BRISBANE•GOLD COAST ( Issue 1054 ~ WEDNESDAY 30 MARCH 2011 )
MIND OVER MATTER: EXPLOSIVE RHYMES TOKYO: AFTER THE EARTHQUAKE FORREST GUMP, ACID HOUSE & THE SMILEY FACE SXSW & GBGG REVIEWED
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
Erﬆ while contributor to the Sydney edition of 3D World and all round good guy Robbie Lowe has kindly oﬀered up the Colour: MOVE promo mix, in honour of the semi-regular Colour club night, for free via soundcloud.com/robbielowe. Music fans of the deep, tech and prog house persuasions should get all over this ﬆat…
DON’T BUY There are people on the planet for whom a royal wedding is a big deal, and if you are one of those people please accept our sincereﬆ condolences. Especially if you’re the sort who would mark the occasion by purchasing this refrigeration monﬆ rosity oﬀered up by GE in the UK, for sheer lolvalue or otherwise…
Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Koﬆas Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT firstname.lastname@example.org NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS www.iﬂog.com.au ART DEPT email@example.com Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague
If you ever needed conclusive evidence that “drugs are bad, mmkay”, head over to www.facesofmeth.us. Collated from mug shots taken by the Multnomah County Sheriﬀ ’s Oﬃce, these before and after photos of people in the throes of meth addict ion are seriously diﬆ urbing…
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WATCH If you’re ﬆ ill drying your eyes about Faithless following Groove Armada to that great hands-in-the-air moment in the sky, take heart – Irish trio The Japanese Popﬆars are looking for promotion to the top tier if their new anthem Song For Lisa is any indication. Superﬆardom awaits when new album Controlling Your Allegiance drops through Virgin/EMI Friday 10 June, remember you read it here ﬁ rﬆ…
THINGS TO DO THIS WEEK
Once you’ve made your way through Andrez Bergen’s account of life as a citizen of Tokyo poﬆ Japan’s devaﬆating earthquake elsewhere in this week’s issue, you might want to wrap your hands and eyes around his debut novel TobaccoStained Mountain Goat, a ﬁ lm noir-ish tale set in poﬆ-apocalyptic Melbourne (which juﬆ happens to be the laﬆ city left on the planet) involving guns, intrigue, kidnappings and conspiracies aplenty…
STREAM We’re very close to declaring 3D World a Sheen-free zone (though Emilio Eﬆevez is yet to wear out his welcome, how good were the Mighty Ducks ﬁlms?), but Melbourne designers Death By Zero have given us one laﬆ excuse to feature Charlie’s mug with the national release of this limited edition tee. Find your neareﬆ ﬆockiﬆ at www.deathbyzero.com and prepare to bi-win…
LOL Dating sites are now as mainﬆ ream as the Black Eyed Peas (albeit slightly more credible), but if you want to keep it underground we recommend Sea Captain Date. “In the unforgiving ocean of love, let us be your lighthouse,” declares CEO Bill Kay of a service which has been bringing together lonely sea captains and (presumably) buﬆ y wenches since 2007. Sign up at seacaptaindate.com…
Can’t be in New York City for LCD Soundsyﬆem’s farewell show at Madison Square Garden on Saturday night? Funnily enough we can’t make it either, but thanks to hipﬆer portal Pitchfork you’ll have the chance to watch James Murphy, his drumming weapon Pat Mahoney and the gang smash out the hits one more time with a onetime-only webcaﬆ of the show. Consult your Time Zone Converter of choice and LCD will be playing at your house some time on Sunday…
LIGHT UP YOUR LIFE
In the midﬆ of a highly successful world tour, Miami Horror have announced their Auﬆ ralian shows for 2011. Come Auguﬆ, the indie-elect ronic adventurers will re-locate to LA for a busy northern hemisphere summer spent performing and writing new material. Their album Illumination has delivered on two years of teeth-cutting live shows and a rising wave of buzz that has earned the group a reputation as a phenomenal live act, spawning four club hit singles with Sometimes, Moon Theory, I Look To You and Holidays. Proudly presented by Street Press Auﬆ ralia, they play The Zoo (Brisbane) Friday 1 July, The Forum (Melbourne) Saturday 9, Entrance Leagues Club (Bateau Bay) Thursday 15 and Metro Theatre (Sydney) Saturday 16. Tickets on sale now.
FLYING OUR WAY
Southern Californian hip hopper Pigeon John is set to tour nationally in support of his acclaimed album, Dragon Slayer. The artiﬆ will unleash his signature blend of wit, charisma and ﬆage presence with his dynamic and cutting rhymes. Dragon Slayer is as eﬀortlessly engaging as his previous album, and features newly recorded inﬆ rumental tracks that are mashed up and sampled in an innovative and reckless ﬆ yle. Pigeon John plays Tone (Sydney) Friday 20 May, Eaﬆ Brunswick Club (Melbourne) Saturday 21 and X & Y Bar (Brisbane) Sunday 22. Tickets through Moshtix and Oztix.
WINDOWS AND WALLS
Local group Strange Talk are set to launch their self-titled debut EP in advance of a national tour. The group have been described as a “ﬆar-crossed STRANGE TALK marriage of Phoenix and Passion Pit”, and are sure to elect rify with their unique blend of contemporary dance pop. Their upcoming EP has been developed with the assiﬆance of renowned UK producer Eliot James (Two Door Cinema Club, Bloc Party), with their ﬁ rﬆ track, Climbing Walls, receiving heaving rotation on Triple J. Strange Talk play The Harp (Wollongong) Wednesday 27 April, GoodGod Small Club (Sydney) Thursday 28, CBD Hotel (Newcaﬆ le) Friday 29, Northcote Social Club (Melbourne) Friday 6 May, Karova Lounge (Ballarat) Saturday 7, before winding up at Bowler Bar (Brisbane) Saturday 14.
WHAT A PAIR Triple J Unearthed ﬁnaliﬆs Tim & Jean have premiered their lateﬆ album on their Facebook page, granting fans exclusive access to TIM & JEAN their lateﬆ tracks prior to release. Like What will be in ﬆores Friday 1 April and is said to capture the euphoria of a damn good party whilﬆ applying the sheen of noﬆalgia. They have played alongside Franz Ferdinand, Moby and Two Door Cinema Club and will tour nationally before heading to the UK and US. They play The Toﬀ (Melbourne) Saturday 16 April, Coolangatta Hotel Thursday 28, The Globe (Brisbane) Friday 29 and Oxford Arts Factory (Sydney) Saturday 30. Tickets through Moshtix and Oztix.
DISH THE DIRT In support of Miniﬆ ry Of Sound’s new Elect ro House Sessions 4 compilation, DJs Rob Pix and Timmy Trumpet will be TIMMY TRUMPET embarking on a national tour. The two-disc set, in ﬆore Friday 1 April, sees the elect rologiﬆ s mix tracks by PNAU, Bag Raiders and Tim Berg among many more. The tour hits The Met (Brisbane) Friday 8 April, Soho (Sydney) Saturday 16, Platinum (Gold Coaﬆ) Saturday 23, Sorry Grandma (Melbourne) Sunday 24 (Timmy only), Academy (Canberra) Friday 29 (Timmy only), Mean Fiddler (Rouse Hill) Friday 6 May and Phrict ion Nightclub (Penrith) Friday 13. Spooky. CAPITAL W Local pop ﬆar Washington continues to sell out shows on her upcoming headline tour, and has added further dates for her WASHINGTON in-demand show. As well as a gig at The Forum (Melbourne) on Friday 29, she will be playing at Ormond Hall on Thursday 28. In response to the sold out gig at The Tivoli (Brisbane), she will play Old Museum on Tuesday 3 May. Washington will also be playing a second show at Metro Theatre (Sydney) on Thursday 5 May. Tickets available through Oztix and Ticketek. CLARIFICATION In laﬆ week’s cover feature, Drapht referred to a dispute with his former record label. References to “funds owed” were not ﬆatements of fact but rather paraphrased from a Twitter poﬆ by the artiﬆ. Any other misinterpretation of those allegations was unintentional. All sub-editors involved in laﬆ week’s product ion have been locked away with nothing but a Kriss Kross mixtape for the next week.
NEW DIGITAL ALBUM The Fall from Gorillaz is set for release Friday 15 April. Made on an iPad while touring through the US laﬆ year, its ﬁlthy ﬂoor beats and droning experimental synths are unlike anything they’ve released before… BADASS MODEL AND former drug ﬁend Kate Moss and rock ﬆar husband Jamie Hince of The Kills have resorted to using hypnotherapy in order to kick their pervasive smoking habit... INDIEDANCE HEROES Friendly Fires have announced the release date of their second album, Pala. To be released Friday 13 May, the LP is preceded by single Live Those Days Tonight… TWO WOLLONGONG MOTHERS are set to release an ‘intimate massager’ designed by women, for women. The Be Be vibrator has been developed after consultation with hundreds of real women with real needs... AFTER PLEADING GUILTY to a charge of possession of an illegal weapon, rapper/actor Ja Rule has been sentenced to two years in prison... UK DJ/ PRODUCER Kissy Sell Out is set to release his second album, Wild Romance. The LP, out Friday 6 May globally, sees the artiﬆ dropping spirited anthems while sinking his feet into elect ric beats... FORWARD THINKING DE SIGN group Bjarke Ingels have released plans to build a nuclear plant which doubles as a ski slope and holiday resort in Copenhagen, set for completion in 2016...
WHEN DANNY HOWELLS WAS SELECTED TO BREATHE LIFE BACK INTO RENAISSANCE’S THE MIX COLLECTION SERIES IN 2008, HE SIMULTANEOUSLY HIT A PURPLE PATCH OF PRODUCTION WHICH BIRTHED HIS DIG DEEPER LABEL. DANIEL SANDERS QUIZZES THE AFFABLE VETERAN DJ ON THE LABEL’S FIRST COMPILATION RELEASE AS HE PREPARES TO SHOW OFF ITS SOUNDS DOWN UNDER.
f all the DJs to emerge from the crucible of the 90s progressive house movement, Danny Howells is one of a select few who remain as something more than a mere relic. Though his recent years have been eaten up by a far greater amount of ﬆ udio time than usual, the net result is a reinvigorated sense of creativity and a label – Dig Deeper. Primarily conceived of as a means to release his own music, Howells has since used the imprint as an outlet for music from many friends and colleagues, including Art Bleek, Tom Budden and Benny Rodrigues. When 3D World catches up with the perennial globetrotter, Howells is reﬆ ing up in Miami before beginning a spate of gigs in support of the label. “I was in New York this weekend and I’m in Miami a few days early so things haven’t really kicked oﬀ for me here yet,” Howells explains. “I’ve had a few days juﬆ basically sorting my music out, relaxing. I’m really juﬆ getting my ﬆ rength together as my gigs ﬆart tomorrow and I wanted to hopefully be on top form, so I’ve been reﬆ ing up and doing as much preparation as I can… being a real boring baﬆard! “I will be a bit [busier] than I’d normally like to do be – I like to have quite frequent weekends oﬀ so I’m always reﬆed and prepared when I’m travelling. I do ﬁnd it harder to recover from lack of sleep these days. I’ll be non-ﬆop up until I see you guys but not crazily so. I’m pretty sure I’ll be ﬆ ill ﬆanding!” Countless clubbers across the globe would be quick to contradict Howells’ self-deprecating (if amusing) tone, and his results in the DJ booth ﬆand as teﬆament – the preparation has consiﬆently proven to be worth his sacriﬁce. In contraﬆ to many of his wayfaring colleagues, Howells rarely talks about his adventures with a sense of bravado, always quick to re-evaluate his performances and adjuﬆ to suit. Dig Deeper as relevant to his personality as it is to his treatment of the record box, and is also a direct reﬂect ion of his professional development. It comes as no surprise then that his ﬁrﬆ compilation for the label, Dig Deeper | Phase One, reﬆs so heavily on his own product ions. “It ﬆems back to when I did the Renaissance album [bringing the Renaissance: The Mix Collection series pioneered by Sasha and John Digweed back to life] back in 2008 – I think that year I’d upgraded my computer and gotten a new version of Logic, and I’d never had the newer version of Logic ever, I’d always had the really old version,” he recalls. “I suddenly ﬆarted producing and I think over the space of 18 months I’d made maybe about 18 to 20 tracks and thought ‘oh fuck, what am I going to do with this?’ So obviously I used some of those on the Renaissance album because I wanted some exclusives on there but then I had all these other tracks. I was a bit too paranoid to ﬆart sending them out to labels and ﬆart getting rejected for fear it might break me mentally so I set the label up as a way of getting it out and if it failed miserably there’d only be one person to blame.” “After releasing that initial batch of product ions I slowed down a little bit – I’m ﬆ ill producing now but not knocking out three tunes a week like I was in that particular period. I felt that I produced so much in a short period of time that afterward, if I switched on my computer and ﬆarted doing ﬆ uﬀ, I got that feeling that I was repeating myself or that it juﬆ wasn’t that good. Inﬆead of forcing myself into a break on product ion I took a sideways ﬆep, and inﬆead of producing myself, looked into what I could ﬁnd from friends and colleagues to release. I ﬆarted reaching out to other producers and seeing who else might have something they might want to contribute [and] later, ﬁnding people who could remix those tracks gave me a diﬀerent avenue for my creativity in that period so I didn’t feel like I was sitting on my arse doing nothing – I was doing something quite product ive but in a new area for me.
“THE NEW SINGLE I RELEASED FROM THE ALBUM, BLACK CAT… I HAVE A VERSION FOR MYSELF THAT’S 14 MINUTES SO IF I FEEL LIKE I NEED A TOILET BREAK I HAVE TO EVALUATE WHERE IT IS, HOW BUSY THE CLUB IS, AND WHETHER I NEED TO GO NUMBER ONE OR NUMBER TWO AND THAT WILL THEN DETERMINE WHICH VERSION OF THE TRACK I PLAY!”
“The initial idea was to release singles but then things ﬆarted ﬂying in and before I knew it really I had all this music that to release as singles would have taken me the next three years. There wasn’t a conscious decision that we now had to do a compilation, it evolved really. Without having a big label there putting deadlines on me it didn’t create quite so many grey hairs as usual.” While much of Howells’ early product ion work was done in collaboration with Dick Trevor, he’s primarily been working solo for the paﬆ several years. Nevertheless he expresses intereﬆ in teaming up with others again, and moﬆ recently did so with Mat Playford on a remix for Mason. “As far as act ually sitting down in a ﬆ udio and ﬁghting over a computer keyboard and mouse goes, there hasn’t been too much of that going on,” he jokes. “Nearly all of my early tracks and remixes were done with Dick Trevor and I really loved working with him act ually because we really found our groove together. Where I was able to write a lot of ﬆ uﬀ he’d be able to take it and make it sound good, then ﬁnd really good things to compliment that. We’d bounce oﬀ each other and never always sitting there together at the same time – we were at times, but he could like go have a cup of tea or watch Eaﬆenders or whatever. “I did like that and I do maybe want to get more into that again because I was working a lot on my own over the laﬆ few years. I think with collaboration you need to be quite conﬁdent – I’m not very conﬁdent presenting or playing ﬆ uﬀ to people so I need to work on that a little bit, but you do learn a hell of a lot from working with somebody and seeing the little shortcuts they might have and that sort of thing. I need to get ﬆ uck in and ﬆop being so reclusive.” Where Howells was once more dependant upon the music of other producers to ﬁ ll his ﬂoor, Howells has been able to tailor much of his own output to suit his sets rather than letting the music itself dictate the direct ion. Whilﬆ this largely follows Howells’ “people ﬁ rﬆ” approach to DJing, there are occasions where a more personal touch is called for. “I often thought, ‘what have I got here that isn’t available to everybody else’ and the only way to combat that was by going into the ﬆ udio and making my own ﬆ uﬀ,” he reveals. “Even though they might not be the tracks that people are really desiring, at leaﬆ I’ve got my own product ions and secret weapons that even though not necessarily danceﬂoor deﬆ royers, will help me in a tight spot.” “The new single I released from the album, Black Cat – when I did that I released it as a nine-and-a-half minute track. I have a version for myself that’s 14 minutes so if I feel like I need a toilet break I have to evaluate where it is, how busy the club is, and whether I need to go number one or number two and that will then determine which version of the track I play!” WHO: Danny Howells WHAT: Dig Deeper | Phase One (Dig Deeper Records) out Monday 4 April WHERE & WHEN: Dig Deeper at Brown Alley (Melbourne) Friday 8 April, Garden Party at Chinese Laundry (Sydney) Saturday 9 April,
Auditree at Barsoma (Brisbane) Saturday 9 April, Dig Deeper at Trinity (Canberra) Friday 15 April
hilﬆ no slouch in the tune hunting department, Danny Howells is moﬆ revered not for breaking records, but sewing them together. In fact, you’d be hard pressed to ﬁnd a fan willing to settle for a shorter set from him for that very reason – it’s in the marathon three to four hour plus timeslots he favours that the man truly unleashes his creativity. “When I ﬆarted DJing I’d go to the record ﬆore and get an Italian import or American import and you’d get the laﬆ one in the shop, then no one else would for the next few weeks at leaﬆ. Coming from a vinyl background, there were always those few tracks you had that other people couldn’t get their hands on,” he reminisces. “Adjuﬆ ing to that change where everything was available to everyone all the time, I did deﬁnitely go through some periods of a lack of conﬁdence, even though I don’t play the same tunes as everybody else and do try to avoid anything that is being played mainﬆ ream – I try to avoid it like the plague. “I don’t think my individual tune select ion has been my ﬆ rongeﬆ asset, mine has always been programming and that’s what I appreciate. It’s always also what I give myself ﬂack for – I might have played a really good set but there might be a certain part of the night which went a bit wrong and I’ll focus on that and beat myself up about it. I’ve always been very passionate about it, but to a 17-year-old who’s playing top ten tunes from Beatport or somebody who is clubbing for the ﬁ rﬆ time it’s probably not that important.”
GOOD CONDUCT MATTERS LIZ GALINOVIC LEARNS THAT FOR MARTIN BROWN (AKA SMILES AGAIN) AND HIS PARTNER IN MIND OVER MATTER, THE ROAD TO THEIR SECOND LONGPLAYER WAS ALL ABOUT STEPPING UP EVERY ASPECT OF THEIR OPERATION. ind Over Matter’s second album Juﬆ Like Fireworks has been an exercise in improvement, from the quality of equipment to the sound to the very subject matter being tackled by these young Sydney lads Martin Brown and Rowan Lockyer. That said, it’s not a signal that the fun playful nature of their work to date has been dropped for a ﬆ rict ly serious agenda, but that a balance has been achieved. As Brown, aka Smiles Again, says of their debut 2008 release Keepin’ It Breezy, the album felt like more of a “tick box album”. “It had its party songs and then it had its songs about a girl and then it had its drinking songs and it was juﬆ like going down a liﬆ and going ‘yep we’ve got that one on there, and that one on there’. Th is one is diﬀerent in the sense that we didn’t set oﬀ to write a speciﬁc song, we didn’t have any ‘oh we wanna do a song about this’, we juﬆ sort of got beats and made the music and then we’d write what was right to the beats. So it’s much more organic and we are a little bit older now; it’s not all about drinking and party tracks, although there are some fun tracks on there.” Although it’s no longer all about drinking and partying, that doesn’t mean drinking and partying doesn’t occur, as Oﬀ The Chain clearly indicates. A running narrative of a big dirty night out to the sound of almoﬆ siniﬆer elect ric guitar, it shows that Brown and his cohort have not loﬆ their taﬆe for mischief. “It’s a fun track and it’s a ﬆory track and it basically describes the journey of Rowan and myself one night out under the inﬂuence of certain things. I recommend liﬆening to it, it’s quite a ﬆory.” But for every party track, there’s a reﬂect ive track, a track that recounts some of the eye-opening experiences the two have had in recent years. Sunshine In You is the result of Brown and Lockyer witnessing the tragedy and ﬆ ruggle in the lives of two particular close friends, while Hollow Eyes is a reﬂect ion of the tragedy and ﬆ ruggle in the lives of unknown proﬆ itutes from Sydney and Thailand. “Rowan used to work in Kings Cross. He would ﬆart his shifts at 11pm and work to 8 in the morning and he got to know Kings Cross really well and basically... it’s juﬆ a really colourful place. My verse was inspired by when I was in Thailand with my family. I watched a young girl proﬆ itute have dinner with this big fat hairy old man and he was juﬆ completely miﬆ reating her, like forcing her to eat and drink and she was juﬆ... you could see it on her face... she was juﬆ so unhappy with the situation. I really couldn’t blame her. Basically that’s the way of life over there and it was a big culture shock for me I guess.”
The emotive nature of the track is enhanced by the vocals of Jon Reichardt, who according to Brown has “sprinkled a little bit of magic through each track” on the album. “He can juﬆ do anything. He plays guitar, sings, plays banjo, plays drums, plays bass, produces, he’s juﬆ a – he’s a gun.” Juﬆ Like Fireworks features several gueﬆ artiﬆs both local and international (I Been Told features a verse from Pigeon John) and an array of producers. Some of these producers are predominantly sample users and others are composers in the more traditional sense but at the end of the day, Brown and Lockyer are the “conductors”. “We deﬁnitely add to our own beats. We predominantly work with other producers but we’ll add our own sounds on top if we feel we really need some ﬆ rings or something like that and the original producer hasn’t sent us the beat with ﬆ rings. When it comes to us we kind of conduct more than play. If the producer was a 30 piece orcheﬆ ra, we’d be the guy at the front with the little ﬆ ick, waving it around.” By working with a variety of producers who use various methods for creating beats, Mind Over Matter’s sound has beneﬁted – as has their live show, which these days invites live vocaliﬆs, drums, guitar and bass to ﬁ ll out the two MCs and one DJ skeleton. Changing things up and improving one’s work should be the goal of any artiﬆ and it’s clear that Brown and Lockyer have been working hard at it. “We’ve tried to better our sound and by that I mean our recording sound, mix, maﬆer, everything. We’ve juﬆ tried to work out the beﬆ way of going about it. We’ve bought heaps of new ﬆ udio equipment; we built this big-arse, professionally sound-treated vocal booth which was like the worﬆ six weeks of my life. And we’ve been working with DJ Matik who produced The Feﬆival Song and works with Pez and Seth Sentry and he mixed the whole the album, he also produced a few beats on it. And with the whole content we’ve deﬁnitely tried to progress.” WHO: Mind Over Matter WHAT: Juﬆ Like Fireworks (I Forget, Sorry!/Other Tongues) WHERE & WHEN: ANU Bar (Canberra) Thursday 7 April, Firﬆ Floor
(Melbourne) Friday 8 April, Oxford Art Factory (Sydney) Thursday 21 April, The Fitzroy Hotel (Windsor) Friday 29 April, Hotel Gearin (Katoomba) Saturday 30 April, The Brewery (Byron Bay) Friday 6 May, Beetle Bar (Brisbane) Saturday 7 May, Hoey Moey (Coﬀs Harbour) Saturday 14 May, Beaches (Merewether) Friday 20 May, Sussex Inlet Tavern Saturday 21 May
PLEASURE, NOT TERROR
SYDNEY LEFTFIELD ELECTRONICA TRIO SEEKAE RELEASED THEIR CRITICALLY ACCLAIMED DEBUT ALBUM THE SOUND OF TREES FALLING ON PEOPLE BACK IN 2008. MATT O’NEILL QUIZZES GEORGE NICHOLAS ON WHY THE BAND HAVE TAKEN SO LONG TO DELIVER ITS FOLLOW-UP +DOME. he sound of Seekae could perhaps beﬆ be characterised as the sound of several contraﬆ ing genres brawling in slow-motion. Quiet and contemplative with blaﬆs of minor aggression and throbbing undercurrents of malicious intent, the Sydney trio’s work has always been something of an unpredictable composite – encompassing aspects of hip hop, IDM, ambient and any number of additional genre splinters without betraying any clear allegiance to one speciﬁc genre.
The Sound Of Trees Falling On People, the band’s 2008 debut album, is a case-in-point. Haphazardly juggling shuﬄing hip hop rhythms with priﬆine electronic manipulations, waves of ambient texture and a smattering of live inﬆrumentation (including, surreally, a handful of delay-heavy melodica lines), The Sound Of Trees... sounded both clinically electronic and spontaneously raw. While cohesive and consiﬆent, the record was very much deﬁned by its ﬆ yliﬆic variety and ﬆripped-back sound. “I do think we have speciﬁc sounds. I mean, from my perspect ive, there are a few speciﬁc sounds I associate with Seekae. Speaking from a technical ﬆandpoint, there’s a speciﬁc synth sound that is associated with the band: a square wave with reverb on it!” George Nicholas – one third of the trio of multi-inﬆ rumentaliﬆs and producers – laughs. “In terms of like a sound in the way the songs are conﬆ ructed, we’re trying to make one. We’d like to change it with every release, though.” Th is could, in part, explain why the Seekae have seen so much success over the paﬆ three years. In addition to being signed to boutique Sydney label Rice Is Nice, the trio have supported acts as high proﬁ le as PVT and Midnight Juggernauts, earned favourable reviews from mainﬆ ream inﬆ itutions like Rolling Stone and had their debut album described as one of the top ten albums of the decade by legendary independent Auﬆ ralian radio ﬆation FBi. “I think the vaﬆ majority of our audience is act ually in that kind of indie scene as opposed to dance or elect ronic kind of audiences,” Nicholas considers. “It’s really quite intereﬆ ing. We toured with Cloud Control and we were really surprised to ﬁnd ourselves kind of embraced by their audiences each night. We kind of thought the music wouldn’t work well with those audiences – but there you go. I’m not really sure why it’s happened like that, to be honeﬆ. “I don’t know what indie is as a genre but I think it’s a lot broader than a genre or category like techno,” the producer reﬂects. “Maybe indie liﬆeners are a lot more broad-minded because their sources of incoming music taﬆes are a lot broader than one speciﬁc genre or category? I don’t know. If you look at something like Pitchfork, all kinds of music gets poﬆed on a website like that and that could maybe explain why a band like ours has managed to do so well.” Of course, such ﬆ yliﬆ ic conﬂ ict could also explain why the band have taken over two years to deliver a follow-up record. Originally discussed as far back as late 2009, Seekae’s second album +Dome has only recently been awarded with an act ual release and one can’t help but suspect that the trio’s diverse ﬆ yliﬆ ic intereﬆs were the key obﬆacle.
“We were all working on solo material and I guess there were a few diﬀerences in opinion about what the album should sound like,” Nicholas explains. “We scrapped a lot of material and we re-worked a lot of material. It was only about four or ﬁve months ago that we really ﬆarted to get to work crafting an album. Before that, we juﬆ didn’t seem to have a really ﬆ rong focus as to what we wanted from it. “After the ﬁ rﬆ album, which was really elect ronicbased and computerbased, we thought we’d ﬆ rip it back and do something really live with juﬆ guitar, drums and synths and go for a really raw kind of album – but we realised that wasn’t such a good idea,” he elaborates. “After that, we were liﬆening to lots of hip hop and decided to go in that
direct ion – but that was kind of shit as well – and then we were here.” Impressively, though, the record is act ually Seekae’s moﬆ focused and ambitious ﬆ atement to date. +Dome veers from dense ﬆ ring sect ions to shuddering elect ronic beats and glacial ambience. There is a polish and consiﬆency to +Dome which seems to almoﬆ contradict the band’s previously collage-heavy approach to genre. “I think that came hand-in-hand with writing tracks to put on an album as opposed to writing tracks juﬆ for fun. You know, I don’t think the ﬁ rﬆ album was intentionally lo-ﬁ or poorly-mixed or whatever but it didn’t have the ambition we kind of had with this one,” Nicholas says of the record. “There was the intention that these tracks would be released and showcased so we took them to a ﬆ udio and had them mixed and maﬆered and brought them together like a real album. “You know, we ended up with something quite diﬀerent,” the producer laughs. “I don’t think we ended up with anything as simple as a hybrid of those two earlier ideas. You can’t really put this down to one genre. Maybe that’s its downside. Maybe it’s not as consiﬆent as some other albums. I do think it’s a good album, though. I’m already thinking ahead to the next one – though, admittedly, that could be a long way oﬀ...” WHO: Seekae WHAT: +Dome (Rice Is Nice/Popfrenzy) WHERE & WHEN: Woodland (Brisbane)
Friday 15 April, Manning Bar (Sydney) Saturday 16 April, The Toﬀ (Melbourne) Monday 25 April
ANDREZ BERGEN, TOKYO-BASED PRODUCER, LABEL OWNER, AUTHOR AND FORMER EDITOR OF 3D WORLD’S NOWDEFUNCT SISTER PUBLICATION ZEBR A, WAS ON THE GROUND WHEN JAPAN’S BIGGEST EVER EARTHQUAKE STRUCK ON FRIDAY 11 MARCH. HE WRITES OF THE FEELING IN THE STREETS OF THE NATION’S CAPITAL AS SURVIVORS STRUGGLE TO GET ON WITH THEIR LIVES. okyo was fortunate compared with other places in this country up north, like Miyagi (think tsunami) and Fukushima (where the nuclear reactors sit). Thus far we’ve been lucky enough in this city to have survived the equal fourth biggeﬆ earthquake in recorded hiﬆory in one of the world’s moﬆ seismically act ive nations, and I guess we’re keeping ﬁ ngers crossed regarding those huﬃ ng-and-puﬃ ng reactors. What’s been more exhauﬆ ing are the recently-implanted foreign journaliﬆ s ﬆ rolling the ﬆ reets of Tokyo, a city they barely know, making blanket proclamations like “Although there’s not quite panic yet, there’s deﬁ nitely a sense of nervousness and edge”. Whatever. These are ﬆ range times here, for all too obvious reasons, and it sometimes feels like we’re collect ively treading water awaiting the next Big Th ing to transpire. Meanwhile the reactors ﬆ ill belch scary looking clouds and we get shaken by dozens of aftershocks everyday. Over the paﬆ few days in the supermarkets around our place, almoﬆ half the shelves have been empty as people are ﬆocking up in case of another emergency. Or three. But the local residents have been aﬆoundingly resolute – not here the looting and general mayhem on the ﬆ reets you see in other lesser disaﬆers elsewhere in the world – and it’s nowhere near desperate, at leaﬆ in Tokyo. People are getting on with their lives and are quick to share a smile; there’s a ﬆ unning sense of camaraderie that prevails. My respect for these people has increased tenfold over the paﬆ week. And there are the lighter moments: the primary school kids wearing their pointy silver radiation hats that make them look like Gandalf; the fact that I’ve never seen Tokyo so quiet and sedate and it’s act ually quite a nice change to its usual
AFTERMATH hect ic nature. It’s almoﬆ like a Sunday morning in Melbourne. Almoﬆ. That quietness, however, along with the power cuts and the continuous aftershocks are choking the local club scene. A high percentage of events and parties have been cancelled, and attendance is lower than usual at the places that are ﬆ ill open. A lot of the DJ/producers I know are spending moﬆ of their time at home, creating tunes – or putting together worthy beneﬁt compilations, like the ones coming out through Shin Nishimura’s Plus Tokyo label and another called Kibou that’s being put together by Japanophile DJ Hi-Shock through his Elektrax label featuring contributions from a wad of Japan’s ﬁneﬆ techno bods. It’s been mad timing for my new novel to come out; karma perhaps for writing a yarn that’s been described as “poﬆ-apocalyptic noir”. I’m supposed to have the Tokyo book launch this Friday, but the poﬆal service is all screwed up so I probably won’t be getting the books themselves in time from the US. We’re doing it anyway, regardless of earthquakes and/or radiation levels. Still, it does give us nice fodder for silly jokes about glowing in the dark at the party (and therefore no need for lighting), plus going tree-friendly “green” at a book launch. It’s the humour-in-adversity thing that really does get you through. The situation seems to be on the mend at the moment, which is a relief, with cautious jocularity and a touch of optimism helping to clear the shoals. Then again, the other morning when I ﬁ rﬆ woke up I was partially hungover and parched so indulged in a sizable glass of tap water. I switched on the computer immediately after to ﬁnd a big headline declaring that radiation had inﬁ ltrated the Tokyo water supply – juﬆ before reading the ﬁne print that the level itself was negligible and within safety ﬆandards. And okay, I’ll ‘fess up here – I’ve seen my fair share of Japanese disaﬆer ﬂ icks and have always been a bit of a fan. I loved Godzilla movies when I was a kid – the way in which he walloped little balsa-wood versions of Tokyo and Osaka – and I ﬆ ill DJ out the awesome theme song to 1961 monﬆer ﬂ ick Mothra, written by Yuji Koseki and sung by The Peanuts. But these paﬆ 12 days have been a little too close to home, and I say that not juﬆ because I currently live in Tokyo and my balcony partition is buﬆed. The quakes and shakes this time were real, not cheap FX on celluloid with high-deﬁnition surround sound. It’s eerily like the plot in Sakyo Komatsu’s novel Japan Sinks – made into B-movie classics in 1973 and 2006 – but deﬁes the page or the artiﬁcial set seen via a viewﬁnder. Real people have died, and thousands more act ual human beings have loﬆ loved ones and friends. Hundreds of thousands are deﬆ itute, lacking
basic provisions and braving zero-degree temperatures up north. The fact is that this is going to take a long time to clean up, let alone forget. And to be honeﬆ , while all along there’s been this unshakable urge inside me to pursue some quixotic gonzo journaliﬆ ic trail, ﬆ icking it all out no matter what – and thereby see the situation right through to the other side – my mind has been on those nuclear reactors melting down up north. I’ve therefore had one eye ﬁ xed on self-extract ion if irradiated push came to likewise shove. Fingers are crossed for everyone here that we’ve ﬆepped beyond the multipledisaﬆer abyss for now – and for a long time to come. If you would like to assiﬆ those aﬀected by the Japan earthquake, please donate via Oxfam at www.oxfam.jp/en
THERE’S NO LIMIT ANITA CONNORS CONFRONTS HOLLYWOOD A-LISTER BRADLEY COOPER ABOUT HIS PILL-POPPING NEW HIT LIMITLESS AND LEARNING THE SECRET BEHIND ROBERT DE NIRO’S ACTING CHOPS. f NZT were real and FDA approved, I would be completely lying if I wouldn’t take it.” Actor Bradley Cooper’s lateﬆ movie is Limitless, and at the heart of the ﬁ lm is a brain-unlocking elixir of IQ , the drug NZT. Cooper’s character Eddie Mora is a no-hope, wannabe noveliﬆ with a bad case of writer’s block with a dire situation in life. Th is all changes following a chance encounter with his drug-dealing, former-brother-in-law Vernon (Johnny Whitworth). And virtually overnight, NZT transforms him into a beﬆ-selling author, and then, hungry for more, a ﬁnancial whiz with fame and fortune at his feet. “It was juﬆ incredible,” Cooper recalls. “Th is idea about playing this guy who goes from A to Z is sort of an actor’s dream. And then to play a guy who goes A to Z because of this pill that would unlock his brain in such a way that you can learn and be able to speak all these languages, and spurt out these diatribes like you know, completely coherent thoughts in paragraph form. It was a challenge.” Despite this challenge, Cooper knew he had to take the role. “It was the script. It was a great script by Leslie Dixon. It juﬆ read like a house on ﬁ re. [And there’s one scene, in which Eddie, out of desperation consumes the NZT-enriched blood of another], that’s the scene in the script where I realised that I had to do the movie. I love that scene so much.” The tone and humour of the script were also a hook for Cooper. “I loved [it] and Neil [Burger, the director] loved [it] and we were very conscious of adhering to when we shot the movie; you know, not taking itself
too seriously but at the same time, not winking at the audience so that there’s nothing at stake, you know, not too cool for school either.” Similarly, being able to work with
Cooper a role that was a complete departure from ones he’s known for, namely Phil in The Hangover and Sack in Wedding Crashers. Limitless isn’t a ﬆereotypical Hollywood ragsto-riches ﬆory. Moreover, Eddie is “so smart that he doesn’t need to fuel his ego”. As the actor sees it, “He doesn’t say ever, ‘I want to get rich’. He is act ually bored by that lifeﬆ yle. He says, ‘You know, that was all ﬁ ne but there is something much bigger that I wanted to do. And in order to get there, I need money.’
I THINK THE MOVIE IS ABOUT POWER AND THEN THE ABUSE OF POWER, WHAT YOU DO WHEN YOU HAVE POWER.”
Robert De Niro was a dream come true for Cooper. “That was juﬆ insane! He’s a great guy and he’s juﬆ an incredible actor, which was not shocking. It’s one thing to know he’s a great actor, it’s another to be in the scene with him and realise, ‘Oh my god, what he’s doing, he’s juﬆ being real. That’s the secret’.” The character and transformation of Eddie provided
“And then when he meets Carl Van Loon (De Niro), he goes, ‘Carl would be my war cheﬆ, that’s it. But then, what could I accomplish?’ And when the movie ends, you don’t really know what it is he’s looking for. It certainly isn’t money..” Cooper hopes that this will incite conversation with audiences afterwards. “I think the movie is about power and then the abuse of power, what you do when you have power. And the way there happens to be this pill but you know, if the movie works and is compelling and you have fun, hopefully the bonus would be it creates parking lot conversations as to, you know, ‘Would you take that pill?’. I hope that they enjoy the hell out of it.” WHAT: Limitless WHERE & WHEN: Screening in cinemas now
SOFTLY SPOKEN BRITISH WUNDERKIND JAMIE SMITH – BETTER KNOWN AS JAMIE XX – OPENS UP TO HUWSTON ON RECONTEXTUALISING GIL SCOTT-HERON’S 2010 COMEBACK ALBUM FOR THE BASS MUSIC GENERATION.
ORIGINAL PIRATE MATERIAL orn Jamie Smith, Jamie xx is a key player in a UK music scene that has ushered an inﬂux of ‘bass music’ into club speakers the world over. As part of The xx he’s turned a generation of dancers back on to ‘guitar music’ (or vice versa) and won a Mercury Prize in doing so. His lateﬆ project, a remix album of Gil Scott-Heron’s album I’m New Here, sees him adding US soul to the mix. And now for something completely diﬀerent… In 2010, XL Recordings released legendary poet, soul singer and proto-rapper Gil ScottHeron’s I’m New Here, his ﬁ rﬆ ﬆ udio record since 1994’s Spirits and produced entirely by label head Richard Russell. Bleak at beﬆ, the album depicted a man ravaged by time spent in prison, drug addict ion and a life of going againﬆ the grain. Hailed globally as a landmark for its uncompromising look at modern life from the eyes of a man who never ﬁt in, I’m New Here has now been completely ﬂ ipped by Smith, unintentionally serving the purpose of delivering Scott-Heron’s sermons at the church of what’s happening now in the process. “I didn’t really have a plan for each song but I had some concepts for what I wanted it to sound like in the end,” Smith says. “And it was basically all inspired by growing up with pirate radio. The amount of diﬀerent genres that are played on pirate radio but the obviousness you get when you ﬂ ip on a pirate radio ﬆation – you inﬆantly know that it’s not commercial in any way.” With all of its quirky spoken-word interludes and ﬆ udio outtakes included, there feels like a real synergy in the recording process, though the two only met brieﬂy a few times. Smith also says that whilﬆ he’s never really liﬆened to remix albums before, he jumped when the opportunity arose. “I went to a few of his gigs and we hung out before and after but because it was quite intense – he was always about to go on ﬆage or had juﬆ come oﬀ ﬆage – we never really got to talk that much about the act ual project,” he says. Oﬀered no direct ion by the label or Scott-
Heron himself, Smith was let loose on the parts from the original album and, save for the occasional FM dial tones and ﬆ atic hisses you can hear on Your Soul And Mine, the modus operandi of We’re New Here comes as quite a surprise. “It’s the genre of pirate radio, which is a bunch of diﬀerent genres,” Smith explains. “When I do remixes I basically take everything but the moﬆ obvious element of the song and create a new track underneath, so it’s always slightly more like a new product ion rather than a remix. With XL they are very open to let the artiﬆ do what they want, if they don’t like they‘re not going to release it but luckily they liked what I did.” Smith’s production on We’re New Here injects some much-needed warmth into the original, though he is a fan of the source material. “It worked so well as a whole album, every track complimented Gil’s vocals,” he says. On his interpretation of My Cloud there’s a sensitive, almoﬆ lullaby-esque mood created that harks back to songs like Your Daddy Loves You from 1974’s Winter In America. Smith sought not to create a throwback to any of Scott-Heron’s earlier work and any similarities are unintentional. He did however keep a few things all in the family: “With some of the tracks I sampled some kicks and snares and drum samples from some of the people he worked with in the 70s like Bernard Purdie, who was in his band for a while, so there was little clips of ﬆ uﬀ that relates to Gil a lot, amongﬆ other, newer sounds.” Similarly, on the album’s closer I’ll Take Care Of You he incorporated the work of his current band mates The xx. “I wanted to put a little bit of Romy and Oli on the record juﬆ because we
have been working together since we were 15 – I always want to keep our little group of friends and making music a part of what we do. On the laﬆ track, Romy did the guitar bit and there’s a vocal sample from Oliver, which was recorded when we were 16.” Ahead of his next ground-breaking release, the soothing ﬆeel-drum club jam Far Nearer for the Numbers record label, Smith is wearing a lot of hats. He’s completed grime mixes for BBC Radio 1, assiﬆed Adele’s second assault on the world by giving her Rolling In The Deep a club booﬆer and remixed the comeback album of one of the Godfathers Of Rap – so what happens when the rising ﬆar of the underground (a tag he despises) wins the Mercury Prize? “It was very nice. It was probably the award that we would have moﬆ wanted out of anything, ever. We have been following it since we were kids. We feel very honoured. But as for our normal lives, they’re not really aﬀected,” says Smith, with the kind of reserved manner he has kept throughout the interview. Suggeﬆ ing that everyone is a part of the current wave of music where commercial and independent scenes collide, he won’t be labelled a leader of the movement. “I think now, as far as I can see, in my world, especially in London, genres are getting so convoluted and mixed up and because of the internet they’re open to a lot of diﬀerent people and it means that you can be liﬆening to and making pop music at the same time as appreciating and making more underground music and deeper ﬆ uﬀ juﬆ for the clubs and I think it’s ﬁ rﬆ time we’ve act ually been able to do that.” WHO: Gil Scott-Heron and Jamie xx WHAT: We’re New Here (XL Recordings/Young Turks/Remote Control Records/Inertia)
DANIEL STEINBERG TALKS CYCLONE THROUGH THE SIMPLE MANIFESTO AND HUMOUR INJECTION WHICH HAS COLOURED THE RELEASE OF HIS NEW ARTIST ALBUM SHUT UP.
MOUTH WIDE SHUT
ult German DJ Daniel Steinberg is headed back to Auﬆ ralia for a third tour – and this time he’s promoting an ‘artiﬆ ’ album. Shut Up is no generic tech house compile, but dips into deep house, Italo disco and Latin groove, Steinberg a techier Malente. The producer behind Preacherman, whose fans include Derrick Carter, Claude VonStroke and Tiefschwarz, received a glowing write-up in DJ Mag, which summed up the album as “a slap in the face of the boring, funk-less loop-based housers”. “Style-wise it was important to me for the album to develop as diversely as possible,” says Steinberg, who cites big band music, Latin groove and downbeat as inspirations. Indeed, the DJ/producer, who issued an album under his Harry Axt handle two years ago, prides himself on being eclect ic. “My personal taﬆes in music are very multi-faceted. I love reviving old samples or inﬆ ruments with new technical possibilities – often you get a completely new sound. I think in the future my own sound will become more elect ronic, building on what I’ve done so far.” Still, it’s the playful title Shut Up that is prompting all the queﬆ ions, Steinberg admits. What’s the ﬆory? “Take what you want from it!” he teases. “Maybe it could be Shut Up And Liﬆen or Shut Up And Dance, but I like to juﬆ shut up, produce and surprise myself. I shut up, I liﬆened, I tried to cover a variety of ﬆ yles – that’s the album for me and I am very pleased with the results.” The title track evokes a less scary Green Velvet (or Calvin Harris!) with its monologue about... girls. Th is irreverence extends to Steinberg’s artwork – he’s gagged and taped on the cover of Shut Up, resembling a kidnap vict im, albeit one with a twinkle in his eye. His press photos are typically zany. Clearly, Steinberg doesn’t care for the solemn imagery of a self-ﬆ yled techno alien like Richie Hawtin’s Plaﬆ ikman. “I think it is necessary for music to have a bit of humour in it. Life is serious enough and, if I can make a couple of people smile and laugh with my music, I feel like a success. I’m not sure if it is up to me to say if others’ music lacks humour. For me, the moﬆ important thing is that people have fun on the danceﬂoor. Nothing makes me happier than how beautiful people look when they’re dancing. If the sweat is dripping from the ceiling and you can barely hear the music because the people are screaming with joy, then I am moﬆ deﬁnitely happy.” The Berliner believes that he was deﬆ ined to make – and play – music. He was into music as well as gadgets in childhood, his ﬁ rﬆ such ‘toy’ an old-fashioned cassette recorder. He’d progress to DJing at his school radio ﬆation. Steinberg has now been airing music since the early 2000s. “I have worked long and hard to make my beloved hobby my career. Like a good artiﬆ, I have no back-up plan – and I am very lucky that it is working out for me. For that I have my fans to thank because I would be a really rubbish baker or politician!” The proliﬁc Steinberg has disseminated music through niche labels (Supdub, Formatik and Jan Driver’s Grand Petrol) but he’s beﬆ known for his aﬃ liation with Jesse Rose’s Front Room Recordings – and it’s the Brit ﬁdget houser who’s releasing Shut Up. “I met Jesse in Berlin in 2006. My good friend Oliver $ introduced us. Jesse was familiar with other product ions of mine and asked me for a demo. I played a few things for him and we quickly realised we were on the same musical wavelength.
Soon after came the ﬁ rﬆ Front Room release, Cobra Limbos. We have a great relationship in – and outside of – the club scene.” Steinberg isn’t exact ly attuned to mainﬆ ream music – his ‘guilty pleasures’ are hardly cheesy. “I love classic disco, pop and new wave. Right now I’m really into 80s pop and Italo disco. When I’m travelling and sitting on an airplane, the old songs are the beﬆ to relax to. Maybe when I’m alone I dance a bit, too – I won’t conﬁrm that, though.” Yet Steinberg has his favourite contemporary producers. “I like a ton of ﬆ uﬀ out of Holland on labels such as 100% Pure or Bitten Records. I am also really into Max Brett’s ﬆ uﬀ – [he’s] deﬁnitely a heavy hitter.” Steinberg, who’s dabbled in breaks, is less enamoured of Berlin’s take on dubﬆep. “Personally, I’m not the hugeﬆ fan of dubﬆep. I do love house and techno with breakbeat inﬂuences, though. On the danceﬂoor it is great to lay down some breaks and the crowd is deﬁnitely thankful when all of the songs they hear aren’t ﬆ raight 4/4.” Above all, Steinberg would like to hear greater ambition in elect ronica. “I hope that the elect ronic/dance music scene becomes a bit more experimental again. Many tracks sound very similar to me at the moment. It isn’t really a lot of fun to go into a record ﬆore and hear the same sound on 100 diﬀerent records. The younger and older producers both need to be taken to task on this. I have a lot of faith, though, and I’m always keeping my ears open.” Either way, Steinberg imagines that Berlin will remain a hub for elect ronic music. “We do have a variety of clubs that oﬀer juﬆ about any ﬆ yle of music you’re looking for, from Depeche Mode EBM nights to Brazilian salsa parties. I’ve often heard people say that Berlin is whatever you want it to be musically and I tend to agree.” WHO: Daniel Steinberg WHAT: Shut Up (Front Room) WHERE & WHEN: Mixed Messages at Brown Alley (Melbourne) Friday 1 April, Hotel Sweeney’s (Sydney) Saturday 2 April, Alhambra (Brisbane) Friday 8 April, Wah Wah’s (Melbourne) Saturday 9 April
BEST LITTLE CONVENTION IN TEXAS WITH BOOTEH POPPIN’ ALL THE RAGE AT THIS YEAR’S ANNUAL SXSW MUSIC TRADE EVENT IN AUSTIN, ANDREW MAST DISCOVERED THAT TEXANS WERE UP FOR SOME SISSY BOUNCE. XSW is cited as being North America’s ‘moﬆ important music trade expo’ - but it seems more like the Disneyland of music feﬆ ivals. For four days every March, Auﬆ in closes oﬀ its central ﬆ rip of music venues, and the surrounding blocks, so that live music can play uninhibited anywhere that there is space (and a permit). Th is year, an eﬆ imated 1,900 acts from 49 countries played in the city’s 89 venues, with over 35,000 regiﬆ rants in attendance. Take into account the hundreds of unoﬃcial parties and showcases along with the fact it coincides with Spring Break and that Auﬆ in is the USA’s biggeﬆ college town and you can juﬆ about grasp the scale of this endeavour. Dominated by rock for moﬆ of its 25 years, South By South Weﬆ (SxSW) has seen an inﬂux of elect ronic music in recent years. It has become the place for major hip hop artiﬆs to promote releases (this year Diddy and Kanye vied for attention – both hanging with hip young black artiﬆs like Tyler The Creator and Donald Glover) while more and more dance acts drop in either on their way to or from Miami’s Winter Music Conference (depending on which way the dates fall). The synthetic beats have gotten so big that this year Twin Shadow scored the all-important support set to The Strokes while primal folk funkﬆers tUnE-yArDs scored the hallowed spot warming up for Yoko Ono’s comeback gig. Artiﬆs such as James Blake and Toro Y Moi even found themselves amongﬆ the feﬆ ival’s moﬆ buzzed about acts. Our own Miami Horror had major crowd overﬂow for a gig they did in one of the city’s hardeﬆ to ﬁnd venues and ended up with punters hanging over balconies for a view. Bliss N Eso gigs seemed to ﬂush out every single Aussie located in a 100 mile radius. And Brisbane’s Sampology gained a fair share of the SxSW dance tract ion. His musical video mash-ups had to be explained at the rock-heavy Aus showcase, his mad clash of bass-heavy rhythms probably more confusing for this crowd than the visual cut-ups of Kermit The Frog and Kenny “Fucken” Powers. One dance sound emerged as a growing trend as the week rolled along – sissy bounce. The sound has been evolving out of the New Orleans gay scene for nearly two decades and looked set to remain a parochial sound like go-go has in Washington until the cross-
dressing Big Freedia began poppin’ her booteh in everyone’s faces. Freedia’s end of feﬆ ival gig at Auﬆ in’s “only gay nightclub” Kiss & Fly was her gift for the local punters (it seems induﬆ ry types weren’t too keen on hanging at a club named after slang for a blowjob). Sissy bounce ﬂaunts its sexuality in the face of machoiﬆ ic hip hop – it’s taking back the beats and the rhymes to its raweﬆ form. But Freedia isn’t ﬂying the sissy ﬂag alone – this gig also features Vockah Redu, who takes to the ﬆage with marching band attired dancers (“the Cru”). Redu shouts sexually-charged commands over basic laptop beats while jumping in and out of routines with the Cru. And, of course everyone is encouraged to “bounce” and “booty pop”. By the weekend the UK’s Guardian was hailing Freedia and friends the ﬆars of SxSW. Who needs to be in Miami now, bitches? Thanks to V Auﬆ ralia for ensuring the Street Press Auﬆ ralia team arrived in and departed from the USA in ﬁne ﬆ yle.
SAMPOLOGY AT SXSW
A QUEER THING HAPPENED ON THE WAY OUT OF AUSTIN...
‘Gay’ was the new ‘wolf ’ at SxSW this year. While there were ﬆ ill acts like Wolf & Cub, Wolf Gang and Wolfgang Gartner, there was also Gayngs, Gay For Johnny Depp, My! Gay! Husband!, The Gay Sportscaﬆers and one of Gay Paris in attendance (as well as Lecherous Gaze). So it comes as no surprise that for the paﬆ ﬁve years Auﬆ in has also played hoﬆ to alt.queer music feﬆ ival GayBiGayGay (GBGG). Held on the weekend of SxSW, it takes advantage of the big names in town and in the paﬆ has featured Erase Erata, Gossip and Yo Majeﬆ y. Th is year’s GBGG took place in a new, larger location. Set up in what the locals called a “backyard” in Eaﬆ Auﬆ in, it looked more farm-size to untrained eyes. Despite having SxSW’s major buzz act Big Freedia as the headline drawcard, moﬆ gathered here couldn’t care less if it were headlined by hard rockin’ lesbians or banjo-twangin’ poofs... act ually, those were on the bill as well. In fact, GBGG locals were amazed to discover its reputation had reached beyond their (non-red)neck of the woods and seemed truly taken aback that anyone would have gone out of their way to catch Big Freedia at this lil’ ol’ get together. Hoﬆed by a hokey drag queen, of course (some things are the same the world over), who got increasingly bladdered as the day went into night, the laidback vibe of the event extended into the programming with none of the bill seeming to appear in the advertised order and Freedia eventually appearing hours late. No one cared... except the police who kept an eye on proceedings from a safe diﬆance away. While acts ranged from the old-ﬆ yle country of all-girl band Poor Richard to art-goth trio The TunaHelpers, it seemed to be local queer rapper Chriﬆeene who was the moﬆ anticipated. The gender-fucking performer has such a huge following in Auﬆin that when Poor Richard covered his slow jammin’ Tears From My Pussy, the entire crowd sang along, some with lighters aloft (“it’s hard to blow ya when I know ya been tricking on him inﬆead”). Later, Chriﬆeene had more where that came from – his Mickey Avalon-like Fix My Dick is another local fave (“Get your lipﬆick wet on my pole/While you’re working that hole... from the other side”). So here’s a tip for those travelling to SxSW next year: you’ve come that far... indulge your GayBiGayGay curious-side while you’re out there.
YOUTH/YOUNG EDITS WHERE AND WHEN WAS YOUR FIRST SET?
“Larry Levan, Jellybean Benitez, Ron Hardy.”
to rape a CDJ – he muﬆ ’ve been a vinyl enthusiaﬆ.”
WHAT DOES THE LOCAL CLUB SCENE NEED MOST?
“Some all ages gig circa 2002 rocking DJ Shadow records.”
FAVOURITE CLUB TO PLAY?
WHAT’S THE WORST REQUEST YOU’VE GOT?
“More cute girls, more working 1200s.”
“Anything that sounds like Euro-trance.”
WHAT’S YOUR FAVOURITE ALL TIME 12”? “New Order – Blue Monday .” WHO ARE YOUR FAVOURITE DJS?
“Barsoma at midnight, Elsewhere at 5am.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “A man, pants down, attempting
WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “They want their records back.”
“Auditree’s Firﬆ Birthday Saturday 9 April.” PHOTO BY TERRY SOO AT THE AVIARY
ANNOUNCEMENTS A LITTLE BIT SASSY
Fashion leaders Sass and Bentley are having their launch party Friday 8 April at GPO from 9:30pm. The event will showcase some of Brisbane’s beﬆ fashion, with Little Dancer Boutique and Always Habit revealing their lateﬆ threats. The night will also have over $1000 of clothes giveaways, along with caﬆ ing directors from major Qld labels looking for the lateﬆ beauty to add to their books. DJs on the night include Fef/Boﬆon George, Too Shoes and Cotton Dockers.
SPIN THAT WHEEL
EPIC PERFECT BALANCE?
It’s ﬆ ill a little over two weeks away from release, but we’re going to go out on a limb and declare Nick Warren’s Balance 018 mix a near certainty to feature in 3D World ’s top ten albums of 2011 liﬆ when the time comes. No bells, no whiﬆ les, juﬆ deep and melodic proggy goodness all round…
HE THINKS HE CAN
What’s this? A genuine opposition leader in Queensland for the ﬁ rﬆ time in, well, a really long time? Look out Anna Bligh, you dominated when our ﬆate was a disaﬆer zone but “Can Do” Campbell has one big advantage over his predecessors – the electorate act ually know who he is…
ONCE YOU GO BLACK…
She might be getting mocked globally and be subject to a lifetime of taunts, but Rebecca Black’s track of the year contender Friday has been predicted by Billboard to net the young songﬆ ress around $27,000 a week. That’s a hell of a lot of singing lessons…
A lucky reader of Zoo magazine recently scored himself a full back tattoo as a prize, tying in with SEGA video game Yakuza 4. Because being a walking advertisement for a video game no one will remember in 20 years’ time is something worth winning…
Butter Beats are set to again present their World Famous $2 Record and CD Fair. Th is will be the fourth time they have run the event, which is a gold mine for collectors and bargain seekers alike. Over 15,000 records, books and CDs will be available across all genres of music. It happens at Barsoma on Sunday 3 April, get in early!
SWEET HOUSE CHICAGO
Star of the Chicago house scene, Mark Farina, is heading our way to make Eaﬆer Saturday 23 April come alive! Famous for his acid jazz and downtempo works, the DJ responsible for the Mushroom Jazz series will entrance you with the hypnotic and one of a kind beats that have positioned him as one of the leaders in the Chicago House movement. He will be supported by Jason Rouse and DJ Freeﬆ yle and plays at Alhambra.
Prepare for Evolution, an upcoming dance night that will pump tiger blood into Brisbane dance venues! It boaﬆs the ﬁneﬆ hard dance music at an award winning club at an aﬀordable price. They will be announcing details of their launch party soon, which is said to feature one of the absolute top hardﬆ yle acts on the planet. Follow them on Facebook or Twitter @ EvolutionQld for all the lateﬆ news.
NOT BAD MAN
BMP Events are set to hoﬆ an epic bash, celebrating their second anniversary with a cake that has dynamite for candles. The party features Tranceducer dropping beats to suit his name, Cosmo Cater in rainbow prog mode, while Digital Divide, Windowboy, Patrick Stewart and Jacob Bradford take to the ﬂoor, and then proceed to tear it apart. It happens at Uber Nightclub Saturday 2 April. Entry is free before 10 pm, $10 after.
SPANISH CLUB MAGIC
Alhambra is set to hoﬆ lords of the dance in April with frenzied gigs that would make even the Tasmanian Devil exhauﬆed. Friday 1 they hoﬆ Oh Mercy, before Mr Moy dismantles the ﬆage on Saturday 2. Thursday 7 sees Lambda
Release yourself to the old-skool beats of Tango this Eaﬆer. Here on his ﬁ rﬆ Auﬆ ralian tour, the UK DJ will drop his legendary drum‘n’bass and jungle pulses at a relaxed afternoon set. He will be supported by Kranky & Lethal, Erther and de la Haye. Check it out on Eaﬆer Saturday 23 April at Alloneword, from 1pm-7pm. Entry $15, includes gourmet BBQ.
ROBBING THE BOAT
Did Arj Barker really slip Bomfunk MCs into his Rage playliﬆ ing on Saturday night? Between Air and Cake clips, right? That’s really going out on a limb for comedy.
END OF AN ERA
No one screamed “Fix me a drink!” like Liz Taylor. Let’s not remember her for being Jacko’s BFF but rather for her whacko 60s ﬁ lms like Boom, where Taylor delivered lines like “Shit on your mother!” A class act.
set the house on ﬁ re, then Saturday 9 lets ZARE drop some serious bombs. Friday 15 has Th readed cut it up like a kid with scissors, then Saturday 16 has Aydos dropping beats that would make the King ﬆ utter all over again.
Celebrate Good Friday in explosive ﬆ yle at Auditree On The River with Robert Babicz. Coaﬆing the Brisbane River on a Paddle Wheeler cruise vessel, one of Europe’s essential techno producers will unleash his famous improvisational live act, delivering aﬆonishing home-made productions full of warm melodies, blessed atmospherics and analogue bass. The Good Friday Twilight Rivercruise happens 22 April from 4pm, launching from South Bank. Pre-sale tickets available through Moshtix.
3DPRESENTS TIN CAN RADIO
EVEN MORE SUPA
Auﬆ ralia’s premier pop-culture expo, Supanova, is returning for 2011 with a line-up of ﬆars from ﬁ lm and TV geekdom! Heading the celebrity contingent is Back To The Future’s Chriﬆopher Lloyd, who will grace us with anecdotes about The Addams Family and who really framed Roger Rabbit. Buﬀ y The Vampire Slayer’s Charisma Carpenter will also be there to make us buckle at the knees and swoon uncontrollably in place of late withdrawal Julie Benz (Dexter). Hard-to-ﬁnd collect ibles and comics will also be available, so make sure you beam yourself to the RNA Showgrounds from Friday 1 April to Sunday 3.
DIE ANOTHER DAY
Two of Brisbane’s heavyweight beat promoters are joining forces to present Never Say Die, a day long event featuring a killer dubﬆep lineup. It will showcase the beﬆ dubﬆep, grime, UK funky, d‘n’b and hip hop across three ﬆages. Firﬆ round announcement includes Foreign Beggars, Trolley Snatcha and Skism along with Fraksha, Aﬃks, A12, Filth Collins and Datadex, among many others. It’s happening at Elect ric Playground Saturday 30 April. Tickets on sale through Moshtix.
WHO ARE YOU ASKING?
Relive the magic of your high school formal at Prom Night, a monthly party for Gold Coaﬆ ﬆ udents. Leading the ball is Elmo Is Dead, a faﬆ paced mix of ghetto glab, tribal and nu disco. Support acts include Oh Glam, Aﬆ rix, Sammy Owens and Hey Arnold. The night boaﬆs tragic make-out anthems, giveaways, taﬆ y ‘bucket fun’ and heaps of random fun. It happens at Elsewhere on Thursday 31 March from 10pm, $5 entry or free with ﬆ udent card.
TIME TO COTTON ON
UK DJ and producer Cottonmouth is set to blitz the ﬆate with his unique brand of dubﬆep. Known for his dark, screaming basslines and siniﬆer drum programming, the artiﬆ will drop some of his moﬆ recent tracks and leave your ﬆapedius (ear) trembling. Cottonmouth plays Step Inn (Brisbane) Friday 8 April and Solbar (Maroochydore) Saturday 9.
NEW GROUND FEST
Logan City has announced the inaugural New Ground Feﬆ ival, a day long event that will showcase local and national acts. Playing at the event will be 2009 Auﬆ ralian Idol winner Stan Walker, Sudanese singer/ﬆoryteller Ajak Kwai and Brisbane based reggae rock funkﬆers Spaciﬁ x. There will also be a variety of multi-cultural food, arts and crafts, and kids act ivities. Check it out on Saturday 30 April at Griﬃth University (Meadowbank Campus). Tickets on sale at www.newgroundfeﬆ ival.com.
THE DOPE SHOW
Dope presents the third inﬆalment in its series of hip hop shows. Headlining the upcoming event is Chase, who will be unleashing the beats and unpredictable lyrics from his lateﬆ EP. Up and coming artiﬆs will also be showcasing their talent, including Keno, EMR and Static + Domes. The night will also have an open mic and prize giveaways. It happens at Basement 243 on Saturday 2 April from 8pm, tickets $10 on the door.
Funky Canadian DJ Stickybuds has been headlining gigs all around the world for the paﬆ year, touring Brazil, the UK and Canada. He is about to bring his passion for multigenre, danceﬂoor deﬆ roying sets our way in a series of explosive shows. He plays Swingin’ Safari (Gold Coaﬆ) on Friday 8 April and X & Y Bar (Brisbane) Sunday 17. Check out his tunes at soundcloud.com/ﬆ ickybuds.
MARCH RED BULL MUSIC ACADEMY INFO SESSION: STEVE SPACEK –Thursday 31, Kerbside Bar APRIL RED BULL MUSIC ACADEMY: SPACE INVADAS, PURSUIT GROOVES – Friday 8, Barsoma TIN CAN RADIO – Friday 8, Soundlounge AUDITREE: DANNY HOWELLS – Saturday 8, Barsoma MAY GROOVIN’ THE MOO: UNKLE, AC SLATER, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO AND MORE – Sunday 1, Murray Sports Complex (Townsville) UNKLE – Tuesday 3, The Hi-Fi HOUSE OF PAIN – Thursday 5, Coolangatta Hotel TIN CAN RADIO – Thursday 5, Gilligans TIN CAN RADIO – Friday 6, The Place MIND OVER MATTER – Saturday 7, Beetle Bar TIN CAN RADIO – Saturday 7, Beaches (Airlie Beach) TIN CAN RADIO – Saturday 8, Club Med (Lindeman Island) TIKI – Thursday 19, Great Northern Hotel TIKI – Friday 20, Coolangatta Hotel TIN CAN RADIO – Friday 20, The Zoo TIKI – Saturday 21, The Hi-Fi SAMPOLOGY’S SUPER VISUAL MONSTER MASH, TOM THUM – Saturday 21, The Zoo JUNE PEGZ – Thursday 2, Coolangatta Hotel PEGZ – Friday 3, Step Inn PEGZ – Saturday 4, Great Northern Hotel JULY MIAMI HORROR – Friday 1, The Zoo
TWICE AS COOL
Platinum is set to hoﬆ one of the hotteﬆ acts around, Yolanda Be Cool. Their second single, We No Speak Americano, has sold over 5 million copies and hit #1 in 18 countries and has been making danceﬂoors come alive for close to 12 months. The diﬆ inct ly tropical ﬂavour of their product ions is inspired by everything from Chicago house to trance, and their big room pull continues to pack out feﬆ ivals and mammoth venues. Check them out at Platinum (Broadbeach) Friday 1 April.
THE ASTON SHUFFLE
OGFLAVAS Urban News with CYCLONE
Chicago MC Lupe Fiasco (aka Wasalu Jaco) is back with his third album – the one for which fans petitioned Warner. Lasers (or “Love Always Shines Everytime, Remember 2 Smile”) has been set up well in Auﬆ ralia. Jaco lately toured with the Big Day Out and agreed to face-to-face interviews. Though reputed to be ambivalent about press duties, the (suited) MC was eﬀervescent, charming and talkative. Warner Auﬆ ralia is genuinely amped about Lasers. There was no sign of discord between Jaco and local reps. Since his 2006 debut Food & Liquor, which Jay-Z executive produced, Jaco has frequently been eclipsed by Kanye Weﬆ – unfortunate. They’re both leftﬁeld, socially-conscious, and cultivate a ‘nerd’ persona. However, Lasers is also Jaco’s moﬆ overtly commercial foray. It’s obvious that the MC has made concessions to his major – and ‘the message in the music’ is contradictory (the chart emo State Run Radio, proteﬆing monotony in pop, is especially WTF!). As such, this album’s theme is sublimated conﬂ ict. Jaco remains a political MC with songs like Words I Never Said, which entails an Obama diss – brave, even if it was produced by Alex Da Kid (Eminem’s Love The Way You Lie) and features Skylar Grey, a wannabe Hayley Williams. Subtler is the hypothetical All Black Everything with its noﬆalgic overtones of B&W movie music. Moﬆ bizarre for Jaco are the elect ro-hop bangers: I Don’t Wanna Care Right Now could be a Taio Cruz caﬆ-oﬀ, while Break The Chain has big cheesy trance synth riﬀs. Trey Songz (!) gueﬆs on the nu-R&B Out Of My Head. The beﬆ number? The epic Beautiful Lasers (2 Ways) – worthy of Ye himself. Jaco is nowhere near as avant as Ye, but he wants to be. Jaco’s live show has a funk-rock bent, but this inﬂuence is only conspicuous on State. Jaco, who developed an alt-rock sound for Superﬆar, tells OG that he’d intended to collaborate with James Lavelle on his abandoned three-part LupEND project, being “a humongous UNKLE fan”. The Brit would have produced a disc. (“It ﬆ ill might happen.”) Jaco is often bugged about Child Rebel Soldiers, that dormant supergroup with Ye and Pharrell Williams, but it’s his new band Japanese Cartoon that shows promise. Jaco sees it as his counterpart to the hybrid UNKLE – an outlet for music other than (commercial) rap.
WOMAN OF THE WORLD here is nothing predictable about Vanese Smith aka Pursuit Grooves. The self-taught musician, singer and producer has been relentlessly producing unique hip hop, soul and funk jams over the paﬆ few years that have seen her compared to the likes of Erykah Badu and Lauryn Hill. Smith has produced four albums over the paﬆ four years with her 2010 release, Fox Trot Mannerisms liﬆed on DJ Magazines Recommended Albums liﬆ. BBC Radio’s Gilles Peterson also named her as one of the Top 10 Breakout Artiﬆs of 2010 and included her track Pressure on his Brownswood Bubblers:Six compilation. Forward thinking and being receptive to change are qualities that seem to deﬁne Smith’s personality “I don’t like to spend too much time on anything. It either grabs me in the beginning or I move on.” Smith attributes her eﬃcient music product ion to “dedication and hoping when I wake up in the morning the birds are chirping and the worker elves in my brain are up to the task. I’m always lucky when things juﬆ click.” Growing up juﬆ near Washington DC, Smith attended a performing arts school and began producing her own music from the age of 16. After earning a degree majoring in ﬁ lm and theatre, Smith packed her bags and with a head full of dreams, moved to New York nine years ago. Intereﬆ ingly while she has adopted the big apple as her home, Smith does not over emphasis it’s inﬂuence on her work, commenting, “There’s always something to do in New York. You can get pretty spoiled. But honeﬆ ly I really enjoy checking out what’s happening in other cities around the world.” Interact ing with fans and artiﬆ online has been a ﬆ rong element of the way in which Smith has progressed. “It has always been about online interact ion for me. Moﬆ of my success I guess has come from meeting other producers, promoters etc from around the world.” She explains “moﬆ of my connect ions have been with artiﬆs outside of the US and the internet has been key to sharing the music back and forth. I remember way back in the day when I was sending out CDs and even before that cassette tapes! It’s so diﬀerent now.” In juﬆ over a month Smith will release a full length solo LP titled Tectonic. Musically it’s a continuation of Fox Trot Mannerisms with soulful hip hop and house tunes although this time there will be “more of a ﬆory involved.” The artiﬆ comments “I see music as a vehicle for talking about what’s going on in the world around me so there is plenty of commentary on this project mixed with some ﬂoor bumpers!”
Smith certainly is a woman of the world having performed her live show of energetic beats, cinematic interludes and sultry vocals at Fabric in London, Elevate Feﬆ ival in Auﬆ ria, Sonar Feﬆ ival in Barcelona and various shows throughout Japan. Auﬆ ralian audiences will be graced by Pursuit Grooves when she arrives down under for three shows across the eaﬆ ern ﬆ ates next month including one in Brisbane for the Red Bull Music Academy at Barsoma. So what can audiences expect when Smith hit the ﬆ age? “lots of energy. I’ve been performing on ﬆ age since I was eight so I’m pretty comfortable there. Get ready to sweat and have fun!” AMBER MCCORMICK
WHO: Pursuit Grooves WHERE & WHEN: Red Bull Music Academy at Barsoma Friday 8 April
LIFE AFTER GENESIS hile the artiﬆs involved in the trance and progressive ends of dance music remain at the top of the yearly polls, a new generation of artiﬆ is threatening a quiet revolution in what can only be seen as a modern renaissance. At the forefront of this push is Ummet Ozcan, refusing to settle into any one role of artiﬆ, producer, DJ, sound designer, programmer, remixer or softsynth developer. The Dutch wonderkid has a decade of releases under his belt, and is tearing himself away from the ﬆ udio for another tour of Auﬆ ralia. “My previous visit to Auﬆralia was great, so I am looking forward to be back,” sayz Ozcan, who is faced with the enviable challenge of managing the success of his DJ, production and software development projects. Despite the work ethic, the break from the ﬆ udio is a welcome. “Touring is a more convenient and eﬀective way of using your time, and its always great to come to new places and meet new people”. There are likely to be a lot of new people for Ozcan to meet, with his 2009 breakthrough track Timewave Zero ﬆ irring up intereﬆ on Sander van Doorn’s Doorn Records. The track went on to feature as the core of a remix competition, switching an act ive remix community onto the quality of the sound design and product ion. The source of the sounds was no secret, with Ozcan’s own foray into software development yielding the Genesis VST softsynth. The plugin was well received, making it’s way into software collect ions as part of a covermount disc on Computer Music magazines.
IT’S A PRIVILEGE FOR ME BEING ASKED TO DO REMIXES FOR GUYS THAT ARE SO SUCCESSFUL. I RECEIVE CREDITS FROM THEM AND THAT GIVES ME A GREAT FEELING.”
“I was thrilled by some cool VST plugins that are available, and I decided it was time to develop my own plug,” Ozcan says. “Somewhere during that process I realised that the sound of certain plugs could be improved, so that’s why I’m also creating my own Ozcan sounds sets for my Genesis plug, but also for other software synths. It was good for my proﬁ le and as a sound and software designer I’ve received great feedback from fellow producers and I’m proud and thankful for that”. The feedback is in addition to an act ive proﬁ le on the product ion and remixing tip, with the preparation for touring allowing Ozcan taking time to reﬂect on his own back catalogue. “I’ve
done some great tracks myself and cool remixes for Judge Jules, Armin [van Buuren], Sander van Doorn and others. Each one I consider as a highlight, because it’s a privilege for me being asked to do remixes for guys that are so successful. I receive credits from them and that gives me a great feeling.” The crazy schedule isn’t likely to ﬆop any time soon, with a long liﬆ of plans to keep Ozcan busy both in and out of the ﬆ udio for the remainder of the year and beyond. Juﬆ what that schedule entails might be a scoop for Auﬆ ralian audiences. “Well it’s ﬆ ill highly secret!” Ozcan laughs. “My new radio show Innerﬆate is scheduled in the near future. I’m really looking forward to that [as] it will bring me closer to my fans. Also my upcoming release on Spinnin’ Records is scheduled. “Laﬆ but not leaﬆ, 2011 will be the year of the follow up of Genesis,” he says, before adding matter-of-fact ly, “It will be named Genesis Pro.” DAVE DRI
WHO: Ummet Ozcan. WHERE & WHEN: Freefall at Family Friday 1 April
MENTAL COMBAT Hip Hop With BLAZE
The Hatonrack label have ﬆarted a new series entitled Volume, and the ﬁ rﬆ release was from Soul Sample: Side A, the second album from Sydney lad Nick Knowledge. And what a majeﬆ ic eﬀort it surely is, even if it did come out mid laﬆ year. The majority of the beats are provided by a beatmaker who shares Nick’s heritage – German producer Lunatronic serves up six of the 10 tracks and does a superb job as do the other collaborators. It’s a vaﬆ musical improvement over his debut, 2007s Identity Crisis. Nick tackles familiar themes with guﬆo, such as female companionship on Like Sugar (which beﬆ sums up the album title’s vibe) and job dissatisfact ion on Jacob Giles’ hornpressed FYI Quit. Actor 1 chops up a choice soul vocal sample of “young, single and free” for his beat on the second chick-themed tune Wanted?, while BDF Poppin serves up the laidback atmosphere for what will moﬆ likely be a Sydney cult classic in the making, Bondi Sunday. Th is tune glides over some almoﬆ Balearic beats while Swayze provides the gentle chorus vocals. The title track features a gueﬆ verse from the always incredible Maﬆa Ace with an in-form Binte Hellemans on chorus. It’s a sensational song that probably turned out better than all would have thought. The 7:40min You Am I is a mega-posse track with an international ﬂavour featuring English lad Koaﬆe, Tongan heritaged Hau (Koolism), French MC Double KO, half-blooded Kiwi Jacob Giles, Flip & Skip (206Collab), Germany’s Mars, Nick himself and ending with US resident Wordplay. The bouncy freewheeling ﬆ yle that Nick expresses is vibrant and full of charisma. And his personality is open and easy enough to be embraced by a wider scene than the underground arena. He’s a whole lot of sunshine served up in a bowl of Kapow! Not only do we get 10 tracks from Nick we also get an additional three songs from upcoming artiﬆs for the Volume series. But wait, there’s more. You also get a folder with all of the tracks in MP3 format. Steak knives, ﬆeak knives. Even more – two video clips are also included, ne for 206Collab’s The Paradoxx and the taﬆ y nicely shot Stop Look Go from Nick himself.
REMIX MASTER rom Café Del Mar to Underworld and even Lady Gaga, the career of Michael Woods owes a lot to his abilities as a remixer. With an oﬃcial nomination for Remixer Of The Year in this year’s International Dance Music Awards, it would be easy to make assumptions on the creative focus of the UK producer and DJ. Speaking about the recognition from the induﬆ ry, Woods admits that he was initially surprised. “It was quite unexpected act ually, I juﬆ got an email saying ‘You’ve been nominated, and I was like ‘wow, oh my ‘God, its crazy’. It’s the laﬆ thing I expected, but really good to know that people are digging the tunes,” he says. “When I do a remix, all I do is juﬆ make something that I’m going to be able to play out myself in my set. That’s it really, that’s my only kind of [plan] – I do it and I play it out, and something will happen and people will ﬆart talking about it. It is kind of unexpected.” The remix bug is one that drives Woods to revisit his own back catalogue coming up through the trance scene under the wing of DJ and producer Matt Darey. Those early days on an Atari ST and Korg M1 keyboard resulted in the harder dance leaning of vinyl cuts including Warrior, a self-titled release under an early pseudonym – one that has been ﬁnding its way back into an updated mix for the high energy progressive and tech house sets that have been ﬆaking Woods reputation on more than his remixing career. Speaking about his release hiﬆory, Woods reveals a new energy for old tracks. “I act ually play them in my sets at the moment sometimes. I play Café Del Mar, and that always goes oﬀ really well. I’ve done like a little bootleg of Warrior, and I’m act ually talking to Miniﬆ ry Of Sound here in the UK of possibly re-releasing that track, so doing an up-to-date remix. There’s so many people that keep asking me to do it, and so many old tracks as well. “There’s other tracks as well, like Solex (Close To The Edge), that people have been asking me to redo, so what I will probably do is do a mix and then play it out. See how it goes down and possibly re-release it.” Outside of the remix work, Woods keeps busy with his Diﬀ used Music record label and his own product ions. With a touring schedule that means
he relies more on his laptop than a home ﬆ udio that he sees “hardly at all”, Woods works hard to ensure that the DJ and product ion sides work together, mixing his own tracks into shows that include a residency at Cream’s Amnesia in Ibiza. “It’s ﬆ uﬀ that I want to play out. When I’m doing a gig, my set is about 90 percent my own ﬆ uﬀ. They always get the better react ions. Obviously if they didn’t get a good react ion I wouldn’t play them, but they always get good react ions and because its my own ﬆ uﬀ, I really enjoy playing them, so it kind of goes hand in hand.” DAVE DRI
WHO: Michael Woods WHERE & WHEN: Platinum Nightclub (Broadbeach) Saturday 2 April,
Tramp (Melbourne) Sunday 3 April, Trinity (Canberra) Friday 8 April, Barsoma (Brisbane) Sunday 10 April, Chinese Laundry (Sydney) Saturday 16 April
LA QUINTA (OXFORD STREET)
Even though Brisbane has a scattering of Mexican reﬆaurants, very few of them are decent. Moﬆ are prepared to serve up an Americanised Tex-Mex version of Mexican cuisine. Not so with La Quinta. La Quinta’s glorious menu spans the famous (enchiladas, tacos, fajitas) to specialties such as Chicken Poblano, Chunky Beef Chilli, Vaqueros Style Pork Belly and the don of Mexican dishes, Mole de Pollo. The serves are as generous and joyous as you would expect from a culture that loves its food. When 3D World visits, we try the Toﬆada El Grande, which is a ﬂour tortilla bowl containing a whole heap of Mexican goodness mixed together – beans, rice, guacamole, chilli, sour cream, cheese, lettuce and more, all washed down with Palma Louca beers from Brazil. Served with a wedge of lime, Palma Louca could easily be the new favourite! La Quinta’s secret lies outside the menu though – the ﬆaﬀ are switched on, attentive and knowledgeable about their product. Th is shines through in the service of drinks at the bar to their advice on the diﬀerent kinds of chillies on oﬀer. A neat novelty within the La Quinta experience is the use of the wooden cact us and Mexican ﬂag on each table. Placing the ﬂag in the hole in the top of the cact us means you’d like service, and it won’t be long before a ﬆaﬀ member arrives to help you out. The nature of Mexican food means this experience should deﬁnitely be enjoyed with a group of people. BEN KUMAR WHAT: La Quinta Mexican Cafe Y Bar WHERE: Shop 1, 189 Oxford St, Bulimba WHAT: Monday-Tuesday 8am-4pm, Wednesday-Sunday 12pm-10:30pm
OXFORD STREET OPTIONS
The Oxford Street dining precinct in Bulimba has some hits and misses to be sure, however three of the better choices on oﬀer include: MUD DESSERT BAR
A reﬆaurant dedicated to sweet treats was proven a successful concept by Brisbane’s Freeﬆ yle, and Mud have concentrated on the same vibe, also developing a mean tapas menu for grazing. All ice creams and sorbets are hand made on the premises and there is a lot of love in this venue. SUGO MI Sugo Mi has previously been awarded the Beﬆ Pizza Reﬆaurant in Brisbane in 2009, and it’s easy to see why. The pizzas are fresh,
wood-ﬁ red and innovative. They’re served on a lovely wooden block and everyone is given their own pizza cutter so slice away! THE JETTY The Jetty is a relatively new venture by the proprietors of Oxford St’s Liquorish reﬆaurant, and is located right by the CityCat ﬆop, making it perfect to drop in after the hunger has overtaken you on the river. The dining is casual and relaxed but the food and service certainly isn’t.
PERSONALITY TEST SABOT4GE
HOW WOULD YOUR MUM DESCRIBE YOU? “The chore evasion maﬆer springs to mind.”
CLUBBING MOMENT. “Tiëﬆo at Riverﬆage. Was amazing, the rain juﬆ added to the spectacle.”
WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “Dubﬆep. It’s juﬆ noise.”
WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “Pitbull – Hotel Room. Remnant of a 21ﬆ.”
WHO INSPIRES YOU MUSICALLY? “Funkagenda, Manuel de la Mare and Da Fresh. It’s all about the phat.” NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “The three that are getting people moving at the moment are Fedde le Grand – Control Room, Da Fresh – Right on Time , Sultan & Shepard and Funkagenda – Paﬆ Dreaming.” TELL US ABOUT A CLASSIC
SPIKE MILLIGAN QUIPPED HE’D LIKE HIS TOMBSTONE TO READ ‘I TOLD YOU I WAS ILL’ – WHAT WOULD BE ON YOURS? “Something like ‘That awkward moment when you’re dead’.” WHERE & WHEN: Barsoma Sunday 10 April, Southern Oracle Feﬆ ival at Glendon Camping Ground Friday 20 - Sunday 22 May
CUBA IS JAPAN
I love the convenience of having my entire music collect ion ﬆored as digital ﬁ les, but the one thing this lacks is personality. No matter what people say, it’s never simply juﬆ about the music. Sure, the reason you buy an album is to liﬆen to it, but you’re also – whether intentional or not – buying an experience. You buy the experience of walking into your favourite record ﬆore, hunting down the album you want, buying it – and then there’s the anticipation of the ﬁ rﬆ liﬆen. Then there’s the artwork. Often a lot of hard work has gone into the creation of imagery to accompany an album. Good design should never be taken for granted. It is great design that will make sure physical albums never truly die.
INDUSTRY WATCH KERBSIDE
THE IDEA BEHIND OUR BAR IS… “A relaxed laneway bar tucked away in Fortitude Valley’s backﬆ reets serving quality beverages, simple lunches, great coﬀee and supplying free wi-ﬁ and eclect ic music. There is no dress code. The concept behind the ﬁt out of the bar is a unique collect ion of furniture and bits and pieces from kerbsides and op shops. The bar features beautiful ﬆ reet art and awardwinning cocktails and the largeﬆ range of boutique beers and ciders in the Valley.”
Alt.indie.pop with DCR
WE’LL BE PIMPING THE SOUNDS OF… “Music from all diﬀerent genres and eras.”
MEET THE CREWS
THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “DJs Aniki, Butterz, Ben Reeve and Senor Rudekat from Wednesday to Sunday.”
CREW MEMBERS? “Our crew is made up of a core group of mates, who came together through our mutual love of electronic music and the fun loving party atmosphere it creates. Our crews line up today diﬀers slightly to the original founding
THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “The Sunday Kerbside Lane Markets from 1pm – 6pm. The next one is scheduled for Sunday 1 May. Held in the graﬃti laneway leading down to the back of the bar oﬀ Ann ﬆ reet, the markets are to showcase local art, design and handmade and vintage clothing and accessories.” CHECK OUT OUR BAR IF YOU’RE THE KIND OF KID WHO LIKES… “A place to relax and be yourself.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “A relaxed atmosphere, boutique beers and ciders, award-winning bartenders, eclect ic music and a cheap lunch Wednesday to Friday.” WHERE & WHEN: Kerbside Lane Markets Sunday 1 May
(BAD MANOCRACY PRODUCTIONS)
line up, the members of BMP are Mitch Webb, Sam Wettig, Nick Hering and our three killer resident DJs – Frankie Hart aka WindowBoy, Jacob Bradford and Patrick Stewart.” WHY DID YOU START PROMOTING? “We had a hidden gem of a venue going unused, so we ﬆepped up to the plate and set about calling in favours from all of our mates for sound supplies, lighting, and moﬆ of all DJs. We threw our ﬁ rﬆ event two weeks later and it was a cracker!” WHAT SOUND WERE YOU LOOKING TO PUSH WHEN YOU STARTED OFF, AND HOW
RHYS BYNON So it was with great excitement to have received a parcel from a new Melbourne independent record label called Alpine Areas laﬆ week. Inside was their debut 7-inch pressing, for a band called Cuba Is Japan. Before you even get to the music there’s plenty to discover. The whole package is housed in what can beﬆ be described as a record sock – a knitted sleeve to keep your vinyl warm. Beyond this is the hard casing, to make sure the vinyl doesn’t get damaged. It’s two thick sleeves of cardboard wrapped in fabric, featuring artwork by a Melbourne artiﬆ called Dylan Martorell, each side depict ing a diﬀerent scene to accompany the songs held within. Cuba Is Japan’s forthcoming album is inspired by the adventures of Portuguese explorer Ferdinand Magellan, and so “Scene 2” (Side A), called Pigafetta’s Dream, takes its name from a crew member of Magellan’s ship, who kept a diary at sea – this diary providing Cuba Is Japan with their lyrical source material. B-side The Conﬂict At Mactan (“Scene 10”) is an inﬆ rumental track sitting somewhere between Mogwai and Holy Fuck. If you’re in Melbourne, they’re launching the record on Friday night at the Workers Club. (Free tickets to the event are hidden through Fitzroy – look out for knitted things...) You should support people like this, because even though they’ve juﬆ ﬆarted, you’d miss them if they disappeared.
WHAT INSPIRED YOUR DJ NAME? “Mum gave it to me.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “House music.” WHAT MADE YOU START DJING? “I was 16-years-old, hardcore metal head, working in a ﬁsh and chip shop. ‘Techno’ never intereﬆed me but after hearing it incessantly, I got over my snobbery about music in general and realised that music in itself had no limitations and like anything creative in this world, I had the capability to create it. Luckily for me, it turned out a few people enjoy my attempts!” WHAT TRACK TURNS YOU ON RIGHT NOW? “Midnight Savari – Phantom (Galacton Softwar Remix).” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “161 in Melbourne, I asked a girl for a lighter, she handed me a goldﬁsh in a bag. When I saw the same girl an hour later and I asked ‘how’s
WHAT WOULD BE YOUR ULTIMATE LINE-UP? “John Digweed, Joris Voorn, Étienne de Crécy and Slam.” WHERE & WHEN: BMP Events Second Bday Bash at Uber Saturday 2 April, Eaﬆer Excess at Barsoma Friday 25 April
WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “There are too many to mention but I act ually heard one laﬆ night Katy Perry’s California Gurls vs Lady Sovereign which was particularly average.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Can you play the theme song from Packed To The Rafters?” WHERE & WHEN LaLaLand (Byron Bay) every Saturday
LOCAL DIALECTS Aussie Hip Hop with RIP NICHOLSON
HAS IT EVOLVED? “Our ﬁ rﬆ few events were billed as tech, house, prog but we played anything from funky lounge music to bootleg trance remixes of Placebo. After a while our DJs were becoming recognised in Brisbane’s underground techno scene so we decided that’s where our focus should be.” WHAT’S BEEN THE BEST ONE SO FAR? AND ANY DISASTERS ALONG THE WAY? “Without a doubt that would have to be when we hoﬆed Kazu Kimura. I think that was the event that made a lot of people realise that although we may be the new kids on the block, we are also very serious about what we are doing. We have deﬁnitely had our fair share of disaﬆers, from DJs arriving late to technical malfunctions and organisational disaﬆers. We seem to juﬆ persevere and make the moﬆ of our nights no matter what goes wrong.”
the ﬁsh?’ she turned around, had tears in her eyes and the goldﬁsh was ﬂoating upside down in the bag. Again, all I wanted was a lighter ..”
Rule of thumb – if we haven’t seen or heard from an act in several seasons of live summer jams, it muﬆ be time for a new album. With plenty of Gold Coaﬆ freshmen and Blue Mountain favourites running shit for 2010, Melbourne city’s class of acts that governed live hip hop during Rudd’s tenure are back on
their swing with new work. There are two big returns this year that should be worth holding our collect ive breath for. One of the biggeﬆ and oldeﬆ heads in the game and an MC who in ﬂeeting moments captured the spirit of Aussie hip hop and put it to some sweet rhymes a few years back with his running mate Pez. 360 has juﬆ dropped a whiﬀ of Miracle In A Coﬆume, his lateﬆ single from the Falling & Flying LP, to his speckled fans dotting our shores. Those who ﬆ ill fondly remember him from hyping behind Pez with his slamming hits a few summers back will be happy to see Pez join him on the dance-happy Juﬆ Got Started, which sees them go back at it like we remember. And with Pez ﬆeadily rolling out his next LP, expect to see them doing the rounds soon. Laﬆ time we enjoyed a dose of Pegz he came as a three-piece with Gully Platoon. Now on his fourth solo album drop, the Obese CEO returns with Drama due out Friday 8 April – his ﬁ rﬆ since 2007’s Burn City. Early reports suggeﬆ that the LP features beats from the Plutonic Lab as well as M-Phazes, Chasm, Jase, Ta-Ku and Simplex, so it should set the pace for the ﬆatesman of Our Th ing. Hitting the road solo for the ﬁ rﬆ time in three years to tour the LP, the Bombs Away Tour will open up in May with 16 ﬆops along the national route with Pegz backed by Eloquor playing hype man and 2Buck on the decks. Gully Platoon mate Dialect rix will show support on moﬆ dates, as will Simplex.
SUSHI SNAPS 1 Breaks & Enter @ Barsoma
6 Saturday @ GPO
2 Saturday @ Alloneword
7 Saturday @ Hot Gossip
3 Saturday @ Birdee Num Num 8 Saturday @ Port OďŹƒce Hotel 4 Saturday @ Chalk Hotel
9 Saturday @ X & Y Bar
5 Saturday @ Family
10 Saturday @ Zuri
3 5 6 1
ike all of the great social icons, the heritage of the smiley face is one that is ﬆeeped in drama, conﬂ ict and confusion worthy of a Hollywood screenplay. Unfortunately Hollywood has already blown their chance, with the otherwise endearing Forreﬆ Gump running a polite approach to the origins of the enigmatic grin. A cute and clever origin, perhaps, but not a baguette, button or baggie in sight. It’s a teﬆament to the power of symbols that the debate about the origin of a simple caricature of a human’s smiling face would draw in so many rich and vivid claims. Hailing from France, Franklin Loufrani regiﬆered the smiley design in 1971, ﬆemming from its use as a tool to illuﬆ rate positive ﬆories in the French newspaper France Soir. Loufrani’s Smiley Company operates to this very day, aggressively crash-tackling anyone foolish enough to bring cheer to their commercial act ivities. Meanwhile, in heady 1960s USA, commercial designer Harvey Ball haﬆ ily sketched a smiley face on a yellow background as his reply to a design brief by the troubled heads of an insurance company merger. A decade later, the enterprising eﬀorts of brothers Bernard and Murray Spain would ﬁnd success in pitching the simple phrase “have a nice day” under the increasingly familiar smile. It is eﬆ imated that the US of A was ﬂooded with 50 million buttons by the close of 1972 alone. Whether or not the eager subﬆance abuse – and associated psychedelic explorations of themes of peace and love – have much to do with the ﬁ rﬆ wave of the smiley is speculation alone. There is no such doubt during the second coming however, spearheaded by a new generation – socially aware, culturally aﬆ ute and pursuing a theme of better living through chemiﬆ ry. The early framework for the rave ideals of peace, love, unity and respect were set with the moﬆ socially aware engineers at the helms. Sure, they were necking fearsome amounts of high-quality MDMA and 32 3DWORLD
shouting “on one matey!” at each other, but their skill at social entropy was unmatched. The smiley face was once again adopted with a sense of childlike glee, but tempered with the moﬆ ﬆ udied undertones of the continuation of themes explored by the 1986 DC Comics title Watchmen. The comic was an inversion of the popular theme of the superhero featuring the character The Comedian, whose death is illuﬆ rated with his bloodﬆained smiley button falling to the pavement. By 1988, the release of Beat Dis by acid house act Bomb The Bass marked the changing tides of public opinion for a culture it had initially tolerated. Appropriating Watchmen’s blood-ﬆained smiley, Bomb The Bass inadvertently signpoﬆed the sudden switch in media coverage, with UK tabloid The Sun launching a vicious assault on the rave fad that it had only weeks prior cashed in on. It wasn’t juﬆ the media and concerned parents jumping on the anti-smiley bandwagon, but eventually the acid house scene itself. Wearing a smiley t-shirt was once the passport to a subculture developing its charter within the conﬁnes of formative clubs nights – including Danny Rampling’s Shoom and Paul Oakenfold’s Spect rum – but it soon became the tell-tale sign of an “acid ted”. And nothing was worse. Not even Margaret Thatcher herself. In recent years the same cycle has repeated, with the simple and joyous nature of the design underpinning the various cultural reﬂect ions and ironic geﬆ ures that ultimately form an impression on the emerging generations of impressionable adopters – like the short-lived nu-rave genre, the death of which is more than a reason to smile. Little to none of this will have much relevance to future generations, occupied as they will be with the belated release of jetpacks or furious and pitched battles againﬆ hologram Pokemon. To them, the lore of the
SYMBOL/ ACID HOUSE EMBLEM/ EMOTICON, MID20TH CENTURY PRESENT
BEFORE IT WAS FLIPPED ON ITS SIDE AS A FORM OF DIGITAL SHORTHAND, THE SMILEY FACE HAD MANY LIVES. DAVE DRI TRACES ITS JOURNEY FROM THE DESIGN INDUSTRY THROUGH TO PUBLISHING AND THE ACID HOUSE BOOM. MAY CONTAIN TRACE ELEMENTS OF FORREST GUMP.
smiley face will be a tale of Dr Scott Fahlman, a member of the computer science community at Carnegie Mellow University, who suggeﬆed a simple ﬆ ring of ASCII characters to solve the extended ﬂame wars waged over the simple computer terminals and bulletin boards of 1982. He may not have ﬆopped the trolls but he did unleash the lols, and opened the doors to human digital expression in a way that has not been seen since the original TRON – except in TRON: Legacy, but the less said about that the better…
MORE (MIS)APPROPRIATIONS DISCO SUCKS
By the time that smiley face ﬆ ickers had peeled oﬀ of the bumpers of American cars, there was a new contender by way of the “Disco Sucks” campaign. The crass commercialisation of a joyous clubbing genre soon sank the majority of its cocaine-addled ﬆars, but rarely have record hunters ignored the chance encounters with the works of Giorgio Moroder or the producers of the time. Many fans mourn that these classic cuts have inspired a new round of inﬆant genres ranging from nu-disco and elect ro disco to discoﬆep and dubsco. But they haven’t heard witch disco yet, have they?
The 1994 release of the ﬁ rﬆ in the long-running Renaissance mix CDs is considered one of the ﬁ rﬆ mixed dance music albums. The appropriation of the imagery of the renaissance as the series continued – speciﬁcally in the works of artiﬆs such as Michelangelo – was a direct expression of the desire for sophiﬆ ication in a scene mired in the dressed-down dungarees and antics of the acid house set. It is easy in retrospect to draw additional parallels with the early Italian house sounds popularised by the likes of Sasha and Digweed in the Renaissance club, but the ultimate embrace of the renaissance theme as an expression of enlightenment was a run-away success that continues to this very day.
The average person walking paﬆ a mid-90s rave might have been forgiven for thinking that they were witnessing the result of the punch bowl being spiked with LSD at an Occupational Health & Safety convention. Which wouldn’t be too far from the truth, with goggles and white gloves joining the soundtrack of whiﬆ les and sirens. The ever-present rave ﬆaple was honoured in the 1992 release of Song To The Siren by The Chemical Brothers, but has played a key role in arm-swirling expressions of poﬆ-induﬆ rial something or other in every decade since the ﬁ rﬆ double drop.
WHO’S THE MORE FOOLISH? DJ STIFFY’S WIDE WORLD OF SHORTS
So, anyways, there I was, performing my favourite home-bound act ivity, ie the one-handed bong hit with simultaneous maﬆ urbation (and, really, this is only for professional maﬆ urbators and bong smokers, and believe me, I know for a fact that there are very few people who act ually get paid to do both...) Anyways, the point was that I was watching Japanese pornography on this particular day something about a drunken businessman dressed as a penis, which, was in turn dressed up as a drunken businessman, which was, well, you know the drill... , at which point I was reminded about Japan... something happened in Japan, didn’t it? Oh yes, parts of the country literally got deﬆ royed by a large tsunami/bukkake, thousands of people died and it was incredibly awful and tragic. Not that you’d remember, because now everyone has conveniently moved on to the commencement of AFL/NRL season, Bob Hawke attempting to tongue-kiss Kriﬆina Keneally, and something about soldiers being raciﬆ, which is precisely the kind of horseshit that would oﬀend a GetUp!-donating 24year-old ﬁrﬆ-year lawyer from hipﬆerville, who for some fucking bizarre reason has a problem with being a lawyer and potentially earning $250,000-plus a year, and in order to circumvent said fruﬆration tells people that the whole ‘lawyer thing’ is juﬆ temporary until he/she gets a job at an NGO or the UN, or AusAID, and that their real passion is music, ie playing in a band that thinks it’s Flying Lotus but is actually more like a Maroon 5 covers band on a very fucking bad day. Anyway, the real point of this was not only to remind you, dear readers, that there’s probably a whole bunch of important shit that happened more than a week ago that you’ve forgotten about, but also that there was act ually a reason that Chriﬆ ians made weeks seven days long, ie people needed to be reminded every seven days that God can be a right prick when he wants to, but if you do the right thing, you’ll end up hanging out with a lot of guys with beards, ie living in Northcote. Or Newtown. Or Weﬆ End.
For one day each year, legions of morons unite to wreak havoc around the world. On the ﬁ rﬆ day of April, usually a Thursday, unfunny and generally dull people pull simpliﬆ ic pranks on others, to a general response of bemusement. The ‘prankﬆers’ have been known to deliver eyebrow raising and overwhelmingly lame ﬆ unts, in a tragic attempt to demonﬆ rate their natural comedic skills. In 1978, adventurer and millionaire Dick Smith towed a Styrofoam iceberg through Sydney Harbour, ﬆating that he was going to sell it for ice cubes. In 2009, aspiring Ashton Kutchers covered over 400 Melbourne cars in cling wrap. Many socially-oﬆ racised people see April Fools’ Day as the opportunity to ‘break in’ to friendships through irritating gags. For Brad Templeton, a Sydney based life insurance salesman, the day is one of the high points of the year. “Usually I prepare a few months in advance, juﬆ to try and work through some ideas,” he says excitedly. “The secret to making them work is to not let anyone know, and to not smile when it happens. They’re pretty hilarious though. Everyone at the oﬃce talks about it for weeks after. You get pretty famous.” In previous years, Templeton has covered chairs in glue, said nothing but “Spaghetti” for an entire day and hidden ﬆaplers. “The ﬆapler one was hilarious. They had to go and buy more, but then I said ‘Wait! I have them all in this draw!’”
The event transcends borders, with moﬆ cultures having their unique variants on the tradition. The origins of the day are obscure, but devout observers of the occasion say that it dates back to 13th Century Denmark, where on ‘Maj-kat’ they would imitate the sounds of farm animals in order to humour the spirit of the harveﬆ. The French developed this tradition in the mid 17th Century, where they would mark the day with poisson d’avril, which literally translates to “Day without pants”. In Korea, royal members under the Juyeon dynaﬆ y often wore their hats backwards, put jewellery in their mouth and said phrases extremely quickly.
If you are considering undertaking an April Fools’ joke, there are some secrets to a successful prank. Firﬆ ly, make sure you have absolutely no friends. You would not want to deﬆ roy any relationships unintentionally and if no one likes you to begin with there is nothing to lose. Secondly, make sure that you don’t speak to anyone, ever, because no one wants to speak to you to begin with. Finally, make sure that you cut oﬀ your hands and feet for good luck. Following these easy ﬆeps will see you completely forgotten in no time. 5SPROCKET
NO SEX FOR YOU!
Nothing clears up a political ﬆalemate like a sex ﬆ rike. Juﬆ ask Belgium senator Marleen Temmerman, who thinks that the current situation in Belgium, where there has been no government for almoﬆ eight months, is so desperate that no one should have sex with anyone of any political signiﬁcance until they sort of their mess. Belgium is one of those piss-boring places in Europe were the country is split into two cultural groups: the bigoted, selfimportant Dutch, and the bigoted, selfimportant French. ‘We’re too diﬀerent’ both sides whinge. ‘We can’t possibly
have juﬆ one government.’ Well, kudos to you, overly opinionated Weﬆern Europeans, because your political deadlock has ensured that you don’t even have one government. Since this deadlock is showing no sign of letting up, Senator Temmerman has suggeﬆed that the only way to get some act ion (pun!) in Parliament is to go on a sex ﬆ rike. ‘I call on the spouses of all negotiators to withhold sex until a deal is reached,’ she said. ‘Have no more sex until the new adminiﬆ ration is posing on the ﬆeps of the palace.’ Temmerman was inspired by the 2009 sex ﬆrike in Kenya, where the Women’s Development Organisation coordinated a sex ﬆ rike of thousands of Kenyan women in order to resolve political turmoil in the country. Lo and behold, within a month a deal had been done. Evidence ﬆ rongly suggeﬆs that people like sex. Sexually attract ive people are very well liked. People talk about sex and think of ways to get sex a lot. So it makes sense that if you want to get something done politically and you can’t think of any other way to get it done, a sex ﬆ rike might be for you. In fact, I’d like to see more of this kind of ﬆ riking in politics. There’s far too much talking and pretending to liﬆen to each other’s opinions. Sometimes, someone juﬆ has to be brave enough to ﬆand up and say ‘I’ve had enough of this: let’s hit them where it hurts – in their genitals’ Senator Temmerman is right on the money with her suggeﬆ ion, and readers, I suggeﬆ incorporating sex ﬆ rikes into your normal, everyday life. Force your signiﬁcant other into virtual slavery and sexual humiliation by threatening not to put out until you get whatever it is you really want, be that a piece of toaﬆ, or complete liberation uniﬁcation of a small European country, and don’t ﬆop until you’ve achieved everything you want. HOLLY HUTCHINSON
AQUARIUS (20 JAN TO 18 FEB) You have miles to go before you sleep this week. Th ings will get worse before they get better. Then someone will carjack you at gunpoint. PISCES (19 FEB TO 20 MAR) Keep yourself comfortable this week by feathering your pillow with the burnt facial skin of your enemies. Not literally of course. ARIES (21 MAR TO 20 APR) Your dream of designing coﬆ umes for Dancing With The Stars conteﬆants will hit a snag when you are charged with tax evasion. TAURUS (21 APR TO 20 MAY) Laﬆ week my own mask slipped and I complained to you rather than issuing you with a predict ion. Th ings aren’t any better this week. GEMINI (21 MAY TO 20 JUN) You will take a job as a makeup artiﬆ for service ﬆation robberies, but you will queﬆ ion your decision when a robbery goes wrong and the attendant is shot. CANCER (21 JUN TO 21 JUL) Have you ever had one of those weeks where you felt like you were being ﬁﬆfucked by a team of w*%#s? Well that’s how this week will be for you. LEO (22 JUL TO 21 AUG) When a small bully tries to goad you into a ﬁght, sometimes the beﬆ solution is to body slam them and ﬆorm oﬀ. Think about it. VIRGO (22 AUG TO 21 SEP) The short ﬁ lm you’ve been making for eight years is act ually so short it is ineligible for even the shorteﬆ of short ﬁ lm feﬆivals. LIBRA (22 SEP TO 22 OCT) When life holds a gun to your head and demands that you open the safe, maybe you need to consider a new lifeﬆ yle. SCORPIO (23 OCT TO 21 NOV) It’ll be juﬆ like the Gwyneth Paltrow ﬁ lm Sliding Doors this week, when a twiﬆ of fate means you miss your train to work and accidentally fall onto the tracks. SAGITTARIUS (22 NOV TO 20 DEC) How much do you really know about the guy who writes your horoscopes? Would you truﬆ me to feed your cat? CAPRICORN (21 DEC TO 19 JAN) It’s time to abandon the script you’ve been writing about the librarian who buys a goldﬁsh and forgets its name. It sounds like a Black Swan rip-oﬀ.
ALBUMREVIEWS THE WEEK ALBUMOF
VARIOUS/DJ TONY MONTANA Cocoon Beach Club: Transformation Volume 1 (Level Two Music/Shock)
MASON They Are Among Us (Animal Language) It’s clear Dutch duo Mason are multitalented, multi-inﬆ rumentaliﬆ producers that who to tinker around in unknown musical spaces and who regularly depart from their normal clubbing exploits. Still, they’ve also got a corking track record of making club hits, including the popular Exceeder. On They Are Among Us, the lads born Iason Chronis and Coen Berrier present a far-ﬂung combination of pop, club and up-beat melodies that cleverly showcases their humour and versatility. The album is diﬃcult to deﬁne, which may be no bad thing at all. Take Little Angel, a compellingly beautiful piece of music that features the dulcet tones of Aqualung. Opening track Runaway kicks oﬀ with a slight sample of a classic Del Shannon 60s track by splicing it to create a respectable disco inﬂuenced danceﬂoor hammer. Connected has the peculiar combination of DMC (of Run-DMC notoriety) and pop pup Sam Sparro to bring it home. And ignoring the cringe worthy title, I Juﬆ Wanna Rock You is a nice pop number that ticks along with ease. The weird yet inspired collaborations continue with the very European Boadicea, which has Róisín Murphy’s vocal to thank as it gives the record additional subﬆance. What’s pleasing about They Are Among Us is that while on paper it’s all over the place, the album somehow combines their love of songwriting with an amalgamation of anything and everything. The diﬃcultly with making an album that takes in so many inﬂuences is how to make it appealing to a wider audience. So what Mason have achieved here is something of a minor musical miracle – an album with a wide scope that has fulﬁ lled its object ive of being as cosmopolitan as possible. STUART EVANS
Step aside Ku De Ta, there’s a new kid in Seminyak. 2010 saw the opening of Cocoon, another high-ﬂying bar/beach club/reﬆaurant designed to go head-to-head with Bali behemoth Ku De Ta. And while part of that competition entails a rival CD compilation, a liﬆen quickly reveals that Cocoon’s music policy is something quite diﬀerent, a taﬆ y two-disc disco/house mix put together by expat Pom DJ Tony Montana. Rather than limit himself to a ﬆ yle (discohouse) that is both commercially out-offavour and possibly too energetic for poolside, Montana’s ﬁ rﬆ disc plays around with the nu/space-disco aeﬆ hetic, lobbing awesomely
JESSIE J Who You Are (Universal) She’s the English chick who penned hits for Miley and who’s fresh on everyone’s radar right now. She’s got the chav-ﬆ yle of Lily Allen with her ghetto gold hoops and knuckle duﬆers, but can ﬆ ill go gaga with the leotards and glitter. She can belt it out like Chriﬆina or Beyonce and preaches the girl-power feminism of the Spice Girls. Mind you, she’s “not keen on the whole people knowing who I am thing”. But with all these charming qualities, it’s her vocal ability that really makes Jessie J shine. Th is is beﬆ represented on the live recording of Big White Room. Accompanied by a beautifully simple acouﬆ ic guitar, Jessie J pours her heart out with incredible vocal gymnaﬆ ics. She also ﬂaunts this ability in Mamma Knows Beﬆ, its big band swing sound matches her dynamic
funky mid-tempo grenades; Rene & Angela‘s disco classic I Love You More is remade by Low Motion Disco, the always reliable Ray Mang, Crazy P, Ashley Beedle and Greg Wilson do their funky thang while lesser names Cool Million and Flight Facilities more than hold their own. The second disc houses things up with some of the beﬆ disco-inﬂuenced gear of the paﬆ ten years, including the ﬆ ill-great Willy Wonkasampling There’s A Better Place from Crazy P, Dimitri doing Tortured Soul, Frankie Knuckles doing Hercules & Love Aﬀair, Rasmus Faber doing Sydney-sider Hi-Fi Mike and Grant Nelson respect fully remaking Octave One’s classic Blackwater. It’s all extremely taﬆeful, summery and danceable disco-ﬂecked house. So rather than competing with Ku De Ta’s output, the sparkling Cocoon Beach Club: Transformation Volume 1 compliments it. DARREN COLLINS
vocals. Firﬆ single Do It Like A Dude gave a ﬁ rﬆ impression of her hip hop feminiﬆ ﬆ yle with its grimy bounce but her follow up Price Tag featuring BoB also shows her conscious attitude. It’s a feelgood track that almoﬆ seems like a throwback given the sex, drugs and money tracks currently saturating the airwaves. Who You Are also presents some more downtempo tracks to match each ﬆ rong one. Abracadabra and Casualty Of Love both have the light and ﬂuﬀ y feel of the typical R&B girl-group track, while the life-aﬃ rming Stand Up has that one tribe-one love feel with its acouﬆ ics and percussion before the love-in ﬆ raysa little onto the cheesy side with Rainbow. Still, with a variety of sounds, good ﬆ yle and great singing, you can’t ask for much more in a debut. JANN ANGARA
ONE TRACK MIND BUBBLE CLUB The Goddess (International Feel)
LUPE FIASCO Lasers (Warner) Lasers (“Love Always Shines Everytime: Remember 2 Smile”) seems to be a rather ironic title for Lupe Fiasco’s highly anticipated third album. There has certainly been very little love involved in an ongoing dispute Fiasco has waged againﬆ his record label over the paﬆ few years regarding the extent to which the content of the album has been diﬆorted to increase its commercial viability. Released three years after its creation and after 30,000 fans petitioned the label, Lasers is certainly a ﬆ range concoct ion of tracks, documenting Fiasco’s personal ﬆ ruggles and social and political grievances. While lead single The Show Goes On attempts to initiate an optimiﬆ ic spin, a ﬆ rong sense of despair seems to dominate the album. Worlds I Never Said
ﬆands out as the moﬆ impact ful track featuring the ﬆ unning vocals of Skylar Grey on the powerful hook “As I drown in my regrets I can’t take back the words I never said ” – here Fiasco raps of his disdain for Obama, the US media and diet soda among other things, playing on ironies to paint a very grim worldview. Two of Fiasco’s moﬆ revealing tracks feature the haunting (auto-tuned) vocals of MDMA. I Don’t Wanna Care Right Now encapsulates Fiasco’s ﬆ ruggle againﬆ the man, while Beautiful Lasers reveals his battle with depression and some confronting thoughts of suicide. The subversive State Run Radio cleverly bounces provocative lyrics on the brainwashing eﬀect of mass media across a catchy upbeat pop backing before Out Of My Head featuring Trey Songz reeks of formulaic commercial hip hop. Lasers is an admirable release – it’s juﬆ not the one that Lupe fans have held their breath for. AMBER MCCORMICK
With laﬆ year’s Morning Star and Violet Morning Moon, Bubble Club ﬆaked out decidedly Tensnake-ish territory of perky retro house and Balearic disco respect ively. The Goddess is decidedly more narcoleptic, a dozy, desultory bongoﬆ rewn glide on swirling synth chords, echoing piano chords, ﬆ ring riﬀs and shoegazer-like vocals in the mix.
SABBO Modern Primitives (Scattermusic) Actually tribal techno: the grooves on Modern Primitives share this palsied Latin American-inﬂuenced percussive perversity that is either inspired or exhauﬆ ing depending on one’s mood, and probably work beﬆ as interﬆ itial moments in the mix, snatches of insanity (or inanity) designed to confuse and confound the danceﬂoor.
PRETENSION I’m No Star (Midnite Music)
GHOSTPOET Peanut Butter Blues & Melancholy Jam
VARIOUS Tirk 03
Treasured by hipﬆers and chinﬆ rokers alike, UK label Tirk is often misrepresented as an enclave for the space/nu disco scene, yet it is much more than that. The third showcase of Tirk product is an exhibition of its wide spect rum of sound, closer to the often hard to deﬁne Balearic sound than slave to 4/4. Modern underground disco is deﬁnitely represented though – the AN2 remix of Space’s Carry On Turn Me On is all dubby Italo, The Love Supreme’s Sugar adds guitars and nu-wave vocals, as does Richard Norris’ remix of Molly Wagger’s Weekend. Yet elsewhere The Time And Space Machine, again with the help of Richard Norris, take a more 60s-inﬂuenced indie guitar direct ion. The Skintologiﬆs noodle around with spacey, walking pace jazz-funk while The Time And Space Machine return with perhaps the set’s moﬆ high proﬁ le track in the Buﬀalo Springﬁeld-borrowing After The Gold Rush. DARREN COLLINS
In 2010, 24-year-old London poet/MC/singer Ghoﬆ poet’s combination of raw spoken word and mildly deranged sonic backings impressed the great Gilles Peterson enough to garner an invitation to join his Brownswood ﬆable. As the title of Ghoﬆ poet’s debut album allays, this is a man roughed up by life in general. With a knack for producing music that sounds like the collision of almoﬆ every ‘dance’ ﬆ yle to come out of the UK in the paﬆ 20 years, Ghoﬆ poet then adds his oﬀ-beat ﬂow to his oﬀ-beat beats to create a fairly challenging liﬆen.The brutal Northern line accent Peanut Butter Blues is a chaotic and very London experience as Ghoﬆ poet details his crippling hardships on Us Againﬆ Whatever Ever and Cash And Carry Me Home. The friendly, folksy Survive It and indie rock-ﬂecked Liiines adjuﬆ the mood yet at its heart Ghoﬆ poet’s debut is an intriguing and oﬀ-kilter dissertation of life at the bottom. DARREN COLLINS
The mixture of big trance riﬀs with pop-minded elect ro housey tunes is one of those seemingly obvious ideas that oddly has avoided ﬆ rip-mining, and this Auﬆ ralian eﬀort at the form, while respect fully below Calvin Harris’ I’m Not Alone, could at leaﬆ pass for a decent Swedish House Maﬁa number. TIM FINNEY
3DPLAYLIST 3D 1. Balance 018 VARIOUS/NICK WARREN 2. In The World Of Light TIKI 3. 1000 Words GUY J 4. Some Cold Rock Stuﬀ J ROCC 5. In My Blood SHARAM JEY 6. Beautiful EDGE OF COLOUR 7. Diﬆance D-NOX & BECKERS 8. Space Is Only Noise NICOLAS JAAR 9. Uber Soup DJ SOUP 10. Afro-Left LEFTFIELD
TUBETIME FILMREVIEW The incredible world of television with 5SPROCKET
There is nothing quite like watching ﬆ upid people fail spectacularly on a large scale. It is even better when they are spending out the arse for the privilege. Grand Designs (ABC) showcases couples who are currently making their dream home a reality. The beﬆ episodes in this long-running series are those that ﬆar gravel-eating dipshits that decide to build a house. Mark and Julie have the intellect ual capacity of a taco. They purchase an expensive plot of land on the Brighton coaﬆ line, the prime location to built a faux Miami art-deco mansion. It is the perfect position to watch ink-coloured skies deﬆ roy passing cruise liners, or to catch a glimpse of a dolphin drown itself because of landscape induced depression. Wife Julie’ drools with brain-dead thrill. “The view here changes every ﬁve minutes. There could be a boat, there might not be a boat. You never know what is going to happen.” Julie runs her own business selling sun tanning machines. The house is Husband Mark’s gift to her for not getting divorced for 25 years. She has no experience with building a house and has decided to be the ‘Project Manager’, overseeing the development of the mansion from muddy scrap to prospect ive swinger’s club. Her incompetence as a human quickly spreads to the conﬆ ruct ion process, with laﬆ minute decisions such as a helipad and underwater shark breeding tank hampering progress. The under-ﬂoor heating is thrown together before there is a roof, a decision similar to putting on a bow tie before underpants. As the winter rains, the house frame urinates on its owners. A contractor asks Julie if he can cut through the newly inﬆalled aluminium roof. “That’s a bit too technical for me, I’ll have to ask Mark.” McCloud examines the completed home, and is sadly impressed. He opens the sliding glass door, and breathes in the saltwater air, shedding a tear for their success.
Jason Statham plays Arthur, a gruﬀ hitman who likes to wear turtlenecks under leather jackets. He is balding, something that may be motivating his career choice. He’s been in the killing game for a while now and can expertly bump someone oﬀ and make it seem like they died by autoerotic asphyxiation, or a shark. No one would ever suspect he was there. When Jason Statham is given the task of bumping oﬀ his mentor, Donald Sutherland, he angles his head slightly and gives a ﬆeely glare. Sutherland is at an age now where all you need to say is ‘biscuit’ for his heart to convulse, but no, being the professional that he is, Jason Statham concocts an elaborate plan to make it look like a man in a wheelchair was car jacked in a car park. Following out his orders, Statham has loﬆ his father ﬁgure, and as David Stratton would say, “his soul”. In an illogical leap of narrative, Statham takes Donald Sutherland’s wayward son (played by Six Feet Under’s Ben Foﬆer) under his wing. He’s reckless, he’s out of control, he wants to ﬁnd the man who killed his father and make him pay. So sensibly, Statham teaches him how to kill with shots of adrenaline and how to reload a machine gun with your tongue. They’re a mismatched pair of outsiders – one does things by the book, the other is a real live wire! Now drain any sense of excitement out of this scenario, replace Statham with a horse and Foﬆer with a temperamental pony, and you have yourself The Mechanic. Statham talks with the throaty huﬆ le of a cancer patient. He has the dramatic range of a pencil eraser and is nearly as funct ional. He ﬆ udied at the Bruce Willis University of Performance, receiving Firﬆ Class Honours. Sly smile, turn of the head, squint. Foﬆer acts like a velociraptor that juﬆ consumed Al Pacino. With such deﬁned ﬆ yles, ‘macho bald’ and ‘crazy eyed loon’, they ﬆ ruggle to deliver the charisma that is needed to unify them. The ﬁ lm is a remake of the 1972 Charles Bronson vehicle of the same name. Moﬆ of the act ion sequences tend to revolve around murdering a fat person. Assassins like to talk about their next job while ﬁshing on a dock. You can warm a man’s heart by buying him a puppy, which is also good for a few moments of comedic relief. Statham turns and says in a huﬀ, “Nice ring”. Note on the front seat of a car says “If you’re reading this, you’re dead”. If you don’t tell me what I want to hear I’ll put your
daughter’s ﬁngers in the garbage disposal. Symbolism is etched into a weapon, reading “Victory Loves Preparation”. “When you look in the mirror your reﬂect ion’s gonna shoot you in the face.” I’m sure it all worked well in the script. The Mechanic is no revisioniﬆ take on the genre, and its hammy performances do little to elevate dull scenes. There are plot holes as big as an elephant’s house. I’m seen urinals with more engrossing narratives. The Mechanic is 90 minutes of predictable VHS-era trash. Your mum would like it. 5SPROCKET
WHERE & WHEN:
Screening in cinemas now
FLATSCREEN PHONES – THE HOLY TRINITY? “Alright gnarly dudes, have I got a fax for you! Xerox this memo and hold on to your ponytails, because there’s a totally bodacious new crop of car phones on the market and you’ve got to be hip to be square. Now get this – you don’t even need a car!” Yes, things have certainly come a long way in the paﬆ two decades, with mobile telephony breaking through expectations juﬆ as quickly as deﬁning the context of their use. Recent years have turned the market on its head once again, prying loose the tight hold of the Nokia brand and heralding the ubiquitous uptake of the Apple iPhone in social circles, with Research In Motion’s BlackBerry dominating the corporate market. The lateﬆ crop of mobile phones approach another twiﬆ again, defying a complicated mess of licensing fees and court cases under the surface of an induﬆ ry engaged in pitched legal battles and resulting in a ﬆeady convergence of features, interface and appearance. These may not quite be the portable Tricorders predicted in the Star Trek universe, but they would be no less revolutionary to a 1980s inveﬆ ment banker loudly conversing on a Mobira Cityman handset the size of a small child’s leg. BLACKBERRY TORCH 9800 & BLACKBERRY 6.0 OS Th is ﬆaple of business communications is favoured for reliability, ease of use and the ease of implementation in even the moﬆ rigid of corporate security policies. And it juﬆ got a facelift on both operating syﬆem and conﬆ ruct ion. Gone is the scrolling ball of previous models, replaced with a nonmechanical scroll pad and touch screen inspired by the ﬆandards set by Apple. The QWERTY keyboard remains however, as does possibly the
beﬆ quality of act ual calls on any handset in the market – a ﬂagpole feature of RIM’s bragging rights when out on the town with an otherwise smug Apple and the increasingly evasive Nokia. When’s the laﬆ time you got a round of drinks Nokia? Too busy making Tickle Me Elmo phones for the tweenager market?
HTC THUNDERBOLT & ANDROID 2.2 The darling of the interwebz, the Thunderbolt ﬆeals the blueprints from a certain fruity manufact urer and rips out the pages full of smug marketing, technical limitation and oppressive attempts at monetisation. The battery might be terrible, but the core demographic won’t ever be too far from a desk or dock, unleashing the full potential of a device that act ually encourages utilisation as a portable hard drive. Note the memory capacity of 40GB via an internal 8GB with expansion up to a generous 32GB via readily available (and cheap) microSD. Furthermore, the HTC readily acts as a wireless router for wi-ﬁ-enabled devices. APPLE IPHONE 4 & IOS 4 Hiﬆory is unlikely to be kind on the iPhone 4, which despite all the hype, oﬀered up juﬆ another iPhone with a video call feature that had already been brought to market by primitive Nokia handsets around the time of the sinking of the Titanic. The new handset did overcome the extremely poor audio quality of the prior models, but added a highly contentious ability to drop calls by simply touching the outer case. Apple’s attempts to invert reality by placing the engineering oversight squarely on the shoulders of the user was a new low in PR disaﬆers, but the device remains an incredibly exciting oﬀering for portable computing. DAVE DRI
WET FOOTPRINTS It’s ﬂooding, but we’re running out of water? Information visualisation can help us get a grip on the slipperiness of water scarcity. “Freshwater is a scarce resource; its annual availability is limited and demand is growing. The water footprint of humanity has exceeded suﬆainable levels at several places and is unequally diﬆ ributed among people. There are many spots in the world where serious water depletion or pollution takes place: rivers running dry, dropping lake and groundwater levels and endangered species because of contaminated water. The water footprint refers to the volumes of water consumption and pollution that are ‘behind’ your daily consumption. Your ‘indirect water footprint’ – the water consumption and pollution behind all the goods you buy – is much larger than your direct water footprint at home.” worldwater.org VISUALISING WATER USE Visit www.josephbergen.com/viz/water to get an eye-opening and quick and easy grasp on water use around the world. Info-vis FTW! “How much water do you consume based on where you are from? How much water do you consume based on what food, beverages, and products you purchase? Th is data visualisation reveals the hidden water content in your nationality and your consumer goods. Label your lunch, your drink, your friends, yourself, even the whole world with its water footprint.” The takeaway message? Auﬆ ralia uses around 3269 litres of water per person a day – over twice the amount of water for New Zealand, three times the amount for Indonesia or Korea, four times South Africa and ﬁve times Colombia. Who uses more water per person? Only the United States and Canada. At a glance, we moﬆ ly seem to use it on agriculture. MEASURING WET FOOTPRINTS The visualization site takes some of its information waterfootprint.org, from which using their extended water footprint calculator and guesﬆ imating how many kilograms of food I eat per week I discovered my water footprint is pretty close to the global average of 1243. Agriculturally, coﬀee (and fruit juice) seems to require around 10 times the amount of water to produce as tea, and per kilogram of food, beef takes between ten to 50 times the amount of water needed to produce potatoes, wheat, corn, rice or soybeans. @JEAN_POOLE
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LEE SUPER SKINNY BLUE MOON ~ $179.95. www.leejeans.com.au
LEE SLIM & NARROW AGED BLUE ~ 189.95. www.leejeans.com.au
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ENERGY DRINKS BEROCCA
Tablet the size of a 20-cent piece.
Biotin, magnesium zinc, cyanocobalamin, calcium, artificial orange flavour.
Gives you enough b-b-bounce to wipe that dried vomit off your chin.
Tastes like failure.
Pulling yourself together for work only hours after you urinated on a policeman.
$9.38 for pack of 15.
SIZE MATTERS? 250ml can.
Taurine, caffeine, glucuronolactone, B vitamins, sucrose and glucose.
It tastes like that girl you met last weekend.
If you exceed the recommended daily dosage you become Nicolas Cage.
People who like their eyelids to twitch.
150ml, served in a hookerâ€™s shoe.
Cocaine, money and sweat from an orgy.
Your face will explode in a volcano of awesome and everyone you touch will melt into a goo of winning.
Your ego consumes your body, spouting vitriolic non-sequiturs. Makes you think 9/11 was a set-up.
Celebrities having a breakdown.
Your career, family and reputation.
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RECORDING STUDIOS **VOCAL RECORDING** $50 AN HOUR! PRO STUDIO IN SURRY HILLS INCLUDES ENGINEER! If you need good quality vocals for demos/albums, simply bring along backing track/s or pre-recorded track/s to sing over! Call Danielle: 0425-213-721 blaco.recording@ gmail.com 5mins walk from Cen-
tral Station iFlogID: 11862
Come and record with Award winning UK Producer Wayne Lotek in his Melbourne studio. Purpose built space with sound proof recording booth, analogue and digital tracking available. From $350 per day. More info: www.lotek.cc Email firstname.lastname@example.org or call 0394170760 iFlogID: 12204 Demo Song Production - have your songs professionally arranged, produced, mixed & mastered for only $309. We’ll even supply a session vocalist. Call 0403 498 103 (*conditions apply) iFlogID: 12047 Looking for something more than just a recording studio? Want to work with a recording company that will support you long after the recording project is completed? visit www.musicentourage.com or call 0403 498 103 iFlogID: 12045 Professional Studio, With creative vibe and wide variety of equipment see fireantstudios.com.au email email@example.com iFlogID: 11723
REHEARSAL ROOMS 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
REPAIRS 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 www.rockinrepairs.com iFlogID: 9348
Australia’s pioneering electronic artists. We specialise in Ableton, Logic, Cubase, Garage Band, and Reason. Contact us on 0425248484 www.machinemusik.com iFlogID: 12034 NYC TRAINED SINGING TUITIONCLASSICAL/M THEATRE/CONTEMPORARY. PAST VOCAL TEACHERS INCLUDE VOCAL COACH TO AVRIL LAVIGNE/KELLY CLARKSON, MANHATTEN SCHOOL OF MUSIC 2010-LEARN THEIR 20 VOCAL EXCERSISES WHICH WILL TRANSFORM YOUR VOICE GUARENTEED. REASONABLE RATES ALL AGES AND LEVELS. 04499 83012 iFlogID: 11913 SONGWRITING TUITION ALL STYLES. WWW.MYSPACE.COM/ NICOLESERO PROFF SONGWRITER (APRA ROYALTIES/INTERNATIONALLY SOLD SONGS). LEARN ESSENTIALTIPS WRITING HOOKS; UNLOCKING LYRIC/MELODY POTENTIAL/BALANCE; COMMERCIAL SONG STRUCTURE 2011; HOW TO WRITE WHAT SELLS. NYC/LA/SYD TRAINED. ‘THE’ WAY TO EARN IN THE INDUSTRY! 0449983012 iFlogID: 11915
VIDEO / PRODUCTION Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. www.kontrolproductions.com iFlogID: 12198
MUSICIANS AVAILABLE SINGER SINGER AVAILABLE FOR COVERS/ DUO GIGS IN SYDNEYS BEST VENUES IMMEDIATE START. HUGE CONTEMPORARY SONGLIST READY TO GO. WWW.MYSPACE. COM/NICOLESERO POP/ROCK ORIGINALS BACKGROUND. 04499 83012 iFlogID: 11917
AUDIO TRAINING @ BIG MUSIC
INDUSTRIAL KEYBOARDIST WANTED
Big Music & Multimedia in Crows Nest now offer audio enthusiasts the chance experience audio training in a real studio environment. Receive software training on Protools, Cubase, Garage band and more. Sessions are customised to your needs. Don’t waste time learning the things you don’t need. Hone your skills, and enhance your productions. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@bigmusic. com.au iFlogID: 12200
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.facebook.com/pages/The-DamnedHumans/130450753639308 And on youtube: http://www.youtube. com/watch?v=a4MW2ndAlnA If interested contact Elliott on 0419262763 or at disturb4@tpg. com.au iFlogID: 11786
Do you want to get into Audio Production? Learn one on one with
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