3D World - Brisbane Issue #1041 by TheMusic.com.au

Afternoon Breakfast With DJ HARVEY The Whispers & Moans Of ORGASMIC DISCO TRAVEL

QUEENSLAND’S Extreme North TRON: LEGACY Reviewed

BRISBANE•GOLD COAS ST Issue 1041

WEDNESDAY 15 DECEMBER 2010

FREE

QLD

CREDITS PUBLISHER Street Press Auﬆ ralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel CrichtonRouse SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, 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, DJ Stiﬀ y, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwﬆon, Jane Stabler, Jann Angara, JC Eﬆeller, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Kierﬆen Seeto, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matt Unicomb, Melissa Weﬆ, Monica Connors, Nick Connellan, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney, Tom Brabham, Tom Edwards, Triﬆan Burke

Alexis Dewick, Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Koﬆas Korsovitis, Luke Eaton, Terry Soo ADVERTISING DEPT sales@3dworld.com.au NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Connie Filidis QLD – Adam Reilly, Melissa Tickle

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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 (03) 9421 4499 PRINTING Rural Press (02) 4570 4444 DISTRIBUTION diﬆ ro@3dworld. com.au SUBSCRIPTIONS www.isubscribe. com.au Subscriptions are $2.20 per week (Minimum of 12 weeks) ADDRESS Suite 11/354 Brunswick St, Fortitude Valley, QLD 4006 Locked Bag 4300, Fortitude Valley, QLD 4006 Phone (07) 3252 9666 Email info@3dworld. com.au

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SUSHI SNAPS GETANIGHTLIFE.COM 1 Disco Disco @ Monaﬆery

5 Residents @ The Met

2 DJ Playmate @ Zuri

6 Saturday @ Birdee Num Num

3 Jingle Bell Party Rock @ GPO 4 Kiss Kiss @ Monaﬆery

7 Saturday @ Family 8 Saturday @ X & Y 7

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BRIEFS

EPIC&FAIL

SHANE WARNE

EPIC ROCKSTAR

Zouk oﬀering one 3D World editor an incredible VIP weekend in Singapore priceless! Not being able to ﬂy out because your name is spelt incorrect ly on the ticket - heartbreaking. Finally boarding six hours (and many angry phone calls) later and getting smashed on the plane – better than a MaﬆerCard ad.

WONDER WOMAN

Animal Kingdom has delivered the veteran Auﬆ ralian act ress, Jacki Weaver her third AFI award and there are whispers of an Oscar nomination. Cooleﬆ 63 year-old in town.

OH YEAH! OH YEAH!

Shane Warne sprung again! Th is time locking lips with married British model Liz Hurley in London - who later revealed via twitter that she was currently separated from her husband Indian tycoon Arun Nayar. How does he do it? Chicks muﬆ dig the hair.

FAIL OPRAH MANIA

We can all be thankful that the Big O and her 300 ﬆ rong circus are many, many miles away from us. Seriously people this lady is not Chriﬆ… although, maybe if we cruciﬁed her...

WIKI’S GOLDEN SHOWER

All this leaking is making us dishpan. It’s also making us want to go party in Saudi Arabia... where, it turns out, underground parties are indeed held underground.

WILLKAT TO VISIT

Now that the UK has tripled ﬆ udent fees... you gotta wonder why the royals get their educations paid for by UK taxpayers. While hoi polloi are paying their uni debts oﬀ, Willy gets to globe trot. No wonder they went for Camilla laﬆ week.

GOLD COAST DJ tag-team the Stafford Brothers are to hit the small screens of Auﬆ ralia when their new reality TV show, imaginatively titled The Stafford Brothers, premieres on Fox8 on Friday 21 January. Hopefully there’ll be an “uncut” version so we can see what Matt and Chris really get up to on the road... A TWO METRE marijuana plant decorated as a Chriﬆmas tree was confiscated from the home of “an old hippie” in Germany laﬆ week. The man is now facing drug possession charges. Let this be a lesson to you all, drugs are bad... ONE MINUTE YOU’RE hot and the next you are not. Lara Bingle learnt this laﬆ week when she was shelved as the face of Speedos for fresh faced Rachel Finch. May we suggeﬆ a walk off to settle this rivalry of two really ridiculously good looking people… FOLLOWING THE MASSIVE success of the fi rﬆ inﬆallment of Ferry Corﬆen’s Once Upon A Night compilation, a Volume 2 is on its way through 405 Recordings here in Oz. Acts like Breakfaﬆ, BT and Corﬆen himself feature on a trackliﬆ ing that is short on eﬆablished names and big on new blood… DOUBLE GRAMMY AWARD winning UK chanteuse Adele graced the ever-popular Ellen Degeneras Show laﬆ week to debut her new track Rolling In The Deep. It’s out here Friday 14 January through XL/Remote Control, with the 21 album dropping a week later...

LAMB

THE SONG THAT DOESN’T END

When Lamb toured Auﬆ ralia over the 2009/10 changeover period, lives were changed. Grown men wept. Women gave up their fi rﬆ born. And very few expected Lou Rhodes and Andy Barlow to ever return. But return they will, hitting Auﬆ ralia on the fi rﬆ leg of their 5 world tour to premiere material from the album of the same name – their fi rﬆ offering of original material since 2003’s Between Darkness And Wonder. Obviously 2009’s “one-off ” 30 nation tour agreed with the duo and their fan base are the big winners. Only Melbourne and Brisbane get club shows, with New South Welshmen having to content themselves with a feﬆ ival set at Playground Weekender Sunday 20 February – unless they want to book some fl ights for their gigs at Prince Bandroom (Melbourne) Thursday 17 February or The Hi-Fi (Brisbane) Friday 18 February. Tickets on sale through the venue websites from 9am on Friday 17 December. GUILTY SIMPSON

AS CHARGED

The motor city of Detroit has been recognised mainly for its techno scene in the paﬆ, but it’s got a healthy hip hop heritage as well – and we’re not juﬆ talking Eminem. But Guilty Simpson has in fact collaborated with the white rap megaﬆar who he ﬆ ill calls Marshall, as well as his accomplices D12 and the late J-Dilla – responsible for his ﬁ rﬆ recordings and introduct ion to the Stones Th row label family. Ronnie Cash aka Phat Kat is Simpson’s homie, and comes with his own set of impressive credentials and a new album Katakombz set for release in 2011. Whether this means Simpson’s OJ Simpson collab with Madlib won’t feature in their joint tour of Auﬆ ralia is anyone’s guess, but you should get along to The Hi-Fi (Melbourne) Friday 21 January with M-Phazes, Aux-One and Aoi, Tone (Sydney) Saturday 22 January with Dizz1 & Friends, Seekae DJs and Cold Crush DJs or X & Y Bar (Brisbane) Sunday 23 January to ﬁnd out. TRICKY

OLD DOG, NEW TRICKS

Nearly 20 years since he appeared as a gueﬆ voice on Massive Attack’s seminal Blue Lines, the mercurial Tricky is more proliﬁc than ever. Over the paﬆ two years his name has been attached to three albums – the superb 2008 outing Knowle Weﬆ Boy, it’s subsequent rework by American elect ro producers South Rakkas Crew and now Mixed Race. Recorded in Paris with contributions from Primal Scream’s Bobby Gillespie among others, the man himself cites it as his moﬆ uptempo to date – a far cry from his smoky 1995 debut Maxinquaye. He was laﬆ seen in our parts when he played Splendour In The Grass in 2008, and he’ll be back for Playground Weekender in February 2011 – and some sideshows as well. Tricky and band play The Forum (Melbourne) Wednesday 16 February, Metro Theatre (Sydney) Saturday 19 February and The Zoo (Brisbane) Sunday 20 February. Tickets on sale 9am Thursday 16 December through Ticketmaﬆer (Bris/Melb), Oztix (Bris) or Ticketek (Sydney).

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BRIEFS

STARS

GENERAL OUTLOOK Chriﬆmas is juﬆ around the corner, so swallow your pride and your fear and ﬆart doing some major shoplifting. AQUARIUS (20 JAN TO 18 FEB) Don’t forget any appointments you have this week. Dentiﬆ, doctor, parole officer, chemical caﬆ rator. PISCES (19 FEB TO 20 MAR) “Shark Week” is coming soon to Foxtel, which is an excellent opportunity to demonﬆ rate what a thick suburbanite you can be. ARIES (21 MAR TO 20 APR) Stop telling people you are Morgan Freeman’s son/daughter. Anyone who is impressed by that isn’t a real friend. TAURUS (21 APR TO 20 MAY) I’m one of the top horoscope writers in the country, so tell me then – why am I being accused of pimping and narcotics diﬆ ribution? GEMINI (21 MAY TO 20 JUN) Draw sideburns and a beard on your face this week, using mascara, and see how many people act ually notice. CANCER (21 JUN TO 21 JUL) An unwanted sexual advance againﬆ you will lead to a violent ﬆ ruggle and a large amount of coleslaw being spilled. LEO (22 JUL TO 21 AUG) That anxiety rash on your face and body has finally cleared up. It’s too late for you though, since you died laﬆ week. VIRGO (22 AUG TO 21 SEP) Don’t be glib this week. Say what you mean and don’t smile or crack silly jokes. If people mess with you, spit at them. LIBRA (22 SEP TO 22 OCT) The only legal way to carry a concealed knife around is to also carry a concealed spoon and fork. Then you juﬆ look hungry. SCORPIO (23 OCT TO 21 NOV) The more lies you tell, the further you get from the person you used to be. So keep those lies coming asshole. SAGITTARIUS (22 NOV TO 20 DEC) Th is week it is crucial that you do some exercise and watch what you eat. Specifically don’t eat broken glass. CAPRICORN (21 DEC TO 19 JAN) Stop being your own worﬆ enemy. Hiring that guy to come around and kneecap you was a dreadful miﬆake.

THE SINGLE GLOVE worn by Michael Jackson during his Bad tour in the 1980s has sold for a ﬆaggering $330,000. A signed jacket went for $96,000, while a fedora that Jacko wore on ﬆage nabbed $72,000. Not Bad at all… TO GET YOU prepped for a tour touted as their ﬁnal Auﬆ ralian jaunt (though it has a smell of Kiss about it), LCD Soundsyﬆem are releasing The London Sessions – a nine track live exploration of some of their biggeﬆ bombs recorded a week after their set at Glaﬆonbury 2010. It’s out digitally now, or you can get a hard copy through DFA/EMI Friday 21 January… AUSTRALIAN IDOL WINNER Stan Walker is all about spreading the love. The singer is now hoping to make the dreams of others come true by creating his own version of Idol via his Facebook page. Fans will enter a competition to be a support act on Stan’s next tour. Everyone wins… IF YOU JUST can’t get enough of Swedish dancehall queen Robyn, you’re in luck. Although she didn’t quite make it down here for Stereosonic, she’s obviously been busy, with Body Talk Pt 3 completing the trilogy with its local release through Modular/Universal laﬆ Friday... LOCAL ELECTRO DUO Vandalism are taﬆ ing the fruits of working with Static Revenger, their collab Vegas sitting pretty at the pointy end of the Beatport elect ro charts for two weeks…

VINCENZO

SMOOTH OPERATOR

If you’re a ﬆ udent of the school of deeptech house as taught by labels like Dessous and Naked Music, chances are you’ve been educated at leaﬆ once by Hamburg-bred, Berlin-based DJ/producer Vincenzo. In recent times he’s also diﬆ ributed tracks through Poker Flat Recordings (The Phantom Image) and Teardrop (the Lovebirds co-produced MUSIC EP), though it’s been some time since he’s treated fans to a full-length recording, Welcome To Zanarkand having dropped on Dessous way back in 2002. He plays Barsoma (Brisbane) Saturday 5 February, Brown Alley (Melbourne, with Heidi) Friday 11 February and a Reckless Republic Boat Party (Sydney) Sunday 12 Febraury.

DEXTROUS AND EFFECTS

Ever wondered where Fatboy Slim ripped The Rockafeller Skank’s “Right about now, the funk soul brother. Check it out now, the funk soul brother” vocal refrain from? That would be Lord Finesse, resident of New York City borough the Bronx and legendary MC/producer in his own right. He’s also collaborated with QBert,Notorious BIG along the way, and produced his own acclaimed album The Awakening. Now he’s LORD FINESSE heading down under with Boogie Blind (The X-Ecutioners) playing Firﬆ Floor (Melbourne) Friday 31 December, Step Inn (Brisbane) Friday 7 January and Tone (Sydney) Saturday 8.

ANY WHICH WAY

Brisbane’s Laneous & The Family Yah this year unveiled Found Things, a long-player which our very own editor described as “every bit as impressive as its predecessor”, 2009’s St Ill Regal.They LANEOUS & THE FAMILY YAH translate the album into the live arena perfect ly, and you can see them do juﬆ that over the holiday period when they play Woodford Folk Feﬆ ival Monday 27 to Friday 31 December – with a quick trip down to Peats Ridge Feﬆ ival Wednesday 29 December – then Sunset Sounds at Brisbane Riverﬆage Thursday 6 January, Shush (Sydney) Friday 7 January and Big Day Out at Gold Coaﬆ Parklands Sunday 23 January.

DROPPING BOMBS

It’s not juﬆ us making explosive puns about The Dynamites – they’ve even called their lateﬆ album Kaboom!. It’s due out in Auﬆ ralia Friday 7 January THE DYNAMITES through Top Shelf/MGM, and the Nashville band and Charles Walker will be here showcasing its sounds around the same time. With an approach to funk and soul that the New York Times has described as “about three-quarters James Brown especially mid-1960s James Brown - with touches of Memphis, Motown and New Orleans”, you’ll want to be somewhere near the danceﬂoor when they blow up Woodford Folk Feﬆ ival Tuesday 27 to Thursday 29 December, Peats Ridge Feﬆ ival Friday 30 December, a Secret New Year’s party in Sydney Saturday 31 December, The Order Of Melbourne (Melbourne) Thursday 6 and Friday 7 January, and opening night of the Sydney Feﬆ ival Saturday 8 January then Beck’s Feﬆ ival Bar Sunday 9.

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CALENDAR DECEMBER JEROME ISMA-AE - Sunday 12, Barsoma THANKS GOD IT’S MONDAY: HUNGRY KIDS OF HUNGARY - Monday 13, Birdee Num Num EL GUINCHO – Thursday 16, The Clubhouse ELEVATION EVENTS: ARTY, SCOTT WALKER, RICH CURTIS, JER, JONATHON ROBINSON – Thursday 16, Ric’s PISTOL WHIPPED: JD SAMSON, COCO ELECTRIK, DISTORTED DIGITAL – Friday 17, Step Inn ROUND TABLE KNIGHTS – Friday 17, Monastery THOMAS SCHUMACHER – Friday 17, Family MC FLIPSIDE – Friday 17, Electric Playground LIGHT YEAR X-MAS: AUDUN & SHITIEL, GIV, STRETCH PAPER CRANES, THOMAS J – Friday 17, Elsewhere XLR8, KRIS O’ROURKE, JUSTIN CHARGE, DEE JAY K1, DJ JL, AGENT A, TORN – Friday 17, Basement DJ HARVEY, DJ GARTH – Friday 17, Barsoma VANDALISM – Friday 17, Platinum MOBIN MASTER – Saturday 18, Electric Playground LITTLE DRAGON - Saturday 18, Woodland MIAMI HORROR – Saturday 18, The Globe Theatre GORILLAZ, LITTLE DRAGON, DE LA SOUL – Sunday 19, Brisbane Entertainment Centre VANDALISM – Saturday 18, Family

ON THE WALL: KASINO, CLAUDIO KIRAC,NATE STANBRIDGE, NINE SONS OF DAN – Sunday 19, Elsewhere D-CUP – Saturday 26, Electric Playground BOBBY BROWN, RALPH TRESVANT, JOHNNY GILL – Tuesday 21, The Hi-Fi BLAH BLAH BLAH @ RIVERLIFE: DIGITALISM, SOUL OF MAN, KOOLISM,THE FUNKOARS, THE FREESTYLERS, HORRORSHOW AND MORE – Tuesday 28, Kangaroo Point NO YEARS FESTIVAL: THE SHOUT OUT LOUDS, NEON INDIAN, THE JOHN STEEL SINGERS, JONATHAN BOULET AND MORE – Friday 31, The Powerhouse THE BLU EXPERINCE NYE 2011: DJS FROM MARS, FLYGIRL TEE, VINCE HARDER, SGT SLICK, MIND ELECTRIC, TENZIN, BABY GEE – Friday 31, Electric Playground MOULIN ROUGE NEW YEAR’S EVE 2011 – Friday 31, Zuri HEY NOW MASQUERAVE – Friday 31, Monastery ALAN BRAXE, TOMMY TRASH – Friday 31, Family DE LA SOUL

LIFE SIZE WAX replicas are already a weird concept, but when they are of fruit loop pop singer Mika sporting a haunting bewildered gaze they are downright creepy. Thanks to the Grevin Wax Museum in Paris, Mika’s ﬆare will be making people uncomfortable for many years to come… THERE’S ONLY FOUR weeks left for you to get your entries in for this year’s Tropfeﬆ short fi lm competition, so check out all the details at www. tropfeﬆ.com and get shooting pronto… HAVE A BOX of tissues on ﬆandby guys because Katy Perry is officially off the market and the ﬆ unning singer is making her nuptials to lucky man Russell Brand by taking on his surname… Katy Brand it is! Doesn’t really have the same ring to it… THE CLEVER BOYS from Art vs Science have released a new music video for their single Finally See Our Way. It features aliens and boomerangs traversing a mythological universe. Check it out at www.myspace. com/artvsscience. Your head will spin... THE TRAVELLING CIRCUS known as the Gorillaz are giving fans a Chriﬆ mas gift every day of this month. One such treat out laﬆ week was a new video for their single Welcome To The World Of The Plaﬆic Beach featuring everyone’s favourite gueﬆ rapper, Snoop Dogg. Now, anyone who has not yet collaborated with Snoop please raise your hand…

FREEMASONS

ROCK AROUND THE BLOCK

Brisbane’s premier gay club night Fluff y has kept on keeping on for the paﬆ nine years now, and the team are really upping the ante with a two-part, two-venue progressive party on Sunday 2 January. Daylight/ Twilight kicks off at Cloudland from 2pm til 10pm featuring live performances from Nat Dunn, Alexei Paige, Decoda Secret and DJs Kitty Glitter, Dan Murphy and Harry K & Friends. From 9pm proceedings shift focus to Fluff y’s traditional home around the corner at Family, and in the headline slot the Freemasons and their diva Katherine Ellis slam out their hits (remix efforts for the likes of Beyonce, Kyle and Shakira may feature) alongside Decoda Secret, Kitty Glitter, Harry K, Karma, Ish, Coxy DJ, Chris Wilson and Ikin Dance.

FAMILY BUSINESS

It’s not juﬆ Fluff y with big things happening at Family in January – the regular Friday and Saturday nights have their chare of big name headliners as well. Fans of more uptempo dance music sounds can catch 4 Strings bring the trance to the main room Friday 14 January, while Masif Fridays on Friday 21 January see Sydney hardﬆ yle powerhouses Bioweapon make a fl ight north. If elect ro house is more your bag, Vandalism play a special Fluff y Glam night for Auﬆ ralia Day Eve on Tuesday 25 January, while Friday 28 January has TV Rock and Rudy in the main room with Act Yo Age rocking it upﬆairs.

LUKE IS WARM

Laidback Luke fans have let their wallets do the talking, with ﬁ rﬆ release tickets to his show at The Met Friday 28 January

(presented by 3D World) already sold out! Second release tickets for $35 + bf are on sale now with a ﬁnal release at $40 +bf available until ﬆocks are depleted. With Luke’s recent DJ sets traversing ravey elect ro, rock and even dubﬆep, it’ll be a night with widespread appeal – and no doubt a ramjammed main room of The Met. Don’t miss out.

BERLINER IN BYRON

Berlin tech house tyrant Thomas Schumacher has obviously found the allure of Byron Bay’s beaches too diﬃcult to resiﬆ, adding a show at LaLaLand on Thursday 17 December to a tour schedule which has him ﬆationed in Oz through the New Year’s holiday period. He backs up at Family the follow night, Friday 17 December.

ELSE PARTY

We hinted recently that Elsewhere had something big

brewing for New Year’s Eve and we now have the gory details. Bands, DJs and a view of the ﬁ reworks from new annex Pennylane are on the cards, with Brothers, Oceanics and Soundtraﬃ k on live duties alongside DJs Audun, Giv, Thomas J, Stretch Paper Cranes and a rumoured myﬆery gueﬆ. $40 ticket price includes two hours of Elsewhere hospitality, and they’re on sale through Oztix and the venue now.

BEHIND THE MASK

New Year’s Eve at Uber this year is all about masking up and losing your inhibitionS. DJs Van Miert, Charlie Huﬆ le, TooShoes and Tom Gazal will be in the mix with magicians, ﬁ re breathers and MCs also doing their thing. A $50 ticket gets you a two hour food and drink package from 8:30pm – you can snap a ticket up from Oztix or the venue right now.

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CALENDAR OZI-BATLA

DAVE SEAMAN, STAFFORD BROTHERS & TIMMY TRUMPET – Friday 31, Platinum Nightclub CLAUDE VONSTROKE – Friday 31, Barsoma JANUARY CARL KENNEDY – Saturday 1, Platinum Nightclub RIKKI NEWTOWN, ADAM SWAIN, ALEX JAMES, LOGAN BAKER (NZ), DAN ABBOTT, WADZA + JAY BERRY, DIGITAL DIVIDE, ROBOHAN, LEON FARRELL, JERRY DREW, CJM, DAVE WORTH – Saturday 1, Barsoma FLYING LOTUS, HUDSON MOHAWKE, THE GASLAMP KILLER – Sunday 2, Tivoli SUMMAFIELDAYZE: BOB SINCLAR, BOYS NOIZE, N*E*R*D, EROL ALKAN, TINIE TEMPAH AND MORE – Sunday 2, Doug Jennings Park SUMMAFIELDAYZE OFFICIAL AFTER PARTY: DENNIS FERRER, STAFFORD BROTHERS & TIMMY TRUMPET – Sunday 2, Platinum Nightclub SUNSET SOUNDS PUBLIC ENEMY, INTERPOL, JOAN JETT & THE BLACKHEARTS, KLAXONS, LANEOUS & THE FAMILY YAH AND MORE – Wednesday 5 – Thursday 6, Brisbane Botanic Gardens PROMOE, COSMIC – Thursday 6, Beach Hotel (Byron Bay) LORD FINESSE, BOOGIE BLIND, OZI BATLA – Friday 7, Step Inn DARREN EMERSON – Saturday 8, Electric Playground TENSNAKE – Saturday 8, Barsoma ISLAND BOAT PARTY: SLAM, DARREN EMERSON – Saturday 8 MOS DEF – Thursday 14, The Tivoli GUILTY SIMPSON, PHAT KAT – Sunday 23, X&Y Bar RATATAT – Monday 24, The Hi-Fi OWEN PALLETT – Saturday 25, Old Museum Studio LAIDBACK LUKE – Friday 38, The Met ANDY C, MC GQ, HYDROPHONICS, MC PASE, DIAMOND D, KURRUPT, DUOS, ERTHER – Friday 38, Monastery LAIDBACK LUKE – Saturday 29, Platinum FEBRUARY FOALS – Wednesday 2, The Great Northern Hotel ST JEROME’S LANEWAY FESTIVAL: THE ANTLERS, BEAR IN HEAVEN, CUT COPY, DEERHUNTER, FALLS, HOLY FUCK, PVT, TWO DOOR CINEMA CLUB, YEASAYER, THE HOLIDAYS, WARPAINT AND MORE – Friday 4, TBA THE BOOKS – Saturday 5, The Zoo VINCENZO – Saturday 5, Barsoma EARTH FREQ FESTIVAL - Friday 11 – Monday 14, South-East Queensland

JAY Z IS ONE LUCKY GUY… his superﬆar wife Beyonce has splashed out on a $2-million Bugatti Veyron Grand Sport - one of the moﬆ expensive faﬆeﬆ cars in the world, as a gift for the rap moguel’s 41ﬆ Birthday. BEASTIE BOYS HAVE ENLISTED some big names to feature in a remake video of their classic ‘Fight For Your Right’ clip. Seth Rogen, Will Ferrell, John C. Reilly, and Jack Black will all make an appearance in what is sure to be a whole bunch of hilarity. KANYE WEST HAS FAN’S gagging for more after the release of a 40 sec teaser video for his next single Monﬆer which features gueﬆs Jay-Z, Nicki Minaj and Rick Ross. Prepare to be spooked. ACCORDING TO GOOGLE this year’s moﬆ searched person in the United States was Juﬆ in Bieber closely followed by Lady Gaga, Kim Kardashian, Nicki Minaj. And on the ﬁ lm front Batman and Star Wars were the moﬆ searched for movies. STAFFORD BROTHERS, MATT and Chris are set to become reality TV ﬆars with the premiere of a six-part series that will document the DJ’s adventures as they travel the party capitals of Europe including Ibiza, Greece and London. Be sure to tune in to Fox8 Friday 21 for the ﬁ rﬆ episode.

DOT.AY

IN THE POCKET

Pocket Music have been doing their beﬆ to get the sound of chiptune into the ears of as many Brisbaneites as possible, and they continue this queﬆ with two big shows in January. Music created on Gameboys is the focus when Sydney’s Ten Thousand Free Men and Their Families (aka 10kfreemen), Texan Sievert, AndyExpandy and Dot.AY play Mana Bar Thursday 6 January – entry is free. Then on Wednesday 19 January the crew upsize to X & Y Bar for the Super Pocket Music Showcase, with local live acts Hunz, Potato Maﬆa, Mahal Kita and Dot.AY plus DJs VGX, Lame and Jad (Science Project) taking you on a trip into the musical future using the tools of the paﬆ.

HATS OFF

The Bowler Bar is the neweﬆ incarnation of the room downﬆairs from the old Dooleys/388/Tempo Hotel, and the team are waﬆ ing no time in making their musical intentions clear. Th is Friday 17 December sees them play hoﬆ to New York disco artisan Love Fingers, with Sydney boys Magic Happens, Mirror Mirror and The Courtesans as well as Bowler favourites Tim Fuchs and Knickers along for the ride. Following on the next night is the Bowler Bar Sexmas Party, complete with gifts, toys, surprises and Magic (Happens). The venue’s music policy is party, pop and sico every Friday and Saturday night til 5am.

MEASURING UP

Chriﬆ mas comes a week early at Barsoma this Saturday 18 December with the Metric crew hoﬆ ing an end of year bash. Rikki Newton tops the bill in the courtyard with a set

of his signature deep house ﬆ ylings, while the main room has Brisbane’s maﬆer of all things tekkers Fuzion working his particular blend of magic. Digital Divide, Scott Walker, CJM, Adam Swain and Dan Abbott also join Metric residents Jay Berry and Wadza. Doors 6pm, free entry.

BREAKING GOOD

The reclusive and somewhat elusive Breakbot makes a welcome return to Auﬆ ralia over the silly season to bring a dose of his sweet, sweet disco sounds. His 2010 Baby I’m Yours EP release on Ed Banger Records showcased a diﬀerent side to the man known for smashing out the bombs, so it’ll be intereﬆ ing to see what he’s got on the musical menu when he joins some special gueﬆs at Elsewhere Sunday 2 January – that’s poﬆ-Summaﬁeldayze for those of you with ﬆaying power. Firﬆ release tickets $20

through Moshtix now.

ALL YOU CAN EAT

Happening this Sunday 19 December from 7pm at Elsewhere, Forcefed Media’s On The Wall party supplies artiﬆs with a blank canvas and lets them loose with a soundtrack of live bands and DJs. On the live art tip this time round is noted Brisbane graﬀ artiﬆ Kasino, Claudio Kirac and Nate Stanbridge, while Nine Sons Of Dan play live and Hey Arnold, Stretch and Giv ﬆepping up the the decks.

FRIENDS

American disco legend DJ Harvey and San Francisco based British house impresario DJ Garth will be hitting Barsoma Friday 17 December, Picnic, Lick It and Auditree also have Sydneysider Kali, Kieron C and Jad & The Ladyboy will also ﬆepping up to the decks on the big night. Pre-sale tickets are going for $20 through Moshtix now.

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One Snake,One Plane BELGIUM~BASED VITO DE LUCA WANTS US TO KNOW THAT HIS FORMER AEROPLANE PARTNER DID NOT LEAVE ON BAD TERMS. BUT CARLIN BEATTIE DISCOVERS THAT HE’S LOVING FLYIN’ SOLO.

T’S TEN O’CLOCK IN THE MORNING AND VITO DE LUCA SITS ON HIS SOFA IN HIS HOME, SOON TO BE STUDIO, SOUTH OF BRUSSELS.

“I’m trying not to fall back asleep,” he says. “I went to bed quite late laﬆ night. I’ve been working on building and setting up my new ﬆ udio. It’s in the same place as my home, so it’s kind of hard to separate the two, but in the end it’s really convenient. If it’s ten at night and I have an idea and want to work two hours – I wouldn’t want to go out, take the car and drive to the ﬆ udio. When your ﬆ udio’s in your house, you can juﬆ go and sit there in underwear or pajamas and juﬆ create something quickly. So that’s really all I’ve been focused on for the laﬆ two weeks. I do have some new tracks composed, but want to wait for the whole ﬆ udio to be set up properly before I ﬆart recording again.” From Grace Jones to Friendly Fires to Sebaﬆ ien Tellier, Aeroplane already has a hoﬆ of remix accolades recorded on the fl ightlog. Now, with De Luca the band’s lone member (having parted ways with longtime collaborator Stephen Fasano) the man (alongside a flock of gueﬆ features) releases the act ’s debut album, We Can’t Fly. “The album was a bit of a pain, technically, to carry from one ﬆ udio to another,” he says. “All the inﬆ ruments were recorded in Toulouse, France, but the vocals were recorded in Paris, London and LA. The ﬆ rings and drums were recorded in Paris too, then the final mix was completed in London.” As if summoning a paﬆ memory, De Luca prompts a self-analysis of his upcoming work. “I wouldn’t really say that any city specifically influenced the album, but I can certainly hear the different ﬆ udios – for example the particular sounds that are in each place. I guess the cities themselves didn’t really influence the music, because it was really composed way before we act ually recorded anything. The reason we

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worked in all those cities is really, more than anything, because of scheduling… We had no choice.” Although a healthy serving of online blog content will lead readers to believe the band split on hoﬆ ile terms, De Luca oﬀers an entirely amicable, even positive translation of events. “When I recorded the album, Aeroplane was ﬆ ill a duo, but that’s what kind of ﬆarted the process of us going separate ways. [Fasano’s departure] juﬆ makes everything easier to be honeﬆ… There’s only one brain. You don’t have to compromise anything. You can go really in-depth with the ideas that you have and not have to explain what you’re doing to somebody else, or why you want to do it. There’s juﬆ way more freedom and I think both Stephen and I kind of needed that at a certain point. It was a mutual thing that we both decided to do. I brought it up and we had this long discussion in the middle of the night and we both ended up – after a drink or two – ﬆopping it there… I said to him, ‘I think we are done’.”

“

IT WAS A MUTUAL THING THAT WE BOTH DECIDED TO DO. I BROUGHT IT UP & WE HAD THIS LONG DISCUSSION IN THE MIDDLE OF THE NIGHT & WE BOTH ENDED UP  AFTER A DRINK OR TWO  STOPPING IT THERE... I SAID TO HIM, ‘I THINK WE ARE DONE’.” While he’s found fresh creative independence as a solo act, De Luca explains that he ﬆ ruggles sometimes getting loﬆ inside the newly autonomous process – one that follows a seemingly ﬆ rict, but all the while ambiguous convention. “I’ve no recipe, no specific way to work,” he ﬆates. “Every time I ﬆart something I will ﬆart from zero – and it’s giving me a lot of headaches to be honeﬆ. Sometimes I’m not inspired at all. The only thing that keeps me going is that idea I have in my head about what is for me, the perfect song, the perfect track – and that’s what I’m always trying to achieve everyday in the ﬆ udio. Obviously that perfect ion doesn’t exiﬆ though, so you keep going – onto the next song. You keep on trying to better what you did with the laﬆ song. That’s juﬆ what keeps you moving – juﬆ looking for perfect ion, but knowing that you’re never going to find it.” Prompted on the reception of the album so far, the artiﬆ is genuinely surprised at the diversity of responses, and the react ion to what he initially considered to be a fairly humble anthology of tracks. “It’s very funny what I’ve been told [about the album]. I’ve heard that the songs work perfect ly by themselves, but don’t work as a full album. I’ve also been told that each track is so different, that they match one another entirely after you liﬆen to the album as a whole. You always go from one extreme to the other like that and have to fi nd a way to get something that’s okay, that sounds alright. I probably don’t appreciate my own music the way other people do, because I’m juﬆ too inside of it. The reason why the album is what it is because out of all the many songs I wrote, I kept the beﬆ ones. Then I had to deal with those twelve songs and find the beﬆ way to put them next to each other. I ﬆ ill feel like in the middle of the record there’s a hole and I wonder what song is missing in there. That’s the only point of the album that is ﬆ ill a regret… I should have had one more song to put in there, before the track I Don’t Feel.” Despite any lingering disappointment, De Luca seems satisfied with the final product, warming to the notion and conject ural comparison of the recordings to those of Elvis Presley at Sun Studio, Memphis. “Yes, the sound of the album is kind of homogenous. Probably, I think because I am the common link between all of them. It’s me playing.” He is keen however, to acknowledge the outside influences on the release. “One of the main collaborations here was Bertrand Burgalat, the producer of the album. He’s been a great help and inspiration for me while I was recording. Then in terms of vocaliﬆs, I love them all. They really all juﬆ delivered, sometimes better than what I was expect ing.” There’s concession in his voice, as he continues, however one that recognises fruition of experience and growth. “I’m not a producer,” he ﬆates. “I’m not someone who finds a sound, then applies that sound on every track to make that my signature. I don’t have that because I’m not a sound engineer, but I am learning to use the ﬆ udio as a kind of inﬆ rument. I’m really getting to the sound I want – that’s what I’m doing right now with the building of this new ﬆ udio. I’m pract ising

with these technologies more and more to see how I can make my DJ set more intereﬆ ing too. I came to Auﬆ ralia twice laﬆ year and there’s a cool fan base there that follows Aeroplane, so I’d like to offer something different. I could juﬆ come and play Paris twenty times, but I feel like it’s been heard already. I juﬆ don’t want to play that again, or at leaﬆ not the same way. “So I’m trying to come up with nice, new edits. It will basically be a mix of disco and house music, some classics and some happy party music...” De Luca pauses in thought. “If it inspires people and makes people look for something else and dance and go to music in clubs, or opens people’s minds to be influenced, then it’s all good to me.” WHO: Aeroplane WHAT: We Can’t Fly (Eskimo/Balance Music/EMI) WHERE& WHEN: Pyramid Rock Feﬆ ival Thursday 30 December, Summadayze at Sidney Myer Music Bowl (Melbourne) Saturday 1 January, Field Day at The Domain (Sydney) Saturday 1 January, Summafieldayze at Doug Jennings Park (Gold Coaﬆ) Sunday 2 January

BLOCKED, NOT ROCKING, BEATS

AVING FOUND HIMSELF FOR THE FIRST TIME WITH COMPLETE CONTROL OF AEROPLANE AND ITS CREATIVE DIRECTION, DE LUCA TOOK A PLUNGE, IMMERSING HIMSELF WITH MOTIVATION AND GUSTO INTO THE ALBUM. THAT IS, UNTIL HE WAS MET BY THE DOG OF WRITER’S BLOCK. “Once it was me on my own, I ﬆarted getting ﬆ raight to the point; ﬆ raight into what I wanted to do and ﬁ nd in my music. I was playing and recording and recording and recording… And then sometime, you can hit a wall,” he says with slight lament. “It’s always diﬀerent when I ﬆart something and there’s no technique to inspire you or zap your brain into where you want to be. That’s the thing; when you’re not inspired, you’re fucked. You’re juﬆ not inspired. Moﬆ of the time taking a break will get you back in there… Liﬆening to music, watching a bit of TV, even juﬆ eating something. But you do kind of need the experience to get the beﬆ out of an idea. Sometimes it is juﬆ a bad idea, so nothing good comes out. “Really anything can be inspiring. It can be liﬆening to records and juﬆ having an idea – thinking you want to make that same kind of song. Liﬆening to all the songs and pop music I like. Sometimes it’s buying a new piece of gear, a new synth or a new drum machine.” Reiterating his methodical, almoﬆ religious approach to composition, the musician closes with whimsy. “There’s always easy ways to making a song. But what you want to avoid is taking that easy route, forgetting what you’re act ually trying to achieve. With anything I do, I always think about something James Brown said, especially when I’m making my music: ‘I’d rather die on my feet, than live on me knees’.”

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DJ/PRODUCER, MID 1980s-PRESENT

A YOUNG HARVEY BASSETT, AKA DJ HARVEY, BECAME ENTRANCED WITH THE IDEA OF MANIPULATING BEATS AFTER EXPERIENCING THE NEW YORK HIP HOP SCENE IN THE 1980S. SINCE THEN HE’S BEEN A DANCE MUSIC MAINSTAY, REFUSING TO BE PINNED DOWN BY GENRE AND LETTING TEN HOUR SETS AT HIS REGULAR SARCASTIC DISCO NIGHTS IN VENICE BEACH, CALIFORNIA, DO THE TALKING. TROY MUTTON CATCHES UP WITH THE MAN, MYTH AND LEGEND OVER VIDEO CHAT AND BREAKFAST ROLLS AS HE PREPS FOR HIS FIRST TRIP DOWN UNDER.

fter an initally failed attempt at getting Skype video chat working – 3D World was left to sit and watch a ﬆ range hairy man try on different sunglasses while attempting to overcome microphone difficulties – we are finally connected with Harvey Bassett at home in Venice Beach, California. The down-time between connect ions has given him a chance to quickly make an incredibly delicious-looking breakfaﬆ roll, even if it is four o’clock in the afternoon there. “It’s really good, man, I’ve got like four rashers of bacon, two eggs and then half a can of salsa verde all over it – so good. Th is is my breakfaﬆ, man, even though it’s 4:30 in the afternoon – that’s juﬆ how I roll.” What ensues for the next 20-odd minutes, in between him

licking his ﬁngers, drinking some tea, trying on more sunglasses and smoking a cigeratte, is a highly entertaining chat with a true champion of the dance music world. Having been in that world since the mid 1980s, it’s safe to say that Harvey Bassett has been around the traps, and he ﬆ ill remains one of the worlds moﬆ entertaining and aﬀable DJs.

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Originally ﬆarting out in the UK, he chose to move to the US where he could fully pursue a seemingly idyllic lifeﬆ yle of music, surfing and skating. “Obviously I lived in England a long time and at the point we moved we juﬆ had the opportunity to live anywhere really. It could have been Shanghai, could have been Bangkok, who knows? But I’d had a bit of a California dream... you know with The Beach Boys and the Mansons and Dogtown and all that kind of ﬆ uff.” Bassett comes across as a man very content in his life, one that is incredibly busy with two live music projects on the boil: Map Of Africa and Locussolus, as well as his “day job” as a touring DJ. Don’t think for a minute that he’s at all tired of it though – in fact he has some pretty awesome sounding plans for the future. “Well if I’m lucky I’ve probably only got about another 40 summers left, how crazy is that? So yeah, 40 more summers coming up. It doesn’t take that much effort to put a record on. In fact by that ﬆage I hope I’d be getting my porno nurse to do it for me. [In an old man’s voice] ‘Hey babeh, speed this one up a little bit…’” You can tell Bassett likes the sound of it, before he comes up with this gem: “I’ve juﬆ thought of a really good one, ‘Old DJs never die, they juﬆ crossfade away!’ You can head your article with that if you like.” SO YOU STILL ENJOY THE LIFESTYLE AFTER ALL THESE YEARS? “Oh yeah moﬆ definitely. Still enjoy the roar of the crowd and that kind of thing. I mean sometimes on the road it can get a little tiring, but apart from that I always enjoy the shows and visiting places and making new friends.”

manipulate rhythms and do all of the rest at the same time on my own terms and that was really the attraction to DJing. Kinda fell into it really, it wasn’t by design. You can do everything you do in a rock band just by putting a record on. It’s quite an attractive option you know.” CAN YOU TELL US ABOUT THE SARCASTIC PARTIES IN VENICE, THEY SOUND A BIT CRAZY? ”We had one like ten days ago, the usual kind of format – find a sound system and put a mirrorball in it and play some records.” YOU END UP PLAYING FOR QUITE A WHILE YEAH? “I dunno, like 10 at night til 7 in the morning usually. I just kinda run on adrenaline and it gives me a chance to tell a whole story through the night. You can go through a whole bunch of different music. Yeah really go through a wide range of stuff – it’s like a whole day you know. You get hungry, be sad, all these emotions... There’s time to cleanse the dancefloor if necessary you know and bring everyone back or not be afraid to take particular risks and then trying to salvage it.” THE NIGHT MUST COVER QUITE A FEW GENRES? “Predomiantely it’s just dance music, that’s what the party’s all about. Sometimes people forget. They come to that party and expect maybe something too ambient but it really is a heads-down dance party. That’s one of the things you know to keep playing for nine, ten hours or whatever, then it’s good to pace the energy right and keep them quite high. If you don’t understand how people have energy over that amount of time you can quite easily lose them and not get them back. Although genres whatever, disco, techno, house, rock’n’roll, psychedelia… I dunno you know; it’s basically dance music. It might fit within a bunch of people’s ideas of what that is?” SO WHAT CAN WE EXPECT... OR SHOULD THAT BE, NOT EXPECT FROM YOUR SETS WHEN YOU GET DOWN TO AUSTRALIA? “There’s just gonna be good time dance music, that’s as best I can put it down. The people will decide. If there’s more than a thousand kids in a field it’s gonna be some banging dance music. If it’s an intimate bar at four in the morning it’s gonna be pretty cosmic, easy going stuff and the rest will be anything in between. I’ll come well armed with some good music and hopefully our minds will meet in the middle and we’ll have a fucking great time.” WHO: DJ Harvey WHERE & WHEN: Barsoma (Brisbane) Friday 17 December, The Toff (Melbourne) Friday 31 December, Beck’s Feﬆ ival Bar (Sydney) Saturday 15 January

GOING THE DISTANCE 3D WORLD TAKES A LOOK AT SOME OTHER MAMMOTH DJ SETS ONLY TO DISCOVER THAT DJ HARVEY’S TEN HOUR STANDARD IS, WELL, TINY.

DO YOU STILL PLAY YOUR DRUMS MUCH? “Yeah ﬆ ill a bit from time to time. Not as much as I’d like. I get to play them on my own product ions and ﬆ uff. I’d like to do some live shows somewhere at some point. Which will happen in the future. But really in recent times I’ve only played them in ﬆ udio and product ion sessions rather than all the time.” IT SEEMS LIKE IT’S ALWAYS THE DRUMMER THAT GETS INTO DJING, WHAT ATTRACTED YOU TO IT? “I think when I first started hearing some of the first hip hop records and realised it was a DJ manipulating the beats. So that’s what I was doing anyway playing beats as a drummer. And then as a DJ you didn’t have to have like four girlfriends ‘cause that’s what it’s like in a band. So you know I could be my own man,

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TIËSTO The trance god recently played the Stereosonic feﬆivals, and while many considered themselves lucky to catch his twohour set, it’s ﬆill ten hours shy of his longeﬆ. In 1999, surprisingly back before his ego took hold, he played a 12-hour set in Amﬆerdam. You wouldn’t have thought it possible to keep your hands in the air for that long now, would you?

BLACK COFFEE The handicapped South African DJ completed a mammoth 60-hour set (using juﬆ one arm) at a charity event in Johannesburg earlier in the year. He was aﬀorded 20 minute reﬆs each four hour block - but he powered through the ﬁnal 15 hours without ﬆopping. “At some ﬆage I held back tears,” he told The Telegraph. Not surprising really.

SVEN VÄTH One of the world’s maﬆers of the overlong DJ set, Vath regularly plays 12-hour-plus sets, with rumour having it he once played a 35-hour set at a Love Parade feﬆ ival some years ago. Anyone whose been fortunate enough to have Sven drop in for a feﬆ ival afterparty will no doubt tell you all about that time it was amazing to have Papa Sven rock their house party set. Until he wouldn’t ﬆop.

ALAN D Now the big mother. The current Guiness World Record Holder for the longeﬆ DJ set ever is held by Scottish DJ Alan D, who manged to rock a full 124 hours on the wheels of ﬆeel! Aﬀorded 5-minute breaks each hour which he ﬆockpiled for longer reﬆs, Alan D beat the previous record holder Gee Papa’s record by eight hours. Sucks to be that guy.

HOUSE OF T-PAIN A BLOCK ROCKING SET ON THE GOLD COAST SAW TEE PRASIDA FIND FAVOUR WITH NONE OTHER THAN T-PAIN – NOW FLYGIRL TEE IS IN DEMAND GLOBALLY, AS LIZ GALINOVIC DISCOVERS.

ip hop’s female contingent has always been a minority. Even though we live in a time and place where women can do everything men can do as well as give birth to children, the population of female MCs and hip hop DJs is pale in comparison to the male rib they were fashioned out of. But it’s growing and one of the women to subvert the dominant paradigm is DJ Flygirl Tee and these days she’s flying around the world whenever T-Pain calls. Tee Prasida took up DJing when she realised music was her calling. Influenced by the brother of one of her friends, she set about acquiring the tools of the trade and learning how to mix. “We’d go to support him at the battle competitions and ﬆ uff and he taught me a bit about it theoretically and then I asked if he could teach me and he was like the worﬆ teacher ever,” she laughs. “Once I got all my equipment and learnt how to mix and ﬆ uff there was a competition and I won that and then I got residencies and you know what I mean? Everything juﬆ kind of snowballed. I accidently met the right people at the right time and they helped me get into it and that’s how it kind of came about.” Right people, right time can definitely have an affect on a person’s career, but if Prasida lacked excellent taﬆe in tunes and the ability to mix them, it is doubtful that the likes of Ne-Yo, Snoop Dogg and Ice Cube would seek her out as their supporting DJ. “The biggeﬆ name I’d say would be T-Pain. I was playing at Sin City in the Gold Coaﬆ and coincidently he had a concert the following day in Brisbane and he happened to be on the Gold Coaﬆ to party, during my set. He was having a mad old time and then he looked over and saw it was like, me, and... a girl I guess. “He walked over and tapped me on the shoulder and was like ‘hi’,” she laughs. “And he wanted to be friends. He loved my set, he and his DJ were blown away, they’d never seen any other females rock it that way before and yeah they invited me up to the VIP sect ion and asked me if I’d be part of their Nappy Boy

WALKED “ [T-PAIN] OVER AND TAPPED

ME ON THE SHOULDER AND WAS LIKE ‘HI’. AND HE WANTED TO BE FRIENDS.”

DJ crew. Then the next day he had his concert on and he ﬂew me over and asked me to DJ at the concert as well.” Prasida is humbled and chuﬀed by the praise and respect she’s garnered for her work, with sets that range across the hip hop spect rum from R&B to crunk, dancehall to reggaeton, old school to new, depending on what she reads from the crowd. Lately ,as well as playing to crowds of

80,000 and having her “bag bitches” (a couple of dudes) lug her equipment around Hollywood or Malaysia, she has embarked on a new project with DJs Kronic, Matt GC and Daniel De Niro. “I’ve been doing a lot of writing and that sort of ﬆ uﬀ. Our group is called I Know it’s Awesome and it’s four DJs and I’m the vocaliﬆ. We’re juﬆ experimenting with diﬀerent sounds and because we’re DJs

we can teﬆ that out ourselves and so far the crowd react ions have been good.” No doubt this project will be juﬆ as successful as the reﬆ of her career so far, but, if it blows up, will there ﬆ ill be a DJ Flygirl Tee? – “Hell Yeah,” she says, “Hell yeah.” WHO: Flygirl Tee WHERE & WHEN:

Blu Experience NYE at Elect ric Playground Friday 31 December

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SLIP SLIDING AWAY

THOUGH CURRENTLY HOUSE MUSIC’S MAN OF THE MOMENT THROUGH HIS PRODUCTION WORK AS TENSNAKE, MARCO NIEMERSKI LETS HARRY PEARL KNOW HE’S ALREADY SEEKING TO CHANGE THE WORKING METHODS THAT HAVE GENERATED SO MUCH HYPE ACROSS THE GLOBE.

aving built his underground rep with a ﬆeady flow of 12-inch release splicing disco, house and boogie, it was Marco Niemerski’s ﬆeel drum-led anthem Coma Cat that really propelled the Tensnake moniker into mainﬆ ream consciousness earlier this year. Picked up by house giants Defected from its orginal home at Permanent Vacation, the label threw their full weight behind the track, commissioning a couple of tawdry, superclubready remixes and pushing its crossover appeal to the hilt. And while Tensnake’s relatively reﬆ rained discography isn’t short on subﬆance, Coma Cat was the shot in the arm Niemerski’s fledging career needed. It’s been a fairly rapid ascent for the Hamburg, Germany resident, and it seems now, well on his way to mainﬆ ream acceptance (Ibiza! NME! Guardian!) he’s got a foot in both worlds – plotting a course somewhere between catchy, easily-accessible house and a slightly more obscure take on disco. “I’ve had a good react ion from both worlds and I really appreciate that,” Niemerski says down the line from Hamburg. “And for me that is also important, because where I come from, that’s the club scene – and I like both worlds. I try to keep that up, that in between vibe in a way.” It’s a combination that doesn’t always sit comfortably amongﬆ discerning clubbers and DJs around the world, but Niemerski seems more bemused than worried by any ill-will from critics. “In the beginning of course the more underground people discovered my music and now when tracks are becoming more popular – especially Coma Cat – you realise that some people turn away from it juﬆ because it’s more popular. I don’t underﬆand this because if I like music it’s good, or it’s bad – I juﬆ like it no matter how many people are liﬆening to it. But I think it’s juﬆ a dogmatic thing for some people, maybe they all say that they are not cool anymore if they liﬆen to popular ﬆ uff – I have no idea.” With even a cursory liﬆen through Niemerski’s back catalogue it’s evident his influences run much deeper than the pict ure presented by his lateﬆ dancefloor smash. Congolal, off his 2008 EP Keep Believin’, taps into the same cosmic musical vein as Norwegian space-disco producers Lindﬆ røm and Prins Thomas, while his three-track EP In The End (I Want You

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To Cry), released through Running Back laﬆ year, is a potent rendering of vintage house and disco. Niemerski’s sound reflects an affect ion with everyone from Lary Levan through to Floating Points, the more timeless influences accredited to his brother. “My older brother, he had a huge record collect ion, and I think the fi rﬆ contact with music, really, when I felt like ‘Whoa, what’s out there?’, that was when I was liﬆening to ﬆ uff from my older brother which was a lot of boogie and disco sounds from the 80s. And I think that, combined with the club sounds when I went out later, that really socialised me in a musical way.” Although he cites Hamburg’s legendary Front club as introducing him to rave culture, as he moved into his 20s he felt increasingly disenchanted by Hamburg’s elect ronic scene. The pervasiveness of minimal techno in the city forced him to look elsewhere for the warmer, more melodic sound he was craving. “I think I was more influenced by liﬆening to DJ sets, to mixtapes,

or podcaﬆs from all over the world, than by the Hamburg music scene,” Niemerski reflects. Despite his fi rﬆ forays into the world of product ion being close to 15 years ago, his fi rﬆ release wasn’t until 2005 – the Reﬆless EP, through his own Mirau Musik label. By his own admission, it took a long time until he felt comfortable enough to release his music for public consumption, a mindset that has carried through to this day. “I think I’m pretty ﬆ rict, if I don’t feel 100 percent satisfied with a track, or let’s say at leaﬆ 95 percent, I don’t feel like I need to release it because I don’t see a reason to have music out there that you’re not happy with. And yeah I’m trying to ﬆ ick to that, even if there’s more pressure now of course – and people are asking for new releases – but yeah, I think everybody should have quite a high quality control.” As a result, a debut Tensnake album is ﬆ ill a little way off. Niemerski has already reﬆarted his anticipated debut once, and concedes he’s ﬆ ill unsure what form it’s going to take. At leaﬆ part of that is due to his evolving taﬆes, but also a hesitancy as to which direct ion to move next. “When I released my fi rﬆ record, I was really inspired by the new kind of disco sound – which wasn’t new – but I realised people out there felt the same. I liﬆened to the Scandinavian guys like Prins Thomas and Lindﬆ røm, and I also am ﬆ ill a huge fan of the Tim Sweeney’s radio show Beats In Space – that inspired me a lot. I was really excited because I felt there was something new going on which was old at the same time, which was really different to the huge minimal club sound that was going on five years ago here in Europe. Now over the paﬆ three, four years, I dunno – I don’t say I’ve loﬆ the excitement, but all this disco thing is so huge now and I feel like I want something new juﬆ to excite myself.” WHO: Tensnake WHAT: In The House (Defected) WHERE & WHEN: New Guernica (Melbourne) Friday 31 December, Field Day at The Domain (Sydney) Saturday 1 January, Adult Disco at Civic Underground (Sydney) Sunday 2 January, Barsoma (Brisbane) Saturday 8 January

KIND OF BLUE BLUE VALENTINE BRINGS TOGETHER TWO OF THE FINEST ACTORS OF THEIR GENERATION, MICHELLE WILLIAMS AND RYAN GOSLING, IN AN INTIMATE LOOK AT A YOUNG COUPLE’S RELATIONSHIP. ALICE TYNAN TALKS TO THE FILM’S DIRECTOR, DEREK CIANFRANCE.

uﬆ as its title suggeﬆs, Blue Valentine is an exquisitely tragic love ﬆory. It’s a ﬁ lm that provocatively traverses the fate of ﬆar-crossed lovers, but don’t go in expect ing Romeo And Juliet. Inﬆead, writerdirector Derek Cianfrance has crafted his tale with a resolute eye on the plight of modern day relationships. With powerhouse performances from Michelle Wiliams (Wendy & Lucy, Shutter Island) and Ryan Gosling (Half Nelson, Lars And The Real Girl) Blue Valentine is both the ﬆory of the couple’s sublime infatuation, and, six years later, an account of a combuﬆ ible couple of days in their marriage. “Romeo And Juliet was a big inspiration,” reveals the softly spoken, wonderfully eloquent director. “Moﬆ ly because I felt like it’s the love tragedy that’s out there and it gets replayed time and time again; where two young people at the peak of their love end up dying in each other’s arms, and their love is preserved for all time. “That’s the ﬆory that’s been taught to all of us, but I haven’t ever met anyone who’s had that good romantic fortune to die at the peak of their love, when everything’s great. But I know a lot of people that death doesn’t come in and betray their love, time [does]. “So I didn’t want to make the Romeo And Juliet version, I wanted to make the version that I could act ually relate to; that my parents [and] my friends could relate to, of what act ually can

happen. And in that idea of time, there [are] no answers. There [are] queﬆ ions; there’s a myﬆery to it. So I wanted to make this myﬆery fi lm about where love comes from and where it goes.” After 12 years, Cianfrance has finally brought his myﬆery to the big screen, and to soaring critical acclaim. Maﬆerfully crafted, many of the fi lm’s queﬆ ions emanate from its ﬆ ruct ure as Cianfrance tantalisingly, poignantly, and yes, at times, infuriatingly, cuts between the paﬆ and the present (for who wouldn’t wish to linger in the warm glow of the love ﬆory?). The fi lmmaker freely

admits his debt to The Godfather Part II, but ventures yet further back in fi lm hiﬆory: “Cross-cutting ﬆorytelling goes back to DW Griffith and Intolerance, and I juﬆ think it’s such a powerful tool of the cinema.” In Blue Valentine, this cross-cutting achieves a simple, yet devaﬆating effect. “Contraﬆ,” Cianfrance says, “darkness, and light. [Blue Valentine] was always based on these battling dualities that exiﬆ, the magnetic duality in nature that exiﬆs in all of us.” These polarising forces aren’t reflected in a gendered audience response to the fi lm. Though Cianfrance manages an impressively even-handed account,

Blue Valentine is sure to provoke many a heated debate as people pick sides: with Cindy, the harried nurse, or goofy but adoring father Dean. Chuckling as he recounts hiding out after screenings to hear the responses fi rﬆ hand, Cianfrance offers his evidence. “There’s a large portion of the audience that sees both sides of the movie. Then there’s a portion that goes on Dean’s side and a portion that goes for Cindy, and it’s not necessarily along gender lines. There’re a lot of women out there for inﬆance who can’t underﬆand why you’d leave a guy who looks like Ryan Gosling! And a lot of men say, ‘Dude, that guy’s so annoying!’ “We were trying to play with gender specifics in this movie anyway. I would always tell Michelle that she was playing the man in this relationship and I would always tell Ryan that he was playing the woman.” Bluntly confronting and endlessly compassionate, the fi lm is at once a love ﬆory, a myﬆery and a cautionary tale. Regardless of which side of the battle you wind up on, Blue Valentine remains a thought-provoking, unforgettable experience; something that pleases the fi lmmaker no end: “To me that was such a compliment to the fi lm that it could act ually make people disagree.” WHAT: Blue Valentine WHERE & WHEN: Screening in cinemas from Saturday 26 December

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WITH THE OPRAH WINFREY JUGGERNAUT ROLLING INTO AUSTRALIA THIS WEEK, HOLLY HUTCHINSON TAKES A CLOSER LOOK AT THE ONE WOMAN INDUSTRY AND HER INCREDIBLE SPHERE OF INFLUENCE.

OPRAH PARA SIEMPRE

very year, Time Magazine makes a liﬆ of the 100 moﬆ influential people in the world. The liﬆ is moﬆ ly made up of politicians and powerful businessmen. Bill Gates has made it four times, Barack Obama has featured five times since 2005 (dipping out in 2006), while Rupert Murdoch, the owner of a plethora of major tabloid and mainﬆ ream media around the world, has made the liﬆ juﬆ three times. There’s only one individual who has featured in the 100 liﬆ every year since it began in 1999 – Oprah Winfrey. But how could it be that Oprah Winfrey can muﬆer so much influence? Isn’t this juﬆ a woman who talks to celebrities and encourages people live by the motto “Live your Beﬆ Life”? Winfrey, who will visit Auﬆ ralia this month, has a personal wealth believed to be US$2.7 Billion. In the US alone she has 44 million viewers daily. Based on the power of her product endorsement, one economiﬆ commented that she was “celebrity of unparalleled popularity”. Her selling power is known as the “Oprah Effect” – if even a small business has their product featured on her show, they ﬆand to become millionaires with the publicity that follows. Before Ciao Bella Sorbet were publicised on Oprah, their website got around 175,000 hits per week. After Winfrey liﬆed them on her show as one of her “favourite things”, the weekly hit rate climbed to 3 million. And her influence on politics shouldn’t be dismissed either – after she publicly appeared at Barack Obama’s side in a campaign speech, one university made an eﬆ imate, based on the buying trends that occur when Winfrey publicises other causes and products, and concluded that Winfrey probably won Obama over a million primary votes by pledging her support to him. Winfrey isn’t getting on the bandwagon of already-popular trends – she makes them. When she recommended the 19th century

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Russian novel Anna Karenina, sales of the book skyrockted. In an episode where she discussed mad cow disease, she made the throwaway comment “it has juﬆ ﬆopped me cold from eating another hamburger”. The next day, cattle prices plummeted. Knowing who was to blame, cow ranchers tried to sue Winfrey for what they argued she had coﬆ them: US$12 million. But Winfrey’s influence goes far deeper than telling what people what they should read and put in their fridges. In 2005 she initiated “Oprah’s Child Predator Liﬆ ”, which publicised known child moleﬆers who were on the run from the police. Within 48 hours, two wanted men were captured and handed over. But her influence isn’t always used for good. In 2008 she publicly supported Jenny MacCarthy in her antivaccination campaign. MacCarthy, a former Playboy model, has used her celebrity ﬆatus to discourage parents from vaccinating their children againﬆ diseases like polio, measles and rubella, claiming that there is a link to autism, although to date, none has been proven. Winfrey called MacCarthy a “warrior mom”, and allowed her to do a series of webcaﬆs to promote her cause. Since MacCarthy became a prominent figure in the anti-vaccination movement, there have been over 600 children’s deaths due to vaccine-preventable diseases such as measles, mumps and tetanus, and appearing on Oprah gave MacCarthy the opportunity to spread claims that vaccinations cause autism – a claim for which there is no medical proof – to the wideﬆ audience possible. In 2008, author Robyn Okrant performed a year-long experiment to see what it would be like to take every piece of advice Winfrey gave her, and to purchase every single thing that Winfrey told her viewers to buy. At the end of that year she had spent 1200 hours doing the things recommended on Oprah in pursuit of living her “Beﬆ Life”, and had spent US$4,781 exclusively on the things Winfrey told her viewers to buy. What Okrant ultimately found was that following all of the advice on Oprah was so exhauﬆ ing that she didn’t have any time to do anything else, because she was so busy on self-improvement and interior design. She had hardly seen her family and friends, she was ﬆ ressed, wasn’t sleeping properly, hadn’t loﬆ any weight, wasn’t any fitter and her sex life – lived according to the recommendations on Oprah – was pretty boring. At the end of the year, one of her conclusions was, “I think the very idea of attaining our ‘Beﬆ Lives’ is a fairytale that keeps us from being satisfied with our Real Lives”. Considering all this, the queﬆ ion remains unanswered: where did all this power and influence come from? How can it be that Time Magazine have consiﬆently recognised Oprah Winfrey as more important than all the world’s political, business and media powers combined? There are a lot of theories; that her fluct uating weight is something many viewers can identify with; that she has the appeal of a spiritual leader; and of course, the fact that she comes with a rags-to-riches ﬆory that would

inspire even the moﬆ cynical of viewers. But taking all of these things into consideration, one fact seems to really set Winfrey apart from other talk show hoﬆ s, and that is that it’s not juﬆ that she’s selling a book, or a life philosophy, or a face cream – she’s selling her audience a beﬆ friend. When people watch Oprah, whether she’s interviewing Heidi Klum or talking about her innermoﬆ feelings, it feels like they know her, and that she knows them. It feels like if they met Winfrey in real life, she would inﬆ antly recognise them as kindred spirits and they would be beﬆ friends forever. Not only that, but Winfrey is like a beﬆ friend that slightly pushes you around in a tough-love ﬆ yle. It gives you the feeling that she’s telling you what’s good for you, taking control of your life for you, so that you don’t have to do it for yourself. All you have to do is buy.

MAIDEN VOYAGE AFTER THREE YEARS, BRISBANE ROOTS ELECTICISTS DUBMARINE HAVE FINALLY DELIVERED THEIR DEBUT ALBUM DEPTH OF SOUND. MATT O’NEILL CAUGHT UP WITH SYNTH-PLAYER JOEL ALEXANDER TO DISCUSS THE BAND’S LENGTHY DEVELOPMENT.

here’s a surprising cohesion present in the work of Dubmarine. Comprised solely of disparate, re-contextualised aspects of roots and electronic music, the sound of the Brisbane veterans should be, at beﬆ, a misguided hodge-podge of good intentions and disconnected sounds. Yet, through three years of writing and performing, the nine-piece ensemble have consiﬆently juggled reggae, dub, dancehall, drum’n’bass and dubﬆep without so much as skipping a beat. “We moﬆ definitely had a sound in mind when we firﬆ got together,” synth-player Joel Alexander explains. “I’m a relative of a late-comer to the band – in that I’ve been in the band for two years and the band’s been going for about three years – but the focus has always been on playing Jamaicanﬆ yle music. Particularly, UK-vibe Jamaican-ﬆ yle music; the kind of music Jamaican expats have made in the UK with that elect ronic slant.” “I kind of avoid the term ‘reggae’ because what we do comes from a few generations later than reggae,” Alexander elaborates. “You know, you’ve got your reggae, and we do that, but then you’ve got your dancehall, and we do that as well. The generation after that, you’ve got your drum’n’bass, which we also do and, a generation after that, you’ve got what everyone has decided to call dubﬆep and we do that too. You know, the idea is Jamaican-ﬆ yle music, but the whole spect rum.” The surprising nature of the group’s cohesion, meanwhile, is compounded by the fact that their recently released debut album Depth of Sound – arguably the fineﬆ representation of their aeﬆ hetics to date – was conﬆ ructed over the course of two years of writing and recording. Whereas one would expect a full-length album of ﬆ yliﬆ ic synthesis to have been the product of a swift and focused geﬆation period, Depth of Sound ’s creation was protracted, diﬆended and illogical. “It took us quite a while to get it together, yeah – probably around two years, I’d say,” Alexander reveals. “There were all sorts of reasons. Everyone has day gigs and we are, primarily, a live band. You know, one of the main things we’ve wanted to accomplish with this band is to play elect ronic music with live inﬆ rumentation. We’ve been focussing a lot on getting ourselves out there and playing lots of shows and touring – both here and overseas.” “We did act ually have it released overseas about six months ago. It juﬆ took us a while to get it out here for various reasons,” the synth-player admits somewhat sheepishly. “I’ve been doing this for a while, though, so I knew it would take a bit of time. I’ve never been in bands that juﬆ go in, track songs and release an album. We didn’t really have a timeline. We juﬆ wanted to make a really good product. We were never going to rush the process.” In many ways, Dubmarine’s work is indicative of the fi nesse and musicality so intrinsically linked to reggae and its related off-shoots but so often ignored by popular music liﬆeners. The celebratory atmosphere and relaxed grooves of the ﬆ yles often relegates their moﬆ celebrated pract itioners to novelty ﬆatus but, on a fundamental level, reggae – especially elect ronic variants and offshoots like drum’n’bass – demands much of its musicians. “You know, I’m originally a drummer, and, for drummers, reggae is a very attract ive genre,” Alexander enthuses. “There’s a fair bit of freedom there, there’s a lot to learn, a lot to dig into and explore. It’s a challenging

ﬆ yle of music for any kind of musician, though. There’s a lot of open-ness to it. The bass-player, in particular, has a lot of freedom. I think it’s a ﬆ yle of music where musicians can try out a lot of diﬀerent concepts.” Dubmarine, in particular, have built their career on a foundation of considerable experience and exceptional musicianship. The majority of the ensemble’s nine members have ﬆ udied music at a tertiary level and each and every member of the band has been operating as a professional musician for over ten years. The group’s music may be kinetic and joyous but it is always written and performed by musicians of remarkable accomplishment. “You know, you can get educated through

tertiary inﬆ itutions or you can get educated juﬆ by liﬆening to tons of records, playing gigs and juﬆ pract ising,” Alexander considers. “But everyone in Dubmarine has been ﬆ udying music, working with music and focussing on their music career for at leaﬆ ten years. Some of us have degrees in music, others have juﬆ been through the school of playing lots and lots of gigs – but everyone knows a fair bit about music and music theory.” Nowhere is this more evident than in the group’s legendary live show. While Depth of Sound is an effect ive document of the Dubmarine experience, it’s only in the live context that one can truly make sense of the group’s sprawling, multi-layered aeﬆ hetics. It’s only on ﬆage that one can comprehend the ensemble’s blend of musicianship, experimentation and artiﬆ ry in full effect – the exceptional cohesion of the band’s sound and album no longer surprising but fluid and natural. “We’re always re-editing. We’re always rewriting our songs. A song we played live two years ago will not sound the same now as it did when we fi rﬆ played it. Writing is a difficult process because we try to have all nine members involved in some way or another,” Alexander explains. “But, with nine musicians on ﬆage, we tend to run a pretty tight ship. Once we get our parts, that’s the song and we ﬆ ick to it and deliver it the beﬆ we can to our audiences. We do alright up here.” WHO: Dubmarine WHAT: Depth of Sound (SUGARRUSH/ Vitamin) WHERE & WHEN: Woodford Folk Feﬆ ival Tuesday 28 December – Saturday 1 January

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SUGAR IS SWEETER WHEN JIMMYZ WENT ABOUT SELECTING SONGS FOR HIS TENTH ANNIVERSARY 4PLAY COLLECTION, NINA BERTOK LEARNS THAT HIS USUAL ETHOS OF SELECTING TUNES FOR “THE PEOPLE” REMAINED INTACT.

ometimes when you can’t get the real thing, the next beﬆ thing turns out to be even better than the original. As one of Auﬆ ralia’s moﬆ in-demand commercial DJs, JimmyZ explains he wasn’t about to let label politics get in the way when putting together 4Play Gold to – the anniversary compilation he and his fans have waited ten years for. “When we didn’t get the original version of a song that we wanted, we found a diﬀerent version of it which was often juﬆ as good,” Jimmy says. “Moﬆ ly, it was even better than the original. For example, we’ve got a remix of Rihanna’s Only Girl In The World which was done by Lisa Perry from Sydney and Nick Skitz was the producer behind it. It ended up sounding slightly more Euro-elect ro but it act ually sounds better than Rihanna’s version. And people on Facebook agree.” And that’s pretty much Jimmy’s forte – discovering both obscure originals as well as lesser-known remixes from artiﬆs across the globe. As Jimmy puts it, think of it as an Eaﬆer showbag of goodies. “If you like the sugar high, hopefully you’ll go look for some more,” he laughs. “I’ll always include a couple of songs on the compilation that I personally think are awesome, but otherwise I moﬆ ly concentrate on what the people want to hear. One of the songs I wanted on this CD is 2nite by Felguk who are a duo of producers from Brazil. It’s an amazing song which is quite accessible but not exact ly Top 40, juﬆ kickin’ elect ro. My

QLD

hopes are that if people hear something more obscure like that, they might be encouraged to dig deeper and, who knows, they might find themselves all of a sudden liking dubﬆep or trance or something. I like to think of myself as a platform for someone who isn’t really into dance music. I like to think that I provide a kind of introduct ion for people, like a showbag you get at the Eaﬆer show which is full of bits and pieces.” Since the very fi rﬆ volume of the 4Play series, moﬆ liﬆeners have been hooked to the annual compilation, many of which Jimmy expects to see at the current CD launches taking place around the country. Queensland, in particular, is in for something special, according to Jimmy. “Volume One ﬆ ill seems to be the cornerﬆone for a lot of people who got into dance music around that time. I ﬆ ill get hassled over 4Play Volume One, people are ﬆ ill asking me for copies because they’re juﬆ not available anymore. I’m not surprised, it had ﬆ uff like Daft Punk’s One More Time on it. But out of all the CDs, this one probably has the biggeﬆ hits. Because it’s the tenth Gold anniversary edition we’re going all out with it. “For some reason, Queensland is really openminded and the people love dance music up there, they’ve been absolutely eating it up. There’s a venue called the Golden Palace and we’re act ually doing the whole theme of the night as gold. So people will be dressed in gold, there’ll be free gold glowﬆ icks, there’ll be gold body painting, gold ﬆ robe lights, gold lighting sheets – everything will have a gold angle. It’s a

good way to develop a connect ion between the brand and the people and plus, it’s a pain to sit around and wait for feﬆ ivals to come around in order to be able to do something a bit left of centre.” WHO: JimmyZ WHAT: 4Play Gold (Central Station/ Universal) WHERE & WHEN:

Envy Nightclub Friday 17 December, Noosa Surf Club Wednesday 22 December, The Rolling Rock Thursday 25 December and every Thursday in January, Goldn Palace at Ipswich Brothers Leagues Club Friday 21 January, Wharf Tavern Tuesday 25 January, Coolangatta Hotel Friday 28 January

MENTAL COMBAT Hip Hop With BLAZE

VIRTUOSO

Juﬆ a quick run through on some recent Boﬆon heaters. Virtuoso’s new LP The Final Conﬂict is another doom laden entry into the “end of the world” genre. Nothing cheery going on here, for it’s valuable liﬆening for when you’ve got the shits with everything around you and you need an outlet to vent, or at leaﬆ liﬆen to someone else expel their fruﬆ rations. Hard beats and piercing samples double the ﬆ rength of the intense attitude contained within. Anguish seems to be the word that would beﬆ sum the lyrical content. Like Chino XL, Virtuoso has a voice that sounds like it was forged in blacksmith’s workshop so it commands your attention. Akrobatik and Casual turn up for No Fear while legendary German emcee Torch keeps his native tongue on Wie Kings. The Bay Of Pigs might not reference the Cuban missile crisis, but it does feature verses from Vaﬆ Aire, Deltron 3030 (Del) and a sung chorus from Pidi T. Standout track for me would be the scratched up How To Make Fire. Did he juﬆ say “Celtic African”? Overall it’s a commanding LP that tackled my darker side into submission. I was late to this but, Nabo Rawk of the Porn Theater Ushers dropped his third solo album Bizarro World on his own label Livingﬆ un Park in September and it lives up to its title. He’s mentally gone down to Mexico and returned with a fascination for their imaginative twiﬆ on wreﬆ ling, Lucha Libre. Okay, Kutmaﬆa Kurt has already adopted this gimmick, but apparently Nabo employs an array of villains to battle when he performs on ﬆage in coﬆ ume. Musically it’s all over the shop – 80s keyboards, Italo disco, indie rock, 60s psych, primitive elect ro, easy liﬆening, drum breaks and more. He’s gone purely experimental with his choice of samples and sometimes juﬆ lets them ﬆand naked without much interference. How insanely great is Bizzy On Em where he sounds like he’s channelling some classic Ultramagnetic MCs coupled with the shadow of Percee P. As he ﬆates “I’m too dope, like a twin syringe”. Agreed. Loving the oddly weird Crimson Mask and the too funky The Barnburner. Act ually, I ﬁnd this whole album incredible. I’ve not enjoyed a release such as this one for several months.

GET YOUR SKATES ON

BRAZILIAN BAND CSS HAVE BEEN CHARACTERISED BY THEIR ABRASIVE YET GLITZY POPROCK SENSIBILITIES, BUT AS SPOKESPERSON LOVEFOXXX TELLS CARLIN BEATTIE, THERE’S MORE TO THE ACT THAN MAY FIRST MEET THE EAR.

etter known by her ﬆage name Lovefoxxx, CSS lead singer Luísa Hanae Matsushita opens up on the early days of the band. “We were all friends of friends when we got together,” Matsushita begins. “Adriano [Cintra] used to have a ﬆ udio called The Temple of Rock, so that was a building that we ﬆarted to go to and spend as much time as we wanted in as a ﬆ udio. A month after that we had our fi rﬆ gig… and then we never ﬆopped. Initially we didn’t have a name, until I ﬆ umbled across a quote from Beyoncée [Knowles], saying she was ‘tired of being sexy’. I thought this was very silly, but I liked it. So that is where CSS comes from; Cansei de Ser Sexy… it more or less means ‘tired of being sexy’.” Now preparing the group’s third album, Matsushita is keen to incorporate its release with the realisation of a life long fantasy. “My dream was always to do figure skating ﬆ uff, but that’s not going to happen – I’m too scared of doing that kind of thing. I can barely roller skate… So we’re trying to make the music on this album as the soundtrack to a figure skating presentation. It will have drama and myﬆery and momentum. Whenever I love a song myself, I always imagine it being the soundtrack to figure skating. It makes you feel emotional and excited deep down, very inside of you… It’s working, this method. We do have other songs too, that are more like getting into a fight, very badass songs. “That’s the other line we are taking,” she pauses before releasing a final thought. “We would love some figure skaters to get our songs together for a movie soundtrack, but this is beyond our powers.” Having taken a year’s break from fulltime band commitments, Matsushita explains that the act have returned to writing and recording with a renewed outlook. “We had so much time off – time to think about ourselves and the band and what we wanted to do. Th is has a lot to do with the new album, because it has a very dear and positive atmosphere. It’s very happy and

optimiﬆ ic. I think it really reflects the image that people have of us. It really is a whole different album – very different from both albums before. Because this was my fi rﬆ band ever, I didn’t have any experience writing songs when we ﬆarted. Some of the songs in the fi rﬆ album didn’t even have a chorus or were too long. We began to learn that we couldn’t spend five minutes in a show on one song; otherwise people would get very bored. I think with the new album, everything is more polished. It’s also more energetic and very honeﬆ.” With a growing itch to return to the road, Matsushita juﬆ ifies the band’s specific desire to return Down Under. “We’ve been waiting so long to come back now, that we’re very excited. I can’t wait. We’ve been working out. Right when we left Auﬆ ralia laﬆ time, we were feeling so fat and old that we ﬆarted on a diet on our laﬆ day. Since then we haven’t ﬆopped working out, so we’re full of energy. You’ll see.”

WHO: CSS WHERE & WHEN: Big Day Out at Gold Coaﬆ Parklands Sunday 23 January, Oxford Art Factory (Sydney) Monday 24 January, Big Day Out at Sydney Showground Wednesday 26 and Thursday 27 January, Corner Hotel (Melbourne) Saturday 29 January, Big Day Out at Flemington Racecourse (Melbourne) Sunday 30 January

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OGFLAVAS OG Urban news with CYCLONE

CEE LO GREEN

STEPPING UP COMING THROUGH THE HIP HOP RANKS IN THE DAYS BEFORE YOU COULD GENERATE BUZZ WITHOUT LEAVING YOUR BEDROOM, A FORTHRIGHT ANDREW LESLIE DISCUSSES THE LONGAWAITED BIGFOOT SOLO ALBUM WITH MATT UNICOMB.

igfoot’s presence in Melbourne hip hop ﬆ retches back longer than one might think. An early partnership with Bias B saw a great deal of attention heading his way, helming the boards for a series of tracks on Bias’s 2003 full-length In Bed With Bias. Over one decade since his arrival, Bigfoot is ﬆ ill an artiﬆ’s artiﬆ. The Melbourne-based MC’s presence has been beﬆ felt as a gueﬆ rapper. Having spent years hammering out verse after verse for the Broken Tooth, Hired Goons and 750 Rebels massives, any solo material released from the Bigfoot camp is welcomed with open arms. But there hasn’t been all that much of it. His 2004 Footprints 12-inch gave audiences a taﬆe of what he was capable of as a solo MC, while an appearance on BTE’s Dental Records Vol 1 furthered his reputation for an ability to hold a track down alone. Since then, Bigfoot relocated to Brisbane, where he was inducted into the city’s 750 Rebels crew. Alongside Lazy Grey, Ken Oath and upand-comer Jake Biz, the MC played a significant role in the continued development of the Queensland capital’s hip hop scene, ensuring the Melbourne-Brisbane connect ion ﬆayed ﬆ rong. Giant Steps has been a long journey. Th ree years in the making, the album traverses ﬆ udios in Brisbane and Queensland, while calling upon gueﬆs from up and down the Auﬆ ralian eaﬆ coaﬆ. At 15 tracks deep, the album is the moﬆ anyone has ever heard from Bigfoot in one package. “Everything I’ve heard has been overwhelmingly positive at this ﬆage,” he ventures on the response. “Maybe I’m getting slagged off, but I’m not on the internet enough to catch any of that sort of thing.” Bigfoot’s lyrics are as candid as you’ll find anywhere. Like the reﬆ of the Broken Tooth and Hired Goons collect ives, his sound is fi rmly grounded in gritty product ion and upfront lyrics. And like the cliques he runs with, he has a penchant for taking to rappers. His recent gueﬆ spots have vocalised a particular diﬆaﬆe for the current crop of MCs that have primarily built a reputation online, rather than the ﬆage. That diﬆaﬆe is continued on his debut LP. “When I ﬆarted you had to do shows,” he explains. “There was no internet buzz and no Triple J hip hop. You had to go out and network, rock shows and prove yourself. These days you don’t need that background to go big in hip hop, but you can really tell the

diﬀerence between the real deal and the clones when it comes to doing it live.” On the surface, Giant Steps appears to be a hugely collaborative LP. Over a dozen artiﬆs have been called in for gueﬆ spots, ranging from MCs that have been down with Bigfoot since the early days to more recent connect ions. Variety and collaboration is at the core Bigfoot’s creative process, and, as the album displays, leads to intereﬆ ing results. “There’s no point in saying the same thing for three verses when you can get some diﬀerent perspect ives and voices on there,” he asserts. “I didn’t go recruiting people for verses – they’re are all friends of mine that, in moﬆ cases, I’ve known for a long time. I know people will probably bitch about the amount of gueﬆ artiﬆs on there, but I made all of the music, played all of the inﬆ ruments, conceived and arranged the whole thing, so it doesn’t matter to me. I didn’t pay some big name I’ve never met from overseas for a B-grade verse like some others do.”

WHO: Bigfoot WHAT: Giant Steps (Broken Tooth Entertainment/Obese)

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Th is holiday season has brought pivotal urban albums. Yet, while musically disparate, Kanye Weﬆ’s opulently hubriﬆ ic My Beautiful Dark Twiﬆed Fantasy, Kid Cudi’s illwave Man On The Moon II: The Legend Of Mr Rager and Cee Lo Green’s The Lady Killer all share a pervasive darkness. n the case of Green (aka Thomas Callaway), it’s incongruous since, revelling in vintage Motown/Stax/Philadelphia International, The Lady Killer sounds like lavish, romantic disco-soul – but the twiﬆ is in his lyrics. The trinity are also tapping into genres traditionally out of the hip hopper’s orbit. Ye has collaborated with the neo-folk Bon Iver, Cudi is enamoured with Radiohead, ﬆ umbling into IDM, while Callaway has covered Band Of Horses’ country No One’s Gonna Love You with Paul Epworth at the helm (not included on The Lady Killer – boo!). There was considerable critical excitement in the lead-up to The Lady Killer. It’s often forgotten that, prior to teaming with Danger Mouse in Gnarls Barkley, Callaway presented two cult (read: neglected) R&B albums, having initially eﬆablished himself as an MC in Atlanta’s Goodie Mob. Cee Lo Green And His Perfect Imperfections materialised the year before Andre 3000’s The Love Below. But these albums were cult for good reason: Callaway’s ideas were original – brilliant, even – but he didn’t fully realise them. Crazy would become his albatross. But this year he ﬁnally repeated its viral success with the vitriolic Fuck You. However, The Lady Killer is among 2010’s beﬆ albums. Callaway has ﬆ ruck a balance between his avant-garde sensibilities as a transgressive neo-soulﬆer and popdom, liaising with everyone from the seasoned Rick Nowels (the guy behind Belinda Carlisle’s biggeﬆ hits) to Norway’s commercial Element (the breezy It’s Ok) to the more ‘alternative’ Salaam Remi. Strangely, Bruno Mars, Babyface’s heir, was involved in Fuck You. Callaway fantasises that he’s like James Bond but, really, he’s an anti-hero and he knows it. Bright Lights Bigger City is a tribute to Michael Jackson’s Billie Jean with its bassline and 80s synths. Satisﬁ ed is reminiscent of that loﬆ classic Callaway co-wrote for Solange Knowles – Sandcaﬆle Disco. Fool For You features Philip Bailey of Earth, Wind & Fire (80s kids will recall he dueted on Easy Lover with Phil Collins).

CLAMP DOWN! Alt.indie.pop with DCR

GRIZZKITCHEN

The end is nigh. But before we get all noﬆalgic for the y Grizzkitchen ear that was, in the form of a top ten liﬆ, in light of the upcoming release of the fi lm Blue Valentine (out Boxing Day), with its soundtrack by Grizzly Bear, let’s pay respect to the motion pict ure soundtrack - or, more specifically, let’s look at the more intereﬆ ing releases of the paﬆ few years. Whilﬆ the likes of Hans Zimmer (Inception), Danny Elfman (Alice In Wonderland) and James Newtown Howard (The Touriﬆ ) shouldn’t be worried about losing their dominance any time soon, there has been a rise over the paﬆ few years of popular artiﬆs contributing original music to fi lms. Thomas Bangalter, one-half of French elect ronic act Daft Punk, scored Gaspar Noé’s Irréversible and Enter The Void, whilﬆ Daft Punk themselves wrote the music for TRON: Legacy. Fellow Frenchmen Phoenix will always be associated with Sofia Coppola, thanks to contributions to her paﬆ three fi lms Loﬆ In Translation, Marie Antoinette and Somewhere (also released Boxing Day), whilﬆ Air composed the score to Ms Coppola’s debut fi lm The Virgin Suicides. Perhaps the moﬆ surprising entry, however, is Radiohead’s Jonny Greenwood, who drew great attention for his sublime work on the There Will Be Blood soundtrack, which was based around an orcheﬆ ral piece he’d written. Greenwood has also scored the upcoming Murakami adaptation, Norwegian Wood (a Japanese fi lm which should do the feﬆival circuit in Auﬆ ralia next year). Yeah Yeah Yeahs’ Karen O also did a maﬆerful job of capturing the innocence of childhood with her music for Spike Jonze’s Where The Wild Things Are. Then we come to the Twilight soundtracks, which have definitely proved that the old pick’n’mix soundtrack that has dominated the laﬆ 20 years can ﬆ ill be fresh, with the New Moon and Eclipse compilations (featuring the likes of Bon Iver and St Vincent, Florence and The Machine, Band Of Horses and Thom Yorke) the beﬆ of their kind since Romeo + Juliet in 1996. What about artiﬆs we would like to see write music for cinema in the future? Easy: Muse. If they went back to their earlier work, such as Space Dementia and Butterflies And Hurricanes.

SHE SHOULD COCO

BRISBANE EXPAT ANNE BOOTY CONFESSES TO DANIEL SANDERS THAT MUSIC WAS JUST “PISSING ABOUT” FOR HER UNTIL SHE FORMED COCO ELECTRIK - NOW SHE’S A FIERCLY INDEPENDENT FEMALE ARTIST THREATENING TO POKE HER HEAD OUT OF THE UNDERGROUND.

x-Brisbane poptronica artiﬆ Anne Booty has yet to be fully robbed of her accent though the occasional Southern English inflect ion gives the Coco Elect rik front woman away. Coco Elect rik emerged from the DIY elect ro dominated Eaﬆ London of 2004 – which Booty describes as “a really fun time to be making music”. Their firﬆ throw of the dice was Your Love Is Gum, a double A-side with Tom Vek on the fl ip that was released through Tummy Touch Records. Beﬆ known for bringing the world Groove Armada, the label provided the ideal springboard for Booty and product ion partner Paul Harrison, who together provided it with several singles before branching out on Booty’s Oscillation Records. Despite maintaining a healthy career ever since, Booty doesn’t seems to take music too seriously and indeed, their lateﬆ LP White Ink should speak volumes. “I only really ﬆarted doing music seriously with Coco Elect rik and that was 2004 or 2005, before that I was always juﬆ pissing about with a guitar with mates and ﬆ uff like that,” she relates. “I was really juﬆ something I did for fun, I used to write little folk songs when I was a kid but I never really put my mind to it until this project really.” While occasionally likened to Alison Goldfrapp, the environment, time and company within which Coco Elect rik “grew up” can likely claim a little more responsibility – even if they’ve come to be a rather more refi ned and adventurous act than many others spawned in the mid noughties. “I suppose any musician may lie slightly about not being affected by what’s going on around them, I think it’s very hard not to, but I try and remain separate from that and keep true to what we like doing really,” she says honeﬆ ly. “I think at the end of the day you want to get what your thing is out there and you don’t want to think, ‘well this is the current thing people are liﬆening to, I’m going to write to that spec’. “I juﬆ think the current climate for musicians… unless you’re a massively successful pop artiﬆ and get onto that ladder, even Lady Gaga doesn’t really sell that much in comparison to what artiﬆs like her would have done twenty years ago,” she ponders. “I think the beﬆ way to do it now is to keep your rights and release your own ﬆ uff and keep going that way.

It’s great, we love doing it, and initially it was something we wanted to do to get our music out: now if someone did want to come along to sign us we wouldn’t be intereﬆed anyway!” While Booty is seemingly more likely to reference LCD Soundsyﬆem and Hot Chip than Lady Gaga, the successes of the latter, and other such artiﬆs besides, certainly hasn’t been loﬆ on her. “It’s been an intereﬆ ing time to be a female elect ronic artiﬆ I guess because you’ve had over the paﬆ couple of years a real revival in the female solo artiﬆ thing going on and the elect ronic thing as well,” she muses. “It’s something I hope isn’t a fad though – the fact that I make music aside, it’s nice to see a lot of women getting a lot of success with what they do but there’s always that feeling that you’re on a treadmill and the next thing is going to be the shoegazing boy bands again or whatever. It’s nice to think it’s not a fad but you look at music hiﬆory and these things do go in cycles a bit.”

WHO: Coco Elect rik WHERE & WHEN: Piﬆol Whipped at Step Inn Friday 17 December

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LOCAL DIALECTS

Aussie Hip Hop with RIP NICHOLSON

THE PHILOSOPHER’S STONES CYCLONE LEARNS THAT FOR EGBERT NATHANIEL DAWKINS III, RECASTING HIMSELF AS ALOE BLACC AND LEAVING A LIFE OF WORKING FOR “THE MAN” HAS HELPED HIM LIVE THE NEW AMERICAN DREAM.

tones Throw has long been hailed as a hub for true skool hip hop, but these days the label is impressing with its vintage R&B roﬆer – Aloe Blacc, Mayer Hawthorne and Dâm-Funk. A self-described ﬆoryteller, Aloe Blacc, aka Egbert Nathaniel Dawkins III, ﬆarted as an MC in the outfit Emanon. But, liﬆening to everyone from John Lennon to Donny Hathaway to Joni Mitchell, Dawkins decided that he could express more as a singer/songwriter. Stones Th row boss Peanut Butter Wolf encouraged him, but his hip hop homies were sceptical. Happily, Dawkins is vindicated with his lateﬆ album, Good Things, praised by media outlets like the Guardian. “I think I’ve learnt how to be a better songwriter – that’s really what my goal was while I took a hiatus from being an MC and making hip hop music,” Dawkins says of his sophomore. “I also feel like I’ve learned a little bit about focus and direct ion. I think it’s important in my career to develop some focus so that my audience can have a more concrete idea of who I am as an artiﬆ.” Dawkins was born to Panamanian immigrant parents. He spent his early years on military bases before settling in Orange County, California. Dawkins ﬆ udied Psycholinguiﬆics and Communications at the University of Southern California and, on graduation, worked as a business consultant. When he was laid off, Dawkins determined to pursue music. He emerged in the mid-90s as half of Emanon with DJ/producer Exile. But, even with Emanon, Dawkins felt the urge to do an Andre 3000, recaﬆing himself as a soul cat. In 2006, he yielded the transitional Shine Through. Good Things, recorded in New York, is Dawkins’ response to the GFC. Still, while concerned with “economic disparity”, he also offers “intimate” relationship songs – plus a smoky cover of Velvet Underground’s Femme Fatale. Few mainﬆ ream hip hoppers have acknowledged the recession. Only The Roots keep it real, with many ﬆ ill obsessed with bling-bling. Others, such as Drake, are preoccupied with the dark side of fame. Dawkins believes that hip hop’s conscious voices are simply not being heard. “Record executives don’t give a fuck – record executives wanna put out bullshit music basically for junior high kids. They don’t wanna take the risk of putting out music that matters to adults – because they juﬆ wanna go for the quick buck and they don’t wanna lose their jobs.” WHO: Aloe Blacc WHAT: Good Things (Stones Th row)

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Dawkins has been inﬂuenced by progressive philosophers, from Ralph Waldo Emerson through to Cornel Weﬆ, and his recent reading includes John Perkins’ “enlightening” Confessions Of An Economic Hit Man. He rues how Americans, especially, don’t see how they’re “conditioned” as consumers – they don’t queﬆ ion that bling rap. “It makes sense – as a business person I can see it clear as day. As an artiﬆ, I hate it!” Ironically, I Need A Dollar, Good Things’ lead single, is the theme to HBO’s TV series How To Make It In America, which ﬆars Kid Cudi. “I’ve seen the show,” Dawkins says. “I think it’s a quite honeﬆ depict ion of twentysomethings in the cities – in Los Angeles and New York and Detroit, Chicago... It speaks to my life..”

Hilltop Hoods revealed a visual expose of their laﬆ album State Of The Art with the recent drop of their DVD mini-fi lm, Parade Of The Dead. The ode to George A Romero’s zombie genre opens up a Pandora’s Box – “what if we got a visual for every dope local hip hop record released”? Here the outfit tap deeper into their creative reach and leave us with an original view of where the music comes from. As artiﬆs it’s a progressive move and one that we see often, and allows us to view the music as the artiﬆ sees it. Nobody really wants another Purple Rain or Moonwalk, but if every Aussie hip hop artiﬆ had the availability to visualise their LPs in a short fi lm video, what weird and wonderful creations would emerge? God forbid if the Hoods’ should ever set the Funkoars loose on a film set. How would it go down? Hanging out with Charlie Sheen in a ﬆir of drunken debauchery with flesh ﬆrewn across a hotel floor, the Funkoars running rampant through the halls while ﬆrippers hide themselves in closets in fear of the phallic menace? More locally, the laﬆ time we saw Choose Mics on film Mules and Haunts went from breaking their backs in a prison chain gang like Cool Hand Luke to escaping for an egg-eating competition for Let Me Go off the Beggars Can’t Be Choosers album released earlier this year. If they roll the film further do they get rounded back up and rap out Dirtier Than Hell from a jail cell? Shock & Awe infamous rapper The Tongue took to a press conference and ﬆaged an event a few months back which prompted a unique controversy for the release of his Alternative Energy album. It found The Tongue physically and verbally shredding journaliﬆs to pieces alongside his entourage – antics which prompted Elefant Traks to release a ﬆatement and go viral with it online. If his label and the MC developed this further, as he goes from press conference to prison cell, vivid emotion for the lyrics would be seen in a new light. If he could conceive such an idea for a promo, what would he do with his own Murder Was The Case-type film? So maybe in 2011 Auﬆ ralian hip hop could do with the camera what they’ve achieved with the mic and two decks so we can see the good, the bad and the ugly act ing of some of our fineﬆ beatsmiths and MCs. Video never kills the hip hop ﬆar.

CHOOSE MICS

THE ALBUM OF WEEK

ALBUMREVIEWS

FAR EAST MOVEMENT Free Wired (Interscope Records)

SHACKLETON Fabric 55 (Fabric/Balance Music/EMI) That you can ﬆ ill rely on Fabric to deliver the goods after all these years is very comforting and the lateﬆ inﬆallment in their long-running mix series is no exception. The reins of Fabric 55 have been handed over to UK-based digital voodoo don and co-owner of the infamous Skull Disco label, Sam Shackleton. The mix is conﬆ ructed completely of his own product ions with over half of the tracks included having never been released before, the reﬆ culled from his impressive back catalogue on Skull Disco and Perlon. Having ﬆarted Skull Disco with friend Appleblim, the pair have always been noted for introducing more abﬆ ract elements of sound and ambience into the dubﬆep/ bass dancefloor setting. All of Shackleton’s trademarks are present in this thrilling mix – heavy tribal drum samples, ominous bass, ghoﬆ ly samples, intricate rhythms and a gifted ear for subtlety and nuance. Operatic Waves and Deadman are perfect examples of Shackleton’s command of mood and atmosphere, providing the perfect background for his twiﬆed percussive experiments. And there are plenty of those. Buﬆed Spirit incorporates organic-sounding Oriental drums with shifting digital beats that ebb and flow with chopped-up vocals and washes of noise. Other highlights include the tribal madness of Man On A String (Part 2) and the Blade Runner meets Indiana Jones vibe of Massacre. The beauty is this ﬆ uff is completely absorbing and rarely gets boring. While working in seemingly rigid rhythmic patterns often approaching 4/4, Shackleton has an endless sense of creativity when it comes to the subtleties of counter-rhythms and the interplay between different elements in a track. Th is mix is as close as you’ll get to the surreal and disorientating experience of a live Shackleton set – as those who were lucky enough to catch him on his Auﬆ ralian tour this year will atteﬆ. BRAD SWOB

So you’re in a club and want to hear some hip hop, R&B and bopping elect ronic beats. What to do? Get the wax controller to throw on some Far Eaﬆ Movement (also known as FM), that’s what. The Asian team of artiﬆs who comprise FM have been around for a while, long before the current crop of fans cottoned on to the monotonic yet ﬆ rangely compelling lyrics and elect ro beat heard on their current favourite, Like A G6. Free Wired gets its name from the intermingled elements of hip hop, Latino, R&B, elect ro and dance. What makes the album noticeable is the raft of producers, collaborators and gueﬆ s – Roger Sanchez, Snoop Dogg, Smeezingtons, One Republic’s Ryan Tedder and Keri Hilson appear in one

DUBBLESTANDART Marijuana Dreams (Collision)

Dub reggae enthusiaﬆs, provided the elevated THC levels in their brain not prevent it, should be very familiar with the name Dubbleﬆandart. The Viennese four-piece have been creating echo-drenched bass monﬆers for over twenty years and their lateﬆ long-player, Marijuana Dreams, merely confi rms their ﬆanding on the dub scene. There could be no greater vote of confidence than not one but two appearances by dub godfather Lee “Scratch” Perry ,who adds his pseudo-spiritual ramblings to Some Will Be Dread and Chase The Devil, and he is joined by the trippy, sampled vocals of the late William S Burroughs on Saints Go Marchin’ Through All The Popular Tunes and David Lynch on Optimism Dub. Dancehall superﬆars Elephant Man and Anthony B also lend their vocals yet, as is the way in dub music, they are disembodied and pushed off to some far corner of the mix. Dubbleﬆandart put their ﬆamp on the sound by adding occasional elect ronic atmospheres to the rootsy riddims, bringing it slightly closer to mainﬆ ream chill out music. Two puffs and pass it, man. DARREN COLLINS

guise or another. One of the beﬆ efforts is Rocketeer, ia made-for-radio pop and piano ballad which features Tedder’s smooth vocals. The European elect ronic dance influences take hold on Fighting For Air, which also features the UK’s FrankMusik. Girls On The Dancefloor and Don’t Look Now are of similar ilk – robotic, repetitive and rhythmic. Snoop Dogg crops up on If I Was You (OMG) with lyrics that spruik about sipping (presumable Grey) Goose and getting loose. Go figure. Although based in LA, California, the boys from Japan, China, Korea and the Philippines who form FM are normally snapped wearing shapes and skinny ties. If they’re trying to be fashion contemporaries they’ve failed miserably. However their lifeﬆ yle and outlook combines for an intereﬆ ing musical outlook which makes Free Wired a surprisingly decent pop album. STUART EVANS

VARIOUS/LEO ZERO Disconnect (Strut/Inertia)

With a hiﬆory that includes everything from the Balearic trance tomfoolery of Chicane through the beardy cosmic wigout of A Mountain Of One to his current incarnation as dancefloor remixer to the ﬆ ars, Leo Zero certainly qualifies as eclect ic. Thankfully this compilation – the fi rﬆ in Strut’s new ‘deeper’ mix series – rides the divide between fun and fi lth admirably with a fi ne and sweetly syncopated journey between rock, pop, reggae, disco and house. Billed as a subversive dancefloor sound, the fi rﬆ half takes in the punchy ska of fabulously named Despond and the Tutus and the digital skank of Basement 5’s Silicon Chip before heading into the Balearic bliss of Chris and Cosey’s Exotica. From this uptempo ﬆ art it would be easy to thrown down a few dancefloor bangers, but with a foot on the reﬆ raint pedal it’s uphill in a different way as krautrock legends Can rub shoulders with maﬆers of the avant-garde Brian Eno and John Cale. Which makes Disconnect not quite what you might expect , but funky and fulfi lling enough to keep any party on the ﬆ raight and narrow. TOBY HEMMING

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ONE TRACK MIND WORLD’S END PRESS Faithful EP

SIMIAN MOBILE DISCO Delicacies (Kobalt Music)

If you’ve previously heard James Shaw and James Ford from Simian Mobile Disco, there’s one thing that’s immediately apparent in all they produce – hammering and heavy-hitting kick drums. Laﬆ year’s overﬆ uﬀed and confused Temporary Pleasure sounded more like SMD had relinquished the independent and underground dance position that they worked so very hard to achieve. So Delicacies is beﬆ approached with caution – but what transpires is a weird and tangled journey into the world of tech house, which includes their traditional quirky layers of more weirdness, sounds and loops. The concept is bizarre enough –nine tracks pay homage to exotic delicacies that SMD have eaten during their travels. That means nine track titles

STARKEY Space Traitor Vol 1 EP (Civil Music)

As dubﬆep’s mutant cousins gradually infi ltrated the mainﬆ ream over the course of 2010, it was truly disappointing to note that Philadelphia’s PJ Geissinger was not carried along with them. As Starkey, Gessinger has done more to transform dubﬆep’s murky template into a new and innovative commercial form than perhaps any other artiﬆ in the lexicon. Space Traitor Vol 1 is a case in point. The producer’s lateﬆ EP’s five tracks are conﬆ ructed from the same fundamental components of dubﬆep – lurching halfﬆep beats, richly textured atmospherics and subdeﬆ roying bass – but re-contextualise those elements in such a way as to create something both thoroughly novel and imminently liﬆenable. Robot Hands welds jagged buzzsaw synths and syncopated elect ro-funk rhythms to the formula while Playing With Fire is a dense orcheﬆ ra of multi-layered synths, ﬆabbing bass and warped synth-brass. Th roughout each track, Gessinger showcases a technical finesse few producers could even approach (let alone emulate). One only hopes such visionary skill translates to some mainﬆ ream recognition. MATT O’NEILL

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bear absolutely no resemblance to the music. Names like Hakarl (Shark Cheese), Skin Cracker, Thousand Year Egg Drumappella and Sweetbread grace the album. It’s akin to a bad food experience with a chef on Methamphetamine. Delicacies is an album of tech house inﬆ rumentals that are built around slow and minimal build-ups, fleeting melodies and moderately layered samples. The longeﬆ track, Nerve Salad, approaches ten minutes and is a drawn-out affair of snares, beats and hisses surrounded by dense atmospheric layers. And that really sets the tone for a winding and ﬆ ripping back of musical layers to reveal a core techno beat and even more effects, samples and thumping basslines. STUART EVANS

(Love+Mercy/Shock) World’s End Press seem to be getting better at this whole disco-rock malarky, and certainly more ambitious, coming on like a local equivalent to Hot Chip. Faithful feﬆoons their usual live disco blueprint with camp melodrama and excellent piano ﬆabs, while Only The Brave is coked up and shrill a la Bowie’s Let’s Dance. Beﬆ of all is the hypnotic house epic Long Live – the longer and more overblown, the better, it seems.

SCARLETT BELLE Lover Boy (Sony)

I’m the ﬁrﬆ person in the world to ﬆan for cheap and naﬆ y local dance-pop, but something about the idea of a “supergroup” comprised of, uh, Tamara Jaber and Reigan Derry is really oﬀ-putting. That said, notwithﬆanding an opening autotuned quiver, Lover Boy plugs into a vein of anonymous house/R&B fusionism circa 2001 that, were the song any better than it is, might make me tear up in noﬆalgia. About as good as we can expect from these two.

THE HUMAN LEAGUE Night People (Liberator Music)

VARIOUS Th is Is Dubﬆep Vol 3 (Get Darker/ Inertia)

The revved-up, ravey, wobble-out dubﬆep sound has reigned supreme over the dancefloors of 2010 and every label and their dog have been tripping over themselves to issue dubﬆep compilations – from Miniﬆ ry Of Sound to Onelove. Get Darker is a dubﬆep website based in the UK who have juﬆ released the third inﬆalment of their This Is Dubﬆep mix series. Tracks included range from knucklehead floorfi llers (see Dr P’s Gargoyle or Nero’s Innocence) to cheesy attempts at pop-ﬆep (see Skream’s remix of Von D’s Show Me), while whoever let Flux Pavilion’s remix of DJ Fresh’s Gold Duﬆ exiﬆ let alone be included here should probably be arreﬆed – it’s truly awful. Despite being overwhelmed by music of this ilk, there are some pockets of great music hidden across this two-disc collect ion. The reﬆ rained sounds of Molten by Digital Myﬆ ikz provide welcome relief from the abrasion, as does the hoods-up vibe of Kryptic Minds & Youngﬆa’s Cold Blooded. To be fair though, this is the sound of dubﬆep right now – for better or worse. BRAD SWOB

In truth Night People is almoﬆ deﬁant in sounding exactly the same as The Human League always have, at leaﬆ in their nervy new wave bug-eyed electro mode (Love Action) rather than the crooning of Don’t You Want Me. Night People’s comic preaching makes it sound like a jokey set piece, but the lyrics here are by turns great and bizarre. TIM FINNEY

3DPLAYLIST 3D 1. Naked Punch D-NOX & BECKERS 2. Silver Lining (Joe Smooth Remix) CODEBREAKER 3. Out Of The Curious (Luke Dzierzek Mix) MINILOGUE 4. Gandhi (Andy Weatherall Remix l) LE CORPS MINCE DE FRANCOISE 5. I Feel Space LINDSTRØM 6. Robbing Is Leally My Game DIMITRI FROM TOKYO 7. Ghetto Fabulous ELITE FORCE 8. For The Rebels LYNX FT MC SENSE 9. Messiah KONFLIKT 10. Sunshine RYE RYE FT MIA

3DWORLDTRAVEL

GO TO EXTREMES DAVE DRI VENTURES TO FAR NORTH QUEENSLAND – AKA THE EXTREME NORTH – FOR A DAY ON THE RAPIDS IN THE CARE OF A KIWI SKIPPER, AND ENCOUNTERS THE PRE-REQUISITE EUROPEAN BACKPAKCERS ALONG THE WAY.

s the Auﬆ ralian summer begins to push thermometers into the upper reaches of temperature, so the sunshine begins to drive a ﬆeady contingent of backpackers to the Far North of Queensland. For many, the fi rﬆ taﬆe of Auﬆ ralia is the act ion-packed and sun-drenched “Extreme North”, so-named for location, weather and adventure. In an almoﬆ endless ﬆ rip of beaches and rainforeﬆ lies a countless number of act ivities for the adrenalin junkie, a term so familiar now as to lose the unfashionable ﬆ ing of the over-enthusiaﬆ ic touriﬆ boom of the late 1990s. That era is a worthwhile reference point for those venturing into the extreme north, as much of the general touriﬆ boom has diminished with ﬆeadily cheaper international travel, with once-exotic deﬆ inations made accessible to a generation of globe-trotters weened on Lonely Planet guidebooks and travel television. With Bali and Thailand a brief hop away, what does the extreme north ﬆ ill hold for Auﬆ ralians? The queﬆ ion makes for a worthy ice-breaker, bouncing around the confines of the mini bus working its way up through the fields of sugarcane and bananas and into the Tully Gorge National Park, situated neatly inland of

Cairns to the north and the laid-back Mission Beach to the south. The mix of accents around the bus shows a United Nations of solo travellers, all showing genuine surprise to encounter an Auﬆ ralian traveller in their home habitat rather than posing for photos at a Tiger Temple or ﬆ umbling out of a bar in Kuta. Th is trip is a recon mission of the extreme adventure options, and previous days of downhill mountain bikes and deep sea dives, of scooters and sky dives, has left its toll. Surely a day on a river will be soothing alternative?

As if to reﬂect the changing trends in Queensland tourism, the safety lect ures are kept to an essential minimum, peppered with humour from a veteran rafting leader with an unfortunate Kiwi accent. Dubious heritage aside, Johnny sets the pace and tone early, giving the heads-up on how Raging Thunder’s Xtreme rafting trip varies from other oﬀerings. Where the other operators run in slow safety between set-piece descents, the Xtreme run is a smaller assault on the Grade 4 rapids, running at pace and in reﬆricted numbers. The greater speed allows for more

time enjoying diversions that the others skip; all leaping off cliffs, swimming down rapids and being sucked into underwater currents. In fact, we are the firﬆ boat on the water that day, comprising a small but eager bunch that includes a pair of heroines; Zoe The Brit and Rahella The Norwegian. Never undereﬆimate the escalation of the extreme when the firﬆ pair of hands to raise for any adventure are those belonging to an early twenties, beautiful backpacker. Gender bravado washes out of mind over the fi rﬆ rapids, with Johnny casually throwing the boat into a flexible pretzel shape that reinforces the importance of keeping helmeted heads clear from unprotected noses and shoulders. The lesson is difficult to maﬆer, with a 90 degree drop forcing the bow of the raft back towards the middle, carrying my weight into the body of the American adventurer behind me. With a grunt, his head snaps back, carrying his shoulder into Rahella, all slender frame and a sudden explosion of blood. Dropping paddle, her hands rush to hold her nose quicker than the next thundering rapid that threatens to up-end the entire scene. We burﬆ out of the dramatic drop in shock and comedy, a mess of arms, legs and paddles. In true extreme spirit, Rahella inspects her nose for breaks, confi rms

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WHY GO?

FACTS & FIGURES BOX Population: 2,457 (Tully – 2006 census) Language: English National Drink: Beer Average Annual Rainfall: 4,095.1mm Currency: Auﬆ ralian Dollar that everything is relatively in place, before shouting an enthusiaﬆ ic “let’s go!”. A round of high-fives celebrates the gung-ho bravado and we paddle off to power through the next run. Amid the precision and chaos of the descent we remind ourselves to pause to soak up the scenery, with diminutive Zoe spiriting a waterproof camera somewhere between her tan and bikini. The Tully Gorge is a serene backdrop in contraﬆ to the explosive rapids, with the region’s diverse wildlife on display. Any number of cormorants lounge on rocks between fl ights to snap up plentiful fish, while an enormous Ulysses butterfly dances paﬆ like a vintage raver, glowﬆicks replaced by an iridescent electric blue wingspan. Feigning paternal care, Johnny ﬆernly advises the boat to check for leeches. As we haﬆily grab ankles to peer around feet, he lazily flicks Zoe’s foot in well-practiced rafting judo that throws her clear of the boat. It’s only due to the incredible skills in navigating the rushing rapids that we maintain any truﬆ at all in Johnny, who takes regular and unimaginable pleasure in throwing false directions to up-end the boat in calmer ﬆretches of the descent. Even counting a pitﬆop for lunch, a series of cliff jumps and rapid swims, the day ﬆ retches on without the typical feeling of diminishing

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returns. Where moﬆ adventure act ivities begin with a blaﬆ and fade into comfortable familiarity, the ﬆaggering cliﬀs and waterfalls blend with the tension and release to keep the mood high. The conversation and camaraderie of the boat bubble away under Johnny’s expert interject ions of queﬆ ions and commentary. Only slightly bruised, sunburned and battered, the trip does come to an end, with the mini bus of excited chatter spilling out into the Raging Thunder cafe for a round of beer and good

FAR NORTH QUEENSLAND, AUSTRALIA

natured jeﬆs as the day’s photos play out across viewing screens. As the party breaks out into new direct ions and a new day looming, the appeal of the region comes quickly into focus. All up and down this eaﬆern coaﬆ line there is a resurgence in domeﬆ ic adventure travel, spurred on by the appeal of the great Auﬆ ralian road trip. Looking one laﬆ time over the day’s photos of rapid tumbles, clashing heads and cliﬀ jumps, we agree that this really is an Extreme North. And all of this in our own backyard.

You’ve probably watched the sunrise at Angkor Wat, eaten mushrooms on the Gili Islands and crammed into the Tube in London, but you might not have realised how exciting and beautiful the North-Eaﬆ of Auﬆ ralia is. With the Summer months spilling out, a new wave of adventure and adrenalin tourism is ramping up after a few difficult years. Even if Auﬆ ralians have cut back on domeﬆ ic travel, the international backpackers have not, and the lean years have forced the induﬆ ry to reinvent itself into a leaner and more dynamic beaﬆ. Go find out why half of Europe is throwing itself out of planes, off of boats and down rapids in our own backyard.

GETTING THERE?

Domeﬆ ic airfares continue a competitive battle, with the low coﬆ airlines oﬀering regular sales on moﬆ runs. Beﬆ options are to sign up for newsletters with Qantas, Jetﬆar and Virgin Blue. There are also daily specials to watch out for, including Virgin Blue’s “Happy Hour” on their website at midday each weekday. A direct ﬂ ight may be the faﬆeﬆ route, but nothing beats a road trip. Grab some mates, a car and a copy of Jack Kerouac and hit the road.

IF YOU LEFT TODAY?

Accommodation options vary greatly, but the general vibe can be summed up in the phrase “faded glory”. A new wave of ecotourism options oﬀer exciting huts, hammocks and hide-aways, but the old faithful YHAs are a mixed bag. Don’t discount the common Motel for comfort, with Mackays Mission Beach ($98/night for a private room) oﬀering a night of clean, air-conditioned comfort, if not the socialising of the run-down and dirty Treehouse YHA ($25/ night for a dorm). When in doubt, pitch a tent and meet the local wildlife.

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NIKK C WHERE AND WHEN WAS YOUR FIRST SET? “MC battles at The Gap Sports Club, 2003. These nights evolved into the Babbleon MC battles responsible for bringing artiﬆs like Drapht and Bliss N Eso to Brisbane for their ﬁ rﬆ shows.” WHAT’S YOUR FAVOURITE 12”? “Muro feat Lord Finesse & AG – Vinyl Athletes. The Japanese king of Diggin teams up with members of Diggin In the Crates for a truly golden collaboration.” WHO ARE YOUR FAVOURITE DJS? “Kentaro, Babu, Sheep, Scott Baio.”

QLD QLD

FAVOURITE CLUB TO PLAY? “Alloneword in Fortitude Valley has my vote at the moment, a great indoor/outdoor space with very friendly ﬆaﬀ. The tidieﬆ DJ booth in town with no messing around.” WHAT’S YOUR BEST ALL TIME GIG? “Scribble Jam 2006, QLD DJ ﬁnals. Cutting on ﬆage, with DJ QBERT as my drummer.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “A dance move called ‘the jelly robot’.” WHAT’S THE WORST REQUEST YOU’VE GOT? “Juﬆ ice Crew – no diss to the group.”

WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “Initially they thought it was something that I’d get bored of, but now they underﬆand the advantages of pract icing hard.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “Lemonade.” WHAT GIGS HAVE YOU GOT COMING UP? “Alloneword Friday 17 December, Make You Pop at Club 299 Thursday 23 December.” PHOTO BY TERRY SOO AT LARUCHE

DJ STIFFY’S WIDE WORLD OF SHORTS A NICE SET OF CANCUNS So, anyways, laﬆ year’s attempt to sell vaﬆ quantities of drugs at laﬆ year’s environmental do-gooder pow-wow in Copenhagen was a failure, and this was my own fault for failing to underﬆand that the new generation of environmental types no longer act ually are hippies, ie they’re not smoking bongs and preaching cosmic energy, which is juﬆ a way of getting in the pants of the neareﬆ hippie chick plied with LSD (and, by the way, I highly recommend not having sex while on LSD, in the same way that I don’t recommend watching pornography while eating dinner). So, anyways, the point is, neo-hippies are more like lawyers who feel generally unhappy about earning upward of $150k per year for doing the moﬆ tedious shit imaginable (eg finalising portions of a contract that will decide the responsibilities of an IT provider to a company that sells IT provider training programs to IT providers) and, apparently they have to give their lives some sort of “meaning” and take a pay cut to work for some “carbon traders”, who are basically juﬆ failed used car salesmen taking advantage of large corporations thinking that “carbon offsets” are a good way to ﬆop hippies being angry at them for being, well, corporations. Selling drugs to these people is like offering $5 handjobs outside a Pentecoﬆal church on Sunday at 10am. Being the masochiﬆ I am, I thought, “fuck it, I’ll go for the next round of talks anyway”, specifically because they were in Cancun, which is basically full of drunken 19-year old American college ﬆ udents that end up showing off their tits to complete ﬆ rangers in nightclubs with names like Senor Frog’s (and I have no fucking idea what that means). The other reason was to see how the operations of the world’s moﬆ financially successful drug-dealer – El Chapo – act ually work. Th is second reason was a bit of a dud. The Mexicans realised that a town full of 15,000 well-off naive Weﬆern lawyers who think they’re ﬆanding in solidarity with both the world’s poor and the foreﬆs that the world’s poor want to cut down so they can act ually grow something to eat is possibly the greateﬆ kidnapping opportunity of all time. There were cops everywhere. And I don’t juﬆ mean Darlinghurﬆ /Valley/St Kilda plodders – I’m talking full riot gear, armoured cars and very large machine guns every 200 metres along every major road. Which all makes sense, especially when the Mexican President, who basically has an army of 35,000 drug dealers on the loose all trying to kill him, turned up. Anyway, the upshot is, the whole UN climate negotiating process should be replaced with an all-female under-21 beach volleyball tournament. It would be better to watch and might act ually get a result.

DANCE MUSIC HUB CHART 1. Kernkraft 400 (The Only Bootleg Remix) ZOMBIE NATION 2. Operation B 2010 ROYAL ARTISTS

3. Wake Up Call STEVE AOKI & SIDNEY SAMSON 4. Hello THE POTBELLEEZ 5. Smash The Pressure DEEKLINE 6. Get Fresh MOGUAI

7. Music Sounds Better (Extended Mix) VARIOUS ARTISTS 8. It’s My Day (Bodybangers Remix) VARIOUS ARTISTS 9. Phazing (Tieﬆo Remix) VARIOUS ARTISTS 10. Tik Tok (Dimitri Vegas&Like Mike Remix) BOB SINCLAR AND SEAN PAUL

YOUTUBE OF THE WEEK

BANGS - CHRISTMAS STORY After rocking our world with the infamous Take You To The Movies and Meet Me On Facebook, Sudanase rapper now residing in Melbourne – Bangs continues to spread joy throughout the world with his unique ﬆ yle of hip hop music. Th is season he brings us the fresh and feﬆ ive tune Chriﬆmas Story which of course is accompanied by another kick-ass video that only Bangs could come up with.

“

IF THE CHECKOUT CHICKS AT WOOLIES HAD A RUNWAY SHOW AT FASHION WEEK I WOULD BE FRONT ROW.’’

CAN’T SAY WE SHARE THE SAME SENTIMENT AS DANCER/DJ NACHO POP BUT HEY EACH TO HIS OWN

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NAT

HOW DID YOU GET YOUR DJ NAME? “[It was] nothing really. It came about when I was sitting around with a group of friends. I didn’t really like it to be honeﬆ, but I’m ﬆ uck with it now.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “I would have to say very tough-edged elect ro, with a lot of vocals, ﬆ rong buildups, and very ﬆ rong basslines.” WHAT TRACK TURNS YOU ON RIGHT NOW? “A remix of a Roger Sanchez song called Together by Sidney Samson, it is a real grinding song and the danceﬂoor loves it.” WHAT MADE YOU START DJING? “I’ve always had a passion for music since I was about six years old, so it was a

natural progression.”

DJBOOTH WAHOO

WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “There was a power cut one night and the crowd kept singing the song, then when the song was over, one person in the crowd led into another song, then another song. Everyone kept singing along and no one left the danceﬂoor.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “There are a lot of backyard producers out there, so I’ve heard a few.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Someone asking me to come for a walk and meet a friend in the middle of a set.”

WHERE & WHEN: Whatever Wednesday at Uber Wednesday 15 December, Elect ric Playground Friday 17 December and Friday 18 December, Boxing Day Bash at Elect ric Playgroud Sunday 26 December, The Blu Experience at Elect ric Playground New Year’s Eve

ROCKING HORSE CHART 1. Magnetic Man MAGNETIC MAN 2. Drama To The Finish STATESMEN 3. Get It Together SOLA ROSA 4. Everyone Loves UD UNDA DWELLA 5. Six Books PROPHET RAYZA 6. Duck Tape TENDANCEE 7. Babara Streisand DUCK SAUCE 8. 4X4=12 DEADMAU5 9. Monﬆer House HUNTER & DJ VAME 10. Discovery TINIE TEMPA

QLD

INDUSTRY WATCH BOWLS CLUB. AT THE BOWLER BAR

THE IDEA BEHIND OUR NIGHT IS… “ Each week we ﬁnd it necessary to celebrate an obscure anniversary in hiﬆory. We do this ever so subtly and ever so vaguely through the use of bowler hats, haﬆ ily conﬆ ructed song playliﬆs, an unnecessary amount of vodka, a darkened room and a trial version of Photoshop.” WE’LL BE PIMPING THE SOUNDS OF… “The perfect blend of poﬆ-pop-nu-partyindie-house-disco-rave-gaze.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “The talent (or lack thereof) consiﬆs of regular appearances by Magic Happens, Graz, Tim Fuchs, Van Miert, Knickers & Rhys.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Being a club, we always aim to appease our loyal members with kindness and specials. Get in contact with one of our club captains or board members for exact details on juﬆ how kind we are.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Drinking ﬆ rong spirits with cucumber in them, sitting back on milk crates whilﬆ having a cigarette, hitting the d-ﬂoor and getting rejected.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “We have copious amounts of dark corners, smoking areas and weird shit on the walls.” WHERE & WHEN: Bowls Club at Bowler Bar every Saturday

6 7

SUSHI SNAPS 6

1 $2 Super Sunday @ Fox Hotel 2 DJ Manchoo @ Myﬆique 3 Friday @ Limes Hotel 4 Friday @ The Church

5 Hedonism @ Eaﬆ 6 Saturday @ Chalk Hotel 7 Saturday @ Fringe Bar 8 Sunset The Luxury Pool Party @ Billy’s Beach House

QLD

8 1

QLD

GUESTLIST

TV ROCK

WEDNESDAY

THE REGATTA Frat Club: DJ Tom Walker, DJ Paul Bell, DJ Scotty R. 9pm. Free. UBER Whatever Wednesdays: Danny Cool, LL Cool James, Van Miert, DJ Juicy vs DJ Vita, Tom Gazal, Morgan Baker, Hey Now, Rockfaud, Bi Polar Whore. Free. ZURI Sushi Remixed. Dirty Little Clouds. 8:30pm. Free. JEROME ISMA-AE

FUSION VILLA NOOSA Coverdrive. 8:30pm. GPO Residents. 9pm. Free. LALA LAND LaLa Land Xmas party: Hump Day Project. THE MET Bossy, Mr Sparkle, Hello Australia DJs, Andee, Murray Brown, Paul Ison, Nick Galea. MONASTERY Round Table Knights, Danny T, Dan Gavel, Bert Brown, Tim Dart, Fingajigg, K Time, Messie. 9pm. $15. PLATINUM Vandalism, Christian Luke, Gerry Morales, Craig Roberts, Joey Mojo. 10pm. PRESSURE LOUNGE DJ Metal Jacket, DJ Ricky D. 9pm. $8. THE REGATTA Oarsome Fridays: Teejay, DJ Paul Bell, DJ Scotty R. 9pm. Free. SQUEEZE CLUB DJ Climate. STEP INN Pistol Whipped: JD Samson, Coco Electrik, Distorted Digital, DJs Rework, DayJaVu, Aukistra. 8pm. $20 + bf. ZURI Provocateur: Bec Laughton, Benn Hopkins, Jason Rouse, Matt Kitshon, Robyn. Free.

SATURDAY

THURSDAY BIRDEE NUM NUM Ivy League presents: Birdees Student Night. 9pm. Free. THE CLUBHOUSE El Guincho, Toy Balloon, Charlie Why. 8pm. $31.15. FITZY’S Vita, DJ Climate. 8pm. Free. FUSION VILLA NOOSA DJ Banksy. 9pm. Free. KALIBER Kaliber Open Decks. 8pm. Free. LALA LAND Thomas Schumacher. MERMAID BEACH TAVERN Rewind: DJ Nik Conomos. Free. MONASTERY Dirty Thursdays: Baby Gee v Alex Terrell, Danny T v Luki, Noy v K.OH!, Sketti v Alex Terrell. 9pm. $5. RIC’S BAR Elevation Events: Arty, Scott Walker, Rich Curtis, Jer, Jonathon Robinson. 8pm. $15-$20. ZURI Glamorou$: DJ Oscar, Mr Sparkles. Free.

FRIDAY ALLONEWORD DotDotDot. BARSOMA DJ Harvey, DJ Garth, Pantha Du Prince. 10pm. $23.30. BASEMENT Xlr8: Kris O’Rourke, Justin Charge, Dee Jay K1, DJ JL, Agent A, Torn. 8pm. Free before 10:30pm/$10 after. THE BOWLER BAR Love Fingers, Magic Happens, Mirror Mirror, The Courtesans, Tim Fuchs, Knickers. BREAKFAST CREEK HOTEL DJ Lok Lazy ‘N’ Co. BRACKEN RIDGE TAVERN Jimmy Z. 9pm. $5. ELECTRIC PLAYGROUND MC Flipside, Loose Units, Wahoo, Kayli, Dirtie Cloud DJs, DJ Real, Adam Madd. 8pm. ELSEWHERE A Light Year X-Mas: Light Year, Audun & Shitiel, Giv, Stretch, Paper Cranes, Thomas J. 10pm. $10. FAMILY BASEMENT Bexta, Harry K, Karma, Dynasty, Jer, Hektic, Kazuki. 9pm. Free before 10pm/$15 after. FAMILY TOP FLOOR Brand Spank’d @ Family: Thomas Schumacher, The Only, Dr Rob, Tag Team. 9pm. Free before 10pm/$15 after.

BARSOMA Rikki Newton, Fuzion, Wadza, Digital Divide, CJM, Scott Walker, Jay Berry, Adam Swain, Dan Abbott. Free. BREAKFAST CREEK HOTEL DJ Lok Lazy ‘N’ Co. BROTHERS LEAGUE CLUB CAIRNS Jimmy Z, Joel Turner. ELECTRIC PLAYGROUND Mobin Master. 9pm. ELSEWHERE Secret Love Heroes: Bastards. 10pm. FAMILY BASEMENT Vandalism, The Cut, Chris Wilson , Habebe. 9pm. Free before 10pm/$15 after. FAMILY TOP FLOOR Hey! Hey! @ Family: Light Years, Jordan Who?, Seany, Dr Rob, Danny T, The Judy Dolls. 9pm. Free before 10pm/$15 after. FUSION VILLA NOOSA Baby Gee, Reverend Jackson. 9pm. THE GLOBE THEATRE Miami Horror. GPO Residents. 9pm. HI-FI Adrenaline: S3RL, Karpe-DM, Decipher, Khanage, Deeplex, Kazuki. 8:30pm. $10 + bf. HOT GOSSIP DJs Vita, Juicy, Link On, Khesrow, Humane. Hosted by Knovell Capote. 9pm. $15. LALA LAND Rhys Bynon, Miles Jr. THE MET Coco Inc. Future Music Festival Launch Party: Tenzin, Too Shoes, Midnight Tango, Donz, Censor This, Vice Versa. MONASTERY Blaze Tripp, Danny T, Noy, Luki, K.Oh!. 9pm. Free before 10pm.

MYSTIQUE Toys N Da Hood Urban Christmas Party: DJ Santa. PLATINUM TV Rock & Rudy, Mark Brown, Gerry Morales, Craig Roberts, Joey Mojo. THE REGATTA Tom Walker, DJ Paul Bell, DJ Scotty R. 9pm. Free. STEP INN Pistol Whipped: JD Samson, Coco Electrik, Distorted Digital. WOODLAND Little Dragon. 9pm. $18. ZURI Saturdays @ Zuri: MC Jamie Lee Wilson, Matt Kitshon, Ben Hopkins. Free before 10pm.

SUNDAY BARSOMA Jerome Isma-Ae. BRISBANE ENTERTAINMENT CENTRE Gorillaz, Little Dragon, De La Soul. $99.90-$119.90 + bf. ELSEWHERE On The Wall launch party: Kasino, Claudio Kirac, Nite Stanbridge, Nine Sons Of Dan, Hey Arnold, Stretch, Giv. 7pm. FAMILY Fluﬀ y’s Christmas Bash: Zoe Badwi, Wil Sabin, Andrew De Luna, Alexei Paige, Velvet Motion, Harry K, Karma. 9pm. $10 before 10pm/$20 after. X & Y BAR Dreamtime, Udays Tiger. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO BRISBANE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.

MIAMI HORROR

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P47 BYE BYE KRISPY HOLLY HUTCHINSON CONSIDERS WHY ONE OF AMERICA’S MOST MOUTHWATERING, HEART-STOPPING TREATS - THE KRISPY KREME DOUGHNUT - FAILED TO ENSLAVE AUSTRALIAN TASTEBUDS WITH ITS ADDICTIVE MIX OF SUGAR, CREAM, AND PASTRY. Th is month, Krispy Kreme doughnuts went into voluntary adminiﬆ ration in Auﬆ ralia, retreating back to its US homeland after seven years of trying to crack the Auﬆ ralian market. Let’s take a minute to reﬂect on Krispy Kreme. As you might know already, a Krispy Kreme doughnut is very diﬀerent to your average doughnut. In fact, to call it a doughnut at all is a bit misleading, since very little of it is made up of dough. Its main ingredient is obesity – or, in other words, 5,000 calories of sickeningly sweet, 100 per cent processed cream, encased in a tube of paﬆ ry that cracks like a baby’s spine when you bite into it, and glazed with something only slightly more edible than nail varnish. Krispy Kremes are delicious in the same way that moﬆ drugs are delicious: they taﬆe disguﬆ ing, but the chemicals in it make you so waﬆed you keep coming back for more. So, why have they gone buﬆ? Well, there are a few theories. Statiﬆ ically, people in Auﬆ ralia didn’t buy Krispy Kremes on a regular basis. Th is is probably because unlike Americans, we haven’t had time to develop addict ive dependencies on their eye-watering sweetness. Another theory is that although moﬆ Krispy Kreme ﬆores were placed in depressing, outer suburbs so that they could prey on the poor and isolated; a box of 12 assorted Krispy Kremes coﬆs $21.95, which means that they’re too expensive for impoverished people, who have traditionally been the biggeﬆ vict ims of American food chains that spread to Auﬆ ralia. Funnily enough, Krispy Kremes aren’t the only American faﬆ-food venture to experience failure in Auﬆ ralia. Baskin-Robbins also

QLD & VIC

went into voluntary adminiﬆ ration, Taco Bell has hardly expanded at all since it came here, and Starbucks closed 64 of its Auﬆ ralian ﬆores laﬆ year. So what’s the reason for this? Well, despite the long-popular rant that Auﬆ ralian culture has become overly Americanised, it would appear that when someone act ually offers us an American faﬆ food option, our general response is, ‘gross – I’m not eating that.’ Of course, the obvious exceptions to this are McDonald’s and KFC, which flourish in the majority of countries in the world. But at leaﬆ we’ve seen the lights as far as the paﬆry options go. The next ﬆep is realising that there’s almoﬆ as much sugar in a Big Mac as there is in a crème-filled Krispy Kreme doughnut.

UNDER SIDE

OFF THE CUFF The old saying goes that ‘A word is worth 1/1000th of a pict ure’. Th is was later refined after complaints from the jigsaw puzzle induﬆ ry and it became ‘A pict ure is worth 1000 words’. But the truth is, in moﬆ social interact ions a well conﬆ ructed one liner is far more useful than drawing a pict ure. Society values a witty quip. But we can’t all be Oscar Wilde (if we were, we’d all be dead), so rather than try and work ‘off the cuff ’, you should try and prepare your lines in advance. The moment ﬆ raight after sex is one occasion when a quick one liner is vital. You know, roughly, how it’s going to end, so why not have a line ready in advance? Because no matter how cool you feel after sex, you have to remember that you juﬆ made a series of embarrassing sounds, you pulled some ﬆ upid faces, and your genitals are hanging out. Th is isn’t a good look. So in order to reﬆore some credibility, put a cherry on the situation with a high quality line. I like to roll over and say “Okay, show’s over. Everybody out!” What you don’t want to be saying are things like, “Shall I pay you now?”, “What the fuck are you laughing at?”, or “Oh my God, are you okay? Oh Jesus, not again! How can I make this look like an accident?” Your opening line is also crucial when you get pulled over by the police. Your fi rﬆ words should always be: “I’m sorry officer, I need to get home because I have diarrhoea.” Th is line won’t help you if you’re transporting a pound of heroin, or a dead body, but it might excuse you for failing to indicate while changing lanes. No cop will put you in the back of his squad car if he thinks you’re about to make a chocolate pancake in your pants. So he’ll let you go. Th is is his opportunity to be a nice guy, while simultaneously avoiding having to wipe human shit off his upholﬆery. That’s a win-win situation. So before you get out of bed each morning, try and think of some witty lines to accompany your day’s activities. Because a line prepared well in advance is always going to be better than anything your feeble mind can think of on the spur of the moment. DAVE JORY

BLOG STANDARD BROKEN SECRETS

Overview: Th is site’s all about the things you probably don’t know but might find entertaining or useful. Generally, the “secrets” are not things you shouldn’t know; more likely, they’re juﬆ intereﬆ ing things you don’t know yet. So if you’ve ever wondered why babies seem to be catatonic or where the concept of daylight savings came from then this is the blog for you. Design: The design of this blog is nothing remarkable. A simple format and layout that is really easy to navigate (thanks WordPress). But 10 points loﬆ for an awful colour scheme that features a shade of browny yellow in an attempt to imitate gold. It’s quite an eyesore. Recent Poﬆs: ‘Why Airplane Shades Muﬆ Be Up for Takeoff and Landing.’ You may not have heard of this, but it’s law in some countries and it’s growing in popularity around the world. The reason is similar to why the airlines dim the interior lights during takeoffs and landings at night. In short, it’s for safety in the event of an accident. With the window shades up, passengers and crew can spot dangers outside the planes before they open an emergency exit. Dangers like fi re, water and running airplane engines can be hazardous if someone opens an emergency exit right into them. During bright daylight, it also allows your eyes to adjuﬆ to the brightness outside, which could be critical during an accident. Quality of content: By all accounts the select ion of topics, quality of writing and images is grade A. There is something for everyone here because everyone likes to feel they are being privy to information the majority of other people will never know. Frequency of updates: Around every two to three days. Downloads/Streaming: None. Audience: You, your mum, your dad, your bother – basically anyone with an inquisitive mind. WWW: brokensecrets.com

COURTSIDE

WIKILEAKS When Oprah draws a larger crowd than a proteﬆ for freedom of information you know there’s a problem. The WikiLeaks fiasco has been and continues to be a fascinating reflect ion of our collect ive values as Auﬆ ralians. Given that the man at the centre of the controversy, WikiLeaks founder Julian Assange, is one of our own, the react ion of our government, the media, and Auﬆ ralian public has been surprising. Prime Minﬆer Julia Gillard was quick to side with the US and condemn the act ions of WikiLeaks as illegal and “grossly irresponsible”. Intereﬆingly, inveﬆ igations as to exact ly what offense Mr. Assange has allegedly committed have gotten nowhere.

Gillard is ﬆanding with the position that “the foundation ﬆone of it is an illegal act.” It’s disappointing that our PM has done nothing to acknowledge that Assange is an Auﬆ ralian citizen, and as such is entitled to a basic level of concern for his treatment from the government. Fortunately, Foreign Miniﬆer Kevin Rudd (forgetting the embarrassing portrait painted of him as a scared control freak by leaked documents) has pledged to defend the legal rights of Assange as he prepares to face court in London. The Auﬆ ralian mainﬆ ream media’s coverage of WikiLeaks has been underwhelming, with moﬆ outlets focusing on personalities rather than the important issues and ideas that WikiLeaks represents. (Also, Oprah being in town has been a wonderful diﬆ ract ion.) Assange’s brilliant op-ed in The Auﬆ ralian laﬆ week really shed light on the issue at the centre of the controversy: the funct ion of journalism in the 21ﬆ Century and how the internet provides new ways to report the truth. As he said: “Democratic societies need a ﬆ rong media and WikiLeaks is part of that media. The media helps keep government honeﬆ ... The Gillard government is trying to shoot the messenger because it doesn’t want the truth revealed, including information about its own diplomatic and political dealings.”

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QLD & NSW

3 DEGREES OF SEPARATION THE FIRST DEGREE

BING CROSBY WHITE CHRISTMAS (MCA Coral), 1949. You would certainly have to be some form of a Grinch if Bing Crosby’s White Chriﬆmas doesn’t make you feel all warm and fuzzy inside. According to the Guinness World Records, White Chriﬆmas sung by Bing Crosby is one of the beﬆ-selling singles of all time, with eﬆ imated global sales in excess of 50 million. The single ﬁ rﬆ featured on Crosby’s 1949 holiday collect ion Merry Chriﬆmas, which has never been out-of-print since. The song also inspired the 1954 musical White Chriﬆmas which was the higheﬆ grossing ﬁ lm of 1954.

THE SECOND DEGREE

MARIAH CAREY ALL I WANT FOR CHRISTMAS IS YOU (Columbia), 1994. Mariah Carey released All I Want For Chriﬆmas Is You on her fourth ﬆ udio album Merry Chriﬆmas, accompanied by a feﬆ ive music video of the glamed up diva frolicking around the snow as Mrs Claus. The holiday classic has been downloaded over 1,647,000 times and is the beﬆ-selling holiday ringtone in the US, with sales of more than two million units. Th is is one Chriﬆmas tune that has no expiry date. Mariah fans may recall All I Want For Chriﬆmas Is You featured prominently on the 2003 Hugh Grant Chriﬆ mas rom-com Love Actually which also happened to include a cover of White Chriﬆmas by American soul singer Otis Redding on its cheery soundtrack.

THE THIRD DEGREE

SNOOP DOGG CHRISTMAS IN THA DOGGHOUSE (Digital Download), 2008. Snoop Dogg spread his own brand of holiday cheer in 2008 with the release of a doggy-ﬆ yle Chriﬆmas compilation album titled Snoop Dogg Presents Chriﬆmas In Tha Dogghouse. A few of the ﬆandout tracks included Chriﬆmas In The Hood, Landy In My Egg Nog, Twas The Night Before Xmas and Xmas On Soul. The release also featured a number of Snopp’s rap ﬆar pals including Tha Dogg Pound, Soopaﬂy, Bad Lucc, Damani, J Black and The Huﬆ le Boyz. While Snoop Dogg Presents Chriﬆmas in Tha Dogg House failed to reach the success of Mariah’s Merry Chriﬆmas compliation, the two super ﬆars have a hiﬆory of making sweet music together including the single Cry Baby in 2000 and Say Something in 2005.

NAT

GIVEAWAY

CLUB CLASSICS DJ K.OH!

WHERE & WHEN: Monaﬆery Thursday 16 December, Wetlips at The Ruby Tramp Friday 17 December, Monaﬆery Saturday 18 December, Voltage at Roxanne Parlour Sunday 19 December

ABOVE & BEYOND ANJUNABEATS VOLUME 8 GIVEAWAY Across a span of over 170 releases, Above & Beyond’s Anjunabeats imprint has grown from humble beginnings to become a global ﬆandard-bearer for trance and melodic elect ronic music. The two-disc Anjunabeats Volume 8 compilation is a journey showcasing the full spect rum of Above & Beyond’s sound, taking in elect ro-inﬂuenced grooves, deeper trance and hypnotic progressive textures alongside their trademark euphoric anthems. Over 20 acts featured, including Arty, Aruna and 7 Skies and the release has been hailed as the act’s moﬆ accomplished creation yet. For your chance to win one of three Anjunabeats Volume 8 compilations simply email your name and addresss to giveaways@3dworld. com.au with ABOVE in the subject line.

MODEK CASSANOVA (Monkey See Monkey Do), 2009. “It’s a nice heavy flowing track which gets the crowd fiﬆ-pumping. It also has a great intermission that gets the crowd romantically dancing with one another.” THE BLOODY BEETROOTS WARP 1977 (Dimmak Records), 2010. “Th is track can definitely get the crowd pumped. It’s a very punk rock-influenced version of the famous Warp 1.9.” WHAM! WAKE ME UP BEFORE YOU GOGO (EPIC), 1984 . “Obviously an unexpected track to play but, as an ‘80s classic tune that everyone is familiar with, it definitely gets the crowd ‘boogieing’ on the dancefloor.”

DBN SUPRATON, WE PLAY MUSIC CHART (GER) 1. Like That Sound (DBN RMX) SYKE´N´SUGARSTARR FEAT. JAY SEBAG 2. Whaler ANTON PIEETE 3. Wazabi DBN & PATRIC LA FUNK 4. Jemand MENDO & MATTEO SPEDICATI 5. Go (Marco Lys RMX) MOBY

6. Personal Jesus (DBN Bootleg) DEPECHE MODE 7. Inﬆ incts JAY LUMEN 8. She Freaks SHAPESHIFTERS 9. The Island (Steve Angello, AN21 & Max Vangeli RMX) PENDULUM 10. Friday Night (DBN RMX) JEREMY HILLS

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A B C D E F G HI JKLM N

OPQRSTUVWXYZ

LIL LOUIS

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

The raunchy themes of Rihanna’s Loud aren’t new – they have their antecedents in orgasmic disco. Seventies disco is equated with the Bee Gees’ cheesy Saturday Night Fever but, from the outset, the music had a subversive side. Disco was inherently countercultural – being embraced by black, Latino and gay followers. It was also popular with women. Disco represented the very antithesis of a prevailing macho, white rock culture. And it was a music of liberation. Donna Summer would be disco’s firﬆ (female) superﬆar. An aspiring rock singer, the Boﬆonian travelled to Germany to appear in the musical Hair – and ﬆayed, basing herself in Munich. Summer had already recorded a generic pop album with Pete Bellotte when inspiration ﬆruck – she came up with the lyrics for Love To Love You Baby. Bellotte’s cohort, expat Italian producer Giorgio Moroder, recognised the potential to develop the song into something less romantic than carnal. He had Summer simulate orgasm – moans, groans, sighs – for a disco record. Summer, from a Chriﬆ ian background, felt uncomfortable – but persevered. Love fell into the hands of Casablanca Records’ Neil Bogart who, digging it, requeﬆed that Summer cut a longer version (clocking in at over 16 minutes). It was released in 1975 – and blew up in the US and elsewhere, despite radio ﬆations banning it. Love was hailed as a gay anthem, but it materialised at a time when French feminiﬆs like Helene Cixous were challenging Freudian theories of female desire, and phallocentricism, and re-examining the nexus between the body, language and identity. Love epitomised female “jouissance” with its multiple climaxes – it was diff used, not linear. The track surely influenced Diana Ross’ sexy makeover, Love Hangover. The explicit sexuality of Summer’s breakthrough foreshadowed Madonna’s poﬆ-feminism, which, in turn, rubbed off on everyone from Janet Jackson to Lil’ Kim to Lady GaGa. Summer later issued I Feel Love, Love’s thematic sequel. Th is time the music was wholly synthesised. I Feel Love inspired New Wave, house and techno acts (it’s recently been covered by Wynter Gordon with Rhythm Maﬆers and MYNC). The disco backlash saw the music return underground – and sublimated into new genres. New Wave brought the US outfit Berlin, led by Terri

Nunn. Today they’re beﬆ remembered for the Moroder-helmed Take My Breath Away, but Berlin generated heat in 1982 with the femme-porno Sex (I’m A...). (Peaches has covered it). And Chicago houser Lil Louis’ French Kiss of 1989 was indebted to Summer’s o-disco.

BERLIN

In the 80s a bornagain Summer ﬆopped performing risque material. Others happily took up the mantle. Madonna, who’s lately sampled and performed I Feel Love, made her own o-disco anthems – Juﬆify My Love and Erotica. O-disco has spawned porn house, with Nic Fanciulli even mixing a CD under that title for Mixmag.

DONNA SUMMER & GIORGIO MORODER

MADONNA

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FLOORED

LAURENT GARNIER L.B.S. VILLAGE UNDERGROUND, LONDON 3.12.10 You couldn’t blame a Laurent Garnier fankid for being nervous. In a year that saw Icelandic volcano Eyjafjallajökull scuttle travel plans across Europe and ruin more than a few crackerjack gigs in the process, Mother nature had certainly reminded everyone who was boss in 2010. Th is time it was heavy snow blanketing the continent and causing widespread shutdowns of airports. On his Facebook page, the Frenchman alluded to the ﬆ ruggle. “Not easy to get to London today…but we will somehow.” That ‘somehow’ was a delayed fl ight that results in Garnier and his L.B.S (Live Booth Sessions) cohorts Benjamin Rippert and Stephane “Scan X” Dri arriving at the venue juﬆ after midnight to begin setting up their impressive rig of gear, encompassing laptops and Nord Lead synthesizers among other gadgets. Thankfully the trio’s tardiness allows Layo & Bushwacka!’s Layo Paskin to fi ll Eaﬆ London’s cavernous Village Underground with a warmup set of blue ribbon proportions. Paskin drops shoegaze prog house that lobs him into the same thematic ﬆ ratosphere as James Holden’s legendary Balance 05, before shifting gears to explore soulful grooves and then jackin’ Chicago house. The dancefloor is a gurning, sweaty pit of anticipation as Garnier initiates the fi rﬆ pulsating, intergalactic bassline into motion. Geﬆ iculating to Rippert and Dri whenever a musical transition is needed, the Frenchman plays the role of elect ronic conductor as he jolts his body in time with the beat, a ﬆ udy in zenlike concentration. Sonically, it’s mind-warping ﬆ uff too. Gothic rave spirals into low-slung bass that spills into whisked acid warbles while Garnier ﬆ rikes the keys in free-form ﬆ yle. He teases the build-up

to the muscular beaﬆ Back To My Roots ensuring a flurry of fiﬆ-pumps from the dancefloor when the bass kicks in. The performance is essentially split into thirds as Garnier switches to DJ mode and drops punchy progressive tech that morphs into the kind of warbled synths you might find in a Hallucinogen record, complemented by waves of horns and keys encased in a ripple of 303s.

Rippert and Dri rejoin Garnier in live mode for the ﬆ unning saxophone led Gnanmankoudji, before the danceﬂoor turns into a delirious mosh for The Man With The Red Face. “You know it was absolute hell for us to get here tonight, but I am so glad we did,” Garnier says grabbing the mic around the 5:30am mark, before informing the laﬆ track of the night was going to be the 20 minute long Fucking

Up Your Mind. “We’re going to make it laﬆ,” he says, a satisﬁed grin plaﬆered across his face. A searing psychedelic monﬆer, the track does everything it promises on the tin, as undulating synths build into waves of melody to become the kind of end-of-set euphoria that belongs in Sasha record box. It’s a genius maﬆerﬆ roke and something even the snow can’t fuck with. CLARE DICKINS

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GET YOUR FREAK ON

Nothing makes people go apeshit like a cancelled fl ight or two. We were reminded of this recently when Qantas grounded six of its jets after one of them had an engine explode in mid-air. Since the incident, 1200 passengers have had their fl ights cancelled, and thousands more have been affected by the delays and cancellations. With this news, the time is ripe to take a look at how people cope with cancelled fl ights. Back in April of this year when an Icelandic volcano exploded, passengers spent a lot of their time screaming at anyone even remotely connected with an airline. One woman was even fi lmed claiming that it was “the worﬆ thing that has ever happened”. Really? Was it really the worﬆ thing that has ever happened? Let’s try to be rational about this. Yes, things go wrong at the airport. There’s always the chance that your plane will get cancelled, or that you’ll leave your passport in the toilet, or even that you’ll suddenly remember that you’re carrying 12 sharpened metal poles in your carry-on luggage, juﬆ as you put it through the x-ray machine. All these

things have happened to me, but I can say that not once have I rolled around on the floor screaming, and not once have I loﬆ my shit at anyone who clearly had nothing to do with these monumental cock-ups. Yes, sometimes I crawled off afterwards and lay on the bathroom floor quietly sobbing, but it was in the privacy of a toilet cubicle floor, where I wasn’t making a scene, and my foetally-positioned body wasn’t in the way of other holidaymakers. So yes – being at an airport can be ﬆ ressful. But surely it’s a good thing when an airplane gets grounded because there’s a fear that it’s not going to be safe up in the air. And don’t think the airlines are doing it for their own entertainment either – when airlines ground their planes, they immediately ﬆart haemorrhaging money. So surely we can generally accept the fact that when planes get cancelled, no amount of screaming is going to make you airborne. So when your fl ight gets cancelled, yes, it’s annoying, but is it “the worﬆ thing that has ever happened”? No. It’s not. The worﬆ thing that could act ually happen to you is something along the lines of dying in a horrific plane crash. Try and keep things in perspect ive. HOLLY HUTCHINSON

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TUBETIME The incredible world of television with 5SPROCKET

Iron Chef is an ill-conceived attempt by Channel 7 to show that their dick can be juﬆ as big as Channel 10’s. Th is is the Mi goreng to MaﬆerChef ’s Jatz crackers with cheese. Hoﬆed by beloved dwarf Grant Denyer, he does all he can to make it seem like the show isn’t shitting on a plate and asking the judges for a score. It seems that Denyer truly is the right man for these kind of gigs – with a fi xed grin akin to Jack Nicholson’s Joker and that eternal ‘I was a school captain’ vibe – he’s an enthusiaﬆ ic horse pulling a cart leaden with the egos of network executives (“I’ve got it! Iron Chef !”) and pretentious Auﬆ ralian ‘chefs’. Stealing the glory from SBS’s Saturday night ﬆaple, Channel 7’s ‘Auﬆ ralianised’ take on Iron Chef may have the shape but it ain’t got the soul. Shaky camera moves and abrupt edits try to make it seem as important as Kevin Rudd’s teeth, but, like those teeth, seems incredibly false. Dry ice and back lighting does not make a show more exciting, it juﬆ gives it the feel of a year six disco where the girls won’t touch you. The ﬆ rength of the Japanese original is its sense of chaos – chefs running around like mad trying to create insane dishes that fuse pineapple with lobﬆer, cameramen leaning into extreme beads of sweat, the lateﬆ J-pop songﬆ ress on the judging panel agreeing politely with every queﬆ ion she’s asked. Layers of Japanese dialogue clash, which are in turn dubbed by a couple of Americans that seem totally bemused by the whole enterprise. Cue pan pipe and synth soundtrack. In our local, ‘whiter’ version Grant Denyer’s sidekick/sub hoﬆ rides his voice over the job like an injured Shetland pony. In a conteﬆ this serious you need to tell people how serious it is, and often. “Compromise is not even a word, I can barely pronounce it.” He goes on. “These chefs have one object ive.” What is it - to build a yacht? After drooling over marrow, the voiceover man insiﬆs that “surely that is a very expensive piece of cruﬆacean”. On Neil Perry: “Is he a born genius? I think yes.” It isn’t juﬆ that the people who present the show have difficulties with conﬆ ruct ing cohesive thoughts, or that the overﬆating its own importance ultimately devalues anything that they are ‘trying’ to achieve. It’s that the show is a complete and utter misfi re. You know what’s better than this show? An ulcer.

FILMREVIEWS

TRON: LEGACY

Released smack-bang in the middle of Disney’s so-called “dark” period (which also spawned 1979’s lifeless Star Wars rip The Black Hole), the original Tron was much maligned upon its release in 1982 and only really gained a second life through the advent of home video throughout the middle part of that decade. Its reputation grew over time as a generation of “users” grew up in a world where “programs” were part of day-to-day life, so the only thing really surprising about this seemingly inevitable sequel is that two live-act ion Transformers fi lms have somehow been released before it. The fi rﬆ thing you should do when approaching TRON: Legacy is to check your cynicism at the door, ignore any lapses in the fi lm’s internal logic (computer programs go to nightclubs where Daft Punk play elect ro house? Really?) and ﬆ rap yourself in for as good a dose of eye candy as cinema has provided since Avatar – overwhelmingly blue colour palette and all. The original fi lm’s video game designing, arcade owning, swashbuckling protagoniﬆ Kevin Flynn (Jeff Bridges) is back, as is his cohort Alan Bradley/Tron (Bruce Boxleitner reprising his only significant role besides John Sheridan in Babylon 5), but this time they’re not juﬆ programmers at info-tech company ENCOM but running the show – that is until Flynn goes AWOL in 1989 while in the process of creating “a digital frontier that will reshape the human condition”. Woah, man – heavy. Faﬆ forward to 2010 and his son Sam (Garrett Hedlund) is all growed up and warming to the role of wayward renegade himself, fighting ENCOM from the outside for his own amusement and generally being a bum (with an amazing apartment mind you). But that all changes when Bradley turns up unannounced with news that a page (the 1980s equivalent of a text message) has arrived from Sam’s dad’s old gaming arcade, which Sam promptly inveﬆigates. Pretty soon that pesky laser from the firﬆ fi lm sucks him through a vortex and into the Game Grid where he promptly fi nds himself involved in disc wars and light cycle battles which are basically a souped up version of the same scenes from the 1982 fi lm – action set pieces which have more than held their own visually some 28 years later. From here Biblical and Holocauﬆ allegories fly about every which way, Flynn senior now a quasi-myﬆ ical guru outcaﬆ from the Grid by his “program” Clu (a spookily semi-realiﬆ ic or laughably bad CGI facsimile of Bridges circa ’82, depending on your perspect ive), the latter charging himself with creating the perfect world his “user” originally set out to design. Now Clu wants to enter the real world and continue his queﬆ for perfect ion there, and only the Flynns and the myﬆerious Quorra (Olivia Wilde in saucy doe-eyed computer program mode) can ﬆop them. Much like this year’s earlier world-within-a-world Inception, TRON: Legacy attempts to be a blockbuﬆer with a brain, but doesn’t quite get there. There’s a lot of ﬆanding/sitting/walking and talking as characters try to get the uninitiated up to speed with the TRON universe (being familiar with the original is definitely recommended), and the characters

themselves don’t ﬆ ray too far from the Hollywood handbook. Bridges (both real and CGI) owns every second he’s on the screen, with Michael Sheen doing his beﬆ to ﬆeal the show with a brief scenerychewing role as glam nightclub owner Caﬆor (manager of the aforementioned club where Daft Punk are residents – “programs” apparently enjoy drinking as well. No, really.). But when rookie director Joseph Kosinski lets loose with his act ion scenes, including a beautiful homage to the Solar Sailor ﬁnale of the original, any quibbling is pretty much redundant. The 3D environment is perhaps not utilised to the mindblowing eﬀect of Avatar, but the world of TRON: Legacy is one you’ll want to get loﬆ in for at leaﬆ two hours. Juﬆ try not to get derezzed, “user”. WHERE & WHEN:

Screening in cinemas Thursday 16 December KRIS SWALES

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DISCWORLD DVD Reviews with TOM BRABHAM

PHARMACY End Of An Era (Underground Epidemic Product ions)

SENSATION: WICKED WONDERLAND Live Regiﬆ ration 2009 (Central Station/Universal) One night at Amﬆerdam Arena. DJs hidden somewhere in a array of infraﬆ ruct ure creating trance’s versions of wonderland whilﬆ lights and fireworks illuminate thousands of Netherlands’ fineﬆ party-goers, all dressed in white and doing their beﬆ lighter impression with their phones and digital cameras. Interspersed with video intermissions of that “down the rabbit hole” approach, there’s no denying the scope of this and the fact that this is a dance party like few others. Why then, does the DVD version feel so dull and lifeless? Well, because it’s the DVD version and no matter how many quick cuts you take and ﬆaged close-ups of buﬆ y women dancing together you feature, it’s never going to be the same as the real experience of losing your inhibitions and dancing in a sea of sweaty dudes. The tunes are OK but nothing spectacular – there they wouldn’t have needed to be, the big video screens of girls running their tongues along either side of a lollypop making up for it – and from what you can see of the crowd they seem to be enjoying the experience rather than the tunes. That said, there’s a lot of ﬆanding around going on anyway and those aforementioned close-ups of pleasingly looking women look too fake for comfort. To compound this, the whole concert flatlines. After a bombaﬆ ic opening and Erick E looking typically daft with a ﬆ upid grin and singing along to his own hook lines, by the time

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Fedde Le Grand takes control and the video’s innocent girl in the white makes out with her dominatrix alter ego to “discover a new kind of life”, you’re left wanting more. The pitfalls of compressing such a huge product ion into one mere DVD are large and numerous – an acrobat hanging upside down with a bottle of champagne for punters is cool, as are the sea of lasers they can hold over everyone’s head and girls banging big drums, juﬆ not in your lounge room. Take nothing away from how spectacular this is – its beﬆ funct ion is probably as a promo video for their next event – and the vibe seems to grow as the night goes on. All up it runs for 48 minutes, ending not nearly as spectacularly as it opened, Sander Van Doorn the laﬆ set.

Where the real value of this lies is in the making of feature, but at only 18 minutes and with a generous amount of cut scenes it’s not as insightful as it could have been. Getting inside the creative process of the Wicked Wonderland concept is intereﬆ ing (as is footage from the dancers’ caﬆ ing sessions), but unsurprisingly the feature serves the purpose of highlighting the event’s percived brilliance rather than oﬀering something for the viewer. Where did they fall down? Well, really a DVD release of Sensation is always somewhat doomed to fail and this seems to boaﬆ all the reasons why people don’t watch live DVDs. Really, what the fuck are you doing sitting at home watching this PG rated ﬁ lm anyway?

If Sensation was the night out for the beautiful people, where things were clean and white, then Pharmacy is the fl ipside – a reminder of how dirty and gritty the hard dance parties they threw really were. Over two discs rated MA (with moﬆ of the right warnings) and hoﬆed by DJ LCK the discs are split into segments like Play With Me (overview of the Pharmacy nights), Eat Me (eating conteﬆ) and Strip Me (footage from a ﬆ rip club) and so on, it works more like a documentary into this world of ravers, metal heads and misfits. There’s footage of DJs (Derb, Sophie Sugar, Trent McDermott, Uberdruck, Marcus Schossow and Marcel Woods are featured amongﬆ others) playing, smashing shit, throwing drinks into the crowd, some of the beﬆ and worﬆ dancers the nights have seen, big venues and small venues, sold-out events and empty dancefloors. Nothing’s hidden, nothing’s forced upon you. And that’s what makes this such a ﬆ rong watch: it’s unpretentiousness and irreverence. It’s for Pharmacy fans, who probably already go to the clubs, and it feels as intimate and haphazard as one of their nights. Essentially, it’s juﬆ someone fucking around with old footage and out cuts of interviews. It’s also quintessentially Auﬆ ralian, with none of this pseudo-European shine or American influence that’s often so obvious, the low budget embraced rather than fought to hide. It’s one of the rare inﬆances that live footage has worked and it probably has because they didn’t care if it would or not.

TECHNO SCAPE

INTRODUCING THE ARTVERTISER Another Julian doing intereﬆ ing things with computers? Meet Mr Oliver and his real-time billboard replacements. THEY LIVE! Indeed, as might be expected from a project that seeks to detect and replace billboards with other imagery in real-time, there is some inspiration expressed on Julian’s site for the great cult classic by John Carpenter, They Live – which features rebel sunglasses as a major plot device (they decode the “real” message of a billboard when worn). Developing The Artvertiser as a software platform that can detect advertisements viewed through a device, and replace them, Julian and Damian Stewart consider their work as an example of “Improved Reality”, claiming that “The Artvertiser situates the ‘read-only’, proprietary imagery of our public spaces as a ‘read-write’ platform for the presentation of non-proprietary, critically engaging content”. In pract ice so far, this seems like it works beﬆ within their own cuﬆom built device, which they’ve dubbed the Billboard Intercept Unit. Key qualities of that beaﬆ include a high-quality wide-angle lens, faﬆ CPU and GPU, powerful wireless adaptor, long battery life and plenty of solid ﬆate ﬆorage space. (See video in act ion on their site). Intereﬆ ingly though they seek to develop versions for Linux, OS X, Google’s Android OS, the Nokia N900 (Maemo 5) and the iPhone and a single shot photo subﬆ itution version for the Symbian OS (used by the great bulk of the world’s camera phones). The software works by users training it to recognise individual advertisements, which can then be replaced by alternate images or videos. Then whenever that advert is encountered – “It doesn’t matter whether the advertisement is on a building, in a magazine or on the side of a vehicle” – the ad will be replaced within the viewer, by the alternate image or video. If an internet connection is available, the scene and subﬆituted image can be immediately documented and published online, “providing an alternative memory of the city”. See select parks.net/~julian/ for more, including Escape From Woomera (a 3D game set inside one of Auﬆ ralia’s refugee detention centres), Packet Garden (watch your daily net traﬃc generate a visual garden) and Levelhead (Augmented Reality spatial-memory game and tangible interface prototype). @JEAN_POOLE

SOUNDADVICE Gear reviews with DAVE DRI

AKAI SYNTHSTATION25

Akai continue their trend of minimaliﬆ music product ion offerings, extending their raid into the territory previously charted by Korg with the release of the SynthStation25. If any product sums up the end of a decade defined by a furious explosion of portability and a convergence with the Apple elite, it’s this one. The minimalism and iFixation begins with the packaging, containing little else besides a small form factor keyboard and inﬆ ruct ions. The keyboard itself is ﬆartling, even after many years of pulling increasingly smaller and lighter synthesisers and keyboards out of boxes. Beyond the smooth black casing with its bevelled edges and borderline “cute” appeal, this is essentially a two octave body of velocity sensitive keys, designed to hoﬆ an Apple iPhone or iPod Touch running the associated SynthStation App. How very 2010. Maybe it’s the pre-Chriﬆmas eggnog, but I’m going to break one of my writing rules and make this one personal by saying ﬆ raight up that after reviewing this, I’m buying one for a young nephew that has been showing the obsessive compulsive programming traits that suggeﬆ a budding producer of musical promise. Not to entirely discount the SynthStation25 as a competitive product ion tool, but the sheer scope of the SynthStation App is another evolutionary leapfrog beyond the ground broken by Korg’s DS20 for the Nintendo DS and Rockﬆar Games’ Beaterator for the PSP – both of which are many times more powerful than the Roland and Korg grooveboxes which fed much of the previous decades of dance music culture. In reality, we should be in awe of credible and exciting sounding Apps like the SynthStation, but they all too often garner cautious backhand praise over a polite weekend or two of tinkering before turning back to Pro Tools, Logic and Ableton. Akai are not naive to this, pricing the SynthStation into the range of both novelty ﬆ udio purchases, and the next generation of producers. If you’re ﬆ ill chasing down Chriﬆmas present ideas, you’ve found a killer option here. Digging through the potential and promise, the SynthStation earns its ﬆ reet cred with an accomplished DAW emulation, ranging from synth and drum machine sound sources through to a passable sequencer and the requisite chorus, delay, phaser and flanger effects. Being Akai, any generation of MPC user will be up and running sequences and songs in no time, with the soundbanks beﬆ described as far exceeding the low expectations developed through over-exposure to embarrassing Moog and Juno emulations. The synths themselves offer three oscillators each, enabling in-depth editing under sub-menus across the expected range of LFO, VCF and VCA parameters. The spec sheet is a convincing

summary of the beﬆ of two decades of ﬆ udio-in-a-box offerings, condensed as if by magic into a single App hoﬆed on a common make of mobile phone. Therein lies the curiosity of the SynthStation25, being not unlike a previous generation of Korg Elect ribes and MIDI keyboards gaffer taped onto a Sony Walkman. A fl ippant comparison, but one that reminds us juﬆ how far the technology, and our own expectations, have come. In terms of even more ground to be broken in the future, Akai have announced that the SynthStation25 will be open to other App developers to harness, pushing what might otherwise be a novelty into an open modular future. Gear for review supplied by musiclab.com.au. COST: $269.00 RRP STOCKISTS: www. elfa.com.au

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QLD

OU’VE SIGNED UP TO THE APPLICATION; YOU’VE HAVE SEEN THE MOVIE, NOW WALK THE WALK AND WEAR THE BRAND – FACEBOOK SNEAKERS HAVE ARRIVED. The great minds at Adidas are behind the revolutionary Facebook Superstar shoe which comes in FB blue and features the network’s logo on the heel and tongue. Inside the shoe, the slogan “Facebook is a social utility that connects you with the people around you” is printed. If your allegiance lies with Twitter then never fear, Adidas also have this social networking site covered with the Twitter Superstar shoe. Both shoes were designed by Gerry Mckay who commented, “Facebook as a brand is increasingly on the rise and I thought it would be interesting to see what it would look like if Adidas also released a limited edition Facebook Superstar, so I worked on my own design of the shoe and this is what I came up with.” We are not quite sure that sporting a pair of these will increase your friends or followers (in fact it may do the opposite) but you would definitely be making some sort of statement. The Superstar style trainer has become an iconic shoe for the Adidas, making its fi rst appearance in 1970. Sneaker freakers may remember the company released limited edition Superstar designs to celebrate their 35th anniversary, including editions based on artists such as Missy Elliot, Run DMC and Red Hot Chili Peppers. But before you social networking addicts get too excited, these bad ass sneakers are currently only a concept design meaning you won’t be seeing them in stores or around the streets too soon unless you happen to run into Mark Zuckerberg.

Magnolia Silver Jewelleryâ&#x20AC;&#x2122;s large silver knuckle ring ~ $88. www.magnolia-silver.com

Etnies Brigade sneakers ~ $74.95. www.etnies.com

Lyle & Scott Viscose round neck striped dress ~ $105. www.lyleandscott.com

Converse grey Loâ&#x20AC;&#x2122;s ~ $90. www.converse.com.au

Zanerobe Barbarian sunglasses ~ $179. www.zanerobe.com

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Edie Girls tanks & tee’s ~ 2 for $60. www.universalstore.com.au

LureBriefs

Fergie

Smokin’ Hot Threads The sun’s on fi re, holidays are approaching and everyone is totally amped for one hell of a living spree this season. It’s officially time to show off some sexy sun-kissed skin and get your slammin’ summertime wardrobe stocked. Once known for a type of country rodeo image, Wrangler have had a makeover and hit it big with a smoking hot 2010/11 festival collection complete with a range of sexy mini denim shorts, logo mini tees, wrap dresses and cheeky tie front shirts for the ladies, then painter strip tanks, chambray vests, denim shirts and cool walker shorts for the gents. Classic cuts and quality Wrangler fabrics mean that these items should be able to withstand the epic trashing they will receive while you get extremely messy at various festivals throughout the summer. The price tag is damn reasonable as well so be sure to check out the entire range at

www.wrangler.com.au

Christina Aguilera

Creepy Critters Cane toads have always been considered unwelcome invaders but now these pest are finally being put to good use. Gideon shoes have cleverly created a range of high-fashion sneakers made from the skins of these creepy critters combined with kangaroo hide. Word about is that a whole heap of A- listers are lining up for a pair of these fiercely anti-sweat shop shoes that come in a variety of colours and styles. Check out the range at www.gideon.com.au.

Untitled Innovative street wear label Insight have teamed up with a bunch of talented creatives to produced a series of short fi lms to be released online. The campaign named “Untitled” is described by the label as “an exploration of creative freedom, depicted through installations created in Bali by Insight’s Garage Artists from across the globe.” The premise has been set and now we are expecting greatness! See insight.com to view videos.

Cashed Up Jessica Simpson’s fashion line the Jessica Simpson Collection has the singer/designer laughing all the way to the bank as it has brought in a massive 750 million in revenue just this year. The clothing line which includes shoes, dresses, jeans, swimsuits, outerwear and perfumes is now one of the most successful celebrity-endorsed clothing line ever. Quite an achievement for a lady who once had trouble telling the difference between chicken and fish. See the full range at www.jessicasimpsoncollection.com.

Epic Black Eyed Pea’s front lady Fergie in a knee-length coat on top of ruffle shirt and J Brand jeans at the Billboard’s 5th Annual Women In Music Awards. Wanna get laid? Send products and info to lure@3dworld.com.au

Fail Singer-turned-actress Christina Aguilera in red lace and platinum blonde locks on the red carpet at the premiere of her new fi lm Burlesque in Spain.

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SHARE HOUSE ESSENTIALS BUCKET BONG SIZE MATTERS? The bigger the better.

FEATURES? A soft drink bottle – or larger if you’re feeling brave – with the bottom cut off and a s mall cone fi lled with tobacco placed in the top which uses gravity to suck the smoke from said tobacco into vestibule. Genius.

PROS? Good conversation starter.

CONS? May result in buddies inexplicably passing out all over your pad, nd thus is also a conversation ender.

COST? Variable, but preferably cheap.

FROM? The depths of your imgination.

SOAP SQUIRTING DISH BRUSH SIZE MATTERS?

12inches x 1.25 inches x 3.75 inches.

FEATURES? “Squirts soap with the light push of a button” – anything else is a bonus really.

PROS? Encourages a “wash as you go approach”, ending epic piles of crockery and glassware forever.

CONS? If you don’t buy refi lls, washing dishes with a ratty, contaminated brush is pretty feral and probably bad for you. Especially if you’ve used it to clean your bucket bong.

COST? US$7.99.

FROM? www.oxo.com.

SALVADOR DALI – THE PERSISTENCE OF MEMORY SIZE MATTERS?

66cm x 53cm, stretched on a wooden stretcher board and ready to hang.

FEATURES? Clocks melting over barren surrealist landscapes, an eye with a massive lash, ants.

PROS? When used in conjunction with a bucket bong, it’s almost unstoppable.

CONS? No matter how hard you try, you’ll never, ever know what the fuck it’s all about.

COST? $123.75.

FROM? www.picturestore.com.au. 62 3DWORLD

THE FINAL

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preamps w/ direct recording out. iFlogID: 9850

ADMINISTRATION

Sell Control Surface Digidesign Control 24 (Focusrite) in excellent condition, $5000. Selling because moving overseas. Please don’t hesitate to contact me if you have any questions and in order to discuss the price. iFlogID: 9736

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OTHER

Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email Detax@optusnet.com.au iFlogID: 9978

ENTERTAINMENT Australia’s leading online employment and news website dedicated to backstage. The website is free to search and join with out any hassles of membership fees. www. backstagejobs.com.au iFlogID: 9953

FOR SALE CD / DVD DJ’S COLLECTION: CDS AND VINYL House(deep,funky,tribal,afro), Hip-Hop(instumental jazz),Afrobeat,Latin, Disco,Funk,Breaks Modern Electro Jazz,Dub,World,Lounge Beats. Over 1000 CDs and Hundreds of Compilations,EPs and 12”s. Labels:TruThoughts,Compost, Ib idan,Schema,BBE,SoulJazz,Fre estyle, Ubiquity,Nuphonic,Grand Central,ESL,F:Com,etc. Listening Posts available Cash/Card. Phone/Text:0407150173 to book a viewing that suits you. Email:dj@ teneriffe-chiro.com for info. iFlogID: 9872

DJ EQUIPMENT DJ & Midi Gear for Sale Tonium Pace maker dj mp3 & mixer $500, Novation Launchpad $160, Novation Nocturn $150, Icon I-control $79, Korg MicroKorg $400. Newtown ph: 0430 422 902 iFlogID: 10095

KEYBOARDS NOT AVAILABLE FOR FREE ADS. CL Akai-Miniak V.A-Synthesizer just bought in-Canada.Brandnew. In-box with wrappings-manualsetc. 37 semi-weighted-key-synth with 40-band Vocoder, Drummachine on-board, THREE MODwheels, from Akai-Pro/Alesis. Has N.American plug-adapter, so-I’m throwing in a brand-new Stepdown transformer ($60 value) $575. Way-way below Aus-retail. Pickup/cheap delivery within Sydney, iFlogID: 9996

MIXERS Mackie Onyx 1620 analog mixer w/ SKB Mighty Gig Rig on wheels (Complete mobile PA / recording system can be racked in this rig). 8

Avalon 737SP micpre/compressor/ equaliser Amazing Class A professional quality recording strip, used by studios everywhere. Hardly used! Very regretful sale. Perfect cond. RRP $3400, selling $1800! iFlogID: 9562 Hyosung 2007 GV250 Motorbike, Learner Legal, 5600km. rego until march. Serviced at 5000k and running perfectly. Tyres are good, Clutch is good, brakes good, everything on this bike is in great condition. ph: 0430422902 iFlogID: 10097 Joe Meek Twin Q recording strip. Mic pre/compressor/limiter/equaliser stereo/twin channel recording strip, barely used, perfect condition. Adds awesome vintage mojo to recordings. Sounds fantastic. I’m selling all my recording gear. I paid $1450, sell $750! iFlogID: 9566 Quested F11.. 2 way active near field monitors. Pro grade quality. Good Condition. $1395 or near offer. Call Frank 0434 686 755 or 02 9740 833. iFlogID: 9813 Vintage 1960’s “Optro” 305 compressor limiter. Vintage & classic 2RU broadcast transformer balanced opto compressor/limiter, in great working condition. Great vintage mojo. As used by Festival, ABC and Metropolis studios. Bargain! Sell for $675! iFlogID: 9564

PA EQUIPMENT BSSound PA & Lights SALE Grays Online Auction: 2 to 8 December. Inspection day Tuesday 7 December. 150 Lots of brand-name microphones, speakers, effects, amps, mixers, road-cases and lights. www.bssound.com.au/ sale.htm www.graysonline.com/ sale/67713 Mark Barry on 0419 993 966 iFlogID: 9651 CARVER U.S.A Twin 900 watt split mono power amp with Bose controller/pre amp. rack mount style. in covered case.will run 4 speakers each side.total 1800 watts.LOUD! VGC $750 lot.Ph.0428744963 cooroy iFlogID: 9308

MUSIC SERVICES BAND MERCHANDISE NOT AVAILABLE FOR FREE ADS. CL - PRO QUALITY BACKING TRACKS! - MIDI or MP3 - Any song you want - Send me the song today, Get the MIDI file the next day! - $25 for MIDI / $35 for mp3 - EMAIL: vangelis2133@yahoo.com PHONE: 0449672435 iFlogID: 9706

BOOKING AGENTS Gig Launch is Australia’s first online booking agency. Gig on a Japanese Boat for 6 months at AU$3000

per month, Submit your music to feature films, Play at any of the Scorcherfest festivals and Apollo Bay! Just head to www.giglaunch. com.au iFlogID: 10004 SnakeEyeProductions offers EPK’s also know as electronic press kits, they work as a bio/show reel, to promote your band to bookers/ promoters/labels and venues. PH0416120639 iFlogID: 9588

DUPLICATION/ MASTERING Deluxe Mastering: Melbourne’s premier mastering specialists for CD, vinyl and online release. Service-focused, relaxed atmosphere, decades of experience in all genres, custom analogue signal path. No-obligation quotes & mix evaluations. See website for credits. w: www.deluxemastering.com. au e: adam@deluxemastering.com iFlogID: 9854

EP RELEASE EVERY SONG - RADIO READY! SPECIAL PRICE avail for singer/songwriters until end of January 2011... Have 5 songs produced, mixed & mastered for ONLY $499 per track!!! Email info@nathaneshman. com for more details as conditions apply. Visit www.nathaneshman. com for audio examples iFlogID: 9963

HIRE SERVICES

Upload And Promote Your Metal Music Online Free. Create your own band page. Heavy Metal, Black, Thrash, Death Metal, Hardcore, Gothic, Grindcore and many more. Australian owned. Join now! www. onlyheavymetal.com iFlogID: 10031 www.ozjam.com.au is free to join, and with over 4500 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 9941

PA / AUDIO / ENGINEERING PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. Contact Chris 0419 272 196. iFlogID: 7415

PHOTOGRAPHY SMT Media is all about capturing what live music is all about....... Artists have included Guns’N’Roses, PINK, Beyonce, Foo Fighters etc. Affordable hourly rate for local artists. For further information please contact Sarah at...... Email: smtxposure@yahoo.com iFlogID: 10033

PRINTING BAND & DJ SIGNAGE!!

MANAGEMENT MINSTREL MANAGEMENT Need help with your music career? We provide the best in Recording, Mastering, Tours, Promotion, Publicity, Solicitation, Merchandise, Music Video’s, Photography, International Licensing, Direct to fan Marketing campaigns. WANT TO TAKE YOUR ACT TO THE NEXT LEVEL? www. minstrelmanagement.com iFlogID: 9681

OTHER DRUM SKIN GRAPHICS, GUITAR & AMP PERSONALIZATION, CUSTOMISED DJ GEAR, BANNERS & MORE! an independent design and graphics service aiming to create a unique & personal magic to performing artists, musicians, venues and events coordinators for reasonable cost. SEARCH 102designs ON FACEBOOK! iFlogID: 10047 free iphone and nokia apps Radio Bondi iFlogID: 9548 Heavy Metal Community iFlogID: 9594 Heavy Metal Music Community.

MIKES GUITAR GARAGE GUITAR REPAIRS & SETUPS www.mikesguitargarage.com (02)95862486. We are passionate about Guitar Repairs. From simple restrings, complete setups, repairing broken headstocks or installing pickups, we can do ANYTHING! We can get your favourite axe sounding and playing better! iFlogID: 9578 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: 9342

TUITION ACOUSTIC GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Most styles. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 or email oa@ olesart.com iFlogID: 9497 CLASSICAL GUITAR LESSONS in the convenience of your own home. Fully qualified professional tutor. Learn the best way to achieve good results. Phone Oles 0407413143 or email oa@olesart.com iFlogID: 9495 Guitar & Bass Tuition. Electric & Acoustic. Private one on one lessons, all age groups catered. Beginner thru intermediate. Theory, Rock, Blues, Slide, Finger Picking & Improvisation techniques. Phone Terry 0402 993 268. Sutherland Shire. iFlogID: 10020

For as low as $100, you get a professional PA system with a sound mixer with operator. Suitable for weddings, pub/club band gigs, private parties etc. infovision@ yayabings.com.au Contact Chris 0419 272 196 iFlogID: 9834 INTERNATIONALLY RECOGNISED PRODUCER! Credits include: Marcia Hines, Candice Alley, ExToto frontman Fergie Frederikson. Have every song produced at radio standard...under every budget. Visit www.nathaneshman.com, email info@nathaneshman.com or call 0403 498 103 for package prices...from demos, to singles and full albums. iFlogID: 9965

REPAIRS

STAND OUT FROM THE CROWD! Whether it be drumskin decals, logo design, or a portable stage backdrop, allow Brainchild Project Management take your gig to the next level. You sound great, now look great - dont be just another Band/DJ at just another venue... let your fans know who you are, and advertise your name at the same time! iFlogID: 9852

RECORDING STUDIOS Eternal Post Production iFlogID: 9698 SINGER/SONGWRITERS have a home studio and require a producer to help polish your tracks? High-end recording studio with the convenience and universal application of the Internet.World class session musicians work with you every step of the way- more information www.rockethouseproductions.com iFlogID: 9842 Studio Recording and musician services. iFlogID: 9862 SYDNEY RECORDING ARTISTS Professional recording studios with state of art equipment & Producers at a affordable price. Turn your music into gold with our BEST RATE package. We also Market, Manage & Distribute. www.sydneyrecordingartists.com Call 0415 807 137 iFlogID: 9743

GUITAR LESSONS! Luke has been at the forefront of the Australian Music Industry for the past 10 years. Signing to 4 record labels, sharing management with Matchbox 20, playing National arena’s, and writing songs with Eskimo Joe. Call: 0400077901 iFlogID: 9679 SAX TUITION--------------Easy way to learn saxophone for students of different ages (from kids to adults) and different levels (from beginners to advanced). $35/hour Lorenzo 0410041979 iFlogID: 9911 SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www.myspace.com / mazvocalstudio - Contact Maz: maz@mazmazak.com iFlogID: 9795 VOX MUSIC ACADEMY FOR GUITAR • VOCAL • BASS • DRUM TUITION Get the very best out of your music career. BOOK NOW! Vacancies at Dandenong, Bayswater & Brunswick. Contact Us info@voxmusic. com.au or PH (03) 8772 2605 iFlogID: 9907

VIDEO / PRODUCTION MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 20 artists and strives to offer quality creative Music Videos at an affordable price. Visit www.immersionimagery.com or email info@immersionimagery.

com iFlogID: 10054

SnakeEyeProductions specializes in live gig film clips for your website or myspace. Filming in HD with broadcast quality equipment, we edit clips and provide DVD transfers/authoring and uploads. Great way to make your music stand out from the rest. ph-0416120639 iFlogID: 9584

MUSICIANS AVAILABLE OTHER SAXOPHONIST AVAILABLE----Experienced saxophonist based in Sydney is looking for bands and studio sessions. Jazz, funky, afro, reggae, latin, rock, folk. If interested contact Lorenzo at 0410041979 or lorenzo_colombo@tiscali.it Cheers. iFlogID: 9909 Specialising in High Energy Funk and Afro- Cuban styles. If you want fire and professional energy to your performance, then call Simon 0415 138 589. Paid gigs only iFlogID: 9614

SINGER Confident female singer avail. Wanting to front a band.Influences Amy Winehouse,Aretha Franklin,Gwen(No Doubt days). Can belt out or croon.Plenty of experience and stage presence. Wanting to gig asap.Call Brooke 0424156388 iFlogID: 9627 Guy (26) with singing in his blood. Need music in my life.I’ll give my all and be myself.Definitely a performer/ frontman. Got lots of energy, inspiration and can write lyrics.I believe that the right band will find me. iFlogID: 9882

MUSICIANS WANTED GUITARIST GUITARIST WANTED FOR SYDNEY ROCK BAND. PREFERABLY AGED BETWEEN 18-25. WE ARE SUPPORTING CHOIRBOYS IN MELBOURNE IN JANUARY AND WE ARE LINING UP MORE GIGS IF YOU WANT MORE INFO THEN CONTACT US... 0404 166 433 pippincopps@ yahoo.com.au iFlogID: 10029

GUITARIST/SYNTH FREAK WANTED

We are an all original band looking for musician/s to replace our departed guitarist. Rehearsing 1 to 2 times per week in inner sydney and gigging regularly. Check us out at www.psychokaraoke.com and get in touch if interested. iFlogID: 9820 National touring band require professional guitarist. Age 18 -25. Must be proficient in all forms of Rock, Blues, Roots.Involves backing high profile artists. Show operates out of Queensland. For further details email marty@thewindupdolls.com or phone 0408 010 789 iFlogID: 9925

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

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