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

ACCOUNTS DEPT PRINTING Rural Press DISTRIBUTION dist SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). HEAD OFFICE 2-4 Bond St, Abbotsford, VIC 3067 (03) 9421 4499 Sydney: (02) 9331 7077 Brisbane: (07) 3252 9666 HEAD OFFICE

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…






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 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…


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…





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.



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.


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... INDIEDANCE 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...









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 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



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




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.’


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



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)



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.



‘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.




“Larry Levan, Jellybean Benitez, Ron Hardy.”

to rape a CDJ – he must ’ve been a vinyl enthusiast.”


“Some all ages gig circa 2002 rocking DJ Shadow records.”



“More cute girls, more working 1200s.”

“Anything that sounds like Euro-trance.”




“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



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.




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…


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…


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!


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.


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.


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.



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.


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.





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.


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.


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.


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.


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


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 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


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.




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.



“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




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





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


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.



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 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


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.


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.”


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



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


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










9 3



2 3



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



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…


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.


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



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.


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


(Brownswood Recordings/Inertia)

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


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.” VISUALISING WATER USE Visit 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, 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





















‘SANTA’S LITTLE HELPER’ ~ $1.94. Your nearest supermarket ‘CROC O’ KINDER’ ~ $1.94. Your nearest supermarket ‘KINDERSAUROUS’ ~ $1.94. Your nearest supermarket

‘MEXICAN PRAWN’ ~ $1.94. Your nearest supermarket ‘DAFT PUNK’ ~ $1.94. Your nearest supermarket ‘BUNNY VS CARROT JIGSAW’ ~ $1.94. Your nearest supermarket


‘LUCKY HORSE JIGSAW’ ~ $1.94. Your nearest supermarket ‘CRAZY BLUE THING’ ~ $1.94. Your nearest supermarket ‘DANCING BEAR’ ~ $1.94. Your nearest supermarket

‘HELLO BUNNY’ ~ $1.94. Your nearest supermarket ‘TOY & BEAR’ ~ $1.94. Your nearest supermarket




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.

COST? $4.



150ml, served in a hooker’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.


EMPLOYMENT ADVERTISING / MEDIA Advertising Sales Assistant Parttime sales position for D.H.A Magazine. Min. 2 days req. (pref 3). Office in Underwood area (Brisbane). Position is commission only with monthly bonus opportunities. To apply forward your resume and covering letter to dhamagazine@ iFlogID: 12176

EDUCATION & TRAINING Music Cavern has a Vacany for a Brass and Woodwind tutor and a vocal tutor. Both Urgently Needed. For more info email iFlogID: 12262

ENTERTAINMENT Dj work wanted.Dynamic and experienced melbourne club and mobile dj,seeks new opportunities.With a passion and intelligence to do everthing to rock the dance floor.From corporate to club gigs I`ve done it.With a massive collection of music styles. PH:0407558139. iFlogID: 11808 Freelance Fashion Mag Columnist/ Blogger for D.H.A Magazine. Regular column featured in mag plus on blog. Email dhamagazine@gmail. com for info iFlogID: 12178 SEEKING DJS with wide library of music and own equipt. for various parties around Sydney Metro. iFlogID: 12029

PROMOTER Manager Required for fast-emerging Entertainer with pop-rock Album on iTunes and exciting Show in Sydney. You’ll need Music Industry experience and enthusiasm. Together we’ll conquer the world of entertainment. Phone Geoff NOW at Extraordinary Entertainment. Mosman: 9969 1179. Commission structure. iFlogID: 11898

SALES & MARKETING PASSIONATE & ETHICAL CHARITY FUNDRAISERS! Do you love animals, people, the environment? Help the worlds best charites by becoming a face to face fundraiser. We offer: Great Base, Super, Bonus & Incentives. Fun teams, no weekends, trips away & more! email: iFlogID: 12288

SELF-EMPLOYMENT Share Pro Recording Studio.opportunity for engineer/producer take career to whole new level in pro studio.You get access to all gear and rooms guaranteed 4 full days per/week if not more.Share Rent $270per/week. Ph:0450 144 399 iFlogID: 12091

FOR SALE COMPUTERS Apple E-MAc for sale. Bondi NSW. 17” iFlogID: 12186



TECHNICS 1210 SLK MKII FOR SALE: Selling this Technics deck as i am downsizing my studio and no longer have use for it. In excellent working condition and needs a good home. PH: 0433775996 iFlogID: 11757

BANDS are you looking for an Album/ CD Release Venue in Sydney’s CBD? If so then we could be the place for you! The Manhattan Lounge in Martin Place wants to hold your next Launch- call Denise 02 9223 5585 iFlogID: 12308

KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with sturdy keyboard stand and damper (sustain) pedal. Worth over $7,000 sell for $4,295 including delivery to any mainland state. Currently in Perth. Phone 0439 301 165 late evening Email: THE001Music@ iFlogID: 12220 Roland RD300-GX (88 keys w/ Experssion Pendal, Mint Condition + Roland Keyboard Stand + Additional Travel Stand + Quality Piano Stool (rrp $299) All for a great price = $1,500 (pick up only) Please contact me at wvongrabill@gmail. com or call 0488 555 482 iFlogID: 11866 Roland RS-505 Paraphonic $1799 Ultimate analogue string synth! Pics, sounds and details at: www. iFlogID: 11984 unique keyboard back pack in perfect condition, white and black just like a keyboard, only one in the world, better than the best thing you have seen this week, $9 iFlogID: 12166 Yamaha CS-15 $899 Perfect condition. Modified for extra fast LFO. More pics, sounds and details at: www.synthservicemelbourne. iFlogID: 11986

MIXERS VESTAX PMC46 ROTARY MIXER FOR SALE: I’m reluctantly selling due to downsizing my studio, this Vestax rotary mixer is a rare find and fits nicely into any studio or dj set-up. $500.00. PH: 0433775996 (LEICHHARDT,SYDNEY) iFlogID: 11759

OTHER bluesfest byron bay easter time 2x return tickets with rex airlines departs sydney 22/4/11 8.10 am arrives ballina 9.50am departs ballina wednesday 27/4/11 10.10am arrives sydney 11.55 am total cost$730 phone 0405088122 iFlogID: 12011

NOT AVAILABLE FOR FREE ADS. CL Tenor Saxophone for sale used Temby Custom Pro Silverplated 5yo $1500 good cond. Call Mike 0420435760 Sydney. iFlogID: 12310

PA EQUIPMENT For Sale including: Mixers, Power Amps, Equalizers, Road Case, Speakers, Speakers Stands, Mics, stands, Drum Kits,etc. iFlogID: 11790 PA New. AKG Cardiod Mic, CBI 30’ XLR-XLR Mic cable,EV SXa 360 12” Active Speakers x2,Hercules b/stand,Hercules Speaker stand x2,Neutrik male XLR connector x2,Neutrik stereo jack connector x2,Soundcraft Notepad Mixer. Value $5000+ Sell $3650ono. 0449168398 iFlogID: 12056


HIRE SERVICES For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Contact Chris 0419272196 iFlogID: 11749 PA, Lighting, Stages, Drum Risers - We deliver - We Setup - We Operate - OR DRY HIRE from as low as $99 a PA system CALL, EMAIL MATT TODAY - www.musiccavern. iFlogID: 12270

MANAGEMENT Northies Cronulla is seeking bands / musicians for it’s upcoming open mic night on Tuesdays “Break The Silence II” Please register your interest sending links etc to jac@ iFlogID: 11926

MASTERING Mastering by Wayne Lotek (UK), award winning producer of Roots Manuva and Speech Debelle. From $50 per track, online service available or come into the Melbourne studio. All styles catered for, reggae, hip hop specialist. Email: Phone: 0394170760 iFlogID: 12202

OTHER Best Quality Backing Tracks - Get a custom made backing track for your original songs or covers. Any key...any style! Ready for live performances! Visit or call 0403 498 103 iFlogID: 12049 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much more from $399 including Hosting! Contact or see iFlogID: 11593 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Gig Dates, Social Networking integration, and much much more from $399 including Hosting! Contact info@ or see www. iFlogID: 11591 Get your Band or Business Online Cost effectively and PROFESSIONALLY - About Us, Photogallery, Videos, Audio Jukebox, Search Engine Optimisation and much more from $399 including Hosting! Contact or see iFlogID: 11589 JOIN US on facebook, help us share and promote fresh, new, independent music from around the world. Like our page and we’ll keep you updated! Share your music, we want to hear it and want to share it! iFlogID: 11933 Major Music Group is a brand

new Brisbane based business that offers independent bands affordable publicity, photography, graphic design, website creation, bio writing and more. Check us out at and get 15% off all packages when mentioning this ad. iFlogID: 12013 Songwriter available. I write catchy, positive, marketable and popular songs with broad appeal. APRA Full Member. To hear samples of my work go to raoulmclay. 0434 300 959. iFlogID: 12225 Songwriting Society Of Australia Non profit Org for songwriters. Provide Mnthly Open Mic Nights, Workshops, Network, Outdoor Concert,Mnthly Newsletter, Platterlog Listings, Discounting Recording. Sydney Area Lean to perform,Write,Record. Ph 9294 4236. E-mail songsoc@ozemail. Membership $45.00 p.a. iFlogID: 12214

PA / AUDIO / ENGINEERING Amazing sounding PA System + experienced engineer for hire around Sydney - $50/h. Gear: 2x Mackie SRM450V2 Speakers, 1x Yamaha MG-166CX Mixer, 2x Shure Beta 58 Microphones + leads, stands etc. More microphones can be arranged if required. 0433 946 982. iFlogID: 12098 Live sound engineer available for bands and tours. Experience in all aspects of live sound. Competitive rates. e-mail: Ph: 0402 934 430 iFlogID: 12229 Mixing By Wayne Lotek. Come into the studio (Melbourne) or upload tracks and start downloading finished mixes within 48 hours. Add tape warmth with our 8 track analog stem mixing service. From $100 per track! Call now! (03)94170760 iFlogID: 12208


Big Music Technical Services offers the Sydney Music community the best in Audio & Hi-Tech support, DAW design, DAW setup & integration, studio consolidation solutions, software and hardware troubleshooting. Both in house or on-site visits. Break free from technical hitches and frustration. Get your studio sorted, and get back to making music. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@ iFlogID: 12206

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@ 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: Email 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 or call 0403 498 103 iFlogID: 12045 Professional Studio, With creative vibe and wide variety of equipment see email 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 iFlogID: 9348


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. iFlogID: 12198







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. 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: And on youtube: com/watch?v=a4MW2ndAlnA If interested contact Elliott on 0419262763 or at disturb4@tpg. iFlogID: 11786

Do you want to get into Audio Production? Learn one on one with

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3D World - Brisbane Issue #1054  

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

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