma Saturday 20 November – especially with Rich Curtis, CJM and David Appleseed on support duties.

RAINING AGAIN

Rainman has a new single Can’t See You ready for public consumption, and now he’s got a gig locked in to showcase it – and a lot more no doubt! Friday 26 November sees the man hit The Edge at Brisbane State Library for a one-oﬀ live performance featuring live visuals from Simulcaﬆ, cuts from DJ Butcher and live beats from Calski, with gueﬆ vocaliﬆs also making an appearance. He’s had acts like Count Bounce, Chasm, El Guﬆo, DJ Bonez and Sammsonite on the boards for his new material, so quality is almoﬆ assured.

TO A FLAME

After spending much of this year plying his trade in other corners of the globe, local

atmospheric hip hop artiﬆ Tigermoth makes a welcome return to Brisbane to show oﬀ the fruits of his overseas musical labours. He ﬆops in at X & Y Bar Sunday 28 November fresh from supporting DJ Krush in Sydney, and with Morgan Macmanus & Omegachild, Science Project and Subsea also on the bill, it’ll be a night of serious underground business for the heads and regular punters alike. Tickets $8 from Oztix on sale now.

STROKE OF MIDNIGHT

Big news for Barsoma, with Claude VonStroke sending oﬀ 2010 under the Brisbane venue’s roof. Hoﬆed by Auditree, it’s a ‘ﬆ roke’ of luck for punters looking for some thumping tunes to keep the blood pumping til the early hours. Hit www. barsoma.com for ticketing info. And if you saw CVS unleash hell on Monaﬆery on NYD 2010, you’ll know this is one to be down for!

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SHE’S TAKEN TO TWITTER LIKE A NATURAL, GUESTED ON SOME CERTIFIED HIP HOP CLASSICS AND EVEN FEATUREDIN A CAMPAIGN FOR ESTÉE LAUDER, BUT IT’S THE SLOW AND STEADY APPROACH TO HER OWN MUSIC THAT HAS MADE ERYKAH BADU SUCH A REVERED FIGURE. CYCLONE SPEAKS TO THE ENIGMATIC SONGSTRESS ABOUTWHAT FANS CAN EXPECT WHEN SHE FINALLY TOURS DOWN UNDER AND WHAT THE NEXT STEP IN HER UNPREDICTABLE CAREER MIGHT BE.

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INDEPENDENT STATE OF AMERYKAH

ANY A NEOSOULSTER HAS DISAPPEARED. D’ANGELO HASN’T RELEASED AN ALBUM IN A DECADE, REPUTEDLY UNCOMFORTABLE WITH BEING DEPICTED AS A SEX SYMBOL. Lauryn Hill railed againﬆ the induﬆry machine. Yet Erykah Badu, who rejected Erica Wright as her ‘slave name’, is ﬆill creating music – and thriving. And, this summer, neo-soul’s high prieﬆess is finally bound for Auﬆralia to headline Good Vibrations. Badu says fans “should not expect anything”. “I juﬆ go by the energy of the people. We rehearse a full catalogue of music… I’ve been working with the same lighting and sound people for the paﬆ ten years, so we juﬆ like to be very spontaneous… That’s what I am, a performance artiﬆ, so you never know what’s gonna happen.” The Dallas native is not prolific – she’s an intuitive artiﬆ. Since 1997’s debut, Baduizm, Badu has presented juﬆ five albums, including a live set. The Afro-centric soulﬆ ress grew up in an artiﬆ ic milieu. Badu’s actor mother, a single parent, exposed her not only to the richness of black music but also to Joni Mitchell. The precocious Badu was playing as a child in local theatre productions. She attended the performing arts Booker T Washington High School – Norah Jones is another famous alumni – and showed an aptitude for dance. The B-girl freeﬆ yled, initially as Apples The Alchemiﬆ, then Erykah Badu. Inspired by Kemetism, the revival of Ancient Egyptian spirituality, Erica adopted the ‘Kah’, which denotes the ‘self ’, while ‘Badu’ was derived from jazz scatting. On graduating, Badu headed to the traditionally black Grambling State University in Louisiana to ﬆ udy Theatre. (Her minor? Quantum Physics.) She didn’t ﬆay – music lured her away. Badu demo-ed songs like Appletree with her cousin and these led to her signing to Kedar Massenburg’s fledgling Kedar Entertainment, the company subsequently absorbed into Motown. Massenburg had previously broken D’Angelo. Badu captured the popular imagination with the boho soul of Baduizm. She appeared with a giant headwrap, resembling Nefertiti. She was compared to Billie Holiday – and Diana Ross. The On & On singer scooped two Grammys and Baduizm clocked up multi-platinum sales. But devotees had to patiently await a sequel. Firﬆ, Badu proffered a live album. In 2000 Mama’s Gun materialised, Badu now down with the fluid Soulquarians collective founded by The Roots’ ?ueﬆ love. Between albums, Badu had romanced – and split from – OutKaﬆ’s Andre 3000. They had a child, Seven Sirius.

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In 2008 Badu delivered New Amerykah, Part One (4th World War), her firﬆ ‘proper’ album in eight years. She followed it this year with Part Two (Return Of The Ankh), the project shrouded in controversy. The viral video accompanying Window Seat rivals MIA’s Born Free for its provocative context. Filmed at the site of President Kennedy’s assassination, Badu disrobes before she herself feigns being shot. She sought to take a ﬆand for individualism and, indeed, reclaim female sexuality. If Badu hasn’t aired more music of her own (she’s famously gueﬆed with The Roots, Common and D’Angelo), it’s largely down to family commitments. She now has three children, the youngeﬆ, a daughter with Jay Electronica, under two. (Badu has oﬆensibly parted from the maverick MC – and one suspects that she’s a romantic who gives her heart away too freely.) Still, Badu is a big artiﬆ on a big label in Universal, so how has this eccentric retained control of her music while others ﬆ ruggle? Badu has no horror ﬆories, she maintains. “When I firﬆ came to the label, I came with a full album and ideas and I think that they juﬆ truﬆed my creativity. I work as slow or as quick as I want to. I guess I’m the artiﬆ on the label who has a cult following – and I don’t think they undereﬆimate the audience’s ability to connect with wherever I am.” The parties do “compromise” but “it’s not a bad situation,” Badu ﬆ resses. It was reported that New Amerykah would be a trilogy – not so. “I don’t know if there’s gonna be a third one,” Badu meditates. “People have been saying that, but I never announced that – that was juﬆ an assumption. I did name another album Lowdown Loretta Brown, I said that that would be my next effort, but it was not part of a trilogy for New Amerykah. I ﬆarted it years ago. It was an idea that I had years ago of Loretta Brown being one of my aliases – it’s a character… It’s my take of a futuriﬆic blues woman.” Badu has an elusiveness about her, but she’s embraced the new social networking media, especially Twitter, recently expressing her disdain for the prevalence of “pop techno cornball-ass music” in contemporary hip hop and R&B. In the same way that Laura Marling disapproves of ‘nu-folk’, Badu has consiﬆently repudiated the neo-soul tag – attributed, ironically, to Massenburg. But Badu, “an analogue girl”, appreciates ol’ skool values. Today she misses “the boom-bip and the hump” – that is, the funk – in urban music. Above all, she doesn’t feel “techno-pop” is “authentic”. “When I see an artiﬆ who looks like he should be at a rave rapping over a techno beat, it juﬆ makes me not believe it!” she says. Regardless, Badu is aﬆonished at the response to her Tweeting. “It was on, like, 10 blogs in 15 minutes, so I think I’m juﬆ on Twitter radar,” she laughs wryly. “Whatever I say is gonna be news, so I better make up some good shit, right?” Badu isn’t antagoniﬆic to techno, which emanated from black Detroit in the 80s. “I love techno music, authentically – and house music – but I don’t wanna hear it on my R&B and hip hop ﬆation, too. That’s juﬆ how I feel.” Surprisingly, Badu isn’t necessarily antiAuto-Tune. “It’s juﬆ a trend – I’m not againﬆ trends and gimmicks and changes and things,” she ﬆates. “Auto-Tune? I don’t care. I mean,

whatever sounds good – if it’s chopﬆicks and a paper bag, [and] if it sounds good, it sounds good. I might do some Auto-Tune, I don’t know.” Badu has pursued a multi-faceted career as an artiﬆ and activiﬆ. She made a credible silver screen premiere in 1999’s The Cider House Rules. Tom Ford also approached the beautiful Texan to be the face of his White Patchouli perfume, marketed by Eﬆee Lauder. The revered designer, who revitalised Gucci, has lately turned to directing, his firﬆ fi lm, A Single Man, a true marvel. Badu is eff usive in her praise for the fellow Southerner. “I enjoyed it very much,” she says of Ford’s campaign. “I think he’s everything in a designer and personality that I am in a musician and personality. We’re very kindred – we’re from the same tribe. I can’t describe it exact ly, because I don’t know where this thing comes from, [the thing] that I feel connected to with him, but it feels like a kindred spirit. We’re fearless and creative, and his taﬆe is exquisite. I’m so proud and lucky to have been chosen to be the face for White Patchouli – what a clever thing, a black girl for White Patchouli!” And Badu aspires to do more in the fashion world. “I’m an artiﬆ. I love every form of art – painting, I love that, I love dance, music, I love philosophy, I love hair, I love, of course, design and things and jewellery and funct ional art… I love art, period. Everything I do, art is a part of it; it’s where I shine beﬆ. I think my career’s very young. I don’t know what I’ll do next – it’s a feeling, like I say it, but I see me branching out into other things.” WHO: Erykah Badu WHAT: New Amerykah Part Two (Return Of The Ankh) (Universal) WHERE &WHEN: Good Vibrations Feﬆival at Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February, Gold Coaﬆ Parklands Saturday 19 February

ESSENTIAL ERYKAH Baduizm (1997) Erykah Badu’s debut is her ﬁneﬆ moment – and a neo-soul classic. Baduizm is her moﬆ disciplined, diﬆ illed and song-oriented foray, with gorgeous numbers like On & On (a breakout single), Appletree and Next Lifetime. It saw Badu work with The Roots for the ﬁ rﬆ time.

Live (1997) Badu’s inaugural live set wasn’t merely a ﬆopgap, but an acknowledgement of her phenomenal reputation as a live performer. Live encompasses Tyrone – Badu’s take on hip hop soul – plus covers of songs like Roy Ayers’ Searching.

Mama’s Gun (2000) Looser and rawer than Baduizm. Bag Lady was the key single – but the psyjazz Green Eyes trumps it and everything else. At over ten minutes and in three sect ions, it chronicles Badu’s painful break-up from OutKaﬆ ’s Andre 3000. (He’d write the poppier Ms Jackson for her.) For the ﬁ rﬆ time, Badu collaborated with hip hop legend J Dilla.

Worldwide Underground (2003) Badu’s firﬆ really unorthodox project was this album masquerading as an EP. She devised it after experiencing writers’ block. Worldwide Underground sounds like a jam session or a mixtape. Here Badu offers the posse-cut Love Of My Life Worldwide with Queen Latifah, Bahamadia and Angie Stone as a tribute to 80s all-girl hip hop group The Sequence. Lenny Kravitz plays guitar on Back In The Day (Puff ).

New Amerykah Part One (4th World War) (2008) The ﬁ rﬆ of two experimental albums in what was supposedly a trilogy, 4th World War is Badu at her moﬆ experimental. The record is less about ‘songs’ than grooves, with numbers like the Prince-y jam Amerykahn Promise. Badu touted 4th World War as a socio-political endeavour, her react ion to the Iraq War. She also teamed with the likes of hip hop producer Madlib.

New Amerykah Part Two (Return Of The Ankh) (2010) The second volume of New Amerykah is tauter – and more organic. It’s also personal, even romantic, and so more accessible. The sensual Window Seat is a wise choice of single from an album that isn’t geared towards singles. Badu conjures her own liquid soul – sensibility triumphing over commercial ‘sense’.

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BACK TO THE FUTURE TIME TRAVEL TRILOGY,1985-1990 SCOTT HENDERSON WAXES LYRICAL WITH SCREENWRITER BOB GALE, A MAN WHO WILL FOREVER BE IMMORTALISED ON THE USA’S NATIONAL FILM REGISTRY COURTESY OF HIS WORK PENNING THE CLASSIC MICHAEL J FOX STARMAKING VEHICLE BACK TO THE FUTURE.

n the 1980s, California was the place to be. It was where kids went to school without uniforms, drove awesome cars (hell, even the clapped out battering ram Buicks had appeal) and anything was possible. No kitchen sinks, only a magic realism where Gremlins, One-Eyed Willies and Flux Capacitors were the cultural touchﬆones of the day. Mock though many do, those were more innocent times when a healthier sense of irreverence dominated fi lms made for young cinemagoers. Can you imagine Back To The Future getting made today? It would either be a glossy vanity project ﬆarring some vaguely talented, impossibly good-looking Zac Efron-type (in fact 17 Again ﬆeals some ideas from BTTF), or a diﬆ urbing Aronfosky drama in which more queﬆ ion marks would be raised about Doc Brown’s relationship with Marty McFly, or possibly some headfuck in which Marty conceives himself by sleeping with his mum inﬆead of making sure she hooked up with his dad. Barring any interference with the space-time continuum, BTTF remains the greateﬆ ever time travel movie. But more than that, it is one of the beﬆ examples of what made the 80s a special decade for those who grew up when cars with gull-wing doors make perfect sense, when hoverboards seemed juﬆ around the corner and when Huey Lewis was deemed cool. In fact, it’s hard to count all the ways in which BTTF has had such a cultural impact and the degree to which it influenced the vernacular of this writer’s generation. The responsibility lies at the feet of a number of protagoniﬆs, but chiefly with writer Bob Gale and writer-director Robert Zemeckis. The two Bobs met at fi lm school – USC to be precise – and bonded quickly over their shared ownership of The Great Escape soundtrack and a taﬆe in older movies. Says Gale, “They told us in school it was going to be really hard to get into the business and of course at age 19 we were arrogant little assholes, thought we were tough and could handle it. But they were right and it was tough.” The eureka moment for BTTF came from Gale in the summer of 1980 while he was visiting his parents in St Louis, Missouri, where he had grown up. “I was rummaging around in the basement and I found my father’s high school yearbook,” explains the writer. “I’d never seen it before and I discovered my father had been the president of his graduating class and I thought about the president of my graduating class who was one of these political, social, school spirit raa raa kind of guys who I couldn’t ﬆand. I thought to myself, ‘Gee, was my dad one of those kind of guys? Would I have been friends with my dad if I’d gone to high school with him?’ And that’s where the light bulb went on: what if you could go to school with your dad?” As soon as Gale returned to California he met up with Zemeckis and shared his idea, which the pair then set about embellishing. The way Gale tells it Zemeckis was the one with the cheeky sense of perversion as they developed the hypothetical further, turning their protagoniﬆs mother from innocent high school sweetheart to “class slut”. “The next thing we knew we had a time travel ﬆory and we pitched to Columbia Pict ures a couple of weeks later and got a deal to write it.”

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What made BTTF work where other time travel movies failed was its focus on a personal butterfly effect. They had no intention to send Marty McFly back in time to save the world from a hiﬆorical event, inﬆead turning him into a reluctant and hapless traveller who disrupts the spacetime continuum and muﬆ fi x it or become erased. With the ﬆakes in place the pair then added their own comic inﬆ incts, which found perfect conduits in Chriﬆopher Lloyd and Michael J Fox. “The intereﬆing thing about the two actors is Chris is a theatrically trained actor,” Gale continues, “meaning his training was you learned the entire script or entire part before you ﬆep out on ﬆage for the firﬆ night. Michael had learned from doing sitcoms where they kept changing the script every ten minutes so he never learned his lines until right before had to go out and perform them. So they both had this completely different approach to act ing, but they somehow juﬆ connected. And Michael had that effect on everybody.” The reﬆ, as they say is hiﬆory. BTTF spurred two very successful sequels and turned Fox from a television ﬆar (Family Ties) into a Hollywood A-liﬆer, while Zemeckis enjoyed a highly successful career as a director culminating in the Beﬆ Director Academy Award for Forreﬆ Gump. Although Gale’s legacy was secured with BTTF – the fi lm was selected by the Library of Congress for presevation in the National Film Regiﬆ ry – his career never topped those early heights (though his 1992 effort Trespass, ﬆarring Bill Paxton, Ice Cube, Ice T and William Sadler is a forgotten gem). But how does one measure a fi lm’s own legacy? That the DeLorean, an otherwise shitty, fibreglass concept car, is now forever considered the time travelling vehicle of choice? Or that Chuck Berry ﬆole his sound from Marty teaching it to Chuck’s fictitious cousin Marvin (“watch me for the changes and try and keep up”)? Self-drying jackets? The power of love? Did you even know what plutonium was before? Back To The Future, let me count the ways I love thee: 1.21 gigawatts. And nobody, but nobody, calls me chicken. WHAT: Back To The Future 25th Anniversary Trilogy Blu-Ray (Universal)

TOWARDS THE HORIZON GENRE LABELS MIGHT NOT EASILY APPLY TO BRITISH POP-IDM ACT METRONOMY, BUT JOSEPH MOUNT ADMITS TO JANE STABLER THAT THEY’RE A NECESSARY EVIL FOR A BAND WHO ARE ONLY NOW STARTING TO ASCEND TO THE HEIGHTS HE’D DREAMED OF.

oseph Mount, aka Metronomy, is a ﬆ ranger to neither hard work nor followers of the club scene. With his highly anticipated second album Nights Out now sitting snugly under his belt for over two years, Mount’s musical experiences (he’s also remixed the likes of Franz Ferdinand and collaborated with Florence and the Machine) put him in a good place to judge when he thinks he’s been performing at his beﬆ – and he says that where he’s at now is his favourite place so far. “I guess I ﬆ ill sort of feel like it’s ascending and people are ﬆ ill excited,” he enthuses. “I guess I’ve been on a journey, to keep people excited you have to keep yourself excited. What I think [of as] people who have good careers are people who keep life intereﬆ ing for themselves. So that’s why. I think there are people who I definitely think have done really well. It’s difficult to keep reinventing yourself to keep being relevant and some people should maybe accept that they should juﬆ retire.” Although a long way from retiring himself, Mount has spent a decade perfect ing the forthcoming third Metronomy album. While that may sound like a long time, he says it’s not really what it seems. “The thing is when I said that thing, I was misinterpreted,” he laughs. “I haven’t had a ten year career. I ﬆarted trying to make music ten years ago, but I wasn’t trying to get a record deal for ten years. But it definitely feels like ten years of learning and writing ﬆ uff and sounds. I think like this new record is kind of taking on board the ﬆ uff I’ve learned. When you said ten years I’m like, ‘God, ten years, this is the summit of my achievement?’. I could have done so much better!” That ﬆatement is debatable, but one thing Mount does think could be done better is the labeling of artiﬆs. While his new album has

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WHEN YOU SAID TEN YEARS I’M LIKE, ‘GOD, TEN YEARS, THIS IS THE SUMMIT OF MY ACHIEVEMENT?’. I COULD HAVE DONE SO MUCH BETTER!”

been pegged squarely as part of the seemingly unﬆoppable pop and dance genres, he admits he’s not really a fan of labels. “I think it’s completely unavoidable,” he says of the classification. “I think everyone prefers not to be labeled but it’s going to happen and you have to get used to it. Sometimes people label you in a way that’s a bit lame, but I think it’s juﬆ pop music – it’s not really new wave. I think its more fruﬆrating if you’re maybe like – not to sound too pompous but you make the music and it comes from a personal place or an emotional place and then someone says this guy writes electro with funny melodies and you think ‘it’s so much more than that, fuck off ’. It’s impossible to ignore it, but after a while you realise it’s all juﬆ opinion and everyone’s entitled to them.” Despite his belief that labels are inevitable, Mount ﬆ ill believes that more people should realise they can execute their own ideas when it comes to the music induﬆ ry, and it’s one of the reasons he has ﬆayed true to his musical beliefs. “It’s an induﬆ ry isn’t it, and every induﬆ ry has ways of making money, it’s all the same principles,” he says of the clone-like behaviour of many artiﬆ. “I never felt pressure to conform, I think I’ve been really lucky. There was no point where I tried to. What happens is when you’re recording ﬆ uff for an album, a record label says ‘I think we need more singles’, and at that point you’re maybe making a song because it’s not coming from somewhere genuine. Moﬆ of the time they let me get on with it and do what I want. I got a modeﬆ record deal and I think when you have that you have more freedom.” And that freedom means he is already thinking about what to do next. “I probably get preoccupied with what’s happening next,” he considers. “You’re always thinking about how you could have done ﬆ uff differently and when an artiﬆ or musician should retire is when [they] ﬆop thinking about what’s next.” WHO: Metronomy WHERE & WHEN: Woodland Saturday 27 November, Elsewhere Sunday 28 November

LONG BEFORE HER NOW INFAMOUS ARIA PERFORMANCE, JESSICA MAUBOY UNDERTOOK A SOLO PILGRIMAGE TO THE USA TO GATHER BEATS AND GUESTS FOR HER SECOND ALBUM. CYCLONE HELPS THE DARWIN BORN URBAN SUPERSTAR IN THE MAKING CHART THE JOURNEY.

GIRL GONE WILD

essica Mauboy is set on world domination with her second album, Get Em Girls. But are pop liﬆeners ready for the Aussie ﬆarlet’s new hard urban ﬆeez? For her crunk pop breakthrough Running Back, Mauboy employed the electro rapper Flo Rida. Th is time she went one better with Snoop Dogg on the lead single, also entitled Get Em Girls – a song about girl power and posh shoes. The bootylicious video, shot by fl ashy US director Hype Williams, has copped heat on YouTube – and Mauboy relished reading the comments. She believes in Dr Dre’s old mantra that all controversy is good. “It’s really quite entertaining for me,” Mauboy enthuses. “I love hearing what people have to say. It doesn’t inspire me more, but it gives me more energy.” She can laugh, too. Critics have suggeﬆed that in the clip Snoop “looks sleazy”, which has act ually been the mack daddy’s modus operandi for the laﬆ, oooh, 20 years. “You’re a bit late on that one!” Mauboy giggles, rolling her eyes. The Californian was complementary about the record, and Mauboy, albeit professionally. “It was nice to hear him say that personally – it’s like, ‘Th is is a really great song and I love it and your voice sounds amazing’. Here’s me saying, ‘Thanks, Snoop!’” The ﬆarﬆruck Mauboy “felt awkward” accepting the OG’s praise, but she’s grown in confidence. Mauboy developed a thick skin when competing in Auﬆralian Idol – she came runner-up to Damien Leith in 2006’s season. She shirked off Kyle Sandilands’ disgraceful diss of her “jelly belly” (to this day interviewers ask Mauboy ‘body’ queﬆions in interviews, as they do Kate Winslet). However, Mauboy’s image is that of the outback teen – and some ﬆill want her to be that naif. If anything, Mauboy is franker than in the paﬆ. “I juﬆ wanna be real – and be real with every single person who I meet. I really tell it how it is – be honeﬆ.” In some ways, Mauboy remains that shy (and thong-wearing) girl from Darwin. This was evident when, presenting at the ARIAs, she fumbled the title of Tame Impala’s debut – er, “de-butt” – album and flirted with an unresponsive Geoff Huegill. (Speaking subsequently to Nova, Mauboy blamed her mispronunciations on a lack of rehearsal – and nerves. She declined a chance to clear the air with 3D World.) That said, her ‘gaffes’ are hardly in the league of Kanye Weﬆ’s award show upsets.

Mauboy was born to a Timorese Indonesian father and Indigenous mother – and raised in a music-loving family. She’d attempted to launch a pop career prior to auditioning for Idol at her Dad’s encouragement. Mauboy, then 14, won the Road To Tamworth, resulting in her cutting a countrified cover of Cyndi Lauper’s Girls Juﬆ Want To Have Fun. Poﬆ-Idol, she dropped the prerequisite spin-off ‘live’ CD, The Journey. Mauboy temporarily replaced Ricki-Lee Coulter in Young Divas. Soon she was plotting 2008’s Been Waiting, her official debut, with primarily homegrown producers such as Audius. Been Waiting did big things: it spawned six singles, including the chart-topping Burn, and reached double-platinum ﬆatus. Mauboy scored multiple ARIA noms, yet won only Higheﬆ Selling Single for Running Back. Together with Lisa Mitchell, another Idol 6 survivor, she’s proven that Idol acts need not be fly-by-night. Mauboy was determined to up the ante for Get Em Girls

– and, to do that, she travelled to the US. Alone. She insiﬆed on taking her time, under “no pressure”, and her label obliged. “I knew that I had to really take control and come on board with the next album. I did a lot of co-writing for Been Waiting, [but] I guess it happened so faﬆ, that was the thing about it – that we juﬆ wanted it out already.” It was her desire to hire Americans, not Sony’s. Mauboy’s “dream” is to court US radio – and this represents the fi rﬆ ﬆep. (She’s currently arranging a UK release). Mauboy has worked with A-liﬆ hitmakers like Bangladesh, who helms the title-track. He’s previously produced jams for everyone from Ludacris to Lil Wayne to Beyonce. Chuck Harmony, the guy behind Rihanna’s Russian Roulette, maﬆerminds the dramatic (and ingenious) Scarieﬆ Part. Get Em Girls is an amped-up Been Waiting with epic synths, heavy bass, thumpin’ club beats, and a modicum of Auto-Tune – Mauboy’s voice is ﬆ ill cryﬆalline. Snoop isn’t the sole US mega-ﬆar. Mauboy also paid out for Ludacris, who does his thang on Saturday Night, while the Brit Jay Sean sings on What Happened To Us. Mauboy’s interact ing with US beatmakers was eye-opening – for one, they record noct urnally. “I was on a trip on my own, so it was quite hard to juﬆ go in there and write with producers who’ve worked with my idols. It’s intimidating.” She was unimpressed with Jazze Pha, who gave her Handle It. “He left me in the ﬆ udio for about four hours. There were, like, groupies in the room. So here’s me, tiny, among these big guys – [I] wasn’t introduced to any of them, they didn’t introduce themselves. It was like, ‘Whooo! OK, are we gonna work now?’ Then, from that point, I knew I juﬆ had to be really fi rm about what I wanted. I almoﬆ felt like walking out. I almoﬆ felt disrespected. ‘Wow, do you treat everyone like this – or is it juﬆ a celebrity thing?’” Success has brought Mauboy other surprises. She duets virtually with Elvis Presley on Love Me Tender for the Auﬆ ralian edition of Viva ELVIS. And, of course, she scored a lead role in Rachel Perkins’ adaptation of the Aboriginal musical Bran Nue Dae, act ing alongside her hero Deborah Mailman. Mauboy identified with Rosie in the fi lm – she was playing herself. Mauboy would love to act more – for now, though, it’s about music. “I’m so passionate about music that I juﬆ wanna continue and be surrounded by music at the moment – and, with this album, Get Em Girls, I wanna see where it can take me.” WHO: Jessica Mauboy WHAT: Get Em Girls (Sony)

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COMING HOME LIKE A GOOD PIECE OF INSTRUMENTAL MUSIC, SHAUN TAN’S WORDLESS ILLUSTRATED MASTERPIECE THE ARRIVAL SPEAKS A UNIVERSAL LANGUAGE. KRIS SWALES CATCHES UP WITH THE AUSTRALIAN AUTHOR TO DISCUSS HIS PROCESS AND THE POSSIBILITY OF A FILM ADAPTATION.

he magic of Shaun Tan’s awardwinning 2006 graphic novel The Arrival is the way in which its fantaﬆ ical world feels inﬆantly familiar. Though its essentially an allegory for the immigrant experience, drawing not juﬆ from his father’s journey to Weﬆern Auﬆ ralia from Malaysia in 1960 but the extensive archives kept when foreigners landed in New York seeking a new life in the late 19th and early 20th centuries, the ﬆory of a ﬆ ranger in a ﬆ range land (Hayao Miyazaki’s Spirited Away is a good reference point for the uninitiated) is something that anyone who has found themselves loﬆ in a foreign country will relate to. Though the themes of isolation are heavy (as they were in his earlier but equally magnificent The Red Tree), The Arrival ’s sense of hope and wonder no doubt caught the eye of the The Children’s Book Council of Auﬆ ralia when they awarded it Pict ure Book of the Year in 2007 – the fi rﬆ of many nods its received both here and abroad. Four years on from its initial publication, Tan is giving fans and newcomers alike an insight into its making with the Sketches From A Nameless Land companion piece, available both in a slipcase set with The Arrival or packaged with it in a suitcase in a limited edition of 1500 copies. Though Tan is quietly spoken and remarkably humble, he says that taking readers inside his creative process wasn’t a big ﬆep out of his comfort zone. “One of the unexpected occupations of an author/illuﬆ rator is you end up doing this talking circuit,” Tan explains. “Particularly about children’s literature, and there’s a lot of intereﬆ at the moment about graphic novels. And when a book comes out without words, for English teachers it has the opposite effect of what you think – they become fascinated with it and want to know how they can teach it. So

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I’ve been conﬆantly giving these lect ures where I have all my rough sketches and I explain my process, and for me I don’t see a difference between the finished book and the process – it’s all part of the same thing.” The process of completing The Arrival took six years from conception and four years of dedicated work, Tan admitting that undertaking the project was far more detailed than sitting at his sketchpad and seeing where he ended up. “You have to plan it meticulously for a number of reasons,” Tans says. “It’s a bit like fi lm – there are coﬆs involved. And unlike music you can’t afford to be too spontaneous because you’re working within a confined ﬆ ruct ure. And then with a graphic novel you have to think about how act ion is revealed as you turn the pages – you don’t really want an unwanted revelation on a facing page. And of course the act ual rendering of particular pages is not faﬆ – it takes me about a week to complete a page, and you don’t want to spend a week doing a page that’s not going to be useful. “So I did all up maybe three dummies of the book. It ﬆarted off at 64 pages and I ﬆoryboarded it at many different lengths. The 64 page version didn’t have the back ﬆory of the secondary characters and that was something that was bothering me. It all made sense and checked out and compared well with my research, but it juﬆ lacked some kind of complexity. It was juﬆ a cut-and-dried ﬆory of someone leaving their home and traveling to another country and having these various accomplishments – in the beginning it was a very simple, quiet, un-dramatic kind of book.” It’s also a book which wouldn’t seem to lend itself easily to adaptation, though two theatre companies have done so by scaling it back to reflect the protagoniﬆ’s inner journey. But the

moﬆ thorough adaptation so far was a live score orcheﬆ rated by Ben Walsh (perhaps beﬆ known to 3D World readers for his work behind the drum kit with The Bird) for the Sydney Opera House’s Graphic Feﬆ ival in Auguﬆ 2010. “I thought that he followed the book quite closely,” Tan offers on a performance he sat in on. “There’d been a few other adaptations of the book prior to that where they had departed to some extent from the book, which is also very intereﬆ ing for me. In this case he was following the ﬆ ruct ure of the book but there was more of a difference in interpretation and mood. Th at’s always fascinating to me anyway – in fact I kind of look forward to those parts which are novel interpretations.” Tan’s moﬆ recent project is an animated short fi lm adaptation of his 2000 book Th e Loﬆ Th ing (intereﬆ ingly narrated by fellow author Tim Minchin), his deep involvement in the Melbourne-based product ion proving the catalyﬆ for his relocation there from Perth in 2007. So with one of his treasured publications already doing the rounds of the world’s big screens via various fi lm feﬆ ivals, what are the chances of Th e Arrival getting the feature fi lm treatment? “There’s been some discussion about that,” Tan reveals, “and it’s ﬆ ill in discussion. I’m a little in two minds about it – it’s such an obvious one to adapt because it looks so cinematic already, but also it’s quite difficult because it juﬆ doesn’t have the kind of dramatic ﬆ ruct ure that you need to kick it along for a fi lm. Th ings don’t adapt in such a ﬆ raightforward way. “It’s easy to do something, but the number of disappointing adaptations that are out there… it does outnumber the satisfactory ones.” WHO: Shaun Tan WHAT: The Arrival/Sketches From A Nameless Land (Lothian Books/Hachette Auﬆ ralia)

LET YOUR HAIR DOWN

THOUGH PAUL RIDGE HAS SPENT MUCH OF THE PAST 12 MONTHS OUT OF THE SPOTLIGHT, MATT UNICOMB LEARNS THE PERTH MC HAS BEEN BUSILY CRAFTING HIS FOURTH ALBUM DROP AS DRAPHT – AND HE’S NEVER WORKED HARDER IN HIS LIFE.

aving spent much of 2009 on the road riding the prolonged wave given off by his 2008 LP Brothers Grimm, Perth-based MC Paul Ridge has spent a much needed few months in the lab, penning and demoing his upcoming album. The album, entitled The Life of Riley, will be Ridge’s fourth. Since his ﬆ udio debut as a teenager in 2000 on Hunter and Dazaﬆah’s Done DL, the Syllabolix crew member has ﬆeadily risen to become a member of Auﬆ ralia’s hip hop elite class, a position that became truly realised by the public react ion to Brothers Grimm. Ridge rose from a kind of obscurity in 2003 upon the release of his fi rﬆ full-length, Pale Rider. Though the MC has long since departed from the boom bap aeﬆ hetic the album showcased, it remains, for some, one of Weﬆern Auﬆ ralia’s defining hip hop achievements. Not long after its release, however, the MC draﬆ ically altered his ﬆ yle. By 2005 and the release of the follow up Who Am I via Obese Records, Ridge had become, along with label mates the Hilltop Hoods and Muph & Plutonic and Canberra’s Koolism, one of the artiﬆs regarded as pushing the hip hop envelope. While the Hoods had mass appeal, Muph & Pluto had duﬆ y soul and Koolism prevailed with sheer experimentation, Ridge brought raw melody to the vocal booth. Like many artiﬆs that embark on a significant ﬆ yle switch, Ridge’s catalyﬆ was disenchantment with the Perth live environment. Years spent performing for and in front of rowdy teenage graffiti writers led to a draﬆ ic change of method, and the aggression and griminess left Ridge’s recording arsenal. “I was so sick of rocking up to shows where there’d be fights all the time,” he reflects. “95 percent of the crowd would be 18-year-old graff writing dudes. I was 18 or 19 at that time, but I felt like I’d grown from that. I wasn’t enjoying performing live. I wanted to add a little more melody – a lot of people hate that.

“I ﬆill get comments to this day from people who say that Pale Rider was their favourite record. I can’t believe that shit.” His moﬆ successful release to date, Brothers Grimm, came in 2008. Sporting Jimmy Recard, which would go on to become one of the moﬆ popular local hip hop tracks in recent memory, the album saw the young MC ﬆ rike up a partnership with South Auﬆ ralian producer/MC Trials. Vaﬆ ly different than the loopy sample-based product ion of Who Am I, the Brothers Grimm soundscape would ﬆand as Ridge’s moﬆ diverse yet. While the big drums remained, Ridge’s chosen platform was more layered and dynamic than that of his previous work, calling upon leftfield samples that primarily referenced rock rather than the duﬆ y funk and even classical much Perth hip hop had become renowned for. Shortly after Brothers Grimm dropped, Ridge found himself in a place where only a handful of Auﬆ ralian hip hop artiﬆs have been – able to give away his day job. While this emancipation from non-music related employment is undoubtedly the envy of musicians all around the country, it calls for some degree of caution. For Ridge, gone are the eight hour working days followed by fiery night-time recording sessions. “A lot more effort is being put in,” Ridge muses, explaining the switch’s impact on his music. “[But] it’s been very taxing. I don’t think I’ve put as much effort into anything in my entire life.” Th is effort, though, seems to be paying off. Juﬆ laﬆ week, Ridge dropped Rapunzel, the lead single from his upcoming The Life of Riley album. Built around a guitar lick, the track sees Ridge giving his vocal chords what seems like the biggeﬆ workout of his career. So far, nine tracks have been recorded at Ridge’s home ﬆ udio, each over a Trials joint, with more to come. Lyrics-wise the album is complete, with raps over an M-Phazes beat, plus more, ﬆ ill to come. “They’re a lot more up tempo than the laﬆ record,” Ridge says about Trials’ beats. One of the main contributors to Ridge’s improvement over the years has been that access to a private home ﬆ udio. Inﬆalled with the help of fellow Perth resident Dazaﬆah in the wake of Pale Rider’s release, the ﬆ udio has provided a comfortable environment, where Ridge could gradually build up his vocal range and dexterity. Th is ability to record and demo at home is a luxury not to be downplayed. It has led to a significant and rapid improvement in the ﬆ yles of numerous MCs, including Dialect rix, who, incidentally, will be appearing on several of Ridge’s upcoming tour dates in support of Rapunzel ’s release. “I find it hard going into a ﬆ udio now and having someone else record me,” the MC ﬆates. “I like waking up in the morning and walking ﬆ raight over to my computer, pressing record, running to the booth and not having anyone looking over my shoulder. I can try whatever I want.” From now until The Life of Riley’s release, which is penciled for late February, Ridge has a lot to get done. He’ll be ﬆepping out of the ﬆ udio

shortly for a ﬆ ring of national tour dates, where a time out in South Auﬆ ralia will give him a chance to link up with Trials in Adelaide. Once there, Ridge will take the Funkoars beatsmith through each of the nine tracks he’s written to. The pair have a unique working relationship, helped in no small part by Ridge’s proficiency in self-recording and arranging Trials’ supplied loops from his own Perth ﬆ udio as needed. “Trials hasn’t even heard the ﬆ uff I’ve recorded,” he says. “He doesn’t know what’s going on until the laﬆ minute. I like to be there when he firﬆ hears it, because a lot of the arrangement has changed.” WHO: Drapht WHAT: Rapunzel

(Independent)

WHERE & WHEN:

Tempo Hotel (Brisbane) Friday 19 November, Prince Bandroom (Melbourne) Friday 3 December, Gaelic Club (Sydney) Saturday 4 December

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LIGHT & SHADOW THE THIRD ALBUM BY ELECTRONICA DUO TELEFON TEL AVIV MET AN UNEXPECTED LEVEL OF SCRUTINY AFTER TRAGEDY TORE THEM APART, BUT BENEATH THE HEADLINES AND THEORIES SIMPLY LAY THE ALBUM THEY HAD ALWAYS WANTED TO MAKE, SAYS JOSHUA EUSTIS TO TRISTAN BURKE.

ven without the baggage it so tragically carries, Chicago-based Telefon Tel Aviv’s third and likely laﬆ album is an easy record to read into. School pals Joshua Euﬆ is and Charles Cooper may have opted for a more pared back approach to recording than on 2004’s Map Of What Is Effortless, ditching the digital affectation in favour of analogue tones, but the result was their moﬆ complex effort yet, a ﬆ irring journey through the emotional spect rum, leaving fans wondering exact ly what Immolate Yourself was made to inspire – gloom or hope. On 22 January 2009, two days after the album’s release, the announcement of Cooper’s death sent conject ure into overdrive. While the ghoulish were busy spinning theories on the cause, others were letting their ears play detect ive as they scoured Immolate... for encoded evidence of some personal hell being endured by one of its makers. Nothing, beﬆ friend and partner Joshua Euﬆ is maintains, could have been further from the truth. “People were trying to put this Ian Curtis legacy behind it, and it’s like, ‘no dude, we’re not Joy Division; we’re blue collar, mediocre, semicompetent musicians, who are working day jobs while making records’,” Euﬆ is asserts. “All these people were saying it was this gigantic thing that Charlie was trying to do, to make this dark, dismal, morose and hopeless record, and that wasn’t at all what we were trying to make. Of course some of it is dark, but it has a lot of hope in it; we were trying to show that there’s hope for everything. I don’t know if people are really getting that, when to me that’s the moﬆ important part of the record.” Euﬆ is does admit that Immolate Yourself – a tongue-in-cheek reference to “all those 80s death metal bands who used long, complicated words” – was almoﬆ never made, but that was more a product of creative exhauﬆ ion after agonising over the minutiae on Map For What Is Effortless. “We pretty much ﬆopped making music after that, and weren’t sure if we were ever gonna make another record. But then we were like fuck it, we’ll do another, but we’re not gonna make a big deal about it, or pore over details that ultimately don’t service the songs. We’re juﬆ going to have fun and experiment in the ﬆ udio, hang out, play cards, video games, watch movies and if we feel like making music, we’ll make music. “It was a really great experience for both of us, and the record came out of that. That Charlie died later of a complicated cocktail of over-the-counter sleeping pills and some champagne, though not even in lethal doses, it kind of looks really suspicious, but we had three autopsies done and none of them were ruled as suicide – there juﬆ wasn’t anything siniﬆer enough in his blood ﬆ ream to call it suicide. It juﬆ makes the record a lot creepier than it was ever intended to be.” Believing that on Map Of What Is Effortless they overreached in regard to songwriting, and spent too much time getting bogged down in “trickery”

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when it came to inﬆ rumentation, producing Immolate Yourself required Telefon Tel Aviv to completely reassess their approach to both. “We didn’t really know what we were doing on Map, so we ended up with these songs that weren’t really developed, with really over the top product ion. We didn’t want to do that again; we thought ‘people are going to remember a poignant lyric or vocal melody, not the skittery beat ﬆ uff,’ so we got a tape machine, and ﬆarted doing things the old fashioned way. It felt like we were ﬆarting all over again, which is the beﬆ feeling in the world when you’re making music.” For Telefon Tel Aviv’s forthcoming Auﬆ ralian live dates, Euﬆ is will be joined by Fredo Nogueira, who’s “essentially been like the third member of the group since day one”. The on-ﬆage dynamic between them has come easily, but their recent dates don’t mark a decision to continue touring indefinitely – rather a commitment by Joshua to finish what he and Cooper ﬆarted. “I didn’t juﬆ want to give up on the thing,” he says, “I wanted to see the record through, play the songs lives so Charlie’s laﬆ big great work wouldn’t juﬆ fall through the cracks. The only choice was Fredo, he was brave enough to try it and it’s been great.” Euﬆ is is presently putting the finishing touches to a new album he describes as “much more primitive, much more shitty” than paﬆ material, though it’s unlikely he’ll release the record as Telefon Tel Aviv. Should Immolate Yourself indeed prove to be its laﬆ, at leaﬆ two friends would say with absolute certainty that it was also their beﬆ. “It was definitely mine and Charlie’s favourite of all the ﬆ uff we’ve done. It was the record we’d always wanted to make but were never really brave enough to try and make. I pretty much hate every record I make after I make it, but I ﬆ ill somehow don’t hate Immolate Myself, I ﬆ ill somehow think it’s a solid record, I ﬆand by it. I feel like it’s our moﬆ successful record, our moﬆ complete record.” WHO: Telefon Tel Aviv WHAT: Strawberry Fields Feﬆ ival Friday 26 November, Subsonic Music Feﬆ ival Friday 3 December, Barsoma Saturday 4 December

3DWORLDTRAVEL

UP WHERE WE BELONG FEW SIGHTS IN THE WORLD CAN MATCH THE SPLENDOUR OF HOT AIR BALLOONING OVER THE TURKISH REASON OF CAPPADOCIA, AND NICK CONNELLAN WAS ALL TOO HAPPY TO VIEW THE AREA’S FAIRY CHIMNEYS AND MAN MADE SCULPTURES FROM ABOVE THE CLOUDS.

e’re huddled in the pre-dawn light while a large brazier throws fl ickering shadows on our faces. Around me ﬆand Japanese, Australians, Spaniards and everyone in between. To ward off the cold, many are sipping coffee out of polyﬆ yrene. As a solitary red balloon drifts upward into the inky sky, a tense feeling of togetherness is palpable. Though we’re all ﬆrangers, today we’re united by one cause: getting into the air. The balloon is emblazoned with the same symbols as Turkey’s flag – a white crescent moon and ﬆar. It’s a wind teﬆ; only gentle conditions will allow us to get airborne. We’re juﬆ outside a small town named Göreme, in the middle of the country’s rugged Cappadocia region. For decades now, the area has attracted touriﬆs with its unique and captivating scenery. Central to this are the so-called “fairy chimneys”, tall, crayon-shaped rock formations which were hollowed out and used as houses in older times. There’s really no better way to see them than from on high. As a second red balloon is released, more people begin to take note. Of the 150-odd touriﬆs, none of us are quite sure what the red orb should be doing, only that it’s important. A group of

middle-aged pilots ﬆand laughing and smoking by themselves. With their khaki jackets and gold-ﬆarred epaulets, they look more like the caﬆ of Top Gun than maﬆers of the delicate behemoths laid out nearby. An hour later, and three more helium balloons have been released. Though the pilots keep up the joking, everyone else is now looking worried. It’s fully light, and we’ve missed the sunrise which the early ﬆart intended to capture. It looks like we’re going to be sent home, but after a quick word from their boss, the ﬆaﬀ suddenly erupt. By the closeﬆ balloon,

two petrol-powered fans appear and roar into life, triggering a round of relieved smiles. Everyone’s thinking the same thing: here we go! A group of support ﬆaﬀ approach a minute later, each carrying a placard aloft. Ours says “TC-BGF”, matching the tags around our neck. It might ﬆand for “Totally Cool Balloon Gang Forever”, but we’re not sure. Regardless, 16 of us follow our leader to a more diﬆant balloon and watch as more furious blades ﬆart pumping air into it. The racket is exhilarating after the previous ﬆillness of the morning. As if

attracted by our noise, another company’s balloons appear over a nearby hill. They’ve clearly got the jump on us, but no one is jealous after beating the prospect of cancellation. It’s no easy task getting a balloon into the air. The baskets are the size of a family sedan and when they’re inflated, the balloons as high as a ferris wheel. It takes a good 15 minutes before ours ﬆarts to look the right shape. The basket lies on its side at the beginning. From inside, a frighteningly large flame is issuing into the open mouth of balloon. The flame periodically pauses while two men run inside the giant tent to push out the folds. Gradually, less and less of the balloon touches the ground. When it finally lifts off, the support ﬆaff cut the fans and heave the basket upright. By now, dozens of colourful spheres from other companies are drifting overhead. While the passengers are assiﬆed into the sectioned wicker gondola, our female pilot hands out multi-language safety cards and explains the landing procedure. As the balloon begins to lumber skyward, a photographer scampers up and frantically urges us to smile. Though the lift-off is gentle as anything, the radiant heat from the burner is immense. With 80 litres of propane on-board, there’s plenty more to come, too. Moﬆ of the fl ights are able reach a height

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HOW MUCH?

Hot air ballooning in Capadocia can coﬆ anywhere between $155 and $325. Thankfully, the reﬆ of Turkey is far more price accessible, though no less intereﬆ ing.

WHEN IN TURKEY?

FACTS & FIGURES BOX Population: 2,500 (Göreme approx) Language: Turkish/ English National Drink: Raki Average Annual Rainfall: Sparse Currency: Turkish Lira (AUD1.00 = HUF1.42118) of about 2,000 feet with this fuel. Thus, it’s not long before we’re able to see it all – a road which seemingly ﬆ retches from horizon to horizon, a snow-capped, dormant volcano and a shallow valley packed with fairy chimneys. The valley is like a foreﬆ made of ﬆone. Several balloons appear to be ﬆ uck at the bottom, vict ims to the imprecise art of piloting. Luckily, our pilot catches a gentle guﬆ and creﬆs a rise to reveal farmland laid out like a patchwork quilt below. Generous farmers have conﬆ ructed complex geometric patterns on a hillside with large rocks. It’s unnecessary – the scenery itself is enough. From the air, mundane patches of dirt become intricate portraits of colour. There’s red earth like Uluru’s, green soil the shade of piﬆachio and a splash of bright cream where rocks are being quarried. Bits of earth are cracked deeply here and there like rising bread, while deep blue rivulets of water separate the neatly plowed squares from the messy ones. The surrounding mountains are like layered sponge cakes with frilly froﬆed hills at their feet, caramel and vanilla with a powdered chocolate peak. The colours are diﬀerent though. Everything is washed out, faded, as if bleached by the beating Turkish sun. When the burner’s not ﬁ ring, the sheer

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sense of quiet adds to the spectacle. It’s like observing a painting in a hushed museum. After an hour of drifting peacefully, we sadly begin preparations for landing. The pilot ﬆops the burner, cooling the air within the balloon. We’re inﬆ ructed to hang on tightly while crouching down; the inside of the basket is lined with loops of rope to grasp. As the earth comes closer, it becomes apparent that we weren’t juﬆ drifting – we were ﬂying, in every sense of the word. The ground is moving rather faﬆ through the small gaps in the wickerwork. Suddenly the

CAPPADOCIA

basket tips sharply, jarring muscles and showering us with dirt. “Don’t let go, don’t let go!” yells the pilot as she ﬆ ruggles to bring things under control. As we ﬁnally grind to a halt, she’s unsuccessful though. The basket has ﬆopped on its side, and we crawl out laughing hyﬆerically. The ground crew’s car is within throwing diﬆance, despite us having travelled 15km on unpredictable winds. As they set up a table and ﬆart pouring celebratory champagne, I somehow feel like it’s appropriate, even if juﬆ for making it into the air in the ﬁ rﬆ place.

ISTANBUL The city is split in two by the Bosphorus Strait, which connects the Black Sea to the Aegean. Thus, Iﬆanbul is the only city in the world to ﬆ raddle two continents, Asia and Europe. Cruises on the shimmering ﬆ rait are a muﬆ for visitors. The Blue Mosque and Hagia Sophia are also rate highly. These twin ﬆ ruct ures face each other across a park and measure up to any church in Europe for beauty. PAMUKKALE About ten hours on a bus from Iﬆanbul, Pamukkale is perhaps the moﬆ valuable geographical treasure in Turkey. For thousands of years, natural thermal waters have ﬂowed down a hillside above the town. With them, they bring calcium deposits which harden, forming a pure white shell. Above the white hill, there’s an ancient Roman city complete with all the accoutrements – baths, amphitheatre and gym. SELÇUK Down on the Aegean coaﬆ, Selçuk is a convenient base from which to explore the nearby Greek islands. Selçuk’s biggeﬆ drawcard is Ephesus, an ancient city nearby which rivals ruins found anywhere else in the world. Again, a 25,000 seat amphitheatre crowns this noble site. ÇANAKKALE Ten hours by bus from Iﬆanbul, this small seaside town is an ideal base to explore the trench-riddled site of Gallipoli.

IF YOU LEFT TODAY?

Emirates ﬂys to Iﬆanbul – from their Turkey’s bus syﬆem is the cheapeﬆ form of transport to Göreme. Return Airfare: $1789.16 (from Sydney)/ $1769.75 (from Melbourne) / $1791.58 (from Brisbane). Cheapeﬆ Hotel Room – Room only accomodation from AU$41 (per night twinshare) via www.expedia.com. Current Foreign Aﬀairs Status – High degree of caution – and reconsider your need to travel if exploring borders with Syria, Iraq and Iran. See www.smartraveller.gov. au for updates. Entry/Exit Requirement – Auﬆ ralians who enter or depart Turkey by land or sea borders, including those who make short trips to the Greek islands and then return to Turkey, should ensure that they are correct ly processed by Turkish immigration and that their passports are ﬆamped for all exits and arrivals.

MENTAL COMBAT Hip Hop With BLAZE

ILLY

The lateﬆ Auﬆ ralian hip hop release to score an album of the week gig on Triple J is from Obese lad Illy with his second album The Chase. It’s probably the fi rﬆ album from the label that diverts from a pure underground sound. In fact it almoﬆ sounds like something that Elefant Traks would consider. That’s not a bad thing, but I can see the indie rock kids accepting this more than many of the other artiﬆs on their label. At times Illy’s microphone persona reminds me of Atmosphere’s Slug. And that’s not necessarily a bad thing. Illy’s thoughtful lyrics, coupled with a crossover appeal that doesn’t dilute his persona, shows that respected MCs can captivate audiences outside of their initial fanbase without sacrificing their integrity. Th is aspect is evident when Illy employs the use of various singers for his hooks with barely a gueﬆ MC on the horizon. As long as he retains the skill factor with his mic skills he should be able to convince the underground heads that he is juﬆ expressing his own version of the music and so far he’s succeeded. The musical collaborators from his 2009 album Long Story Short continue with the new album. M-Phazes, Taku, J-Skub and J-Squared return, with Stylaz Fuego being the new participant. Sure to please the heads is Illy’s party joint Put ‘Em In The Air, which rips over a thunderous beat from Taku with DJ Flagrant providing the album’s only turntable work. Taku’s other beats include Illy’s moﬆ vocally aggressive in which he disregards the likes of internet critics on We Don’t Care, while Same Number, Same Hood goes for a more melodic and relaxed angle, yet ﬆ ill sounding like it was borne of concrete. J-Skub brings a different slant with his beats, with two of them being decidedly uptempo – one of those being the lead single It Can’t Wait in which female singer Owl Eyes pleasantly coos while Wren warbles over the more downtempo Diamonds. The only elect ronic sounding joint is provided by J-Squared for Feel Something in which he conjours up a more Balaeric cosmic disco twiﬆ whilﬆ Illy bathes himself with a vanguard of emotional awareness. M-Phazes goes for a more live sound with a few of his tracks with the title track probably exploring the moﬆ commercial avenue with Olivier Daysoul on chorus duties.

LAND OF THE RISING SON NIGERIA’S FEMI KUTI GREW UP IN THE SHADOW OF ONE OF THE MOST IMPORTANT AND INFLUENTIAL MUSICIANS OF CONTEMPORARY SOCIETY. MATT O’NEILL SPOKE TO THE BAND LEADER ABOUT CONTINUING AND RESHAPING HIS FATHER’S CONSIDERABLE LEGACY.

he relationship between the works of Femi and Fela Kuti is, at once, both surprising and familiar. Femi’s decision to refi ne the Afrobeat innovations of his departed father into a more concise and eclect ic, but equally politically conscious, format over the paﬆ two decades recalls the efforts of countless musical offspring forced to contend with the legacy of their accomplished parents. Femi’s work acknowledges his father’s paﬆ while embracing his own musical future. Yet, unlike the descendants of many celebrated musicians, Femi Kuti has never made any conscious effort to diﬆance himself from his father’s legacy. There are notable differences in Femi and Feli’s compositions and perspect ives but, rather than exiﬆ ing as a point of difference, Femi’s work seems like a logical evolution of his father’s output. The same blend of interlocking polyrhythms, cyclical grooves, political ire and layered brass arrangements characterises the work of both musicians. “I ﬆ ill think of what I do as Afrobeat,” Kuti explains. “I don’t have any problem with the comparisons made between mine and my father’s music. I think it’s juﬆ a part of life. I don’t think my songs really sound like songs that could have been written by my father – I mean, some of my father’s songs could ﬆ retch over six or twelve hours in concert – but, without Fela, Afrobeat wouldn’t really exiﬆ. It would be nice if my music could be viewed by itself but I underﬆand that will never be the case.” The relationship between the two has been pronounced throughout the entirety of Femi’s career. The musician made his ﬆage debut as a member of his father’s band Egypt 80 in the 1980 – even briefly taking over his father’s role as frontman when Fela was arreﬆed en route to a performance – and has maintained close ties to his father’s work ever since.

The difference relates to how Femi perceives the work of his father. Whereas the majority of the world regards Fela Kuti’s legacy to be that of a musical iconoclaﬆ, Femi Kuti prioritises the man’s work as a political act iviﬆ and human rights advocate fi rﬆ and foremoﬆ. Fela Kuti’s son, therefore, is less concerned with competing with the musical impact of his father and more intereﬆed in continuing his father’s work on behalf of the Nigerian populace. “To me, I think there are more important things to deal with than ensuring African music gets the recognition it deserves,” the bandleader says bluntly. “I think it’s more important Africa gets access to proper education and schooling, access to proper medicine and hospitals, access to clean water. These are the issues I think people should be discussing about Africa and Nigeria. This is what I’m fighting for with my music. “You know, being a musician is my job. I was brought up in a household where we taught to fight corruption and, through my music, I hope this is what I’m doing,” Kuti continues. “I don’t think all musicians have to write about politics but this is what I feel I have to write about as a musician. I have to sing about corruption and tell people of corruption through my music and make them aware of what is going on in the world.”

WHO: Femi Kuti and The Positive Force WHERE & WHEN: Metro Theatre (Sydney) Saturday 20 November, Auﬆ ralasian World Music

Expo at The Hi-Fi (Melbourne) Sunday 21 November, Brisbane Powerhouse Tuesday 23 November

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BACK TO THE FUTURE

WITH DEBUT ALBUM HIKOIKOI, NEW ZEALAND REGGAE TRIO HIKOIKOI ATTEMPTED TO PROGRESS THEIR GENRE BEYOND ITS CONVENTIONAL BOUNDARIES. MATT O’NEILL SPOKE TO GUITARIST/VOCALIST PAUL WICKHAM ABOUT THE LOGIC BEHIND DOING SO WITH VINTAGE GEAR.

here’s something quite isolated about the work of New Zealand’s Hikoikoi. While the trio have developed in one of the moﬆ fertile and supportive reggae scenes in the world, their sound bears only a vague resemblance to the work of community leaders like The Black Seeds and Salmonella Dub. Infinitely rawer and ﬆ ripped-back, Hikoikoi’s work lacks the elect ronic overtures or dance music inclinations of the majority of their more celebrated peers. The band’s eponymous 2009 debut album, for example, was not conﬆ ructed from product ions and programming in an urban environment but written and recorded on vintage analogue equipment in an old boat shed on the Hikoikoi Reserve (the band having drawn their name from the area). Produced by the band, the resulting album is raw and atmospheric while ﬆ ill spiritual and uplifting – a world away from the work of Hikoikoi’s contemporaries. “I would say there is an Aotearoa reggae ﬆ yle. It tends to be a bit more uptempo than traditional reggae, sometimes referred to as BBQ reggae. We wanted to reference an authentic Jamaican sound by using analogue equipment to help create the warmth of that sound, and to emulate what you would find on a record from Jamaica,” guitariﬆ /vocaliﬆ Paul Wickham explains. “We draw on 1970s Jamaican reggae like Black Uhuru, The Congos and the likes of The Midnights.” Impressively, however, the trio nevertheless manage to act ually maintain a similar degree of innovation and experimentation as their more elect ronic contemporaries within their work. From a product ion ﬆandpoint, the trio’s work is ﬆ ripped-back but, within their sound, one can find aspects of jazz, Afrobeat, psychedelia, pop and rock. All three members of the band come from backgrounds outside reggae and have introduced their own perspect ives to the genre’s development. “Our main specific ambition was to create a group which shared songs

of peace, hope and encouragement, rather than juﬆ a party band – but do that through high energy music,” Wickham reﬂects. “We were quite an open platform musically and continue to be so that we can develop and shape our sound progressively. Being progressive is really important to us so that we challenge our audience as well as ourselves. We ﬆ ill endeavour to create a unique sounding collect ive.” What links the trio’s exploratory work back to reggae is their appreciation for spiritual and political concerns. While Hikoikoi’s work may occasionally veer oﬀ into directions greatly removed from reggae ﬆ yliﬆically, the philosophical foundation of the group ensures their music is always linked back to reggae’s overarching values of peace, love and unity. There’s a fusion between the values of the genre’s forefathers and the diverse intereﬆs of Hikoikoi’s new forms. “Reggae, I believe, is a political and spiritual music and that is what drew us to that genre. Th rough reggae you can say a lot more than someone in a rock band without coming across as too preachy. It’s a great platform,” Wickham enthuses. “We consider ourselves to be a spiritual band. Moﬆ of our songs have metaphoric messages and are drawn from Old Teﬆament proverbs and parables, referenced againﬆ our observations of the world.”

WHO: Hikoikoi WHERE & WHEN: Byron Bay Reggaefeﬆ at The Brewery Saturday 4 December

QLD

OGFLAVAS OG Urban news with CYCLONE

Concept albums are surely the ﬆ uff of the 70s – and the province of rockers. Indeed, The Beatles yielded one of the fi rﬆ full-blown concept albums in 1967’s Sgt Pepper’s Lonely Hearts Club Band. Over the next decade The Who, Pink Floyd and David Bowie exploited the format to the point where concept albums were deemed pompous, if not self-indulgent, by the 1980s. Nonetheless, the concept album has made a sly comeback, not in rock, but in urban music. Many a hip hop blockbuﬆer is a concept album: Jay-Z’s American Gangﬆer, Kanye Weﬆ’s 808s & Heartbreak, Kid Cudi’s joints. Then, on the R&B side, you have Mariah Carey’s The Emancipation Of Mimi... Such concepts are as much about marketing angles as pulling together albums that, invariably, feature tracks from disparate producers. And urban artiﬆs are fi xated with movies... Now Ne-Yo has resurfaced with a proper concept album, Libra Scale. The R&B ﬆar has dropped albums annually since his breakthrough, but skipped 2009. In that time, his rival Chris Brown trashed his career. Libra Scale’s cinematic narrative isn’t obvious from liﬆening to it. Apparently, it’s a sci-fi morality tale centring on three garbos who are offered riches, power and fame, providing they save the day from some malevolent force – and don’t fall in love. Of course, Ne-Yo’s character, Jerome, spots a hot chick – and dang! It’s not a concept to rival Janelle Monáe’s wacky The ArchAndroid, but you get the idea. The ﬆory is illuminated (presumably) in extended videos – and the CD booklet’s cartoon. However, fans should focus on the music, for this is Ne-Yo’s beﬆ album yet. He’s (moﬆ ly) eschewed contemporary gimmickry, namely Auto-Tune, crunk-trance beats and loads of gueﬆs. Inﬆead Ne-Yo travels back to 90s R&B, and draws on older influences like Isaac Hayes, Marvin Gaye and Michael Jackson. The bling-themed Champagne Life might be an old Bad Boy product ion from Stevie J (memories!), Ne-Yo forgetting about the GFC for a night on the town. His current single One In A Million evokes 80s Gaye with its smooth vocal, seduct ive melody and percussive groove. Cause I Said So could have been on Thriller. The only jarring moment arrives with the Stargatehelmed Beautiful Monﬆer, which squelches like an acid techno throwback. It’s a dope dancehop track, but ill-suited here.

NE-YO

CLAMP DOWN! Alt.indie.pop with DCR

LIAM GALLAGHER

I’m pretty sure that the real reason behind Noel Gallagher leaving Oasis was to focus on a solo career (or at leaﬆ a solo album), not because he hates his brother. Sure, words might’ve been exchanged but they would’ve simply been a catalyﬆ for something bigger. Noel has always been the talented one. Don’t get me wrong, Liam’s got a maﬆerful voice – Oasis were one of my favourite bands; their fi rﬆ few records are outﬆanding – but whenever you hear a track featuring Noel on the main vocal you realise how much more accomplished a singer he is. Laﬆ week Liam debuted the firﬆ song from his new act Beady Eye, which is simply Oasis without Noel. It’s awful. Oasis’s laﬆ album, Dig Out Your Soul, was their worﬆ – an overblown psychedelic mess that received far better reviews than it deserved. (And before you ﬆart throwing the expression ‘déjà vu’ around, Be Here Now was, and ﬆill is, a brilliant record. So too is Standing On The Shoulder Of Giants.) It’s no surprise then that Oasis broke up in the wake of its touring – obviously Noel woke up to himself and realised that what they were touring was absurd, and so he went his own way. Th is is evident in Beady Eye’s Bring The Light, which hits you in the face with all the grace of a curry belch. With a manic piano line reminiscent of Little Richard and gospel back-ups, it has the blueprints of being a great rock’n’roll revival song – but unfortunately it takes itself far too seriously and completely misfi res. It needs to tone down the product ion and ditch the piano (there’s a reason no other bands are pummelling keys like that these days). The lyrics are god awful and Liam’s delivery is tired. It literally sounds like he’s out of breath at the end of every line. It’s evident by the track that the genius of Oasis is Noel, not Liam. Sure, Liam’s written a good song or two – Songbird ’s a beautiful tune, but one has to now wonder if Noel had much input on it, because regardless of Liam writing and recording the song, it was released under the Oasis name, not ‘Over-inflated Ego’. Some might consider it unfair to judge a band on one song but when you know what they’ve done in the paﬆ you can quickly come to your assumptions. The album’s going to be terrible.

YOU CAN LEAVE YOUR HAT ON HUWSTON LEARNS THAT THE SECOND RED BANTOO ALBUM CAPTURES A MOMENT IN TIME FOR THE NOW BYRON BAY-BASED BAND LEADER SIMON DURRINGTON – SOME PEOPLE WILL GET IT ALL WHILE OTHERS WILL NOT.

ed Bantoo is the Byron Bay based duo of producers Simon Durrington and Dan Brown. Having previously worked and collaborated with the likes of Regurgitator, Resin Dogs and The Bird, the duo have had their work cut out for them in creating second album Strip Club Etiquette, something of a soul-beat maﬆerpiece. Known before for remix work including a wonderful effort for Kafka, Red Bantoo are ﬆepping out with their second album (following 2009 debut Yeﬆerday To The Rescue) and brand new live show. Successfully threading together live elements with programmed beats and samples, the Bantoo sound harks back to the glory days of poﬆ acid jazz acts like Rae & Chriﬆ ian or the current dub-bass of DJ Vadim and is typically Byron Bay. Simon Durrington, who may be moﬆ recognised as the synth man from The Bird, makes it known that he’s not necessarily mellowed – Strip Club Etiquette is inﬆead more about capturing a moment in time. “All of my product ion has a similar feel,” he says, drawing comparisons between The Bird’s dub output on The Sound Of No Sound and some jams on the current Red Bantoo LP. “I think it appeals to different audiences at different times – like, a small amount of people will get all of it, and bigger groups will juﬆ like certain things that I do, like with this record.” Strip Club Etiquette is certainly his moﬆ accessible effort, with the punchy Balkan hip hop of Green Honey effortlessly combining with the smooth soul of Brighter Than The Morning before smacking you upside the head with the magnificently wobbly Monkey Huﬆle to create one of those classic beat-driven soul albums that wouldn’t be out of place on Ninja Tune or Grand Central. Durrington describes the record as a culmination of his repertoire. Strip Club Etiquette comes across less as a patchwork and more as a fully realised project, which Durrington puts down to his love of Byron Bay and low-end frequencies. “I get diﬆ racted in the city. And while we lose out on some amazing

cultural things up here, you get the diﬆance which allows you a lot more creative headspace,” he says, hinting that there’s more than a hint of hippie to this B-boy. “But I can always get back to the city when I like and of course the internet keeps me on the pulse,” says Durrington, echoing the comments of many UK expat producers who live miles away from their cultural epicentres. Currently exploring some darker, more aggressive potential output in the ﬆ udio, Durrington has “rediscovered his love of bass music”. But fans shouldn’t expect to hear these new sounds immediately, either at upcoming live shows or in recorded form. “I think different albums represent different moments in your life so I hope people can look on this fondly as a time when things are a bit cruisier and fun,” Durrington says before adding that the diversity of the band allows them to fl ip different material in different situations. “We’ll definitely be doing some more dubﬆeppy things at upcoming shows.”

WHO: Red Bantoo WHAT: Strip Club Etiquette (Hydrofunk/MGM)

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SALT TO TASTE NINA BERTOK LEARNS THAT BEING SCHOOLED ON THE WORK OF ROCK MUSIC GREATS HAS INFLUENCED THE VERY MUSICAL DANCEFLOOR CREATIONS OF MIGUEL MIGS.

verything has its place and time, and while Miguel Migs is a maﬆer of reggae, rock, jazz and hip hop among other ﬆ yles, for this Northern Californian native it always goes back to the roots of soul. It’s thanks to this trademark and the ability to ﬆ rike a chord emotionally with an audience that’s seen Migs’ reputation skyrocket on the global scene in the laﬆ decade. Which makes sense given this DJ/producer is juﬆ a simple musician at heart. “I come from playing live music since I was a teenager,” he says. “I wanted to go back to doing live music projects so I put a band [Petalpusher] together a few years ago but that juﬆ reminded me how much time and effort goes into rehearsing and getting seven musicians together at the same time. It juﬆ turned out to be too time-consuming and too expensive and I ended up spreading myself too thin. I love elect ronic music because there are no limits to it. You can incorporate so many different ﬆ yles of music, like elements of funk, dub, rock, soul and disco and meld them together. Even if music falls into the dance genre, it can ﬆ ill be meaningful. “For me, it’s the emotional side of music – the side that ﬆ rikes a chord in you and inspires you in a deep way, rather than juﬆ something to party to at a club on the weekend. I think I’ve demonﬆ rated how much of a music fan I am because I’ve incorporated so many different genres in my tracks.” Currently, Migs is inject ing some 80s and 90s flavour into his upcoming album, having shared ﬆ udio time with a number of vocaliﬆs including a long time ﬆ udio and live companion. “It’s been beautiful here in San Francisco lately which has been a big motivator for me,” Migs says. “I’m really excited about the new album, I’ve been working on it on and off for the better part of this year. I juﬆ had this sudden burﬆ of creative inspiration and I juﬆ jumped onto

creation mode. I’ve been working with lots of different vocaliﬆs from different backgrounds. I juﬆ finished a song with Evelyn Champagne King who is a classic 80s artiﬆ who had a bunch of amazing hits back in the day. I also have Lady Bug Mecca from a hip hop group called Digable Planet who were popular in the 90s. I’ve been a big fan of hers. There’s another singer called Lisa Shaw who I’ve been working with for years and she’s coming to Auﬆ ralia with me.” If it’s retro, you can bet it’s in Migs’ record collect ion. Growing up in a household full of hippies, Migs says it’s the one and only reason he ever ﬆarted experimenting with music in the fi rﬆ place. “It was the classic ﬆory of them playing great music all the time,” Migs recalls. “They took me to lots of feﬆ ivals and concerts. I grew up liﬆening to Jimi Hendrix, The Doors, Led Zeppelin, Bob Marley and Muddy Waters. My dad had an amazing record collect ion and he played a bit of banjo juﬆ for fun. When you’re growing up within that kind of culture you can’t help but be creatively inspired. It’s what intereﬆed me in pursuing music in general. I never had a plan, I never thought I wanted to be a DJ. I wanted to create music and play it, whether that be on guitar or messing around on turntables, and that’s all I knew.”

WHO: Miguel Migs WHERE & WHEN: Summadayze (Melbourne) Saturday 1 January,

Summaﬁeldayze (Gold Coaﬆ) Sunday 2 January

QLD

LOCAL DIALECTS

Aussie Hip Hop with RIP NICHOLSON Boomtown hip hop please ﬆand up! Long ﬆanding Brisbane hip hop brand Karsniogenics, who brought us Lazy Grey and the 750 Rebels, returns with The StatesMen, consiﬆ ing of Sean B & DjDcide (aka DjDce). The movement of the south eaﬆ’s rap racket keeps rolling in our favour as The StatesMen’s debut album, Drama To The Finish readies to release later this month. Th is body of work sweats out 18 years of grind and pieces together the course taken by both MCs in and around the scene, both in radio for the river city’s support ﬆation 4zZz’s Phat Tape Hip Hop Show and as artiﬆs individually on a wide array of Auﬆ ralian hip hop releases. Wake Up makes for the lead single off their debut LP and features none other than veteran Brisbane artiﬆ Lazy Grey and local vocaliﬆ Marvin Brown. The single hit the airwaves on 1 November and as declared, “The StatesMen are set to blam the shitta outta yo speakers this November with their epic debut album”. Also on the cards for release is Profecy’s debut EP Let The Music Play. The five-track CD comes with the promise of Profecy becoming one of Auﬆ ralian hip hop’s moﬆ talented and versatile young artiﬆs. The 20-year-old MC from Brisbane is aiming above the reﬆ. “My goal when creating this EP was to create something that differs from all other Auﬆ ralian hip hop, something exciting and musical, not juﬆ lackluﬆ re vocals over boom bap beats, which seems to be the trend.” On product ion Profecy collaborates with up and coming Belgium producer Benno (Cam’ron, SAS) whose world class work is laid over Profecy’s lyrical range of emotion. Th rough tracks of jubilation to heartbreak the EP features US singer/producer DJ Corbett coming ﬆ raight off underground hero MC Saigon’s new single I Want It All. Let The Music Play dropped on the 9 November and celebrating the launch, Profecy will entertain at the Step Inn on Saturday 11 December alongside special gueﬆs Cheyenne, Cam Bluff (of Vegas Aces, who has recorded beats for heavy-hitters Spit Syndicate, The Tongue and hometown heroes The Optimen) and will premiere Profecy’s next release, produced by Bluff.

PROFECY

THE ALBUM OF WEEK

ALBUMREVIEWS

BRUNO MARS Doo-Wops & Hooligans (Warner)

VARIOUS Riddim Box: Excursions In The UK Funky Underground (Soul Jazz/Inertia)

Soul Jazz are perhaps one of the moﬆ reliable imprints in the world in regards to delivering comprehensive and original compilations to dance music liﬆeners. From commemorating influential musical developments long gone (Dancehall: The Rise of Jamaican Dancehall) and movements ﬆill germinating (Box of Dub 1 & 2 – one of the earlieﬆ dubﬆep compilations) to exploring niche cultures (Nu Yorica! Culture Clash in New York City) and presenting idiosyncratic takes on formative genres (Steppa’s Delight), the label have consiﬆently excelled as curators of the leftfield. It’s perhaps unsurprising to note, then, that Riddim Box – Soul Jazz’s debut compilation foray into the developing sound of UK Funky – is another exceptional piece of work from the imprint. Rather than attempting to provide a comprehensive overview of a genre ﬆill in its infancy, the label have wisely opted to handpick a series of cuts from across the culture’s entire spectrum – touching on the work of crossover artiﬆs like MJ Cole (who provides the grime-heavy, ﬆrings-enhanced Volcano Riddim) as well as less celebrated acts like Zumen (whose afrobeat-influenced Rolexx is an unqueﬆionable highlight) and genre forefathers like Kode 9 (Black Sun showcasing juﬆ how far the Hyperdub head has moved from dubﬆep in recent years). The compilation’s greateﬆ success is that it act ually manages to capture the excitement currently surrounding the genre while also providing ample juﬆ ification for such excitement. UK Funky’s percolating rhythms and auﬆere product ions have often been viewed by skeptics as little more than a variation on dubﬆep’s formula but the consiﬆency of quality and variety of sound chronicled on Riddim Box demonﬆ rate that the genre is very much its own beaﬆ – and the raw product ion ﬆ yle of many of the tracks featured suggeﬆs the beﬆ of the genre is ﬆ ill yet to come. Highly recommended. MATT O’NEILL

Mars’ definitive falsetto range and ability to sound both mellow and lively at the same was fi rﬆ introduced to the world via featured hooks in BoB’s Nothing On You and Travie McCoy’s Billionaire. With his fedora, acouﬆ ic guitar and mini fro, this Hawaiian born newcomer continues to display his ‘chillax’ persona on his debut album Doo-Wops & Hooligans. Opening track Grenade is aggressively pop and gives off an unexpected Taio Cruz vibe, while fi rﬆ single Juﬆ The Way You Are is slightly more generic than Billionaire or Nothin’ On You but ﬆ ill easily pulls on that feelgood nerve. Liquor Store Blues featuring Junior Gong Marley has been added to give some reggae authenticity but never comes off as a novelty track with its dub samples. Other tracks featuring that familiar

PARIS WELLS Various Small Fires (Illusive)

In 2010 it’s almoﬆ a given that, regardless from what scene an artiﬆ originates, elect ronic influences muﬆ now be incorporated into the sound. Despite her hiﬆory being fi rmly rooted in blue-eyed soul, funk and hip hop, Paris Wells claims to have always been into ‘dance’ music and this secret passion has flowered on the Melbourne singer’s second solo album, Various Small Fires. A cynic might say another day, another artiﬆ goes electro. It’s not a complete fl ip-flop though as the album combines a wide range of musical influences with Wells’ sassy, sophiﬆicated and ﬆill soulful vocals, vocals that suggeﬆ a life lived to the fulleﬆ. The changes Wells has undergone are well demonﬆ rated by the firﬆ single, Through And Through, catchy modern disco which would

skank rhythm include the soulful vocals and ﬆandard baseline of Go With It and The Lazy Song – a relaxing track with a Gen Y ﬂavour with lyrics such as “I’m gonna kick my feet up and ﬆare at the fan, turn the TV on, throw my hand in my pants”. Count On Me’s positive vibe acouﬆ ics are reminiscent of Jason Mraz’s I’m Yours and provide a glimpse of Mars’ paﬆ as a child Elvis impersonator, while energetic The Other Side, featuring fellow big voicer Cee Lo Green and old friend BoB, is one of those intereﬆ ingly undeﬁnable tracks with elements of pop, drum’n’bass and dance with rap bridge thrown in for hipﬆer kudos. Lyrically aligned to his lover-boy ﬆ yle, DooWops & Hooligans refreshingly contains simple, sweet lyrics and no random repetitive syllables or catchy new school phrases to add to your ﬆ reet vocabulary. JANN ANGARA

not have been out of place on La Roux’s album, the blues-cum-electro ﬁreworks of How Many Moons and Goldie, on which Tex Perkins appears to help narrate the life ﬆory of a dominatrix. Didn’t see that coming... Yet for fans of Well’s earlier work there is plenty to like. On the title track she plays the troublemaker over a tidal wave of piano, Let’s Get It Started is as frenetic as it is French while the beautiful Believe In Me soars with its lush ﬆ ring sect ion. Keeping the twiﬆs and turns coming, Jenny is cryptically self-deprecating over a ska-ish bounce while the reggae skank of Mess Mr recalls the work of Blondie – at leaﬆ until it unexpectedly breaks down into a humid bossa groove. On Various Small Fires, Well’s brash, sexy rawness is both highly engaging and entertaining; the challenge is for the liﬆener to keep up with the conﬆant changing of scenery. DARREN COLLINS

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ONE TRACK MIND JAMIE LIDDELL I Wanna Be Your Telephone (Warp/Inertia)

EELKE KLEIJN Untold Stories (Manual Music)

The predominately progressive ﬂavours of Rotterdam-based product ion wiz Eelke Kleijn have always been underpinned by layer-uponlayer of melody from the moment he announced his arrival with his pitch perfect 2006 anthem 8 Bit Era. He’s plied his trade in solid rather than spectacular fashion since, but his second longplayer Untold Stories sees him truly lay his skills on the table across a seamless 16-track select ion which is all but bereft of bombs. Sonically it’s as lush and as enveloping as one would expect of Kleijn’s work, but haunting ﬆ rings and woodwind (opener Ortni), majeﬆ ic lead guitars (The Lone Ranger) and big male vocals (Niels Geuzebroek on Will I Love) show the producer isn’t afraid to operate out of his comfort zone – even if some of his drum sample

VARIOUS/ ANDY C Nightlife 5 (Ram Records/ Inertia)

It’s been more than two years since the laﬆ release in Andy C’s highly successful Nightlife series, but juﬆ in time for summer Ram Records’ Big Cheese (and the man voted beﬆ drum’n’bass DJ ten years in a row) is back with the next inﬆallment. Nightlife 5 has a larger offering of tracks than previous editions, amongﬆ which are included new Ram signings Wilkinson and Delta Heavy as well as some new and upcoming select ions from fellow label-mates Xample & Lomax and Culture Shock. Launching face fi rﬆ into Spor’s Kingdom (which double-drops with Delta Heavy’s Space Time), Nightlife 5 takes the liﬆener on a noisy 66 track expedition. The number may seem gargantuan but the songs are mixed quite short, generally no longer than three minutes each. Standout tracks include Perth boy ShockOne’s monﬆer hit from 2009 Polygon, Marky’s remix of Bukem’s Atlantis, Drumsound & Bassline Smith’s Can You Feel It and of course the heavy drop of Sub Focus’ anthemic remix of Rusko and Amber Coff man’s Hold On. If you’re partial to a bit of quality d’n’b, Nightlife 5 is a great pick to guide you through the warm(ish) months. ESTELLE GONZALEZ

NAT

and synth patch select ions are baffl ing at beﬆ, jarringly out of place at worﬆ. Tempo-wise Untold Stories for the moﬆ part lurks in downtempo range as one track undulates into the next, the ﬆabbing synths and bass of Nu Gaat Het Los sounding like they’re itching to be pitched up to dancefloor speed before the elect ro-funk of Theme For Nosey gets you there. Fittingly old sparring partner Nick Hogendoorn ﬆops by for the album’s biggeﬆ moment Compact – itself far from a monﬆer tune – but it’s the ride that gets you there which is moﬆ beguiling. Untold Stories does have a ﬆory to tell – you might not get it fi rﬆ time round, but when it ﬆarts to make sense you’ll be pleased Kleijn chose not to deploy the moﬆ lethal munitions in his arsenal this time round. But if he ever does, you’ll want to be there to witness his display of shock and awe. KRIS SWALES

BRIGGS The Blackliﬆ

(Golden Era Records/Universal) An epic introduct ion to the self-released debut LP from rapper Andrew Briggs sets the bar for something exceptional across our waiﬆ line of Auﬆ ralian hip hop. The Blackliﬆ is shaped off the return from his smash EP Homemade Bombs. As the defiant lyrical onslaught cuts in, making local hip hop ﬆand up and hear what the fuck Briggs has to ﬆate, the enormity of his heaving delivery pits the young MC as the love child of both the Hilltop Hoods and Funkoars, who both feature prominently on the 14-track Golden Era love affair. While Briggs burﬆs out like a hurricane on the mic, he finds room on vocals for BrothaBlack and Direct Influence’s Dylan Smith over key product ion from Suffa, Jaytee, a return from Trials, Pokerbeats, 76, Kelakovski and Merlin The Wizard. Is heavy-worded point is pushed, opening up a plethora of hard-hip hop on tracks like Since Forever. Lead single The Wrong Brother brings with it droning guitars and crashing drum patterns courtesy of Germany’s Merlin The Wizard, serving as a heavyweight highlight to The Blackliﬆ which aptly closes on Gargantuan. RIP NICHOLSON

More poﬆ-Prince pop-funk from Mr Lidell, complete with the kind of seemingly ad-libbed hollering and messy faux-live arrangement that Prince himself rarely did but which signiﬁes him anyway in this day and age. The trend is familiar, and I’m one of those philiﬆ ines who has never underﬆood how Lidell’s eﬀorts ﬆand out from similar material from Beck, Basement Jaxx, Bilal et al, but this throwaway ditty remains reliably likeable. Comes with decent house mix from Tiga.

HECTOR & NATE Jomo (Scattermusic)

Melbourne label Scattermusic have carved out a niche by breeding 00s minimal house with 90s minimal techno, and while this probably ﬁts the mood of the times, the results can tend towards grayscale. Hector & Nate’s Jomo is basically a kick drum and what sounds like a marble rolling down a ﬆairwell. I cannot ﬆ ress how much you don’t need to hear it. But then the more upbeat Habbekrats, all cut-up vocals and pouncing piano ﬆabs, is act ually marvellous, while Slurp is ﬁne trancey minimal anthemics. What gives?

STATELESS Ariel

(Ninja Tune/Inertia) Hard to say what Ariel act ually is: kinda leftwing R&B with thumping digital bass, falsetto vocals (Jeﬀ Buckley liﬆening to nu-soul perhaps) and, um, Turkish guitar? It’s intriguing, but the song itself doesn’t do much for me. TIM FINNEY

3DPLAYLIST 3D 1. You Got To (Keep Movin) RAMON TAPIA 2. Heliscope GUY J 3. Street Spirit (Blunt Inﬆ rument Remix) RADIOHEAD 4. As U Were LYRICS BORN 5. The Hits Collect ion Vol 1 JAY-Z 6. Dancing In The Dark (The Immigrant Radio Mix) SARAH MCLEOD 7. Bilder (Wiretappeur Remix) JOHN DIGWEED & NICK MUIR 8. Showdown THE VERSIONARIES 9. Point The Bone DUBMARINE 10. Choice: A Collect ion Of Classics VARIOUS/DANNY HOWELLS

SUPERSTAR DJS, HERE WE GO… AS CELEBRATED DJ COLLECTIVE SWEDISH HOUSE MAFIA DROP THEIR DEBUT ALBUM UNTIL ONE, ONE-THIRD OF THE SCANDINAVIAN PARTY PURVEYORS, SEBASTIAN INGROSSO, TELLS TRISTAN BURKE THAT THE FUN’S ONLY JUST BEGUN.

009 saw fauns, fairies, wolves, trannies and other colourful delights descend upon Ibizan superclub Pacha, courtesy of the fi rﬆ residency for consummate party people Axwell, Steve Angello and Sebaﬆ ian Ingrosso, collect ively known as Swedish House Mafia. Th is year that Dark Foreﬆ made way for the masked madness of the Masquerade Motel, and talking a month on from its spect acular closing party, Ingrosso, it seems, has barely caught his breath. “It was juﬆ amazing, we were so overwhelmed. We wanted to really involve the people that came down, have them dress up and get involved with the party. When our manager came up with the Masquerade Motel, everybody jumped up and thought it was perfect. Every night was packed, and we had the moﬆ amazing gueﬆs – from Kylie Minogue to Benny Benassi, everyone who came down did their very beﬆ. We’re really, really happy.” Enjoying the privilege of witnessing Swedish House Mafia ply their trade fi rﬆ-hand is to feel the burn of energy levels that go nuclear. Sending the atmosphere spiralling into the red and keeping it there is the primary goal of every SHM set, says Ingrosso. “It’s very important to us to keep the level very, very high, as high as we can go. For every set we try and do our own bootlegs and edits, juﬆ to shock the crowd; we want to make people dance, scream, shout, cry… we want it to be two hours of ecﬆasy.” If you haven’t made it to a Swedish House Mafia gig, you’ll at leaﬆ get a chance to approximate the insanity when documentary Take One hits DVD later this month. Ingrosso and company invited fi lmmaker Chriﬆ ian Larson on tour over a two-year period, accumulating massive amounts of footage, and resulting in a comprehensive document of precisely why the collect ive are renowned for shows that aren’t simply praised, but cited as life-altering. “We met Chriﬆ ian through a friend and he was like ‘yeah, I want to do videos, what do you think about this idea: I come with you on tour?’,” Ingrosso recalls. “I showed him some footage I’d shot myself and he did an edit of it, and his firﬆ cut was so bad I didn’t speak to him for two or three months, until he appeared outside my ﬆ udio saying ‘you haven’t answered my calls, blah, blah, blah, take a look at this…’ I said okay, whatever, I’ll take a look and was like ‘fuck, this is really good’.” While the results are likely to display plenty of clubbing related hedonism, there were some sights captured that pushed the grounds of acceptable taﬆe to such extremes that they were ultimately denied a place in the final cut. “I can’t, I really can’t…” Ingrosso laughs, pressed to divulge what the offending content might contain, but committed to non-disclosure. “I can tell you this about Chriﬆian Larson, I think his pension is in the hard drive.” Serving as Take One’s soundtrack is Swedish House Mafia’s fi rﬆ release on new home EMI, Until One. Comprised of choice solo cuts from Axwell,

Angello and Ingrosso, it also boaﬆs SHM’s anthemic debut single One (Your Name). Becoming an underground smash after the track’s original inﬆ rumental mix was offered as a Beatport exclusive, the official release saw an added vocal courtesy of Pharrell, who joined the fray after a meeting on our own shores. “We were touring Auﬆ ralia, me and Steve, and played Future Music Feﬆ ival before N*E*R*D,” Ingrosso remembers. “They were digging what we were doing and what we were playing. So Steve goes up to Pharrell and says ‘we have the ﬆ udio booked for tomorrow if you want to come down and liﬆen…’. We never thought he would, but he came down, recorded the vocal, we put it on One and it was like, boom, done.” Cut from the same unashamedly uplifting cloth is follow-up single Miami 2 Ibiza, an irresiﬆ ible party jam that charts a romance conducted between the titular party havens. South London rapper Tinie Tempah plays ﬆoryteller over Swedish House Mafia’s sensual synths, which build into cuﬆomarily euphoric crescendos. “We loved Tinie Tempah so much, he’s such a wicked rapper, and because he’s on the same label as us in England we kept asking if we could work with him. They were like ‘yeah, we’re trying, he’s so busy right now’. When he finally came down to the ﬆ udio we didn’t even have a track for him, so we were like ‘maybe you should go and write the lyrics firﬆ’. He said ‘okay, I have an idea, I’m going to go into the other room and write it’. He basically wrote the song during those hours and we did the beat; it was perfect. Like he says in the song, ‘we’re tryin’ to get this in one take, so let’s try and make that happen’ – that’s exact ly how it was, it was one take.” Given the respect ive successes enjoyed by Axwell, Angello and Ingrosso, the latter admits that the time to work on Swedish House Mafia material isn’t always forthcoming. Fans needn’t fear though: possessed with a fierce work ethic, and deeply humbled by the overwhelming response to their performances and tracks, Ingrosso assures they’ll do whatever it takes to keep getting bigger and better. “I think all of us, every morning, are like, f ’uck, this is amazing’, but we haven’t even taken time to sit down, have a glass and celebrate it, because we’re always working at trying to fi ll bigger shoes. In the beginning of a career a lot of young DJs get arrogant because they’re insecure, but I think when you get to a certain level and ﬆage in your career you feel like, ‘wow, okay I have this chance to do something good; let’s make the beﬆ out of it’.” WHO: Swedish House Mafia WHAT: Until One (EMI) WHAT: Stereosonic at RNA Showgrounds Sunday 5 December (Sebaﬆ ian Ingrosso only)

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TURN ON, TUNE IN LIZ GALINOVIC FINDS A QUIETLY SPOKEN TIM FELTON STILL HAPPY TO DISCUSS THE EVOLUTION OF HIS BROADCAST PROJECT WITH ROJ STEVENS – JUST DON’T MENTION THOSE STEREOLAB COMPARISONS.

ince breaking out in 1995 as a five piece, the years have seen British psychedelic pop sensation Broadcaﬆ shed at leaﬆ five drummers come, whilekeyboardiﬆ Roj Stevens and guitariﬆ Tim Felton have also taken their leave. For the paﬆ few years the band has been ﬆ ripped down to its two core members – founder Trish Kennan and her partner in music, James Cargill. As a softly spoken Cargill tells it, the duo are like creative lovers – attached and dedicated to each other through shared goals and a common dream. “It’s juﬆ me and Trish now. It has been for the laﬆ five years or more, juﬆ the two of us,” he says almoﬆ wiﬆ fully. “It was kind of Trish who ﬆarted the whole thing and I guess we share the same ideas, we ﬆ ill want the same things for the music.” Although Kennan and Cargill share the same ideas, Cargill says that after 15 years of working together the duo are ﬆ ill to realise their common dream. “There’s ﬆ ill kind of an ideal record that we want to make and that keeps us going. I think if we achieve that we’d probably move on to something else.” After a little prodding he adds that although he doesn’t feel as though they’ve produced their magnum opus, it doesn’t mean their hiﬆory so far has been unfavourable. “I’m not saying we’re not happy with what we’ve done but I ﬆ ill have a sort of, kind of, creative ambition. There are things that we talked about when we ﬆarted the group that we ﬆ ill don’t feel like we’ve achieved.” What they have achieved is a 60s influenced elect ronic psychedelic pop, live inﬆ ruments melded with elect ronica and sampling accompanied by Kennan’s smooth and airy vocals. At times their sound conjures images of

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long hair, maxi dresses and peace signs, but it also moves into a David Lynch ﬆ yle darkness like the perfect Twin Peaks soundtrack. Psychedelic rock band The United States Of America who, back in the 60s, were one of the fi rﬆ to experiment with the fusion of rock and elect ronic music, are conﬆantly cited in comparison to Broadcaﬆ. It’s a reasonable comparison and one Cargill agrees with, affi rming the band has been an influence. “The United States Of America we were kind of inspired by and certainly [they were] what we were liﬆening to when we formed the band. It wasn’t as a literal kind of thing but juﬆ the idea of a group sounding or being that kind of dynamic in the feeling and elect ronics, we were really intereﬆed in.” There is a second and more contemporary comparison conﬆantly used when it comes to describing Broadcaﬆ ’s sound albeit with the addition of the adject ive “darker”. Th is would be UK experimentaliﬆs Stereolab, but Cargill is quick to dismiss it. “Um, I don’t think we sound like Stereolab to be quite honeﬆ. We’re good friends with them of course. We’re very fond of that group but I don’t think that we sound like them.” According to Cargill, Broadcaﬆ’s sound has changed “quite a lot” over the years. “Initially when we ﬆarted we did want to try and integrate elect ronics into the ﬆ ruct ure of the song and pop music and as we went on, by the time we’d done the second album we felt we’d sort of got there with that. “So, when we did Tender Buttons, that was when we’d juﬆ become a duo, we ﬆ ripped the sound back to a more minimal, ﬆark elect ronic sound. Since then we’ve sort of worked more with sampling and collaborative processes so over the course of 15 years the sound is conﬆantly

changing. I think that the overall aim is the fusion of the textures, the elect ronic textures that we like from early elect ronic music and the form of the songs.” While their music has been selected for soundtracks from Auﬆin Powers fi lms to Skins and CSI, Kennan and Cargill have been collaborating with Julian House’s project The Focus Group. House, an elect ronic musician/ graphic designer/fi lm maker who owns the Ghoﬆ Box Music label, and Broadcaﬆ recently released their collaborative mini album Broadcaﬆ and The Focus Group Inveﬆigate Witch Cults Of The Radio Age. It’s a project that will be working its way into the live set when Broadcaﬆ reach Auﬆ ralia’s shore. “Deconﬆ ructed” is how Cargill describes it. “We’ve both got a playboard with samples and effects and I’ll be playing guitar and bass. Trish sings and plays this little ﬆ ick thing with ﬆ rings on it, I don’t know what it’s called, a ﬆ rumming ﬆ ick?” He queries with a chuckle. “To be honeﬆ we’re multi inﬆ rumentaliﬆs at the moment because we have to be.” With four albums and seven EPs to boaﬆ about, Cargill speaks of Broadcaﬆ’s future with a verbal shrug, as though it’s obvious. “New record, probably do some more collaborative work with The Focus Group. Apart from that I don’t really know ... It’s juﬆ being in a band isn’t it? You juﬆ release records.” WHO: Broadcaﬆ WHERE & WHEN: The Hi-Fi (Brisbane) Monday 6 December 6, The Forum (Sydney) Wednesday 8 December, The Hi-Fi (Melbourne) Thursday 9 December, Meredith Music Feﬆ ival Friday 10 December

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ROBOHAN

WHERE AND WHEN WAS YOUR FIRST SET? “Bar Euro, NW London, 2002.” WHAT’S YOUR FAVOURITE 12”? “A Bananas in Pyjamas EP I had when I was a kid – around and around it went.” WHO ARE YOUR FAVOURITE DJS? “Akufen, Heinrichs & Hirtenfellner, Tom Ellis, Pan Pot, Ricardo Villalobos.” FAVOURITE CLUB TO PLAY? “Yumla, Hong Kong.” WHAT’S YOUR BEST ALL TIME GIG? “Robert Hood Boat Party 2010.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “Naughty, naughty things.” WHAT’S THE WORST REQUEST YOU’VE GOT? “Bloody Beetroots.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “Moderation my son.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “More underground madness.” WHAT GIGS HAVE YOU GOT COMING UP? “Kompakt 4 at Barsoma Saturday 27 November.” PHOTO BY TERRY SOO AT ALHAMBRA

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DANCE MUSIC HUB CHART

DJ STIFFY’S WIDE WORLD OF SHORTS IS IT MY IMAGINATION OR DOES KID CUDI COMPLETELY SUCK BALLS? So, anyways, there I was a couple of years ago thinking about how much progress the world has made in the paﬆ decade. (To think that in the ‘olden days’ people act ually had to pay money for pornography!) And then some fucking arsehole decides to put on the ﬁ rﬆ Kid Cudi album and completely fucking ruin my day. I mean, really, if I want to hear someone complain, I don’t need to hear some fucking rapper with a contract on Kanye Weﬆ’s label do the complaining, and I certainly shouldn’t have to pay to hear someone who’s about to get his dick sucked by large numbers of groupies complain about being lonely, or being on the moon, or being lonely on the moon, or whatever, and since when did going to the moon become a fucking analogy for being depressed anyway, and the laﬆ time I looked, getting in a rocket and ﬂying to the moon looked like it might act ually be pretty fucking exciting, I mean, ask the neareﬆ four-year old what the fuck he’d think about going to the moon, and you get pretty fucking fair assessment of what it might act ually be like. So, anyways, we have to put up with the whole Kid Cudi schtick again (and no, arsehole, I’m not unnecessarily using the shift key juﬆ so I can spell your name the way you want – that shit went out with calling yourself ‘sonicanimation’), so now, Goths have decided once again it’s okay to like hip hop, and people who I thought were B-boys think it’s okay to sit around and fucking complain about their metaphysical ﬆate, at which point I should remind them that this is hip hop, and you’re only allowed to complain about one thing – ie the correlation between mo’ money and mo’ problems. And, no, I haven’t act ually liﬆened to the album. I’m going to leave it until it’s absolutely necessary, ie when there’s a slightly angﬆ y looking dough-eyed girl in her late teens ﬆanding at the bar, y’know, who looks a little more sensitive than her friends, looks as though she likes reading, got into a bit of Sylvia Plath at high school. At which point I will ask her if she’s heard the new Kid Cudi album, and only when she’s act ually in my living room wearing nothing but her heels will I even contemplate putting it on.

1. Got That Feeling COHEN & LEVI

FEAT MR VYBZ KARTEL

2. Jumping (Santiago Moreno Re-punch Remix) MIXTLI BEAT

4. Drop It On FULLHOUSE

3. Pon De Floor MAJOR LAZER

5. Herbert LUCA ALBANO & ZIMON 6. When It All

Comes Back (Sasch BBC & Caspar Remix) SUB_ COMPRESSION 7. El Mambose DJ MYRLA & CAMILO DO SANTOS

8. Diskonnect ZOUTMAN 9. Sense (Oleg B Breaks Remix) OLEG SOUL 10. Sense (Ricky Inch Remix) OLEG SOUL

YOUTUBE OF THE WEEK

It was reportedly three months in the making, and you can certainly see every second of that time reflected in the results of the new Bliss N Eso fi lm clip Addicted. Animated old school ﬆop motion animation ﬆ yle in a Weﬆ Auckland warehouse using over 2,200 photos of the work of graff world superﬆars Askew One and Deus, it’s a work of art which perfect ly syncs with the part hip hop, part drum’n’bass-esque rhythms of the track in queﬆ ion...

“

POLITICS IS MORE FUN IF EVERY TIME A POLITICIAN SAYS ‘BATTLER’ U PICTURE A WORLD OF WARCRAFT TROLL IN A VIKING HELMET #QANDA’’ SOCIAL COMMENTATOR JOHN SAFRAN PROVES THAT A LITTLE IMAGINATION IS ALL YOU NEED TO APPRECIATE AUSTRALIAN POLITICS.

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on my ﬁnger when cueing up a tune – when I looked back it was a rather enthusiaﬆ ic lady sucking my ﬁnger.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ?

WHAT INSPIRED YOUR DJ NAME? “Mainly the many hours, weeks and years spent digging and duﬆ ing oﬀ records. I had always used my nickname ‘Goodie’ but I felt the name change was better to represent what I do every day.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “I play dub, reggae, soul, funk with a splash of hip hop and a dash of ragga.” WHAT TRACK TURNS YOU ON RIGHT NOW? “For recent reggae I would have to say Desmond Foﬆer – Reggae Music. “Never could I kill this vibe, t’s the reggae music it’s the axis of life.” Great lyrics and that good old original Reggae vibe.”

DJBOOTH BEATDUSTA

WHAT MADE YOU START DJING? “Earlieﬆ memories of being told to not touch the record player at home when I was a junior made me want to play it even more. And deﬁnitely collecting records, a love for production and musical inﬆruments of all kinds.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “I was looking away and felt something wet

“Lionel Ritchie – Dancing On The Ceiling from a rugby player who grabbed his mates and wanted a ﬁght cause I didn’t have it.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “I’m juﬆ going to be smart here and say Lily Allen and Professor Green for ruining Dub Be Good To Me… that’s deﬁnitely got to be illegal.”

WHERE & WHEN: Byron Bay Brewery every Friday, Reggaefeﬆ 2010 Saturday 4 December

ROCKINGHORSE CHART 1. Drama To The Finish THE STATESMEN 2. Bigfoot GIANT STEPS 3. Outside The Box SKREAM 4. We Can’t Fly AEROPLANE 5. Ginza Crime Library MATTY FRESH

6. Supply For Demand DAMU THE FUDGEMONK 7. Analog Drift CHICO MANN 8. Funk Maﬆers VARIOUS 9. Worldwide GILLES PETERSON 10. Everyway GOOSE PASTE

COURT-SIDE

The record label of Swedish super group ABBA have hit out at Auﬆ ralia’s multitude of ABBA tribute bands, alerting groups that they muﬆ cease using any derivation of the famed pop band’s name. In a move that ﬆ rikes at the heart of ABBA’s moﬆ dedicated fans, Polar Music International (a division of Universal Music) have told impersonators who make their living by singing such classics as Dancing Queen, Fernando and Ring, Ring, Ring that they are “actively seeking to create clarity in the names

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INDUSTRY WATCH STEREOSONIC

THE IDEA BEHIND OUR NIGHT IS… “Pretty simple – get the world’s beﬆ acts, over 30,000 people and amazing venues with a great ticket price. Heaps of new bars and new ﬆages. We always have an amazing day with new and old friends.” WE’LL BE PIMPING THE SOUNDS OF… “Everything from elect ro, trance, techno, dubﬆep and everything in between.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Tiëﬆo, Calvin Harris, Carl Cox, Major Lazer, Afrojack, Ricardo Villalobos, Luciano and the liﬆ goes on and on.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “We have a new venue in Brisbane and increased bars and toilets at all shows. It’s pretty awesome.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Good times.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Stereosonic has quickly grown in to Auﬆ ralia’s largeﬆ dance music feﬆ ival catering for the discerning feﬆ ival lover with ﬆate of the art facilities and fair ticket prices. Our gold class VIP sect ion is ace and there will be some amazing lighting, lasers and other suprises at all shows.” WHERE & WHEN: Stereosonic at RNA Showgrounds Sunday 5 December

of all ABBA tribute bands around the world”. Aussie group FABBA have declared they will not change their name on the grounds that their band haveoperated for 15 years and regiﬆered their name as a trademark over ten years ago. In other random court related ABBA news, former member Anni-Frid Reuss is embroiled in a bizarre legal battle to recoup £4.5 million she gave to a Buddhiﬆ monk. The three-timesmarried singer, 64, whose fortune is said to be more than £100 million, gave monk Marcus Bongart funds to build a temple in her home of Sweden. But now she claims the money was a loan not a donation and has ﬁ led court papers in an attempt to recover it. Bongart claims Anni-Frid wants to bankrupt him, take control of the temple and turn it into a hotel. Moral of the ﬆory – don’t mess with ABBA, they will sue you...

SUSHI SNAPS 1 Chardy @ Electric Playground 5 QUT Ball @ Chalk Hotel

2 Frat Club @ Regatta Hotel

6 Reiji @ The Church

3 Friday @ Fridays

7 Saturday @ Bank

4 Miniﬆry of Sound @ The Met 8 Saturday @ Port Oﬃce Hotel 4

6 1

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GUESTLIST

RAVE RADIO

WEDNESDAY

HI-FI The Charlatans, Deep Sea Arcade. 8pm. $60.50 + bf. JUDITH WRIGHT CENTRE SHOPFRONT Short+Sweet Theatre Festival. 7:30pm. $28/$24. THE REGATTA Frat Club Wednesdays End of Uni Party: DJ Pete Smith, Hey Now, DJ Murray Brown. 9pm. Free. RENDEZVOUS ilovehousemusic: Brett Allen. 9pm. 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 Martin Party, Juddah. 8pm. Free. ZURI Sushi Remixed: Danny T, Jimmy Vegas. 8:30pm. Free.

THURSDAY BIRDEE NUM NUM Birds and Bees Student Party. 9pm. CLUB 299 Make You Pop: Herts, Miike Ruxspiin, DayJaVu. ELECTRIC PLAYGROUND Jmac. 9pm. FITZY’S Vita, DJ Climate. 8pm. Free. FUSION VILLA NOOSA DJ Banksy. 9pm. Free. GPO End Of Semester College Exchange. 9pm. Free. JUDITH WRIGHT CENTRE PERFORMANCE SPACE The Trilling Wire Series: Decibel. 7:30pm. $14 pre-sale/$17. JUDITH WRIGHT CENTRE SHOPFRONT Short+Sweet Theatre Festival. 7:30pm. $28/$24. KALIBER Kaliber Open Decks. 8pm. Free. LALA LAND Kid Kenobi & MC Shureshock, Daniel Webber. 8pm. MERMAID BEACH TAVERN Rewind: DJ Nik Conomos. Free. MONASTERY Dirty Thursdays. Students $5/$10. MYBAR Ill Kid, Crooked Jay Danger, Pedestrian & That Loose Kid. 9pm. RENDEZVOUS Glam Ladies Event: Masta K. 10pm. REPUBLIC Glam Ladies Event. 10pm. SHOOTERS Glam Ladies Event: Brett Allen, Tredman. 8pm. X & Y BAR Boys and Girls, The Ailment, Headwound, Jane Doe. ZURI Glamorou$: DJ Oscar, DJ Junior, Mr Sparkle. 9pm. Free.

FRIDAY ALLONEWORD DotDotDot: Sheep, Ian Clementson, Sharif D, Stephen Smith, Richard Ferrari, Mario Celestino, Gavin Manikus. 8pm. BEETLE BAR Sabrina Lawrie & The Hunting Party, Ivy May Dillon, Dana Gehrman, Sharon Friel. 8pm. $5. BRISBANE ENTERTAINMENT CENTRE Summerbeatz: Akon, Ciara, Flo Rida, Jay Sean, Ja Rule, Travie Mccoy, Stan Walker. 6pm. $99 + bf. THE CLUBHOUSE Alba Varden. 8pm. COOLANGATTA HOTEL Horrorshow. 8pm. ELECTRIC PLAYGROUND Rave Radio. 9pm. ELSEWHERE The Electric Boogie Show: Grivz, Audun. 9pm. DICEYS Brad Lee. FAMILY BASEMENT Pharmacy: Hellriaser + LCK, Hektic, Kazuki, Dynasty, Jarma. 9pm. Free before 10pm/$15 after. FAMILY TOP FLOOR Brand Spank’d: Danny T, J-Mac, Kayli, Dr Rob, Wolﬁe. 9pm. Free before 10pm/$15 after. GILHOOLEYS IRISH TAVERN DJ Danny B. GPO Solid Gold. 9pm. Free.

HI-FI Philadelphia Grand Jury, Howl, Bearhug. 8pm. $17 + bf (pre-sale)/$20. JUDITH WRIGHT CENTRE SHOPFRONT Judy Breaks. 7:30pm. $10 (pre-sale)/$12. KALIBER Jungle Fridays: Chris Kelly. 5pm. LALALAND The Swiss, Daniel Webber, Ryan Rushton. 8pm. THE MET Hello Australia DJs, Memories Dance Party, Disko Diva vs Paul Ison, Andee vs Pete Smith, Murray Brown vs Nick Galea. 9pm. Free before 11pm/$10 after. MONASTERY Black Candy: DJ Bam Bam, Keen?, Dr Rob, Fitzgerald Inquiry. 9pm. $15. MYBAR Sound of Progress. 9pm. PLATINUM Ping Pong DJs, Guido, Craig Roberts, Joey Mojo. PRESSURE LOUNGE DJ Mista, DJ Ricky D. 9pm. $8. QUEEN STREET MALL QSM Live Manouche Jazz Weekend: Short Stack, Salon Rouge, Greshka, Queensland Wind & Jazz. 4:30pm. Free. THE REGATTA Oarsome Fridays: DJ Paul Bell, DJ Tom Walker, DJ Scotty R, Nino on Percussion. 9pm. Free. RENDEZVOUS Weekend Temptation: Masta K. 8pm. REPUBLIC Vision. 10pm. THE RUBY TRAMP Breaks & Enter: DJ Absorb. SHOOTERS Vision Club: Brett J vs Dodzy, Brett Allen, Tredman. 8pm. SQUEEZE CLUB DJ Adz, Maxwell. STEP INN Thundamentals. TEMPO HOTEL Briggs, Drapht, Dialectrix, Optimus. 8pm. $23.50 + bf. X & Y BAR Texas Tea, Lion Island, Aniki, Danny Cool. THE ZOO Grafton Primary, Infusion, Disco Nap. 8pm. $20 + bf (pre-sale)/$25. ZURI Provocateur: Jamie Lee Wilson, DJs Benn Hopkins, Jason Rouse, Matt Kitshon. 9pm. Free.

SATURDAY ALLONEWORD Picture Perfect: Tranceducer, Leon Farrell, Scott Walker, Adam Swain. 2pm. Free. BARSOMA Ulterior Double Vision: Vince Watson, Anthony Pappa, David Appleseed, Rich Curtis, CJM. $10. BASE BACKPACKERS ROOFTOP White Rhino: Untold, Samedi Soundsystem, Ben Oz, Viviandiere, Irikanji, Jimmy Larcombe, Lone Pariah, Arku. 1pm. $25 (pre-sale). BEETLE BAR Hits, Mad Macka, Leftwaﬀe. 8pm. $5. BRISBANE POWERHOUSE Tomas Ford. CABARITA PONY CLUB That Festival: You Am I, Little Red, Regurgitator, Miami Horror, Ash Grunwald, Calling All Cars, Itch-E & Scratch-E, Bang Gang, Tenzin. 11am. $86. ELECTRIC PLAYGROUND Digital Damage, Murray Brown. 9pm. ELSEWHERE Secret Love Heroes: Stretch Paper Cranes, Thomas J. 10pm. DICEYS Amos Pella. FAMILY BASEMENT Residents. 9pm. $15/Free before 10pm. FAMILY TOP FLOOR Hey! Hey!: Purple Sneakers DJs, Seany, Danny T, Jordan Who?, Tag Team. 9pm. $15/Free before 10pm. GPO Residents. 9pm. Free before 10pm/$10 after. JUDITH WRIGHT CENTRE SHOPFRONT Short+Sweet Theatre Festival. 7:30pm. $28/$24. LALALAND Bang Gang Deejays, Rhys Bynon, Miles Jr. 8pm.

MONASTERY Loot N Plunder, Redial. 9pm. $10. HOT GOSSIP DJs Vita, Juicy, Link On, Khesrow, Humane. Hosted by Knovell Capote. 9pm. $15 from 10pm. THE MET Mr Sparkle, Roman, Dangerous Dan, Midnight Tango, Juthat, Too Shoes, Donz, Dirtie Clouds DJs, Disko Diva, Andee, Pete Smith, Paul Ison, Nick Galea. 9pm. Free before 10pm/$15 after. MONASTERY End of Exams Party: Loot & Plunder, Redial, Noy, Luki, Jmac, Sketti, Koh!. 9pm. $10 before midnight. MYBAR Touch Saturday: Mister P, Masta K, Bluﬀsta, MC Loudmouth Len. 9pm. MYSTIQUE DJs Climate, Maxwell, Blaze, Metal Jacket, Masta D, hosted by MC Tank. NEVER LAND BAR Canyons. PLATINUM Denzal Park, Gerry Morales, Craig Roberts, Joey Mojo. QUEEN STREET MALL QSM Live Manouche Jazz Weekend: Swing Guitars, East West Hot Club. 11:30am. Free. THE REGATTA Saturdays @ Regatta: DJ Paul Bell, DJ Tom Walker, DJ Scotty R. 9pm. Free. RENDEZVOUS Sensation Saturday: Mister P. 10pm. REPUBLIC Sensation. 9pm. THE RUBY TRAMP Go Go Bizkitt, Down n Dirty DJs. SHOOTERS Sensation Club: Craig Obey, Brett Allen, Tredman. 8pm. STEP INN Bass Playa: Erther and Swede Tooth. 2pm. UBER Van Miert, Rola D, Chris Kelly. 7pm. X & Y BAR Surﬁn’ Bird, Fushia, Slynk, Aniki. ZURI Jamie Lee Wilson and Matt Kitshon, DJ Ben Hopkins. 9pm. Free before 10pm.

SUNDAY ELSEWHERE Sunday Night Royale: Adam Hunter, Giv. 10pm. FAMILY Velvet Dolls Presents QUEENZ: Alexei Paige, Crystal Dior & Jersey Lee. 9pm. $15/$10 before 10pm. KALIBER Jules Woo. 6-8pm. LALA LAND Killaqueenz. 8pm. RENDEZVOUS Masta K. 9pm. TITANIUM BAR Static Revenger, Malfunke, Adam + Eve, Bonnas. X & Y BAR The Moderns, Buick 6, Butterz. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO BRISBANE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.

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TO JAT OR JATZ? THAT IS THE QUESTION Arnott’s Biscuits knew what they were doing in the late 1950s, hitting the television for the firﬆ time to advertise their Jatz Crackers with the immortal line “The Great Entertainer”. Some sources say that this advertising campaign was so powerful as to spill out over national boundaries and influence generations of entertainment induﬆry identities, including, of course, Jay-Z. The only difference being that Jay-Z sold crackers, and Jatz is a cracker. Or something to that effect. In the 50-odd years since the advertising blitzkrieg, there is ﬆill one queﬆion remaining. One that has caused more controversy than the argument over how to pronounce the word “controversy”. If a box of crackers contains Jatz, then is a single cracker a Jat? In reality the humble Jat has long since been incorporated into the linguiﬆic evolution of the English language, with the days of Shakespeare’s infamous and emotive exploration of personal identity in the line “I am but a Jat amongﬆ Jatz” brushed aside like so many celery ﬆicks at a dinner party. This is not so much by plan as it is the utilitarian grouping of like language. The Jat has become Jatz in amongﬆ the other pluralised foods of

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the planet, including fish, sheep, deer, moose, bison and aircraft. All of which are the ﬆaple foodﬆ uff for generations of humanity. It is fitting to note that the evolution of language moves across linguiﬆ ic boundaries, with a clear tangent between the Jatz and the French term hors d’oeuvres, meaning “an appetizer or food item served before the main meal”. Since the late 1950s advertising campaigns, the Jatz has been a common attribute of the Auﬆ ralian underﬆanding of hors d’oeuvres – although again, being the bogans of the southern hemisphere, the term has been incorrect ly applied. Were the linguiﬆ ic channels uncrossed, we would be served a Jat as an amuse-bouche, meaning a “mouth amuser”. Th is might seem like a dangerous or exciting thing to order at the tail end of an all-night bender in France, but the term refers to a single bite snack that is created at the whim of the chef alone. In this way, the pre-loaded party Jat would be correct ly defined. Alas, as the world ﬆeams on with its internetz, lolcats and Ke$ha, our (mis) underﬆanding of our cuisine, and indeed out very identitiez, moves with it... DAVE DRI

UNDER SIDE

FORMAL CHARGES Hannah Williams and Savannah Subski were planning to attend a school formal together when the headmaﬆer determined that the couple were not allowed in, because Savannah is only in year ten. But that wasn’t the real reason. The real reason was insufficient gender diversity. Specifically, Hannah and Savannah are short one penis. Apparently the ﬆaff at Ivanhoe Grammar School are confused about the ingredients required for a gay relationship. You can’t juﬆ introduce a penis into a lesbian relationship and expect it to work. The school might also want to brush up on their definition of ‘discrimination’ because their attempt to oppress the openly gay couple has backfi red spectacularly. The ﬆory went viral and the school is now floundering around attempting damage control. I couldn’t get a date for my school formal. I showed up alone. They should’ve banned me from attending. I juﬆ bummed everyone out. So if you’re lucky enough to find a date for your school formal, the laﬆ thing you need is for your teachers to tell you your date isn’t acceptable. If Hannah was bringing a 45 year old ex-con to the dance and he ﬆarted dealing heroin to the other ﬆ udents there may be grounds for concern. Given the rampant homophobia on display, the theme for the dinner-dance muﬆ be something like ‘The Dark Ages’. They seem to want their ﬆ udents in some kind of Picnic At Hanging Rock time warp. But if no gay ﬆ udents are allowed at the dance, where does the discrimination end? No fat ﬆ udents? No ugly kids? No inter-racial couples? Pretty soon no one will be allowed. I think Hannah and Savannah have dodged a bullet by being refused entry. It sounds like it’ll be a crap night. But that isn’t the point. They deserve to have the same crappy time as their fellow ﬆ udents. So it’s great that they’re fighting the decision. And Ivanhoe Grammar School muﬆ be wishing they’d never opened this can of worms. Do they honeﬆ ly care if two girls show up at the formal together? Perhaps the school get a percentage of every tuxedo that gets rented? Maybe if Hannah agrees to wear a tuxedo, the school might feel more comfortable. DAVE JORY

GIVEAWAY

HARRY BROWN GIVEAWAY Micheal Caine gives one of his moﬆ powerful performances in a revenge thriller Harry Brown. Harry Brown (Caine) is a law-abiding retiree and widower who lives on a rundown housing eﬆ ate. When his beﬆ friend is murdered by a gang of thugs and the police seem to be indifferent to the case, Harry feels compelled to act . Dispensing his own brand of juﬆ ice, he begins to clean up the ﬆ reets from the hooligans that have taken control, bringing him into confl ict with the law. In a chaotic world where drugs are the currency of the day and guns run the ﬆ reets, one man takes a ﬆ and. 3D World have five DVD copies of this intelligent thriller to give away. For your chance to win email your name and address to giveaways@3dworld.com.au with HARRY in the subject line. Entries close Friday 19 November.

PERSONALITY TEST DJ LIAM EVERS HOW WOULD YOUR MUM DESCRIBE YOU? “She’d have nothing bad to say, I’m sure?” WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “Country music because it is all about a bunch of lonely cowboys whining about women.” WHO INSPIRES YOU MUSICALLY? “Armand Van Helden and/or Afrojack.”

NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “Duck Sauce – Barbera Streisand, Cee Lo Green – Fuck You (Dan Clare Mix).” TELL US ABOUT A CLASSIC CLUBBING MOMENT. “Getting kicked out of an international headliner’s event before he ﬆarted, then ﬁnding lots of cash ﬆ icking out of an ATM and going to another huge event.”

WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “Maybe a Pink single from years ago if it ﬆ ill exiﬆs.” SPIKE MILLIGAN QUIPPED HE’D LIKE HIS TOMBSTONE TO READ ‘I TOLD YOU I WAS ILL’ – WHAT WOULD BE ON YOURS? “Proven Party Animal.” WHERE & WHEN:

The Port Oﬃce Hotel every Friday and Saturday, Hot Gossip every Saturday

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FALSE ADVERTISING Recently, I was ﬆ ruck down with a horrific disease. Influenza might not sound that lifethreatening, but when you’re lying in bed running out of orifices to breathe out of, you know that influenza is hell. Luckily, illnesses like this are unusual for me now, but in the bad old days before I discovered hygiene, I was conﬆantly being ﬆ ruck down by even the weakeﬆ ﬆ rains of mucus-creating bacteria. Back in those days, a large part of my day involved buying things that claimed to be good for me. I would ﬆagger down to my local supermarket and make purchases based purely on the outlandish promises they offered me about wellness. Juice companies can be notorious for making unrealiﬆ ic claims about what they could do for you. There was a time when you could find juices like ‘smart juice’, that made you think clearer, Noni Juice, which could cheer you up, and Goji Berry Juice, which could cure cancer. I also enjoyed making purchases like teas that claimed to calm you, invigorate you, or even put you to sleep. And let’s not forget the dairy isle of the supermarket, where you could find dairy products that allegedly made children’s brains grow bigger.

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Those were the good old days, where a feverish, disoriented and easilyinfluenced sick person was simply told what to buy by reading the outrageous claims made on the labels of different foodﬆ uffs. And then everything changed. With ﬆ ricter advertisement reﬆ rict ions now in place, claims like “purchasing and drinking this juice will ﬆop you being sick” are forbidden under false advertising legislation. Now, you can’t even claim to be the “next beﬆ thing to fruit and vegetables” anymore, as was the case for Juice Plus, a dietary supplement pill, who found themselves being hounded by an annoying bunch of medical dogooders. So during my recent illness, as I feverishly ﬆaggered through the harshly lit isles of my local supermarket, I found myself without the help and compassionate guidance of this fact ually inaccurate advertising. I was forced to think for myself as I chose items to buy, and as a result, I juﬆ grabbed blindly at items without direct ion or explanation about what they might do for me. Thanks a lot, board of advertising and various medical bodies – now I don’t even have the comfort of false advertising to get me through my illness. I hope you’re satisfied. HOLLY HUTCHINSON

A B C D E F G HI JK

LMNOPQRSTUVWXYZ

3D WORLD’S A-TO-Z OF DANCE MUSIC GENRES THIS WEEK: LOOPED TECHNO

Looped techno was a phase as much as a genre in itself. Detroit’s Jeff Mills pioneered minimal techno along with Robert Hood in the early 90s. (Also act ive were figures like Daniel Bell.) But Mills, a techno Steve Reich, was chiefly responsible for popularising the “DJ tool”, as he called it. Mills introduced his Purpose Maker imprint (an Axis Records offshoot) for these looped techno tracks. Techno’s DJ tools were ﬆ ripped-down pieces of music that used looped or repeated rhythmic patterns and phasing. A DJ would mix, and manipulate, them to create the larger ‘composition’ of his set. Mills often played juﬆ a sect ion of a record in his quick-mix ﬆ yle. (And he traditionally DJed on three turntables, embellished with a 909 drum machine.)

BEN SIMS

JEFF MILLS

The beﬆ known of Mills’ DJ tools was the infamous The Bells with its chiming cymbals – it’s ﬆill deemed his signature record. The Bells proved so versatile that even those techno DJs antithetical to a harder sound, like Derrick May, played it. Mills’ percussive records were widely copied. As such, techno became harder and tougher – with moﬆ ly dudes attending the parties. The UK’s Surgeon and his cohort James Ruskin adopted a Millsian sound. Ben Sims, like Mills, had a hip hop background – and formidable turntable skills. Only Oliver Ho tapped into Mills’ occasionally abﬆ ract (and textural) approach with his deep tribal techno. And it wasn’t juﬆ the Brits into the Millsian ethos. Before the Swedish House Mafia, there was a Swedish Techno Mafia led by Adam Beyer. Th is contingent was ferociously prolific with their utility techno – and, in fact, by saturating the market, they precipitated its demise. Many late 90s DJ tools were generic – and boring. At around the same time, the induﬆ ry ﬆarted to experience the effects of the Internet. Diﬆ ributors ﬆ ruggled. Techno

crashed – and was superseded by elect ro(clash), which ushered in a discernible musicality and personality. Mills has suggeﬆed that (electronic) music relies on cycles and minimalism is part of that cycle. By the time looped techno began to fade, he was already experimenting with epic soundscapes. Mills came full circle when, in 2006, he performed The Bell live with the Montpellier National Orcheﬆra (check out the CD Blue Potential). That same year Mills released a DVD to mark The Bells’ 10th anniversary, teﬆament to its inﬂuence. In the mid-2000s techno made a resurgence – and was rebranded as ‘minimal’, but this reincarnation was closer to German micro-house.

ROBERT HOOD

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HOW DID YOU CHOOSE YOUR MC NAME? “Was easy, my mom gave it to me at birth.” HOW LONG HAVE YOU BEEN RAPPING? “Consiﬆently since I was 17, so eight years now. I’ve been messing about with music ever since I was 10-years-old in one way or another.”

MCBOOTH MORGAN MACMANUS

ARE YOU AFFILIATED WITH ANY CREW? “AVAAZ.org WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “Lots of running, some chubby dude rapping my lines from the crowd and free bottled water being the rider.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “I drink a whole gallon of water when I’m performing because I’m jumping around a bunch. So I sweat a heap, but I always remember to hit the bathroom before the ﬆage.” YOUR BEST SHOW AND WHY?

“I think that the laﬆ show I perform always beats the one before that-because its the fresheﬆ in your memory, so, The Globe on Halloween! Was killer fun, Great Sound (by Switch) and it was the ﬁrﬆ show I’d played with a projector so we created some crazy visuals for a few of the songs.” WHAT’S THAT ON YOUR SHIRT THERE? “ Skerrit Bwoy – the crazy dancing cat from Major Lazer.” FAVOURITE COMEBACK LINE? “Th at could have worked if someone else said it”.

WHAT’S YOUR DREAM COLLABORATION? “Th at’s a tough one because there are so many musicians I hugely respect , but having them all involved in the same song might not work out all that well. I’m gonna say Jill Scott, Warrior Queen and Pigeon John on the hook and bridge, with the late Eyedea, Amanda Blank, Saul Williams, Slim Shady, Sir Mixalot, Sage Francis, POS, Cage, Chuck D and I all on the same subject from diﬀerent perspect ives.” WHAT’S THE BEST THING ABOUT THE BRISBANE HIP HOP SCENE? “The Brisbane musicians I really value are Omegachild, Science Project, Tigermoth, Truth Serum, Mihirangi, Desmond Cheese, Saint Surly, Monﬆer Monﬆer and Miss Karleena. Everyone else I was into moved overseas or to Perth, Melbourne or Sydney.”

WHERE & WHEN: X & Y Bar Sunday 28 November

GIVEAWAY

WILDSIDE DOUBLE PASS Two of Auﬆ ralia’s moﬆ exciting hip hop acts The Tongue and Spit Syndicate will be joining forces for a national tour of epic proportions the month. The Wildside Tour will cap oﬀ what has been an incredible year for both acts – The Tongue recently dropping his new album Alternative Energy with ﬁ rﬆ single The Show causing quite a ﬆ ir. Charismatic duo Spit Syndicate are also riding high on the wave of their successful year following the release their second album Exile and a number of successful shows across the country. Accompanying the headliners on ﬆage will be super skilled DJs Skoob and Joyride with Melbourne MC Class A also joining the party as a support act launching her album Me, Me, Me and Him: The Secret Life of a Receptioniﬆ. The show hits the Step Inn Friday 26 November. 3D World have one red hot double pass up to be won. To enter email your name and contact details to giveaways@3dworld.com.au with WILD in the subject line. Entries close midday Wednesday 24 November.

QLD

BLOG STANDARD

DAMNYOUAUTOCORRECT.COM Damn You Auto Correct! is part of the Pop Hangover network (some of their other sites include Lame Graffiti and Funny Receipts) and even though it was only launched in October this year, it attracts thousands of visitors everyday. Anyone who uses an iPhone or other touchscreen keyboard will be familiar with the “helpful” Auto Correct feature – while you are typing it changes words based on what it thinks you’re trying to say. Unless you’re the type that proof reads all your text messages, hilarity can potentially ensue. Users send in screen grabs of funny, embarrassing and sometimes extremely inappropriate messages they have received or accidentally sent. Design: Looks like an advertisement so design-wise it’s a bit of a fail, but you’ll be too busy laughing to notice. Recent Poﬆs: November 6: CONSIDERATE CO-WORKERS “Oh my god I get so cranky when I don’t eat. My co workers ﬆart dropping off poofarts at my desk so I ﬆop snapping at them!!!... Waaahhh POPTARTS!!!” November 7: QUERTIAN SLIP “Wow, They didn’t even open up my vag. They juﬆ squished it a little….Wow. Bag. Beﬆ typo ever.” Quality Of Content: The content is user generated and different people laugh at different things, but the adminiﬆ rator does a good job of choosing which Auto Correct slip-ups will make it onto the site. Frequency of updates: Usually several updates a day. Downloads/Streaming: There are very few videos. No downloads. Audience: People who use either an iPhone or similar device will be able to relate more easily to the content but anyone can appreciate the humour. Depending on where the submitting user is from, some of the messages may refer to products or places that those in other countries may not recognise. However, any confusion is usually cleared up in an accompanying blurb.

E.L.K

AUSTRALIAN STENCIL ART PRIZE WINNER 2010

Canberra artiﬆ Luke Cornish, aka E.L.K, laﬆ week took out the 2010 Auﬆ ralian Stencil Art Prize for his ﬆencil artwork titled Saul Williams, Cornish’s photo realiﬆ ﬆencil of American poet, writer, actor and musician Williams impressed judges with its technical brilliance. Cornish has spent the paﬆ six years developing his own ﬆ yle of painﬆakingly detailed ﬆencil art. The softly spoken artiﬆ explains that he originally ﬆarted experimenting with ﬆencils as a healthy and creative paﬆ ime. “It juﬆ kind of happened. I needed a hobby – something to do that didn’t involve getting smashed every weekend.” He is self taught and was drawn to ﬆencils over other art forms because of their ﬆ ruct ured results, he explains. “To me it’s all about control. I found with graﬃti I get fruﬆ rated – I never know when it’s ﬁnished, I juﬆ keep adding and taking away but with ﬆencils you know what you’re going to get. The process of cutting it out is almoﬆ like meditation for me. I

can juﬆ tune out, juﬆ zone out.” Cornish has certainly maﬆered his hobby and earned himself a ﬆ rong reputation amongﬆ the local and international art world. He won the prize for Moﬆ Popular Piece at the Melbourne Stencil Feﬆ ival Poﬆer Competition in 2008 and was runner-up in the Auﬆ ralian Stencil Art Prize in 2009. His work has also been exhibited in the USA, Iran, Germany and Britain. After seeing his work it is diﬃcult to imagine how something so photo realiﬆic can be made with a spray can. Cornish spends up to 200 hours on each artwork, creating the ﬆencils by methodically cutting out layer upon layer of shade and detail from recycled acetate plaﬆic. He then uses a spray-can to build up the image from the lighteﬆ colour to the darkeﬆ. The process as a solitary one with only his dog, music and audio books for company. Cornish shys away from the limelight and has found solace his home town of Canberra for so many years. “I sort of created my own thing in Canberra which is why I like it not being a part of any scene and being inﬂuenced by other artiﬆ. I think that’s why I have avoided moving for so long.” However having spent a lot of time in Melbourne over the years, the eﬆeemed artiﬆ is considering a move to a city renowned for its thriving arts culture. “There is only so far you can go in Canberra. I’m thinking about moving to Melbourne. I know a lot of artiﬆs there.” WHERE & WHEN: Auﬆ ralian Stencil Art Prize at Oh Really Gallery (Sydney) Thursday 11 – Sunday 21 November.

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P53 3 DEGREES OF SEPARATION THE FIRST DEGREE

PARIS HILTON NOTHING IN THIS WORLD (Warner Bros), 2006. Adding to her already impressing repertoire of dancing topless on bar tops in nightclubs, pouting for the paparazzi and trashing up red carpets with her “ﬆ yle”, in 2006 Paris Hilton decided to venture into music rationalising “music has a sexy vibe. That’s my brand – what people want from me.” Paris then delivered Nothing In This World to “the people” – a sugary pop tune beﬆ remembered for a video clip that parodies a teen-ﬂ ick in which the heiress plays every high school boy’s dream girl. While the clip was a hit on YouTube, the general consensus prevailed that talentless socialites should not be allowed to make music.

THE SECOND DEGREE

KE$HA TIK TOK (RCA), 2009. Kesha Rose Sebert aka Ke$ha hit it big in late 2009 with cheeky party pop song Tik Tok beﬆ remembered for its opening line – “wake up in the morning feeling like P Diddy”. The fun tune about backing up after a big night out ﬆ ruck a chord with the masses, reaching number one in eleven countries. However the song received mixed reviews from music critics, many queﬆ ioned Ke$ha talent given the heavy use of Auto-Tune and similarities to tracks by Lady Gaga and Uﬃe. Although a glimpse at Ke$ha’s background would reveal that as well as writing hits for a number of eﬆablished artiﬆ, the 23-year-old’s vocals had also been previously utilised by artiﬆs such Flo Rida, Britney Spears and on Paris Hilton’s one hit wonder Nothing In This World.

THE THIRD DEGREE

TAIO CRUZ BREAK YOUR HEART (Island), 2009. English singer, songwriter and music producer Taio Cruz began his music career at the age of 18 as part of Tricky Stewart’s writing collect ive, RedZone Entertainment, achieving notability at the age of 21 when he was awarded a BRIT Award for co-writing Will Young’s 2004 single, Your Game. It wasn’t until late 2009 that Cruz found international fame with UK and US number one single Break Your Heart oﬀ his second album Rokﬆarr. Cruz collaborated with Lukasz Gottwald, better known as Dr Luke on this release – an American producer credited with a ﬆ ring of commercially successful songs including Ke$ha’s party anthem Tik Tok.

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TUBETIME The incredible world of television with 5SPROCKET

The hoﬆ of Sunrise, a financial wunderkind, and one-time winner of ‘Father Of The Year’, David “Kochie” Koch continues to warm the hearts of a small proportion of the nation. One of Auﬆ ralia’s moﬆ tolerated celebrities, he was born on 7 March 1956 to parents ‘Mum’ and ‘Dad’. As a child he liked to eat red frogs and imagine that he was a life-sappingly dull accountant. He pursued this dream and succeeded. As an acne-scarred teen he dealt with the propositions of pretty girls with direct financial acuity, denying their offers of fellatio and inﬆead assiﬆ ing them in eﬆablishing long-term inveﬆ ment funds that would see them turn towards fellating people in university, a place they could now afford to go. It was this ‘nice guy’ demeanour that has differentiated David Koch from the reﬆ. “I never set out to become a television ﬆar,” he says in an interview that never took place. “It’s funny, but I’ve always been happieﬆ dickin’ around with a calculator.” And dick around this Koch did, founding a couple of business magazines and providing financial commentary for national media. But blood continued to pump into Koch’s reputation, getting even bigger as a director of the NSW Small Business Development Corporation. He became involved with the Seven Network as a correspondent who gave brief financial updates for the ‘working man’. It was in these fleeting minutes of NASDAQ and DOW that a balding, bespectacled ﬆar was born. Along with Melissa “Cow” Doyle, Kochie has hoﬆed Sunrise – the nation’s number one breakfaﬆ show since 2001 and number two breakfaﬆ show since 2008. As if providing the lateﬆ news, integrated marketing, cross promotion and tabloid gossip wasn’t enough, David Koch also has a soft spot for comedy. He has published three volumes of Kochie’s Beﬆ Jokes, which are available subﬆantially discounted at Target. Kochie also helped thousands of small businesses weather the GFC because of his financial booklets, I’m Not Made Of Money and Kochie’s Guide to Keeping It Real. He follows Port Adelaide, has climbed Mt Kilimanjaro (twice!), and met Juﬆ in Bieber, who he called “good fun”. David Koch will continue to inspire the very few people that act ually like him until the day he’s made redundant. What a Koch!

FILMREVIEWS

RED HILL

You can expect big things from director Patrick Hughes. Not only is his debut feature Red Hill one of the beﬆ movies of the year, it is one of the beﬆ Auﬆralian films ever made. Hughes has taken a gamble in boldly going where few Auﬆralian filmmakers have dared to since the late 1980s, when genre filmmaking went out of fashion. A tense, taut but also very funny thriller, Red Hill is a gunslingin’ knockout. Truly unmissable. Hughes has said that filmmakers Robert Rodriguez (Machete), George Miller (Mad Max) and the Coen Brothers (No Country For Old Men) have been major influences on his aeﬆhetic, and their impact on the film is unmiﬆakable. Holding the reins of the ﬆory is True Blood ﬆar Ryan Kwanten as police officer Shane Cooper, who, having relocated to the country with his pregnant wife Alice (Claire van der Boom), is on his fi rﬆ day’s duty. But

the jail-break of Jimmy Conway (Tom E Lewis) throws the seemingly quiet town of Red Hill into chaos. As Old Bill (Steve Bisley), the sheriff, orders the area to be locked down, things go from bad to worse to a total nightmare and Cooper finds himself in the crossfi re. In many ways, Hughes has managed the unmanageable in this country; despite having no backing from a diﬆributor and no government grant, he raised the money needed privately and made Red Hill independently. And regardless of having to use second-hand film ﬆock and shooting quickly over 24 days in freezing temperatures, Hughes twiﬆs genre cliché into a ﬆ ylish and bold cinematic punch; American revenge Weﬆern meets Aussie thriller and morality tale in rural Victoria. WHERE & WHEN:

Screening in cinemas 25 November ANITA CONNORS

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DISCWORLD DVD Reviews With RIP NICHOLSON

THE WORMHOLE

Book Reviews with ANDREW MAST

MICHAEL CHUGG Hey You In The Black T-Shirt (Macmillan Auﬆ ralia)

HILLTOP HOODS Parade Of The Dead

(Golden Era Records/Universal) There’s what we know of the Hilla Toppa and what we learn along the way. The live show is exactly what you would expect and what you’ve seen before. It’s the very reason they sit comfortable at numero uno. It’s also no surprise to see the Hoods use a Zombie apocalypse theme for their moﬆ recent State Of The Art album’s adaptation to DVD. But going into the minds of these guys is where this DVD unlocks a different side to the Hilltop Hoods – a side that new signee Briggs sure as shit doesn’t get either. Hilltop have closed themselves into an abandoned prison living off a veggie patch and biscuit ﬆockpiles for Debris. Pressure delights in popping off zombies from the gun tower as this docu-fi lm opens with an interview with the three discussing their catering to the

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consciousness of the zombies gaining on them. Using them as house-hands and gardeners, the Hoods ﬁnd a way to contain and control the mindless masses which includes The Funkoars, kept locked away with porn and pot. It’s not quite Johnny Cash at Folsom, but the Hoods’ perform their lateﬆ album on the landing to a crowd who now muﬆ feel blessed to have been a part of such a roaring set. Interject ions

break it up by way of various comical skits including Pressure’s tips on fi rﬆ dates with Zombie chicks and keeping the hired help fit with Suffa MC. The act ing leaves a lot to be desired but nobody’s trying to be Johnny Depp here. From smashing zombies with Mark Waugh bats and catching Debris with a zombie hooker, it all comes down to one big fi ght scene, zombies versus the Golden Era crew. The extras package gathers together the live concert and State Of Th e Art’s videos with various skits collected. Parade Of The Dead unlocks a creative luﬆ for the death genre in Auﬆ ralia’s greateﬆ hip hop export and regardless of how their directorial attempts pan out, the Hilltop Hoods’ concert alone is worth an hour’s wage.

Local promoter/entreprenaur Michael ‘Chuggi’ Chugg has delivered this induﬆ ry memoir and dared ﬆay in the game. So, you know this ain’t going to be a You’ll Never Eat Lunch In This Town Again (the bio that lived up to its name and killed the career of Hollywood producer Julia Phillips) but, then again, there’s enough dirt to keep even those with a passing knowledge of the Oz rock scene enthralled. Before you even get to the boyhood chapter, Chuggi has explained how Fleetwood Mac were the cause of his decades-long love aﬀair with the rack – and it’s a corker of a ﬆory that involves the kinda amounts of cocaine you only expect to see in Scarface. From there, cocaine punct uates the entire book. Chuggi’s tales of the ﬂedgling pub circuit in the 60s and 70s are also of great hiﬆorical value – these ﬆories don’t get told enough (hence young artiﬆs continue to make the same miﬆakes their rock anceﬆors made). From his days as a teen ﬆalking mainland bands who gigged in his native Tasmania through to bringing out Frank Sinatra and Guns N’ Roses (a humourous anecdote that lends the book its title), Chuggi is brutally honeﬆ about the ups and downs of various music projects over the years (probably why former cohort Michael Gudinski requeﬆed a copy prior to it hitting ﬆores). And he is juﬆ as honeﬆ about his personal life as we learn about his ﬆ ring of partners, an almoﬆ fatal heart attack and a prison ﬆint in the US. Co-authored by journo Iain Shedden (of The Auﬆ ralian), it captures the madness that has been/is Chuggi’s life, from Abba to Gary Glitter through to AC/DC and the dog whisperer (yes, really). But it’s little vignettes about witnessing the grassroots scene that really get you into Chuggiworld – like when he saw the potential in trannytoting, nazi-dressed, mock-rape-re-enactors Jimmy & The Boys. Don’t try this at home.

TECHNO SCAPE

PORTABLE PIXELS A few tips for shrinking and smoothing your touring video kit. VELCRO + LAPTOPS Attaching spare portable hard drives to your laptop lid with velcro is a super win. Not only does it save precious performance space and avoid drives being bumped, it also extends to three the liﬆ of queﬆ ions VJs will moﬆ likely asked at venues. 1. “Can you play a track by <insert popular R&B artiﬆ> or something from <insert genre unrelated to event>?” 2. “What software are you using?” 3. “Wow, what’s all that ﬆ uff on your computer?” Another tip? Minimise external drives cutting out when fi rewire cables move or get unplugged by using cable ties to tighten the fi rewire cable to an ethernet cable plugged into the port beside. HARDWARE MIXER-FREE ZONES* Hardware mixers have become a luxury (or an insurance policy againﬆ computer crashes) rather than a necessity, as moﬆ clip mixing and blending is preferably done through software and a MIDI controller. If tight on budget/space, mixers can be avoided. Need a live cam? Use a USB webcam to mix within your VJ software. Other USB capture devices open up worlds of lo-fi video capture, play-through and mixing. (At leaﬆ until SPARK’s tiny DVI mixer is released!) PROJECTORS Projectorcentral.com is a fantaﬆ ic resource for comparing different projectors. Lumens (Brightness): aim for minimum 2,500 for a small room, and get as many as you can. Contraﬆ Ratio: Higher is better, richer blacks. Zoom Range: The difference between minimum and maximum sizes, which enables flexible diﬆance from screen. Resolution: Aim for a minimum of 720P (1280x720), which is the smalleﬆ HD size, or WXGA (1280x768). Full HD of 1920x1080 will avoid any scaling, and delivers the beﬆ image. Aspect Ratio: 16:9 native is preferable over 4:3 Inputs: VJs will want VGA inputs, and HDMI if available. Moﬆ will include RCA/composite. eBay offers 15m VGA cables for around $30, and if you need more diﬆance between projector and your laptop maybe consider entering the world of baluns. @JEAN_ POOLE

SOUNDADVICE Gear reviews with LAWRENCE DAYLIE

SHURE SRH750DJ HEADPHONES

A set of headphones is not the easieﬆ of products to review, particularly as they’re something that one person might use in a completely different way to the next. The simpleﬆ examples in the marketplace, moﬆ commonly seen plugged into the user’s media player of choice and often sourced for free by passengers flying Virgin Blue, have nothing to do with sound quality and everything to do with convenience given they’re all about portability and sit inside your ear rather than on top of it. And then when you take the next ﬆep up to fully enclosed headphones, some swear by entry level sets like Sennheiser’s no frills but dependable HD 202 range while others pay far more heed to the endless range of variables which sort the acceptable from the essential. Shure’s SRH750DJ are certainly shooting at the upper range of the DJ market, but not necessarily with a price tag to match. On the specs front, the earpieces have a 50mm driver and frequency response from 5 to 30,000 Hz, meaning you can push the volume to the limits of human tolerance (a necessary evil in noisy clubs and DJ Booths) without the speakers even threatening to tremble until they’re at ear-deﬆ roying volume. The sound produced is immaculate, while a three metre coiled cable (with ﬆock gold-plated 1/8” jack and 1/4” jack adaptor) giving you plenty of leeway when it comes to wandering over to your CD wallet/ drink ﬆash between mixes. The busy touring DJ/live act will also appreciate the inclusion of a heavy fabric carry case and set of replacement earcup pads – especially given 3D World ’s review set shed an earpiece (fortunately easily reattached) before we’d even put the headphones on! What might be contentious for some is the build design, which incorporates earcups which can swivel 90 degrees horizontally and 180 degrees vertically. When in the mix this is invaluable, allowing onthe-fly adjuﬆment dependent on where your head is in relation to your monitoring, but at the same time it can almoﬆ see the headphones take on a life of their own and snap into a position which is perhaps beﬆ suited

to contortioniﬆs – or even fall oﬀ your head altogether – and they aren’t as easily manipulated as some might hope for. But the swivel component really comes down to personal taﬆe. If it’s not a ﬆ yle of headphone you warm to chances are the Shure SRH750DJ set isn’t going to change your tune, but the quality sound, ﬆ urdy build and userfriendly price tag are reason enough to at leaﬆ ﬆ rap them on for a teﬆ run if you’re in the market for a new performance set. Especially if you don’t ﬂy Virgin. Gear for review supplied by Jands. COST: $199 RRP SUPPLIERS: www. jands.com.au/ purchase/auﬆ ralian_ dealers

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POPS! it

HIS YEAR’S ARIA AWARDS WILL BE FOREVER REMEMBERED AS A RATHER CRINGE-WORTHY AFFAIR, BUT ONE THING WE CAN APPRECIATE IS THAT THE FASHION WAS FUN AND WILD. Ladies rocked the

red carpet with so many bold and experimental trends that standing out in this crowd was no easy task, however in the end it was Channel [V]’s Jane Gazzo who really turned heads with an original creation made entirely out of balloons by Sydney designer/entertainer Ben Orson. Gazzo approached Orson to make her a ARIA dress after seeing a couple of his innovative designs at underground fashion show Lunamorph. Starting out with about 1,000 balloons of different colors and sizes, Orson underwent an arduous trial and error process of making the dress, which took about 15 hours to complete. As the dress only lasts three to five days, the process had to be done with haste. Orson, who has been creating balloon figures for parties and events for a few years, hopes that his dress will lead to more creative uses of balloons, commenting, “Creating clothing out of balloons is a relatively new concept but has definitely become quite popular around the world. I look forward to it becoming popular here.” While the fashion world may be knocking at his door, Orson is taking a step back to focus on his other passions for now. “I’m presently putting all my energy into crafting a mysterious new illusion for my magical stage show. Balloons are such a beautiful medium though; it will be difficult not to be creative with them. I will surely be drawn back to them again soon… I would like to do a few more dresses or maybe something really huge like a 15’ tall football mascot. Let’s see where the little sparks and the universe lead me to next.”

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Liv Fossil Steel mens’ bracelet ~ $139. www.fossilaustralia.com.au

Who likes short s about everyone. Loc to the much loved h For a 1950’s feel why a splash of citrus co and sandals for the out. The floral lace creative minds at L fabric this one is a enjoy the atten For m

Orri Henrisson Blazer Cardigan ~ $249. www.orrihenrisson.com

Hurley camaro jean ~ $119.99. www.hurley.com

Havaianas slim black-gold thongs ~ 39.95 www.havaianas.com.au

Kenneth Cole square touch screen digitalwatch ~

Lyle & Scott mens’ polo ~ $90. www.lyleandscott.com

Rimell Vinyl Gloss ~ $12.50. www.rimmellondon.com

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LureBriefs

vin’ LaVida Luna

shorts? On scorching summer days just cal label Luna have taken a fresh approach hot pant look with a bold new colour scheme. y not mix up your casual denim threads with olour this season? Teamed with a cute tank beach or a jacket and heels for a hot night and stripe tee also comes courtesy of the Luna - made with sexy sheer lightweight a guaranteed to turn a few heads. So just ntion while you sparkle in the sunshine. ore Luna looks and stocklist see www.welovefairground.com.

Ke$ha

Fairground’s In Your Silents jumpsuit ~ $149. www.welovefairground.com

Taylor Swift

Chocolate Couture An event of heavenly indulgence - The 13th Annual New York City Chocolate Show kicked off last week with a series of spectacular fashion shows showcasing chocolate couture designs as well as as demonstrations and workshops from chocolatiers and pastry chefs, including Jacques Torres, Nick Malgieri, François Payard, Johnny Iuzzini. The Chocolate Show was founded in 1997 by two French chocolate lovers, Sylvie Douce and François Jeantet. It has since become one of New York City’s favorite events. View photos at newyork.salon-du-chocolat.com.

~ $135. www.kennethcole.com

Keds Mens’ canvas chuka ~ $60. www.keds.com

Big In Japan With a focus on contemporary Japanese expressionism, The Kirin ‘Big In Japan’ cultural exchange program has been built by the Ksubi collective with Japanese beer brand Kirin to showcase emerging Japanese and Australian creative talent. The event represents an avante garde selection of artists working across multiple mediums including performance, video, music, noise and installation. The exhibition comes to The Royal Hall of Industries, Moore Park (Sydney) Tuesday 16 November and Thousand Pound Bend (Melbourne) Friday 19 November.

Havana Nights In addition to being a wizard behind the decks, DJ Havana Brown is perhaps one of the most consistently stylish celebs rocking the red carpet. The gorgeous DJ has recently teamed up with Vok Beverage’s Ruski to create the ultimate girl’s weekend including flights, accommodation, private limo, shopping spree, exclusive dinners and personal make-up artist for one winner and three friends. For entry details see www.thenightstartsnow.com.au.

EPIC Sweet as pie, Taylor Swift the epitome of elegance in a tight, floorlength rust-coloured dress on the Country Music Awards red carpet in Nashville last week. Wanna get laid? Send products and info to lure@3dworld.com.au

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FAIL Rebel pop singer Ke$ha taking her garbage glam style a little too far on the MTV EMA red carpet sporting a black-and-white slashed t-shirt and a pair of purple silk pants. Mangled and messy.

SUMMER FOOTWEAR

THE FINAL

HAVAIANAS

SIZE MATTERS?

Come in a variety of sizes.

PROS? A range of designs for you to express your personality. And very durable.

CONS? If everyone buys the brown ones it’s hard to tell who owns which pair when seven of them are lined up outside your front door.

FOR? Festival goers who laugh in the face of conventional footwear and busted toenails.

COST? $29.95 RRP.

FROM? www.havaianas.com.au.

MASEUR SANDALS

SIZE MATTERS?

Come in a variety of sizes.

PROS? So uncomfortable for the novice wearer that no one will ever borrow them to nip down to the shop. And good for your feet.

CONS? So uncomfortable for the novice wearer you might turf them after a day. Which will be bad for your feet.

FOR? The sophisticated walker.

COST? From $38.95 RRP.

FROM? www.maseur.com.

PLUGGERS

SIZE MATTERS?

Come in a variety of sizes, all of them manly.

PROS? Can withstand the force of a stampede of cattle on a hard day of droving.

CONS? Prone to falling apart after 15 years of hard service when you least expect it.

FOR? Fair dinkum, ridgy-didge, dinky-di Aussie blokes (and their shelias).

COST? More than $5? Tell ‘em they’re dreaming.

FROM? www.thongsandthings.com.au.

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EMPLOYMENT

MUSICIANS FOR FUNCTIONS/VENUES

ENTERTAINMENT

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

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

MUSIC SERVICES BOOKING AGENTS SYDNEY’S PREMIER DJS Do you want to book some of Australia’s finest DJs? Our agency supplies the most experienced & popular DJs for festivals, clubs, bars & corporate events. We can set up a roster of stellar DJs for your club or offer you the very best in DJs, or the hugely popular DJ based bands, for your event. Contact us today at info@thegrooveacademy.com.au or visit www.thegrooveacademy.com.au. iFlogID: 5847

RAPPERS / MC’S / HIP HOPPERS Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. www.statelymanor.com.au for details. iFlogID: 4510

HIRE SERVICES Cheap competitive hire rates for lighting, audio, staging and vision systems. Small and large. Will customize for any event to suit your needs and price range. Give us a call on 0432 714 863, or online at techlineentertainment.com.au iFlogID: 7401

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

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 hawkesburypahire@hotmail.com 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

MANAGEMENT Manager wanted for Hip Hop RnB Artist. Contact Jhal on 0421 557 587 or email jhal_7@hotmail.com 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

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

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 jnst17@tpg.com.au for details or 0439 457 791. Ta, Jeff. iFlogID: 7190

LEGAL

info@setlistphotography.com for a quote. iFlogID: 6533

POSTERS ILLUSTRATOR AVAILABLE NOW!

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 Detax@optusnet.com.au iFlogID: 8597

OTHER MARKETING AND PROMOTION A rockin’ salute from the Team at Clk Click Publicity! Clk Click Publicity is a music and entertainment publicity company that specialises in providing excellent quality management, marketing and PR services in order to promote music, film, arts and events in Australia. We have an introductory offer that will blow your mind, and keep your pockets full! For a limited time Clk Click Publicity can whip you up a professional Bio and Press Release for only $100. We can also organise band photos and logo creation for a very reasonable price. If you’re interested in finding out about our full range of publicity services, we’d love the opportunity to have a chat with you and put together a proposal for your next release, event or tour. For further information please shoot us an email at info@clkclickpublicity.com or visit our website at www.clkclickpublicity.com We look forward to working with you! iFlogID: 5312

PA / AUDIO / ENGINEERING HEARTICAL SOUND SYSTEM HIRE From small PA to large high powered rigs. Crystal clear custom built mids and tops cabs with heavy duty bass bins. Suitable for indoor and outdoor events. delivered, set up and operated. Call Derek for quotes on 0423979396 iFlogID: 5135

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 setlistphotography.com or email

Professional illustrator available for any project. Book covers, children’s books, album art and much more. Based in Melbourne, drawing world wide! Excellent rates. www.paulikin.com -Phone: 0403 996 129 or email paul@paulikin.com iFlogID: 4701

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

NY TRAINED SONGWRITING TUITION PROFFESSIONAL ROYALTIES EARNING POP ROCK SONGWRITER AVAILABLE FOR TUITION AND GUIDANCE. TRAINED WITH LEADING NYC VOCAL TEACHER WHO HAS WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. COMMERCIAL RADIO PLAY FOR ORIGINALS. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME OR BEGINNING FROM AFRESH. K.I.S.S. = $$$$$. 0435 426 012 iFlogID: 4454

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.

http://www.steevebody.com iFlogID: 4776

OTHER

SINGING TEACHER NYC TRAINED

1100 FULL COLOUR POSTERS = $80

CONTEMPORARY AND MUSIC THEATRE SINGING TUITION. TRAINED WITH LEADING NYC VOCAL TEACHER WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. WORLD RENOWNED VOCAL EXCERSISES TO VASTLY IMPROVE VOCAL TECHIQUE BASED ON EXCSERCISES FROM MANHATTAN SCHOOL OF MUSIC. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME. AUDITION 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@ starpowerstudios.com 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 brotherbooth@gmail.com iFlogID: 5905

Visit our website for an extensive price list and other services! iFlogID: 4554 check out our Blog:haemeandrobecca.blogspot.com for awesom e vintage fashion,stuff you can buy, music,film and art! iFlogID: 7032

COMEDY FOR LUNCH IN THE CBD Comedy For Lunch dates starting Sept 17th. Here’s your chance to spice up the regular CBD friday lunch with some tasty food and yummy laughs. Lunch starts at 12noon-12:35, show starts 12:35-1:10pm. We’ve lined up some very funny comic chefs to tantalise your tickle taste-buds. Plus if someone from the office is a jokester, he or she can have 3 minutes on stage to keep up the tradition :-).So gather up the gang from the office, family, friends and out of town guest and book into Comedy For Lunch. Lunch price includes choice of 6 mains, a Drink (Beer, Wine, House spirits, Juice, soft drink) and V.I.P seating in the worlds most comfortable comedy theatre, “The Star Bar Theatre” 600 George Street (formerley Planet Hollywood) or if the only serving you want is laughs, regular admission is just $10.00 for the show only! Booking now at 0295472578 or on line at www. comedyintheraw.com.au iFlogID: 6440

COMEDY FOR LUNCH STARTS SOON! The People who bring you Comedy Court stand up competitions featuring audience Digital voting (Fri nites) and Quick...Some Comedy Quick stand up shows (Sat nites) present the CBD’s only live Stand up comedy lunch show. One price gets you your choice of 6 mains and some spicy laughs. Held every Friday 12noon at Star bar Theater 600 George Street Sydney. Get your office mates, friends, tourist and your boss together for lunch with a twist. Book now at 95472578 or www.comedyintheraw.com.au Starts Sept 17th. Limited seating per show iFlogID: 5985

SERVICES

Event Managment service,Promotions and Production. Specialising in the arts. Fashion shows, exhibitions,gig’s & album launch parties. We also offer entertainment such as dance, models, performance and live music. Please email chicpetiteevents@ hotmail.com iFlogID: 6719

GRAPHIC DESIGN

FRESH TEES - SCREEN PRINTING

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

T-shirts, Hoodies, Caps, Polos, Screen Printing, Direct 2 Garment, Transfers Embroidery, Artwork Design,0415 139 056 info@freshtees.com.au iFlogID: 6027

ICE CREAM FACTORY PHOTO STUDIO Inexpensive photo/video studios for hire from $150. Located at Turrella (10 mins drive from Newtown) iFlogID: 4768

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

QLD