3D World - Brisbane Issue #1057 by TheMusic.com.au

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BRISBANE•GOLD COAST ( Issue 1057 ~ WEDNESDAY 20 APRIL 2011 )

DEADMAU5: DROPPING F-BOMBS LIVE TWEETING 101 MEAT KATIE: BREAKING ALL OVER WHY THE ROYAL WEDDING MATTERS

DOUBLE ISSUE

QLD

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

THISWEEK GO

Only five years ago Desyn Masiello was juﬆ about the hotteﬆ property in dance music on the back of his inﬆant classic Balance 008 compilation. The purveyor of funky prog par excellence freely admits he went off the rails as the temptations of fame took their toll, but recent DJ sets that have surfaced online indicate he’s back in some semblance of form – so be sure to catch him this weekend at Darkbeat’s Eighth Birthday in Melbourne on Saturday, Sydney’s Soho for five hours of power on Sunday and Brisbane’s Barsoma on Monday…

PHOTOGRAPHERS Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Koﬆas Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT sales@3dworld.com.au NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS www.iﬂog.com.au ART DEPT artwork@3dworld.com.au Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT accounts@3dworld.com.au

WEAR

Yeah yeah, Th readless is soooo 2005, but you know what? They ﬆ ill fucking rule. And if you’ve been a long time visitor to threadless.com, the old favourite “Mozart: Decomposing Since 1791” has juﬆ been reprinted – for both the men and ladies. Our exchange rate with the $USD ﬆ ill wins, so ﬆock up for the winter now…

READ

PRINTING Rural Press DISTRIBUTION diﬆ ro@3dworld.com.au SUBSCRIPTIONS www.isubscribe.com.au 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 info@3dworld.com.au

Kind of like The Onion without the bells and whiﬆ les, the McSweeney’s web portal oﬀers up quality writing dripping with cynicism (a trait close to the heart of the 3D World team). While Short Imagined Monologues (sample topic: I’m Comic Sans, Asshole) are worth the price of admission alone (it’s free), Lynsey G’s series on The Conﬂicted Exiﬆence Of A Female Porn Writer is the real eye-opener…

XX 3DWORLD

NAT

THINGS TO DO THIS WEEK

EAT

While this coming weekend is all about honouring fallen religious icons and soldiers (who you should definitely take some time to pause and reflect for), you can’t deny that it’s been over-run by the commercial forces of the planet’s chocolate manufact urers. If you muﬆ succumb to consumer culture, our hot tip is to ask your friendly local Eaﬆer Bunny for some peanut butter fi lled Reese’s Eaﬆer Eggs – or at the very leaﬆ get your friend in the USA to ship some over…

Twitter has thrown up some unlikely superﬆars in its short but decorated hiﬆory, none more unlikely than Sockington. Why does a guy poﬆ ing 140 word updates in the guise of his cat have juﬆ shy of 1.5 million followers? Sidle up to twitter.com/ sockington to ﬁnd out, and try not to get caught up in the paradox of a creature which eats birds as a hobby ‘tweeting’…

ENTER

The Auﬆralian Stencil Art Prize is back in 2011, and if you think you’ve got the skills to at leaﬆ match laﬆ year’s pict ured winner (ELK with his portrait of American hip hop poet Saul Williams) it’s time to get involved. Aspiring Banksys can get the lowdown at www.auﬆralianﬆencilartprize.com – deadline for entry is Monday 1 Auguﬆ…

WATCH

How awesome are the Beaﬆ ie Boys? Firﬆ they announced that they’d be releasing the sequel to their forthcoming album before the original (but with the original’s trackliﬆ ing), then they fooled everyone by leaking a fake track and now comes the piece de resiﬆance – a half hour promo ﬁ lm for Fight For Your Right (Revisited) featuring Beaﬆ ie Boys paﬆ (Will Ferrell, John C Reilly and Jack Black) facing oﬀ againﬆ Beaﬆ ie Boys present (Elijah Wood, Danny McBride and Seth Rogen). We think. Anyway, keep an eye out for the front cover of our siﬆer mags Inpress and Drum Media (sorry Brisbane peeps!) next week – they’ll have a QR code which your phone can scan which may be the gateway to all sorts of prizes if you’re lucky...

NAT

BRIEFS

ANNOUNCEMENTS A DESIGN FOR LIFE DJ/Production duo Designer Drugs are reading for a series of shows throughout Auﬆralia in May. The DESIGNER DRUGS group, comprised of Patrick and Theodore Paul Nelson, have delivered over 50 remixes for artiﬆs including Mariah Carey and recently released their debut album Hardcore/Softcore. Their lateﬆ eﬀort has a dark, throbbing and induﬆrial tone. They play OneFiveOne (Wollongong) Thursday 5 May, Never Land Bar (Gold Coaﬆ) Friday 6, Fake Club (Sydney) Saturday 7, Roxanne Parlour (Melbourne) Friday 13 and Monaﬆery (Brisbane) Saturday 14.

SIMPLY SPLENDID

Splendour In The Grass have made their ﬁ rﬆ line-up announcement for the 2011 event. Running from Friday 29 July to Sunday 31 July, the event will be the second time the feﬆ ival will be held at Woodfordia north of Brisbane. Headlining acts are Coldplay and Kanye Weﬆ, in exclusive shows to Splendour. Legacy rockers Jane’s Addict ion will hit the ﬆage, along with The Hives, Britpop kings Pulp and Aussie punkers The Living End. Regina Spektor and Mogwai will play exclusive shows, while The Mars Volta, Bliss N Eso, Pnau, DJ Shadow, Glasvegas, The Grates, Devendra Banhart and the Grogs, Modeﬆ Mouse, The Middle Eaﬆ , James Blake and Kaiser Chiefs take to the ﬆage. The massive announcement continues with Elbow, The Vines, Eskimo Joe, Warpaint, Drapht, Kimbra, Children Collide, Architect ure in Helsinki and The Panics performing, among many others. Further acts will be announced in the coming weeks. Tickets are $390 for the event, $120 more with camping. Tickets for the high-demand event go on sale Thursday 5 May at 9am sharp through Moshtix.

ALAN MCGEE

KANYE WEST

SOUNDS GOOD

Bigsound celebrated its ten year anniversary with the ﬁ rﬆ announcement for it’s 2011 event. The event is a celebration of Auﬆ ralia’s fresheﬆ artiﬆs and networking, and is a point where artiﬆs, media and induﬆ ry converge. Th is year’s event, to be held September 7 to 9 in Brisbane’s Fortitude Valley will have presentations by Alan McGee (founder of Creation Records), ie:music’s David Enthoven & Tim Clark (behind Robbie Williams, Jimmy Page and Ladyhawke), Matador Records’ Natalie Judge (Cat Power, Sonic Youth) among many other signiﬁcant induﬆ ry heavyweights. Artiﬆs are encouraged to apply for a showcase position at the event by visiting bigsound.org.au.

SIZEABLE SHOWS

Hip hop ﬆar Big Boi is heading out for a series of solo shows. As half of Grammy winning duo OutKaﬆ he has sold over 25 million albums and brought the world’s attention to Southern Rap. His debut solo release, BIG BOI 2010’s Sir Lucious Left Foot: The Son of Chico Duﬆy was one of the year’s biggeﬆ releases, charting high internationally and on critic’s end of year liﬆs (including coming in at #6 in 3D World ’s 2010 Album Of The Year poll). Big Boi plays The Tivoli (Brisbane) Friday 26 Auguﬆ, The Enmore (Sydney) Saturday 27 and The Palace (Melbourne) Friday 2 September. Tickets on sale through Ticketek.

STARTING SOMETHING Sydney based label Stop Start have announced their lateﬆ signing, Pluto Jonze. The performer PLUTO JONZE is set to launch his selftitled debut EP Friday 6 May and will support it with a national tour. He plays Laﬆ Night at The Gaelic (Sydney) Friday 29 April, Rats (Melbourne) Saturday 21 May, Lambda Lambda Lambda at Alhambra (Brisbane) Thursday 26, Oxford Art Factory (Sydney) Sat 28, Beach Road Hotel (Sydney) Wednesday 1 June and FBi Social at Kings Cross Hotel (Sydney) Saturday 4. IN THEIR WAKE Funeral Party have announced their fi rﬆ Auﬆ ralian headline tour. The full-throttle LA FUNERAL five-piece were touted as PARTY one of the hotteﬆ bands of 2010 by NME and have been featured in Q Magazine. Their debut album, Golden Age O Knowledge, is a collect ion of dance-punk, vocal bravado and pumping beats. Funeral Party play The Metro (Sydney) Friday 5 Auguﬆ, The Hi-Fi (Melbourne) Saturday 6 and The Hi-Fi (Brisbane) Tuesday 9. Tickets on sale through Ticketmaﬆer, Ticketek and thehifi.com.au. POWER UP The RAW compilation series is set to launch its 2011 inﬆalment, with Chris Fraser manning the controls on disc one, with CHRIS FRASER the second disc featuring the biggeﬆ tracks of the laﬆ year. Fraser is the music director of Raw FM, had residencies and appearances at the nation’s biggeﬆ clubs and dance feﬆivals, and he’ll be touring in support of the album, playing Vanity Nightclub (Gold Coaﬆ) Friday 13 May, Chinese Laundry (Sydney) Saturday 14, Fanny’s (Newcaﬆle) Saturday 21, Academy (Canberra) Saturday 4 June and Monaﬆery (Brisbane) Saturday 11 June.

CHANNEL V WILL screen the Beaﬆ ie Boys 30 minute short ﬁ lm, Fight For Your Right Revisited, at the same time as audiences around the world. It features Will Ferrell, Jack Black, John C Reilly, Danny McBride and Seth Rogen, in a ﬆarpacked ensemble. It screens Thursday 21 April at 2pm... LOCAL MC VENTS is set to release his lateﬆ album, Marked for Death on Friday 13 May. The hip hop artiﬆ has toured with Hilltop Hoops, and the album is said to be an introspect ive and cynical take on the crazy world we live in... DUE TO THE recent ﬆ ring of tragic disaﬆers in Japan, the Red Bull Music Academy 2011 will no longer be held in Tokyo. The location has changed to Matadero in Madrid, Spain, with the application deadline extending to Tuesday 26 April because of the laﬆ minute change... UNDERGROUND HIP HOP legend and Ice Cube’s cousin Del The Funky Homosapien is set to make a return with his new album, Golden Era. The 34-track opus will showcase the old school rapper’s maﬆerful funkinfused beats and slacker Californian vibes... ATTN ASPIRING FILMMAKERS. The Oasis Short Film Competition has recently launched, and is looking for high school ﬆ udents to make short ﬁ lms dealing with the issue of homelessness. Cate Blanchett is a supporter of the event, which has $25,000 going to the schools of the winning entrants...

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QLD

ARE YOU BEING SERVED?

RELUCTANT POP STAR MARTIN SOLVEIG DIDN’T KNOW HE HAD ANOTHER ALBUM IN HIM AFTER HIS LAST DROPPED IN 2008, BUT ON THE BACK OF TENNIS-THEMED VIRAL VIDEO SUCCESS, HE TELLS CYCLONE THAT THE FORTHCOMING SMASH WAS HIS SIMPLEST PROJECT YET.

artin Solveig is the hotteﬆ name in French house – once again. Hello, a reunion with Canada’s Dragonette, has been his biggeﬆ crossover record yet, eﬆablishing him as a cool alternative to David Guetta. He’s following it with Ready 2 Go, featuring Bloc Party’s Kele Okereke. And there’s an album in the pipeline – Solveig’s fi rﬆ since 2008’s C’eﬆ La Vie – entitled Smash. Solveig – real name Martin Picandet – has occasionally appeared a reluctant pop ﬆar. He moves in and out of the spotlight. The Paris DJ-cum-producer relished a huge ‘pop’ hit back in 2003 with the funky Rocking Music and fi rﬆ toured Auﬆ ralia behind it, but he didn’t capitalise on that momentum long-term. Still, Picandet, a Chevalier de l’Ordre des Arts et des Lettres (Order Of France for his significant contribution to the arts), denies that he’s uncomfortable with celebrity. “No, I don’t think so. I juﬆ don’t naturally consider myself a pop ﬆar ‘cause ‘pop ﬆar’ is for real pop ﬆars. It’s not really my concern when I make music. I make music basically to have the possibility to exchange this with a crowd – whether it’s more of a live crowd or a DJ crowd – but it’s a lot about having fun.” Lately Picandet has harnessed YouTube to air zany video clips. Indeed, Hello has attracted over 20 million views, the video shot at the French Open, with Picandet’s friend Bob Sinclar cameo-ing. He returned with Initials SHE. The Ready 2 Go clip continues the theme. And, Picandet reveals, another Smash episode, for his next single Turn Up The Radio, will be shot during his upcoming Creamfields tour. He’s even bringing the “fake manager”, Lafaille, from his videos (portrayed by DJ Gregory, famed for the classic Elle!). “I’m flying over with a team. I think we’re gonna have really a lot of fun.” The 30-something is feeling creatively reinvigorated. “Smash is my fourth solo album [and] it was by far the easieﬆ one to do, and I was very surprised, act ually, because at the end of C’eﬆ La Vie, I didn’t even know if I was going to go on with doing albums and work like that. I really ﬆ arted with Hello and did this video and things went very well. I had in mind this sort of project to work on videos and music at the same time. The success of Hello told me that it was probably an intereﬆ ing thing to do and so I kept on doing this and there are now many other episodes and many other tracks coming, and the Smash album is going to be released in June.” In fact, Picandet’s intereﬆ in visual media isn’t new: fi lm is a “passion”. (His alias is a tribute to Wings Of Desire act ress Solveig Dommartin, who died suddenly in 2007.) Picandet was never a part of the 90s’ fi ltered disco revolution, let alone ‘French Touch’. As with DJ Gregory, he mined American deep house. Picandet expressed a greater affinity with Dimitri From Paris than Daft Punk. But he’s no traditionaliﬆ. Picandet was a musical kid – he sang in a choir – and became a pop fan. His parents gave him turntables as a Chriﬆmas present. The teen began as a mobile jock, then landed a job in a record ﬆore and which led to his securing a residency at Le Palace in Paris. Picandet also dabbled in product ion and launched a label, Mixture Stereophonic. His earlieﬆ key record? The cult Heart Of Africa of 1999. In the meantime, he ﬆ udied marketing at university. In 2002 Picandet, aligned with Universal, presented his debut, Sur La Terre, which he’d subsequently describe as “a bit naive” in its product ion values. He’d proffer a remix compilation, Suite, taking in Rocking Music. Picandet felt disgruntled that Universal Auﬆ ralia didn’t do more with a second album, 2005’s Hedoniﬆ, picked up by Defected in the UK. It garnered him another hit in the bluesy Everybody. Picandet explored his pop sensibilities on the eccentric Hedoniﬆ – he covered Serge Gainsbourg’s Requiem Pour Un Con (Requiem For A Jerk). Along the way, Picandet (and Gregory) lent credibility to Sinclar’s now defunct Africanism vehicle, co-producing Edony.

“I JUST DON’T NATURALLY CONSIDER MYSELF A POP STAR ‘CAUSE‘POP STAR’ IS FOR REAL POP STARS. IT’S NOT REALLY MYCONCERN WHEN I MAKE MUSIC. I MAKE MUSIC BASICALLY TO HAVE THE POSSIBILITY TO EXCHANGE THIS WITH ACROWD…” Smash will be a different album again for Picandet. “I wanted to be a bit more ‘dance’,” he says. “Many of the tracks are good for a DJ to play ﬆ raight on the dancefloor and that’s one thing I tried to do because, when I work on albums, I tend to do some more elect ronic pop which applies more to live [shows] and ﬆ uff like that, which is what I did on C’eﬆ La Vie, but this one is more of a DJ thing fi rﬆ. Then the vocal vibe of the album is very rock and very pop.” Picandet may be no pop wannabe, but he is a crowdpleaser. “The people like it when you play all your own material.” In the paﬆ Picandet has said that, at home, he liﬆens to R&B, not dance. With urban acts hiring dance producers such as Guetta, does he, too, plan to venture out? Picandet sounds doubtful. “Well, to me, it’s not really about the scene or the ﬆ yle of the artiﬆ I collaborate with, I love to collaborate with many artiﬆs from different genres. [But] urban artiﬆs are not exact ly my speciality, I would say, at the moment. I’m more easy with the rock guys, and with the pop guys, but, with the success of Hello, I got a couple of offers to produce tracks for big act s. I act ually chose to work more with newcomers, or with more indie kinda acts like Kele from Bloc Party, because I wanted to do proper collaborations. be able to hang out a little bit in the ﬆ udio [and have an] exchange. It’s a lot more difficult with big acts because they’re so busy with what they have to do and everything, so then you get to speak only to managers and it’s a bit fruﬆ rating. So, for the moment, I’m working with Dragonette and Kele and another young girl called Sunday Girl and a few others. I really get to speak to them over the phone and to meet them in the ﬆ udio and to record some tracks together.” Brit newcomer Sunday Girl, a Diplo affi liate, will also be accompanying Picandet to Auﬆ ralia, being the vocaliﬆ on Turn Up… Signed to Universal, she has aired bloggable singles like Four Floors and covered Laura Branigan’s 80s favourite Self Control. Plus she’s a fashion ‘It’ girl (and Isabel Lucas doppelganger). Picandet didn’t avoid the ﬆ udio poﬆ-C’eﬆ La Vie. He maﬆerminded a fluke smash with Dragonette, Boys & Girls, which Jean Paul Gaultier used to promote his scent, Ma Dame: Rose ‘N’ Roll. Picandet speaks warmly of the iconic couturier. “He’s a very accessible person. My ﬆ udio is close to his ﬆ udio place and we bump into each other quite a few times in the year. Of course, he’s a bit of a legend here, but he’s ﬆ ill very easy and natural. Also he’s really a music person – he’s so intereﬆed in music, he knows a lot. Every time we got to have lunch or discuss [things] I was always amazed by the number of new bands and acts he knows, and so we discuss music a lot. It was a great experience and to have the opportunity to collaborate on the video process of Boys & Girls was really very intereﬆ ing.” Not that Picandet is into fashion, he laughs, shattering a French ﬆereotype. “I’m not too much of a fashioniﬆa – obviously, if you see me.” The dapper Dimitri has programmed runway shows for the likes of Chanel, but Picandet admires from afar. “I enjoy some of the shows and some of the brands and some of the designers. The clothing thing is an intereﬆ ing aspect of creativity in the modern world and so I’m intereﬆed.”

WHO: Martin Solveig WHAT: Ready 2 Go (Hussle/Universal) WHERE & WHEN: Creamﬁelds at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May

FASHIONABLY GREAT

Js and fashion – it’s a potent mix. Martin Solveig isn’t the fi rﬆ DJ to cross over into fashion. That self-described “French ambassador of ﬆ ylish club sounds” Dimitri From Paris may be beﬆ known for his Playboy Mansion CDs (and his classic debut, Sacrebleu), but he’s programmed runway music for Chanel, Hermès and Yves Saint Laurent. Oh, and Gaultier. In the 80s Jeremy Healy was in the wonky pop outfit Haysi Fantayzee – they had hits like John Wayne Is Big Leggy – and then, like Boy George, reinvented himself as a super-DJ. But Healy has also worked closely with the fashion world. He bonded with (now disgraced) couturier John Galliano. Galliano lauded Healy’s “essential” input into his shows in December’s V Magazine. “You can’t have a show without music – and you moﬆ certainly can’t have a Galliano show without Jeronimo,” the Dior designer said of his pal. “I like to break the rules and Jeronimo does that in music… Jeronimo’s ear for music is similar to my eye for fashion, and I think we juﬆ click.” What’s more, Healy has served as music director for the annual Victoria’s Secret lingerie spectacular. Another client? Gwen Stefani’s LAMB. Of course, DJing being so cool, a few fashion types are jumping on the bandwagon. New Weekly’s website recently featured a gallery of ‘chick DJs’ – DJs, it turns out, with loads of fashion nous but limited club cred, like Alexa Chung. Leigh Lezark, from the New York DJ crew The Misshapes, is often spotted at fashion shows – and she models. She’s appeared in a DKNY Jeans campaign, although Donna Karan isn’t exact ly on the hipﬆers’ radar. Some DJs have entered the fashion biz. While not a DJ, dance ﬆar Deadmau5 is big on wearable merch – you can snaffle up his T-shirts from US mall rat chain Hot Topic. Roger Sanchez act ually tried to get a fashion line off the ground. Alas, the 2Gether producer encountered problems with his inveﬆors. Then there are the designers who are wannabe DJs. Many a designer has expressed a passion for music. Karl Lagerfeld presented a compilation – 2006’s Les Musiques Que J’aime – and Gucci’s Frida Giannini has been photographed with her admittedly impressive vinyl collect ion. Closer to home, Ksubi co-founder Dan Single ﬆ ill DJs regularly as Dangerous Dan. He’s on the bill for Splendour In The Grass.

QLD

CAUGHT IN A MAU5TRAP DIVISIVE, CONTROVERSIAL AND EVER QUOTABLE, JOEL ZIMMERMAN RALLIES AGAINST LUKE MCKINNON ON THE TOPIC OF ON-STAGE BAZOOKAS, THE RELEVANCE OF DJS TO DANCE MUSIC CULTURE AND OTHER MATTERS OF IMPORTANCE IN THE WORLD OF DEADMAU5. n a matter of juﬆ a few years, Joel Zimmerman, the enfant terrible of dance culture, has gone from basement dwelling producer to dance music phenomenon. The Toronto native, better known as Deadmau5, doesn’t like being labelled a DJ (he finds the description as a “hopelessly outdated way of describing what he does”) and has been explicitly outspoken about his perception of DJs, exact ly what they do and how they go about doing it (more on that later). Over the paﬆ three years – thanks to a ﬆ ring of hits on download site Beatport – Zimmerman has effortlessly traversed the musical landscape, leapfrogged the crossroad and arrived promptly at the commercial mainﬆ ream. Where he was once a cult underground hero, he is a now a playable character on defunct computer game DJ Hero. Trying to define Zimmerman’s music is like trying to squeeze a 12-inch record into a CD player. His sonic lacks borders and bounds from elect ronica to progressive house to neo-trance to IDM and everything in between. His diversity and scope has lead to his volcanic rise in popularity, but also to his detractors atteﬆ ing that his lack of definition has rendered his music bland, inoffensive and populiﬆ. In short, Deadmau5’s music divides like no other – with the online audience in particular. Zimmerman, who it exceptionally act ive online (perhaps to his detriment), has simultaneously become the pip-up boy and the piñata of the online dance community. So, on the eve of his headlining shows at Creamfields, 3D World caught up with the frank 30-year-old and found out juﬆ why he thought his music was so divisive. “I swear, World War Th ree will be ﬆarted on my Facebook page,” Zimmerman says, “but you know what? I don’t know why.” Before 3D World can get the next queﬆ ion out however, Zimmerman, after short consideration, has come up with the answer. “Act ually, I have a pretty good theory for right here and right now and this is juﬆ totally interpretative, it could be bullshit, but I believe it to be the truth. “I think that people want something unique in their lives and the more people that hop on board with a certain direct ion that I go, the more it no longer becomes unique to them because they have all these peers and other people that they don’t know biting on to it. I mean, I have my own unique things that are special to me that I’m glad a million other people aren’t in to, so sometimes when I do these genre jumping tracks, I really ruffle a lot of feathers because I’m touching something that feels like it belongs to someone else. “For me it’s about experimentation and doing as much as you can and trying to branch out. A lot of artiﬆ s have been careful with their careers to try and dominate and have a ﬆ ronghold built around a single identity, whereas I juﬆ really want to do it all. And because I want to do it all, sooner or later you’re going to end up pissing on someone’s sneakers because you touched that unique thing about them and that upsets people.” Zimmerman is no ﬆ ranger to upsetting people. Like, for inﬆance, his largeﬆ consumer base. In 2008, he went on an unprecedented rant in the Irish Times, evangelising againﬆ his dislike for DJs who played other people’s records. “It puts me to fucking sleep,” he said. “I don’t really see

the technical merit in playing two songs at the same speed together and it bores me to fucking tears and hopefully, with all due respect to the DJ type that will fucking go the way of the dinosaur, I’d like them to dis-a-fucking-pear! It’s so middle man, they’re like fucking lawyers! You need them, but they’re fucking cunts.” Right. So Zimmerman, for all intents and purposes, hates the very people that allow him to make a living from his music. And as 3D World found out when quizzing the forthright musician about his comments, it is ﬆ ill a touchy subject. “Fucking hell,” Zimmerman bellows down the phone. “That’s the fourth fucking interview I’ve done in a row where someone’s brought that fucking ﬆ upid thing up. Is it that bad?” After due consideration, 3D World decides that it’s not so much bad, as ironic, given he recently accepted the International Dance Music Award for beﬆ DJ. “Whatever, I mean, so have a fucking laugh,” he concedes. And we do, both of us. Zimmerman’s comments are teﬆ ament to how seriously he takes both the creation of his music and the performance element of his shows. He is notoriously meticulous, incorporating and utilising a range of audio and visual technology when he performs that transforms his shows from simply playing music into live performance. It is this increased level of showmanship that Zimmerman sees as the major fact or in the increased acceptance and popularity of dance music in the mainﬆ ream media. “I think a lot of talented artiﬆs are ﬆepping up the DJ game and doing bigger shows with better product ion and that’s giving rise to dance music’s popularity. For whatever reason and for however long, DJ culture and elect ronic music, which kind of went hand-in-hand, juﬆ completely left [ﬆage] product ion out of their shows, but slowly people have been getting more involved in creating a show for a hard ticket sell, as opposed to juﬆ an arena full of kids, a loud syﬆem and a DJ. It’s like Kiss, they’ve been putting on amazing shows since the 80s and they sound like shit live, but I would go and see a Kiss show again because it is a cool fucking show and it’s worth the price of

NAT

my ticket. If I wanted that [a picnic table set-up arena show] I could go home and buy a Dance Mega Mix 95 and appreciate it in the comfort of my own home for a significantly less coﬆ than a day out.” Zimmerman made a name for himself through his music, yet has become increasingly renowned for his live performance, so how does his tread that fine line between ﬆaying true to his sound and not spilling over into pure spectacle? “Well you don’t necessarily need to a lot of the time,” he explains. “Like I said with Kiss, their albums sound great, but live, forget it. But their show is what ﬆ icks in your mind. So I would go for the theatrics of it all, I mean a guy pulls a bazooka out half way through the middle of the show and blows off a piece of the lighting rig and it’s fucking hilarious, it’s awesome. Now, I’m not saying we should go all smoke and mirrors and create live act ion theatre up on the ﬆage it’s juﬆ a complementary part of the music. I mean, if you’re going to ﬆart a career doing what Deadmau5 does, I would fi rﬆ and foremoﬆ eﬆablish a good sound beforehand that’s what’s going to sell this whole thing, that’s what’s going to pay for it all.” It is an intereﬆ ing notion that North America’s favourite dance music exponent is act ually a Canadian. Zimmerman has significantly booﬆed the profi le of elect ronic music into the mainﬆ ream United States market and subsequently, the reﬆ of world, giving rise to a large and vocal audience. Yet, this is a concept that – despite Zimmerman’s significant ego – doesn’t sit well with him. “I guess it’s weird. I don’t think that it’s all me, I think that it’s a whole kind of cumulative effort of a lot of talented producers and the mainﬆ ream market is now ﬆarting to look over dance music and we were all juﬆ in the right place and the right time making things happen. So I never really buy anyone saying ‘well you’re the conduit’, no, no way, never.” WHO: Deadmau5 WHAT: 4x4=12 (EMI) WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May

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TYPE NO POSITIVE OPINIONATED? NET SAVVY? CYNICAL AND CONCISE? LIVE TWEETING COULD BE FOR YOU – PROVIDED YOU’RE NOT INVITED TO THE LOGIES. OUR RESIDENT EXPERT 5SPROCKET DISSECTS THE PHENOMENON. eﬆ led in front of the television screen with a bowl of Fruit Loops, select Twitter users are leading a revolution in communication. Delivering minute-by-minute comments poﬆed on Twitter – a ‘Live Tweet’ – people are uniting over a hashtag to deliver hilarious and snarky comments about whatever they’re watching. Imagine the Internet as a cross between Johnny Mnemonic and Virtuosity, where billions of ones and zeros fly across a neon blue universe, going ‘bip bop bip’. Th is is the back end of Twitter, where human thoughts that have been ‘input’ are transformed into microscopic computer creatures, something like Autobot sperm, swimming through digital canals for microseconds until they penetrate the womb of the famous ‘Twitter Whale’. The mythic sea-beaﬆ then lays a digital ‘info-egg’, and moments later, a 140-character pearl of wisdom is born unto the Twitter-verse: “Sushi is good.” ‘Live Tweets’ document an experience through a succession of tweets. When you live tweet, you are relaying your thoughts and opinions in short and snappy phrases, that ultimately document ‘what you juﬆ did’. For example, you could live tweet a lengthy wait for service at your local dermatologiﬆs (“Skin flake peeling. Muﬆ not eat”); you could live tweet a masked hold up at your local bank (“Masked man with gun not keen on Dollarmites”); or you could give minute-by-minute updates on the lateﬆ episode of Dog Squad (“Needs more dogs”). TV shows are usually dynamite for live tweets. Foodies grouped around Maﬆerchef (#maﬆerchef), making week-nightly jokes about Croquembouche, Foie Gras and Matt Preﬆon, finding them all as funny as a cat wearing roller blades. Equally, there are groups of people that find joy in dissect ing world events and political currents on The 7:30 Report (#730) and Lateline (#lateline), snacking on the lateﬆ heavy hitting ﬆories and spitting out their opinion in a snappy sentence. Of course, it is more difficult to compose rich and nuanced analysis of events in a couple of sentences; it’s far simpler, and crafty, to throw out “Gaddafi eats dick ROFL #730” to the information superhighway. For the big wigs that run the media world, Twitter is something ‘new’ and ‘fresh’ and ‘hip’. Not only does it show that the kids love talking about Juﬆ in Bieber, but it seems innovative in a way that could only impress a person that owns a Bluetooth earpiece. During this year’s Academy Awards there were over 1.2 million tweets during the ceremony, and hoﬆ James Franco was getting in on act ion in-between tokes. It is this spirit of vitriol that dominates the weekly Twitter feed of the ABC’s Q And A. Under the hashtag #qanda, thousands of politically tuned arseholes log on to their accounts, roll up their sleeves and wank off to their opinions. The program, which features a gueﬆ panel of politicians, social advocates and media figures, embraces audience participation to the point where ‘choice tweets’ from the #qanda feed are coughed up on the television screen like bits of chunky phlegm. It is difficult to follow the feed online, a torrent of ranting abuse with hundreds of new messages poﬆed to the feed each minute. It doesn’t take long before Disagreeable Gueﬆ #3 is virtually dragged to the floor of the ﬆ udio and mauled alive by hundreds of web-savvy hyenas. A collect ive madness sweeps over the viewers, each screaming at the top of their caps lock to get their incoherent rant heard. Live tweeting is like being at the back of the bus, yelling insults at the people who won’t respond. It’s moﬆ ly because of this aspect of live tweeting that has led the TV

Week Logie Awards to “ban” Twitter at its upcoming 2011 ceremony. Unlike the Oscars and Grammys, who act ively encouraged Twitter use in order to booﬆ ratings, the Logies have gone the other route, looking to reﬆ rict the use of the service in order to “keep the spirit of the night”. The Logie Awards have worked tirelessly to ensure that each year it appears shiny and important, like a freshly spray-tanned Getaway hoﬆ. For the home viewers that are removed from this champagne and cocaine fuelled “spirit of the night”, the Logies can seem like a pitiful circle jerk featuring Auﬆ ralia’s moﬆ beloved/unknown ‘ﬆars’. The brains at Logies HQ had a bolt of elect rical cabling shoved up their sphincter in 2009, when live tweets of the Logies lacerated the avowedly mediocre event. It was prime roaﬆ ing material, with hoﬆ Gretel Killeen donning angel wings and ﬆ umbling through her ‘comeback’. Wil Anderson, Dave Hughes and members of The Chaser all live tweeted from the event, taking photos of a cheese platter and saying “it’s ﬆ ill less than what’s on ﬆage”. The Logies have always been a like watching an out of control bus skid over a family of ducks, but they have become relevant again as the target of collect ive ridicule. Following the 2010 Logie awards, comedian Catherine Deveny was sacked as a columniﬆ for The Age after poﬆ ing a series of controversial tweets. Her comments ranged from Bindi Irwin getting laid to Rove McManus’ dead ex-wife. Again, Wil Anderson joked about getting herpes from a nearby John Mayer, and typed “Matt Preﬆon won #logie deep fried it in batter and ate it”. Dannii Minogue even made a Twitter ﬆ uff up, by congratulating Alf from Home And Away on his win, ruining the illusion that the event was a ‘live’ broadcaﬆ in the fi rﬆ place. It’s damage control for Logies 2011, as they try hold on to what little remains of their dignity. Celebrities are a prized commodity and Auﬆ ralian ﬆars are the beﬆ target around for the clever urchins of Twitter. The smart arse commentary has moved from the pub to cyberspace, where thousands of people are flexing their creative muscles in short, sharp tweets, moﬆ ly because it’s a whole lot more fun than watching the crap that’s on TV.

TIPS FOR SUCCESSFUL LIVE TWEETING

Be as creative, insightful and dynamic with your vitriol as possible. You should be tweeting at leaﬆ once a minute, until the point where Twitter says “You have exceeded your tweet limit”. Swear words are more important than spelling.

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HOUSE OF PAIN ARE BACK, AND DANIEL O’CONNOR (AKA DANNY BOY) TAKES TIME OUT BETWEEN BITES ON HIS BURGER TO TALK RIP NICHOLSON THROUGH THEIR CAREER AND REUNION – OLDER, WISER AND DECIDEDLY MORE SOBER.

HURTS SO GOOD t’s a 20 year anniversary of sorts for the Irish-Americans who laﬆ brought their shamrocks and shenanigans to our shores in a massive tour featuring Naughty By Nature and Coolio back in 1996. And this was their only time here, as Daniel O’Connor expresses between bites of a burger at Long Island, New York’s White Caﬆ le. House Of Pain’s upcoming shows will be less of a brawl with blunt weaponry and executed in a more concise and refined manner. “The major difference is it’s not as drunken and angﬆfueled. It’s more mature,” O’Connor explains. “It’s definitely sharper than before. Before it was like a dull dagger that we ﬆabbed people in the neck with.” The He Who Breaks The Law tour celebrates the inception of the band’s coming together back in 1991. Erik “Everlaﬆ” Schrody and O’Connor met at William Howard Taft High School – the same white suburban school in the San Fernando Valley of Los Angeles that gave us act resses Lisa Kudrow (Friends), Dana Plato (Diff ’rent Strokes), Marcia, Marcia, Marcia (Brady Bunch) and weﬆ coaﬆ hip hop legends Eazy-E and Ice Cube. It was here that NWA were founded, and where Schrody and O’Connor fi rﬆ conceived House Of Pain. “Yeah, we all know each other from Taft, but I didn’t attend the school so much. In other words, I was always ditching class,” O’Connor admits reflect ing back to school days in one of Hollywood’s moﬆ vibrant high schools. “We were all in the same circle, it was weird. Divine Styler [who later gave Schrody a spot inside the Rhyme Syndicate rap posse headed by Ice-T] came there for summer school. There was a lot of hip hop ﬆ uff going on in there. Th is guy Brett Mazur [Crazy Town] was there, who was producing Bel Biv Devoe and a lot of hip hop shit back then. It’s crazy that such a white suburban high school had that much hip hop talent come out of it.” There has always been a ﬆrong rock prevalence in the make up of House Of Pain’s sound. Off the Judgment Night soundtrack they sized up againﬆ Helmet for Juﬆ Another Victim, and since the anthemic heavy rock Who’s The Man? from the Who’s The Man? soundtrack, House Of Pain have

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been synonymous with rap-rock fusion. In growing up, O’Connor explains they had rock music ﬁrﬆ, then when rap music spread through to the weﬆ coaﬆ they deﬁantly adopted it and made it their own. “We all grew up liﬆening to AC/DC and Led Zeppelin and Rush. Being a normal white kid in [the] 70s that’s what you’re liﬆening to – there was no hip hop at the time. When I hear Black In Black with the drums I hear a hip hop beat, when I liﬆen to Led Zep I hear a rhyming pattern,” says O’Connor, who broke down the cultural clash he and Schrody had to overcome to express their love of hip hop. “Between rap and rock music there was a huge cultural clash. Punk rockers hated jocks, they hated rockers. Then when hip hop came around, especially white guys in hip hop – yeah it

was a clash at ﬁ rﬆ, but that’s why we put our foot down. ‘We’re Irish, you don’t like us doing hip hop? Fuck you, blow me’.” When it came their time to ﬆep to the bar and get a drink out of hip hop, House Of Pain, now including Leor “DJ Lethal” Dimant, signed a recording contract with Tommy Boy Music and in 1992 their debut album had everyone sculling back a settled Guinness and head-butting the baﬆard beside them as two drunken Irish MCs and a Latvian-born DJ kicked some shit like Put Your Head Out, Top O’ The Morning To Ya and one of the moﬆ celebrated hip hop tracks of all-time, the DJ Muggs produced worldwide smash hit Jump Around. Coming at arguably one of the moﬆ exciting time in hip hop’s 30-something year hiﬆory, their debut LP became a multi-platinum success. By 1996 House Of Pain had dropped two more LPs (‘94’s Same As It Ever Was going gold in the US) and had worked alongside Cypress Hill on projects and jumped in on tracks with Gang Starr’s Guru. The group had reached the heights of success in both hip hop and the music induﬆ ry for their merciless attack of Irish-bred rap. But before a legacy could begin, each member limped away from House Of Pain to pursue other intereﬆs. Schrody became Whitey Ford singing the blues – a highly acclaimed solo career away from rap music. Lethal became the skeleton suit DJ/producer for rock outﬁt Limp Bizkit and Danny Boy honed his talents away from music as a graphic designer before ﬆepping back in for the La Coka Noﬆ ra collective hip hop movement. Still, the House Of Pain ﬆood abandoned until 2010’s widely recognised reunion show at KROQ’s Epicenter 2010. As 2011 rolls through, the group is looking back 20 years since they merged their shotgun-pumping raucous rants and beer-fuelled raps over Irish jigs, bagpipes and kilts. “It’s the twentieth since the inception. We have grown apart and grown back together, and come back in full circle. It juﬆ felt like the right time to do it, and we didn’t want to miss that 20 year window either,” O’Connor continues. “It juﬆ feels like a combination of all the years, the blood, sweat and tears. And this time everybody got new skill sets sharpened from the 90s obviously. The experience and ﬆ rength is way bigger.” WHO: House Of Pain WHERE & WHEN: Prince Bandroom (Melbourne) Friday 29 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, The Hi-Fi (Brisbane) Monday 2 May, Manning Bar (Sydney) Friday 6 May, Groovin The Moo at Maitland Showground Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May

NO ACID CASUALTY CHOCOLATE CONNOISSEUR ROBERT BABICZ TALKS CYCLONE THROUGH HIS SLOW AND STEADY CAREER EVOLUTION, WITH DETOURS THROUGH SELF-ABSORBED MUSIC LEGENDS AND COMMUNIST POLAND ALONG THE WAY. erious techno artiﬆe he might be, but Germany’s Robert Babicz has a sense of humour. Returning to Auﬆ ralia this Eaﬆer with his improvised live show, he’s musing over an idea that will fluﬆer promoters. “Hmmm, I think I should buy, like, 100 Eaﬆer eggs and throw them on the people.” Babicz even fancies boiling some ‘real’ eggs, as is European cuﬆom – although diﬆ ributing them could be very messy. He’s joking, obviously. Still, Babicz is a chocolate connoisseur, albeit an eccentric one. “Laﬆ week I played in Mexico and I was eating chocolate sauce on chicken, act ually – and it was so extremely taﬆ y,” he laughs. “I never thought it would work.” Few recognise Babicz as a veteran. It was only after nearly two decades in the elect ronic scene that he toured Auﬆ ralia four years ago. He’s now a regular visitor. “It’s almoﬆ like coming home,” Babicz says fondly. “I even thought about moving to Auﬆ ralia because it’s so nice and the people are so friendly there, but I decided againﬆ it – it’s too far away. It’s a great country, great people, but it’s too far away!” Based in Cologne, and going by ‘Rob Acid’, Babicz broke out with the UK hit Happy Answer in the early 90s. He cut it on borrowed gear and submitted a demo on cassette to the small label Inject ion. Happy Answer was picked up by London Records – and boom. Babicz went on to disseminate more sophiﬆ icated, and experimental, music under numerous handles. He ventured into ambient with an LP on Mille Plateaux. Babicz’s 2007 ‘artiﬆ ’ album A Cheerful Temper on Marc Romboy’s Syﬆematic Recordings saw him abandoning the disguises. Laﬆ year he unveiled Immortal Changes. He also launched the label BabiczStyle primarily for his own music. And, in 2011, Babicz is enjoying unprecedented acclaim and attention. The German’s career resurgence is partly due to the popularity of minimal in later years – though his music defies such categorisation, being that he identifies more with the amorphous ‘techno’. Ideally, Babicz doesn’t think of his music in terms of any genre. “I don’t care at all about all these ﬆ yle police,” he says blithely. “I really don’t care. I juﬆ do whatever I want. I think... [you should] believe in your own emotions.” Babicz’s profi le was afforded yet another booﬆ with him presenting his fi rﬆ Essential Mix on BBC Radio 1 laﬆ month (it’s on his SoundCloud). “It was a great honour to be on this show,” he says genuinely. Babicz has been amazed at the number of tweets about his ‘mix’. “It was going on for weeks. All the people were like, ‘Oh, liﬆen to this, liﬆen to this, liﬆen to this...’ I think I got a lot of new people who never heard me before, so it’s good... Everyone who ﬆarts liﬆening to my lovely music is welcome!” What makes it an even greater coup is the fact that, again, Babicz broadcaﬆ a live set. He’s never DJed. “The thing is there’s a thin line between DJs and live acts these days. It’s almoﬆ impossible to see if someone is playing juﬆ as a DJ or as a live act – like all these guys having juﬆ a laptop and some controllers and they are doing something with their computers, but you don’t know what’s really going on. Many

people ﬆ ill call me a DJ – it’s ﬆ range.” An amused Babicz tells of punters who ask him repetitively for details of the tracks he’s playing, gradually realising they’re all his live. In Cologne, Babicz lived close to the late Karlheinz Stockhausen, but found the elect ronic pioneer dismissive of contemporary music when they spoke. He recalls Stockhausen as an archetypal genius – and inevitably self-absorbed. “He really loved himself a lot – and it’s not bad, it’s okay, because he could concentrate on his own thing. He was really not intereﬆed in what’s going on. I met him a few times – and he was really not intereﬆed in what other people are doing. He was only, ‘Do you want to talk to me, do you want to talk about my music?’ That’s all.” Babicz himself is open-minded – and progressive. In 1980, and at ﬁveyears-old, he arrived in Germany from his native Poland, his parents escaping the Communiﬆ regime. Paul van Dyk, an Eaﬆ German, has expressed dismay that the former secret police have never been inveﬆ igated for human rights abuses. But Babicz is about the present. “I would hope that we juﬆ move on and try to make [things] better for the next generation. It makes no sense talking about the paﬆ and what has been done – I mean, it’s long ago. I was growing up in a very poor environment, a very basic life, and I was able to do what I’m doing right now, so it’s Okay... The life was not easy for everyone – we know that.” Inﬆead Babicz revels in his freedom – and travelling. Following Auﬆ ralia, he’s oﬀ to China, then Poland. Babicz isn’t about to slow down. He’s juﬆ issued the compilation Robert Babicz, Volume 001. “[It] was a compilation of some older tracks that never came out in digital formats and some new tracks and moﬆ ly playable music for DJs. It’s this club thing – it was like Volume 1 of [my label] BabiczStyle.” Then there are releases on Carl Cox’s Intec and, of all imprints, the uber-prog Bedrock. And a new album is in its early ﬆages. “Right now I’m ﬆarting to experiment again,” Babicz reveals. “Marc Romboy told me I have one year left ‘til [when] the next album should come out on Syﬆematic, so I think I will ﬆart working again now. I’m already thinking about what type of music I should go for – playing around... I have no plan, but that’s good, like always.” WHO: Robert Babicz WHAT: Robert Babicz, Volume 001 (BabiczStyle) WHERE & WHEN: The Likes Of You at La Di Da (Melbourne) Thursday 21 April, Auditree On The River (Brisbane) Friday 22 April, Chinese Laundry (Sydney) Saturday 23 April

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RAVE DIGGER STUART EVANS LEARNS THE UNLIKELY ORIGINS OF MARCUS LAMBKIN’S SHIT ROBOT ALIAS – AND HOW IT CAN BE PROBLEMATIC WHEN IT COMES TO HOTEL CHECK-IN TIME. laying the game of where Marcus Lambkin is – or who he is – is much like playing Where’s Wally: you know he’s out there but finding him can be difficult. Lambkin’s been in the music biz for nearly two decades but there’s not much information about him on the world wide web. “I have no idea why there’s little information about me. There’s the usual ﬆ uff about how I lived in Germany and New York. Perhaps I’m juﬆ not that exciting,” Lambkin laughs. Of course Lambkin is better know as the brilliantly monikered Shit Robot, the name having it origins in mateship. “My beﬆ mate is James Murphy [of LCD Soundsyﬆem fame]. James said he was going to put the name Shit Robot amongﬆ others onto a promotional poﬆer and I had to make a decision as to what I was going to be called. So Shit Robot it was. When a mate puts a challenge to you, you can’t back out. And anyway, I didn’t want to be known purely as DJ Marcus Lambkin,” he explains. The moniker, however, does raise eyebrows during certain occasions. “Sometime when I check into a hotel it’s not always under the name of Mr Lambkin. So I have to tell the ﬆaff that the reservation is under the name of Mr Robot, which can be a bit embarrassing as I’m a 40-year-old going under the name of Mr Shit Robot. The other funny thing is when I arrive in my hotel room and look at the in-house TV screen it sometimes says ‘welcome Mr Shit’,” he laughs. Lambkin, who hails from Dublin, Ireland, lets his music do the talking. Although that can be difficult when his music is inﬆ rumental. “Well, some of my music is inﬆ rumental. A lot of the

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music on my album has a vocal somewhere,” he tells. As Shit Robot, Lambkin has released numerous well-received singles – Wrong Galaxy, Chasm and Simple Things (Work It Out) all rate a mention. However the breakthrough, and subsequent appreciation, arrived when he released the cleverly titled album From The Cradle To The Rave in 2010. “I’m very proud of the record and surprised by the positive reviews as it could have been slated. I think a lot of people underﬆood the music and where I was coming from,” he says.

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SOMETIME WHEN I CHECK INTO A HOTEL IT’S NOT ALWAYS UNDER THE NAME OF MR LAMBKIN... WHICH CAN BE A BIT EMBARRASSING AS I’M A 40-YEAR-OLD GOING UNDER THE NAME OF MR SHIT ROBOT. THE OTHER FUNNY THING IS WHEN I ARRIVE IN MY HOTEL ROOM AND LOOK AT THE IN-HOUSE TV SCREEN IT SOMETIMES SAYS ‘WELCOME MR SHIT’...” The majority of reviews for From The Cradle To The Rave have, indeed, been positive. The album features contributions from Hot Chip’s Alexis Taylor and LCD’s James Murphy. From renowned Brit mag NME to internet forums, remarks have been on a par with Murphy’s lateﬆ offering. “I can’t escape what influences me. I grew up with acid house, punk and early techno and those combinations are present. It’s Chicago house meets a few other things. I didn’t want to make an album of entirely inﬆrumental dance music, particularly as that’s what I’ve been known for,” he elaborates. The album took over two years to produce, but Lambkin says it’s not juﬆ album making that takes time but the responsibilities that come with being a musician, a process backed-up by touring, media, live shows and marketing. Lambkin’s been described as adoring analogue and 80s synth ﬆabs, something all too common in modern day elect ronica. “It’s more being influenced by that particular sound. There’s a certain vibe about that ﬆ yle of music and what I’m trying to capture is a particular ﬆ yle and make it relevant in today’s music,” he says. As for the next album, Lambkin’s not even contemplating it, for now. “I’ve got no idea what it will sound like or when it will be,” he ﬆates. WHO: Shit Robot WHAT: From The Cradle To The Rave (DFA) WHERE & WHEN: New Guernica (Melbourne) Thursday 21 April, Alloneword (Brisbane) Saturday 23 April, Circoloco at Greenwood Hotel (Sydney) Sunday 24 April

DIRTY TRANCING IF “UPLIFTING” TRANCE IS WHAT GETS YOU REACHING FOR THE LASERS, PERHAPS BART CLAESSEN ISN’T THE DJ FOR YOU, AS MATT O’NEILL DISCOVERS.

art Claessen has had something of an unpredictable career. Originally operating under the alias Barthezz, Claessen’s initial attempts at music product ion inadvertently rocketed him into the charts – with 2001 singles On The Move and Infected immediately breaking through to mainﬆ ream success throughout Europe upon release. Since that point, however, Claessen has largely shied away from product ion in favour of honing his skills as a DJ.

The paﬆ ten years, for example, have only seen the release of approximately 15 of Claessen’s original product ions – little over an album’s worth of material for what is essentially a decade’s worth of work. By contraﬆ, Claessen’s schedule as a DJ over the same period encompassed performances in Japan, Russia, Lebanon, Auﬆ ralia, Spain, Poland and Canada at feﬆ ivals like Trance Energy and Innercity – particularly bizarre given the producer didn’t even learn how to DJ until 2002. “When I ﬆarted, I was about 20 years old,” Claessen reflects of his origins. “I was really surprised with that fi rﬆ track. I really didn’t know what to expect. My only goal was to get into the Dutch club charts and then it got into the singles charts, and then licensed to all these huge labels all around the world. I think it ended up getting into the singles charts in something like 14 or 15 countries or something like that. “Until a bit over a year ago, I felt I needed at leaﬆ two weeks to produce a track. It went very slowly,” the producer considers. “I hear from a lot of other producers that producing music always feels like a bit of a ﬆ ruggle. With every product ion I’ve ever done, I’ve pretty much always needed to hit a brick wall at leaﬆ once and then, the next day, it’ll all ﬆart to flow. It’s always going from really happy to a bit down and from really ﬆ ressed out to totally relaxed.” The reﬆ of Claessen’s career is full of similarly ﬆ range developments. The greateﬆ example would perhaps be his relationship with trance. Th roughout his career, Claessen has perpetually associated with the ﬆ yle – from being invited to remix Tiëﬆo laﬆ year to having his product ions consiﬆently showcased by veterans like Ferry Corﬆen and Armin van Buuren – but, since dispensing of the Barthezz alias in 2004, has maintained only the moﬆ tenuous ﬆ yliﬆ ic links to the genre.

“I think you’ve got to attract people with some sort of ﬆ yle and if people need to do that with me than I suppose trance is okay,” the producer muses. “If you liﬆen to my radio shows, it’s all juﬆ a bit of a mixture of kind of trance, techno and elect ro. It’s all kind of in between those three. I think that moﬆ people juﬆ notice the melodies in my tracks, though, and if you juﬆ pay attention to the melodies than it can juﬆ look like trance. “If you’re talking about pure trance, though – like what moﬆ people consider to be pure trance tracks – I don’t really play those anymore,” he elaborates. “There’s always these big discussions as to what trance is and whether trance is ﬆ ill alive or ﬆ ill popular and I think all of those queﬆ ions kind of depend on what you consider

trance to be. There are defi nitely people who have done the same thing for six years and have not been evolving at all – moﬆ ly the uplifting ﬆ uff. “If you think that is trance, I’m definitely not intereﬆed in it,” Claessen laughs. “If you’re looking to people who are really evolving and taking it to other places, though, that’s what I’m trying to do. You know, these days all ﬆ yles are getting a little bit closer to each other. Trance is getting a bit more slow. House is getting faﬆer...” Still, there is a broad sense of continuity to Claessen’s work. Specifically, one can view the producer’s career as a gradual realisation of focus. It’s certainly a perspect ive borne out by Claessen’s recent output. Previously a slow worker with a broad ﬆ yliﬆ ic basis, recent years have

seen Claessen working at significantly greater pace and with a surprising amount of precision – gradually refining an idiosyncratic blend of trance, house, techno and elect ro in an ongoing series of singles releases. “It changed a lot. I don’t know what happened with me. At the end of 2009, there were some tracks that I wanted to release but it took too much time and some tours were cancelled,” the producer recalls. “I went to the ﬆ udio and ﬆarted to work and I juﬆ ended up releasing so many tracks over the paﬆ year. I did a B-side in 11 hours and I’ve never done that before in my life.” The ultimate demonﬆ ration of Claessen’s gradual acceleration comes in the form of his current act ivities – the producer is currently crafting his debut album. Unsurprisingly, he isn’t exact ly forthcoming with release dates or timelines but, to his credit, he’s already managed to produce two tracks for the record this year and is fully intent on delivering ten more within the near future. “I’ve only juﬆ ﬆarted. I’ve finished two tracks now so there’s ﬆ ill ten to go but I really hope to get it all done by the end of the year. I think, once I’ve done the fi rﬆ album, things will get a little easier. While that album’s being released and promoted, I can ﬆart on the next one...” the producer pauses slightly. “If there is a next one. You know, I’m not really sure about it all. I’ve only ever worked on singles. I juﬆ wanted to try making an album.” WHO: Bart Claessen WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May

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‘AVIN’ A LAUGH WHETHER HE’S SPINNING HOUSE, HIP HOP, RAVE, ELECTRO, DUBSTEP OR SOME COMBINATION OF THE ABOVE, AARON CLEVENGER’S MOST IMPORTANT ASSET AS AC SLATER IS HUMOUR, WRITES STUART EVANS. nspiration is everywhere according to danceﬂoor deﬆ royer and product ion wizard AC Slater. “I live in Brooklyn, New York, so inspiration is on every corner of the ﬆ reet. Music is everywhere in New York,” he says.

He declares another source of insight to sit within a country’s people. “When I’m DJing in the UK or Europe or even Auﬆ ralia, chances are I’ll hear something different. Even online things are different. I’m surrounded by creative people and it’s really like a musical cycle that keeps on going round and round.” Slater, real name Aaron Clevenger, has seen his ﬆock soar. His tracks and remixes have become certainties on a number of UK dance radio ﬆations and have found their way into the sets of Moby, Stanton Warriors and MSTRKRFT. However the American’s musical genesis was much more humble. In a petite Weﬆ Virginian town, a then 14 year-old Clevenger rummaged through his dad’s music collect ion, only to take it one ﬆep further by compiling a few mixtapes. The fledging Clevenger was bold: he maﬆered DJing and threw hip hop and rap into his mixes. Word spread around high school as he became known as King of the Decks. The Brooklyn local was raised on a ﬆaple diet of hip hop until he discovered old school rave – lay culpability at the Chemical Brothers for his love of elect ronic harmonies. “Man, I went to a Chemical Brothers gig and it changed my life. It was a big discovery as I hadn’t been exposed to that ﬆ yle of music. After that I went to my local record shop and bought as much elect ronic music as I could get my hands on,” he laughs. From there he’s taken the old breakbeat influence and applied them onto his own ideas and innovations. Clevenger’s a hard cat to describe. His live sets have been known to bang, so piercingly that speakers blow. Musicality is equally as nuts: his ﬆ yle is a crossbreed of house, hip hop, rave, elect ro and dubﬆep, all with the addition of fun and funky house. The American doesn’t rely on being typecaﬆ as anything other than bringing a dash of humour into music. “Humour’s so important. People go out to have a good time and to have a laugh and a joke so it’s juﬆ as important that people hear that in music. Humour works well,” he says. Laughter is ingrained into Clevenger’s psyche. Before music his aim was to write comedy. Liﬆen carefully and comedic undertones are apparent in his music. His dubﬆep record, Calm Down, featured witty and meaningless renditions like “why you take my sandwich on my birthday? You know I’m on a diet.” Clevenger’s response is to laugh. “It’s really juﬆ joking around. Some fans of the track come up to me and ﬆart to quote the lyrics.” There is, of course, a caveat: humour works well providing it’s done right. Clevenger agrees. “Take the Duck Sauce guys and that Barbara Streisand track. It makes no sense at all. The track works though as it is funny and clever.” Hard work has made Clevenger a success, and that hard graft ethic continues to pay off. Clevenger founded the Party Like Us record label and is part of the Trouble and Bass crew, too. The latter collaboration gave

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him creditability and, juﬆ as importantly, a springboard for additional projects. Take his working relationship with Drop The Lime, an alliance that’s produced the 2010 smash Creepin. Breakbeat, electro and digital club label Party Like Us has become synonymous with fresh up-and- omers like B Rich and Kry Wolf. “Running a label is certainly hard work. It requires a good work ethic and a lot of coffee. I don’t sleep,” he laughs. But his hip hop curiosity is ﬆill apparent, freshly evident via his partnership with rapper Dell Harris (previously known as o8o) which resulted in the recently released album Right Now. Musical prowess aside, running a record label requires shrewd business sense and a fair amount of nous. Flagrant online piracy has become rife and artiﬆs have seen a novel idea deﬆ royed in minutes thanks to the access of the internet. Nowadays things move quickly. “A lot of music is inﬆantly disposable and people are looking for the next big thing. When something’s new or when something becomes popular, chances are it won’t be new for long,” Clevenger tells. “Running a label is certainly difficult. It’s difficult to remain fresh and requires a lot of energy. Getting a record out there in the public domain can work to your advantage as it creates hype. But juﬆ because you generate hype on the internet doesn’t always mean that you’ll get success in the real world,” he says. Clevenger’s remixes and original product ions have made him. Remix wise he now has an envious back catalogue. Boys Noize, Crookers, Steve Angello and Laidback Luke have all received the rework treatment. “I really juﬆ try to make records that I like and believe in. It’s always nice and challenging to get into a different territory of music. It could be pop or elect ro or rap. Part of the fun is taking what I know about elect ronic music and applying it to other genres.” WHO: AC Slater WHERE & WHEN: Roxanne Parlour (Melbourne) Friday 29 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, Groovin The Moo at Maitland Showground Saturday 7 May, Chinese Laundry (Sydney) Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May, Onefiveon (Wollongong) Thursday 19 May, Platinum Nightclub (Gold Coaﬆ) Friday 20 May, Monaﬆery (Brisbane) Saturday 21 May

WITH THE BRITISH ROYAL WEDDING JUST AROUND THE CORNER, FERN STEFANIE DISCUSSES WHY AUSTRALIAN SLAPPERS NEED A GOOD ROGERING FROM WILLS.

THE KING AND I (AND THE WHOLE WORLD) et’s face it – the average Auﬆ ralian female is uncouth. Precocious, she packs away her weight in booze, drops the ‘c-bomb’, is no ﬆ ranger to the odd box flash whilﬆ passed out in a cab and a dolled up night on the town inevitably leads to a spew or piss in a public alley. And when she’s ﬆ ill ‘ﬆanding’, teetering on six-inch heels with vodka martini in hand, she’s verbally abusing a mate/bouncer/boyfriend in regards to the Zinger burger said mate/bouncer/boyfriend didn’t buy her during a ciggie mission. Bless her. In 2000, set againﬆ a backdrop of sweating athletes, Princess Mary of Denmark, formally known as Mezza from the Isle of Inbred, met her prince-to-be at the Slip Inn pub in Sydney during the Olympics. Little did she know infamous playboy Prince Frederik had his eye set on slipping in on her. Faﬆ forward one year, and vows were exchanged, babies brewing and old Mez was transformed overnight Cinderella-ﬆ yle from boring bogan to refined royal. Females across the great southern land clung to a brand new sense of hope. If dull as bat shit Mary could rope in a prince, surely they had the situation nailed. It wasn’t too far down the track that the notion took to the screen, and there’s no other greater showcase of the Auﬆ ralian slapper than the Aussie version of 2009’s UK series Ladette To Lady. These chicks were the crappeﬆ of the crop. Tattooed, pierced, dribbling drunken messes, their peroxide hair glowed like beacons in the night as they ditched the ﬆ ripper pole in hope of climbing a more refi ned and, ahem, well polished regal pole. The ultimate prize should the snot nosed Dukes and Earls of Wankerville ﬆomach the Ladette for the duration of high tea or alternatively until her boobs made a gueﬆ appearance is a notch up in rank – no pun intended. So when Prince William graced the country more recently, visiting regional townships ﬆ ill swimming in debris from the newsworthy flood water, who could forget the image plaﬆered across ninemsn and countless other online news sites. You’d be forgiven for initially assuming it was an ad campaign for the next Farmer Wants A Wife series as a grubby looking plump female twenty-something waded through sludgy paddocks in gumboots and virginal white (wedding) dress holding a bouquet of flowers watching ever so dreamingly (desperately) towards the horizon for the arrival of Wills. No more backyard bonfi res with the boys from down the road, no more embarrassing mornings waking up in the hay shed – this girl had bigger fish to fry. There’s nothing particularly outﬆanding about Wills. He’s going bald, looks like his old man Charles, has fairly ordinary dress sense for someone who owns squillions and walks permanently with a large ﬆ ick lodged up his arse. But rifle through pics of his smoking hot ex-roots and you’ll see this guys a catch. Don’t undereﬆ imate the Wills. One kiss from those lush lips and one ﬆ roke through his thinning locks and reﬆ assure you’ll be saved from those hidden promiscuous paﬆ times and slutty sins for good. Not so dissimilar to rubbing Buddha’s belly for good luck. The touch, nay the near sight of Wills’ balding head would be enough to cleanse any slapper’s sins for good. That’s what it’s about after all. The fascination with the royal family

doesn’t ﬆop at trying to get a leg up into their ridiculous fortune. It’s also about feeding off their virtues, sucking dry their apparent morals and hoping to God a small piece of it will rub off on you. Auﬆ ralia has until recently ﬆood in the shadows of its pommy older sibling. Combine this with the fact that there’s a well documented man drought (especially in Melbourne) and it’s a lamington/spotted dick match made in heaven. As the big day draws near, tens of thousands of Aussie women of all ages, creed and calibre will flock together around the television like Sex And The City on crack. Starry-eyed, they will romanticise about being Kate, marrying Wills and walking the royal corgies as all the while the reality of their life will snigger at them like a fat kid with the laﬆ Mars Bar. When all is done and duﬆed it’s back to the metrosexual fucktards with the fluro v-neck tees and the outer suburban sleazoids with the jumped up cars. Rohypnol doesn’t look so bad after all.

ROYAL RECEPTION

3D WORLD GETS THE LOWDOWN ON WHAT SOME OF AUSTRALIA’S FINEST WOULD SPIN IF THEY WERE IN THE BOOTH AT THE RECEPTION FOR THE WEDDING OF THE MILLENNIUM. DANNY CLAYTON (THE RIFF,CHANNEL [V]) “Let’s face it, this is a party you would have to ease into like a hot bath because those Royals would be about as tense as a frozen trout. You would have to warm up with some 40s jazz tunes with a beat like some Nat King Cole. I’d then work up to some cheesy 80s remixes to get the Queen dancing (the old tart is sick for Madonna), move into pop territory with some remixes of Rihanna, Katy Perry, Lady Gaga, then blast the fuck out of the room with some dirty electro thumpers like Swedish House Mafia, Tiësto , Deadmau5.” HELENA “I’d open with the Sex Pistols God Save The Queen into Anarchy In the UK followed by Marilyn Manson The Beautiful People and Lady Gaga Bad Romance, finishing up with Dolly Parton DIVORCE.” TENZIN “I would just chuck on a lounge jazz compilation and try fi nd myself a princess.”

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ALL THE PRETTY LIGHTS

WHEN APPROACHING HIS LATEST RELEASE AS BIBIO, IMAGERY AND SCIENCE WERE AS IMPORTANT AS TUNE CRAFTING TO STEPHEN JAMES WILKINSON. HUWSTON STEPS INTO HIS PSYCHEDELIC LAB. prolific producer by anyone’s ﬆandards, Stephen James Wilkinson is part of a new wave of artiﬆs who seem as adept at traditional musical inﬆ ruments as they are with technology like samplers and computers, crafting a sound that’s difficult to pigeonhole. Lazily, the sounds on his new album Mind Bokeh could be described as a mish-mash of Peter Frampton and Boards Of Canada but it’s in the title of the LP that we get a much clearer underﬆanding of his influence and purpose on this, his second LP for Warp Records. ‘Bokeh’ (pronounced like ‘bouquet’) is the out of focus region of a photograph. In Japanese it means haze, blur, or even dementia and in this case, the artiﬆ is keen on exploring neurological pathways where people experience feelings through sound, somewhat akin to syneﬆ hesia. “I came across the term fairly early on or maybe midway [through making the album],” Wilkinson says. “I have been aware of the effects as long as I can remember but never knew what the term was. Bokeh is used to describe the spots of light that’s used on my album cover but it’s also used to describe the blurred part of a photograph, like in a portrait where the background is out of focus.” He’d noticed this effect in films and documentaries before, describing it as “an abﬆraction of the real world... it’s turned in to a geometric form”. If this is sounding a little abﬆract, the beﬆ way to describe it, he says, is like glimmers of sunlight coming through a tree’s canopy. Similarly, a liﬆen to the album, which traverses very moody diﬆorted pyschedelia as much as it does sun-drenched folk jams, may sort you out for a better underﬆanding. “The music inspired the ideas for the imagery, which is why I did the artwork the way I did. I really like that effect and I have tried to build it in to my music,” he says. The former teacher is fascinated by the senses. Teaching music to teenagers at a college before

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he got signed to Warp, he says he always used to sneak a bit of psychology in there. “I wanted to see how ﬆ udents how associated sound and vision,” he says, mirroring label-mate (and director) Steve “Flying Lotus” Ellison’s comments in this very magazine a few years ago about how sounds conjure emotions. “There are scientific similarities between sound and light because they are both erratic frequencies. There’s no right or wrong way to perceive them. For example, ‘bass is a warm colour and treble is a cold colour’ – that is all in the mind of the liﬆener or viewer.” Bibio fi rﬆ came to prominence for many with 2009’s Ambivalence Avenue, but he’s released an EP in between full-lengths and has had several releases previously with US label Mush. He dispels the notion that the label has held back material as charming as Mind Bokeh as a way of quickly introducing him to an audience before really letting him out of the cage. With a background as a guitariﬆ at one ﬆage being involved in heavy metal, Wilkinson didn’t touch elect ronic music until he was 16. He couldn’t afford a sampler until he was 20 and got into computers much later due to the conﬆ raints of finances and what the machines were act ually capable of achieving at the time. Still, he leans on his inﬆ ruments moﬆ ly when making music, as his experiences as a teacher have shown him how lazy people can be in front of a computer monitor. “I think music software, because it’s visual, young people used it as it’s supposed to be used, so that’s a trap,” says Wilkinson. “Young people put things where it’s supposed to be on the grid, like a jigsaw puzzle,” he says. A musician fi rﬆ, Wilkinson can ﬆ ill not separate the product ion side from his output as Bibio, which is really the crux of this generation of artiﬆs (James Blake, Jamie xx, et al) whose sound is often perceived as being very elect ronic, when, in a way, it’s the cutting edge product ion techniques they use on the inﬆ ruments they play that give the liﬆener the perception they’re liﬆening to beats or dance music. “I don’t see the product ion as being a means to capturing the music like, ‘here’s an inﬆ rument, I have to produce it’,” he says. “I see it whole thing as the means, rather than product ion being secondary to the music.” Admitting he used to think elect ronic music was rubbish and juﬆ “pressing buttons”, he puts this new wave of artiﬆ ry down to the affordability of technology and how that has led to ﬆ udio time conﬆ raints being virtually non-exiﬆent. “You couldn’t really become a producer very easily back then,” Wilkinson says of a time somewhere from the 1970s all the way up to a little over ten years ago. “At one time, the term bedroom musician suggeﬆed some kind of crappy dance music, where now it could be applied to really well produced pop music that’s done in the bedroom.” WHO: Bibio WHAT: Mind Bokeh (Warp/Inertia)

QLD

DJ KRONIC WHERE AND WHEN WAS YOUR FIRST SET? “My ﬁ rﬆ set was in Adelaide at a house party when I was like 17. 200 drunk kids and one nervous but drunk DJ juﬆ running amok!” WHAT’S YOUR FAVOURITE ALL TIME 12”? “I haven’t looked back at my vinyls for years, they are in the garage at my dad’s house back in Adelaide. He keeps saying to me ‘When are you gonna get your crap out my house?’ But for the purpose of this interview I’ll say Spike.” WHO ARE YOUR FAVOURITE DJS? “Local – Tom Starks, Krunk!, G-Wizard, Kay-Z, Havana Brown, Moto and J-Smoove. International – Vice, Clinton Sparks, Fashen, Dainjazone, Rectangle, AM (RIP), Z-Trip and Chuckie.”

QLD QLD

FAVOURITE CLUB TO PLAY? “Sin City on the Gold Coaﬆ, favourite place to drink too!” WHAT’S YOUR BEST ALL TIME GIG? “A few notables would be Snoop concert, Game concert, Gold Coaﬆ Boat Party Island Of Sin, a few times in Geelong, New Year’s a while back in Mackay and every second or third weekend on the Coaﬆ.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “I’ve seen people have sex while I was DJing, that was kinda funny, oh wait...” WHAT’S THE WORST REQUEST YOU’VE GOT? “‘Can you play that song that goes?’... And then they sing it to you! Moﬆ of the time I

get them to keep singing it over and over until they catch on that I’m messing with them.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “They’ve supported me from the ﬆart, they would always joke around like ‘get a real job!’.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “It’s ﬁne as it is, the club scene is meant to be fun so as long as people are enjoying themselves then it’s all good!” UPCOMING GIGS? “Sin City Friday 22, Saturday 23 and Monday 25 April, Island Of Sin Boat Party Marina Mirage at Exotic Island Monday 25 April.” PIC BY TERRY SOO AT SHOOTERS

EPIC&FAIL

REBECCA BLACK

EPIC

WHAT IS IT GOOD FOR?

If like us you’re lucky enough not to have been sent to another country with a gun in your hand and little else, take some time out over this long, long weekend to ask your grandfather/relative/ friend what it’s really like to be in the front line. A little bit of perspective goes a long way…

CALIFORNIA STREAMING

The Coachella feﬆ ival continued its queﬆ for domination of the music universe by ﬆ reaming three channels of content live on YouTube over the weekend. If watching the archived content isn’t enough to convince you, track down a copy of 2006’s Coachella: The Movie. And juﬆ get the fuck over there already…

QUEENSLAND – FUCK YEAH!

For those of you who care (and we know there are a lot of you), Queensland’s sporting teams pretty much dominated the entire universe (or at leaﬆ their little corner of it) over the weekend. Hell, if even the Reds are winning you know it’s a good time to be a Queenslander…

FAIL

MORE POWER!

If you haven’t found 3D World until a little later this week, it’s not our fault, honeﬆ – our deadline day oﬀered up such classics as ‘power failure’, ‘no internet’ and ‘having to make idle chit chat with your co-workers’, so it’s lucky we’ve hit the ﬆ reets at all…

JELLY BRAIN

We all know people have got royal wedding fever, but the British man currently auct ioning oﬀ a jelly bean which allegedly looks like Kate Middleton is juﬆ taking things too far. What next? The Black Eyed Peas releasing songs that sound like act ual music?

ANNOUNCEMENTS SHE’S OUrS AGAIN

Auﬆ ralia’s beloved darling of pop, Kylie Minogue, has announced a second and ﬁnal Brisbane show. The new concert will take place on Saturday 4 June. International critics have hailed Kylie’s current Kylie Aphrodite – Les Folies tour as her beﬆ, with the superﬆar performing all the hit tracks that you have on your iPod. Kylie plays the Brisbane Entertainment Centre on Friday 3 and Saturday 4 June, tickets available through Ticketek.

follows the release of his debut album in 2010, which saw the artiﬆ make a name for himself as one of the country’s ﬁneﬆ reggae singer/ songwriters. Alu’s easy tunes are inﬆantly charming, and would be a great soundtrack for those afternoons where you lay on the beach drinking from a coconut. He plays a free show at Beach Hotel (Byron Bay) Sunday 17 April, Soundlounge (Gold Coaﬆ) on Friday 29 and The Hi-Fi (Brisbane) Saturday 30. Tickets available through Moshtix and The Sound Lounge.

CIRQUE TIMEs FIVE

CAUSE AND EFFECT

Due to overwhelming demand, Cirque du Soleil have announced an additional five shows for its upcoming season of Saltimbanco. The additional shows will be held from Friday 15 to Sunday 17 July, with no further extension of the season possible. Saltimbanco was the show that kicked off Auﬆ ralia’s love affair with the athletic, dreamlike performance extravaganza. Tickets for the show ﬆart from $69, available through Ticketek.

DO YOUR BLOCK

See live acts and support a great cause with the Save Life Fundraiser. The event raises moneys to end human traﬃcking, and help the halfmillion women and children that are forced in to slave labour and proﬆ itution. The event will feature Who Are These Robots, Zenith Dance Crew, Sammy J, Cat Thompson, Fresh Elements Dance Crew, Mischka, Rowen Bossr and Yojay, with sets that range from hip hop dance, ballet and soul songs. It’s happening at The Globe, Saturday 7 May from 7:30pm. Tickets $20 on the door.

Get ready for D-Block & S-Te-Fan to blow your minds with upcoming sets at Family. The DJs are some of the moﬆ booming hardﬆ yle acts on the scene, and are hitting Brisbane for the ﬁ rﬆ time. The beatmakers have been working since 2004, united through a passion for kick and grinding bass. Laﬆ year they were liﬆed among the top 100 DJs on the planet, and are the world’s top hard dance duo. See them at Friday @ Family, Friday 27 May from 9pm.

EVERYONE WINS

The Back Room in Byron Bay is gearing up for some dynamite events. Sharlie Cheen’s Disco Club will see an eclect ic and unpredictable party night, with DJ Cheen dancing to a diﬀerent drum. The monthly dance night is faﬆ becoming the party deﬆ ination of choice, with pub-priced beverages and a “winning” attitude. It happens Saturday 21 May from 9 pm, entry for the event is $10 at the door.

BOBBY’S YOUR DRUMMER

Renowned Auﬆralian drummer and solo musician Bobby Alu is readying to launch his lateﬆ single, Take It Or Leave It. The track

CAT THOMPSON

REALITY R&B

Hannah Macklin and The Maxwells are gearing up for the launch of their debut album, Real World. The album is described as sunny soul meets rock and roll, funk and R&B, brimming with catchy pop hooks and shiny product ion. From the feel-good single The Remedy, to the dirty rockabilly of Dirty Laundry, the album is laden with surprising and imaginative tracks. Be there for the launch at The Old Museum, Friday 13 May from 8pm. Tickets $12 through Oztix, $15 at the door.

MEAT, NO POTATOES

THANK GOD IT’S...

Okay, this whole Rebecca Black thing has gone too far when even a US Chriﬆ ian group has redone the vid as Sunday, with the “partying” refrain replaced by “worshipping, worshipping, yeah!” The devil gets all the cool tunes.

JANETTE SLACK

Expect a double header of biblical proportions when Meat Katie and Janette Slack take over Barsoma this weekend for the Breaks & Enter crew. The ﬆalwarts of the scene will be taking the long weekend to a new level, dropping explosive beats that will take you on an intergalact ic journey of awesome. One of the scene’s moﬆ technical DJs, Meat Katie will deliver his edgy and tech ﬆ yle and drop danceﬂoor bombs from his upcoming Lot49 compilation, 7 Year Itch. Janette Slack will mark her return to Brisbane after a two year product ion break working on her new EP, Queen Of The Weekend. Presented by 3D World, it happens at Barsoma, Saturday 23 April from 9pm. Tickets $20 + bf through Moshtix.

QLD

SOUNDS LIKE SUCCESS

Auditree is kicking oﬀ its second year of events with an exclusive club show in partnership with renegade party ﬆarters Kana featuring label owners of Rejected, Joris Voorn and Edwin Ooﬆerwal. Voorn has been spinning since 1997, delivering high energy live sets boaﬆ ing a wide range of techno and house, with a recording career which includes club bombs The Secret and Empty Trash. His mate Ooﬆerwal is a ﬆar of Holland’s thriving music scene, and currently heads two of the country’s leading music labels. See these beat maﬆers at Barsoma, Saturday 21 May from 9pm. Tickets available through Moshtix.

3DPRESENTS

JORIS VOORN

ALL FIRED UP

Brisbane redheaded bombshell Bec Laughton is set to tour nationally in support of her debut EP At Firﬆ Sight. The ﬁery songﬆ ress took out the winning song for her track Holy Love at the Q Song awards. Her upcoming live show will feature a ten-piece suite featuring Brisbane’s beﬆ musicians playing Laughton’s unique mix of pop, funk and gospel. It’s happening at The Zoo, Wednesday 11 May from 8pm. Tix $15 at the door.

STREET FIGHTERS

Surfers Paradise Feﬆ ival are looking for passionate ﬆ reet performers (buskers, if you like) to enter the inaugural Street Entertainment Championships. The event will feature three days of intense competition amongﬆ the beﬆ musicians, acrobats, magicians from across the country, battling out for the beﬆ ﬆ reet performer title and bundles of cash. It’s happening Friday 24 to Sunday 26 June, across Surfers Paradise public spaces. To get involved visit surfersparadisefeﬆ ival.com/ eoi/ﬆ reetentertainment.

ON A PLATTER

Platinum is going to set Eaﬆer on fire with headline acts that are as awesome as meeting the real Eaﬆer Bunny. It kicks off Saturday 23 April with Timmy Trumpet and Rob Pix, the electrologiﬆs responsible for the recent Elect ro House Sessions 4 compilation. The pair will mark their Miniﬆry Of Sound debut in breath-taking fashion, dropping mixed cuts of the biggeﬆ hits around. Monday 25 April sees MTV celebrity Ruby Rose take to the wheels, showing off her skills as a DJ with a set of her favourite tracks.

SNAPPY WORK

Darren Sylveﬆer’s What Happens Will Happen has been chosen as the winner of the 2011 Josephine Ulrick and Win Schubert Photography Award. The ambitious young photographer made waves with his deeply emotive portrait of a young proteﬆer. It is a boon for the young artiﬆ, who collects $20,000 for the work. You are able to see artworks featured in the competition at Gold Coaﬆ City Gallery until Sunday 22 May.

QLD

SEA FOOD – EAT IT

Get ready for Brisbane’s biggeﬆ ﬆ reet part with the Caxton Street Seafood & Wine Feﬆ ival. Along with gourmet food and drink, the family friendly event features a line-up of great musical acts, including High Cornwell (The Stranglers), Shihad, Ash Grunwald, Evil Eddie, The Radiators, and Nathan Cavaleri, among other dance and rock acts. The event will also be raising funds for those aﬀected by the Queensland ﬂoods. It’s happening Sunday 1 May, tickets $20 available through Moshtix.

EVIL EDDIE

TRIP LIKE THEY DO

The Trip are embarking on a national tour in support of their lateﬆ album, EP Volume 1. The group are known for their electronic funky rock, catchy hooks and melodies that make your blood cells pulsate. The local group have recently spent time in California, working with the country’s top musicians and playing a sold-out show at the legendary Viper Room. They play Brewery (Byron Bay) Saturday 30 April and Caxton St Feﬆival (Brisbane) Sunday 1 May.

SHOOT AND SCORE

Internationally acclaimed fashion and lifeﬆ yle photographer Chriﬆian Blanchard is readying to run a specialiﬆ editorial fashion photography course. The full day hands-on class gives photography enthusiaﬆs an exhilarating opportunity to work with an induﬆry leader and learn the tricks of the trade. Blanchard has been named as one of Auﬆralia’s top ten photographers by Capture magazine, and has worked on campaigns for Ford, Puma and L’Oreal. It happens at The Prop House, Woollongabba, Saturday 28 May. Coﬆ of the course is $349, through mynikonlife.com.au/school.

COPTIC SOLDIER

APRIL BREAKS & ENTER: MEAT KATIE, JANETTE SLACK – Saturday 23, 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, COPTIC SOLDIER – Saturday 7, Beetle Bar TIN CAN RADIO – Saturday 7, Beaches (Airlie Beach) TIN CAN RADIO – Saturday 8, Club Med (Lindeman Island) GYPSY AND THE CAT – Saturday 14, Hi-Fi Bar GYPSY AND THE CAT – Sunday 15 Coolangatta Hotel TIKI – Thursday 19, Great Northern Hotel TIKI – Friday 20, Coolangatta Hotel TIN CAN RADIO – Friday 20, The Zoo TIKI – Saturday 21, The Hi-Fi JORIS VOORN+EDWIN OOSTERWAL – Saturday 21, BarSoma 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 ART VS SCIENCE – Saturday 9, The Tivoli

OGFLAVAS Urban news with CYCLONE

CASSIE

John Legend has been linked romantically to his ‘protege’ Eﬆelle, but he’s act ually dated model Chriﬆ ine Teigen for four years. Singers going out with models? Yeah, it’s a cliche. Legend has a bit of a rep as a modeliser – and even a lovely, ﬆ ylish and Ivy League-educated guy like him cops flak for it. The irony is that today moﬆ pop ﬆars – urban or not – are de facto models themselves. (Legend has appeared in a Lexus SUV ad!) With the music induﬆ ry downturn, artiﬆs need to diversify to make a buck and so they brand themselves. Beyonce is the Queen of Endorsements – plus she has her own fashion empire and perfume. Rihanna, too, owes much of her fame to the fashion world. She has developed an ever-changing edgy image – and is conﬆantly featured in glossy magazines. RiRi’s universal ‘It’ girl ﬆatus now is such that she can perform at the Academy Of Country Music Awards (albeit dressed demurely). Rihanna is following the savvy Mary J Blige, who largely popularised the ‘ghetto fabulous’ look globally. Mags that won’t review Blige’s hip hop soul albums will publish a piccie of her. No wonder, then, that Ciara is trying so hard to emulate RiRi’s ‘crossover’ ﬆ rategy. Of course, Lady GaGa has raised the ﬆakes with her flamboyant coﬆ uming – and everyone from Nicki Minaj to Jessie J is watching. Diddy’s Bad Boy signing Cassie, aka Casandra Ventura, hasn’t put out an album in yonks, but that hasn’t ﬆopped her from scooping an impressive campaign as one of the new ‘faces’ of CK One – uber-waif Kate Moss being the fi rﬆ in the 90s – along with Sky Ferreira and others. Indeed, Calvin Klein has launched a fashion line to go with the unisex scent. Ventura, with her undercut, is (s)punky. She was already modelling at 12, obviously prior to her music career, in catalogues. She moved from Connect icut to New York, connected with up-and-coming producer Ryan Leslie and, through him (and her manager Tommy Mottola), aligned herself with Bad Boy. Ventura has long mentioned a second album of urban-dance entitled Elect ro Love. Several singles – including 2008’s Lil Wayne-featuring Official Girl – have ﬆ iffed, prompting its delay. That Diddy’s own elect ro-disco Laﬆ Train To Paris bombed can’t have helped. Anyway, with her CK One triumph, a canny Ventura is now talking up her new single, Bougie Shit...

FATTER THAN YOU t fi rﬆ glance, The Potbelleez are a product of a very common narrative. A relatively unknown act exploded into the mainﬆ ream on the basis of but one song (in this inﬆ ance, 2007 mega-hit Don’t Hold Back), the Sydney-based elect ropop quartet bear all the hallmarks of what is commonly known as a one-hit-wonder. Certainly, nothing they have done since has managed to eclipse that release – either in regards to critical acclaim or commercial success. In addition to selling a ﬆaggering 140,000 copies, Don’t Hold Back scored the group three ARIA nominations and an APRA award for Beﬆ Dance Work of the Year. Nothing The Potbelleez have released in subsequent years has even matched its chart position. “Yeah, I don’t see how there could possibly be anything negative about that,” vocaliﬆ Ilan Kidron reflects. “What we always come back to when we’re asked these sort of queﬆ ions is that you never really get sick of the smell of your own farts. You know, every time we play it, the crowd ﬆ ill goes bananas. It’s ﬆ ill really enjoyable. “I think, really, all it means is that we’ve got to ﬆep up and write amazing, anthemic, passionate songs at that level,” the vocaliﬆ muses. “I mean, if that’s the benchmark, yeah, there is a little bit of pressure. Let’s face it, The Potbelleez were a shotgun wedding. I joined the band, we wrote Don’t Hold Back and it exploded. Since then, we’ve juﬆ tried to write and write and write.” Where The Potbelleez break from that narrative is their sense of awareness. Initially formed in 2003 by Irish-born producers Dave Goode and Jonny Sonic, The Potbelleez are not merely naive lottery winners thruﬆ into the limelight – and Kidron is well aware of how his band is regarded by detractors. “Oh, there’s definitely people that hate us. You can say that about a lot of bands. You can say that about Kings Of Leon,” the vocaliﬆ laughs. “It’s juﬆ the music we make. We’re conﬆantly bombarded with claims like ‘oh, The Potbelleez juﬆ write music for ads’ and ﬆ uff like that – but there’s no one on the other end telling us what to do or pulling our ﬆ rings. It’s what we want to do.” For this reason, one genuinely feels the band will eventually manage to transcend their current reputation. The processes behind forthcoming follow-up album Deﬆination Now are a case-in-point. Rather than churning out a compilation of singles to capitalise on the success of their self-titled 2008 debut or vanishing into obscurity completely, the

band spent years crafting their second album – even to the point of outsourcing product ion duties to Auﬆ ralian dance music veteran Paul Mac. “We juﬆ wanted more togetherness on this album. You know, on the ﬁ rﬆ album, I’d only juﬆ joined the band and it was like ‘okay, let’s do an album’. We raced the laﬆ album,” Kidron says bluntly. “For this one, we took our time and got out what we wanted to get out. You know, I think we’ve embraced our independence on this record. “You know, we didn’t have anyone telling us what we should write or when we should write it,” the vocaliﬆ elaborates. “We basically juﬆ took our time to make the album we felt we needed to make as a band.” MATT O’NEILL

WHO: The Potbelleez WHAT: Deﬆination Now (Universal) out Friday 27 May WHERE & WHEN: Urban Country Music Feﬆ ival at Alexander Barr Sporting Complex

(Caboolture) Sunday 1 May

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ITCHY & SCRATCHY uﬆ ralian clubs are no ﬆ ranger to the touring DJ, with appreciative crowds and the promise of sunshine during the European winter. A frequent flyer to these shores is Mark Pember, better known by increasing audiences and an avid online fanbase as Meat Katie. With each visit, Pember’s shows have grown in scale and intensity, partly due to an increasing profi le of both the artiﬆ and the LOT49 label that he heads up with colleague Dylan Rhymes, and partly due to the growth of the tech-funk sound that underpins the freedom to range between and beyond the ﬆ yles of techno, house and breaks. The diversity of the influences and origins of tech-funk are a reason for its rapid success. Something of an umbrella genre, techfunk has swept up Auﬆ ralian clubbers and producers alike, with the LOT49 label signing local producers and DJs including Sydney’s Dopamine, adding to the local familiarity that has made the city something of a second home for Pember. “It’s always been one of my favourites to play in the world,” he says. “Not juﬆ to play, but the people I’ve met and the people I know. There’s some reason that I’ve always had a bit of a connection with Auﬆralia. I don’t know why. We’ve always kind of found really cool people to work with recording wise in Auﬆralia. I’ve found the shows to be pretty fucking amazing, and it’s juﬆ the vibe. For some reason it suits me.” As for the relentless touring, Pember’s yearly pilgrimage hasn’t been entirely uninterrupted. “I took a little time off from coming out to Auﬆ ralia,” he explains, “as I’ve come out every year for nine years. I was going to take a year off, but it ended up being two”. In the interim, the full force of the Meat Katie show has explored new ground, including the iconic Burning Man feﬆ ival in Nevada, the return trip this year including some bizarre possibilities. “We are going to go this year, and we got asked to do a ‘fly on the wall’ documentary of the trip, ﬆarting in London and heading out with us. But I don’t know if that’s such a good idea,” he laughs. “If you know what I mean, it might not be the good advert that you think it will be!” Unlike elsewhere, what goes on tour in Auﬆ ralia, ﬆays on tour, with the word-ofmouth from previous years building up for another trip that comes hot on the heels of the release of LOT49’s celebratory 7 Year Itch compilation. Showcasing the label’s journey outside of the collision of bandwagons over the paﬆ seven years, the compilation has begun moving up international sales charts thanks to a ﬆ rong and supportive online fan-base. Th is online presence underpins the success of a label once run out of a lounge room and now run

somewhere out in the virtual cloud, harnessing the social networking savvy of a label roﬆer that includes the part-time pin-up girl, and full time cyberpunk, Odissi. The extended global family and regular overseas touring, allows for a grass roots presence that regularly sees over 200,000 downloads of mixes and monthly free tracks through the label’s blog alone – a figure that Pember describes as “mental”, and encouragement for a fresh mission ﬆatement for a label at the peak of its current journey. “At the back end of laﬆ year we released sort of a retrospective. We grouped some of the genres that we released together, to make it easy for places like Beatport and iTunes. We grouped the electro ﬆ uff, the breaks ﬆ uff and the techno ﬆ uff onto separate compilations juﬆ to showcase what we’ve done over the laﬆ six years. It’s kind of loosely a celebration if you know what I mean. It’s obvious, but in the same breath it’s a nod to the loads of new producers that we want to work with, some we are working with, and some exiﬆing and familiar faces that are involved with the label.” “We were toying with the idea of doing some kind of retrospect ive thing, but it felt like everyone and their dog has done a retrospect ive mix. So I decided to put together a mix of all the exclusive ﬆ uff, inﬆead of saying ‘oh this is what we have done’ it’s like ‘this is what we’re going to do’. You know, we took a slightly different approach.” Taking a different path isn’t new to Pember. Despite a reputation as a core figure in what has now become known as a golden era of breaks, the current wave of retrospective mixes and back catalogue scrutiny shows a producer as likely to have released techno as anything with a broken beat. Amid this era is the often overlooked impact of his previous label Whole Nine Yards, taking an eclectic approach to releases that would as likely fi ll the crates of a techno DJ as any touring breaks artiﬆ. The gravity towards recognition as a breaks icon is perhaps more a teﬆament of the one-time darling ﬆatus of the genre than any hiﬆorical accuracy, and certainly with Pember’s receipt of the 2006 Breakspoll’s Outﬆanding Contribution To Breaks award. The rise and fall of any particular music ﬆ yle can be exhauﬆ ing, as can the reflect ion, but Pember remains relaxed on the topic. He focuses inﬆead on the diversity at the core of the success of LOT49 and the tech-funk sound, a thread that he suggeﬆs runs right through his career – something that is obvious to those that know where to look, even if it takes some time. “When you look back on someone’s career, and when you look back on people’s music you ﬆart noticing the elements that maybe you didn’t notice before.” DAVE DRI

WHO: Meat Katie WHAT: 7 Year Itch (LOT49) WHERE & WHEN: Breaks & Enter at Barsoma Saturday 23 April

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MENTAL COMBAT Hip Hop With BLAZE

AFRO-DIZZI-ACT

Considering that it’s ﬆill Record Store Day week, I forgot to mention that Rhymesayers dropped a limited edition ten track compilation of their lateﬆ roﬆer and it’s limited to 10,000 copies. As is Blueprint’s double vinyl picture disc for his lateﬆ effort ‘Adventures in Counter Culture’. The Truth & Soul label surprises me with an inﬆrumental version of Lee Fields’ 2009 release My World. The North Carolinan has also worked with the Daptone and Stones Throw labels and evokes sweaty references to James Brown in his manner, but this release lets us enjoy the musical backbone unadulterated. Marc Mac and Visioneers have also recorded versions of two classic b-boy tunes. The BBE label go limited with Apache/Shaft In Africa. I’m a fan. Numero Uno Group unleashed the impressive Syl Johnson six LP box set but are now readying a 5x45 box set as well. And rumour is that he will be touring these shores soon. I haven’t liﬆened to nor seen the new music sampling documentary Copyright Criminals, but I juﬆ spotted a taﬆ y looking package. It comes with two DVDs, a 12” record, a poﬆer, 25 trading cards and even some download links. Holy moley! On closer inspect ion I see that the vinyl is in fact a collect ion of beats from Clyde Stubblefield. It’s a tad pricey, but compelling enough to inveﬆ igate. It’s also intereﬆ ing to see soundtracks appearing on vinyl. Sure Daft Punk’s TRON was not that much of a surprise, but the clear vinyl for Inception was nice. As for local releases there’s the third output from Hope Street Recordings with a blinding new 7-inch from the ten piece school band The Cact us Channel from inner-city Melbourne. The two tracks are act ually quite cracking with their hard funk attitude and while one might be a cover of a Porgy Jones New Orleans classic (The Dap) the other is an original (Pepper Snake). Good to see some kids eschewing the laptops and getting down with some real physical kit. From the Queensland label Mighty Highness comes two new records – one from long-time Brissy funk act Afro-Dizzi-Act Remixed (300 copies) and the other from Melbourne’s Ethiopian influenced The Black Jesus Experience with their three track 12-inch Arada. Go for the inﬆ rumental of the latter and there are only 350 copies available.

TRUST THE DJ n artiﬆ like Kitch Wesche doesn’t come around too often. He is blessed with an armoury of weapons to blow away a gathered crowd, be it at a club set or a packed feﬆival park jam. Not conﬆricted to being a one gun specialiﬆ, Wesche can rap over any given beat, from a hip hop break to a garage-driven grime and dubﬆep scat, sing harmoniously over a reggae flow, or from his own guitar. And juﬆ when you think you have bottled this MC/DJ musician as a Molotov cocktail ready to flame, he breaks out the harmonica and connects with Bob Dylan, blowing away the audience with yet another ﬆrong arm. “People have always asked me if I am gonna ﬆ ick to hip hop and grime, or the reggae or dubﬆep,” admits Wesche, who explains how inﬆead of transitioning into one lane composed a genre harnessing all the elements of which he pract ised as a budding musician. “I made up my own genre Electso – my elect ronic soul music. I like to be free to jump across different elements.” Electso is an experimental curve musicality made up of many ﬆeels like a Katana sword, a spiritual new connect ion to the youth he feels close to, forging together ﬆ reet poetry hammered over elect ro-pop and reggaetinged drum‘n’bass. And with a recent entry in the dubﬆep and the house DJ scene, Wesche is sharpening a new edge to his arsenal on both the club and feﬆ ival circuits. His fi rﬆ foray into music came by way of hip hop, as he beatboxed his way into the Beat Alliance, becoming one of eight to perform at the Sydney Opera House in 2006 – and as he unsheathed his word game, gained a spot inside Modern Poets and wrote a two-time APRA Music Awards nominated song for Joel Turner. But it was his encounter with his DJ crimie Verner, who approached the MC offering him a chance to jump in on the club DJ circuit, that changed the course of his musicality, thus developing his skills of floor-fi lling through house music, dubﬆep and everything else that makes Kitch the MC/musician he ﬆands today. “He hounded me like, ‘Yo, do you wanna try something different?’ and I was a beatbox, hip hop and reggae artiﬆ, but I was like, ‘OK cool’. He took me to the club scene and I ﬆarted doing breaks then I moved on to the feﬆival scene for Parklife, Future Music, Stereosonic and BBQ Breaks.” Aside from soaring to such heights with his gifted ability to balance reggae, rap and house under one roof, what keeps him a grounded artiﬆ

and community leader is his interact ion with the youth he helps to overcome the inner city challenges they face through his music and mentorship. “It’s been a real blessing, so I get to do that and I do my youth work, working closely againﬆ gang violence, alcohol and drug abuse with young kids and I juﬆ try to motivate them with music. I come from a diﬃcult background and the only thing that saved me was music. I used to be a drug abuser myself and I loﬆ four of my beﬆ friends to the needle. So that’s when it came to head and I had to change. And our programs work with the mayor of Logan City, Pam Parker. To be honeﬆ, that’s what keeps me ﬆ raight.” RIP NICHOLSON

WHO: Kitch WHAT: Breaks & Enter at Barsoma Saturday 23 April, New Ground Feﬆ ival at

Griﬃth University (Meadowbrook Campus) Saturday 30 April

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POETRY IN MOTION fter nearly five years, an eﬆeemed Balance release and several globetrotting tours that saw him hiding with Demi and Omid 16B behind the shadowy conceit of the Sex On Subﬆance collect ive, Desyn Masiello has finally returned to his work as a solo DJ craftsman. And according to Masiello, it’s a move he’s taking in deadly seriousness. After all, this is the man who rode the early joys of acid house as a punter before famously reaching the ears of DJs, promoters and booking agents around the world in the late 90s, simply on the back of one immaculately crafted demo mix. “DJing to me is half about dancing, groove for the body, and half about ﬆorytelling – the melodics for the mind. To me, the both things are rarely, if ever, done together properly,” Masiello tells 3D World, with the duﬆ barely setting after his annual jaunt to the Miami Winter Music Conference. “DJing is a weird new phenomenon. Some people see it as the lateﬆ way to communicate universally to the soul and on par with something like poetry at its beﬆ, while some people juﬆ see it as beats and grooves to dance too and don’t care for the reﬆ. But there’s ﬆ ill a lot of ways to touch people through DJing, and it’s something I’m always working on.” Like so many others over the paﬆ few years he was drawn into the hypnotic rhythms of tech house, but confi rms he’s now gradually drifting back towards those inviting melodies he was once so famous for. “I’m trying to bring them both together,” he says, laying down as his lofty goal. Around a decade ago, Masiello gradually and organically built a name for himself on the back of the ﬆ rength of his DJing, before reaching a peak with the release of his own acclaimed Balance 008 mix in 2005. By the looks of things, and the nearly poetic way that he discusses his craft, he’s looking to reclaim these glory days once again, and some of his recent DJ sets that have reached the web suggeﬆ he’s caﬆ ing the net wider than ever across the spect rum of house music. “Breaking down barriers and categories is very important to me,” he says. “DJing in a poetic sense is about weaving and revealing threads and vibes in music, regardless of the boxes or genres we place the tracks into. Making a good mix across genres is always a challenge, as it takes a lot of time and work to find the music, and putting them together in a mix is even more a challenge. It’s a good thing we like challenges then.” There’s been a lot of disco and deep house that’s found its way into his mix, bubbling away among the more reﬆ rained tech house

select ions, and there are definitely some parallels to be drawn with the often euphoric melodies that Masiello was once famous for reveling in. Does he feel there’s a consiﬆency in the music he’s drawn to? “Probably yes, when talking about melody I’m definitely very specific about what I like. It’s that place between the major and the minor – or the alternation of the two, the inbetween happiness and sadness… The balance feels right there. I don’t like things too happy, where it feels fake, or too dark where it can be depressing. I’m sure in the paﬆ I’ve played sets that have more of one than the other, but overall that’s what touches me moﬆ.”

It’s not being prickly to suggeﬆ that Masiello has had a slightly ﬆ rained relationship with Auﬆ ralian audiences at times – while he’d become a hit with clubbers after the release of his Balance mix, the enthusiaﬆ ic embrace he’d given to the party lifeﬆ yle saw him cancelling one of his returning tours, and effect ively putting his career on hold while he reﬆed and recuperated. Refreshingly though, he’s more than happy to discuss that period of his life with almoﬆ ﬆartling honeﬆ y. “Firﬆ ly I’d like to apologise to anyone I let down back then, to any fans or promoters, I’m sorry and I am doing my beﬆ to make it up to you. Back then though I was in a real bad way, unable to get out of bed let alone get on a fl ight to somewhere. That was well needed time off. I was a real idiot in many ways back then, as in I had no fear at all of anything. I thought I could take and do anything… and I did, and I partied hard and long, it was real rock and roll, and I had no care for my body, mind or soul. The universe gave me a big ticking off and made me very ill for three months, and there were weeks on end I couldn’t get out of bed. I was emotionally and physically dead.” If this sounds like a black point in both his career and his personal life, Masiello found ﬆ rength in being able to grow from the ﬆ rong lessons that life occasionally deals you. “It was very important for me as I woke up from many delusions, and now I respect myself and this life a lot more. I quit drinking for four years then, and even though I have the odd drink now and again now, I’m now a much more sober and balanced person.” It was also not long after this hiatus that Masiello began working with the SOS collect ive. While he says it was eventually Demi and Omid 16B’s desire to begin producing together that saw him return to his original love of DJing, he says it as an enriching thing to learn and work in a team, inﬆead of juﬆ promoting his own name. “There was something non-egotiﬆ ical about us all doing something that meant we had to put our personal intereﬆs to one side and do something for each other. If I hadn’t taken that time off I might not have had the courage to take that risk, and I’m happy I did. So I have no regrets about anything.” ANGUS PATERSON

WHO: Desyn Masiello WHERE & WHEN: Golden Cage at Soho (Sydney) Sunday 24 April, Eaﬆer Excess at Barsoma (Brisbane) Monday 25 April

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PARK IT IN THE CRATE The Tech Underground with DANIEL SANDERS As the elect ronic music world has spent months at weird and wonderful events such as Winter Music Conference and Musikmesse in the lead up to another Northern summer, creativity is at a peak amongﬆ producers from the top half of our globe. Like every year before it, 2011 is being pretty bloody predictable then – so much for bucking trends. By contraﬆ (and indeed design), the always wonderful Joy Orbison – or Joy O as he prefers here – has donned his house hat for a two track outing on the dubﬆep-centric Hotﬂush Recordings. Wade In/Jels has gotten plenty of attention already mainly due to the popularity of the producer, yet it’s the near absolute lack of polish which makes it so appealing. Like an old pair of jeans or ratty canvas bag, both tracks eschew popular house conventions in favour of vintage wooliness and unpredictability which ﬆand as a big old two-ﬁnger salute to the eﬆablishment. Neither track will appeal to those looking for an easy ride but are endearing nevertheless. Kenton Slash Demon too have been appealing for much the same reason, yet they’ve become increasingly popular for embracing more modern cues; bloody massive basslines in particular. Daemon doesn’t disappoint in this respect and goes a ﬆep further than the two previous inﬆalments in The Schwarzchild Solution series, though Sun is ﬆ ill the moﬆ uplifting of the lot. Though the barely decipherable vocoded vocals are initially jarring, the polyrhythmic nature of Daemon is simultaneously enrapturing and comforting – it’s a track that genuinely develops on multiple liﬆens without tiring.

JOY ORBISON

GIVEAWAY

PEGZ BOMBS AWAY TICKETS After breaking a self-imposed recording hiatus with the release of his collaborative Gully Platoon project, Auﬆ ralian hip hop MC and Obese CEO Pegz returns to the solo live scene with his ﬁ rﬆ national tour in three years. Celebrating the release of his new album Drama, Pegz will hit the road this May for a 15-date trek that will see him hit capital cities and regional towns across the country. Dialect rix will be supporting on all dates promoting his recent release Audio Projectile . The Bombs Away tour hits Step Inn Friday 3 June with special support acts Choose Mics and Simplex. For your chance to score a double pass to this highly anticipated show email your name and contact details to giveaways@3dworld.com.au with PEGZ in the subject line. Entries close Friday 3 May.

The altogether more foreboding sounds of Komaton’s new release Dehunt EP for Dame Music are siniﬆer by comparison, and a departure from their outing on laﬆ year’s Cocoon Compilation, the woozy Sick. The titular track on this release deserves special mention for making a big sawtooth basslines cool again, and it manages to do so from underneath an arrangement which seeks to make it less of a focal point – there’s plenty of diﬆ ract ions for the reﬆ less liﬆener to occupy their mind with whilﬆ the body goes elsewhere with the groove. The accompanying tracks Places and Panty Girl are considerably weaker, the former coming across as a moodier compliment to Dehunt, and the latter seemingly direct ion-less. Nevertheless, both exercise more character and individuality than can be expected from a lot of tech house.

INDUSTRY WATCH

DJBOOTH

THE IDEA BEHIND OUR NIGHT IS… “Budget night for the budget savvy.”

WHAT INSPIRED YOUR DJ NAME? “Colloquial slang for a ‘diﬃcult person’ or ‘someone who goes againﬆ the grain’.”

CHEESY TUESDAYS AT PICTURE LOUNGE BAR WE’LL BE PIMPING THE SOUNDS OF… “Commercial house, R&B and hip hop.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “No DJs.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Movie ticket giveaways and heaps of prizes.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Delicious food, great prices and a great atmosphere.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Kitchen is open until 1am!” WHERE & WHEN: Cheesy Tuesdays at Pict ure Lounge Bar every Tuesday night

PUZAHKI

IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Bass heavy wonky hip hop and (dare I say) poﬆ dubﬆep. Lots of texture, glitch and analogue synth delights.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Total Stranger – Sleepless.” WHAT MADE YOU START DJING? “Necessity. It’s the beﬆ way to get your name out there as a producer and also road teﬆ your tracks on club syﬆems and danceﬂoors.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “I want to reveal a witty and bizarre anecdote

DANCE MUSI 1. That’s Why I Put My Hands Up (Original Mix) ERIC CHASE 2. I Want You (Bigroom Mix) LE ROCK & ROXS 3. Get Up STANTON WARRIORS 4. EddyFi KOSHEEN DJS 5. Blow Up (Hook

but I’ve got nothing. Probably Lucas Abela aka Juﬆ ice Yeldham. Great act if a little bit bloody at times.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Haven’t heard one for ages thank god. Probably my own remix of a Eurythmics track.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “It’s a bit weird, have you got anything we can dance to?” WHERE & WHEN: Barsoma Friday 29 April

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INDUSTRY WATCH FRIDAYS AT ALLONEWORD WITH DJ SHEEP & NIKK-C

THE IDEA BEHIND OUR NIGHT IS… “Playing the beﬆ music we can get out hands on, or better yet, we’ve had our hands on, week in, week out... whilﬆ keeping the party jumping or the mood ﬂowing! True school turntabliﬆ house party.”

WE’LL BE PIMPING THE SOUNDS OF… “Let’s ﬆart with the latter P, we’ll be playing everything from Pimp-C to Prince to Parliament to Public Enemy to People Under The Stairs to Poison Clan to... well, you get the idea.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “DJ Sheep: ﬁve ﬆate DJ titles, including three consecutive DMC DJ championship titles, and Nikk-C who is the reigning Qld ﬆate DMC champion. We’ve got records, we’ve got skills, we’ve got beats and we’ve got experience. You’re not going to ﬁnd a line-up like this anywhere locally on a weekly basis.”

IC HUB CHART

N Sling & Goodwill Remix) HARD ROCK SOFA & ST BROTHERS 6. Born Th is Way (Way & Beyond Remix) OTHER EGO 7. Fall Silently (Progressive Mix) CHRISTOPH MAITLAND, TOBY EMERSON,

VEELA 8. Get Together (Tomcraft Remix) SPEKTRE 9. Beautiful People (Club Mix C) CHRIS BROWN FEAT BENNY BENASSI 10. Gangﬆer Trippin’ 2011 (Lazy Rich Edit) FATBOY SLIM FEAT LAZY RICH

THE OTHER TRICKS UP OUR SLEEVE INCLUDE…

“Jedi mind tricks. The bartenders also have some tricks too. We’re good at tricking you into thinking you know a song you don’t and wondering why you are on the danceﬂoor dancing to music that isn’t on your iPod, wondering, ‘how did this happen?’. Oh yeah, we also got lots of scratching, beat juggling, all that kind of ﬆ uﬀ.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Duﬆ y organic old school funk and soul with a big slab of classic hip hop, bass and disco boogie and a smattering of rock and other obscurities in between.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “A carefree good night with good music. That’s something you don’t get in Brissy anymore unfortunately. Come try us out for a change, we’re in the chill part of the Valley... but it ﬆ ill gets a little freaky.” WHERE & WHEN: Fridays at Alloneword every Friday.

KUMAR’S CAPERS All Th ings House with BEN KUMAR

STEVE LAWLER

Whilﬆ the ending of the cricket World Cup is sad, it has turned attention to the great volume of house music hitting the world for a proverbial six at present Joris Voorn leads the charge back to some melodic greatness with a rework of his famous Incident (sampling from The Reese Project’s Colour Of Love) by lowering the bpm and adding some spoken word parts. The track ﬆ ill retains its trademark ‘zing’ though. On the funky and techy tip, Booka Shade turn in a ﬆormer of a remix for Cari Golden and Pan-Pot. Captain, My Captain is a percussive gem, out through Mobilee Records. If vocals make you happy, then Babak Shayan provides a simple yet lovely number in the form of Like This. On the compilations horizon, tribal don Steve Lawler reminds us that juﬆ because he’s short, doesn’t mean he’s disappeared. Lights Out –

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Decade is an hiﬆoric release, commemorating ten years of Lawler’s magical Lights Out compilations. This compilation will feature exclusive releases and re-edits done by Lawler himself, to give liﬆeners a unique experience. Special congratulations go to the Gold Coaﬆ’s Little Fritter for having his Bubbling Bafoon included on Disc One! Keep an eye out in late May for Lights Out – Decade. Another veteran familiar to Capers readers is Tom Middleton, who reprises his ambient/ elect ronica guise Global Communication (along with partner Mark Pritchard) for a Back In The Box mix. The Back In The Box series has so far presented select ions of classics from DJ Sneak, Dave Clarke and Joey Negro, and Middleton and Pritchard have served up a healthy portion of early and mid 90s material which runs from ambient through to Detroit techno.

INDUSTRY WATCH FÊTE DE LA MUSIQUE

WHAT DO YOU THINK AN EVENT LIKE FÊTE DE LA MUSIQUE BRINGS TO BRISBANE’S LOCAL MUSIC SCENE? “An opportunity for performers or groups of any musical persuasion, any ability and age a real life gig to perform at and the chance to be a part of the world’s biggeﬆ free music event. For those who get to hear and enjoy Fête De La Musique, it is a chance to enjoy free music everywhere” WHAT VENUES WILL BE PARTICIPATING IN THIS YEAR’S EVENT? “Live music will fi ll unusual locations such as art galleries, hair salons, museums, libraries, CityCats, cafes, department ﬆores and other ﬆ reet locations in the CBD and suburbs all day on 21 June.” IN WHAT WAYS HAS THE EVENT CHANGED SINCE IT STARTED IN BRISBANE FOUR YEARS AGO? “In less than four years, the feﬆ ival has almoﬆ doubled. What’s important is that it has rapidly become a notable and important fi xture of the performance calendars of many prominent Brisbane acts.” WHO ARE SOME OF THE ARTIST PARTICIPATING IN THIS YEAR’S EVENT? “Early regiﬆ rations have been received from blended pop songﬆ ress, Rhiannon Hart and her group the Umm-Ahhs, Indie folk singer Lauren Moore, Tim Nelson and the Cub Scouts and some school groups are even getting involved. ” HOW DO MUSIC LOVERS GET INVOLVED? “Musical performers or groups, venues or volunteers simply regiﬆer before 21 April by jumping online at www. fetedelamusiquebrisbane.com.au. All musical ﬆ yles are welcome. For those wanting to experience Fête de la Musique, you can expect to hear music fi lling the ﬆ reets of Brisbane on Tuesday, 21 June. Keep checking the website for updates.” WHERE & WHEN: Fête de la Musique, Brisbane Tuesday 21 June

CHLOE TURNER @ FÊTE DE LA MUSIQUE 2010

PERSONALITY TEST HOW WOULD YOUR MUM DESCRIBE YOU? “Messy, wild and loud.” WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH? “Any pop music involving anyone under the age of 18.” WHO INSPIRES YOU MUSICALLY? “Phillipe Zdar, Jusitice, Pleasurekraft,

Neelix, Noisia!”

NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “Pleasurekraft – Anubis, Feed Me – White Spirit, OH! –Simple Pleasure.” TELL US ABOUT A CLASSIC CLUBBING MOMENT. “Playing the Dim Mak night and having Pase Rock rap while I was

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playing was pretty up there. Supporting The Bloody Beetroots on my birthday was out of control as well!”

WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “Hanson – Middle Of Nowhere” SPIKE MILLIGAN QUIPPED HE’D LIKE HIS TOMBSTONE TO READ ‘I TOLD YOU I WAS ILL’ – WHAT WOULD

BE ON YOURS? “Party in peace.” WHERE & WHEN: Trip Kicks at The Great Northern, Byron Bay Saturday 14 May

FLOORED

SUPAFEST 2011 RNA SHOWGROUNDS: 16.04.11 While the Bling Ring is in full action, general admission ﬆarts fi lling out juﬆ as Bow Wow finishes his set with hands raised, the little dude jumping up and down on the speakers. Ciara comes out in black lycra complete with bandana hanging from her back pocket. She dances and lip-synchs through Goodies, Oh and Two Step . She splits the Bling Ring into “love”, “sex” and “magic” sect ions before she continues to shake what her mama gave her across the ﬆage before ending on a high with Work It. While ATL’s princess amazed everyone with her moves, Taio Cruz is clearly more the crowd’s (which consiﬆs moﬆ ly of under 18s) ﬆ yle. He has them all hyped and singing non-ﬆop to Heartbreaker, Higher, Dirty Picture and the favourite Dynamite. After a longer toilet break The Game rocks out in his khakis and a red mohawk. The croakiness of his already throaty voice plus a sound problem don’t help his set but fans of the Weﬆ Coaﬆ rapper are ﬆ ill appreciative as he goes through his tracks in full. Hate It Or Love It and This Is How We Do get the loudeﬆ applause with only a few hardcore fans bumping along to Dream, Weﬆ Coaﬆ and Too Much. Unfortunately those engaged are out of sight in the ﬆands so he only plays snippets of the beloved It’s Okay (One Blood) and Compton. There’s an obvious improvement in sound as T-Pain sings a capella into his cuﬆomised mic. As the sun goes down the dance party ﬆarts to his Good Life, Buy You A Drank and Low. The bearish singer blows everyone away with his Kiss Kiss crump then keeps the party pumping as he dances through Like A G6. As he claims that “I don’t do singing, I don’t do rapping, I don’t do dancing... I do parties!” he knocks everyone out with All I Do Is Win. Buﬆa Rhymes and his long time BFF Spliff Star get on ﬆage with their rap/comedy

SNOOP DOGG - PHOTO BY BEN MACCOLL

routine. Unfortunately returning sound problems causes the show’s momentum to be loﬆ to the crowd. Still, the pioneer has moﬆ shouting “Buﬆa! What it is right now”, dancing to PCD’s Don’t Cha, even ﬆomping to Seven Nation Army and of course breaking their “motherfucking necks” to his moﬆ notorious dribble. Nelly rocks on ﬆage in his AC/DC jersey to an insane roar. Followed by his loyal crew St Lunatics and a live band he explodes with Party People and goes through EI, Country Grammar, Batter Up, Where The Party At, and Air Force Ones all in full like a true performer. He serenades a lucky fan on ﬆage with Over And Over then gets ﬆ ripped by another to Get Your Eagle On juﬆ in time for everyone to sing word for word to Hot In Herre. With his phenomenal ﬆage presence, Nelly ﬆ ill has all eyes and all words on him all the way through to Dilemma. The screens projects a Scarface/Godfather fi lm ﬆ rip before Snoop Dogg and band swing ﬆ raight into a jazzy versions of Gin And Juice, Nuthin’ But A ‘G’ Thang and Lodi Dodi. The next fi lm shows the evolutions of his music, from funk to Ezy E to Pac as he goes into 2 Of Amerikaz Moﬆ Wanted. Between inhalations, he showcases the hundred or so songs he’s featured in then gets everyone to pump their fiﬆs to the “number one single in Auﬆ ralia” Sweat. The show and the feﬆ ival ends with all acts on ﬆage for What’s My Name? and fi reworks. JANN ANGARA

EAT&DRINK SUGO MI

When they’re not taking dives in the penalty box, the Italians can come up with incredible food ideas – the humble pizza perhaps being their moﬆ triumphant. For anyone growing up through the 70s, 80s and moﬆ of the 90s, the pizzas served to Auﬆ ralians were Americanised to the hilt. They emphasised endless toppings, too much sauce and drowning the pizza in cheese, which has a side-effect of not allowing the toppings to cook properly. Sugo Mi is the Brisbane version of the Auﬆ ralian gourmet pizza idea, itself a worldwide trend, yet one which seemed to catch on moﬆ significantly in Melbourne in the middle of laﬆ decade. It returns to the Italian simplicity of a few key toppings, juﬆ the right amount of cheese, proper bases and fantaﬆ ic sauces – not the ﬆ uff out of the bottle that chain ﬆores use. A cornerﬆone of this is the wood-fi red oven, which achieves the incredible heat which is required to cook pizzas properly. Consiﬆently rated the beﬆ pizza reﬆ aurant in Brisbane, Sugo Mi is perfect ly located at buﬆ ling Oxford Street in Bulimba. Th is means competition for a table is fierce, but ultimately rewarding. The menu is not only confi ned to pizza though – entrees, paﬆ a, desserts and wine liﬆ round out the

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PIZZA experiencea, as does a kid’s menu, pitching perfect ly to the locality’s demographic. 3D World ’s party goes all in and samples the Gamberoni (prawns and chilli), Patate (potato, pancetta and rosemary), Picante (sopressa and chilli) and Verde (everything green) pizzas. The ‘creative genius’ opts for paﬆa though – the Pappardelle with duck ragu, wilted spinach and peppered marscapone. Th is is devoured before moﬆ diners have gotten through their ﬁ rﬆ slice of pizza, so is inﬆantly claimed a success. The verdict on favourite pizza is a heated debated subject, even moreso than who the laﬆ king of Italy was (one for the keen hiﬆorians). The Gamberoni emerges victorious by a narrow margin over the Verde. Either way, the meal is fantaﬆic, hampered only by slow-ish service. If you’re seeking a premier pizza joint away from the mass-produced nonsense, Sugo Mi is the answer. BEN KUMAR WHAT: Sugo Mi WHERE: 3/190 Oxford Street, Bulimba WHEN: Tuesday to Sunday 5pm-late, Sunday lunch from 11:30am, closed Monday

7 5

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SUSHI SNAPS 1 Keri Hilson @ Myﬆique

6 Saturday @ Fridays

2 Residents @ GPO

7 Saturday @ Hot Gossip

3 Ruby Rose @ Family

8 Saturday @ Port Oﬃce

4 Saturday @ Birdee Num Num

9 Saturday @ X & Y Bar

5 Saturday @ Exchange Hotel

10 Supafeﬆ

1 4

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GUESTLIST WEDNESDAY 20 ALLONEWORD Jam Night. Free. NINE LIVES Nine Wives Opening Night. 6pm. SHOOTERS I Love House Music: Brett Allen, Apollo Flex. 9pm. X & Y BAR Stephen Carmichael, Phil Hancock, DJ Bacon.

THURSDAY 21 ALHAMBRA Grace Woodroofe, WIM, Emma Davis. 8pm. BARSOMA Th irsty Thursdays. 5pm. Free. FUSION VILLA NOOSA Th irsty Thursdays: DJ Hanja. 9pm. Free. ELECTRIC PLAYGROUND Gone In 60 Minutes: Loose Units, Private Property, Wahoo. 6pm. LALALAND Dubstep Invasion: Kid Kenobi. SHOOTERS Too Damn Glam: Brett Allen, Apollo Flex, K-Otic. 7pm. TYAGARAH TEA TREE FARM Byron Bay Bluesfest: Michael Franti & Spearhead, Ben Harper and Relentless7, Grace Jones, John legend, The Cat Empire, Trinity Roots and more. REPUBLIC Too Damn Glam: Masta K, Mista P, Fortafy. 7pm. X & Y BAR The Chariot, I Am Villain, The Matador, Midnight Close. 7pm.

FRIDAY 22 ALLONEWORD DJ Sheep, Nick C. Free. THE BREWERY Andee-J. 9pm. Free. ELECTRIC PLAYGROUND Vs Good Friday Edition: Benny Hassum vs K-ime, Funku vs Olie, Noy vs Kayli. 12am. FUSION VILLA NOOSA Thank Fox It’s Friday: DJ Banksy. 9pm. Free. LALALAND Ryan Rushton, And Oh! THE MET Andee, Pete Smith, Nick Galea, Eric, Andy Priddle, Bossy, Mr Sparkle, Memory DJs. Free before 11pm, $10 after. NEVER LAND BAR House Party. REPUBLIC Vision: Ea Kut, MC Premix, Bluﬀsta. 12am. RENDEZVOUS Vision Friday: Masta K, Mista P. 12am. TIMMY TRUMPET

SHOOTERS Vision: Craig Obey, Brett Allen, Apollo Flex. 12am. SOUTH BANK Auditree River Cruise Robert Babicz on the Paddle-Wheeler, Brisbane River. 4pm. TYAGARAH TEA TREE FARM Byron Bay Bluesfest: Michael Franti & Spearhead, Ben Harper and Relentless7, Grace Jones, John legend, The Cat Empire, Trinity Roots and more. X & Y BAR Midnight Open, Aniki, Danny Cool.

SATURDAY 23 ALLONEWORD Tango, Erther, Speaker Wrath (live). 1pm. $12 before 3pm, $15 after. ALLONEWORD Shit Robot. 8pm. $20.

ALHAMBRA Mark Farina, Jason Rouse,

Freestyle, El Nino. 10pm. BARSOMA Breaks & Enter: Meat Katie, Janette Slack. ELECTRIC PLAYGROUND Easter Saturday Costume Party: Murray Brown, Wahoo, Karma. 12am. FAMILY BASEMENT Vandalism. 9pm. $10 before 11pm (members), $15 before 10pm (general). FAMILY TOP FLOOR Hey! Hey!: Truth. Geecee, Profesa, Kitch & Aniki. $10 before 11pm (members), $15 before 10pm (general). FUSION VILLA NOOSA Summer Daze: DJ BRAZ. 9pm. Free. LALALAND Rhys Bynon, Miles Jr. THE MET Tenzin, Disko Diva, Andee, Pete Smith, Nick Galea, Eric, Andy Priddle, Mr Sparkle, Roman, Niko, Malcolm feat Ellie, Andrew Lynch. Free before 10pm, $15 after. MYBAR Touch Saturdays: Bluﬀsta, Ea Kut, Otto, Jay Oh. 9pm. NEVERLAND Kid Kenobi, Surecut Kids. PLATINUM NIGHT CLUB MOS Electro House Sessions: Timmy Trumpet, Rob Pix. REPUBLIC Sensation: EaKut, Juno, Mista P, MC Premix. 10pm. RENDEZVOUS Sensation Saturday: Masta K, Mister P. 9pm. SHOOTERS Sensation Saturdays: Tredman, Apollo Flex, Craig Obey, Brett Allen. 9pm. TYAGARAH TEA TREE FARM Byron Bay Bluesfest: Michael Franti & Spearhead, Ben Harper and Relentless7, Grace Jones, John legend, The Cat Empire, Trinity Roots and more. X & Y BAR Mt Augustus, Tape Oﬀ, Jason Van Miert, Cutloose.

SUNDAY 24 BIRDEE NUM NUM The F#!king Catalina Wine Mixer: Sure Cut Kids. 8pm. BIRDEE NUM NUM Birdees Sunsets: Danny T, Jimmy Vegas, John St John and more. 12pm. ELECTRIC PLAYGROUND Kayli, Censor Th is, Alex Terrell, Private Property, Morgan baker, Tim Plunket, Systamatix and more. 12pm. HI FI Anthony B, Cecile. 8pm. $50 +bf (pre-sale). LALALAND Daniel Webber, Daniel Clayton. RENDEZVOUS Play Dirty: Masta K, Mista P. 7pm. SHOOTERS Play Dirty: Craig Obey, Brett Allen, Apollo Flex. 7pm. TYAGARAH TEA TREE FARM Byron Bay Bluesfest: Michael Franti & Spearhead, Ben Harper and Relentless7, Grace Jones, John legend, The Cat Empire, Trinity Roots and more. X & Y BAR Unlikely Superheoes, Sexypie. 8pm.

MARK FARINA

MONDAY 25 THE ATTIC Foamo. BARSOMA Easter Excess: Desyn Masiello, Anthony Pappa, PQM, Marcoz Paz. $15-$20. FAMILY Fluﬀ y’s Anzac Day Party. Harry K & Karma. 9pm. General: $20/$10 Before 10pm. NAMI CAFE Paora & Marama Nui. THE MET Dubs, Frank Staﬀord, Shaneal, TJ, Eric, Andy Priddle. MONASTERY Bag Raiders (DJ set). $15. PLATINUM Ruby Rose, Craig Roberts, Joey Mojo. Anzac Party: Harry K, Karma. 9pm. $10 before 10pm, $20 after. TYAGARAH TEA TREE FARM Byron Bay Bluesfest: Michael Franti & Spearhead, Ben Harper and Relentless7, Grace Jones, John legend, The Cat Empire, Trinity Roots and more.

TUESDAY 26

REPUBLIC Envyus. Dezastar, Owe, Ea Kut and more. 9pm. BRISBANE ENTERTAINMENT CENTRE Justin Bieber.

WEDNESDAY 27

ALLONEWORD Jam Night. Free. QPAC Naturally 7. 8pm. $65 - $75. X & Y BAR Smiles Lies & Gunﬁ re, Mahi Artz, Maggie Collins.

THURSDAY 28

ALLONEWORD Love Cats Student Night. Free. ELSEWHERE Steele Justice: Thy Art is Murder, Deceiver, Vin Steele. QPAC Herbie Hancock. 8pm. $99.90 - $139.90. QPAC Naturally 7. 8pm. $65-$75. X & Y BAR Boys & Girls, Torn Asunder, Burn Down Hollywod, Closure.

FRIDAY 29

ALLONEWORD DJ Sheep, Nick C. Free. BARSOMA Ikonika, Puzahki, Epoch and more. 5pm Free before 10pm, $10 after. BRISBANE ENTERTAINMENT CENTRE Chris Brown. 6.30pm. $99 - $299. ELSEWHERE Natural Feel EP Launch: Misere, Jacks Harlot, Midnight Tango, Audun. FAMILY BASEMENT Steve Hill, F&E, Dynasty, Hektic & Kazuki. General: $20/ $10 Before 10pm. Members: $15/Free Before 11pm. FAMILY TOP FLOOR Nic’d, Kids On Camera Vs Olie, Kayli Vs Stylizztix, Panda & Jayesh. General: $20/ $10 Before 10pm. Members: $15/Free Before 11pm. THE GLOBE Tim and Jean.

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CALENDAR APRIL BYRON BLUESFEST: MICHAEL FRANTI & SPEARHEAD, BEN HARPER AND RELENTLESS7, GRACE JONES, JOHN LEGEND, THE CAT EMPIRE, TRINITY ROOTS AND MORE – Thursday 21 – Monday 25 April, Byron Bay AUDITREE RIVER CRUISE: ROBERT BABICZ – Friday 22, The Brisbane Paddle Wheeler BREAKS & ENTER: MEAT KATIE, JANETTE SLACK – Saturday 23, Barsoma TANGO – Saturday 23, Alloneword (Day) SHIT ROBOT – Saturday 23, Alloneword (Night) MARK FARINA – Saturday 23, Alhambra TIMMY TRUMPET & ROB PIX – Saturday 23, Platinum ANTHONY B & CECILE – Sunday 24, The Hi-Fi EASTER EXCESS: DESYN MASIELLO, PQM, MARCOS PAZ – Monday 25, Barsoma BAG RAIDERS – Monday 25, Monastery JUSTIN BIEBER – Tuesday 26, Brisbane Entertainment Centre NATURALLY 7 – Wednesday 27, QPAC Playhouse HERBIE HANCOCK – Thursday 28, QPAC Concert Hall HUNGRY KIDS OF HUNGARY – Saturday 28, The Hi-Fi NATURALLY 7 – Thursday 28, QPAC Playhouse HOUSE OF PAIN – Friday 29, The Hi-Fi TIM AND JEAN – Friday 29, The Globe TIGERMOTH – Friday 29, Step Inn CHRIS BROWN – Friday 29, Brisbane Entertainment Centre NEW GROUND FESTIVAL: STAN WALKER, AJAK KWAI, V TRIBE, SPACIFIX – Saturday 30, Griffith University (Meadowbrook Campus) NEVER SAY DIE: FOREIGN BEGGARS, SKISM, TROLLEY SNATCHA – Saturday 30, Electric Playground MAY CREAMFIELDS: DEADMAU5, MARTIN MARK FARINA

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SOLVEIG, SKRILLEX, CHUCKIE, SIMON PATTERSON, GABRIEL AND DRESDEN, WYNTER GORDON AND MORE – Sunday 1, RNA Showgrounds GROOVIN’ THE MOO: UNKLE, AC SLATER, ARCHITECTURE IN HELSINKI, ART VS SCIENCE, THE ASTON SHUFFLE, BIRDS OF TOKYO, BLISS N ESO AND MORE – Sunday 1, Murray Sports Complex, Townsville. CAXTON ST FOOD & WINE FESTIVAL: THE TRIP, HUGH CORNWELL – Sunday 1, Caxton St URBAN COUNTRY 2011: THE POTBELLEEZ, AMY MEREDITH – Sunday 1, Alexander Barr Sporting Complex HOUSE OF PAIN – Monday 2, The Hi-Fi UNKLE – Tuesday 3, The Hi–Fi WASHINGTON – Tuesday 3, Old Museum WASHINGTON – Wednesday 4, The Tivoli DATAROCK – Wednesday 4, The Zoo HOUSE OF PAIN – Thursday 5, Coolangatta Hotel KATY PERRY, ZOWIE – Thursday 5, Brisbane Entertainment Centre TIN CAN RADIO – Thursday 5, Gilligans TIN CAN RADIO – Friday 6, The Place SAVE LIFE FUND-RAISER: WHO ARE THESE ROBOTS, ZENITH DANCE CREW, SAMMY J, CAT THOMPSON, FRESH ELEMENTS DANCE CREW AND MORE – Friday 6, The Globe Theatre DESIGNER DRUGS – Friday 6, Never Land Bar TIN CAN RADIO – Saturday 7, The Beach MIND OVER MATTER – Saturday 7, Beetle Bar TIN CAN RADIO – Sunday 9, Club Med BEC LAUGHTON – Monday 11, The Zoo GARY NUMAN – Tuesday 12, Tivoli RAW 2011: CHRIS FRASER – Friday 13, Vanity Nightclub HANNAH MACKLIN – Friday 13, The Old Museum DESIGNER DRUGS – Saturday 14, Monastery KATY PERRY, ZOWIE – Sunday 15, Brisbane, Entertainment Centre CUT COPY – Thursday 19, Tivoli TIKI – Thursday 19, Great Northern, Byron Bay MONKEY SAFARI – Friday 20, Monastery TIN CAN RADIO – Friday 20, The Zoo TIKI – Friday 20, Coolangatta Hotel JORIS VOORN, EDWIN OOSTERWAL – Saturday 21, Barsoma AC SLATER – Saturday 21, Monastery SHARLIE CHEEN’S DARK DISCO CLUB – Saturday 21, Back Room Byron Bay TIKI – Saturday 21, The Hi-Fi PIGEON JOHN – Sunday 22, X & Y Bar PLUTO JONZE – Thursday 26, Alhambra D–BLOCK & S–TE–FAN – Friday 27, May OVER–REACTOR – Friday 27, Tempo Hotel FAT FREDDY’S DROP – Friday 27, The Tivoli FAT FREDDY’S DROP – Saturday 28, The Tivoli JOHN COURSE – Saturday 28, Central Hotel (Bundaberg) JUNE KYLIE – Friday 3, Brisbane Entertainment Centre

KYLIE

THE TRIP – Friday 3, Brewery, Byron Bay KYLIE – Saturday 4, Brisbane Entertainment Centre LOWRIDER – Saturday 4, The Zoo TRASHBAGS: GTRONIC – Saturday 4, Monastery YO GABBA GABBA! – Tuesday 7, Brisbane Convention & Exhibiton Centre PEZ, MAYA JUPITER, 360 – Thursday 9, The Spotted Cow (Toowoomba) PEZ, MAYA JUPITER, 360 – Friday 10, Neverland Bar RAW 2011: CHRIS FRASER – Saturday 11, Monastery PEZ, MAYA JUPITER, 360 – Saturday 11, Hifi Bar BLISS N ESO – Friday 10, The Riverstage LIGHT YEAR, TRIP KICK DJS, STRETCH, MR CLIFFORD, ALTOWAVE – Saturday 18, Back Room Byron Bay MILEY CYRUS – Tuesday 21, Brisbane Entertainment Centre AUSTRALIAN STREET ENTERTAINMENT CHAMPIONSHIPS – Friday 24 – Sunday 26, Surfers Paradise JULY SPLENDOUR IN THE GRASS: KANYE WEST, COLDPLAY, JANE’S ADDICTION, THE HIVES, PULP, THE LIVING END, PNAU AND MORE – Friday 29–Sunday 31, Woodfordia AUGUST FUNERAL PARTY – Tuesday 9, The Hi–Fi SEPTEMBER BIGSOUND: ALAN MCGEE, TONY HARLOW, DAVID ENTHOVEN, TIM CLARK, NATALIE JUDGE, KEVIN FRENCH, DAMIAN TROTTER AND MORE – Wednesday 7 – Friday 9, Fortitude Valley Live Music Precinct

GARY NUMAN SYNTH PIONEER,1977-PRESENT

NIC TOUPEE GOES ONE ON ONE WITH SYNTH PIONEER GARY NUMAN, THE IMMINENT AUSTRALIAN TOURIST RESPONSIBLE FOR SOME OF THE MOST COVERED AND SAMPLED, MOST REMIXED AND MOST REFERENCED SONGS IN ELECTRONIC MUSIC. AND HE CONFESSES HE WAS A SYNTH NOVICE WHEN HE CRAFTED HIS SEMINAL LONGPLAYER THE PLEASURE PRINCIPLE.

s the anger of punk dissolved into the pop leanings of poﬆ-punk and new wave in the second half of the 1970s, Gary Numan burﬆ through the Blondies and Buzzcocks with an icy clinicism, presenting a confrontingly dehumanised yet irresiﬆibly infectious new sound. His third album, The Pleasure Principle, contains three of Numan’s moﬆ loved and covered tracks – Cars, Metal and ME – which apparently inspired US hip hop artiﬆ Afrika Baambaata (as did German synthesiﬆs Kraftwerk) to develop an electro-breaks sound which would form the roots of modern hip hop. On the eve of his Auﬆralian tour, in which he will play The Pleasure Principle album live in its entirety here for the ﬁrﬆ time, Numan reveals the chaos and serendipity that went into creating this legendary, award-winning album. WHY DID YOU DECIDE TO BEGIN USING SYNTHS IN YOUR MUSIC? “I didn’t own my own synth until after The Pleasure Principle. I went into the ﬆ udio in early ‘78, I was 19 or 20, to make my ﬁ rﬆ album for the record company. They signed me as three-piece punk band and I had written a whole collect ion of punk songs – this was going to be a punk album. I get to the ﬆ udio and in the corner was a Minimoog. It didn’t belong to the ﬆ udio but a hire company who should have had it collected but they forgot. The ﬆ udio let me use it all day. I didn’t know how to set it up or get a sound out of it, so I juﬆ sat there and twiddled knobs until something good came out. I was blown away with the sound of it. So I was able to use the Minimoog in the ﬆ udio to add a layer of elect ronic noises and replace some of the guitars that should have been on the album. We went back to the company with that album: inﬆead of punk they got an elect ropunk album. The label were not happy, it wasn’t what they wanted at all.” SO YOU LEARNED HOW TO PROGRAM SYNTHS AS YOU WENT ALONG? “The way I got sounds was not through

knowledge at all, it was by pressing every button and every dial, trying to learn what happens. Sometimes it doesn’t do anything at all! Figuring out what else you have to press to make another part work… by doing that I slowly ﬆarted to learn how synths worked.” BY THE TIME YOU WROTE THE PLEASURE PRINCIPLE YOU WERE ALREADY SEEN AS BRITAIN’S POP-SYNTH WHIZ KID – WERE YOU BY THEN? “After writing Telekon, we quickly went back into the ﬆ udio with no money. All I wanted for equipment was a Minimoog for a day and a Polymoog for a day – I ﬆ ill didn’t own one, and ﬆ ill wasn’t at home with synths, the only time I had a synth in front of me was in the ﬆ udio and only for a few hours. I had two number one albums and hit elect ro singles and I ﬆ ill didn’t own a synthesiser myself!” WAS THAT SOMETHING YOU KEPT QUIET? OR WERE YOU QUITE OPEN ABOUT IT ALL BEING A BIG RANDOM EXPERIMENT? “I was doing interviews with tech magazines, answering highly technical queﬆ ions and didn’t have a clue about it all! I was supposed to be the number one international artiﬆ expert in elect ronic music and I did not have a clue – they’d ask me queﬆ ions about ﬁ lter envelopes and it was like they were speaking a foreign language! It was act ually quite embarrassing for a long time: I couldn’t admit that I didn’t know about it. I had this reputation as a ‘keyboard expert’ so I tried to blag it. Eventually I did learn a bit about it but initially it was a nightmare.” SO WHEN DID YOU FINALLY OWN YOUR OWN SYNTH? “At the end of the three albums I toured and bought a load of synths then, to play live. That was the ﬁ rﬆ time I owned one myself.” WHEN YOU FIRST PLAYED THAT MINIMOOG IN THE STUDIO, WHAT WAS IT THAT ATTRACTED YOU, AND BY DOING SO FINISHED YOUR PUNK

ASPIRATIONS AND BEGAN YOUR LONG CAREER AS AN ELECTRONIC ARTIST? “The thing abut elect ronic music is… that the notes you play and the way you play them can have exact ly the same passion as acouﬆ ic inﬆ ruments, but there’s an added level. You don’t juﬆ play notes, but create the sound itself – there’s no other inﬆ rument that does that! That makes it amazing for me – it’s such a fundamental part of electronic music, creating sounds, or it should be because it bloody well isn’t for many people. I find it shocking sometimes to liﬆen to people make music using sounds I was using in 1980! We’ve already heard that, don’t use it again! Electronic music is the only music there is where you don’t ever have to repeat a sound! I get excited even now about making a good new sound – I’ll grab my wife and say, ‘Liﬆen to this sound I made!’ I’m like a little boy in a sweet shop with my enthusiasm for it.” YOU’D JUST MADE REPLICAS AND, AS A FOLLOW-UP, THE PLEASURE PRINCIPLE CAME PRETTY HOT ON ITS HEELS. WHAT DID YOU USE AS INSPIRATION TO CHURN OUT NEW SONGS SO QUICKLY? “I was reading a lot of science fict ion at the time, and it shows in songs like Metal and ME. ME is about what would happen if you were the laﬆ person on Earth after the holocauﬆ. I wondered what would happen if the laﬆ living person was a machine, but that robots were advanced to such a degree that they were thinking machines, so I wrote ME. ME is the thought of the laﬆ living machine in the world. I thought that idea was really fab , what a machine is thinking when everything is gone. A lot of what I was writing at the time came from my love in general of science fict ion.” WHO: Gary Numan WHERE & WHEN: The Tivoli (Brisbane) Thursday 12 May, Enmore Theatre (Sydney) Friday 13 May, Forum Theatre (Melbourne) Saturday 14 May

21ST CENTURY BOY S

ince the turn of the 21ﬆ century, Gary Numan’s popularity has seen a well deserved surge. Certainly assiﬆed by the elect ro-pop wave which ﬆruck early in the century, spawning new bands like Ladytron and Goldfrapp and reviving the ﬂagging fortunes of many of synthpop’s great names such as The Human League and OMD, Numan also had a bite of the cherry due to the patronage of poﬆ-induﬆrial poﬆer boy Trent Reznor. On his recent albums Numan has been assiﬆed by techno wunderkind Ade Fenton, who acts as both producer and mentor. Numan admits they have an unorthodox – but successful – partnership. “Ade is fantaﬆic – I don’t think I could get through a day without him! He’s in the band, produces my albums and is my beﬆ friend, and has been for some time.” HOW’S YOUR WORKING RELATIONSHIP? “We rub up againﬆ each other from time to time as you would expect, but he is very encompassing and we work together very, very well and his contributions have been phenomenal.”

HOW DOES YOUR COLLABORATION WORK? “I record a track at home and give it to Ade, who gets rid of things and puts his ideas on it and gives it back to me. I then put all of my ideas back in that he took off in the fi rﬆ place and send it back to him and together eventually we come up with something. He says my ears are rubbish and he should mix all of my songs and I say then there’s the rubbish you did and… but it works very well. If he does something I don’t like I can juﬆ say, ‘That didn’t work for me, take it somewhere else,’ and he’s very cool with that. He’s very supportive of me and what I’m doing. I ﬆ ruggle with confidence quite a lot act ually: I love a track in the morning and in the afternoon I think it’s a big pile of poo and have to ﬆart again. He’s really good at ﬆopping me from erasing ﬆ uff – God knows how many songs I’ve erased thinking they’re no good but I don’t do that any more, now I have this other ear that I value.”

DJ STIFFY’S

WIDE WORLD OF SHORTS SOME IDIOT TAKES GHB AND NOW WE HAVE TO HAVE A DEBATE ON DRUGS So, anyways, some idiot decided to get high on GHB, he ended up in the back of a car on account of the fact that his friends were high and paranoid, and somehow thought that their version of fi rﬆ aid (which I’m assuming was along the lines of a cup of Lipton and a piece of vegemite toaﬆ) would be better than the St John’s version, and now suddenly we’re having a debate on legalising drugs. Not wanting to sound like an arsehole, but people generally take drugs with a certain level of expectation, ie you knock back a pinger and you expect to be hugging everyone in the room and letting those ﬆrings wash over you; you smoke some meth and you expect to be counting pieces of dirt in the carpet; you take GHB and you expect to have your heart slow down and possibly die. At which point, there needs to be a general underﬆanding among the pro-legalisation camp and the Fred Niles of the world – sadly, being an idiot is already legal. The beﬆ you’re going to manage is to do the same as you do with cars. Taking a few pingers and a couple of joints is a little like driving at 100 in a 100 zone. Breaking the speed limit on the other hand is something like a four-day meth binge. And a car crash waiting to happen? Well, that speaks for itself. TANK TANKS I know all y’all in Sydney are getting all sentimental about Tank closing, and I’m sure all those meaningful conversations in front of the bathroom mirror were so significant that they changed the world (juﬆ as dance music was going to end global confl ict), and I do feel for you, but the fact is that you people brought it on yourselves by voting in Clover Moore, who, if you hadn’t noticed, seems to hate everything in the world other than Clover Moore. Precisely how a woman with the personality of a Jacaranda caravan got elected to become mayor of a city known for anal sex and surfing is beyond everyone. What happened? Did you think you were in Melbourne?

(NO GOOD) STOP THE DANCE

Recent research indicates that the average age of Auﬆ ralian ecﬆasy users is increasing. Th is obviously isn’t because a large pocket of seniors have suddenly decided to ﬆart experimenting with ecﬆasy. What’s act ually happening is that the people who were enjoying ecﬆasy 20 years ago are ﬆ ill enjoying it today. The ‘ravers’ of the 80s and 90s are kicking and screaming in to their 30s and 40s and they’re ﬆ ill partying like it’s 1999. People who took ecﬆasy way back in the old days are very annoying. They love to corner younger people at parties and blather on about how much better the pills were back when they were coming up. According to the ‘original ravers’, the only similarity between old ecﬆasy and new ecﬆasy is the shape. But young people are smart. They liﬆen to this and see the truth: it’s not that the ecﬆasy was better, it’s that these old people were younger. Besides if the ecﬆasy back in the day was so much better, then why would these leathery old pervs ﬆ ill be ﬆooping to buy the new, crappier pills? The real queﬆ ion is, how will this affect the image of ecﬆasy as a sexy party drug? The answer is: negatively. It’s hard for anything to remain ‘hip’ when the average user has an artificial hip. And a club full of people grinding their false teeth is never going to attract the next generation of cuﬆomers. I don’t want to sound ageiﬆ here, but it’s unseemly and kind of creepy to watch someone in their 50s cartwheeling around a dancefloor high on E – and this might act ually be the edge the Government needs to win the war on drugs. Maybe a few duﬆ y old politicians need to ﬆart publicising their own experiences with the so-called ‘disco biscuits’. Young people are genetically hardwired to rebel againﬆ the things older people enjoy. If the kids ﬆart noticing that the clubs are fi lled with ageing, sweaty politicians high on ecﬆasy, then ecﬆasy will be about as popular with the kids as adult diapers. If these trends continue and people continue taking ecﬆasy into their old age then I wouldn’t want to inveﬆ in the ecﬆasy induﬆ ry. If we ﬆart seeing meth lab explosions at retirement villages and drug related killings at Early Bird buffets, the kids will quickly find something else to do. DAVE JORY

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INSANE IN THE MEMBRANE

STARS

AQUARIUS (20 JAN TO 18 FEB) You need to ﬆop reading on the toilet as the two act ivities are now so ﬆ rongly associated that you can’t read anything without shitting your pants. PISCES (19 FEB TO 20 MAR) Flushing pets down the toilet is a great way to ensure mutant animals will be living in the sewers for generations to come. So get flushing. ARIES (21 MAR TO 20 APR) Your cat is now officially in a higher tax bracket than you. Th is is deeply embarrassing as your cat is bitching about you to her friends. TAURUS (21 APR TO 20 MAY) By selling your housemate’s computer you’ll solve two problems. You’ll have the money to buy her a birthday present and you’ll know exact ly what she needs. GEMINI (21 MAY TO 20 JUN) Try to survive on a diet of chewing gum, ice blocks and gravel. You’ll find you have more energy and your skin will glow. CANCER (21 JUN TO 21 JUL)

The world has watched in horrified fascination as Libyan dictator Muammar Gaddafi spouts more and more insane ramblings about himself and his regime in the face of uprisings in Libya. But as Gaddafi has so excellently displayed, being completely deluded is not as simple as getting up in the morning, looking in the mirror and saying “Today I’m going to be a deluded baﬆard, juﬆ like every other day in my life”. No, being deluded is much more complicated than that, because as some ﬆ udies have recently shown, the brain act ually doesn’t know it’s lying to itself, even if it has all the evidence it front of it. Living in denial is more like a full-time job – and recent ﬆ udies suggeﬆ that not only will people lie, but they can also delude themselves that they didn’t lie in the firﬆ place. In a ﬆ udy done by Harvard Business School, a group of ﬆ udents were asked to take a maths teﬆ. Half of the ﬆ udents had papers where some of the answers were ‘accidentally’ on the paper they received, which made it possible for them to cheat, which they did. As a result, their teﬆ scores were very high. When these same ﬆ udents were then asked to predict how they thought they would go on the next teﬆ that they did, they not only assumed that they would do as well as they had done on the fi rﬆ teﬆ, they also eﬆ imated that they would do even better. But were they juﬆ saying this, whilﬆ knowing that they had cheated? Well, they were then told that they could earn $20 if they correct ly predicted their next score. Despite the fact that they could make money if they were honeﬆ , the subjects ﬆ ill kept claiming they would keep

NAT

getting high scores, and as a result they earned less money when their next teﬆs had no answers printed on them. So even when there was an act ual reward at ﬆake, they ﬆ ill failed to correct for their deception, as though they didn’t know that they were lying. Sound familiar? Yes it does. When a BBC reporter asked Muammar Gaddafi if he had noticed the 13,000-ﬆrong proteﬆers and rebel forces demanding his resignation, he declared “they are cheering for me”. Incorrect, Gaddafi. He definitely wouldn’t have walked away with $20 dollars from Harvard’s ﬆudies – and at the moment, he’ll probably be lucky to walk away with his legs. HOLLY HUTCHINSON

Sometimes a good night’s sleep is the moﬆ important thing. But this week, it’s more important to have a rape whiﬆ le and a bulletproof veﬆ. LEO (22 JUL TO 21 AUG) After another week of being bullied at work, you may find you reach your breaking point this week. Good. Give in to your anger. VIRGO (22 AUG TO 21 SEP) The short film you’ve been making for eight years is act ually so short it is ineligible for even the shorteﬆ of short film feﬆivals. LIBRA (22 SEP TO 22 OCT) When life tells everyone that it slept with you and you juﬆ lay there like a wet fish, it’s time to move to a new country and change your name. SCORPIO (23 OCT TO 21 NOV) It’ll be juﬆ like the Gwyneth Paltrow fi lm Seven this week. If you’ve never seen it, she ends up dead at the end, with her head cut off. SAGITTARIUS (22 NOV TO 20 DEC) How much do you really know about the guy who writes your horoscopes? Would you let me watch you while you were sleeping? CAPRICORN (21 DEC TO 19 JAN) You’ve been churning out the work of late. Now it’s time to put some of these projects to bed and ﬆart pimping out your male relatives.

THE WEEK ALBUMOF

BIBIO Mind Bokeh (Warp/Inertia)

TRAVIS BARKER Give The Drummer Some (Interscope/Universal) We already knew about Travis Barker’s long love aﬀair with hip hop. His Souljah Boy Crank That remix had rock drummers worldwide featuring hip hop beats as their set solos. And with the hiﬆory of hip hop having its foundation in beats and rap being the combo of beats and words, the concept of his solo record featuring gueﬆ MCs galore act ually seems logical.

Ambivalence Avenue, Bibio’s 2009 Warp Records debut, represented a significant artiﬆ ic mileﬆone for Stephen Wilkinson. Incorporating aspects of future beat and glitchhop into his elect ro-acouﬆ ic folk melanges, the British leftfield producer brought a much appreciated sense of ﬆ ruct ure to his previously meandering soundscapes and elevated his work considerably in the process. Mind Bokeh, Wilkinson’s follow-up record (2010 remix album The Apple And The Tooth aside), finds the producer re-introducing that sense of messy spontaneity and aimlessness to his work. While ﬆ ill clearly enamored of off-kilter rhythms and ﬆ uttering elect ronics, the producer has shied away from the more auﬆere songwriting of Ambivalence Avenue in favour of more spontaneous, less predictable arrangements and

more densely layered soundscapes. More often than not, it act ually works a treat. The noisy chiptune breakdown conclusion of opener Excuses is gloriously fun-fi lled, the washed-out world music loops and densely packed synthesiser textures of Wake Up! are thoroughly immersive. Wilkinson’s talents as a singer-songwriter are not entirely suited to his ﬆ yle of product ion. His voice works beﬆ with minimal backdrops and tends to flounder somewhat when forced to overpower a more kinetic backdrop (as on Anything New). His songwriting, meanwhile, is simply not ﬆ rong enough when placed in a completely conventional background (as on the indie-rock of Take Off Your Shirt). Th is is not to suggeﬆ the record is deeply flawed or bad. It’s juﬆ a case of a few blemishes on an otherwise pleasant album. It’s ﬆ ill very much worthy of attention. MATT O’NEILL

Give The Drummer Some is oozing with radness. It ﬆarts off ﬆrong with Can A Drummer Get Some where Barker takes a ﬆep back by following Swizz Beats’ rock loop and letting the heavy ﬆ yle of MC’s Rick Ross, Lil’ Wayne and The Game shine. Similarly in Carry It, RZA and Raekwon’s grimy raps and Tom Morello’s riffs overshadow Barker’s loop. If You Want To is clearly more of a live drummer show, the horns sample and freeﬆ yle nature of the drumming matching the more alternative ﬆ yles of Lupe and Pharrell. Knockin’ featuring Snoop, Luda, E-40 and Dev really shows Barker’s skills with its intricate 808 type beat with all the trimmings including claps and cymbals. Jump Down also showcases this skill but this time with some help from technology to get that beat-fresh Cool Kids sound. Saturday Night featuring associated punk/ rap band Transplants has a lowrider feel with Slash’s Santana ﬆ yle guitar adding to the theme. Once again Barker takes a ﬆep back by keeping the beat rather than flaunting it. Perhaps that’s part of the point of this collaborative debut, not juﬆ to be the drummer show but to show his different ﬆ yles. Can a Drummer Get Some is a creative experience with each track taking you on a different trip. JANN ANGARA

TIM & JEAN Like What (Universal) Like What, the debut album of up-and-coming indie elect ro-poppers Tim & Jean, will have you smiling from ﬆart to ﬁnish – it is a perfect ly assembled collect ion of catchy pop songs that have a very honeﬆ, youthful feel to them. On top of this, the songs are infect ious. And they make you want to party. The album’s synth-driven sound is eﬆablished from the outset with opener and title track, Like What. It’s a ﬆ range choice as an opener, more underﬆated than what’s to come but ﬆ ill serving as a good introduct ion to the duo’s sound. The next two tracks, Veronika and I Can Show You, are the ﬆandouts. With diﬆ inct elect ro-pop beats and impressive vocal hooks, these are the tracks that will ﬆ ick with you. There is, admittedly, a certain indulgent

repetitiveness to the album after this point, with a few very similar sounding songs and a noticeable lack of ﬆ yliﬆ ic variation. The album comes to a ﬆeady, suﬆained finish with the very poppy Souls followed by the MGMT-esque Huﬆle, which provides an upbeat finish to the record that will leave you feeling good. As a whole, Like What feels like an introductory journey of sorts through the musical talents of these two young men, with each track a new display of their surprisingly eﬆablished sound. The product ion on the album is outﬆanding and the lyrics on each track are slotted together flawlessly, attributing a sophiﬆ ication to the duo that is well beyond their years. Although there may not be a huge amount of musical diversity displayed in the album, you’ll find yourself singing the choruses to yourself on the bus for days, and that’s pretty impressive – especially for a debut album. LUCIA OSBORNE-CROWLEY

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ONE TRACK MIND PAUL WOOLFORD Bareback (Phonica)

VARIOUS/LEFTO & SIMBAD Worldwide Family Volume 1 (Brownswood/Inertia) When a DJ as incredible as Gilles Peterson passes the torch you can bet your house the recipients will be pretty handy themselves. After over ten years of his Worldwide radio shows, live shows and compilation CDs, Peterson has ﬆarted a new line, Worldwide Family, asking a couple of his crate digging protégés in Belgian DJ/producer Lefto and French DJ/producer Simbad to take the reins in showcasing the music they have uncovered in recent months. Lefto’s select ion is the more considered and better of the two. He begins with the tinkling late night soul of Belgium’s Up High Collect ive, spacey dubby analogue hip hop from Meeting Point, Exile and grooveman Spot and Dela & The Headlesshunters cover of Light Of The

MIND OVER MATTER Juﬆ Like Fireworks (I Forget, Sorry!/Other Tongues) Mind Over Matter’s debut album Keepin’ It Breezy kept their name blowing in the winds, however their second is setting the night sky ablaze with techni-colour boom bap and rockinﬆ rumental hip hop designed to bounce, rock and blaze one to. A ﬆep above, both in subject matter and musicality. Firﬆ single Rappers In Wonderland and equally show-oﬀ track This Wonderful Life let you know right away that the duo have returned to the record race of 2011 – legit contenders for the title. Smiles Again and Willows have grown and travelled abroad to South-Eaﬆ Asia with Bliss N Eso and in the very poignant track Hollow Eyes the pair comment ﬁ rﬆ-hand on the sleazy side of King’s Cross and Thailand’s sex tourism induﬆ ry. Such dark tales paint a more serious

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World’s London Town. The undoubted highlight is UK band Brassroots’ live, horny and very Hot 8 cover of Inner City’s house classic Good Life. Later, Onra donates a disco cut-up that harks back to the glory days of nineties French house. Simbad’s mix is a little more ‘diﬃcult’, warming up with Airhead’s glitchy folk, Illum Sphere’s trippy dedication to Dimlite alongside slo-mo elect ro funk, spacey dub and jazzy almoﬆ-d‘n’b before peaking with the atmospheric breaks of Ave Blaﬆ’s Glow In The Dark and the techsoul of Kemeticjuﬆ. Th ings get really naﬆ y on the way out with drums and more drums hammering, twiﬆ ing, mutating and then deﬆ roying everything in sight with Seiji and Ku Bo. Though not for the faint-hearted Worldwide Family Volume 1 demonﬆ rates the future of Gilles Peterson’s Worldwide concept has been inveﬆed wisely in Lefto and Simbad. DARREN COLLINS

overtone in contraﬆ to their paﬆ releases. The title track rolls over a famed-piano chop as MOM celebrate the enriched and rewarding life as recording artiﬆs and the groove continues seamlessly into Harder with Vida’s vocals layering a reggae-smoked emotion over the top of elect ric battle axes all aiding in connect ing with the every man and the hard times of the working life. The guitars keep alive on tracks Off The Chain, and the 80s aerobic track Famous featuring Sam Mcniell on the hook. The fi reworks of such a rock-anthemic album speeding down the hip hop lane matures in full bloom above the reﬆ. Juﬆ Like Fireworks shows and proves that the ﬆandards of Auﬆ ralian hip hop have increased ten old and garners a solid three fingers, with an extra ﬆar for ﬆacking an 8-track EP from the I Forget, Sorry! collect ive on top of 17 tracks, RIP NICHOLSON

A dope nine minute trip through hypnotic vocal chants and echoed washes, funky acid ﬆabs and jittery, freeform drums. Possibly the moﬆ experimental Paul Woolford has dared to make his music, and the risk really pays oﬀ.

OM UNIT The Timps (Civil Music) It’s thoroughly refreshing to see a track categorised as elect ro and act ually sound like real elect ro. Th is has dark, grimy warehouse back in the 80s written all over it. Simple, mechanical, percussive beats and repetitive, siniﬆer synth ﬆabs that would make even Drexciya proud propel the tune, and really, that’s all it needs.

DAMIEN SCHNEIDER Future Two (Apologue) The beats and bassline have that familiar raw “Berghain” sound, but then absolutely beautiful dub chords and atmospherics soften the edges and make this into a lovely hypnotic groove. ANDREW WOWK

3DPLAYLIST 3D 1. I Mix Therefore I Am SOMA RASA 2. Straight Outta Compton NWA 3. Fabric 57 VARIOUS/AGORIA 4. Space Is Only Noise NICOLAS JAAR 5. Will Do (XXXChange Dancehall Mix) TV ON THE RADIO 6. Ready To Drop KATALYST FEAT KWEEN G 7. Tambourine TEETH & TONGUE 8. Diﬆance D-NOX & BECKERS 9. Absence SNOWMAN 10. Blues For The Red Sun KYUSS

TUBETIME

Remember this: Vanilla Ice was the man. Not only had he escaped from the underground laboratory where he was created, he had a hit single on his hands with Ice Ice Baby. Donning pants that are pretty fly for a white guy, and an angular hair-cut that says “I’m really fucking cool”, Vanilla Ice took the world by its horns, and was then horribly gouged by them. Two decades on, he hoﬆs The Vanilla Ice Project (DIY Channel), a home renovations program where the world’s whiteﬆ hip hop artiﬆ of 1991 shows viewers how to get great resale value on a cheaply bought house. The show is Backyard Blitz meets Cribs, with a posse of former music induﬆry heavies who have turned to home renovation to make a cruﬆ. Vanilla Ice is now 43. He ﬆ ill has the jivin’ ﬆ reet talk, dropping words like “wikid!” and “next!” and “see ya!”. Stories of tough ﬆ reet life, of guns and huﬆ lers, have no useful application when you’re varnishing a wooden ﬆairwell. ‘Rob’ wears a baseball cap and his tattoos immortalise ‘the hard knock life’, but these days he is genuinely excited in choosing earthy colours for bedroom walls and applying vapour resiﬆant ceiling moulds. Vanilla finds himself in an odd predicament, riding the coat tails of his former celebrity ﬆatus to hoﬆ a cheap home-renovation show, all while insiﬆ ing that he is now ‘Rob’ and ‘Vanilla Ice’ only exiﬆs in the nightmares of 1991. “I’m Vanilla Ice, and this is my project! Bam!” STOP – renovate and liﬆen. One hand on the ﬆeering wheel, and Vanilla Ice nodding along to inaudible music. You can imagine the brilliance of a show called Pimp My House, but there aren’t enough XBoxes and lime-green speed ﬆ ripes for it to be a millionaire’s trashy mansion, but Van Winkle earneﬆ ly tries to win us over with his passion for fi x-er-uppers. “We can’t inﬆall this if the moiﬆ ure level is too high,” he frets, while his children are in the adjacent bedroom readying the walls for a prime coat. The Vanilla Ice Project proves that Rob Van Winkle could survive a nuclear holocauﬆ and ﬆ ill be useless to humanity. 5SPROCKET

FILM

SCRE4M

It’s been 15 years since the white and privileged teens of Woodsborough were fi rﬆ sliced and diced by the ‘Ghoﬆ face Killer’, and two sequels and a decade later, the Scream franchise is looking for another shot in the arm. In the lateﬆ addition, Sidney Prescott (Neve Campbell) returns to her old ﬆomping ground to push sales on her lateﬆ book, a novelisation of the movie Scream 4 (how meta). Moments later, a mangled body is discovered in the trunk of a car. “That body represents originality,” says David Arquette, whose character has now been promoted to bumbling Sheriff. Surgically thin Courtney Cox ﬆ ruts on, the skin on her face ﬆ retched so tight it’s a trampoline for head lice. The teenagers of the town celebrate the anniversary of the murders by prank calling each other and holding marathon screening of the Stab fi lms. Hayden Panettiere, Emma Roberts and Rory Culkin head a pack of Horror

2.0 youngﬆers. They’re like the ones in the 90s, except this time they drop the word ‘Facebook’ like they’re in The Social Network. Raised in an era of remakes, reboots and re-imaginings, they know that “breaking the rules is the new rule”. Many deaths follow, and many of them have Ghoﬆ face falling down ﬆairs or running in to a door. If you are a fan of the Scream series, you will be surprised by the quality of this belated inﬆallment. Directed once again by horror movie icon Wes Craven (Nightmare On Elm St) and penned by Kevin Williamson (Dawson’s Creek), it seems like the fi lmmakers set out to make the moﬆ ‘meta’ movie ever, something so self-reflexive that it’s like being trapped in Bruce Lee’s mirror fight. Scre4m is light, fresh and alive; it’s The Godfather: Part II of comedy/ horror/slasher/poﬆ modern franchise fi lms. 5SPROCKET WHERE & WHEN: Screening in cinemas now

FILM

PAUL

Fat British science fict ion nerds Clive (Nick Froﬆ) and Graeme (Simon Pegg) are on a onein-a-lifetime road trip through the USA. They are in their late 30s but pretend they are goingon 19, living through ﬆories of aliens with three tits and trolleys of fried snacks. They’re in an RV, trekking from San Diego Comic Con to Area 51, gleefully drinking alien-themed milkshakes and buying novelty bumper ﬆ ickers. It all becomes very real when they ﬆ umble upon Paul, a three-foot high, chain smoking alien that happens to sound like Seth Rogen. Paul is on the run from military forces, likely because he’s a jerk ﬆoner from outer-space. A parody of the messianic ET, Paul can turn invisible at will and resurrect the dead, as well as come back with snappy zingers that would fit comfortably in re-runs of ALF. The trio of misfits band themselves with a one-eyed religious nut (Kriﬆen Wiig) and 70-minutes of predictable zaniness follows.

The Shaun Of The Dead and Hot Fuzz ﬆars are looking to bring their cult geek shtick to the Hollywood mainﬆ ream, and their screenplay for Paul has a declared Spielbergian flavour. Much of the fi lm is fi ltered through slacker homages to Close Encounters Of The Third Kind, ET and The Sugarland Express. Ably directed by Greg Mottola (Superbad, Adventureland), it lacks the visual dynamism of Froﬆ and Pegg’s work with Edgar Wright and feels overwhelmingly ‘safe’. For all its faults, however, it is a surprisingly charming fi lm. The CG character of Paul is a surprisingly well-rounded character, and deftly takes control of the fi lm. Boaﬆ ing an ensemble caﬆ of US comic character actors (Bill Hader, Jason Bateman, Jeff rey Tambour), some clever set-pieces and frequent out-loud laughs, it will feed the soul of your inner fanboy for 90 easy minutes. 5SPROCKET WHERE & WHEN: Screening in cinemas now

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GAME

TECHNO SCAPE

VJ NEWS ROUND-UP Seems there’s a bit of momentum picking up in live-pixel land. Lots of feﬆ ivals, ideas and software developments.

MOTORSTORM APOCALYPSE (Evolution/Sony) (Playﬆation 3) Set in a poﬆ-apocalyptic world, so much so that the game was and has been delayed in New Zealand and Japan for fear of making light of dire situations, MotorStorm’s premise is around band of outlaws (or equivalent in a land without laws) who get their kicks by racing through cities. A light-hearted racer that’s all colour, sound and high frame-rate, it’s good for a bash even if there’s not a whole lot of ﬆaying power. Races in the ‘festival’ or main game mode are tied together by a cartoon storyline, short snippets of a throwaway backstory that’s all too easy to skip. If you do take the minute to watch the grabs, you’ll find that none of the 2 dimensional characters are endearing or complex. You can say the same for the the racing. A pretty ﬆ andard racer, it’s a case of flooring the accelerator and pointing the thing you’re controlling in the direct ion you want it to go. There’s been a bit of thought in that concept as well. As you launch off the top of a building and ﬆ raight into the window of a long-abandoned but ﬆ ill fully-formed office block, papers, tables, bits of wall and probably bullets from that helicopter hovering juﬆ over

your shoulder fly all over the place and obscure the view quite spect acularly. Because it’s so pickup-and-play, both the tracks, perhaps better described as maps or levels, and the different vehicles, primarily bikes, cars and trucks keep things intereﬆ ing by being modelled on a Dakar Rally premise of different makes in a wideopen rally. It’s good clean fun (despite the unfortunate apocalypse reference) and worth a bash if a mate’s got it. Staying power’s definitely queﬆ ionable though. TOM BRABHAM

MODUL8 & MAPPING FESTIVAL, GENEVA As well as a thematic focus on video project ions mapped onto non-screen surfaces and shapes, this year’s feﬆ ival will see the official release of MadMapper, a new video mapping software created by GarageCUBE (Modul8) and 1024_architect ure. Feﬆ ival bonus points – Melbourne’s Kit Webﬆer was chosen as one of the few selected from International applicants to show an inﬆallation. See more at www. kitwebﬆer. com.au. VDMX BETA 8 + LPM, ROME Meanwhile, another gaggle of pixel-heads converge in Rome for the annual Live Performer’s meeting. Notable this year will be the rare fleshy appearance of the VDMX coders from vidvox.net, crawling out of their bunkers briefly to describe some of the benefits of their new BETA 8 (such as built in Syphon support, and a whole range of underlying improvements). AUDIOVISUAL MAX FOR LIVE Melbourne audiovisualiﬆ, Zealousy(.com) has been developing a series of intereﬆ ing looking Max For Live patches, which he has called Vizzable VJ Plugins, and he recently joined forces with Fabrizio Poce who makes the V-Module suite, and they’ve merged their projects “to provide a comprehensive suite of video, effects and real-time graphics tools for Live.” BUT WHAT DOES IT ALL MEAN? Berlin’s clubtransmediale.de held a symposium in February, with a spotlight on the pract ice of media-based audiovisual live performance considering what ‘liveness’ entails in the age of media technology. A nice liﬆ of people, ideas, links, transcripts and videos has been generously compiled by someone in attendance – the UK’s Toby *spark, who is currently framing his Phd on the topic. TEEMING VOID Also well worth a read is the lateﬆ piece by Mitchell Whitelaw (resident Canberra theoriﬆ and pract itioner in generative art, data visualisation, physical computing and digital materiality), which explores our fascination with glowing rectangles in today’s media ecology and how processes and techniques such as project ion mapping have been offering some ways to explore digital art beyond the screen. @JEAN_POOLE

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SHOES

ADIDAS EASY FIVE HI ~ $120. www.hypedc.com

NIKE AIR MAX 1 ~ $180. www.hypedc.com

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KEEP HOMER ~ $70. www.hypedc.com

ONITSUKA TIGER MEXICO 66 ~ $180. www.hypedc.com

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CARHARTT CUP JACKET ~ $229. www.carharttstore.com.au

NIQUE DUSTED LEATHER JACKET ~ $519.95. www.nique.com.au

MENS JACKETS

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CARHARTT ACTIVE JACKET ~ $479. www.carharttstore.com.au

NIQUE RATIO KNIT HOOD ~ $169.95. www.nique.com.au

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JAPANESE PACKAGING ICE-BAR MAKERS ~ $2.80. www.daiso.com.au

GINGHAM CHECK COASTER SET ~ $2.80. www.daiso.com.au

‘FUNNY ERASER’ ANIMALS ~ $2.80. www.daiso.com.au

GLOWING PETIT STICKS ~ $2.80. www.daiso.com.au

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‘MUSIC’ TOTE BAG ~ $2.80. www.daiso.com.au

EYE LASH SET ~ $2.80. www.daiso.com.au

BEAD’S GREEN APPLE ROOM DEODORANT ~ $2.80. www.daiso.com.au

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‘COLORFULNESS’ ANIMAL SPONGES ~ $2.80. www.daiso.com.au

CONTROVERSIAL RELIGIOUS MOVIES THE OMEN

SIZE MATTERS? 111 minutes.

RELEASED? 1976.

STARS?

Gregory Peck, Lee Remick, David Warner and a child that looks evil.

PLOT?

An ambassador and his wife adopt a child who happens to be the Antichrist.

TAGLINE?

“Attila The Hun. Ivan The Terrible. Al Capone. They were all seven once.”

PROS?

Heavy, droning Latin chants serve as the fi lm’s soundtrack. Lactus! Dominus!

CONS?

Once you’ve seen it, all children will look like potential killers.

LAST TEMPTATION OF CHRIST

SIZE MATTERS? 163 minutes.

RELEASED? 1988.

STARS?

Willem Dafoe as Jesus, Harvey Keitel as Judas, David Bowie as Pontius Pilate.

PLOT?

Jesus, the son of God, is torn between earthly impulses and listening to his father’s advice.

TAGLINE?

“Oh No He Din’nt!”

PROS?

Alternate reality sequence where Jesus marries Mary Magdalene, tells dad jokes and runs an antique shop.

CONS?

It’s not real.

PASSIONOF THE CHRIST

SIZE MATTERS? 225 minutes.

RELEASED? 2004.

STARS?

Jim Caviezel, Monica Bellucci.

PLOT?

Jesus is brutally tortured and humiliated in public, then dies.

TAGLINE?

“Based on the New York Times #1 Bestseller.”

QUOTE?

Something in the dead language, Aramaic.

PROS?

It doesn’t have Mel Gibson in it.

CONS?

It kick-started the torture porn genre.

THE FINAL

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

SALES & MARKETING I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ yahoo.com.au iFlogID: 12394 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: luke.szabo@waysfundraising.com iFlogID: 12288

FOR SALE AMPS PEAVEY BANDIT 80watt 12”speaker Guitar combo. 2 channel.footswitchable.great fat tone.reverb/saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy iFlogID: 12737 Fore Sale,, Bogner Shiva Guitar Head iFlogID: 12369 Laney GH120 Guitar Head. 120 watt.2 channel.footswitchable. reverb.direct out.very punchy.great tone.VGC.$400. Ph.0428744963. Cooroy. iFlogID: 12741 Peavey Windsor 400watt 4/12 slant cab. supreme XL speakers.16ohm. HUGE bottom end tone.AS NEW cond.$450. Ph.0428744963. Cooroy iFlogID: 12745 VASE Valve/tube amp with 2 2/12 matching cabs.’Trendsetter 60’. genuine 1960’s.HUGE sound.perfect original working cond. $1200 ono.Ph.0428744963.Cooroy iFlogID: 12747

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@ hotmail.com iFlogID: 12220

OTHER Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com for free web-site and information on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 12392

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 CARVER 1800watt P.A HEAD Price: $850.00 Rack mount.split mono. with Bose controller/pre-amp.8 speaker outputs.Very loud! in case.cost over $2500 sell $850. Ph.0428744963.Cooroy. iFlogID: 12733

PA / AUDIO / ENGINEERING PA SOUND SET UP FOR CLUBS,PUBS AND SPECIAL FUNCTIONS.RELIABLE ,COURTEOUS OPERATOR.GOOD GEAR ,REASONABLE RATES PHONE JOHN ON 041 8221680 OR 80040439 iFlogID: 12800

TECHNICAL SUPPORT @ BIG MUSIC

MUSIC SERVICES BOOKING AGENTS Artists and bands needed to play Caloundra Music Festival 2011. Applications being taken now. Head over to www.caloundramusicfestival.com.au and click Get Involved, then Artist Applications to find out more. iFlogID: 12349

EP RELEASE 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

HIRE SERVICES 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. com.au iFlogID: 12270 The ultimate party equippment used in clubs, festivals and house partys. Wireless headphones in hot pink and cool black and a transmitter allows you play two dj’s on 1 dance floor, from only $5 a headphone. www.silentdiscoking.com. au for more info. iFlogID: 12373

MANAGEMENT Open Muzic Records is a new London based record label that is focused on talent, whether it’s Rock or R&B, Pop or Metal, we feel we have the ears to spot a star! Applications being taken. www. giglaunch.com.au iFlogID: 12353

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@ bigmusic.com.au iFlogID: 12206

PHOTOGRAPHY Cardboard Box Studios www. danebeesley.com T: 0402 327 153 iFlogID: 12345

REPAIRS ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADESREPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 tara@rockinrepairs. com www.rockinrepairs.com iFlogID: 9350

TUITION AUDIO TRAINING @ BIG MUSIC

Register Today its FREE www. ozmusiccentral.com.au be part of something bigger iFlogID: 12326 Songwriter available. I write catchy, positive, marketable and popular songs with broad appeal. APRA Full Member. To hear samples of my work go to www.custard.net.au/ raoulmclay. 0434 300 959. iFlogID: 12225 www.ozjam.com.au is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 12759

DUCE A NEW SONG EACH WEEK... FOR THE NEXT 6 MONTHS? youtube.com/helmutuhlmann - Well i’m trying to do it whilst keeping them original, unique and experimenting around with different genres! youtube.com/ helmutuhlmann iFlogID: 12102

SINGING LESSONS for all ages and levels. Very experienced and understanding female teacher. Audition preparation. Lessons taught at studio in Botany. Affordable rates start from $30 half hour, $40 full hour. Unleash your inner voice! Contact: alteregoprom@ gmail.com or call 0403.869.364 iFlogID: 12695

MUSICIANS WANTED

Studio Skills for Singers & Rappers. Do you want to do a recording, but have no studio experience? Do you get into the studio and feel uncomfortable, can’t seem to get a good performance? 1 hour weekly sessions. cityofninegates.com/studioskills cityofninegates@gmail.com iFlogID: 12320

VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 We produce your music video from $250 (4 hour shoot,4 edit cycles). Live gig edits, multiple angles, from $150 or 1 live track from $80. All shot in full HD. d7studio@iinet.net. au ph:0404716770 iFlogID: 12170 Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. www.kontrolproductions.com iFlogID: 12198 MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or atrists and strives to offer quality creative Music Videos at an affordable price. Visit www.immersionimagery.com or email info@immersionimagery. com iFlogID: 12701

MUSICIANS AVAILABLE DJ DJ Available for private parties and venues. Specialising in French House, Neu Disco, and Lounge. Reasonable rates and fabulous tunes. Email jac@bijougroup. com.au iFlogID: 12814

OTHER 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. Infovision@yayabings.com.au. Contact Chris 0419272196 iFlogID: 12826

GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Rock, pop, jazz, theory, etc. etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 email: oa@ olesart.com iFlogID: 12304

OTHER Big Music & Multimedia in Crows Nest now offer audio enthusiasts the chance experience audio training in a real studio environment. Receive software training on Protools, Cubase, Garage band and more. Sessions are customised to your needs. Don’t waste time learning the things you don’t need. Hone your skills, and enhance your productions. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@bigmusic. com.au iFlogID: 12200 Drummer and Drum Lessons Drum Lessons avaliable in Gladesville. Teach all levels, ages and experience. I have played for 16 years. I studied at Billy Hydes Drumcraft and Obtained a Diploma In Drumming Mob: 0402 663 469, Michael iFlogID: 12739

Acoustic duo available! Covers and/or originals. Harmonising Male/female duo mixing it up between guitars + keyboard. We have a great PA: 2x Mackie SRM450V2 speakers, 2x Shure Beta 58 Microphones, 1x Yamaha MG-166CX Mixer + leads, stands etc. myspace.com/aprilskyproductions 0433 946 982. iFlogID: 12100

NOT AVAILABLE FOR FREE ADS. CL Professional sax / flute player available. Can read and improvise. Jazz/ funk/rock/pop/afrobeat/reggae/dj etc. Call Mike 0420435760. iFlogID: 12312

SONG WRITER CAN I WRITE, RECORD AND PRO-

KEYBOARD COVERSBAND REQUIRE A KEYBOARDIST Busy Sydney covers band playing current pop/rock/funk. We are a Agent backed band, all paid gigs, 4-6 gigs a month. Aged between 18-35, with own gear and transport. Please send details to brotherbooth@gmail.com iFlogID: 12715 Well established Sydney based Pop / Rock covers band requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to brotherbooth@gmail.com iFlogID: 12251 Well established Sydney based Pop / Rock COVERS BAND requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to brotherbooth@gmail.com iFlogID: 12253

OTHER 26yo Bassplayer/singer/songwriter seeking guitarists, keyboards, drummer for restructuring of band “Structures Fall”.Male and female welcome. Lots of songs written and also looking to collaborate... gigs waiting! Based in eastern suburbs. Indie/folk/rock/pop. Contact Roo 0401 497 917 or andrew@ guardianproductions.com iFlogID: 12341 Gig Launch, Australia’s first online music booking agency, needs a radio ad! Applications now being taken. Prizes awarded to winning advertisement. Head over to Gig Launch - www.giglaunch.com.au - to find out more. iFlogID: 12351 Register Today its FREE www. ozmusiccentral.com.au be part of something bigger iFlogID: 12328 Young unsigned bands wanted for new venue in Woolloomooloo/ Kings Cross. we want to help YOU get a start in the industry. Email dave.downunderbistro@gmail. com or drop into 218 William st, speak to Dave. iFlogID: 12402

SINGER A Talented, Reasonably experienced singer is needed for Sydney based alternative metal band. Age 20-35. Check us out at www.myspace. com/gentleenemies We rehearse in Marrickville. We’re friendly but serious musicians. Please send us a sample of your vocal work to gentleenemies@gmail.com iFlogID: 12781 Australian Katy Perry Tribute, Require a lead vocalist. Agent backed, gigs booked and waiting. Please email bio to rob4004@ gmail.com iFlogID: 12408 Male or female rocker needed for northen beaches rock/metal band. Influences include Alice in Chains, Skid Row, Iron Maiden, Entombed, Katatonia, The Devin Townsend

Project and many more. Txt 0410 455 562 for more info and demo. iFlogID: 12779

SINGER WANTED - ASAP Experienced Progressive Heavy Groove Band seeks, Strong Heavy/ Melodic Vocalist. Think Sevendust, Tool, Karnivool etc. READY TO PLAY!!! Call Simon - 0413210550 iFlogID: 12818

SERVICES GRAPHIC DESIGN Band Posters Want professional looking band posters? Contact 1200design and get great posters and/or cd covers for prices aimed at musicians. E-mail: nicole.a.reece@gmail.com iFlogID: 12406

OTHER Man & Van available for small loads, removals etc. For rough quote phone Ken 97590970 iFlogID: 12324

TUITION BASS GUITAR TUITION....FOR BEGINNERS...ONLY $30/hour iFlogID: 12784 DJ Turntable workshops. Are u prepared for the new MP3 Laws? The DJ Bootcamps Turntable workshops will help u get a plan B together. No laptops. No software. Just skills. Register at www.djbootcamp.com.au for June workshops iFlogID: 12216 DRAGONSCALES GUITAR LESSONS Cheap Guitar lessons on the gold coast From an experienced teacher for all ages. Free introductory lesson!! Call James on 0437261479 or email dragonscalesguitar@gmail.com iFlogID: 12706

SALSA! SWING! TANGO! CHA CHA! EL PASO LATIN AMERICAN DANCE STUDIO is a premier full time studio specialising in all styles of Latin American Dance & Ballroom. Located in Annandale, EL PASO has a warm and inviting atmosphere, catering for all ages and levels from absolute beginners to performance level. With over 30 years experience as a professional dance teacher and performer, Maestro Carlos and his lovely side kick Carla would love to welcome you into their ornate and fully equipped dance studio. Casual $20. First lesson FREE with purchase of 6 week course $100. Private lessons/ Wedding Couples/ Choreography/ Performance also available by appointment. carlos@ elpaso.net.au OR carla@elpaso. net.au www.elpaso.net.au 02 9560 8540 iFlogID: 12284

SHARE ACCOMMODATION AVAILABLE share accomodation with married couple. croydon park. $150 week... for serious single male or female.. iFlogID: 12685

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

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