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Japanese Kitsch FREE









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




While Brisbane producer Tigermoth was en route to LA to have his next album mixed by Dave Cooley (Dilla, Madlib, Jaylib), he stopped by Brooklyn on the way (as you do) and musical inspiration st ruck. The fruits of that inspiration make up The BK EXP, available for free download from with snappy artwork from fellow Brisbane-ite at large Anthony Lister.

We’ve all read the pre-release platitudes before – “best album I’ve ever made”, “this one is for my fans”, and so on and so forth – but even our more senior correspondents are st ruggling to recall an artist openly slam their current release as Lupe Fiasco did to when his newie Lasers hit stores worldwide. Career suicide or reverse psychology marketing genius? We’re calling shenanigans…

ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle

ART DEPT Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT (03) 9421 4499 PRINTING Rural Press (02) 4570 4444 DISTRIBUTION dist SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). HEAD OFFICE 2-4 Bond St, Abbotsford, VIC 3067 EMAIL


Follow Charlie Sheen on Twitter, grab some popcorn and watch the hilarity ensue. Has something so wrong ever been so right?


Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Kostas Korsovitis, Lou Lou, Luke Eaton, Terry Soo



WATCH Set up two TVs next to each other, watch an episode of Castle and Bones on each concurrently and see if you can tell which is which – we’re convinced it’s the same premise with a cast cloned from the same batch of st romtroopers. We’re pretty sure even the commercial breaks will sync up.




Eating after midnight doesn’t have to mean you turn into a monster going on a murderous rampage – in fact doing so should make you quite the opposite. But if you’re feeling peckish midway through a big night out it’s not all about hot dogs, kebabs and microwaved meat pies. Our new Eat & Drink sect ion on page 38 has all the answers.

WEAR You’ve seen him on the Oscars, now it’s time to see what is so amazing about Shaun Tan’s Academy Award winning animated short The Lost Thing that it beat out an entry from the Pixar behemoth. It’s narrated by Tim Minchin, which means you’re supporting Aust ralian authors in stereo. Or double video maybe. But not 3D thankfully.


Fest ival season is winding down (well, sort of ), which means that warm weather is also coming to an end. So do all of those things you put off all summer long – have a picnic in the park, eat an icy pole, throw a frisbee, get a real tan at the beach before we enter the “spray tan only” months. Unless you’re a “spray tan only” kinda person, in which case it could be time to reapply anyway.

If you’re going to st roke some heavy chin to celebrate the 20th anniversary of Carl Craig’s Planet-E label, you might as well be wearing a fresh tee, right? Fledgling British label Millionhands have got you covered with this design and more at


The rapid rise of The Aston Shuffle has driven the duo to craft a st ylist ic statement in debut album Seventeen Past Midnight, backed by a national tour to trash potential genre titles. Is it nu-elect roclash? How about technoclash? Make up your own mind as the extensive tour makes stops that include the Oxford Art Factory (Sydney) on Saturday 26 March, The Met (Brisbane) Friday 1 April and After Dark Social Club (Melbourne) Saturday 9 April. Tickets available at



The clever girl with the gold hot pants will be spinning around Aust ralia once again with news of a national Kylie tour touching down in June. Kylie’s Aphrodite-Les Folies 2011 Tour will set phasers to st un, with the product ion valued at over US$25 million and featuring over a million moving parts. Kylie will be supported by Melbourne’s Gypsy & The Cat, joining the stadium experience at Brisbane Entertainment Centre Friday 3 June, continuing to Sydney Entertainment Centre Tuesday 7 and Wednesday 8, Rod Laver Arena (Melbourne) Tuesday 14 and Wednesday 15. General public tickets on sale from 9am local time Tuesday 15 March via Ticketek, or Ticketmaster for Melbourne.



While many will affect ionately recall Tiki Taane as a member of New Zealand’s iconic Salmonella Dub, his resume spreads across the full spect rum of roots and bass music culture. The singer, songwriter, engineer and road warrior will be touching down in Aust ralia to tour with a new album dropping on Friday 11 March through Stop Start/EMI. Titled In The World Of Light, the album is said to draw on old school drum‘n’bass and hip hop influences as well as the dub and reggae that has made Tiki such a love performer. The kiwi star will hit the road on a tour presented by 3D World that kicks off at the Great Northern (Byron Bay) on Thursday 19 May before moving through Coolangatta Hotel Friday 20, The Hi-Fi (Brisbane) Saturday 21, Panthers (Penrith) Thursday 26, Selinas (Coogee Bay) Friday 27 and finally Corner Hotel (Melbourne) Saturday 28.


With the fi rst single Rapunzel scoring an enviable #12 on the Triple J Hottest 100, as well as achieving platinum status on the charts, it is safe to say that Drapht has a hot product on his hands. Follow-up single DRAPHT Sing It (The Life Of Riley) will be unveiled shortly, with the album suggested to be a diverse in content and influences. With The Life Of Riley set to drop on April Fool’s Day (seriously), there’s time to school up before an extensive national tour hits the road. Look out for the party bus hitting Bended Elbow (Geelong) Saturday 9 April, Kings Beach Tavern (Sunshine Coast) Thursday 14, The Hi-Fi (Brisbane) Friday 15, Billboard (Melbourne) Friday 22 and Wollongong Uni Friday 6 May. Check and for tickets, on sale Thursday 10 March. 8 3DWORLD


It’s an exciting year for Sydney band Seekae, launching into 2011 with a band-mode tour of their uniquely rhythm-driven future-beat compositions. On tour to support new album +Dome, the three-piece are all live drums, guitars, samplers and synths. Catch the lush wall of emotive elect ronica at Woodland (Brisbane) on Friday 15 April, Manning Bar (Sydney) Saturday 16 and The Toff (Melbourne) Monday 25. Tickets available at Sydney and Brisbane fans can also catch them suporting Mount Kimbie this week.


New Zealand’s fi rst lady of hip hop Ladi6 and musical partner/producer DJ Parks have been on a whirlwind adventure over the past 12 months, relocating to Berlin for sixty tour dates across Europe supporting the likes of Gil-Scott Heron, Masta Ace and Mayer Hawthorne. They’ve also crafted new album The Liberation Of…, which drops in April. And she’ll be hitting Oz to flaunt its wares, starting at Ice Cream Factory (Brisbane) Saturday 9 April and Great Northern Hotel (Byron Bay) Thursday 14 before being joined by NZ soul-funk threepiece Elect ric Wire Hust le at Corner Hotel (Melbourne) Friday 15 and The Gaelic (Sydney) Saturday 16. Check www.nicheproduct ions. for info.


Explosive Brisbane fivepiece The Belligerents are packing their roadcases for a national tour in March and April to coincide with the release of the band’s debut EP, Less Arty More Party. The tour includes stops at Woodland (Brisbane) Saturday 26 March, Elsewhere (Gold Coast) Friday 8 April, Oxford Arts Factory Gallery Bar (Sydney) Saturday 9 and Evelyn Hotel (Melbourne) Thursday 21.


WINTER FESTIVAL BEHEMOTH Splendour In The Grass have announced that Woodfordia in southeast Queensland will play host to the much loved mid-winter fest ival for a second year from Friday 29 to Sunday 31 July. (No doubt epic) lineup announcement coming soon... AFTER THE SUCCESS of Daft Punk’s Tron Legacy score comes Tron: Legacy R3CONFIGUR3D, which features artists like M83, Photek, Moby and Com Truise having a crack at the French elect ro boffins’ source material. Dedicated fans can purchase a deluxe box set from AUSSIE URBAN DJ Havana Brown has landed herself an enviable 12 month residency at Paris Las Vegas’ Chateau Nightclub & Gardens in Las Vegas... PRICES ARE TUMBLING at Lightsounds with the store offering products up to 50 percent off select pro audio, lighting and DJ brands. Hit up www.lightsounds. for some bargain hunting... NORTHERN NSW EVENT Reggaefest returns this year with a new outdoor location at Missingham Park, Ballina. Metres from the river and minutes from surf beaches, the event takes place Saturday 17 and Sunday 18 September with some high profi le announcements of the reggae, dancehall, dub and roots variety on their way...






Her bluesy howling fittingly guided the post-punk indie sound of her band, but it was Ditto’s personality and couldn’t-give-a-fuck attitude that really helped the band rise from indie bandrooms to global stages, via trendy magazine photo shoots and fashion’s leading catwalks. In between albums from the Gossip, Ditto has taken a significant detour to release a solo EP, guided by the deft touches of UK dance outfit Simian Mobile Disco (who previously featured the vocalist on the excellent Cruel Intentions single from their 2009 album Temporary Pleasure). The result is a genius four-song collect ion of sexy, sleazy-sounding late-night/ early-morning house tunes, which introduce audiences to Ditto’s equally vibrant, but more rest rained purring vocal st yle. In person, Ditto is the best-friend you’ve never met; talking at 100 kilometres an hour, self-deprecating, punct uating most conversations with an infect ious laugh and telling stories that often start in one place and end up somewhere totally unrelated. In fact , more often than not, Ditto takes some reminding that she’s got a solo EP to plug. Whilst most assume that Ditto is currently taking on a solo agenda because of her headlining star-power, she reveals that this self-titled EP release isn’t her fi rst foray into the solo spotlight. “When I was a younger I started doing a record for K Records. I wanted it to use a side of my voice which I hadn’t used before, which was act ually the side of my voice which I used to sing in naturally. The funny thing about getting into a punk band was that I was listening to all these really rad bands in the 90s – like the whole riot grrrl movement, which I was really into and which I st ill love. Their voices weren’t like mine and I always felt that I had

the wrong voice to be in a punk band. Then I started listening to more things like X-Ray Spex and st uff like that and I just started to accept it all and realised that this was the voice that I had and adapted my voice to it. “I kinda missed having that choir-girl thing, or anything melodic in my voice. I missed not having to use a lot of power. That was the best thing about working with SMD was that they were really encouraging – they really wanted me to not use power. They were like, ‘Stand back from the microphone; don’t hit the note so hard, and make it light.’ At fi rst I was like, ‘I’m not sure if I know how to do that any more.’” Loved by many and derided by others for her banshee-st yle wailing, the new EP really sees Ditto take her vocals into a newer territory – territory surprisingly inspired by late R&B singer Aaliyah, who was known for her soulful cooing. “SMD were thinking that this EP was gonna be like this Grace Jones kinda thing, but I was thinking more Aaliyah. My favourite genre of music is Top 40 hip hop/ R&B music. I worship Usher – I think he is amazing. I love Lil Wayne too. I mean, punk and hip hop are the best things to me in the world. When you put those two together you kinda get dance music, don’t you? That’s all that Rapture by Blondie was – a fusion of punk and hip hop.


“The thing about Aaliyah when you listen to her is that she’s not lyrically st rong – I mean, it’s not that you’re feeling her lyrics. The way her vocals just glided over a groove was what made her so special.” It’s defi nitely a more seduct ive and sexier approach to Ditto’s work – one inspired by her new girlfriend. “I didn’t really feel sexy,” she says initially of the recording sessions. “I mean, there was a lot of sex going on because I had broken up with my partner of eight years and I had just started dating somebody else, and at that time it was new and romantic and really interest ing. “There was a lot of sexual tension between us for years so I fi nally got to act on that. I think it did fuel it, act ually,” she reconsiders. In addition to the brilliant, heavy-handed, bubbling house-music product ion and Ditto’s beguiling understated vocals, the four songs on offer also showcase dazzling pop melodies and arrangements, reminiscent of Madonna’s 80s debut album work with Reggie Lucas and Jellybean Benitez. “Like [Madonna song] Borderline?” Beth asks. “Well, I appreciate the compliment. I don’t write songs any other way – the thing is I don’t try to write songs. I’m not a songwriter. When I hear a compliment about my songwriting I fi nd it hard to believe, really,” she says modest ly in her Arkansas drawl.


So will the Beth Ditto EP be followed up by an album. “I don’t know… I think it would be really fun to turn it into an album. There’s talk about doing an album. I think I would do it all with SMD – I mean, if it ain’t broke, don’t fi x it, ya know? There’s people at the label who have suggested the option of looking at any other producers that might work well in this st yle. My dream collaboration would be with Cee Lo Green and it would be produced by Timbaland. It’s not because, ‘Oh I wanna make a pop song that everybody loves,’ but I just think that both Timbaland and Cee Lo are amazing. “I met Cee Lo once, and he was like, ‘I just saw you in a magazine,’ and that’s how we met act ually. I never speak to famous people fi rst – I’m always way too intimidated. Anyway, he’s so good that I’d love to work with him. Do you know that song of his, Bass Head Jazz? That is a sexy song. He’s just so chubby and cute.” With Ditto’s bluesy voice and notoriety, it’s surprising the likes of Timbaland and Kanye West haven’t yet approached her, if only to prove how genre-bending they are these days. “Are you kidding me? No way, no way – I feel like I’m too gay,” she says dismissively. “I’m a fat dyke – I don’t really feel like that’s on their radar, ya know? I feel like it’s all about the music for me, but I really don’t think that everyone else feels that way.”

WHO: Beth Ditto WHAT: Beth Ditto EP (Deconst ruct ion/Sony)


THE ELECTRONIC DANCE MUSIC RANKS HAVE LONG BEEN PLUNDERED BY THE POP WORLD FOR TACTICAL ASSISTANCE – 3D WORLD OPENS THE VAULT TO SOME PAST MASTERS AND LOOKS TOWARDS THE GREAT HYPE OF THE (HOPEFULLY) VERY NEAR FUTURE. KYLIE MINOGUE/BROTHERS IN RHYTHM Confide In Me (Decontruct ion), 1994. When our Kylie was looking to distance herself from her sugar-coated Stock, Aitken & Waterman past after signing to cred-heavy dance label Deconst ruct ion in 1993, she chose wisely in UK product ion duo Brothers In Rhythm. Comprised of progressive house stalwart Dave Seaman and cohort Steve Anderson, the duo wrote, produced and remixed Kylie’s 1994 musical coming of age Confide In Me before contributing heavily to her 1997 long-player Impossible Princess (including the single Did It Again)

DIDDY/GUY GERBER Untitled Album Project (Supplement Facts), 2011 Sean “Puff Daddy/Puff y/P Diddy/Diddy” Combs’ early noughties collaborative elect ronic longplayer with Felix Da Housecat might be something of an urban myth, but a mooted album project with Israeli techno weapon Guy Gerber seems much closer to realisation. Gerber contributed Intro to Diddy’s December 2010 Last Train To Paris release

under the Diddy-Dirty Money moniker, and told UK website Data Transmission that the album collab was slated for a (northern) spring 2011 release and to expect “psychedelic sketches of elect ronic music, framed by downtempo beats with very warm vocals”. And when 3D World ran into Seth Troxler at Singapore’s ZoukOut fest ival in December, the word “K-Hole” was bandied about with reckless abandon in reference to the Diddy/Gerber project. Hopefully the album doesn’t disappear up one.

*NSYNC/BT Pop (Jive), 2001. Before Just in Timberlake was cool, invented Napster or voiced Yogi Bear, he was desperately seeking cred as part of boy band *NSYNC – and before they went to that great glossy music video in the sky, they found themselves (almost) wading knee deep in the st uff courtesy of so-hot-right-then product ion wizard BT. Brian Transeau’s signature st udio moves – st utter edits, squelchy synth bass, generally overzealous widescreen product ion trickery – are all over Pop like a rash. Unfortunately BT seemed to want to become a pop star himself soon after and it’s been (most ly) downhill since.





ew artists could claim to have enjoyed as spectacular a year as Bliss N Eso in 2010. The favourite sons of the Sydney hip hop scene have well and truly cemented their reputation on the national scale, thanks to their widely acclaimed fourth album Running On Air, which debuted at #1 on the Aust ralian ARIA Charts in August 2010 and was certified platinum shortly after. “The album going platinum was obviously a big thing for us – it’s our fi rst platinum record,” says Jonathan Notley. He’s speaking from product ion guru M-Phazes’ st udio, where work on the group’s fi fth album is already underway. The boys are sitting down with Phazes to work on some prep for what will surely be one of the most anticipated hip hop releases in Aust ralian history. Don’t start counting down just yet, though. “We’ve been working for the last couple of days, just on a bit of pre-product ion for the new album,” Notley says, before emphasising, “these are very, very early, preliminary stages.” Still, he’s happy to be looking forward. “It’s exciting. I’m really pumped for the next record.” He won’t be feeling any pressure to pump out a hast y release, though. “Sometimes the album process can be quite lengthy, especially if you have a lot going on.” Right now, it seems like nobody has quite as much going on as Notley, Max McKinnon (MC Eso) and Tarik Ejjamai (DJ Izm). Ever since the launch of Running On Air, the trio have been working so hard that they’re surely running on fumes. It’s been a non-stop touring whirlwind, locally and internationally. After the release, Bliss N Eso did a quick domest ic tour before setting out on their second trip to the USA, where they toured as the support for the Kottonmouth Kings. The positive response to their previous tour back in 2009 had them eager to see if they could repeat

their success, and the people of Notley’s home country didn’t disappoint. “The trip to the States? It was unreal,” he says. “The react ion was fantast ic – we were really happy with the response from the locals. They find our subject matter really refreshing. “From the outset, we were really excited about the way people were react ing to our tunes,” Notley explains. “It’s such an oversaturated, commercialised world over there, especially in hip hop. Of course there’s underground acts, but they’re few and far between in the States.” Still, there’s an upside to a st yle of music becoming more widespread. At a time when the Aust ralian hip hop scene is coming under fi re for tagging up toilets and causing damage, Notley was touring a country where hip hop culture isn’t so ‘othered’. “Hip hop is part of the landscape in America. It’s

so ingrained into the culture, it’s ridiculous,” he explains. “And it’s kind of hard to grasp that if you’ve only lived over here, and only seen Aust ralian st uff, seen it as kind of external.” Hip hop in America, and particularly graffiti culture, Notley says, is a different kettle of fish entirely. “It’s accepted. All the venues we were playing were covered with graffiti.” Bliss N Eso are determined to continue their bid to crack the market in the States (now nicknamed ‘Project Expansion’). “It reinstated in our minds that we definitely have a sound that goes over well in the States,” says Notley. Having received great responses all over the US, Notley’s looking to take the group’s international endeavours to the next level. “If we can find the right kind of support, the next step would be to possibly go out there and do

our own tour. Another area we’re looking at hitting up, potentially at the end of this year, is Europe.” Fortunately, Bliss N Eso have no plans to neglect their home turf. They spent summer playing fest ivals all over the country, including the Big Day Out. “We’d been trying to get on that stage for years, and it’d been a hell of a road,” Notley says, who particularly enjoyed his set at the Sydney BDO on Aust ralia Day. Not only did Bliss N Eso get three songs into the Triple J 2010 Hottest 100, but McKinnon (Eso) proposed to his girlfriend from the main stage. “When we came back from the States, he said to us, like a little secret, ‘Look, I’m planning to do this, and I want to do it on Aust ralia Day’.” Despite some last-minute hiccups with the custom ring, the plan came together. Next comes Groovin’ the Moo, and then the Running On Air tour – a twelve-date extravaganza that will see Bliss N Eso graduate into the bigger concert halls. With Horrorshow and the USA’s Big B along for the ride, Notley couldn’t be happier to be touring Aust ralia once more. “The last tour was only a little taste-tester, really. We scaled back the venues and only did the five major cities, and just a few songs off the new album. Th is time, we’re bringing in some new things and new songs. It’s by far the biggest tour we’ve done. I’m really excited about it.” WHO: Bliss N Eso WHERE & WHEN: Prince Of Wales Showground (Bendigo) Saturday 30 April, Murray Sports Complex (Townsville) Sunday 1 May, Maitland Showground Saturday 7 May, University Of Canberra Sunday 8 May, Hordern Pavilion (Sydney) Saturday 28 May, Fest ival Hall (Mebourne) Friday 3 June, Brisbane Riverstage Friday 10 June, Lake Kawana Community Centre (Sunshine Coast) Saturday 11 June












f you lived here, you’d have been shot by now” is probably how most Middle East tourist campaigns should be worded at the moment, judging by how they treat citizen protesters. Egypt, Tunisia, Libya, Bahrain and Iran have all seen mass protests and uprisings recently against the pack of bastards who have held power over them over the past four decades. So it seems like it might be a good time to take a look at some of the people who have headed the worst regimes in recent times and shrink back in horror at the realisation that the world really is run by a bunch of clinical psychopaths. JEAN-CLAUDE ‘BABY DOC’ DUVALIER (PRESIDENT OF HAITI, 1971–1986) Duvalier took over from his father, Francoise ‘Papa Doc’ Duvalier’ in 1971, and ruled until he was overthrown by a popular uprising in 1986. Up until then he was heavily involved in drug racketeering, with thousands of opponents to his regime tortured and murdered. Like all truly evil dictators, he spent US$3 million of state money to fund his lavish wedding while Haitians lived on a pittance – and anyone who opposed him was tortured and murdered. Baby Doc took advantage of the fact that Haiti is currently weak and vulnerable to come out of his exile and fly back to Haiti with the intention of regaining power. No sooner had he arrived in the airport than he was being clapped in handcuffs and arrested on charges of corruption, after he was done waving to what he thought were his adoring fans. KIM JONG IL (NORTH KOREA) Demanding to be referred to officially as ‘Our Dear Leader’ or ‘Our Dear Father’, Kim JongIl took over from his father Kim Jong-Sung in 1994, and proceeded to out-crazy him on every level. Under his command there are currently 250,000 people who opposed his rule in concentration camps and citizens of North Korea regularly suffer from food shortages and famine. In the 90s, it is est imated that 3.5 million people starved to death, and he also has a policy of deporting people who are disabled


or just short from the country onto uninhabited islands with the apparent intention of removing their short genes from the next generation – even though he himself is only 5”3. ZINE AL-ABIDINE BEN ALI (TUNISIA) Ben Ali assumed power in 1987 after a coup declared the current president incompetent. Under Ben Ali the country descended into human rights abuses and suppression of the media, such as the journalist Taoufik Ben Brik who was imprisoned after his criticism of Ben Ali’s rule. The five elect ions that Ben Ali won were not permitted to be monitored by international observers (probably due to some quest ionable vote tallying), with Ben Ali winning landslide victories in all of them. Ben Ali was finally thrown out this year in January by popular uprising. He tried to take refuge in France but was refused, making him resort to settling on Saudi Arabia instead. HOSNI MUBARAK (EGYPT) During Mubarak’s presidency there was widespread corruption in the government in order to prolong Mubarak’s rule for 29 years. Th is included undocumented detention facilities for opponents of Mubarak, suppression of universities, mosques and newspapers that opposed or even quest ioned Mubarak, and the imprisonment of political figures and act ivists without trial. After 18 days of protests this January, Mubarak was overthrown by popular opposition, despite his best attempts to control the huge crowds with ‘pro-Mubarak protesters’ who were act ually just violent hired goons who attacked the crowds on horseback. ROBERT MUGABE (ZIMBABWE) When the white colonialists of Africa got tired of stealing everything they could find, dictators like Mugabe just stepped into their role as thieves and murderers themselves. Mugabe came to power in 1980 and during his three decade rule he and his government are responsible for the deaths of a third of the Zimbabwean population (between 3 and 6 million people) through war, famine and government-sponsored violence. With a currency inflation rate of 100,000 percent per year, money has essentially no value in Zimbabwe, and life expectancy of a Zimbabwean has dropped to 37 for men and 34 for women, with rape by armed forces a reality for life for women. ALI HOSEYNI KHAMENI (IRAN) Ali Hoseyni Khameni is the current keystone of a regime that has controlled the population of Iran using a combination of fear, sadism and ultra-religious dogma for over 40 years now. After the Islamic Revolution in Iran in 1979, shit got crazy. Women had severe rest rict ions imposed on their freedoms and can be arrested and beaten at will by police who decide they’re not being moral enough at the time. Thousands of men lost their lives after they were sent off to fight in a war against Iraq, and anyone caught dissenting from the regime st ill risks being killed or just disappearing.







ason “Laidback” Cohen was always one of the more marginal and, consequently, interesting figures in big beat. He’d resist the nu-skool breaks hardliners. Cohen’s sound mashed up breaks, funky hip hop, and b-boy electro. In the past decade, many breaks DJs have reinvented themselves by championing other, albeit closely related, hip genres. The Wiseguys’ Theo Keating morphed into the fidget house Fake Blood. But Cohen st ill identifies himself as a bona fide breaks fiend. Breaks crossed over in Aust ralia in the late 90s, displacing house as the dance st yle, yet it never cracked the UK mainst ream – or so it appeared. Cohen begs to differ. “The Prodigy, The Chemical Brothers and Fatboy Slim have all made awesome breaks that gave the UK mainst ream a kick up the arse!”, the DJ maintains on the eve of a return visit to Aust ralia. “Breaks has influenced so much – and the genre doesn’t get the credit it deserves. UK daytime radio doesn’t really support cool dance music, and drum ‘n’ bass was peaking at this time, I suppose, but there’s nothing that comes close to hearing a quality DJ playing breaks. Aust ralia has the most appreciative club crowds in the world and your own daytime radio supported the music very early on, so I’m not complaining as Oz is an amazing place to play. Breaks is st ill underground in a few places but, for me, that gives it an exciting edge.” In fact, the breaks surge was a catalyst for the hyper-hybridisation that has defined dance in recent years. And Cohen is attracted to these ‘new’ musics. “Slow dubstep in a club is not for me, but the merging of dubstep, techno and garage is inspiring. Great Lengths by Martyn is one the best albums I’ve heard for ages. Kode 9, MJ Cole and Joy Orbison are great DJs and producers but, to me, a lot of it sounds like sophist icated breakbeat – the beats and breaks are just evolving in a slightly different way.” Starting as a teen turntablist, Cohen relished his first hit as Skin Up with A Juicy Red Apple on Polydor’s Love Records in the early 90s (Altern-8 remixed it). Assuming the handle Laidback, he subsequently presented two albums on the niche label Bolshi, the first,

International, particularly well publicised here. On the second, Frequency Delinquency, Cohen worked with engineer Robin “12Tree” Twelftree. Twelftree had played bass and guitar in rock bands before switching to elect ronica and producing tracks for the likes of Regal Records. Frequency Delinquency was proclaimed Amazon’s Elect ronic Album Of 2002. Such was the pair’s rapport that they’d form Slyde, Cohen suspending his career as Laidback. They then aligned themselves with Finger Lickin. Four years ago, and after a series of successful singles, including the cheekily entitled Krunk, Slyde delivered an album, Everyone’s Entitled To Our Opinion. Cohen’s eccentricity was very much to the fore on the song-oriented outing, with a nu-rave era cover of Ian Drury’s Sex & Drugs & Rock & Roll that impressed Radio 1’s Annie Nightingale – she’d known the late punk rocker. Nevertheless, even prior to Everyone’s..., Slyde were involved in Keith Flint’s solo project Clever Brains Fryin’. “The Prodigy are my favourite band and I’m happy I got Keith enthused about writing lyrics and performing again,” Cohen recalls of the collab. “It was an amazing experience – the music and shows were cool at the time – but I’m pleased [The Prodigy] got back to being a great band and I’m not responsible for them splitting up. We are st ill friends and that’s the main thing that’s important to me – they’re top boys.” Slyde have fresh music. “The new single out soon is called Escapism and the follow-up to that is Glitta. Every couple of months we will release a club banger on our own Slybeats digital imprint.” Another album is conceivable, he says. “The plan is to mix all the singles creatively with a couple of exclusives and release more of a DJ mix album. At the moment we want to write tracks to play out, but I’m sure we will release an ‘artist’ album when the time feels right.” Both members are again dabbling in independent endeavours. “Rob is mixing an LP for The Egg at the moment and I have started to write some Martyn/Hyperdub-inspired tracks, but with my own twist on it all. I’m liking UK funky and crack house, too, so it’s a question of finding a st yle, but I’m enjoying creating something fresh from scratch – although it’s early days... I don’t think it will be [coming out] under the Laidback name, though, as I want it to be very different to what I’ve released before.” Th is time in Aust ralia Cohen will fly the Slyde flag solo. “Rob is playing a few shows in South America, but you will get the full Slyde boom from me. I’m preparing new bootlegs specially for this tour – and there will be lots of new unreleased original Slyde tracks, of course. Some future garage, dubstep and elect ro all get the Slyde break re-edit twist in 2011. Oz always brings out the best in me – my best DJ moments have been on tour in Aust ralia. I can’t wait to rock it!” Cohen is a DJ ever capable of surprise. He was act ually the scratch DJ on Kylie Minogue’s Fever tour. Does he have any good stories? “Your Kylie is great. It was so much fun being in the Kylie bubble for two months, going everywhere in the UK and Europe. Playing 40 massive arena shows and then seeing the most famous showbiz bum in the flesh while walking under the stage while she was changing are memories that will live on!” WHO: Slyde WHERE & WHEN: Chinese Laundry (Sydney) Friday 11 March, Miss Libertine (Melbourne) Sunday 13 March, Breaks & Enter at Barsoma (Brisbane) Saturday 26 March








espite running one of the world’s most respected and innovative elect ronic music imprints – the impeccably cool Brooklyn-based Wolf + Lamb – Gadi Mizrahi was a man of few words on the day 3D World got in touch with him to chat about his upcoming tour. Luckily, Mizrahi’s CV speaks volumes. From musical stock, both Mizrahi’s dad and brother are accomplished musicians. Trying his hand at guitar as a youngster (“my older brother got me into new wave, like The Cure, Depeche Mode, The Smiths”), Mizrahi put the guitar away to turn his hand to turntables as hip hop piqued his interest (he admits though that he has recently started playing bass on his own productions). Beyond his hip hop beginnings, Mizrahi met Zev Eisenberg, with whom he created the Wolf + Lamb guise, initially in the form of a DJ duo. Zev in Hebrew means Wolf, with Gadi translating to Lamb. In the early noughties the duo were playing minimal and techno at a monthly event in Brooklyn which beared their name. The Wolf + Lamb parties at The Marcy Hotel quickly gained cult status, at which point W+L entered their next and most famous phase – morphing into a record label. In 2011 the label has progressed from its minimal and tech leanings to a warmer, deeper sound incorporating deep house, deep disco and that soulful space between techno and house so effortlessly inhabited by the likes of Wolf + Lamb alumni Seth Troxler. Other notable talents uncovered by the label include Lee Curtiss and Nicolas Jaar. When quizzed on the evolving sound, Mizrahi is circumspect - “It just happened naturally. Who knows what will happen next?” For the fi rst few years of Wolf + Lamb’s existence, Mizrahi worked back of house in charge of programming and A&R. The label’s success saw his tastemaking skills well and truly esteemed before finally releasing his debut EP She Don’t to critical acclaim in 2009. Deep and intuitive, years of nurturing his inner artist – as well as those on the Wolf + Lamb roster – had clearly helped shape a formidable talent. Like a proud parent, Mizrahi turns from staid to almost bubbly when asked about his record label output for 2011. Responsible for imprints Double Standard, Wolf + Lamb, and Wolf + Lamb Black, the humble label head reveals a heavy release schedule ahead. “There’s a ton of amazing releases on Double Standard Records and W+L

Black, our edits label. We’ve got a remix of Greg Paulus release that just came out, that’s super exciting. Remixes by Soul Clap, Deniz Kurtel and Slow Hands called the Crew Love EP. A really deep release by a new artist from Israel named Double Hill. The next Black release is by a super cool Turkish guy from London named Jonny Rock. Wolf + Lamb Records has a big release by Greg Paulus, half of No Regular Play, with a Crazy P remix.” It’s his DJ sets at venues such as Fabric in London and Watergate in Berlin, however, that remain the former Brooklyn, now Miami native’s signature. Eclect ic, intricate and often playful sets where alongside his originals and Wolf + Lamb staples, you’re also likely to hear Hall & Oates or a lost Janet Jackson classic. Mizrahi credits his annual closing sets at the infamous Burning Man Fest ival for softening his sound. Th is makes the prospect of his upcoming DJKicks release (mixed in tandem with fellow it-duo Soul Clap) all the more tantalising. As ever, the tastemaker avoids an obvious mix in favour of something truer to the Wolf + Lamb model. “We started with the more classic idea of making a mix of our favorite classics, but then we decided to go with the idea that we would keep the tracks all by artists in the immediate family.” WHO: Gadi Mizrahi WHERE & WHEN: Barsoma (Brisbane) Friday 18 March, Agwa Yacht Club (Sydney) Saturday 19 March, Royal Melbourne Hotel Sunday 20 March








elodrama is not a dirty word,” states Ben C Lucas, writer and director of Wasted On The Young. In his feature fi lm debut, Lucas explores teen culture’s obsession with social media and takes us back to a place that scares us all — high school. Not your average high school movie, this one focuses on a private school where the popular kids want for nothing and will do anything to ensure they get what they want.

Shot on location in Perth, the fi lm focuses on stepbrothers Zack (Alex Russell) and Darren (Oliver Ackland) and their relationship with Xandrie (Adelaide Clemens). Zack throws a party where after Xandrie dismisses Zack’s attention in favour of his loner brother Darren, she is drugged, raped, and left for dead. The search for truth, gossiping, plans of revenge and acceptance follow in a story that is emotional, violent and ultimately tragic. Hence the melodrama. “You make a naturalised fi lm and you’re quite specific about time, place, class, race. All those elements are very pointed in those naturalised dramas, which are fine, but I didn’t really want to make a fi lm about that. I wanted to make a fi lm about bigger st uff but instead of doing it in togas, we wanted to do it in school uniforms so to speak and that meant everything had to be elevated on some level so you are removed from the common experience,” explains Lucas. “Whether it is a science fict ion or western it is all about making that parallel to something epic or classic whether it be the Greek tragedy or sort of more st raight up play about murder or revenge or love or all of those kind of operatic things. They are the more interest ing stories that resonate with you and stay with you and I think part of a fi lmmakers job is to find new and innovative ways to give them a vehicle.” Bound within this melodrama of teen culture is a storyline that is both innovative and dist urbing. The fi lm’s driving force is how the characters interact with each other — enter the world of social media. Th is hyperreal world is aflutter with texting, post ing, and the wonders of the internet and both Lucas and Ackland agree it had to be embedded within the fi lm and without giving it away - it enables the ending. “It is just such an intrinsic part of that culture, that world, that not only did it have to be in the design and dialogue of the movie it had to be in the story. Everyone has an opinion, nobody takes ownership of it, that’s the way things work, and I thought that’s the kind of fascinating part of youth culture. Everyone clicks the thumb on YouTube or say they

‘like’ it. It’s just the way we communicate so I thought not only should they talk that way and communicate that way but it should be somehow intrinsic to the plot,” explains Lucas. The fi lm was initially a writing project for Lucas. Producers Janelle Landers and Aidan O’Bryan approached Lucas to write a script about two brothers and how something horrible happened to a girl at a party hosted by one brother and the other brother exact ing revenge in her honour, ending in quite the bloodbath. After securing funding from ScreenWest, the storyline was re-evaluated and the body count toned down a little. “When I first started the project it was just a writing project and I was fine with that and then when it act ually became a reality and I was offered to direct it, it became something very different and I had to think about it, because you only make your fi rst fi lm once and I had to put a lot of thought into how I wanted to present that showpiece. Not just for myself but for the producers and as more people became involved it also became about the other creators and the crew and, most importantly, the cast. So we had to be just a bit measured about the sort of cinema we were making and make sure it was cinematically competitive and that it was going to be something that stood out so that the effort was going to be worth everyone’s time and something provocative,” says Lucas. “It was st ill a good script but it changed for the better,” agrees Ackland. “The characters were the same, but they were more drawn out in the final product and you got more of a sense of this heightened reality in which they lived in.” While the body count went down, the fi lm’s fantasy sequences hint at bloodshed, but Lucas says not to get lost in it the violence. “The revenge fantasy is so commonplace and everyone wants to… and I am not going to say murder their classmates, everyone wants to exercise power of those that have made them feel bad about themselves and that is why it is a revenge fantasy and that is kind of the point that Darren is smart enough to realise it is a bad idea and come up with something a little bit more moral in a loose way.” Cast ing was overseen by Greg Apps (Romper

Stomper, Chopper) and the result was a fresh crop of Aust ralian talent who handle the emotional topics with authenticity and presence. Ackland says that if you are looking for gossip and drama, you will be disappointed. “The truth of the matter was, personalities cast and crew just meshed and it just made for an open environment. There was a lot of trust and people had faith in each other and you can’t ask for more than that for the atmosphere on a set. Add to that, the characters that Ben wrote with that bizarre heightened world with this kind of poetic dialogue was great, and we kind of got to bring that down to earth and anchor those words into reality, which was half the fun…half the challenge,” Ackland says laughing. “Half challenge, half fun… all work,” chips in Lucas. Whatever the combo, it equals a bloody fine fi lm. WHAT: Wasted On The Young WHERE & WHEN:

Screening in cinemas now






istorically, comic books have been a little misunderstood – and perhaps even underappreciated – in terms of their impact and influence over societal trends and issues. It was the worst in the 50s, when a little book called Seduction Of The Innocent, by psychiatrist and apparent lunatic Frederic Wertham, nearly dest royed the entire American comics indust ry by pointing out to people that all the graphic sex and violence that was being made available by comics to the children of the nation was unacceptable, an obvious means to corrupt the youth. Yet for all the negative press and damage Wertham caused the indust ry, in 1954 – the same year Seduction was released – a black man starred in his own solo mainst ream comic (Waku, Prince of the Bantu, in Jungle Tales), while Marvel’s Black Panther came along 12 years later and netted himself the mantle of ‘world’s fi rst black superhero’, a good three years before TV audiences were comfortable seeing Captain Kirk pash Uhura even though he’d been slamming green women since Day One. From here, comics proved to be one of the most forward-thinking mediums out there – everything from racism to sexuality, drug abuse, politics, and war; if you can name the issue or taboo, comics went there during the Silver (c.1956-70) and Modern (1970-present) Ages. Behind the capes; the “biffs”, “pows” and “whams” – comics were, and remain, socially aware. Except, uh, when it comes to women. Women have always drawn the short end of the st ick socially speaking, and classic comics were absolutely no exception. Even Wonder Woman, who now is one of DC’s ‘Big Th ree’ alongside Superman and Batman and is one of the world’s most celebrated female characters, started out as little more than a really thinly-veiled expression of creator William Moulton Marston’s BDSM power fantasies. But compared to the decades that followed, Marston’s poorly masked sexual deviance is pract ically literary genius. Th is is not to say there weren’t or aren’t any positive depict ions of the fairer sex, but generally those examples are exceptions to the rule that being a female in a comic book is by and large a pretty shitty experience. Th is trend was most notably demonst rated just over a decade ago by comics writer Gail Simone, who today is one of the most prolific and accomplished female contributors in the indust ry, on her website Women In Refrigerators. The site took its name from an issue of Green Lantern in which the protagonist , Kyle Rayner, comes home to fi nd his girlfriend dismembered and in his fridge, courtesy of villain Major Force. Simone noticed this was part of a dist urbing trend of lady characters meeting untimely and generally pretty gruesome ends at an arguably disproportionate rate to their male counterparts. Indeed, there does tend to be an element of adding insult to injury when a female character dies – maybe they were raped or depowered before, or eviscerated after, but either way, they could guarantee they weren’t going to go quietly or respect fully.


Part of this, undoubtedly, is due to the generally maleheavy composition of both comic creators and audiences. Not only that, but these are guys who have spent their whole lives invested in fantasy worlds, so it shouldn’t be surprising they can’t write dialogue for women because it is quite obvious they’ve never spoken to a woman IRL. Take a look at Chris Claremont, who is renowned as the man in some X-Men fan circles (he wrote Uncanny X-Men for 17 years straight, until 1991). Last year, Claremont and Marvel released X-Women #1, which ostensibly was a victory for dismembered girlfriends everywhere. When it was unveiled though, the scent of disappointment and failure was practically tangible – everyone was dressed as scantily as possible and Rogue even taps into a Den Mother instinct and begins to enjoy ironing. Really. Are you mad yet? You should be.

The rub is that it’s not necessarily better when these writers try a different approach. The main problem when male writers try to appease a demographic they don’t quite underst and is that they take things a little too far. For example, amidst the comics-based fi lm and TV rush that has manifest ed in the past 5-10 years, a new Wonder Woman series has been put into development with Adrianne Palicki (you might know her as “Sam’s burning girlfriend” from Supernatural) cast in the title role; but in this incarnation, far from being an Amazonian Princess sculpted from clay and made real as depict ed in her 2009, Simone-penned, animated feature (which was awesome), Diana Prince will be “a vigilante crime fi ghter in LA but also a successful corporate executive and modern woman trying to balance all the elements of her extraordinary life.” Add to this the fact that her printed incarnation recently got herself a totally unnecessary but supposedly critic-appeasing brand new look with fl ak jacket and act ual pants (since it was always quest ionable why she chose to fi ght without pants), and there’s a real sense of “what the fuck?”, right? Of course, it’s not all disaster on the horizon. High hopes are held for The Dark Knight Rises, Christopher Nolan’s third Batman fi lm, which will feature Anne Hathaway as Catwoman. Th is especially holds promise as her characterisation will likely be based on her modern print counterpart – a st reet-wise and compassionate Robin Hood type who fiercely protects the East End of Gotham City and steals more for necessity’s sake than for shits and giggles. That’s a character everyone can get behind. Morally ambiguous, beautiful yet imperfect, sympathetic and relatable yet fierily independent – her st rengths outweigh, but do not negate, her vulnerabilities, and that’s a balance far too seldom achieved in the realm of meta-humans.



MISS JAIME WHERE AND WHEN WAS YOUR FIRST SET? “My fi rst ‘proper’ gig was at Alhambra Lounge in November 2008… I think!” WHAT’S YOUR FAVOURITE ALL TIME 12”? “Probably Booka Shade’s In White Rooms. Trentemøller’s Moan is up there too.” WHO ARE YOUR FAVOURITE DJS? “I always enjoy catching local guys like Tranceducer, Digital Divide and Subliminal Dubsterz. Internationally, I’d say Oxia, Claude VonStroke, David Keno and Slam, who I was lucky enough to support on their recent visit to Brisbane.” FAVOURITE CLUB TO PLAY? “Barsoma is probably the most enjoyable. There’s always such a good vibe and a lot of friendly faces!” WHAT’S YOUR BEST ALL TIME GIG? “Most recently, supporting Kazu Kimura at Barsoma. Last year’s Manifest fest ival was a pretty big highlight too.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “Probably a few gigs I did about 18 months ago, where I had to stop the music mid-set, put on some cheesy elect ro (namely David Guetta’s Sexy Bitch) while the club held their monthly ‘bikini contest ’.” WHAT’S THE WORST REQUEST YOU’VE GOT? “I used to play a couple of residencies at upper end cocktail bars and lounges around the city where I’d play a lot of deep house. I would get endless requests from the ‘older’ crowd for bands like Cold Chisel, AC/DC, or just ‘something I can sing along to!’.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “I think they are pretty cool about it. They are always really supportive when I get bookings. They are probably glad I have a day job to fall back on though!” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “I think the Brisbane scene is really holding its own at the moment. It’s good to see different groups of promoters working together to create bigger, better and more unique events, both indoor and outdoor. Having said that though, for these things to keep happening punters really need to come out and show their support!” UPCOMING GIGS? “Watch this space!” PHOTO BY TERRY SOO AT ALLONEWORD






Given The Chemical Brothers have probably played several million shows in their time, you know it’s been a good one when Ed Simons tweets immediately afterwards that Brisbane Riverstage has entered their top ten of all time. Our editor isn’t bitter he couldn’t climb out of his sick bed to see it, not one bit…

COMING ROUND THE MOUNT Our word out of Melbourne is that Mount Kimbie’s set there on the weekend is an early gig of the year contender. You know where Barsoma is, so you should be there this Friday…


Professor Bailey of Northwestern University, Chicago, has had to apologise for allowing a couple to demonst rate use of a sex toy during his human sexuality class. What? Didn’t they make sure it was clean fi rst?



Rain or no rain, you’d think the good people at Future would have Doomben worked out well enough by now to have all stages operational – including two of the major ones – by the time gates opened to the public. If a DJ drops a bomb to an empty field is it st ill a bomb?


Eminem’s unreleased Jay-Z/Kanye diss track GOAT (Greatest Of All Time, not Good Old AutoTune) surfaced last week. Better than anything on Relapse or Recovery, did Em back down for fear of reprisals? What would Slim Shady say?


Enough about these two celebs in the news, please. Sheesh, it’s not like they st uck their dicks in a dog’s mouth or bought a new mattress for Hugh Grant’s ex.

How much bigger can an intimate gig with Mount Kimbie be? White Rhino have pulled together six live acts, six DJs and two epic stages, with the exciting additional of UK’s Spatial to the bass rattling line-up including Seekae, Toy Balloon, Science Project, Rest ream, Elroy 4.0 and more. A night presented by 3D World on the cutting edge of all things dope. Get your tickets for $42 from Oztix and head to Barsoma on Friday 11 March. Don’t be the person calling for a wahmbulance when you don’t go and your friends bang on about how amazing it was. No one likes that person.


If you haven’t heard of Six60, despite their last tour selling out, you’re probably going to want to get up to speed on the New Zealand act ’s fusion of roots, reggae, drum‘n’bass, hip hop and dubstep. It’s what the kiwis do best, and you get the chance to catch them with Dank Morass in support Friday 18 March at The Zoo. Tickets are available now from ozitix. and


March is a big month with Subtrakt residents Rikki Newton and Adam Swain celebrating their birthdays, and what better way than with UK’s Tsuba Records label boss Kevin Griffiths bringing a deep house birthday cake. Look out for Dan Abbott and Ash Dionysius joining the birthday boys in support, and prepare your headlamps to go deep underground. Catch the act ion on Saturday 19 March at Barsoma.


The windows keep rattling with the quality of dubstep touring at the moment, and especially with UK’s Cottonmouth heading up a bottom heavy cast including Kurrupt, Lincoln, Subliminal Dubsterz, Arct ic, Snailien and Pushy Vagrants. Spare a thought for your intest ines when you’re hugging those subs, you 20hz deviants. Get your bass face ready for Friday 8 April, with tickets available for $20 on the door at Step Inn.


Cheer up, Garfield, because your Mondays are about to get 250 percent more radical. Carlton Dry are showering beer-flavoured love on the Thank God It’s Monday Indust ry Nights, as a celebration of the end of the working weekend for nightclub and bar staff. Or just an excuse to kick-on. You get Ajax, Goodwill and Alison Wonderland at Monastery on Monday 14 March. Be sure to tip well. Karma and such.


As seen across Europe, the USA and particularly in Ibiza, there’s always room for post-party sun and scantily clad socialising. The VIP Recharge Pool Parties are set to st un at Vibe Hotel on the Gold Coast. Expect eye-candy, a BBQ and poolside fashions by Division Models and Bikini & Me. The


soundtrack is provided by DJ Maladjusted. Tickets for Sunday 13 March are available via www.vipfest


If you can remember the 2010 Big Day Out tour, you will recall the hip hop giants Dead Prez rocked the spot on the heavy underground tip. The river city gets a hall pass to get gangsta on the act’s fi rst ever headline show. Not too gangsta though – this is some real proper hip hop shit, so act like you know and cop it at The Tempo Hotel on Thursday 10 March.


Hot on the trail of the hype surrounding his new single Paradise, Sam La More is clocking up the frequent fl yer miles at a furious pace. Th e elect ro house don is stopping by Shooters on the Gold Coast on Friday 25 March and Rolling Rock at Noosa on Friday 15 April. Check out the new single Paradise at all good virtual record st ores. So, basically, iTunes and such.


While we’re talking Monastery, let us quickly rattle off some of their other big upcoming shows, starting with Bag Raiders Monday 25 April, the Brisbane launch of Sydney’s Trashbags party featuring Designer Drugs and Cyberpunkers Saturday 14 May, Monkey Safari Friday 20, AC Slater Saturday 21 and Trashbags returning with Gtronic Saturday 5 June.






One of Berlin’s most prolific producers, Daniel Steinberg is heading our way. With successful releases over the past few years on labels Micro.fon, Grand Petrol and Stylerockets, his passion for the club scene is highly infect ious. Steinberg has played some of the biggest venues in Europe, including Panorama, Watergate and Tresor, and his intense techno/house beats will ignite audiences on his Aust ralian tour to showcase his debut artist album Shut Up. Catch him at Alhambra Friday 8 April.


Who knew that the ultimate house party band would smash the outside world as well as it does coffee tables and your Mother’s Franklin Mint collect ible plates? DZ Deathrays have recently signed with Aust ralian label I OH YOU and are hitting the road to break st uff – and support an EP release with the rad title Brutal Tapes. You can be radical by association at Woodland (Brisbane) Friday 1 April and Shark Bar (Gold Coast) Saturday 2.


Both the minimal and maximal sides of techno collide at Parity Check at the Step Inn Corner Bar. Look out for epic loops with a bass heavy line-up including Animator, James Hunter, Fletcher Munson, Windowboy and Dispatj. It’s free, there’s beer and it all happens on Saturday 19 March from 8pm until the TR-909s or your face melt. Whichever happens fi rst.


There is very little that you need to bring, because these are bona fide party starters. One half of the Wolf + Lamb onslaught, Gadi Mizrahi is the innovative entrepreneur that sidestepped the music ladder and jumped st raight to the top as the caretaking of a DIY party zone that fl ipped NYC on its head. It’s our turn at Barsoma on Friday 18 March. Stay tuned for local supports.


Earning the just ified title of a “slow burner”, Foreign Tapes crept into best album lists of many critics at the close of 2010. Moving through 2011, Parades are touring in support of their new single Water Stories. Dubbed a “burst of frenetic beats and ethereal vocals”, the single will translate perfect ly in the eclect ic live show, making this one to watch. Get in formation at Woodland Bar on Saturday 9 April. Little Scout (who we think are just the cutest) have support duties.




It’s common knowledge that red jumpsuit wearing Norwegians generally equates to a party, with Datarock being no exception. With their beats featured everywhere from Jersey Shore to Need For Speed and The Sims 3, it’s a good bet these guys have ear wormed their way in to your skull at some point. The ambitious group are also experimenting with release formats for their latest single Catcher In The Rye, a designer toy USB st ick that has 110 tracks, 1500 photos, 20 music videos and a feature length documentary for starters. They play The Zoo Wednesday 4 May. You do not get a discount if you show up to their gigs in a red jump suit, but you may be swifty picked up as a house painting contractor.


Stock up on party st reamers, champagne and overpriced birthday cards that will be thrown st raight in the bin, because it’s birthday number two for Jack’d. They thought they would do something small and intimate like a massive party with Format:B and a solid guest cast including Animated, Dan Gavel, Jason Haskell, Bert Brown and the increasingly reclusive but always appreciated Chappo. So you can leave the cards and candles at home and just get along to Monastery on Friday 25 March.

MARCH OMAR SOULEYMAN – Wednesday 9, The Hi-Fi STEVE AOKI – Thursday 10, The Met DEAD PREZ – Thursday 10, The Tempo Hotel WHITE RHINO: MOUNT KIMBIE, SEEKAE, SPATIAL – Friday 11, Barsoma STEVE AOKI – Friday 11, Platnium CITY: BEATS VOL 2: DIZZ1, TIGERMOTH, DJ BUTCHER – Friday 11, Alloneword BEATS WORKING – Friday 11, Step Inn ILL BILL, DJ ECLIPSE, SABAC RED – Friday 11, Step Inn POCKET MUSIC: GODINPANTS, DOT.AY, CHEAPSHOT – Sunday 13, X & Y Bar JOEL TURNER, JIMMYZ– Sunday 13, The Wickham AJAX, GOODWILL, ALISON WONDERLAND – Monday 14, Monastery AFRO CELT SOUND SYSTEM – Tuesday 15, Hi-Fi Bar BASSNECTAR – Thursday 17, Barsoma SIX60 – Friday 18, The Zoo GADI MIZRAHI – Friday 18, Barsoma KEVIN GRIFFITHS – Saturday 19, Barsoma ARJ BARKER – Tuesday 22, Gold Coast Arts Centre LANEOUS & THE FAMILY YAH – Thursday 24, The Zoo TUKA - Thursday 24, The Zoo FORMAT:B - Friday 25, Monastery JOHNNY D – Friday 25, The Melbourne Hotel SAM LA MORE – Friday 25, Shooters USHER, TREY SONGZ – Saturday 26, Brisbane Entertainment Centre THE BELLIGERENTS – Saturday 26, Woodland SHITMAT – Sunday 27, X & Y Bar RED BULL MUSIC ACADEMY: STEVE SPACEK - Thursday 31, Kerbside Bar APRIL DOOM – Friday 1, The Hi-Fi DZ DEATHRAYS – Friday 1, Woodlands THE ASTON SHUFFLE – Friday 1, The Met THE BELLIGERENTS – Friday 1, Lake Kawana Community Centre DZ DEATHRAYS – Saturday 2, Shark Bar DANIEL STEINBERG – Friday 8, Alhambra Lounge THE BELLIGERENTS – Friday 8, Elsewhere DANIEL STEINBERG – Friday 8, Alhambra COTTONMOUTH – Friday 8, Step Inn THE HERD – Friday 8, The Zoo DZ DEATHRAYS



DJ Khalil played an omnichord on Jim Jones’ obscure Love Me No More – yes, an omnichord, something like an elect ronic autoharp and cooler than a keytar. The 80s invention can be heard on Eurythmics’ synth-pop Love Is A Stranger and Daniel Lanois, among others, digs it. But Khalil’s use is rad – and all the more so since the Aftermath affi liate isn’t exact ly the hottest hip hop/R&B producer on the block, despite his involvement in Eminem’s Recovery. In fact, in the Auto-Tune (or era, there’s really no urban producer who is equally innovative and ubiquitous. The Neptunes and Timbaland have both run outta steam, while Kanye West has transcended his producer status to become an artiste. Ryan Leslie, like 7 Aurelius (and DeVante Swing, remember him?), has never fulfi lled his potential, which leaves only Drake’s illwave cohort Noah “40” Shebib as game changer. Aside from West, Mark Ronson could be today’s most important all-rounder. The New Yorker shook off his ‘celebrity DJ’ image when he teamed with Nikka Costa for 2001’s Everybody Got Their Something, giving her vintage rock some st reet cred – very Rick Rubin. Like A Feather stands as her finest moment – and Ronson believes it established him. Still, Ronson, speaking to OG Flavas ahead of his Aust ralian tour, said it was “quite a battle” to persuade Costa to rock out over hip hop beats. Later, he’d cut a hip hop joint with Jack White and Freeway, plus remix Bob Dylan, a first. Ronson’s work with Amy Winehouse on Back To Black was exceptional – and comparable to that of Phil Spector. Ronson has now presented three ‘artist / producer’ albums that are much more consistent than Timbaland’s. The popular Version reinvented the covers album. Last year he created a classic jam in the Afro-beat Somebody To Love Me, featuring the soulful Boy George, off Record Collection. One of that album’s other stand-outs was the avant-garde Glass Mountain Trust with D’Angelo, the song originally an inst rumental. Ronson has been attached to D’Angelo’s long-awaited third outing, tentatively entitled James River. Ronson, who describes D’Angelo as “a fucking genius”, confi rms to OG that the pair have “talked” about collaborating together again, with “scheduling bullshit” intervening. “We’ve tried to get in the st udio quite a few times, but it just hasn’t worked. But, hopefully, at some time we will soon.” Yes!



or the last 12 months I’ve been putting together the campaign to release the album,” Tullum Delaney begins on the process which is finally seeing Beats Working’s second album Found The Sound see the light of day this week. “It was finished probably this time the year before and we had plans to get it out probably middle of last year. We put a lot of effort into the album in comparison to the fi rst one [2008’s Harbour Drive], we wanted to get all the ducks in a row as far as the indust ry and who we went through and that. It’s been busy times.”

But the hard work for vocalist /manager Delaney (aka Mr Mullut) and his cohorts Handsome Dan (vocals), James Branson (vocals/music), Gruff (scratches/MPC) and drummer Dom Shields is paying off. Found The Sound swings with as much cocky swagger as any of the band’s more fancied Aust ralian hip hop counterparts, packing a hefty guest cast including Ezekial Ox (ex-Mammal), DNO, Tommy Illfigga and DJ Katch. And the group are happily ploughing musical territory from far outside the usual Oz Hop paradigm. “We all really like hip hop but listen to such different music when we get home,” Delaney explains. “I’m the crazy hip hop head of the bunch – everything I listen to has raps in it unless it’s old-school. James goes home and listens to Stevie Wonder and James Brown and a lot of pop st uff that I really turn my nose up at; Dan’s quite into Rage Against The Machine and RHCP, the heavier rock st uff. Everyone’s a fair bit older than me, too. They have grungier backgrounds. When we come together and st ick our influences in a melting pot, we have to come up with an album that everyone likes and that’s the key – when we decide that everyone’s into it, we know we’re onto a winner.” So does that result in a bit of old-fashioned st udio tension with so many cooks of different flavours in the kitchen? “We have heaps of disagreements,” Delaney confesses. “Especially when it comes down to the finer touches. We argue a lot, sometimes we’ll go a week of ‘cool-off ’ period. It’s a hect ic thing to be in a group with four other dudes, and its much the same as a relationship with your missus –

there’s got to be a lot of compromise going down and sometimes you have to do things you don’t necessarily think are great, just the way it goes, all part of bringing out the best work at the end of the day.” And with close friendships at the heart of the band’s working relationship, even the occasional steam release doesn’t get in the way. “Dan and James went to high school together, grew up with each other for a little while, then James moved down to Sydney and spent the better part of his teenage and adult life growing up there. I met Dan when he was down in Newcast le for university, through drinking and rowdiness most ly. Dan had some decks at the time, and we liked the same sort of music. When he decided that he wanted to get involved with making music, I was doing tunes with a few other local guys and I jumped in the car and headed up there. I had no idea it would turn out to be what it is, but I’m really st oked that it did.”

WHO: Beats Working WHAT: Found The Sound (Hydrofunk Records) WHERE & WHEN: Step Inn (Brisbane) Friday 11 March, Mary Gilhoolies (Lismore) Friday 25

March, The Brewery (Byron Bay) Friday 8 April





mar Souleyman is a legend of dance music, but not as we might know it. At the forefront of Syrian folk-pop and st reet-level dance, the mix of traditional Dabke st ylings and modern consumer technology has made an icon out of the prolific artist. There are the layers of spiraling Casio keyboards over a st ampede of percussion, underpinned by the solid Arabic drum core that has inspired countless tribal house peak time anthems. Washing over the top of these foundations is a relentless sandstorm of musicality and vocals that sound both dangerous and exciting in a marketplace dominated by Auto-Tuned Western pop predict ability. Coming from a region of North-Eastern Syria that sits at a crossroads with Turkey and Iraq, Souleyman mixes the many elements of a rich cultural expression into a popular and prolific career. Losing count of the releases attributed to his name, Omar suggests “there are about 500 recorded tapes”. Many of these are unique and spontaneous, a collect ion of performances at both public and private events that might be taped, swapped, traded and cherished amongst his many fans. “New material is sometimes created for weddings that I sing [at] in Turkey and Syria mainly,” Souleyman says. “Most of my songs are traditional however.” It is these traditions of Dabke that have granted Souleyman the spotlight on the world music stage, a term which the man himself is largely unfamiliar with. Such is his popularity that audiences far removed from the context of Syrian st reet culture line up in droves for performances. As a legend in his home country, this doesn’t surprise Omar. “Everywhere I go I am greeted with big enthusiasm; London, Brooklyn, New York and Chicago as well as many others are very memorable visits. I enjoy making people very happy and giving them a good time and good party.”


As this party touches down in Aust ralia, audiences will get the chance to experience the energy of Souleyman’s touring troupe for themselves. Aside from pockets of Arabic communities, the recent up-swell in visibility and vocal advocates of Dabke music is a curious phenomenon in itself. It shouldn’t be too surprising, as the likes of Diplo and Switch have plumbed reggae and dub culture for projects such as Major Lazer – not to mention the meteoric rise of MIA. If the Detroit techno forefathers pursued the soul of machines

through dance music, Souleyman’s virtuoso keyboardist Rizan Sa’id uses machines to pursue the modern soul of a timeless culture. “The elect ronics that Rizan makes are common in Syria and the region,” Souleyman says, “but he is a great master, so they come out very exciting.” This shift from the traditional inst rumentation of the lute, tabla and daff is by no accident, as even the oldest forms of expression and celebration are propelled forward. “Dabke is a long tradition in Arabic music across all Arabic lands,” Souleyman says, “and the elect ronics that we use in my songs are extremely important and develops in its own way in the Arab world. Dabke is in my blood and I decide to make it exciting with the elect ronics used.” The excitement isn’t limited to the audience, despite the calm and cool demeanour on stage, Souleyman confides, “I get a lot of excitement from the audience and how they react to my music.” As for exact ly what is in store for local shows? “Aust ralian audiences can expect a loud and great party!” WHO: Omar Souleyman WHERE & WHEN: The Hi-Fi (Brisbane) Wed 9 March, Annandale Hotel (Sydney) Saturday 12 March

And if you do get your hands on his latest DVD, Forever, you’d get a sneak peak into his previous dabbling in Flash animation, Arj and Poopy – a series starring himself and his cat Poopy that speaks in farts. “I’ve had a coupla cats, but Poopy is not specifically based on any one cat,” he says as 3D World asks him if the series was based on a cat he owned or how about a dog. “No, but I’m sort of an uncle to several dogs.”



I’m st ill hearing Aust ralian acts that sample worn out breakbeats jacked wholesale and oddly enough no one quest ions it when I read comments. I’m amazed by the laziness. I shan’t mention any names but seriously kids, as much as I would like to heap praise I find it impossible when there are those who go the extra mile such as Adelaide’s Nostalgia Entertainment and their nine track The Sampler. It’s available free online and it involves the participation of four different acts – Grifters Inc, Realizm, Dynamic Methods and DJ Faint One. And also check Bandcamp for Brisbane’s Tigermoth and his EP The BK Exp.If you like your beats with an experimental bent then his five tunes might tickle your ears – he also has an album due out in April. One of the most treasured cassettes I have at home is from Swollen Members’ Madchild. He dropped it in the mid-90s while he was working with the legendary Bomb Magazine in San Francisco. He then relocated back to Canada and formed one of the most prolific acts of the region with Prevail and Rob the Viking. He’s now released his second solo Banned From America. It’s okay but it makes me want to revisit his excellent Claust rophobic EP and the equally as good Jam Like A Tec. Th is was all an excuse for a recommendation from the past... Adelaide’s Afro-beat outfit The Shaolin Afronauts just releases an excellent 7-inch on the Aust ralian friendly UK label Freest yle. We don’t get many artists within this musical sphere touring here, let alone locals releasing anything of magnitude. So far it’s been relegated to less than a handful of vinyl singles as far as I’m aware. The Shaolin Afronauts’ Journey Through Time/Kibo joins the tiny local output of the genre that was recently preceded by Kafka’s Afro Innay on Mighty Highness and the Public Opinion Afro Orchest ra’s Two Sides of Truth EP from this time last year, which also included vocals from Prowla’s mate Tumi. We Love Kool Herc consists of 18 tracks submitted by the elect ronic label’s friends. It includes a Dâm-Funk inst rumental version of Spoonie Gee and The Sequence’s 1980 classic Monster Jam as well as tunes from Hezekiah, Ursula Rucker, Lushlife, Ras G and King Britt.




aybe it’s his drawl or the way he takes his time with the answers as if he were smoking a spliff in between quest ions, everything Arj Barker (eventually) says sounds funny. And that’s why Aussies can’t get enough of the Californian. Somewhat ironically, it’s his awkwardness that makes him so endearing. On stage in Sydney last year, he lost his cool and then his momentum over a heckler. He walked around on stage uncomfortably only to be cheered on riotously by a crowd who obviously adored him. Yet, he received some serious complaints about his show, Let Me Do The Talking. “It’s a great show from beginning to end. I’ve been working really hard on it but I’ve had a lot of complaints since the start of the tour and it’s always the same complaint.” What’s that, 3D World asks. “People say their faces hurt from laughing. If you get a chance to see it, you should. I can honest ly say it’s a very funny show, probably my best show yet.” Barker likes to take the piss and he enjoys the occasional prank – though one which has turned up a pict ure of him in his birthday suit on Google backfi red somewhat. “It was meant to be a pract ical joke. I was housesitting and I thought it’d be funny if I took a pict ure naked with his guitar. And when he sees it, he’d be like ‘WTF were you doing in my house?’. I guess that pict ure got leaked.” Still, he seems like someone extremely comfortable in his own skin. Does he laugh at his own jokes when he watches himself? “Well I don’t watch myself, only when I’m helping with the DVD editing. But I don’t really sit around and watch myself. I leave that to other people.” Maybe he’s a Johnny Depp type, far too critical about himself. “Well, I don’t need to. I know what I’m gonna say,” he says laughing.

Besides, with Barker’s lifest yle, it may be a little difficult to own pets. He’s been in Aust ralia now for more than half a year. “I have a lot of friends here and I don’t differentiate good friends and family.” Despite his semi-residency in Oz, he fl its around state to state in a manic nomadic way. Flying all the time can’t be fun. “I sat next to somebody with not the freshest breath in the world. I generally don’t chat too much until we’ve landed. Because if you start talking in the beginning, you may have to chat with them the whole ten hours. And if they have halitosis, that can be a real problem.” For Barker, it’s just a little compromise for having made it as a comedian. What would have happened if he wasn’t a comedian though? “I think I’d be a doorto-door encyclopedia salesman. But I think business would be tough since the internet came out.”

WHO: Arj Barker WHERE & WHEN: Brisbane Powerhouse Tuesday 15 - Sunday 20 March






GPO SATURDAYS FEAT JIMMY VEGAS THE IDEA BEHIND OUR NIGHT IS… “One of the local heroes, Jimmy Vegas has been a resident at GPO and a major part of the Brisbane music scene for a number of years now. Th is year sees Jimmy Vegas concentrating on the st udio and product ion side of elect ronic music as well as tackling his numerous gigs with an unrivalled sense of energy and a magnetic presence behind the decks. In short, he is not going anywhere and the future looks bright for this new breed of DJ talent.” WE’LL BE PIMPING THE SOUNDS OF… “House/elect ro.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Jimmy Vegas, Brett J, Morgan Shaker, Benibee and Trav White.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Plenty of acts and new parties to be announced very soon!” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Great music. Great atmosphere.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “A daily whiff of Brett Hunter.” WHERE & WHEN: GPO Hotel Saturday 12 March

WHAT INSPIRED YOUR DJ NAME? “Emma Louise, every name has a ring to it right? Or if not muddle it around some way.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Anything from darker-edged, swamped-out minimal to let’s not just limit it to Italian punchy techno.”


WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Bring on the cheese I reckon, but don’t ever rip off The Doors in a bad way.”

WHAT TRACK TURNS YOU ON RIGHT NOW? “Butane by GaGa, Mad Clinic by Max Bett and Cake by Glitter get me pretty hot right now!” WHAT MADE YOU START DJING? “After packing away the flute and piano after many years I went off to the Adventjah rave in 2001 and Lisa Lashes

st range that people cannot be allowed into a nightclub to go watch their best mate or favourite artist play and get turned away for not wearing ‘correct’ attire. Now that’s just st range.”

was one of the artists I saw there, pretty sure she was one of the few women spinning tunes. Her energy and that dancefloor blew me away more than any other set of the party.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “I like weird and of late I have not seen anything super weird although I find it really


KE$HA, BEARDO BRISBANE RIVERSTAGE 03.03.11 The eerily young crowd wait anxiously under ominous skies as Beardo emerges onstage, seemingly to lower expectations for the evening. His fusion of pop, hip hop and rock’n’roll isn’t just ordinary, it becomes grating before long. Like a glorified hype man he paces the stage yelping his lyrics, occasionally picking up a guitar and almost making us wish that MIA’s Paper Planes was never written.

THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Random: ‘hey we have such similar tastes, you mind if I play half ya set?’” WHERE & WHEN: Lets Get Minimal and Friends at Barsoma Saturday 12 March

it’s completely disconnect ing, particularly given her fans have braved torrential rain to witness her in act ion. When she finally comes down to the stage the show is infinitely better and a little clichéd pop choreography lifts spirits throughout the soaked crowd. CUNxTuesday certainly doesn’t lift the tone, though at least the catchy Dinosaur picks up the vibe with some help from a chair dance and some cowbell. An awkward Grow A Pear featuring an audience member wrapped PHOTO BY BEN MACCOLL

We all know Ke$ha’s steez by now – she’s the foul-mouthed, faux-glamourous trailer trash babe who is all about empowerment through partying. While this all sounds somewhat noble, it becomes dist urbingly clear upon witnessing pre-teen girls squealing and dancing as the 24-year-old chants “The beat so fat gonna make me come” during opener Sleazy that there’s something seriously wrong about this woman being considered a role model. Th is aside, Ke$ha doesn’t do herself any favours through the fi rst part of the set, performing on an elevated platform towards the back of the stage – as if the gigantic Riverstage wasn’t enough of a pedestal. It’s a shame, because Take It Off sounds positively slamming through this massive system, but visually 32 3DWORLD


KUMAR’S CAPERS All Th ings House with BEN KUMAR



in plast ic does little else but make set closer TiK ToK sound like a modern masterpiece (which it pretty much is), before the encore of We R Who We R gets the biggest response of the night. The night finishes in a confounding manner as a man dressed as Santa Claus faffs about the stage singing a horrid rendition of the Beast ie Boys’ Fight For Your Right while Ke$ha hits at a piñata centre stage. We couldn’t make this shit up. DONNIE C

OLD DOGS, NEW TRICKS Capers’ recent objects of affect ion have seen more love than was expressed in all of Warnie’s tweets to Liz. The falls from grace have been spectacular, and Charlie “I’m Clean” Sheen in particular. The English even got beaten by the Irish, at something other than drinking and terrorism. Lil Jon, Steve Aoki and Laidback Luke also teamed up to write a track. My joy that they had joined a suicide cult was short-lived though, as was said cult. So out of the milieu that has been contemporary popular culture, house music has been in for its yearly check-up at the vet, been asked to turn its head and cough and given a clean bill of health – different to Charlie Sheen’s version of “clean”. Leading the pack is the consistently drummy tribal brilliance of Spanish DJ Chus, as he teams up with fellow Spaniard David Penn to mix Defected In The House Miami for UK label Defected. It’s a corker of a house mix, combining all the right elements to make a great party mix. You’ll need cocktails, sunset and a beach when listening to it – and that doesn’t mean $2 shooters at some Gold Coast shithole either. There’s something to be said about quality and longevity too. Vintage clothing has been all the rage for a couple of years now, but vintage ginger, that’s always been in st yle. Th is is a


reference to Mr Nick Warren (of Way Out West fame) and his call-up by the selectors to mix the next in the widely popular Balance mix series. Wazza reckons he’s taking a deeper, techier angle over these two discs, and Capers awaits the results, as well as his Aust ralian tour in September. The veterans keep delivering, as Omid 16B brings his Alola label back into the spotlight with Sounds Like Alola – Volume 1 & 2, mixed by Demi and Omid himself. The Alola label began in 1993 and has been quiet since 2003, but in that decade brought the world some fantast ic house music. The new comp wheels out the oldies and introduces us to


a plethora of new and unreleased candy. Womack & Womack would never usually grace these pages; however Freaks & 012 have produced a deep house gem with their cover of Conscious Of My Conscience. The mix topping all the charts at the moment is by the indefatigable Henrik Schwarz. 1. Low Life’s Gospel MATA & MUST 2. Audio Biography SIMPLEX 3. Fabric 54

DAMIAN LAZARUS 4. VA All Day VEGAS ACES 5. Best Of Remixes BLOODY BEETROOTS 6. Clubbers Guide To 2011 VARIOUS 7. Scotty Hard’s Radical Reconst ruct ive Surge SCOTTY HARD 8. Deadbrain Diaries TORNTS 9. Drama To The Finish STATESMEN 10. Ginza Crime Library MATTY FRESH


SANDER VAN DOORN Demonst rates that you don’t blitz best-DJ-in theworld lists by having a bit of a laugh. He takes his mixing very seriously and draws his frenzied audience in with both st ruct ure and clarity, smiling all the way.

LEFTFIELD From the get go, Leftfield prove that their 16-year-old tunes sound more futurist ic than most of what’s on offer today. Hearing bonafide classics Song Of Life, Afro-Left and Phat Planet together with pulsing, shark jaw-peppered visuals is akin to being transported through time. Now about that third album...

THE CHEMICAL BROTHERS The lauded British pair dest roy all in their path with a set of pure class. The multiple reworking of vocal lines and bass tremblings keeps punters guessing while all the hits st ill attack with a zest that is entirely their own.

PENDULUM A definite feeling of ‘I like your old st uff better than your new st uff ’ wafts through parts of the crowd during Pendu lum’s set of highenergy drum‘n’bass (if you can st ill call it d‘n’b) circus music. Chinst roking aside, they have pretty lights and jaw-dropping rock poses.

STEVE AOKI When there are masses present at a dance music event, you need a DJ who will drop track after glistening track of bombs-forthe-masses. Aoki ticks this box with a fat sharpie and provides an ecstatic horde of mud-monsters with indie-elect ro-house bombs to absolutely ZOMG over.

DIZZEE RASCAL Dizzee’s rapid-fi re flow gets the people bouncing high as grimy beats and sirens engulf the main stage. His tours seem to come around more frequently than the seasons, but really you’ve just got to appreciate a good dose of quality hip hop regardless.


PLASTIKMAN Richie Hawtin delivers the Plast ikman live experience in all its technological glory. He commands a transcendant blend of minimal beats and haunting atmospheres from inside a cylindrical LED-screen, transporting a privileged minority to a higher realm of audio-visual wizardry.

THE PRESETS Out of the spotlight now for many a touring fest ival, The Presets are welcomed back with pure love. Ripping through all the classics, Julian and Kim are fresh, invigorated and inject this energy deep into their performance.

SVEN VATH Papa Sven feeds off of a close crowd of admirers as he energetically moves around his setup. Making the most of a generous timeslot and st ripped back stage, he fi lls it with a plethora of mature cuts and guides the party through the motions with the ease of a seasoned veteran.


LOCO DICE Blends an intriguing mix through the course of two hours, occasionally drawing from his early urban days to feed into the crawling body of elect ronic music. The set is never disappointing, but simply feels like a warm-up for greater things to come.


FUTURE MUSIC FESTIVAL DOOMBEN RACECOURSE: 05.03.11 With memories of the previous year’s muddy quagmire st ill lingering on eye and nose, punters game enough to return to the Doomben Racecourse (in near identical weather) are met with the rather unwelcoming mess that is entering the fest ival. Herded through the narrow and poorly signed gates, queues of ticket holders rapidly bust into a sprawl of human cattle… For the coming half-hour jost le – it’s every beast for him/her/itself. On the other side of the fence, life (for the time being) is somewhat more civilised. Assist ance from ground st aff however is limited, with the promised maps and timetables missing and any knowledge of the event’s facilities non-existent. Navigating the field, it’s the Dusk Till Doorn st age that advances fi rst with a welcoming gest ure. Locals Dan Burke and Tranceducer offer a friendly afternoon set of prog and trance – long enough to explore the multifarious realms of creativity and depth the two artist s have at their collect ive decks. The trek to the Future Music main stage is a predicament that once endured, is likely to discourage many fest ival goers from attempting again. Two temporary causeways provide transit between the site’s main halves – and although it’s early days, the rubber and ply flooring is already collapsing beneath the feet of commuters. Following a 25-minute skirmish skipping potholes and debris, a sinking, brown slough meets and greets spectators (and the rain hasn’t even begun). Party-pop merchant Ke$ha’s appearance is at fi rst an entertaining and chaotic mash of stage antics and Top Forty hits. Between the flailing, flaunting and flashing however, interest promptly disintegrates – especially for those rest ricted several hundred metres back by the ever-expanding swamp. By night’s end, the mud eventuates as the true headliner at the mainstage, overpowering even The Chemical Brothers (whose performance is ultimately a simplified rehash of previous side shows). CARLIN BEATTIE PHOTOS BY TERRY SOO ACT REVIEWS BY PORL DEVILLE, BEN DOYLE, JAKE SUN




2 4

6 5











SUSHI SNAPS 1 Fifty Four @ X & Y Bar

5 Saturday @ Alloneword

2 Friday @ Laruche

6 Saturday @ Port OďŹƒce

3 Klub Kandy @ Family

7 SECS Launch Party @ Birdees

4 Purple Sneakers @ Alhambra 8 Whatever Wednesday @ Uber 8

3 1

5 3





Brisbane late night dining. The phrase conjures up images of burgers, greasy pizza and salmonella-infested kebabs. It’s not all doom and gloom though – tast y options exist, and Chinese eating and entertainment complex 2002 Cyber City is foremost amongst them, well-priced and very tast y. More than dining though, there’s pool tables, private karaoke booths, video games and the all-important skill testers where the thrill of winning a fluff y animal awaits. The service is slick and well-drilled. The clientele is mixed too – when 3D World visits on a Friday night, the place is bust ling with life. The dining is an open cafeteria hall with décor best described as basic, the floor covered with plastic chairs and tables in bold colours. This adds to the vibe and anyone who has travelled in Asia will appreciate that the better eateries supply the most rudimentary dining comforts. The menu is extensive and delves into Hong Kong-st yle favourites as well as a range of what could be termed ‘Chinese for Chinese’ (pork belly in claypot) and ‘Chinese for West erners’ (lemon chicken) favourites. A respect able specials menu fronts the list . 3D World opts for Salt and Pepper Tofu, Shredded Pork with Special Sauce and Pancakes, Szechuan st yle King Prawns, a Mixed Entrée and Steamed Rice. No well-priced Asian eating experience is complete without Asian beer, and the Tsingtao 660ml tallies compliment the meals

THE ALTERNATIVES HOT DOGS Like an episode of Back To The Future: Masterchef Edition, this blast from the past comes in your choices of sauce and an extra serving of nostalgia. The iconic late night hot dog van became an inst itution in Melbourne especially, where an underworld scene grew around the mobile vans like barnacles on a

perfect ly (though Beerlao st ill holds the number one spot in the Asian beer st akes). The salt and pepper tofu has a great contrast between the spicy, slightly crunchy exterior and the silky interior, comfortably feeding one with a leftover portion. Dunking the shredded pork in the pancakes and rolling them up to create a flavour sensation is a definite highlight, as are the Szechuan prawns, which come wrapped in alfoil where they’d been

savoury and salty yacht. Almost a thing of the past, these vans are ready for a nostalgic return to form, and quite possibly, a violent mustard drenched takeover. 7-11 MICROWAVABLES Don’t over think this one. You know, your mates know, and even the guy behind the counter knows. That plast ic bag spinning slowly in the store microwave could be a chicken sub, a meat pie or a bar of soap. It all tastes the same. It’s late, you’ve had a few drinks, you’re hungry and the drunken flytrap of bright lights and reheatable snacks has

cooked in a spicy Szechuan sauce alongside glorious green beans. 2002 Cyber City propounds the adage that looks can be deceiving. It’s relaxed and casual while the food is cheap, packs a ‘zing’ and serves are generous. An eatery like this thrives on having an upbeat vibe, and it favourably recalls the many fantast ic food courts and market squares of Asia proper. Most importantly, between five people the meals and drinks set us back $96 – great value and with substantially lower guilt factor than a late night pizza slice to go. BEN KUMAR WHAT: 2002 Cyber City WHERE: 206 Wickham Street, Fortitude Valley WHEN: Monday-Sunday 11am-2am

drawn another vict im in. Just don’t melt your face off when opening the steaming packet. KEBABS Like a lighthouse in troubled seas, the late night kebab store shines like a beacon in the night. There is a sense of theatre to the carving of a veritable tree trunk of miscellaneous meat, a token handful of salad and interchangeable wrist-seeking sauces. By daylight, the combination would be terrifying, but viewed through blurry vision under a painfully bright array of fluorescent lights, there are few greater sights than a tower of meat.








ALLONEWORD Alloneword Jam. 7pm. BIRIDE NUM NUM Squark: Open Mic Night. 8pm. Free. KERBSIDE Gavin Boyd. 8pm. THE HI-FI Omar Souleyman, Sky Needle, Honky Konk DJ. 7pm. $25 (+bf). LALA LAND And Oh! & Easy-P. UBER Whatever Wednesdays. 8.30pm. Free. THE REGATTA Frat Club: Pete Smith, Mark Z. 9pm. Free. SHOOTERS I Love House Music. 9pm. Cover Charge Applies. X & Y BAR Holly Terrance, Bec Plath, Phil Hancock, Maggie Collins. Doors open 6pm. ZURI Sushi Wednesdays. 5pm. ARKU

THURSDAY ALLONEWORD Fancy. 8pm-late. Free. BIRDIE NUM NUM Notorious B.I.R.D: Panda, Charlie Hustle, Cool James, Danny Cool. CLOUDLAND Chukale. 7pm. ELSEWHERE Wet Lips: Belzebass. 10pm-3am. $10 before 11pm / $15 after. FUSION VILLA NOOSA Th irsty Thursdays. DJ Hanja,. 9pm-3am. Free. KERBSIDE Butterz. 8pm. LALA LAND Buzz. 8pm. THE MET Steve Aoki. Arcade Creative DJs 8pm. $25 (+bf). SIN CITY I Love RnB. 8pm. SHOOTERS Brett Allen, Apollo Flex. 8pm. THE TEMPO HOTEL Dead Prez. 8pm. X & Y BAR Boys & Girls: Strength Th rough Purity, DJ Deciever, Brazen. 9pm. $10 (guestlist) $12 (general). THE ZOO The Clean, The Deadnotes, The Legend, Blank Realm. 8pm. $46.15 (presale). ZURI Glamoru$: DJ Mr Sparkles. Free.

FRIDAY ALLONEWORD City: Beats Vol 2: Dizz1, Tigermoth, DJ Butcher. BARSOMA Mount Kimbie, Seekae, Spatial, Toy Balloon, Science Project, Restream, Elroy 4.0, Walrii, Kieron C, Vivandiere, Lone Pariah, Arku. $42. BIRDEE NUM NUM Friday Arvo Social Club. 5pm. THE BOWLER BAR Juggernaut DJs. 9pm. ELECTRIC PLAYGROUND 99 Problems: Poe De Pitte, Censor Th is!, Huckleberry Th inn, Noy, Alex Terrell, Sneaky Pete, 42H, Benny Hassum, Gee-Renk. 9pm.

ELSEWHERE The Electronic Boogie Show. 10pm5am. FAMILY BASEMENT Brand Spank’d presents Residents. 9pm. FAMILY TOP FLOOR Friday @ Family presents Versus feat. Baby Gee, F&E, Karma, Harry K, Kuzuki, Hektik. 9pm. FUSION VILLA NOOSA Thank Fox Its Friday. DJ Banksy. 9pm-3am. Free. KERBSIDE Cut Loose, Gavin Boyd, Ben Reeve. 8pm. LALA LAND Daniel Webber & Ryan Ryshton. 8pm. THE MET Stafford Brothers, Bossy (feat Sharif D), Mr Sparkle, Andee, Pete Smith, Nick Galea. 9pm. Free (guestlist). MYSTIQUE RnB Fridays: DJ Mista, DJ Master D, DJ Blaze. NEVER LAND BAR House Party: Residents. 8pm. PLATINUM Steve Aoki. 8pm. $25 (+bf). PRESSURE LOUNGE DJ Blaze, DJ Ricky D. THE REGATTA Oarsome Fridays: Paul Bell, Mark Z. 9pm. Free. SQUEEZE CLUB DJ Tuini, DJ Climate, DJ Adam. SHOOTERS Craig Obey, Brett Allen, Apollo Flex. 8pm. STEP INN Beats Working, Ill Bill, DJ Eclipse, Sabac Red. 8pm. TITANIUM BAR DJ Deeds. 9pm. X & Y BAR Blonde on Blonde, Numbers Radio, Danny Cool. Doors open 6pm. ZURI Provocateur: Phonaetics, Benn Hopkins, Json Rouse, Matt Kitshon. Free.

SATURDAY BARSOMA Let’s Get Minimal and Friends: Emmy Lou, Vertical, Bowman, Sidewalk, Digital Divide. BIRDEE NUM NUM Saturday Sessions. ELECTRIC PLAYGROUND EP <3s Electro: Private Property, Karma, Murray Brown, Wahoo, Lok Lazy, Kandiman. 9pm. ELSEWHERE Secret Love Heroes, Daniel Webber, Brett Sellwood, Thomas J. 10pm-5am. FAMILY BASEMENT Dubstep Invasion feat. Habebe, Jason Morley, Tim Plunkett, Chris Wilson, Jeremy Iliev. 9pm. FAMILY TOP FLOOR Dubstep Invasion: Kid Kenobi, Glove Cats, Profesa feat. MC Kitch, Filth Collins. 9pm. FUSION VILLA NOOSA DJ BRAZ. 9pm-3am. Free. ILL BILL

KERBSIDE Ben Reeve, Katch, Danny Kool. 8pm. LALA LAND Rhys Bynon & Miles Jr. MONASTERY Neon Stereo (Sydney), Noy, Luki, Jmac, K.Oh!, Alex Terrell. 9pm. Free before 10pm. $10 before midnight. MYSTIQUE Black & Yellow Party: DJ Master D, DJ Blaze. THE MET Paul Bell, Mr Sparkle, Roman, Shannon Marshall, Malcolm, Jason Rouse, Mr Sparkle, Disko Diva, Pete Smith, Andee, Nick Galea. NEVER LAND BAR Purple Sneakers DJs. PLATINUM Midnite Sleaze. THE REGATTA Regatta Saturdays: MC Bossy, Paul Bell, Mark Z, Scotty R, DJ Tom Walker. 8pm. Free. SHOOTERS Craig Obey, Brett Allen, Tredman, Apollo Flex. TITANIUM BAR One-Eyed Pilots. 8.30pm. UBER Luv Saturdays presents Andy Brown, Rolla D, Danny Cool X & Y BAR Texas Tea, Orville Brody and the Goodfellas (FRA), Butterz, Charlie Hustle. Doors open 6pm. THE ZOO Triple J Unearthed Triple Rainbow Tour: Ball Park Music, We Say Bamboulee, Eagle & The Worm. 8pm. $10 (presale) - $12 (at door). ZURI Zuri Saturdays: Benn Hopkins, Matt Kitshon. Free before 10pm (general) - Free after 10pm (guestlist).

SUNDAY FAMILY BASEMENT Big Gay Day 2011 Afterparty: Zoe Badwi (live), Alexei Paige, Taylor Jess Who, Velvet Motion. FAMILY TOP FLOOR Big Gay Day Afterparty: Starfuckers, Kitty Glitter, Harry K, Karma, Ish. KERBSIDE Senor Rudecat, Butterz. 5pm. LALA LAND Industry Night: Discrow, Easy-P. NEVER LAND BAR Easy Sundays. SHOOTERS Criag Obey, Brett Allen, Apollo Flex. 9pm. SIN CITY Ja Rule. $35. TITANIUM BAR DJ Deeds. 9pm. THE WICKHAM JimmyZ, Joel Turner. X & Y BAR Pocket Music: Godinpants, Dot.AY, Cheapshot. MONDAY MONASTERY Ajax, Goodwill, Alison Wonderland. 8pm. Free. TUESDAY HI-FI BAR Afro Celt Sound System. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO BRISBANE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.









nly the Japanese could make a shoehorn look like a child’s imaginary friend, an eraser look like an angry parent and a tape measure look like the little brother of Play School’s Little Ted. Flip to page 56 to see how even the simplest of designs can be turned into an art form… Photography by Big City Lights: Hannah Spence.









































ADHESIVE TOOL,1959-PRESENT Your world would fall apart without it. So many pieces of equipment would tumble from stages, lighting trusses would collapse, and gaps would be left in fl ight cases where local bands once spirited away a few rolls during each soundcheck. Ours is a complex world, but one that can be simplified down into the primal elements of earth, fire, wind, water and gaffer tape. That’s right – gaffer tape. The heritage of gaffer tape is one tied to the early days of the fi lm and theatre indust ry, as the need for a st rong adhesive tape emerged alongside the increasing resolution and clarity of the camera and the stage. Audiences were more perceptive to haphazard sets, out of place objects and the various visual clues that would break the illusions being illuminated both on and off of the silver screen. On the other end of the equation, the major st udios were pushing for faster fi lm turnaround times, while receiving increasing pressure from unions formed to protect the safety of their members. Necessity is the mother of all invention, and so gaffer tape was born. Th is is something of a Hollywood fict ionalisation of the history of this humble and essential tape (the Lowel lighting equipment company claim it as their 1959 invention). The greater credit lies in the namesake of it, as the “gaffer” in gaffer tape is a reference to a role traditionally in charge of ensuring lighting rigs and other product ion gear is assembled and secured in a timely and safe manner. No gaffer would be caught without his sidearm of tape, his “gaffer’s tape” if you will. It wasn’t cheap, but that was the st udio’s problem. What it was, however, was essential – light, adhesive, able to be torn by hand and able to be eventually pulled off without leaving excessive residue. It was the ultimate in temporary fi xes that could hold forever. Like revisiting an ex-partner for one last roll in the hay. Just like that. The history goes further, however, and, like all great inventions including the internet, jet engines and cartoons about robot ninjas, it owes its existence to modern warfare. It might be the Hollywood bias, but gaffer tape’s anecdotal history, passed down from gaffer to gaffer for millions of years, affi xes itself to the requirements of the US Army during World War II. As those noble and square-jawed heroes marched through the world’s jungles and trudged through the rain, history suggests that the concerns of water-logged ammunition provoked an arms-race of technological advancement. The result was an improvement on the various forms of adhesive st rips that had been in use by mankind since the fi rst robe got caught in tree sap. Advancements in petrochemical technology introduced plast ics to the mix, allowing for waterproofing advantages that the “baddies” had yet to perfect. One might say that the war, and the freedom of the entire planet, owes everything to the humble roll of gaffer tape. From such lofty heights has the humble roll descended back into the utilitarian grind. Not that there isn’t an ample number of fans willing to worship at the altar of removable adhesive tape. Unsurprisingly, most of these are geeks, with Carl Zwanzig stating that “duct tape is like the Force; it has a light side, a dark side, and it holds the universe together”. What Carl and his Star Wars giggles probably aren’t aware of is that gaffer tape has other uses beyond theatre and product ions. Not only is it incredibly st rong along its longitudinal length, yet conversely easy to tear along its latitudinal width, but the adhesive itself is particularly forgiving when applied to bodies. Which is another article entirely... 44 3DWORLD


One of the more popular do-it-yourself projects involving gaffer tapeis a gaffer wallet. Various st yles and flavours have emerged that combine a mix of origami with a trial-and-error approach to direct ions best followed while under the influence. The end result might resemble a fashionable hipster wallet, something that screams about “repurposing the utilitarian tools of the creative indust ry’s below-the-line proletariat”, but it’s more likely to resemble a big st icky ball of tape thrown in the rubbish bin.


There are times where drawing moustaches on the faces of passed out and drunken friends is simply not enough. In this age of mobile phone photography and the connect ing nature of the interwebz, the stakes have risen on epic antics. No matter how many times you see it done, there is nothing funnier than elevating and adhering a friend (or soon-to-beformer friend) to a wall, ceiling or the side panel of an automobile. A single roll of tape will get most grown adults into a state of anti-gravity, but we suggest keeping at least one or two st rips free should you wish to cut off the screams of abuse that are likely to follow.


Fans of the Millennium trilogy of books (and subsequent fi lms) might recall the quick thinking and lifesaving act ions of Lisbeth Salander, who applyed gaffer tape as an emergency bandage following a brutal gunfight in The Girl Who Kicked The Hornet’s Nest. These act ions saved Lisbeth’s life. Who knows how many other fict ional characters might have been saved from untimely ends if they had of kept a roll of gaffer tape handy? Darth Vader for instance. If he’d used gaffer tape to fi x his suit up, he wouldn’t have been elect rocuted during his battle with The Emperor. Th ink about it. We do.





ART VS SCIENCE The Experiment (MGM)


(Bpitch Control/Inertia) With his debut album Alive, Chaim Avital – or just Chaim if you like – somehow manages to bridge the dancefloor/home divide without being captive to cliché; though there’s plenty of detail here to suggest some obvious house by way of disco influences. More critically, Chaim somehow manages to const ruct an appreciable flow that’s often been absent from other elect ronic music albums, and Alive really is best appreciated in entirety (and then dissected later!). Across all 11 tracks there are elements of classic Chaim – big grooves and thick chord progressions – but also a certain binding wooliness; a const ructed warmth that dulls down certain sounds, sometimes at the detriment of fidelity. Th is is not to say that anything is altogether lost ; it’s often just not so obvious and in an indust ry obsessed with loudness, this could be a misstep for some. Nevertheless, this doesn’t detract from the way in which Alive invokes a feeling of being somehow encompassed in a comfy chair: only to be occasionally flung to your feet at the right moment. Don’t Shout in particular promotes the latter, and does so with drums that Danny Tenaglia would rightly be jealous of. Opening track Rain and the more melodic Runaway Frequencies are no slouches either, whilst Popsky lays claim to this album’s epic crescendo. Closing track People Can Talk does form a challenge of sorts however, and will fi nd its way into the playlist s/CD wallets/ record bags of many an afterhours jock. In essence, Alive is an album which will go the dist ance: be it in the clubs or on the iPod. DANIEL SANDERS

Two words sum up Art vs Science’s highly anticipated The Experiment – LOUD NOISES. There is something incredibly absurd about the music of this dance punk band but there is also an undeniable element genius mixed in with the madness. After whetting appetites with their mind-melting fest ival anthems Flippers and Parle Vous Français?, Art vs Science have stayed true to their endearing Presets/Midnight Juggernaughts/Daft Punk inspired sound with their debut long-player. Lead single Magic Fountain is nothing but weird and comically intense– play this loud and on repeat for long enough and you are likely to induce some form of epileptic seizure, or at least a migraine. Finally See Our Way offers some point of difference with its cheery

DOES IT OFFEND YOU, YEAH? Don’t Say We Didn’t Warn You (Cooking Vinyl/Inertia)

The success of a crossover act like elect rorockers Does It Offend You, Yeah? swings on two key attributes: product ion and songwriting. With eagerly-anticipated second album Don’t Say We Didn’t Warn You, Does It Offend You, Yeah? have made a passable swipe at the former category while utterly flubbing the latter. The majority of the album’s tracks certainly fantast ic and, rhythmically, will undoubtedly titillate countless fest ival audiences but, beyond such transient diversions, the record is ultimately useless. The record begins quite dismally with We Are The Dead – a forgettable tune comprised of a limp-wristed acoust ic introduct ion and a simple elect ro-stomp rhythm – and rarely manages to deliver anything more remarkable

melody and relatively creative lyrics, however similarities to The Final Countdown by Swedish rock band Europe are too obvious to be ignored. Take A Look At Your Face is the track that will have kidlets “losing their shit” at fest ivals – it screams audacity with a catchy hook and repetitive gibberish. The outer worldly Higher seems to have been inspired by the sound of a karate chop with it’s “hay-yah” refrain – it’s juvenile but successfully st icks like a band-aid on your brain. Rain Dance and Sledgehammer follow suit – both a mish-mash of aggressive guitar riffs and relentless drums. Bumblebee is the type of song that will make you feel 80% less intelligent by listening to it, while New World Order stands out as one of the better executed tracks - a genre bending mix of elect ro and rock testament to the group’s masterful use of live inst ruments. You won’t find the meaning of life here, but The Experiment just may be so bad it’s brilliant. RIA SCARLY

(though the band have no problem delivering less impressive works). John Hurt buries some nifty Prodigy-esque rhythms beneath meandering vocals, The Monkeys Are Coming st rives for gloriously st upid but merely sounds contrived and Wrestler takes a promising groove and simply drives it into the ground. The only highlights of the record take place when the band step away from their dance work – as on low-key ballad Wrong Time Wrong Planet – but, even then, Does It Offend You, Yeah? only manage to sound acceptably mediocre. The real weakness of the band is main-man James Rushent. Responsible for the majority of the songs on the record, Rushent is simply a mediocre singer and songwriter. He lacks a songwriter’s inst incts or any considerable skill as a singer. Simply unremarkable. MATT O’NEILL



ONE TRACK MIND AKIKO KIYAMA We Sing The World (Mean Records)

Japan’s fi rst lady of minimal techno takes a break from the mechanical sound she has heavily pushed the last few years and delivers some quirky, wonky tech house chock-full of seduct ive funk. Spacious and st ripped-back, this one is all about an awesome bass guitar sample and heavily reverbed plucked st rings, organic percussion and vocal chants.

THE STREETS Computers And Blues (Locked On/Warner)

After ten years and four much-discussed/ loved/criticised albums, Mike Skinner brings down the curtain on his career as The Streets. Unrivalled as a modern day storyteller of life in sub/urban England, Skinner, by spewing relatable, poetic narratives over beats borrowed from almost every genre imaginable, became the archetypal faux-cockney ‘everyman’. His final album, Computers and Blues, continues this wide-creen approach to the music, finding him in a fatigued yet happy place, ready to leave behind the pressures of the indust ry, satisfied with what he has achieved. Th is is, in one way, reflected by the carefree, poppy hooks that abound, Roof Of Your Car sports a warped, smiley chorus that embeds in your brain, similarly Soldiers plays out like an inspirational

post-post-acid house call to act ion while the rock guitar-laced fi rst single Going Through Hell uses the vocals of The Music’s Rob Harvey to hammer home a Tubthumping-esque theme. From here ABC deploys rest rained drum ‘n’ bass beats, the acoust ic We Can Never Be Friends could be argued to have some Crowded House influences while Those That Don’t Know and Trust Me draw power from sunshine-fi lled disco-funk. On the closing track, Lock The Locks, Skinner draws the analogy of leaving a job; “packing up my desk/put it all in boxes/ knock out the lights/lock up the locks and leave”, leaving us with a sense that he is at ease with his decision to throw in the towel. So after an intriguing and truly unique career we say farewell to The Streets with one final, highly entertaining, album; yet, as we all know with these early musical retirements, artists almost always find it impossible to stay away. DARREN COLLINS

PANGAEA Bear Witness

(Hot Flush Recordings) Don of the deeper end of dubstep, Pangaea returns with more sub-slaying low end, heady atmospherics and warm melodies. Tight, beautifully mastered kicks st utter their way through simple, sparse percussion and ridiculously deep sub bass, occasionally punct uated by soulful vocal samples and rising pads at exact ly the right time before it’s back to the deepness.


(Highgrade Recordings) It’s always risky using the vocal from Roland Clarke’s classic I Get Deep, but Mr Bodine has done it just right with this slice of deep tech house. Heavily edited to fit around the lush, deep synth stabs, crisp percussion and downright funky groove, this is a wicked tech house tune that just so happens to have I Get Deep as its vocal, rather than relies on it. Classy. ANDREW WOWK

NICK KNOWLEDGE Soul Sample Side A (Hatonrack)

Soul Sample Side A represents Sydney rapper Nick Knowledge’s second album, and its title leaves little to the imagination. Creating the bulk of the album with German producer Lunatronic, an obvious disciple of the Pete Rock school of beat making, Knowledge has been gifted a slew of well-produced loops built from sixties and seventies soul records, an art that has sadly drifted out of mainst ream American hip hop. Armed to the teeth Knowledge then adds his cheeky personality to create a fun-loving slice of Aussie hip hop. Taking us into his world, Knowledge espouses the rewards that come with hard work (Day After Day), details previous dead-end jobs (F.Y.I. Quit) and addresses the ladies both singularly (Like Sugar) and plurally (Wanted?). A slick effort from a dude who never takes himself too seriously. DARREN COLLINS



In 2007, underground hip-hop legend Jay Elect ronica released 15-minute tape The Pledge, sampling Jon Brion’s gorgeous score from the Gondry fi lm Eternal Sunshine. It was a rapturous, soulful cross-hatching of Jay’s harsh, intellect ualised gangster pomp, and Brion’s sparse but beautiful piano accompaniment Last week saw the release of Selena, a tape by producer Max Tannone (Minty Fresh Beats), of Jaydiohead fame – along with MC Richard Rich, based on Clint Mansell’s recent score for the Duncan Jones fi lm, Moon. And, for we thirst y for more of what Elect ronica did, it really hits the spot. Haunting, and totally befitting of its inspiration, the ‘tape weaves the lonely tale of a man and his ego, drawing wonderful parallels not only to Sam Rockwell’s lone ast ronaut in the fi lm, but too to the egoblown MC’s atop the hip hop mainst ream. SAM HOBSON

3DPLAYLIST 3D 1. Revamped VARIOUS/ELITE FORCE 2. Power Of The Spoken MANTRA 3. Past Time D’OPUS & ROSHAMBO 4. Who You Are JESSIE J 5. Sounds Like Alola Vol 1 & Vol 2 VARIOUS/OMID 16B & DEMI 6. James Blake JAMES BLAKE 7. No More Idols CHASE & STATUS 8. The King Of Limbs RADIOHEAD 9. The Experiment ART VS SCIENCE 10. The Essential EMERSON LAKE & PALMER

TUBETIME The incredible world of television with 5SPROCKET

Chef Ian Curley has come a long way. He was once in prison, he tells us; he was st uck with the wrong crowd. Th rough a cooking apprenticeship, Curley was able to get back on the right track. All those hours chiseling away behind the Rita Hayworth poster were not in vain. Curley is one of the big shots now, host ing of his own reality television cooking show, Convict ion Kitchen (Channel 7). The show charts the journey of 12 former criminals, each wanting to drive down the road of righteousness without hitting a child and fleeing the scene. It is a programme about new beginnings, about taking hope by its st upid face and putting it in the back of a van. MasterChef for people that shoplift from Coles. Learning kitchen and restaurant floor skills, these former Oz cast members must lamb shank their way to the top of the kitchen, slicing and dicing their way to victory, cutting the opposition into easily disposable pieces. They have two weeks to go from unemployable scum to victorious Julie Goodwins. It’s about moving on from the past , but their crimes hound them every time they speak. Lisa, 27: fraud. Anastacia, 19: theft. Johnno, 31: best iality. We laugh as the bogans taste camembert cheese for the fi rst time, choke down an oyster and snort the freshest produce. They get overwhelmed when they are given shoes, eyes widen at “having a real meal, like.” One of the contestants eyeballs Ian Curley, with a well rehearsed prison yard stare. Co-host Lisa Parker, a restaurant manager, seems repulsed by having to deal with “those people.” Always lurking in the back of the shot, waiting to devour their inevitable failure. Conviction Kitchen would be genuinely tragic if it could speak on its own terms, rather than being packaged in cheap plast ic and thrown into the commercial television basement. Future instalments look towards Ladette To Lady type episodes, where piercings and cigarette burns are transformed to asymmetrical haircuts. Inspirational stories can be hard to swallow, but with Ian Curley trying to brand himself as a champion for the battlers while trying to become a TV star, the whole thing is as pleasurable as being forced to consume a bucket of curdled cheese while a goateed man named ‘Johnno’ slowly blowtorches your feet.



5SPROCKET TRAVELLED TO THE ADELAIDE FILM FESTIVAL TO INDULGE HIMSELF IN CINEMA AND RETURNED, THANKFULLY, TO SHARE HIS THOUGHTS. MEEK’S CUTOFF Kelly Reichardt (Wendy And Lucy, Old Joy) returns with her chronicle of a doomed journey through the uncharted plains of 19th Century Oregon. Grizzly faced nut-job Meek is leading the few remaining members of a travelling party to their distant dest ination. They are lost. Their faces chipped with dehydration, paranoia ascends when a local native becomes entangled with their doomed journey. Rest rained to the point of immobility, despair booms through the fi lm’s crippling sense of st illness. A stand-off featuring Michelle Williams’ fiercely resilient Emily Tetherow cuts to the bone, with the slow burning fi lm drawing to an explosive and absolutely breathtaking conclusion. THE TROLL HUNTER Load yourself with booze and get ready for shaky cam mayhem with The Troll Hunter, a mockumentary that is as awesome as its title promises. A trio of st udent fi lmmakers st umble into the world of Hans, a loner who is the only thing standing between the citizens of Norway and the giant, lumbering beasts that threaten to snack on Catholics everywhere. With a playful sense of the absurd and a committed lead performance, it will have you yelling at the screen in terror and inebriated trash movie bliss. METROPOLIS Adealide audiences were privy to a new cut of Fritz Lang’s sci-fi masterpiece, Metropolis. Remastered with newly-discovered footage, the fi lm was accompanied with a live score by The New Pollutants, fusing the silent fi lm with a Germanic trip hop and low-fi elect ronica influenced score. The chaotic beats scissor-kicked the fi lm into a freakish futurist ic dimension, where it always seemed dest ined to belong. The new footage greatly enhances sequences in its machine combust ing conclusion, with vile robot femme Maria’s eyebrow spasming in unison to fi lthy, bass beats. No robot has ever owned a party more than when she did nipple-tassle burlesque. Please let me know where I can buy one. ENTER THE VOID Have your eyeballs sliced open and your brain sucked through the gaping hole with Gaspar Noé’s Enter The Void, a fi lm that would surely kill any retiree that sees it. Imagining death as the ultimate trip, the screen consumes you with kaleidoscopic neon hell for two and a half hours, journeying everywhere from the clouds over Tokyo to the insides of a sexually penetrated vagina. Watching the back of a dead junkie’s head for

a good hour as he travels through time, space, and memories is often as terrifying as being hit by an oncoming truck. But, like any fi lthy night on the town that leaves you pantless and confused in Chinatown, it’s best not to ask too many quest ions and enjoy the trip, because asking quest ions will just make you want to hide. BIUTIFUL Starring Javier ‘Big Hands’ Bardem (No Country For Old Men), Biutiful is Alejandro González Iñárritu’s (Amores Perros, Babel) latest piece of self-important melodramatic toss has ambition to one day graduate from fi lm school. Bardem plays Uxbal, who is upset because he’s a former addict, a psychic, is st ruggling with a separation, has the law on his back, and is about to die from cancer. Earnest ly st ruggling to tie these disparate threads into a cinematic patchwork that reads ‘important cinema’, the fi lm is significantly less enjoyable than having a psychic say “I told you so”.



inspired by true events

3 march

Supernatural themes, violence and infrequent coarse language






VIDEO SCREEN CAPTURE Creation of moving imagery is aided greatly by some good old fashioned screen sampling. FREE SCREEN CAPTURE OPTIONS PC – Camst udio @ camst Mac – Capture me @ MORE ADVANCED OPTIONS Snapz Pro (Mac – utilities/snapzprox/ @ $69) and Screenflow (Mac – telest overview.htm @ $99) offer simultaneous camera, microphone and audio capture as well as screencast options such as highlighting the mouse, key commands or certain windows. GrabberRaster (Mac – allows sampling of any portion of the Mac screen for use as input for Quartz Composer, or as virtual camera input for QuickTime Pro, Skype, CamCamX or other QuickTimecompatible webcam software. $99 bundled with a bunch of other cam FX. SAMPLING VDMX WITH SYPHON AND BOINXTV Syphon (Mac – not only samples the screen, but allows real-time sharing of full frame rate video or st ills. BoinxTV is a custom video application for live mixing and recording of presentations / tutorials / news stories etc. Combining the two, Berlin’s @fALk_g and Leon von Tippelskirch, one of the Boinx developers, came up with an effect ive way for recording VDMX. * Install Syphon and Quartz Syphon Plugins (free), and BoinxTV Home Edition ($49) * Act ivate Syphon Output in VDMX (beta 8 via * Load custom quartz project into Boinx, that can tap into the Syphon source (available at * Hit record. The custom project records with the Apple Intermediate codec (for best balance of quality and performance), but can be adjusted within settings. Ideally use a separate drive for recording to and play with VDMX, while HD video is recorded in real-time using the same machine. Bonus speed gain: Because Syphon is feeding video to Boinx, you can deact ivate VDMX Output and use the Boinx second monitor output to view your VDMX mixing – it act ually seems to improve performance/frame rate. Screen Capture shout-out to http://9-eyes. com – an incredible collect ion of unusual moments captured by Google Street View, photographing every road in the world. For The (Surrealist) Win! @JEAN_POOLE


The 1980s are much maligned by some – and in many cases quite rightfully so – but it’s hard to argue that the decade delivered some significant cultural signifiers that st ill hold us in thrall today: Transformers, Neighbours, Warwick Capper, and the beginning of hip hop culture’s acceptance into the mainst ream. Film makers started sniffing around the four elements in the early 80s, with Charlie Ahearn’s 1983 Wild Style generally regarded as the fi rst, finest and most authentic capturing of a New York City music scene on its way into the overground. The Breakin’ Collect ion is unfortunately without this fi lm and the lauded 1984 Style Wars documentary on NYC’s early graffiti warriors, instead gathering together Breakin’ (1984), its rush-released 1985 sequel Breakin’ 2: Elect ric Boogaloo and the influential Beat Street (also released in 1984). And it would be fair to say that, for the most part, the fi lms haven’t aged gracefully. First up is Breakin’, set in sunny California where down on her luck upper class girl Kelly (Lucinda Dickey) waits tables while she awaits her big break as a contemporary dancer. She’s got the skills but her dance teacher is more interested in dancing of a more horizontal nature – luckily her effeminate AfricanAmerican classmate has got her back, taking her down to Venice Beach where Ozone (Adolfo ‘Shabba-Doo’ Quinones) and Turbo (Michael ‘Boogaloo Shrimp’ Chambers) are popping and locking on the sidewalk while a unitard wearing Jean-Claude Van Damme busts sick moves in the background (and an animated gif is born). Kelly likes this “st reet” dancing, Ozone likes Kelly, Turbo likes himself quite a bit and before you know it the trio have crossed the st reams to create a whole new world of dancefloor magic. Of course, they show the dance world’s st uff y shirts a thing or two before the end, but Turbo’s solo st reet sweeping scene, some cracking dance-offs and the debut appearance of Ice-T are what you’ll remember. In Breakin’ 2: Elect ric Boogaloo, everything is bigger – the dance routines, Kelly’s hair and especially the lol-factor. Taking so-badit’s-good to previously unheard of levels, a storyline about the gang getting back together to save the community centre Ozone and Turbo teach at is shoehorned into more dance numbers than you can point a quest ionable outfit at. Hordes of kids dance down suburban st reets, in parks, in hospitals, in front of bulldozers – st reet gangs even sort out their differences using their slickest moves as weapons while st aring intently and calling each other “punks” and “fools”. Turbo once again steals the show with a 360 degree solo that probably taught Lionel Richie a thing or two about ceilings, while Ice-T makes another

appearance he probably regrets. The three-disc set saves the best till last, with Beat Street taking you across to the East Coast to a wintery, grimy, pre-makeover New York City. The protagonists – DJ/rapper Kenny ‘Double K’ Kirkland (played by Guy Davis, son of Ossie), his b-boy younger brother Lee, graff artist Ramon and burgeoning impresario Chollie – are looking to use their skills to fight their way out of the Bronx and into superstardom, and it looks like they all just might get there. Sprinkled between this storyline are appearances by names st ill revered in hip hop culture – Rock Steady Crew (who dominate a b-boy battle at legendary club the Roxy), Grandmaster Melle Mel & The Furious Five, Doug E Fresh, Afrika Bambaataa & The Soul Sonic Force, Kool Moe Dee and Kool Herc among others. The graff might be from set decorators rather than originators and a love story involving Rae Dawn Chong (daughter of Cheech’s mate Tommy) unnecessary, but the look, feel and sentiment of Beat Street just feel right. Which is more than can be said for the fi lms it shares this set with, which for the most part reek of Hollywood st udio execs attempting to co-opt a culture they don’t really understand for the sole purpose of gleaning some money from Middle America. Still, the Breakin’ Collection is a time capsule worth cracking open for Beat Street and unintentional laughs alone – at least until the inevitable Human Traffic/Go/Groove triple-pack surfaces in 2025. GLORIA LEWIS











GLOBE ‘ THE EASE’ ~ $99.


iPHONE HEADPHONES ~ $39. Applestore

SENNHEISER HD280 ~ $180.





PIONEER HDJ-2000 ~ $390.




DESK BIN ~ $2.80.





SHOE HORN ~ $2.80.





‘DAD’ ERASERS ~ $2.80.


DJ STIFFY’S WIDE WORLD OF SHORTS CHARLIE SHEEN’S WAR ON LOSERS Most people with any sense are generally getting quite excited about Charlie Sheen right now. To wit, I saw a piece of graffiti the other day that said, “Free Charlie Sheen”, which was utterly baffl ing and completely coherent at the same time – ie baffl ing because Charlie Sheen is not in jail and would be generally considered one of the ‘freest’ individuals in the world right now, but also completely coherent in that adopting the whole Charlie Sheen philosophy requires a certain metaphysical leap, and that leap involves getting on a motorcycle, jumping over a tank fi lled with acid-inhabiting aqueous shark-alligators, and through a ring of fi re into your own alternate reality. The simplistic way to look at the revolutionary nature of Charlie Sheen is this – the guy is a role model for people who want to get high all the time and live with a couple of porn stars. He has set the new benchmark for the rock star lifest yle. He makes Keith Richards look like an ashamed virgin looking at bra catalogues and jerking off into a sock. The less simplist ic model is this – Charlie Sheen has made it socially acceptable for people to get high all the time and live with a couple of porn stars, and is therefore championing free speech and challenging traditional family st ruct ures. But if you actually wanna get really serious and look at the socio-political implications of what can only now be described as the post-Sheen era, think about it this way. Sheen is the ultimate syntheses and consolidation of business venture, entertainment and individual personality. The personality that is Charlie Sheen is its own entertainment; whether the outside world finds Sheen having coke-fuelled orgies entertaining is irrelevant – Sheen does it for his own pleasure. That engaging in this behaviour is actually profitable for Sheen is only semi-relevant; more profound is that the behaviour, combined with the personality, is its own form of marketing, tapping directly into media outlets globally. Charlie Sheen doesn’t need to find publicity; publicity finds him. In simple terms, Charlie Sheen is a place in everyone’s mind, where you are not only paid, but also worshipped for worshipping no one but yourself and your own act ions. You can do no wrong. You are always right. You can have what you want, when you want. He is this generation’s zenith.

It’s fi rst thing in the morning and I have discovered an empty peanut butter jar in the pantry. I stare into the jar looking at the swirls of the knife marks etched into the remaining scraps around the side of the jar and feel the rage beginning to burn in my empty stomach. Slamming the jar down, with violence, I rip a scrap of paper off the notepad that sits on the kitchen table for house messages and begin to write. “Are you saving this for when all the peanut butter in the world runs out?” I hope it sounds as sarcast ic and as vehement as I feel. Next I spy two dishes on the sink. “Are you all fucking IDIOTS?” I shout to my hiding housemates. “If you can walk to the sink

and put your dish down, would you have to be some kind of fucking genius to think ‘while I’m standing right next to the dishwasher, perhaps I’ll open it and PUT MY DISH IN’?”

The fury is immense and it comes with a very st rong urge to unleash physical violence on the fi rst person to speak to me. Th is is no exaggeration. I have thrown things, broken things, slammed doors and abused people with a viper’s tongue all because I haven’t had breakfast yet. And as soon as I have a piece of toast, it all goes away and I’m completely happy. “You’re pretty abusive,” said one housemate. “I often wait until I get to work and then call you to ask for something once I’m sure you’ve eaten.” The other says she sometimes paces up and down her room trying to figure out the best way to word a request or whether it would be even worth asking, just in case I haven’t eaten yet. Upon the return from a recent holiday, one of my closest friends told of how they never knew how angry I could be before eating in the morning. I thought back and remembered how much I had swallowed the urge to crack the plates he was washing so. damn. slowly. over his big. bald. skull. and I thought to myself, “what the hell is wrong with me?” A nutritionist from NSW Health tells me it’s nothing but low blood glucose levels. That’s all it is. Low blood sugar. So stay out of my way when my BGL is low bitches. LIZ GALINOVIC






The planets are all going to collide this week until the universe looks like a level from Angry Birds. Only the st rong will survive. AQUARIUS (20 JAN TO 18 FEB) Walking around with headphones in your ears and your head up your arse, you’re likely to miss some of the details. Try to reconnect this week. PISCES (19 FEB TO 20 MAR) You are under police surveillance and a private detect ive is also following you. Th is might be a good time to flush all that heroin down the toilet. ARIES (21 MAR TO 20 APR) Your YouTube show Stiff y World will be adapted into a children’s book and an arena mega musical. Until someone realises what the title refers to. TAURUS (21 APR TO 20 MAY) Always remember that your future hasn’t happened yet. Unfortunately your past has happened, which is why you’re so poorly thought of. GEMINI (21 MAY TO 20 JUN) You’re going to get set on fi re by an angry mob. Th is is because ‘happy’ mobs rarely set people on fi re. It’s the ‘angry’ ones you need to worry about. CANCER (21 JUN TO 21 JUL) Your sick relationship with an inflatable virgin doll (as opposed to an inflatable SEX doll) will become public this week, when I announce it in my horoscope column. LEO (22 JUL TO 21 AUG) Th is is a week for intimacy. Keep it to small groups of two or less. Host a dinner party for some cardboard cut-outs. VIRGO (22 AUG TO 21 SEP) Ask yourself this: “Do I really need to carry three guns if I’m only going to the library?” The answer is probably yes, as bikies own the library. LIBRA (22 SEP TO 22 OCT) You’ll get into some major verbal fights this week. But this is healthy. Until the person you are arguing with coughs in your face. He has Ebola. SCORPIO (23 OCT TO 21 NOV) Try to be honest and even tempered this week. Mercury and Jupiter are furious with you right now. They want you fired quite frankly. SAGITTARIUS (22 NOV TO 20 DEC) The time warp is just a jump to the left and then a step to the right. It’s so simple I don’t understand why you can’t figure it out. CAPRICORN (21 DEC TO 19 JAN) Be organised and make up a budget so you don’t spend more than you earn (or steal) each week. Try eating at soup kitchens or out of garbage bins.


There’s a big difference between movies that are ‘based on a true story’ and movies that call themselves ‘bio-pics’. ‘Based on a true story’ is usually a good sign because those movies focus on one exciting incident (127 Hours, Dog Day Afternoon, United 93). Biopics, which try to cram one person’s entire life story in to a two hour movie, are running out of interest ing people to cover and should generally be avoided. Bio-pics are frequently “passion project s” for actors who say that writing and st arring in the life story of this person has been their lifelong goal. Salma Hayek told Frida Karlo’s story, Benicio Del Toro essayed Che Guevara and I once sat through a mind numbing fi lm about the life of Jane Aust en. The trouble is, there seem to be more act ors searching for passion project s than there are people with a life story worth making a movie about. Are we really supposed to believe that act or Paul Bettany has always wanted to bring the life story of Charles Darwin to the screen (as he claimed in interviews promoting the st inking bio-pic Creation)? The best kind of bio-pics focus on people who lived interest ing or scandalous lives. People who overcame difficult childhoods, got hooked on smack, got shot, then ultimately triumphed. But those people have already had movies made about them (Ray, Walk The Line, The People vs Larry Flynt, The Basketball Diaries, Serpico). The only people left to make bio-pics about are complete dullards. I wouldn’t want to watch a movie with any of these people, let alone watch

a movie about them. I got home the other night and my partner had the remote control pointed at the TV. She asked me “Do you want to watch a movie about the life of children’s author Beatrix Potter?” Words couldn’t express how little I wanted to see that, but to be polite I said “Um, that depends. Who plays Beatrix Potter?” The answer was Renee Zelweger, so I pulled a thoughtful face and said “Hmmm, I don’t really see her as Beatrix Potter. You go ahead and watch it without me.” I think eventually we’ll all have a biopic made about us. The only quest ion is ‘Who will play you?’ People often tell me I look like an older, fatter, uglier version of Joe Pesci, so I‘ve got my fingers crossed. DAVE JORY



68 INTERNATIONAL BANDS, 800+ BANDS AND CREW ON THE ROAD, 10 DAYS, 5 FESTIVALS, 48 SIDESHOWS takes you backstage at Soundwave (Brisbane) to catch up with your favorite artists Check out now to see backstage interviews with Primus, Slayer, Pennywise, Bring Me The Horizon, The Bronx and more all from Saturdays epic Brisbane Soundwave Festival - powered by Street Press Australia Streaming exclusive album previewsâ&#x20AC;Ś a taste of things to come.

LAUNCHING 2011 For information on sideshow tickets go to



HOW DID IT MEASURE ON THE CHARLIE SHEEN SCALE? Sheen isn’t even worthy to fetch a tequila for Gibson. Mad Mel raised the bar so high that it is highly unlikely ever to be equalled.

FEATURES? Mad Max 4: Road Worrier.

PROS? None that we know about – just a scared Russian bride and a good Catholic ex.

CONS? You seen the Lethal Weapon fi lms?

COST? A career.

CAUSE? Deep-seated xenophobia and an undying love of the Pope.


HOW DID IT MEASURE ON THE CHARLIE SHEEN SCALE? Heche was to breakdowns what Emilio Estevez was to Sheen. She led the way.

FEATURES? Appeared on a stranger’s doorstep wearing not a lot and introducing herself as God.

PROS? It was her best work.

CONS? She came back from it to make Men In Trees.

COST? Her lesbianism.

CAUSE? Ecstasy.



FEATURES? A quiet disappearance.

PROS? He’s finally returned to doing stand-up.

CONS? He stopped making Chapelle’s Show.

COST? He walked away from a $55 million offer.

CAUSE? A live audience heckling him with his own show’s catchphrase, “I’m Rick James, bitch!”


EMPLOYMENT ADMINISTRATION Female Vocalist Wanted for Working and Established Band CountDown Explosion. Performing Retro covers in a Show Format to the Corpoate and Club Market.Experience Essential see ph Trevor 0411323700 or Email iFlogID: 11238

ADVERTISING / MEDIA 2 camera peeps required for filming a music vid in & around central Brisbane. Own camera’s and editing skills preferred. More than one clip required. Students welcome iFlogID: 11377

good home. PH: 0433775996 iFlogID: 11757

DJ EQUIPMENT DJ MIXER Behringer VMX1000 Pro Mixer 7 Channel Rack Mountable BPM Counters 3 Band Kill EQ 2 Mic Inputs Talkover Button Sub Woofer Out Adjustable Cross-Over etc etc Always Cased Like New $200 iFlogID: 11556 EX Hire Dj equipment and lighting sale.Lots of lighting to choose from and Pioneer cd players.Friday 4/3/11 at Feel Good Events factory 3/35 clyde st Ferntree gully.7pm till 9pm. iFlogID: 11599 STANTON S-650 MK2 Dual CD Decks Fantastic Condition Boxed in Original Packaging iFlogID: 11558



3D Animator needed to collaborate with musician/sound designer on experimental audio/visual project. An interest in music or a musical background preferred. If successful, our content will be seen at large scale live events such as festivals, concerts, etc. Email: iFlogID: 11267

ROLLAND JUNO-106 Programable Polyphonic Synthesiser. Original 80,s model.Incredible Tones and versatility. classic collectable synth. Perfect working condition.$450. Ph.0428744963. Cooroy QLD iFlogID: 11613


Gigrac 600 Integrated Mixer & 2x300W Amplifier. $500 o.n.o. Pick Up Rockdale. Ph: 0295977377 iFlogID: 11640

Experienced promoters wanted for Martin Place Venue. Music Genre: Commercial, pop, disco, funk, electro. Our Capacity is 297 & we have unlimited trading hours. You can book a one off party or regular event. Call Denise on 0410 044 128 iFlogID: 11673 Want to get paid to party, make friends and rule the nightclub world? Tarantula Music is now seeking hosts /promoters for Melbourne club Killer. For more info simply email with “promoter wanted” in the subject heading iFlogID: 11545 Want to get paid to party, make friends and rule the nightclub world? Tarantula Music is now seeking hosts/promoters for Sydney clubs SFX and Trash. For more info simply email andrew@ with “promoter wanted” in the subject heading iFlogID: 11547

SELF-EMPLOYMENT I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ iFlogID: 11519

FOR SALE COMPUTERS FOR SALE: APPLE 20” iMAC Intel Core Duo 2 with heaps of extra software which is worth $600 alone. Looking for $850. For more info call 0433775996 (Darren) (LEICHHARDT, NSW) **$850.00** iFlogID: 11836

DECKS TECHNICS 1210 SLK MKII FOR SALE: Selling this Technics deck as i am downsizing my studio and no longer have use for it. In excellent working condition and needs a


MUSIC SERVICES BOOKING AGENTS Gig Launch is Australia’s first online booking agency, connecting artists and promoters all over the world. Opportunities local and globally, we need quality artists for our gigs! Head to to submit. iFlogID: 11207 Gig Launch is Australia’s first online booking agency, connecting artists and promoters globally. We’re currently on the hunt for artists to play worldwide festivals and events, with heaps at home. www. Go Aussie, Go Gig Launch! iFlogID: 11527

HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Contact Chris 0419272196 iFlogID: 11749


VESTAX PMC46 ROTARY MIXER FOR SALE: I’m reluctantly selling due to downsizing my studio, this Vestax rotary mixer is a rare find and fits nicely into any studio or dj set-up. $500.00. PH: 0433775996 (LEICHHARDT,SYDNEY) iFlogID: 11759 Yamaha O3D 16ch Digital Mixing Console. Good condition. All functions fully working except two I/O on the back panel (monitor out, 2 track in). Mic pres are very good. manual included. Inspection welcome $850 negotiable 0425358190 Martin, Marsfield. iFlogID: 11419

OTHER Legal Alternative Marijuana try a sample pack today www.legalpot. iFlogID: 11537 Rane RPM2 Programmable Multiprocessor. Good As New. Includes Manual, Dragnet Software & cords. $1100o.n.o Pickup from Rockdale NSW. Ph.0295977377 iFlogID: 11642

and with over 4500 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member or get exposure check Ozjam out today! iFlogID: 11719

RECORDING STUDIOS Have you got a song in your head? Get it recorded with a multi-instrumentalist producer in a relaxed, friendly studio. Experienced in arrangement, composition, performance and production. Affordable rates Call Greg 0425 210 742 iFlogID: 11660 Professional Studio, With creative vibe and wide variety of equipment see email iFlogID: 11723 THE BRAIN RECORDING STUDIOS Surry Hills Recording facility. Great Rates,World Class Results,Perfect for your next project. Clients:The Scare,Daniel Johns,Bridezilla,Adrift For Days,The Vaine,Wolf and Cub,The Storm Picturesque. Phone (02)9211 8474 info@thebrainstudios. com iFlogID: 11562 We’re proud to introduce our new recording studio, utilising state of the art technology, at affordable community rates. The studio is available for hire both for production and as a rehearsal space. Located at Liverpool PCYC. Facebook Us!! 02 96086999 iFlogID: 11234


Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email iFlogID: 11100

“The Jam Room” in Parramatta is now open for band rehearsals from 8pm-12am Mon-Sun. Would suit regular rehearsing bands. $30/ hr. Option to record live rehearsals for demo’s. 0407125837 - www. - info@jamroom. iFlogID: 11429


REHEARSAL ROOM AVAILABLE IN SURRY HILLS. 1 minute walk from Central. 7pm - 12pm $60/booking. Used by Daniel Johns, Bridezilla, Wolf and Cub, The Scare, The Vingettes and The Salvagers. Contact (02)9211 8474 iFlogID: 11783


SO YOU THINK YOU CAN DJ? Aspiring DJ’s wanted for Sundays in Chatswood using CDJ 900’s - DJ’s paid by headcount so u need to have friends who wanna see you play! 18+ age.Contact Peter or Cristo on 9419 5481 iFlogID: 11819




Australian Monitor F300 foldback wedge / floor monitor. 300W continuous 500W peak. 15” bass driver, 1” compression driver, 60x40 degree horn. Seven available. $299 ea. Princess Theatre, Woolloongabba, Brisbane. Ph 0400 404 919. iFlogID: 11560

Daniel is now giving guitar lessons phone 0432 614 066 iFlogID: 11253

GUITAR TECH - BEN C. Professional set-ups and repairs (including Floyd-Rose bridges). Experienced, reliable work, guaranteed. Free quotes. Guitar Tuition also available. All ages. Contemporary styles. 95972113, 0404993003 iFlogID: 11625

CARVER 1800W PA. rack mount. split mono.with Bose controller/pre amp.8 speaker outputs.very loud. in case.VGC.cost over $2500.sell $850.Ph.0428744963.Cooroy. iFlogID: 11482 For Sale including: Mixers, Power Amps, Equalizers, Road Case, Speakers, Speakers Stands, Mics, stands, Drum Kits,etc. iFlogID: 11790

Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much more from $399 including Hosting! Contact or see iFlogID: 11587 Mark McKinnon-Bassett is a qualified acoustic consultant specialising in small ‘home studios’ with owners looking to optimise their acoustics without any construction, major modifications or purchases. For a full list of services see http:// iFlogID: 11621 is free to join,

ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADESREPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 tara@rockinrepairs. com iFlogID: 9348

TUITION “The Jam Room” in Parramatta is now open for tuition in guitar, piano, vocals and violin/

fiddle. $35/half hour. Experienced teachers with a vast knowledge of their instruments. Beginners to advanced and everything in between. 0407125837 - info@ iFlogID: 11431 Private singing and acting lessons with an full time working and interanational award winning performer. Brake new boundries and let go of your inhibitions, develope flawless techniques & have lots of fun. In Sydney inner city. $50/hr. 0412206675 www.damiennoyce. iFlogID: 11269 PRO TOOLS TUITION. From the basics to advanced mixing/mastering using ProTools8. Take home a session template on disc. Based in Ivanhoe or i can come to you. $50 p/h. PH: 0438812399 Email: iFlogID: 11392


Singing & Songwriting Lessons Rock/Pop/Indie/R’n’B/Punk. Signed artist with 10 years experience. Recorded over 100 times. Pay per lesson - no contracts. Lessons can be either at Gordon music school rooms or in Wahroonga. Beginners through to experienced singers welcome. 1hr lessons only $50. Also open in school/uni holidays. Call AJ on 0448-080-619. iFlogID: 11811 VOX MUSIC ACADEMY FOR GUITAR • VOCAL • BASS • DRUM TUITION Get the very best out of your music career. BOOK NOW! Vacancies at Dandenong, Bayswater & Brunswick. Contact Us info@voxmusic. or PH (03) 8772 2605 iFlogID: 11365

VIDEO / PRODUCTION Bands who have made videos with us include El Duende, Line Drawings and K-Lab. Get your band on Rage and Youtube. Fantastic concepts and slick production that wont break your budget. See examples on dynamic.screen.content Call Darrin on 0413555857 (Sydney) iFlogID: 11636 MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or atrists and strives to offer quality creative Music Videos at an affordable price. Visit or email info@immersionimagery. com iFlogID: 11423

MUSICIANS AVAILABLE OTHER We are a jazz band performing music to the style of Nat King Cole. Perfect for romantic situations, weddings, small cozy clubs etc. For more information, contact Chris 0419 272 196 - iFlogID: 11751


MUSICIANS WANTED DJ SO YOU THINK YOU CAN DJ? Aspiring DJ’s wanted for Sundays in Chatswood using CDJ 900’s - DJ’s paid by headcount so u need to have friends who wanna see you play! 18+ age.Contact Peter or Cristo on 9419 5481 iFlogID: 11817


Keyboardist required for brand new Industrial Electronic project “The Damned Humans” music is a cross between KMFDM, Nine Inch Nails and Alice Cooper. Must have good equipment, and be willing to travel. Songs are written in demo phase, but there is plenty of room for input. Songs are available to listen here: http://www. And on youtube: watch?v=a4MW2ndAlnA If interested contact Elliott on 0419262763 or at iFlogID: 11786 keyboard /synth wanted to compliment our current line up playing covers and some originals so if you like u2, depeche mode, pink floyd,police and many others call us on 0417044497 iFlogID: 11815 Keyboard player wanted for a rock band. Age not an issue, must have decent equipment & own transport. Only people from Sydney need apply. Please contact 0419615184. iFlogID: 11842 Well established Sydney based Pop / Rock covers band requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to iFlogID: 11734

OTHER OzSong International is Australia’s newest songwriting competition. Grand prize is a paid trip, accommodation and recording time in Nashville or Sydney - the choice is yours. Each contestant through to the finals receives professional recording gear. for more info. iFlogID: 11205 Sydney indie band looking for violinist: 18-25yo, fun and energetic, own gear, own transport, play by ear and creative, Practice on Saturday in Belmore. Vocals are a plus! Check out our tunes at www. Email info@ if keen! Cheers. iFlogID: 11403

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



3D World - Brisbane Issue #1051  

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

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