BRET EASTON ELLIS: THE MAN BEHIND THE BRAND TRAVEL
IBIZA: THE BEAT GOES ON TRACK BY TRACK: SKREAM’S OUTSIDE THE BOX
NO FLIES ON MAGGOT MOUF
FREE ISSUE1025WEDNESDAY25 AUGUST 2010
E FRERY T EN
E L E M E N T S M Z R I Z K , S I Z Z L E , ZAK RAMPAGE & HELMY & IN THE BACKROOM
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A Puzzling Benefit Gig * GETTING LOOSE SINCE 1853 *
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High Society , Ghostsoul , Digital Assassin , Inner City Science, Pauly Fatlace
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M O N D AY S $10 Jugs & $10 Parmas T U E S D AY S $10 Jugs & $10 Burgers & Pastas W E D N E S D AY S $10 jugs & $15 steak T H U R S D AY S $10 Jugs From 8pm 1*;;"4"'5&31.&7&3:%":
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HOME HOUSE PRESENTS
Saturday September 18th
SATURDAY 4TH SEPTEMBER
Doors Open 10.30pm Tickets $13 @ the Door Support from HomeHouse Kids Syme | Herbee | Anthâ€™m
A great festival continues to give well after the speakers are silenced and the dust has settled, a great festival doesn’t shine for one day or even a weekend but continues to Shine On. Hosting a diverse range of musical styles from electronic, dub, reggae, hip hop, folk and gypsy, Shine On is the festival you’ve been waiting for, Showcasing some of the best artists from around the globe. Come and celebrate the start of summer!!
26-28 NOVEMBER 2010 20 0
| MARKET STALLS | DELICIOUS FOOD INSTALLATIONS A L TI
CREDITS PUBLISHER Street Press Auﬆralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse LURE EDITOR Rupert Noﬀs SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAliﬆer, Ben Kumar, Blaze, Brad Swob, Bryget Chrisﬁeld, Carlin Beattie, Chloe Scardina, Clare Dickins, Darren Collins, Darryn King, Dave Dri, Dave Jory, DJ Stiﬀy, Gloria Lewis, Graham Cordery, Guy Davis, Holly Hutchinson, Huwﬆon, Jane Stabler, JC Eﬆeller, Jean Poole, Jeremy Wood, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa Weﬆ, Monica Connors, 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
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IN SEARCH OF SUNRISE DOUBLE PASS In Search Of Sunrise – the holy grail of trance music brands – returns in 2010 with Richard Durand, the hotteﬆ new trance DJ/producer to emerge from Holland picking up the reins from Tiëﬆ o to create the next exciting inﬆ allment of this legendar y series. Richard Durand is bringing the party to Auﬆ ralia with a massive national tour lined up in Septemb er reaching Th e Gaelic Th eatre (Sydney) Saturday 4, Family Nightclub (Brisbane) Friday 10 and the Palace Th eatre (Melbou rne) Saturday 11. Th is night of exotic sights, sounds and debauche ry is not to be missed. 3D World have three double passes and CDs to giveaway for each ﬆ ate. To win email giveaway firstname.lastname@example.org with ‘RICHA RD DURAN D’ in the subject line by Midday Friday 27 Auguﬆ.
1 6 5
SUSHI SNAPS 1 Eurotrash
5 dysFUNKtional @ The Loft
6 Too10 Much @ Mercat Cross 2 Mama Said @ Circus 10 Koated @ Khokolat Bar 7 BE @ Co. 3 Khokolat 4 Poison Apple @ La Di Da 6
8 Home House
TRAK GOT HEAVY
UK Acid Jazz combo Brand New Heavies ﬁnally made it here after 20 years. A gaggle of lapsed clubbers gathered at the Trak for them and nearly tore the house down.
Believe it or not, UK-born/US-based wonky disco aﬃcianado DJ Harvey is ﬁnally gracing our shores. And by the look of his dates, he might be hangin’ for a while. LOSE YOUR SHIT!
EVERYTHING’S GONE GREEN
Local tekkers label Chameleon has backed up its recent release by Steve Ward (remixed by Infusion’s Jamie Stevens) by announcing that they will plant a native gum for every vinyl sold and every 20 tracks downloaded.
LABOR GREEN WITH ENVY
Uh oh... Seeing Abbott so smug on Saturday night it was as if he missed the point. His part was ‘meh’, it was the ‘Greenslide’ that harmed Labor here in Vic. Now, Mr Brown, don’t let us down. (And congrats to the Sex Party for their good polling!)
Like everyone else we tuned into the return of True Blood laﬆ week only to see Grant Bowler as a werewolf. Ummm… laﬆ time we saw him he was The Mole (hoﬆ).
MCDREAMY GOES DOWN UNDER
What’s with Ten’s local copy of Grey’s Anatomy on Sundays? Okay, Oﬀspring makes Melbourne look ace (do we really have that many parks?) and the music’s great (as is Eddie Perfect)… but, really!?! Couldn’t they maybe not set it in a hospital where all the female ﬆaﬀ fawn over a hottie doctor?
THERE’S STILL A shroud of secrecy hanging over Armin van Buuren’s big Armin Only – Mirage New Year’s Eve gig in Melbourne, but we can tell you this – the venue is announced on Monday 6 September, tickets go on sale the same day, and the man himself will spin for eight hours. Epic, journey, and other superlatives abound… FOR THE SECOND year running, Jay-Z has been crowned the richeﬆ person in hip hop by Forbes magazine. The rapper banked around $63 million in the paﬆ 12 months from his music, business ventures and endorsements. Intereﬆ ingly the hip hop artiﬆ with one of the higheﬆ selling records of the year, Eminem, pulled in a measly $US8 million laﬆ year. Poor Em… WE’VE GOT YET another reason to bang on about Fabric, with Crosﬆown Rebels maverick Damian Lazarus in charge of Fabric 54. Our promo link reveals the mix to be munty, with trace elements of sideways. If you can’t wait til its October release, check out his Lazpod #16 podcaﬆ at lazpod. com – eclectic doesn’t even come close… A LITTLE LATE for our virtual tennis Final 3, Virtua Tennis 4 drops on Playﬆation 3 sometime in 2011. Advantage, gamers… IF YOU’VE MISSED the trailer for Piranha 3D, “so bad it’s good” doesn’t get much better. It’s out Thursday 26 Auguﬆ, and with Richard Dreyfuss in the caﬆ there’s gotta be a “ bigger boat” reference in there somewhere…
The ﬁ rﬆ round ticket ballot has come and gone but there are ﬆ ill plenty more opportunities to get along to Victoria’s Meredith Music Feﬆ ival 2010, and with a line-up this diverse, this intereﬆ ing and this captivating, you know the eﬀort will be worth it. Pantha Du Prince, The Field, Dirty Th ree, Washed Out, Little Red, Girls, Neil Finn, The Clipse, Cuﬆard, Sharon Jones & The Dap-Kings, Reverend Horton Heat, CW Stoneking, PANTHA DU PRINCE El Guincho, The Heatwave, DJ Harvey & DJ Garth, Sally Seltmann, The Dead Salesmen, Those Darlins, Broadcaﬆ, Jeﬀ The Brotherhood, Hoss, Rat vs Possum, Cloud Control, Combo La Revelacion, City Of Ballarat Brass Band and (laﬆ but by no means leaﬆ!) The Fall are but a sample of what to expect. Head to 2010.mmf. com.au to enter the ticket ballot and check out full event info.
DELUXE ITALO DISCO
If an unpredictable journey into space disco, Italo rarities and deep funk sounds like your kind of adventure, you may very well like Bottin – a regularly name-checked exponent of the Italian disco ﬆ yle whose unique product ions have earned him the praise of Italians Do It Better Boss Mike Simonetti amongﬆ others. The 2009 releases of No Static on Italians Do It Better and Horror Disco on Bearfunk BOTTIN really put him on the map, but remixes of Lindﬆ røm, In Flagranti and Loﬆ Valentinos certainly helped push him further forward with Auﬆ ralian audiences. He performs at a 3D World co-presented edition of Picnic at GoodGod (Sydney) on Friday 24 September, and later at New Guernica (Melbourne) Friday 1 October and Lick It at Barsoma (Brisbane) Saturday 2 October. D. RAMIREZ
One of house music’s moﬆ popular exponents is winging his way to Auﬆ ralia in October for a whiﬆ le ﬆop tour of the Eaﬆern Seaboard which should have the big room fans quaking. Dean Marriot – aka D. Ramirez – ﬆ raddles the commercial and underground zones of the elect ronic music world with a kind of aplomb missing in many of his peers. His recent remix of Funkagenda & Dave Seaman’s The Mighty Ming is doing considerable damage on danceﬂoors across the globe, as his collaboration with Mark Knight and Underworld (Between Stars) is likely to do in the wake of its release. Likewise, D. Ramirez Remixed – featuring retouches from Darren Emerson, Paul Woolford, Robert Babicz and Thomas Gandey – will give you a ﬁ x and is available now on Beatport. He performs at Platinum (Gold Coaﬆ) Saturday 30 October, Street Party (Melbourne) Sunday 31 October, and Chinese Laundry (Sydney) Saturday 6 November.
GENERAL OUTLOOK You won’t know true pleasure until you accept the possibility that you are running an illegal sweatshop in your laundry. AQUARIUS (20 JAN TO 18 FEB) You need to get into a new relationship, FAST. Grab any creep you can ﬁnd on the ﬆ reet corner and pop the queﬆ ion. PISCES (19 FEB TO 20 MAR) As the ﬁsh, you may be ﬁ lled with alarming Mercury levels. And you wonder why you have trouble meeting somebody. ARIES (21 MAR TO 20 APR) Do you know how much ﬁ lm and music piracy coﬆs the entertainment induﬆ ry every year? No? Oh. Someone said you did. TAURUS (21 APR TO 20 MAY) You seem to think that illegal ﬆ reet racing is a good place to take a ﬁ rﬆ date. Th ink again, idiot. Try a movie. GEMINI (21 MAY TO 20 JUN) Hold my hand, remove my belt and let’s make some amateur porn together. Don’t worry baby. I’ll upload it to Vimeo for you. CANCER (21 JUN TO 21 JUL) Stop boaﬆ ing about your sexual exploits. You sound like you’re lying when you mispronounce the reproduct ive organs. LEO (22 JUL TO 21 AUG) The cops were here looking for you this morning. I told them where they could ﬁnd you. Expect a visit any minute. VIRGO (22 AUG TO 21 SEP) Whiﬆ ling in enclosed spaces is not doing much for your popularity. People ﬁnd you incredibly annoying. Even your parents. LIBRA (22 SEP TO 22 OCT) Do you have a video camera I can borrow for one night? You do? Great! Does it work in the bath? Fax me an answer fat boy. SCORPIO (23 OCT TO 21 NOV) Your inability to maintain an erect ion will become the chief suspect in a ﬆ ring of unsolved murders. SAGITTARIUS (22 NOV TO 20 DEC) You always have to try the lateﬆ, trendy new reﬆaurant. Why are you such a shallow turd? No one really likes you, you know that? CAPRICORN (21 DEC TO 19 JAN) As technology betrays you, you will ﬆart to rely on your own wits to outsmart the bad guys and save the day.
FEEL YOUR DRUMS? Why, Steve Lawler, we’d love to. The tribal house kingpin’s lateﬆ venture is Viva Music Radio, a bi-weekly podcaﬆ hoﬆed by label ﬆars Darius Syrossian & Nyra which brings you forthcoming releases from Viva, gueﬆ DJ mixes, and more. soundcloud.com/ vivamusic is your friend – skip the spoken sect ions... FURNITURE MONOLITH IKEA has found an ingenious ﬆ rategy to appeal to the younger demographic with plans for a massive game of hide and seek in their Richmond ﬆore Sunday 29 Auguﬆ. Over 2,700 thrill seeking folks have joined Ikea’s Facebook page for the event – hardly surprising given how easy it is to get loﬆ in those buildings… THE CAT IN the hat is back – not Dr Seuss’ mate, but Jay Kay and Jamiroquai. Seventh ﬆ udio album Rock Duﬆ Light Star drops Friday 29 October, but in the meantime remixes of White Knuckle Ride by Seamus Haji, Monarchy and Penguin Prison will be serviced to clubs late Auguﬆ… SEARCHING FOR ACTRESS Cameron Diaz on the internet can be bad for your computer’s health according to security software specialiﬆ McAfee, with searches for the blonde bombshell having a one in ten chance of leading you somewhere untoward. They neglect to mention that searching for “David Guetta mp3s” has a 100 percent chance of delivering appalling music…
BLACK SUN EMPIRE
Drum’n’bass fans are given plenty of local options to sate their appetite for bottom heavy sounds but there are ﬆ ill occasions where a little more spice is welcome on the table. You may be welcome to take the description literally at Paradise In Bali; a two day drum’n’bass feﬆ ival held at the idyllic GWK Cultural Park. From the limeﬆone pillar enclosed lotus pond area of the complex you’ll be able catch the sounds of headliners Black Sun Empire & Stamina MC, The Upbeats, Kruﬆ & Die, Amit, MC Wrec, Patch, Javabass, Bear, Stylee, Netsky, Makoto, Matrix & Futurebound, Utah Jazz, Ragga Twins, Squire, Bungle (live), ShockOne, Q-Bik, DJ Low, Aki, De La Haye and plenty more besides. Tickets for the Sunday 14 November to Monday 15 November event are available now through Moshtix, paradisefeﬆ ival.com.au and more for $165 + bf. Packages including ﬂ ights and accommodation are also available. BAABA MAAL
The 2010 Bellingen Global Carnival is set to push the envelope yet again with a over 30 acts presenting 80-plus performances across ﬁve ﬆages on the Labor Day Long Weekend of Friday 1 to Sunday 3 October at Bellingen Showground. Headlined by ﬁery Weﬆ African performer Baaba Maal, the bill also includes Mulatu Aﬆatke, The Black Jesus Experience, Lulo Reinhardt, Gyuto Monks, Diego Guerrero Flamenco Latin Quintet, Ego Lemos, Ash Grunwald, The Bamboos, Public Opinion Afro Orcheﬆ ra, Vulgargrad, The Bombay Royale, Grrilla Step plus plenty more. Arts and crafts workshops and markets will give you plenty more entertainment besides. Early bird adult season passes with camping ﬆart at $204.50 from Moshtix. Youth passes available with the purchase of an adult ticket. SPIT SYNDICATE
SPITTING WITH CYPRESS
Many a seasoned hip hop fan will have only recently gotten paﬆ the involuntary pants wetting ﬆage that big news such as a Cypress Hill tour will tend to induce. The California based four-piece will now be joined by Weﬆ Sydney rappers Spit Syndicate. Signed to Obese Records, the duo have consiﬆently captured the attention of beat addicts with their sharp lyrical skills, which materialised moﬆ recently on 2010 album release Exile. You can catch them at the Palace Theatre (Melbourne) Thursday 23 September, Enmore Theatre (Sydney) Friday 24 September, Coaﬆer Feﬆ ival (Gosford) Saturday 25 September and The Tivoli (Brisbane) Friday 1 October.
LET’S GO ELECTRO
A good few releases through Sound Pellegrino/ Inﬆ itubes and Anabatic should be enough to sate moﬆ artiﬆs yet Mikix The Cat – aka Momma’s Boy – doesn’t seem to slowing down anytime soon. With support from the likes of Carl Cox, Axwell, DJ Hell and Sinden amongﬆ others, he’s an increasingly important component of the French elect ronic music scene both at home and abroad. His populiﬆ elect ro-centric sound will doubtless go down a treat with locals at Monaﬆery (Brisbane) Friday 27 Auguﬆ, Chinese Laundry (Sydney) Saturday 28 Auguﬆ, Phunkers #5 at The Ruby Tramp (Gold Coaﬆ) Friday 3 September, and Scatterblog at The Espy (Melbourne) Saturday 4 September.
ON THE FLOOR WITH
MARTYN ILLUM SPHERE TOKIMONSTA (HOLLAND / 3024 RECORDS)
(UK / FAT CITY / 3024 ALL CITY)
(US / RAMP BRAINFEEDER)
SATURDA Y AUGUS
FRIDAY 24TH SEPT. ROXANNE PARLOUR
THE BEAT INVITATIONAL FEATURING
DALTRON BEATS, MIKE KAY, HOOVES, & DJ KUYA SUPPORT: JPS, MARTIN L, MARK PRITCHARD TIME: 9PM redbull.com.au/rbma
CALENDAR DIRTY DISCO YOUTH
AUGUST SHAUN REEVES – Friday 27, Base Space RAMPAGE: DJ J-RED, DANIELSAN – Friday 27, First Floor AFTER DARK SOCIAL CLUB: ACID JACKS, HARRY ROBOTIS – Saturday 28, Roxanne Parlour WAX MUSEUM JAM: KON – Saturday 28, The Croft Institute SEPTEMBER THE LIKES OF YOU: MARC ROMBOY, AGORIA, CHEZ DAMIER, SUPER FLU – Friday 3, Brown Alley SAVAGE – Friday 3, The Espy ALEX KENJI – Friday 3, Onesixone LIONS AT YOUR DOOR – Friday 3, Melbourne Workers Club DIRTY DISCO YOUTH, SKRILLEX – Saturday 4, Eurotrash AFTER DARK SOCIAL CLUB: STAFFORD BROTHERS – Saturday 4, Roxanne Parlour MOMMA’S BOY– Saturday 4, The Espy PETER HORREVORTS – Saturday 4, Miss Libertine SUPER MELODY– Thursday 9, Northcote Social Club KID SELZY – Thursday 9, Revolver D.I.M. – Friday 10, Roxanne Parlour TIN ALLEY– Friday 10, Neverland HORRORSHOW, SETH SENTRY – Friday 10, East Brunswick Club SAMIYAM – Saturday 11, venue TBC METALS – Saturday 11, Revolver AFTER DARK SOCIAL CLUB: DANCEFLOOR TERRORISM – Saturday 11, Roxanne Parlour IN SEARCH OF SUNRISE: RICHARD DURAND, JONAS STERNBERG – Saturday 11, Palace Theatre THE BOUTIQUE SERIES: DAVID KENO – Saturday 11, Word Warehouse METALLICA – Wednesday 15, Rod Laver Arena METALLICA – Thursday 16, Rod Laver Arena BUCK 65 – Thursday 16, Corner Hotel CHILDREN OF REALNESS: TODD TERJE– Friday 17, Roxanne Parlour SUNNY: LEE BURRIDGE – Friday 17, Brown Alley LEE CURTISS – Friday 17, New Guernica JEFFREE STAR – Friday 17, Billboard ROCK LIKE THIS: MILES DYSON – Friday 17, Prince Bandroom KOMPAKT 3: KAITO, TOBIAS BECKER – Saturday 18, New Guernica
THE USA WINNER of the DMC DJ battle is through, with showcase battle champion Californian DJ Etronik becoming the ﬁrﬆ American to represent the country in all three battle categories (including head to head and teams). The World ﬁnal hits London’s Koko Monday 18 October, dmcworld. com has all the info… TO LESSEN THE wait for the video for the new Trentemøller single …Even Though You’re With Another Girl, editor Peter Vintergaard has a behind the scenes teaser currently up online. See for yourself at www. anderﬆ rentemoller. com… KIM KARDASHIAN PROMOTED her upcoming 2011 calendar with a preview a shot via Twitter, and we perpetuated her baﬄ ing fame by mentioning it here… THE MASKED AVENGER of Top Gear known as The Stig is at loggerheads with the BBC, who are unimpressed he’s keen to reveal his identity to the world via an autobiography. Prospective titles? Perhaps Can You Stig It? works? Stigging For Gold? Stig Might Fly? So many possibilities… CONGRATS MUST GO to Melbourne tech/prog label Chameleon Recordings, whose ﬁ rﬆ release – Steve Ward’s The Window Between Us And Them – has been licensed for inclusion on Dave Seaman’s upcoming Global Underground 039: Lithuania compilation. Not quite Eaﬆern Bloc rocking beats, but very close…
Lee Burridge is easily one of the globe’s moﬆ recognisable and lauded exponents of everything underground house and techno. His eﬀorts as one third of Tyrant alongside Craig Richards and Sasha are truly the ﬆ uﬀ of legend, yet in recent years he’s been no less preoccupied thanks to a characteriﬆ ic slew of gigs across the globe which have occasionally included deep house doyen Danny Howells in some six hour sonic excursions. He’ll be playing a ﬁve hour set at Sunny on Friday 17 September.
Perhaps the moﬆ celebrated bearded disco tune-slinger on the planet, DJ Harvey has long been at the top of many wishliﬆs for a local appearance. The House deFroﬆ will be hoﬆ ing the Sarcaﬆ ic Disco progenitor with support from fellow American and Grayhound Records artiﬆ DJ Garth for a special New Year’s Eve event hoﬆed by Andee Froﬆ. There will be only 250 tickets available through Moshtix soon – get in quick!
The birth of Lee Curtiss’ Visionqueﬆ label is cause for celebration among underground dance music fans as it can only mean further collaboration between he and friends Seth Troxler, Shaun Reeves and Ryan Crosson. As talented in his own right as the latter three, his 2009 track Smoking Mirrors was
a highlight for the year and in 2010 he’s following suit in the product ion department. Curtiss performs at New Guernica on Friday 17 September.
Rugged dancehall, shameless pop, hipﬆer elect ro bangers and rude dubﬆep are but a small part of the South Rakkas Crew repertoire and they’re returning to Auﬆ ralia with a swag of new material and a killer new live show featuring one of the UK’s beﬆ, MC Serocee. They’ll be touring in support of the recently released Stimulus Package album hitting The Espy on Saturday 18 September.
After several years of recording in suburban ﬆ udios, Melbourne’s James Cecil (formerly of Architect ure In Helsinki) ﬁnally has his debut Super Melody album Deﬆination Unknown ready for the world. A uniﬁed fusion of boogie, yacht rock, modern R&B, 60s chanson and pop, it’ll go down a treat in live form at the Northcote Social Club on Thursday 9 September.
tDmuzic is bringing Auﬆ ralian club audiences yet another dose of Cologne’s
favourite house/ techno label and the artiﬆs touring are set to dive deeper ﬆ ill than previous Kompakt touriﬆs. Atmospheric pop-techno experimentaliﬆ Kaito headlines and is joined by Platzhirsch Schallplatten boss Tobias Becker, who’ll almoﬆ certainly bring a little more thump to the booth. The duo hit New Guernica Saturday 18 September.
To celebrate the recent Auﬆ ralian release of his lateﬆ album Savage Island, Kiwi hip hopper Savage will be touring the country for a series of live shows, hitting The Espy on Friday September 3 with support from Mareko, Surreal, Neeq, Kid Mac, Kay Z and more. Tickets $30 + bf from espy. com.au.
Jazz Rooms events are rarely far from the mark so when one is billed to be the beﬆ of the year, we take note. Ethiopian funk/jazz musician Mulatu Aﬆatke hits The Order Of Melbourne on Saturday 9 October with The Black Jesus Experience, Blair Staﬀord and Russ Dewbury in support. Tickets $50 + b/f through Moshtix.
CALENDAR AFTER DARK SOCIAL CLUB: AJAX – Saturday 18, Roxanne Parlour SOUTH RAKKAS CREW – Saturday 18, The Espy MARK DE CLIVE-LOWE – Saturday 18, The Croft Institute KATCHAFIRE, THE RED EYES –Sunday 19, Corner Hotel THE LIKES OF YOU: MARCEL DETTMANN – Sunday 19, Roxanne Parlour. CYPRESS HILL, SPIT SYNDICATE – Thursday 23, Palace Theatre RBMA TOUR: MARTYN, ILLUM SPHERE, TOKIMONSTA – Friday 24, Roxanne Parlour OCTOBER BOTTIN – Friday 1, New Guernica TIN ALLEY – Saturday 2, Fusion PARKLIFE: MISSY ELLIOTT, GROOVE ARMADA, SOULWAX, CUT COPY, GRUM, DELOREAN AND MORE – Saturday 2, Sidney Myer Music Bowl and King’s Domain THE SCRIPT – Tuesday 5, Palace Theatre OBESE BLOCK PARTY: MANTRA, DIALECTRIX, M-PHAZES, ILLY, SPIT SYNDICATE, PEGZ AND MORE – Friday 8, Palace Theatre BOREDOMS – Saturday 9, The Forum MULATU ASTATKE – Saturday 9, The Order of Melbourne THREE UP TOUR: ILLY, SKRYPTCHA, 360 – Saturday 9, Ruby’s Lounge GODSKITCHEN: ANDY MOOR, JOHN O’CALLAGHAN, MARCEL WOODS, WIPPENBERG, JON O’BIR, BINARY FINARY – Saturday 9, Melbourne Park SUN ARAW – Sunday 10, The Empress SAGE FRANCIS, B.DOLAN – Friday 15, The Forum DEEP ROOTS: THE BLACK SEEDS – Friday 15, The Espy DOCTOR P – Friday 15, Colonial Hotel KAITO, TOBIAS BECKER – Friday 15, New Guernica THE MELODICS – Saturday 23, The Corner Hotel SUPERPITCHER – Saturday 23, New Guernica ICE CUBE – Saturday 23, Palace Theatre D.RAMIREZ – Sunday 31, Street Party MOUSE ON MARS – Sunday 31, The Corner Hotel NOVEMBER BINGO PLAYERS– Monday 1, Billboard PENDULUM – Monday 1, Festival Hall JASON DERÜLO – Friday 5, Festival Hall JASON DERÜLO – Saturday 6, Festival Hall STRAWBERRY FIELDS: TELEFON TEL AVIV, WRECKED MACHINES, ALEX SMOKE AND MORE – Friday 26, venue TBA BONE THUGS-N-HARMONY– Saturday 13, The Espy SOUTH RAKKAS CREW
ONE OF TRANCE’S moﬆ celebrated acts is back. Chicane’s Giants drops this Friday 27 Auguﬆ with vocals from Owl City’s Adam Young, BBC Fame Academy ﬁnaliﬆ Lemar, and oﬃcial tour singer Tash Andrews. Reach for the lasers… BRITNEY SPEARS’ MAN Jason Trewick is reportedly diﬆ ressed that Brit has a habit of wearing the same outﬁt for days on end. Sounds like a perfect excuse to follow suit to us… AFTER SPENDING 12 months on the shelves/hard drives of German label Camino Blue Recordings, the ﬁ rﬆ collab between Brisbane liquid d’n’b maﬆer Operon and tear-out kings Silent Shadow has surfaced – check Science on the atmospheric fourtrack Earth Science EP compile now… THE SEVEN NETWORK’S third digital channel is to be called 7mate. It’s apprently for male viewers – we would have preferred 7bloke. It will screen Battleﬆar Galactica spin-oﬀ Caprica, so it’s not all bad… MELBOURNE BASED TRIO Lateﬆ Craze have juﬆ celebrated their ﬁ rﬆ release Razzajazz through Italian label Music Plan Records. For fans of where house, garage, jazz, funk and disco meet… DJ MOM JEANS, aka actor/DJ Danny Maﬆ erson, ticks all the LA hipﬆ er royalty boxes. He earns extra cool points with his remix of Broken Social Scene’s All To All. Check it at brokensocialscene. ca...
The Brainfeeder love-in continues with the Antipodean tour of Samiyam, whose collision of hip hop beats, soul, funk, 70s Italian horror ﬂ ick soundtracks and Nintendo bonus level music has earned him fans such as Dabrye, Flying Lotus and Daedelus. He performs at the next Espionage on Saturday 11 September with support from scratch guru DJ I-Dee and DJ Kuya. More info from theoperatives. com.au.
Brown Alley invites diverse party vibes with two forthcoming events from opposite ends of the dance music spect rum. Under Suspicion takes over the venue on Saturday 28 Auguﬆ with residents Muska, Miyagi, Tahl, Citizen.com, Timmus, Kodiak Kid, Diiﬆortiion, Tavish and Rollin Connect ion kicking out techno, dubﬆep and breaks jams. Mixed Subﬆance on the other hand brings more of a mash-up vibe on Friday 24 September.
Tin Alley’s recent collaboration with Luke Chable for a mash-up of hit single Out Of Control – which initially spent over ﬁve weeks in the ARIA Top 100 – is but a taﬆe of what’s to come from the
three piece elect r-orock band, who are gearing up to tour their lateﬆ single Monﬆer. They’ll be performing at Neverland on Friday 10 September and Fusion Nightclub on Saturday 2 October.
Tickled Pink launch The Boutique Series on Saturday 11 September with none other than Kindisch favourite David Keno. The ﬁ rﬆ in a new series of parties to be held at Word Warehouse, it’ll feature house music aplenty with Danni B, Nadine, Cecille, Atonix and Jem Bray in support. Limited $20 pre-sale tickets are available by emailing events@ tickledpink.net.au or through Moshtix.
PAINT ME BETTER
By all accounts The Melodics lateﬆ release Paint Me Gold is akin to an INXS that “replaced Michael Hutchence with Buﬆa Rhymes inﬆead of some whack reality TV douche”. Certainly sounds intereﬆ ing enough, and with three more singles to come you’ll have plenty of opportunity to put them to the teﬆ. They’ll be launching the single at The Corner Hotel on Saturday 23 October with yet to be announced special gueﬆs. $15 entry.
is back for another helping in 2010, this time with a line-up guaranteed to have elect ronica fans quivering. Telefon Tel Aviv headline and are joined by Wrecked Machines, Alex Smoke, Tsuyoshi Suzuki, Liquid Soul, Heinrichs & Hirtenfellner, Boris Brejcha, Vince Watson, Shadow FX, Tobias Thomas, Antix, Freq, Uone, Jamie Stevens and plenty more. Tickets and more info from ﬆ rawberry-ﬁelds. com.au.
CALL THE DOC
Championed and remixed by everyone from Rusko to MaryAnne Hobbs, Doctor P is tearing up the dubﬆep scene with his recent anthem Sweet Shop and plenty a massive release through his label Circus Recordings. He’ll be performing at the Colonial Hotel on Friday 15 October as part of the Switch Up Your Mind Tour. Local supports and ticket prices yet to be conﬁ rmed. More info from peacemusic. com.au.
Francisco Dos Santos’ exhibition Mind Gap is inspired by his intereﬆ and vision of prehiﬆoric times, its life forms and harsh environments, displaying a ﬆ rong emphasis on the possibility of life beyond what we know and an imaginary view of the universal incognita and its myﬆeries. Opening on Wednesday 1 September, the show runs until Friday 1 October at For Walls Gallery, Miss Libertine.
FRIDAYS AT LUCKY COQ MATT RAD / MR GEORGE / TOM MEAGHER / PHATO A MANO AND SPECIAL GUESTS ROTATING EVERY WEEK 9PM – 3AM / FREE ENTRY CRN CHAPEL & HIGH ST WINDSOR WWW.LUCKYCOQ.COM.AU
8pm Saturdays Adam Askew Henry Thorn Peter Baker Sam McEwin Adam Trace
$4 Pizzas 7-9pm Kitchen closes at 2am
Miyagi Samari Grayskull Myles Mac Tom Evans
Plus Special Guests
Spacey Space Tahl Muska
Corner Brunswick St & Rose St Fitzroy VIC
VOID IF REMOVED THEIR DEBUT ALBUM MYTHS OF THE NEAR FUTURE SPEWED FORTH INTO THE UNIVERSE RAVE, PUNK, AND FLUORO, AND NOW KLAXONS ARE BACK WITH AN EVEN MORE INTENSE RECORD, SURFING THE VOID. DCR SPEAKS TO BASSIST/COVOCALIST JAMIE REYNOLDS.
T’S THE EVE OF A MAJOR SHOW IN LONDON and Klaxons bassiﬆ /vocaliﬆ Jamie Reynolds is making the moﬆ of his one day oﬀ after a three-week tour of the UK. “I’m act ually doing mundane things, you know; I’m doing my washing,” he says, with a hint in his voice suggeﬆ ing this is not such a bad thing. “It feels good now that people are hearing it,” he adds when pressed about the new record. “We love it and are excited by what’s going on. It’s good to be back in the game.” Klaxons are certainly not unknown in Auﬆ ralia, although it’s been quite some time since we’ve heard from them. Their debut album Myths Of The Near Future dropped at the beginning of 2007, and by the time they’d hit our shores for their debut tour down under in December they’d single-handledly created a movement in new rave. It was around the same time that talk of a second album began, with members throwing words like ‘dubﬆep’ and ‘prog’ and ‘folk’ into interviews. Rumours littered the internet throughout 2008, until it was announced they’d be recording in France with their good friend James Ford (Simian Mobile Disco). In March 2009 word spread that this second album had been rejected by their label Polydor. Defending ther work, Reynolds oﬀers a rather romantic recount of the band’s recording session. “What happened was, we went to France and we recorded a whole bunch of music and songs which, at the moment, where they presently ﬆ and we’ve whittled down to ﬁve that we’ve put together for an EP to come out next year. That music’s really beautiful, and our situation was that we were exploring ourselves as songwriters, we were really high, and we were making this really dense, psychedelic music and really pushing ourselves, purely for pleasure, for ourselves, and learning to be songwriters. Lyrically I think that EP’s some of my beﬆ work. “It was juﬆ an exploration, I think, without any thoughts of us creating the second Klaxons records, and after we’d ﬁnished making this music in France we wrote the songs that you’ll ﬁnd on this record, ie Echoes, Future Memories, and Valley Of The Calm Trees, and it was only then that we decided to make the pop music, because we always said Klaxons was a pop band. When we made that decision and wrote those three songs, only then did the reﬆ of the album come together. “There’s a separation of time between the two things, but what we’ve got from that, ﬆ ill, is a handful of B-sides to the singles on this record and then an EP that we’re very much excited to put out next year. It’s slow and weird and it’s really beautiful, and there’s a waltz on it. We took a lot of the inﬆ ruments out and replaced them with drones. It’s the sort of thing that’s got its own entire world. By this ﬆage Klaxons and Ford had parted ways, leaving the Brits without a producer. Enter Ross Robinson. “He juﬆ walked into our lives,” Reynolds says. “There was a two-week period where we didn’t have a producer, and a phone call came through from Ross’ manager asking what the band was up to. And that was that.
IT’S SLOW AND WEIRD AND IT’S REALLY BEAUTIFUL, AND THERE’S AWALTZ ON IT.”
“The funny thing was that we’d ﬆopped working with James Ford, and I got caught that night by the BBC, and I said to the BBC if there was a producer out there, to give us a bell. Then Ross called two days after and we thought he muﬆ ’ve seen this article – and he hadn’t, he’d juﬆ out of the blue called us up to see what we were up to.” Aside from working with At The Drive-In on their seminal release Relationship Of Command, Robinson made his name in the 90s alternative metal scene working with the likes of Korn, Limp Bizkit, and Slipknot. Not exact ly the kind of producer you’d expect the main exponents of new rave to be dealing with. “I juﬆ love that At The Drive-In record, particularly,” counters Reynolds, “and meeting him… he wasn’t talking about music, he was diving ﬆ raight into our personal lives… he juﬆ ﬁt where we were mentally at that point in time. “He was in the rehearsal room with us the whole time – it was this tiny little room – and he’d be playing with us continuously, giving that support and encouragement to play the beﬆ you possibly can, and once we got to that point he’d hit record. With the entire album already written before they’d ﬆepped foot into the ﬆ udio – “something we learned over the two-year period was never go to the ﬆ udio without having written a song” – and after all they’d been through to this point, it was a fairly easy choice of what to release as the come-back single: Echoes. “We had faith in that one from the beginning; it’s been knocking around for a couple of years,” Reynolds says. “I think this record takes a bit of time to soak up. We’re ﬁnding more things out about it and loving it. I think because we’d lived with Echoes the longeﬆ it felt the moﬆ natural [to select as the lead single], and we were moﬆ familiar with it at the time. “It was a bridging gap – I very much think it’s a bridge between the two records. The song is an epic burﬆ of youthful psychedelic splendour, and its music video – which ﬁnds the band playing amidﬆ an African desert – perfect ly accompanies the song’s otherworldly quality, and seems to span a much longer period of time than the mere day covered in it. “One of things we’re doing at the moment is getting our photo taken in natural phenomena; ﬁnding parts of the world that look beautiful and unexplainable. The desert we shot [the Echoes video] in seemed to be the pinnacle of that and a suitable spot for the video. “We were there for the amount of time you see the video run in a sense; we were there from when the sun came up to when the sun goes down. We were genuinely in awe; we’d arrive in the morning when it was dark, and [director Saam Farahmande] put us on those ﬁ rﬆ ﬆ ruct ures where you see us singing when it was dark so we had no idea where we were or what to expect, and as the sun came up we were juﬆ wowed by where we were. We spent the entire day driving around this vaﬆ, never-ending desert scene, and we were juﬆ so blown away by the beauty of it.” With Echoes one of the moﬆ well rehearsed songs on the album, and a few of its other tracks having made numerous live appearences well before the album’s release, it’s no surprise to learn that the band will be playing the majority of it when they hit Auﬆ ralia. “It’s a funny one because normally you teﬆ out the songs to ﬁnd out whether they work live, and this time we’re [juﬆ] playing the full record,” Reynolds says. “Apart from Cypherspeed, which we’re going to save for the minute, we’re playing the entire record.” Cypherspeed, unfortunately, happens to be one of the album’s highlights, perhaps its ﬆ rongeﬆ song even, an epic opus of shredding and chorale that acts as the album’s coda, and carries it to the heavens. “That song references psychedelic experiences we’ve been having and that song’s basically about acceptance and ﬆ illness; it’s basically saying that 22 3DWORLD
in the absolute mayhem of going out and looking for everything you ever wanted in your life you can ﬁnd it by ﬆaying absolutely ﬆ ill. That’s the message of the song. But at the same time it’s this bombardment of music. “When we recorded that one with Ross, because we added the chanting sect ion in the end while we were in the ﬆ udio – the song was written apart from that sect ion, because we thought that was going to be inﬆ rumental – we put that together, and then took a ﬆep back and were like, ‘Th is is weird as hell’, ‘Are we doing the right thing?’ – because we weirded ourselves out – but we were on the right path; if it’s weird, it’s right. “It was always the laﬆ track – where the hell do you go from that?” WHO: Klaxons WHAT: Surﬁng The Void (Modular/Universal) WHERE &WHEN: Enmore Theatre (Sydney) Thursday 2 September, Palace Theatre (Melbourne) Friday 3 September, Falls Feﬆ ival (Victoria/Tasmania) Tuesday 28 December to Saturday 1 January, Field Day (Sydney) Saturday 1 January, Sunset Sounds (Brisbane) Wednesday 5 and Thursday 6 January
OULWAX. EROL ALKAN. CRYSTAL CASTLES. VAN SHE. SEBASTIAN. JUSTICE. These are juﬆ some of the heavyweights that remixed Klaxons tracks from their debut album Myths Of The Near Future. But don’t expect the same treatment with Surﬁng The Void. “We’re not doing any remixes this time,” Jamie Reynolds says. “We juﬆ don’t want to do it. We juﬆ feel so secure in what we’ve got going on, that we feel this time our approach is to make it as honeﬆ as possible - and that way’s to keep it how it is. “[The album’s] got its own power and its own magic and I juﬆ don’t think, we don’t want to dive into the remix world at the moment. We’re so happy with what happened laﬆ time but we want to carry on as ourselves and have ﬆ rength and conﬁdence in what we’ve got without having to branch out. “One thing I got really excited about was that there’s this cover version [of Echoes] that’s turned up on the internet, and I ﬁnd that more exciting than remixes; that somebody’s taken the time to cover it. There’s this band called the Heretics, they were so early on it and covered the song, and we found it so much more complimentary and great than someone doing a remix at this point. “It’d been on the radio for two days and then it came out and we were like, ‘Bloody hell these guys are on it.’” While the music video Heretics have created is laughably bad, their take on Echoes channels New Order in every way possible – which can only be a good thing.
BRET EASTON ELLIS AMERICAN AUTHOR,1985-PRESENT
AS REVERED BY HIS FANS THROUGH HIS CAREER AS HE HAS BEEN REVILED BY CRITICS, BRET EASTON ELLIS THE MAN AND ‘BRET EASTON ELLIS’ THE BRAND ARE TWO DIFFERENT PROPOSITIONS ENTIRELY. AND THOUGH HE’S SUBTLY EVOLVED AS A WRITER SINCE LESS THAN ZERO SHOCKED THE LITERARY WORLD IN 1985, HIS STYLE HAS REMAINED REMARKABLY CONSTANT THROUGH A CAREER WHICH IN 2010 SEES HIM REVISIT THE PROTAGONISTS OF HIS DEBUT NOVEL. KRIS SWALES QUIZZES THE CANDID AUTHOR ABOUT THE MAN BEHIND THE BRAND AND IMPERIAL BEDROOMS.
irﬆ impressions of Bret Eaﬆon Ellis can be deceiving. As he enters the foyer of Sydney’s Blue Hotel he seems slightly on edge, conﬆantly scanning his surroundings, his body in perpetual motion. He’s ﬆill recovering from a reading and signing at the Oxford Art Factory that saw the venue as packed as it ever has been and Eaﬆon Ellis signing autographs into the early hours of the morning, and the spotlight and adulation clearly doesn’t sit well with a man who does his beﬆ work alone. Eaﬆon Ellis was thruﬆ into the spotlight as a 21-year-old when his debut novel Less Than Zero, about the nihiliﬆic life and times of a group of Los Angeles teens mindlessly making their way from one party to the next, became an inﬆant hit on publication in 1985. The Rules Of Attraction followed in 1987, and then came 1991’s American Psycho, a satirical account of a 1980s Wall Street banker with queﬆionable music taﬆe who may or not be a serial killer. It was released amidﬆ a ﬆorm of controversy, became a word of mouth hit as one reader passed it surreptitiously to the next, and assured each subsequent eﬀort from Eaﬆon Ellis (1998’s Glamorama, 2005’s Lunar Park and the 1994 short ﬆory collection The Informers) was eagerly awaited by not juﬆ his dedicated fan base, but detractors with their 24 3DWORLD
knives out ready to ﬆrike. Now Eaﬆon Ellis is back on the road promoting Imperial Bedrooms, a return visit to the life of Less Than Zero’s Clay (25 years on and now a successful screenwriter) and his associates Blair and Julian. It’s another wild ride through Ellis’ incredibly detailed and nuanced literary world – a place you get the
feeling Eaﬆon Ellis would much rather inhabit than the slightly surreal public appearances he has to endure to spread its message to the world. “I got the ennui,” Eaﬆon Ellis, who becomes warmer and more comfortable as the conversation progresses, says of the aftermath of his Sydney appearance. “E-N-N-U-I. It’s French for depression. John Mayer has tweeted about this a lot – ‘I’m in my hotel room, 2am, Denver, great show tonight, 30,000 people. Alone. Eating a sandwich now.’ It’s such a weird disconnect, to feel this rush of… I’m not going to call it love, but adulation, all of these people coming up to you with smiles on their faces and their hands out going, ‘oh man, you changed my life, your book is the moﬆ amazing fucking book ever’. And it goes on – we ﬆarted at 9.30 and I was ﬆill going at midnight, two and a half
hours of signing books. You’re whisked into a car with nowhere to go, your PR person’s got kids so she’s gotta get home – I don’t want to talk to a single person. “I’m in a relationship right now – I couldn’t even deal with them, I didn’t even text, I didn’t want to do anything. You get back to the hotel room [his voice quietens], you open the mini bar and you make yourself a drink, you sit there in the dark and you have a smoke and you ﬆare out over the [Sydney] Harbour. And you think about the disconnect. And this has happened before. And it’s a princely problem in a way – it’s not like you have cancer. Th ings could be a fuck of a lot worse.” DO YOU GET THE SAME COMEDOWN ONCE YOU’VE FINISHED WRITING A BOOK? “I don’t get poﬆ partum depression when I ﬁnish a book. I’m happy when I ﬁnish a book.” DO YOU FEEL HAPPY ABOUT IMPERIAL BEDROOMS? “No, I don’t feel happy about Imperial Bedrooms – I don’t really feel happy about any book when it’s published. The whole process for me is about the writing of my book, about being in my oﬃce and fooling around with it and the pleasure I get from moving things round and re-writing things and thinking ‘that would sound better this way’ or ‘let me edit that line of dialogue’. And I’ve read the book 50,000 times. There comes a moment on a reading of a book and it happens at the end when a copy comes back from the publishing house when it makes absolutely no sense – it’s juﬆ words on a page. And then it’s published, and it’s put within these hard covers, and I can’t even look at it.” DO ALL OF YOUR BOOKS MAKE SENSE TO YOU? “[Said slowly and conspirationally] It depends on what you are looking for. If you’re looking for logic, if you’re looking for a through way, then you might be loﬆ a little bit. If you’re juﬆ going with the experience, falling into it, then I don’t know. It is true – I have fans, and I have detractors. I can’t tell you how many times at a signing people come up to me with a copy of Glamorama and say, ‘this is my favourite book’. And how many people go, ‘I love all of your books – couldn’t get through Glamorama’. They’re myﬆeries. The answer to the myﬆery is always a letdown. But myﬆeries are intriguing, and not knowing the full truth about something is intruiging as well. But I juﬆ like the poetry of Glamorama. I like the humour of it and the shock eﬀect of a lot of it, and I like Victor Ward ultimately. He ﬆarts oﬀ being a bit of a douchebag, but by the end I feel bad for him because he’s juﬆ trying to make it. That was a big book for me to write, because so much of its inception came about with the idea of myself being replaced by ‘Bret Eaﬆon Ellis’ and my grappling with that. I was thinking about Glamorama in 1989, so I was thinking about this four years after Less Than Zero came out and
‘Bret Eaﬆon Ellis’ became this thing. And Bret, the guy who juﬆ jokes around with his friends and goes to the movies and drinks beer in the backyard or whatever – gone. That person will never be known to the reﬆ of the world. ‘Bret Eaﬆon Ellis’ has a set of associations to it that is a brand – nightlife, young, rich, cool, drugs, paranoia, violence, freak outs. I am intereﬆed in that in my ﬁction – if you saw how boring my real life was, your mind would reel. So that is where Glamorama came from.” WHEN HE WAS IN AUSTRALIA RECENTLY KEVIN SMITH SAID THAT THE KEVIN SMITH OF CLERKS, CHASING AMY, MALLRATS DOESN’T EXIST ANY MORE – DO YOU SILL IDENTIFY WITH YOUR ‘BRAND’? “I totally agree with him on one point – the Bret Eaﬆon Ellis of Less Than Zero, The Rules Of Attraction, of American Psycho – gone. Glamorama – gone. Lunar Park – gone. You evolve and you keep moving forward, other things intereﬆ you, other ideas for books or how to approach books, or maybe it’s not even books – ﬁ lm or TV or other things are intereﬆing too. And I also cannot keep up that literary persona that I was trying to keep up when I was younger – it’s inauthentic, and I can’t keep it up any longer.” THE ESSAYS ABOUT THE CAREERS OF GENESIS, HUEY LEWIS & THE NEWS AND WHITNEY HOUSTON IN AMERICAN PSYCHO – WAS THAT BATEMAN, OR WAS THAT YOU? “That was totally Bateman. I like to give the books over to the narrators, and the narrators often have taﬆe in music that I don’t have. I have a big taﬆe in music right now, yet in Imperial Bedrooms I didn’t think Clay really would, and he even misquotes a [The] National lyric in the course of the book which I thought was telling. They’re one of my favourite bands right now, they’re all I’m liﬆening to. But Patrick Bateman liked those artiﬆs very, very much. It wouldn’t have really made any sense to me to write four pages on The Replacements which is a band that I love, because Patrick Bateman wouldn’t know who The Replacements were. But I ﬁgured out who this guy was and what his taﬆes were and what his apartment was like and what girls he liked and what was important to him, and then when I realised what his musical taﬆe was those three acts fell into place for that period, for that time. It makes sense.” YOU’VE GONE THROUGH YOUR CAREER BEING REVILED, AND NOW YOU’RE, IF NOT ESTABLISHMENT, THEN AT LEAST ACCEPTED – DOES THAT SIT UNEASILY WITH YOU? “I think I have entered into the eﬆablishment, yes I have. I don’t care one way or the other, it doesn’t matter to me. It never mattered that I was controversial, it never mattered that I’m part of the eﬆablishment. That’s again talking about ‘Bret Eaﬆon Ellis’, we’re not talking about the guy who sits in his oﬃce or hangs out with his friends. My concerns on a daily level they really aren’t about this, they’re not worried about whether I am too accepted or not accepted enough or if I’m reviled or whatever.”
IMPERIAL BEDROOMS IN IMPERIAL BEDROOMS YOU’VE
COME BACK AND REVISITED CHARACTERS WHO ESTABLISHED YOU. WAS IT HARD TO GET BACK INTO THE HEADSPACE?
“I wouldn’t do it if it was hard to get into the headspace – it’s not a matter of it being diﬃcult or easy or anything, it juﬆ happened. It was juﬆ, ‘oh, Clay is in my head right now, and why is he in my head?’. And I ﬆarted a conversation and the conversation becomes notes and the notes become a portrait of a character, and then through that character, if this is the narrative of the character then this is going to be the ﬆory. That’s how the process works – it’s juﬆ an emotional, organic process.
YOUR PAST TWO BOOKS HAVE ATTACHED YOUR STYLE TO A PARTICULAR GENRE – GLAMORAMA WAS AN ACTION THRILLER, LUNAR PARK WAS A STEPHEN KING HORROR STORY. IS IMPERIAL BEDROOMS YOUR BOLD AND THE BEAUTIFUL -ESQUE POTBOILER? “It’s my screenwriter novel. When I sat down I was thinking about this novel, and how it was going to be written and what it was going to be about, I imagined it like a screenplay – one of Clay’s screenplays. He writes big ﬆ udio movies, so I thought, ‘okay, I’m in the mind of a screenwriter, so how is he going to narrate the novel? ’. Well, he’s not going to narrate it like Patrick Bateman – he’s not Patrick Bateman, and he’s deﬁnitely not Victor Ward who’s like a motormouth who goes on and on and on. And he’s certainly not the Bret Eaﬆon Ellis of Lunar Park – the ﬆ yle of writing of Lunar Park is basically how I write emails and talk to friends, very much in my conversational mode. Then when I was getting back to Clay, I wanted to get back to minimalism because I hadn’t written that way in 20 years. So I was like, ‘what is his ﬆory, and how is he going to tell this ﬆory, and what are the elements that Clay is going to do this in?’. So yes, the pulpiness of it, the noirish aspects, the soapie elements, the way it’s even written in short expository conversations all come from the mind of a screenwriter. They’re short scenes, cinematic, with very over-the-top dialogue between people, the shadowy ﬁgures, the femme fatale, the lies, the reveals – in my mind there’s an Act I, and Act II and an Act III to the book.” IF THIS IS A SCREENWRITER NOVEL, IS IT WRITTEN WITH A SCREENPLAY IN MIND? “No no no no no, not at all. I doubt this will ever become a ﬁ lm. It’s in development, but that that doesn’t mean it will become a movie – IMDB is not to be truﬆed. There are so many projects on that, I don’t think a lot of them exiﬆ. But Imperial Bedrooms, I don’t know what will happen with that.” WHO: Bret Eaﬆon Ellis WHAT: Imperial Bedrooms (Pan MacMillan)
SPIRITED AWAY HOLY GHOST!’S NICK MILLHISER TALKS CYCLONE THROUGH THEIR HIP HOP PAST, THEIR NEW LIVE INCARNATION, AND HOW LAZINESS CAN BE MISCONCEIVED AS MYSTERY.
ance music has long been populated by artiﬆs who intentionally cultivate myﬆ ique through anonymity – it’s almoﬆ a cliche. It originated with dance pop renegades The KLF – and Detroit techno’s Underground Resiﬆance. Today acts like Daft Punk are content to reveal their names, but not their faces – hence the robotic disguises. For others, such as Sweden’s The Tough Alliance, myﬆ ique is synonymous with underground credibility. They have no qualms about selfmythologising. And then there are those who shield everything, as the novel Fake Blood did before his true identity as former Wiseguy Theo Keating was disclosed. Initially, New York’s Holy Ghoﬆ! belonged to the latter camp. Indeed, when the DFA aﬃ liates joined 2009’s Big Day Out juggernaut, the publiciﬆs, scrambling for guﬀ, didn’t know what to write in the press release. Nothing was known of them. The bloggers’ favourites didn’t oﬀer any clues on their MySpace. Faﬆ forward to 2010 and Holy Ghoﬆ!’s Nick Millhiser and Alex Frankel are not nearly as media-shy. Millhiser bashfully claims that, early on, they were “juﬆ lazy” about disseminating information. “It wasn’t a conscious decision at all.” What’s more, he reasons, Holy Ghoﬆ! hadn’t aired much music back then. However, Holy Ghoﬆ! do have a secret paﬆ. In contraﬆ to many down with DFA Records, they didn’t spring from the punk scene but hip hop. In fact, they are former members of the ace alt-hip hop posse Automato. In 2004 the group presented an eponymous album, which DFA’s James Murphy and Tim Goldsworthy produced. Automato were a cooler incarnation of N*E*R*D – or a punk-disco Roots. Yet, despite a decent push from EMI, they split without ever transcending their cult ﬆatus. “We ﬆarted that band when we were 15-years-old so, by the time that ﬁrﬆ record was actually ﬁnished, we were already six years into it,” Millhiser says. “We were
all pretty beaten up.” Automato had signed to Capitol as high school ﬆ udents. They dealt with “a big manager and big lawyer and all that ﬆuﬀ ”. Automato loved recording with DFA, but loathed the major label environment. “It was juﬆ really a kinda ﬆressful and disheartening experience.” Burntout, they eventually fragmented. “Some people juﬆ loﬆ intereﬆ in making rap any more, some people juﬆ didn’t wanna tour, they wanted to go to university... But it wasn’t some big falling-out or anything like that at all. We’re all ﬆill really close friends – and we work with a lot of those guys in diﬀerent capacities. It’s not an exciting, dramatic ﬆory. We were all juﬆ exhauﬆed. That whole experience taught me that I never really wanna be on a major label ever again!” Automato were exposed to a DIY scene in NY, but they’d never
contemplated going down the indie path – until they saw DFA doing it. “It was sort of like, ‘Oh, you can juﬆ ﬆart a record label ‘cause you want to’.” Millhiser and Frankel, both synth buﬀs, ﬆarted to produce 80s-ﬆ yle disco – and so Holy Ghoﬆ! evolved. They debuted on DFA Records in 2007 with Hold On, followed by I Will Come Back. In the meantime, they remixed the likes of MGMT (Of Moons, Birds & Monﬆers), plus Auﬆ ralia’s Cut Copy (Hearts On Fire). They also DJed globally. The Brooklyn-based duo are upping the ante with a live show, fronted by Frankel, coincidentally juﬆ as Murphy’s LCD Soundsyﬆem, DFA’s moﬆ recognisable band, have bowed out. And Holy Ghoﬆ! will be bringing this format – which recently garnered an auspicious gig review in NME – to Parklife. Says Millhiser pertinently, “Alex and I spent years DJing as Holy
Ghoﬆ!, in large part because, well, we love DJing, but we did always imagine that at some point Holy Ghoﬆ! would be a live band. “But we always wanted it to be a real true live band and not juﬆ a gloriﬁed DJ set. From the outset, we decided that we wanted those two things to be very diﬆ inct from each other. When we were DJing, we were DJing. When we were playing live, we’re act ually gonna go out with the band and play these songs on keyboards and drums and guitars and all that ﬆ uﬀ, and not juﬆ ﬆand on ﬆage and DJ and call it a ‘live’ set. But, in order to do that, it was an enormous undertaking – and then also ﬁnancially it’s juﬆ a really diﬃcult thing to do... “Being on a small label like DFA, we don’t have tour support whatsoever. Ninety percent of the new bands that are going out on tour are only able to do it because they have a record label that is oﬀsetting the loss of going on tour – at leaﬆ in the beginning. We love DFA, and they’re very generous with funding the long process of making our record, but it’s not a big enough label to be able to give bands tour support. That’s why it’s taken us a while to get it oﬀ the ground. But it is a live band – it’s four of us on ﬆage, Alex and I and two friends of ours.” A Holy Ghoﬆ! album is in the pipeline – it’ll tentatively materialise in January. Th is year the two yielded a split single with Friendly Fires – they covered On Board (in turn, the Brits made over Hold On). They’ve now issued an EP, Static On The Wire, to tide over fans until their full-length. “It’s really close to done – and more than half of it is totally ﬁnished,” Millhiser says. “I think we got one or two more songs that we juﬆ need to do ﬁnal mixes of – and then we’ll probably have to write one or two more.” WHO: Holy Ghoﬆ! WHERE & WHEN: Parklife at Gold Coaﬆ Parklands Saturday 25 September, Sidney Myer Music Bowl (Melbourne) Saturday 2 October, Kippax Lake, Moore Park (Sydney) Sunday 3 October
REELING IN THE YEARS NICK BRYANT-SMITH THINKS HIS SYDNEY HIP HOP CREW HORRORSHOW MAY HAVE PAINTED THEMSELVES INTO A CORNER BY RELEASING TWO ALBUMS IN CONSECUTIVE YEARS, BUT CYCLONE LEARNS THAT HASN’T STOPPED THEM FROM PREPPING A THIRD.
ussie hip hop battlers Horrorshow have already issued two albums in less than three years. In early 2010 they embarked on their inaugural headline tour, selling out two Sydney shows. Could their third outing, tentatively scheduled for 2011, ﬁnd them crossing over massively, as Bliss N Eso have done? Horrorshow’s MC Solo (aka Nick Bryant-Smith) and beatmaker Adit Gauchan are hitting the road nationally for the laﬆ time this year before buckling down in the ﬆ udio. They’ve had “a good run” with their current project, Inside Story, says a grateful Bryant-Smith. But, as much as Horrorshow love gigging, it’s also a necessity with declining music sales. The Triple J favourites, who only played their ﬁ rﬆ key feﬆ ival in 2009 (Big Day Out, what else?), appeared at the recent Splendour In The Grass. They’ve likewise lately returned from Europe. “We did two gigs over there,” Bryant-Smith conﬁ rms. “I don’t know if it quite qualiﬁes for ‘tour’ ﬆatus, but I like the sound of a ‘European tour’, so we’ll go with that! We played one gig with the Hilltop Hoods in London, which was amazing. They sold the gig out and it was in this really premium venue in Camden and the crowd was a bunch of crazy Aussies. We also did one in Germany with Brother Ali and [Horrorshow’s labelmate] Urthboy, which was a lot smaller, but also very cool – ‘cause it was [us] getting in front of a totally new audience and trying to win over new people who’ve never heard of you before.” In Munich, Horrorshow were especially surprised by the Germans’ appetite for Auﬆ ralian hip hop. “There were deﬁnitely very passionate German kids at that show who were going oﬀ to [Urthboy’s] We Get Around. They were really excited about seeing some Aussie rap. Talking to them all afterwards, a lot of them were saying how refreshing they found it. So often they get [US] hip hop groups that either cancel their tour at the laﬆ minute when all the tickets have been bought and everything, or they come out and juﬆ do a really half-arsed show and are clearly only there to get their pay cheque. A lot of these kids who I was talking to were juﬆ saying how exciting it is for them that they ﬆ umbled across some Aussie rap group and then, through that, have ﬆ umbled across this whole scene of independent acts – and [they were] saying how refreshing, and real, they ﬁnd the music after being exposed to artiﬆs from places like America and the UK for so long.” Bryant-Smith did wonder if the Germans would underﬆand their Auﬆ ralian accents, “banter”, or even the “sarcaﬆ ic” humour. “It’s intereﬆ ing having to ﬆart thinking about those sorts of things when you’re in a situation where you’re performing overseas, as opposed to juﬆ originally having to concentrate on remembering all your lyrics!” Bryant-Smith bonded with Gauchan at the select Fort Street High School in Sydney’s inner-weﬆ – a school that also boaﬆs Unkle Ho, Joeliﬆics of TZU, and Josh Pyke as old ‘Fortians’. The buddies were both deeply into
music, with BryantSmith on drums in jazz outﬁts and Gauchan, who plays guitar, bass and keys, in funk bands – but, the MC ﬆresses, “Hip hop is the thing that really resonated with us long before we were active participants”. On forming Horrorshow, the pair never imagined that they might be miﬆaken for a heavy metal or, worse, horrorcore act. Yet the then teens made ﬆrides quickly and, in 2008, debuted with The Grey Space on Elefant Traks. Like Phrase, Horrorshow have been known to perform as a band – they jammed with friends at The Grey Space’s launch – and Bryant-Smith predicts that they’ll further develop their live show. If the MC sounds cautious, it’s because he worries that, when hip hoppers introduce bands, it can come across as “contrived” and occasionally “tacky”. At times BryantSmith has felt disillusioned with mainﬆ ream
US hip hop, but today he considers Jay-Z’s discovery J Cole to be a renaissance man, the American’s music simultaneously “classic” and “contemporary”. In the same vein, Horrorshow aspire to craft hip hop that, while referencing ol’ skool values, is very ‘now’. As such, Bryant-Smith is eager to begin their next LP, Horrorshow drawing on their experiences over the paﬆ year. “We’re basically ﬆarting from scratch,” he says of their progress. “One of the ﬁ rﬆ things that we did when we got overseas [is] Adit went and met up with a record collector and blew probably a silly amount of money on a whole bunch of new vinyl, which he then got shipped home – and that arrived in Sydney about a week ago. So he’s ﬆarting to get ﬆ uck into working on some new beats. We’ve got a few things lying around that have been made over time, so we’ve got a few tracks in the works, but the album hasn’t taken any shape yet. We have an idea of what we wanna do with it, but we haven’t really nutted it out yet.” In the interim, Horrorshow are readying a track with Melbourne’s Seth Sentry that will be available for free download via their website to mark the tour. Bryant-Smith admits that, though Horrorshow “got the itch to work on some new material”, they also wanted to give something to fans clamouring for fresh music. “It really goes to show that the life span of albums has juﬆ gotten shorter and shorter and shorter. We’ve maybe set a bit of a dangerous precedent there by putting out two records in two years – because there is an incredible amount of work involved in making a record when you pay attention to all the small details in the way that we do.” WHO: Horrorshow WHERE & WHEN: The Zoo (Brisbane) Saturday 28 Auguﬆ, The Gaelic (Sydney) Friday 3 September, ANU (Canberra) Saturday 4 September, Eaﬆ Brunswick Club (Melbourne) Friday 10 September, Open Arms Feﬆ ival (Coﬀs Harbour) Saturday 20 November
JUST ANOTHER BOMBFLICK BRITISH ACTOR AND RAPPER RIZ AHMED CHATS TO ANITA CONNORS ABOUT TRYING HIS HAND AT SOME SERIOUS FUNNY BUSINESS IN FOUR LIONS AS WELL AS WORKING WITH DIRECTOR AND COMIC HEIR APPARENT CHRIS MORRIS.
e act ually looked like a bunch of loons both on and oﬀ set,” Riz Ahmed laughs as he recalls life on and oﬀscreen shooting Chris Morris’ debut feature ﬁ lm Four Lions. “The dynamic oﬀset was quite similar to the dynamic onset. We took on a weird group dynamic, but I think you have to, that’s what the ﬁ lm is about. The ﬁ lm is about the group dynamic of a bunch of guys trying to organise something, and a bunch of guys trying to organise anything, they’re going to balls it up, no matter what it is.” Set in the North of England, Four Lions is a comedy that goes where none have before, following the day-to-day aﬀairs of a group of wannabe suicide bombers. And in Ahmed’s words, the problem is “that they’re juﬆ a bit rubbish at it”. What comes next are some of the crazieﬆ set-ups in comic hiﬆory. At the forefront of this motley crew is Ahmed’s Omar. He is “the leader of the group, he’s a father, he also sees himself as a bit of a soldier in the kind of global war between good and evil that’s taking place, and I guess he also, on some levels, sees himself as a bit of a prankﬆar because he’s in on the joke, he’s in on what really counts, which is something that he’s secretly preparing for with his crew. He’s in on a punchline that’s about to literally blow up in our faces.” For Ahmed, it was a long but seamless and surprising process to secure the lead. “Chris [Morris] got in touch with me in 2006 when I released my ﬁ rﬆ single, this track called Poﬆ 9/11 Blues. It was kind of like a satire on the poﬆ-9/11 world and it juﬆ got banned from the radio, but it was getting really popular on the internet… And he juﬆ kind of, like, reached out through Mat Whitecross, who co-directed The Road To Guantanamo [which Ahmed also ﬆarred in]. I remember Mat saying to me, ‘Do you know Chris Morris?’. And he said, ‘Yeah, so meet up with him but be careful, it might be a set up’. [I] met up with him, slightly paranoid,
and juﬆ, like, immediately I was taken with this guy who is incredibly intereﬆ ing, juﬆ super, super intelligent, and really chilled out, really unpretentious [and only intereﬆed in] trying to ﬁnd the comedy and trying to ﬁnd the intereﬆ ing areas that you can prod, keep prodding them until they wobble like slightly amusing jelly… That’s what everything is about, everything is about maximising laughs, and he’s juﬆ a very, very intereﬆ ing guy, very intereﬆed in what you have to say. He’s super-well read, he’s ferociously intelligent… but luckily these superpowers lie in force of good.” Over the next three years, the two would meet up every couple of months, and “juﬆ talk about everything and nothing, and within those conversations he’d mentioned the progress of this project that he was nurturing on this area [about Jihadi terroriﬆs], and I’d introduce him to people who I thought might of useful… and then, one day he kind of went, ‘Oh by the way, there’s a script now and it’s done. And I want you to play this role’. “And if Chris Morris comes up to you and goes, ‘Hello, can you be the lead role in my ﬁ lm?’, you’re kinda gonna say yes, if you’ve got any sense at all.” WHAT: Four Lions WHERE & WHEN: Screening in cinemas now
BEAT SCIENCE LIAM BLACK INFORMS RICHIE MELDRUM THAT A DIET OF ROCK’N’ROLL BY DAY, DRUM’N’BASS BY NIGHT HAS RESULTED IN THE MUSICAL EXPERIMENT KNOWN AS THE QEMISTS.
ack in the days before the Internet, before SoundCloud, before ﬆ reaming, before downloads (illegal or otherwise), liﬆening to new music meant going down to the shops and act ually forking over your hard-earned. It’s no wonder there was a certain linear aspect to peoples’ taﬆes – who could aﬀord to be into hip hop and indie, heavy metal and house? Thankfully, with the dawn of the digital era, the shackles have been thrown oﬀ. Punters are no longer forced to make a choice between one genre and another, and the eﬀects of this newfound freedom are ﬆarting to show in bands like heavy drum’n’bass outﬁt The Qemiﬆs. “I think more and more these days audiences are becoming less separate,” the band’s guitariﬆ Liam Black argues. “They are becoming more accepting of a lot more music. Certainly in the younger generation of fans, they are barely making a diﬆ inct ion between the music they liﬆen to and are becoming less speciﬁc about what they are into. You become more cultured really. Your taﬆe is wider because there is a lot more out there.” As one third of the Brighton act, Black is in a good position to make the call – he might not have been able to make his genre-ﬆ raddling music work if there wasn’t a more open-minded generation out there to appreciate it. Signed to the respected Ninja Tune label, more commonly known for leftﬁeld hip hop and broken beat than a highly charged rock/d’n’b hybrid, The Qemiﬆs are currently putting together their new live show (“There’s been some rumblings about coming out to Auﬆ ralia,” Black shares), having ﬁnished their second artiﬆ album Spirit In The Syﬆem earlier in the year. “Th is time we are recreating the new album live,” Black says. “I guess you could call this ‘Version Two’ because laﬆ time was the ﬁrﬆ time out.
Th is show is signiﬁcantly diﬀerent. Me, Leon [Harris, drums] and Dan [Arnold, bass] have sat around a lot and talked about it and drawn diagrams and ideas for the technical side of it, how we want to present it, how we want it perceived by the audience, what do the audience want? “At the end of the day you’re an entertainer. So there are live drums, live guitar, laptops and almoﬆ a DJ aspect to it, which I think represents our music well. It shouldn’t really be performed by a fully live band because it’s not made that way. We are half live and half DJ/ club culture, so to represent it that way makes visual sense on ﬆage and makes sense in terms of being able to perform it properly.” The Qemiﬆs were childhood friends growing up in seaside town of Brighton on the south coaﬆ of England. “Our background was rock,” Black explains. “We were 90s kids so we were liﬆening to Soundgarden, Alice In Chains, Nirvana, Red Hot Chili Peppers, Rage Againﬆ The Machine. So we kind of grew up with that, but when we got into clubbing we were exposed to drum’n’bass which was, for us, the closeﬆ thing to rock music for the clubs – similar tempos, similar levels of diﬆortion, aggression. We would make drum’n’bass in the evening in the ﬆ udio and play rock music during the day. Eventually, of course, it transpired that we would combine lots of those elements to become The Qemiﬆs.” WHO: The Qemiﬆs WHAT: Spirit In The Syﬆem (Ninja Tune/
Inertia) out Friday 10 September
MENTAL COMBAT Hip Hop with BLAZE
THE BUDOS BAND
The New York outﬁt The Budos Band make “Staten Island inﬆ rumental Afro-soul” and have juﬆ dropped their third album, with the suﬃ x III after their name, for the Daptone label. As per usual it’s incredible ﬆ uﬀ. The ten-piece band, who on occasion swell out to 13-plus, seem to have in inexhauﬆ ible array of sounds to make every track come alive with incredible diﬆ inct ion Like a good deal of acts on Daptone they are well known for their horn sect ion and as any liﬆener of vintage or contemporary funk would atteﬆ to, having some dynamic brass on show is one of the moﬆ essential elements of a half decent funk ensemble. But it’s the added elect ric organ of Mike Deller that illuminates the sound. Of course the obligatory percussion of bongos, congas, drums and the all important Will Ferrell essential of never have enough cowbell is superb, but it’s the lack of any vocaliﬆs that never comes to the attention. Seriously, they’d juﬆ be a diﬆ ract ion from the musicianship on show. I’d even say that this album surpasses their previous two albums and their single EP. It’s such an enjoyment to hear deep funk that doesn’t suﬀer from convention – juﬆ brilliantly executed music from a bunch of well versed lads who add a touch of Ethiopian jazz, European psych, and a dash of middle eaﬆern elements over their brand of homegrown soulful funk. The Budos Horns have also turned up recently on a few tracks for French dub inﬆ rumentaliﬆ Blundetto’s excellent album Bad Bad Things, but even better was an obscure sounding release from a US label that also recently dropped – a 7-inch from Auﬆ ralian funk outﬁt Dojo Cuts. The publicity notes for the lateﬆ release on Colemine Records is for Los Sospechos (The Suspects) and it ﬆates that they were discovered “at a tequila diﬆ illery, juﬆ outside of Las Cruces, New Mexico”. Apparently the tracks Jano’s Revenge and Mirror Door were used for the soundtrack for Josh Hyde’s Peruvian ﬁ lm of this year Poﬆales. But as I’ve read about many funk 45s from the modern era, this could be juﬆ yet another fairytale that adds to a myﬆique that conjures up something far more intereﬆing than several white guys from the suburbs. Who cares, though it does sound preferable. Ha! The end result is mind blowing. This music lives for vinyl. Maybe only two minutes in length, but oh so essential – a choice of Mexicala horn funk or Willie Hutch drum machine organ soaked soul...
CHK IT OUT
!!! (AKA CHK CHK CHK) HAVE A SIMPLE PHILOSOPHY – IF IT FEELS GOOD, DO IT. NICK SAS SPOKE TO LEAD SINGER NIC OFFER AND FOUND OUT WHAT PART OF LIFE THAT APPLIES TO.
lead singer Nic Oﬀer evokes certain images over the phone. Firﬆ ly, like his vocal ﬆ yle in the New York sextet, he speaks in a laidback drawl that juﬆ oozes sex appeal. Ringing through to his Tokyo hotel room (after being cut-oﬀ by the nonEnglish speaking receptioniﬆ), 3D World was imagining Oﬀer laid out on his hotel room, ﬆ rung-out after sharing a “good night” with a bunch of Japanese hotties. And after the ﬁ rﬆ few seconds of conversation, the premonition seemed like it had come true. But, of course, Oﬀer’s real world is not always like the world he portrays in his lyrics; a world of decadence, myﬆery and luﬆ. When 3D spoke to him he was simply recovering from a massive set at Japan’s number one music feﬆ ival Fuji Rock in support of their lateﬆ LP Strange Weather Isn’t It?. “Oh man, it was great, a great feﬆ ival. Good vibe,” he says with a sudden pluckiness. “We even hung around an extra day to catch Roxy Music... they were great. In honour of them we played Virginia Plane as a tribute . . . although we could never do it juﬆ ice.” The ﬆ int in Tokyo is part of the band’s massive world tour on the back of their aforementioned fourth album. Like 2007’s Myth Takes – the LP that rocketed them into the consciousness of the international music scene – Strange Weather Isn’t It? is centred around psychedelic-funk freak-outs with Oﬀer’s visceral vocals taking front-and-centre. Recorded in Berlin for “simply, a diﬀerent environment”, Oﬀer says after four shots the band has learnt how to make a better album, despite massive personnel changes. However, regardless of knowing how to make it “better”, Oﬀer says they don’t go into the recording process with any preconceived ideas. “It’s... um... I don’t know,” he says, trying to explain the recording process. “We really worked hard at it and we feel it’s come oﬀ... but, if we don’t go in [to the ﬆ udio] with a clear conception of what’s going to happen. We get into the jam room and see what we can ﬁ nd. Th is time it wasn’t even the same band. There were new things to discover with this album, but one thing I always want to make sure happens is that we never make the same record twice.” Oﬀer and his ﬁve band mates have certainly succeeded in that, although it would be pretty diﬃcult to make the same record with Chk Chk Chk’s freeform attitude. Oﬀer says they hope to bring their self-described individual form of “musical intrigue” to Auﬆ ralia with their muchrevered live show. “We’re excited about the live show with this record,”
he says. “Getting out there and performing to a high ﬆandard every night is never a problem for me. The adrenalin kicks in and, really, there’s nothing ﬁner than playing in front of big crowds. And, you know, we’re always ready to party.” After a handful of well-received Auﬆ ralian live shows two years ago, Oﬀer says the band hopes to be back around “December or January”. Although his lack of computer skills could mean he could not conﬁ rm the date. “Man, I know I saw it here somewhere,” Oﬀer says as he searches through his inbox for the band’s Auﬆ ralian dates. “But I can guarantee you this though – we’re coming and we’re looking forward to it.”
WHO: !!! WHAT: Strange Weather Isn’t It? (Warp/Inertia)
LARVA FLOW MATT UNICOMB DISCOVERS CANBERRA MC DAVE CARTER HAS DONE HIS BEST TO DEFY THE INSTANT GRATIFICATION OF THE DIGITAL AGE, THE DEBUT ALBUM OF HIS MAGGOT MOUF MONIKER OVER A DECADE IN THE MAKING.
s Maggot Mouf, Dave Carter is a kind of cleansing agent. In this digital age, music itself has become throwaway, but since his emergence from Canberra’s hip hop collect ive in the early noughties, Carter has done his beﬆ to defy the digital age he’s grown in to. You’re All Ears is Carter’s debut full-length. However, unlike many of today’s hip hop debutants, he’s no newcomer. Like a (real) maggot, he’s undergone several reincarnations. The years have seen him involved numerous live acts, from his time spent as a vocaliﬆ in a live band as a teenager, to the early 00s as a part of Aussiediggas (who went on to become Alikeminds), to his current ﬆatus as a solo performer. Likewise, his MC name has gone from DC, to DCeecd, to, now, Maggot Mouf. His moﬆ recent incarnation seems the moﬆ ﬁtting. Carter is a product of Auﬆralian hip hop’s golden era. Speciﬁcally, he’s a product of Canberra’s hip hop landscape, which, for almoﬆ a decade, was one of the heartlands of Auﬆralian hip hop. Hospice Crew and Koolism are the moﬆ prominent acts to have emerged from the ACT, but underneath and around them is an army. Count Carter among the troops. “We were always recording,” Carter says of his early days rapping with Aussiediggas. “But I wanted to hone my craft before ever releasing something. There’s no point releasing something if no one’s going to buy it.” Any music puriﬆ, while they revere the advancing music technology and all its advantages, will deplore some of its implications. Electronic music, and with it hip hop, has been one of portable recording’s main beneﬁciaries. However, along with the convenience it has beﬆowed on aspiring musicians, it has ﬂooded the music market with sub-par product. “Everyone wants to put an album out,” Carter explains. “It’s retarded. They’re all rapping in their bedrooms, and end up with an LP out before they’ve done any shows. When we were going to school, we were in a band, and we’d rehearse. It was the only way to do music. Now it’s all electronic. Everyone’s doing their beat on
Reason, recording on their PC microphone, and then they have an album.” Carter and, indeed, the whole Broken Tooth Entertainment crew, are the counterexample to the norm. You’re All Ears is over a decade in the making. As a result, the end result is polished, introspect ive and, perhaps moﬆ importantly, meaningful. “I was aiming for a headphone album,” Mouf reﬂects. “That’s the kind of music I like. There’s drinking, and then there’s thinking. I’m always thinking about shit, if I don’t get it down on paper I ﬂ ip out.” Like many of the LP eﬀorts of his BTE label mates, You’re All Ears is surprising in the way it approaches introspection and ﬆorytelling. An outﬁt often labelled by the induﬆry and fans as responsible for nothing but uncouthness, it consiﬆently sets a benchmark for quality. That, partly, comes from the participants’ long hiﬆory in hip hop. They’ve always done it properly. “That’s when I ﬆarted rapping,” Carter says of Canberra. “Hospice [Crew] were always putting on battles. They act ually put on the ﬁrﬆ battle I went in. They used to put on the beﬆ parties. It’s not like Melbourne where people juﬆ want to rock up looking to ﬆab somebody. Some gigs are good, these days the [people in attendance] juﬆ don’t give a shit.”
WHO: Maggot Mouf WHAT: You’re All Ears (Broken Tooth Entertainment/Obese) WHERE & WHEN: Revolver (Melbourne) Thursday 9 September, The Step Inn (Brisbane) Saturday
6 November, Caringbah Bizzo’s (Sydney) Saturday 20 November
OGFLAVAS OG Urban news with CYCLONE
Urban music, we know, is a high turnover, trend-driven market. It’s peculiar, then, that local majors are picking up albums like Marques Houﬆon’s generic Mr Houﬆon. It ﬂoundered Stateside laﬆ September – yo, it’s ancient – and he’s already prepped a follow-up. Now Warner is marketing Filipina ﬆarlet Charice Pempengco’s eponymous international debut – but at leaﬆ this makes sense. In May the teen became the ﬁ rﬆ-ever Asian artiﬆ to ﬆ rike the US Top 10. She’s juﬆ landed a role in the popular TV program Glee, albeit amid a botox controversy. Charice is about as formulaic as US-driven R&B gets today, although, commendably, it’s free of auto-tune. The single Pyramid (featuring Iyaz) is clubby, but Charice leans towards ‘adult contemporary’ – Note To God, courtesy of David Foﬆer, the King of Schmaltz, is a throwback to 90s soul-pop. (JoJo originally cut the Diane Warren-penned number.) Oprah Winfrey loves her... What else is coming up? Jazmine Sullivan’s Fearless belatedly materialised in Oz and now she’s readying Love Me Back, led by the hip hop soul Holding You Down (Goin’ In Circles). Ciara crossed over with the fab Love Sex Magic – bolﬆered by Juﬆ in Timberlake – but not the ambitious album Fantasy Ride, which evoked vintage Janet Jackson. The Princess of Crunk&B is currently talking up Basic Inﬆinct, a return to her ‘more ﬆ reet’ (and “bass-heavy”) output – and Goodies. So far she has aired the heavily synthesised downtempo Ride (with Ludacris) and there’s a growing buzz surrounding Gimme Dat. Can Ciara regain the ground she loﬆ to Rihanna? Only if she ﬁnally projects some personality... Also on the comeback trail is Diddy with his elect ro-hop combo Dirty Money – and Laﬆ Train To Paris. TI’s King Uncaged, out next month, has gotta be the season’s moﬆ anticipated rap blockbuﬆer – and it’s his ﬁ rﬆ album since he left prison. The Southerner lately issued Got Your Back with cameo specialiﬆ Keri Hilson. 2010’s breakthrough female act? Nicki Minaj. She unleashed the oﬀ beat Massive Attack earlier in the year and Minaj has indicated that November’s debut, Pink Friday, will show that she has more to oﬀer than her sexy ‘Barbie’ persona.
CLOUDS TASTE BALEARIC WHILE SEASONED CAMPAIGNERS MAY ARGUE THAT THE SPANISH PARTY ISLE OF IBIZA HAS HAD ITS DAY, NICK CONNELLAN ARGUES THERE IS STILL MUCH TO LIKE ABOUT ONE OF THE MECCAS OF THE CLUBBING WORLD FOR THE FIRST TIME VISITOR.
unday 25 July, 2010: it’s a clear, sunny day in the Balearic Islands. The plane is an hour late and there are some grimlooking clouds gathering on the horizon, but little could spoil the mood on-board. As the plane touches down with Ryanair’s usual blaﬆ of celebratory bugle notes, a cheer erupts from a particularly rowdy group up the back. Ibiza – fuck yeah! The excitement at the airport is palpable. Though there are lots of families, it’s moﬆ ly young people. The cab line is mercifully short, though the cab itself isn’t cheap. It’s €10 ($14) for the ﬁve minute ride to nearby Playa d’en Bossa. Initial impressions of Ibiza are surprising. As expected, it’s extremely developed. A multitude of apartment blocks and hotels overshadow the beach, every square inch of which is packed with pay-per-hour sunlounges. Bars, mini-marts and beachwear ﬆores ﬁ ll out the main ﬆ reet running parallel. However, nothing is too modern. Apart from the upmarket hotels, there’s little in the way of expensive ﬁtouts. It’s moﬆ ly white-washed ﬆ ucco and corrugated iron roofs. In some places it feels more like Argentina than Spain. The atmosphere is right though. Like any beach town, it’s hard to spot passers-by wearing enclosed
shoes. Th is is not juﬆ a place to party – it’s easy to relax as well. Paradoxically, moﬆ of the beﬆ parties take place mid-week. In Ibiza, there’s no concept of the working week, even for residents. Nonetheless, Sundays are always impressive, with We Love... Space. For a ﬁ rﬆ night out, it’s not shabby. Steve Lawler, Will Saul and Ralph Lawson are juﬆ a few of the names playing over seven rooms. The only problem is that it’s impossible to see everyone. At 11pm, it’s already buﬆ ling, and Funkagenda is tearing it up in the Sunset Terrace with the help
of a live drummer. It’s not until sunrise that moﬆ punters realise the airy space is rooﬂess, covered only with camouﬂage netting. In daylight hours, planes roaring low overhead on their way to the airport provide a unique ﬂavour. However, the real attract ions are undoubtedly Derrick May and Jeﬀ Mills, each playing for two hours in the Discoteca. It’s a cavernous room, reminiscent of Melbourne’s Metro. When May begins at 2:30, it’s positively rammed. As expected, both jocks light it up. It’s not for nought that Mills was once nicknamed “The Wizard”.
The following night, it’s a ten minute cab ride down the freeway to Amnesia for Cocoon. Th is time it’s juﬆ two rooms, with a couple of DJs spinning in each. The Terrace jocks – Josh Wink and Richie Hawtin – are dropped in favour of the main room. At midnight, Adam Beyer is absolutely tearing ﬆ rips oﬀ the place. He’s perched high on a balcony with a huge bank of decibel meters pulsing behind. On the heaving danceﬂoor, the crowd ﬆares slavishly upwards, hypnotised by the beats. However, perhaps this should be attributed to the gorgeous go-go dancers that ﬆ rut the catwalks above. They’re not juﬆ trash, either. Moﬆ of them can act ually dance. In a nod to Cocoon’s yearly theme, this time Party Animals, some dancers are dressed in tiger or zebra suits. Unlike his laﬆ appearance in Melbourne, Beyer is decidedly animated, lapping up the praise his tunes are attract ing. Immense cannons ﬁ re dry ice into the crowd at regular intervals, cooling the danceﬂoor and drawing cheers. When Marco Carola hits the decks to close, it’s apparent he’s got a tough task ahead of him. Unfortunately, he doesn’t quite get there. Despite a banging set, he fails to inject the character and variation Beyer achieved. Still, when the doors close juﬆ paﬆ 7am, there are upwards of 4,000
GETTING THERE Getting to Ibiza is a sinch. At laﬆ count, 31 airlines ﬂew to the island’s single airport, with the main carriers being EasyJet, Ryanair, Thomas Cook and Thomson. Additionally, Balearia and Trasmediterranea operate ferry services to and from major Spanish cities such as Valencia and Barcelona. Don’t believe the rumours; the ferries are act ually very comfortable. On a typical Balearia voyage, you can expect fully elect ric recliners, a pool, televisions and a games room.
WHILE YOU’RE THERE
IBIZA Population: 113,908 (2006) Language: Catalan, Spanish, Ibicenco National Drink: Sangria Average Annual Rainfall: 633mm (24.92 inches) Currency: Euro (AUD1.00= 0.70 Euro) people waiting to leave, a teﬆament to the quality of the night. Luckily, the freeway location isn’t an issue – the club provides free buses back to all the major towns. On Tuesday, it’s Carl Cox’s 48th birthday at Space. In a side room, Nic Fanciulli proves early that success hasn’t aﬀected his taﬆe. He lays down a solid block of party techno that has the whole ﬂoor bopping. In the main room, Layo & Bushwhacka open with a decent if generic bunch of tech tunes. Still, they could’ve played the set of the year and it would have counted for nought as everyone is waiting for Cox. At 3am when he ﬁnally ﬆeps up, the roar is deafening. The MC grabs the mic and asks the crowd to sing Happy Birthday. Someone has handed out sparklers, and those at the front wave them manically. A gigantic sheet of white material is unrolled and covers the danceﬂoor while those underneath mosh like they’re at a rock concert. Cox doesn’t disappoint, belting out some seriously intense tracks and getting noﬆalgic with Jeﬀ Mills’ The Bells. His only downfall is failing to give the crowd a reﬆ. As at Cocoon, it’s only the ‘megatron’ ice cannons that keep everyone cool enough to continue. After a reﬆ ful Wednesday, it’s back to Amnesia
on Thursday for Cream. Th ings have changed: there’s more lasers and diﬀerent decorations. Thankfully, the go-go dancers are ﬆ ill around. Filo & Peri play a woeful opening set of ﬂuﬀ trance, even managing to ﬆop the music somehow. Eddie Halliwell ﬁ xes things quickly though, treating the crowd only to quality slamming trance. Nevertheless, he probably could have done with an extra hour. Finally, Paul van Dyk appears to ﬁnish, keeping up the energy levels adroitly. However, he loses it in the ﬁnal hour, getting token with Born Slippy and
David Guetta’s vocal mashup of The Egg’s Walking Away (Tocadisco Remix). It’s a disappointing end to an otherwise spot-on performance. To visit Ibiza is to have your intereﬆ in music revitalised. It’s like a temporary return to that ﬁ rﬆ year of clubbing, when everything was ﬆ ill new and exciting. Th is is an aﬆonishing feat considering the number of superclubs that dot the island. On any given night, there might be as many as 20,000 people out, spread only between the big ﬁve: Pacha, Eden, Amnesia, Space and Privilege. Visit before you die.
Ideally, moﬆ partiers ﬆay in Playa d’en Bossa. It’s a quiet location situated about ﬁve minutes from the airport. However, it’s also the home of Space nightclub, Bora Bora beach club and a smattering of hip bars. It’s also the longeﬆ ﬆ retch of beach on Ibiza. About three kilometres North is Ibiza Town, the main inhabited area on the island. Here you’re only likely to ﬁnd super yachts and multi-millionaires on vacation, but club Pacha is situated here too. Less-cluey partiers tend to ﬆay in San Antonio, on the Weﬆern side of Ibiza. In contraﬆ to Playa d’en Bossa’s turbid but pretty beach, San Antonio’s is nothing more than a rocky shelf. San Antonio is famous for Café del Mar and Café Mambo. Probably for this reason, the main ﬆ rip is positively swamped with loud, paﬆ y touriﬆs wearing English football jerseys during the summer months. The only real reason to visit is to catch the sunset, which can’t be seen from the other side of the island. Besides partying, there’s not a great deal to do on Ibiza besides lie on the beach and catch rays. That’s okay though – you’ll probably be exhauﬆed anyway. The beﬆ beaches are found at the less-developed Northern end of the island. Be prepared to hire a car though; the bus network isn’t the greateﬆ. Other act ivities include a visit to the salt ﬂats or Can Marça caves. Perhaps moﬆ popular, however, is the Hippie Market, which runs on Wednesdays and Saturdays in two diﬀerent locations. Spanish classes are also on oﬀer.
IF YOU LEFT TODAY?
Virgin Atlantic ﬂy direct from all Auﬆ ralian capital cities to London/London to Zurich/Zurich to Ibiza. Return Airfare: $4296.00. Cheapeﬆ Hotel Room – Room only accommodation from AU$70.00 via www. quickrooms.com. Current Foreign Aﬀairs Status – Exercise Caution. See www.smartraveller.gov.au for updates. Entry/Exit Requirement – Six month validity of passport.
CLAMP DOWN! Alt.indie.pop with DCR
Scott Spark has a particularly nice email newsletter. It’s right up there with the McSweeney’s Updates in its minimal design, which makes beautiful use of white space and typography, and its charming prose. Moﬆ mailing liﬆs are gloriﬁed spam, but Spark’s is one that has served his fanbase well so far. It’s due to his monthly-or-so updates that we’ve been privy to such inside information on the creation of his debut album, Fail Like You Mean It. Now the record’s here, and it’s a buﬀet of keys, from synths to toy piano to ‘piano’ to harpsichord to celeﬆe to Spark’s prized Wurlitzer. It’s basically piano porn. What Is In A World is our favourite track on the album – its exiﬆential lyrical content about work hours certainly resonates – and features gueﬆ vocals from one… Washington, also known as ‘Megan Washington’, who has also released a debut album, and it’s pretty fucking ﬆellar; a gloriously emphatic pop record that should, er, cement MW’s ﬆatus as one of Auﬆ ralia’s new dominant voices. The inﬂuence of 1960s pop is heavy, particularly French chanson (the album’s title I Love You Liar is a line from the Jean-Luc Godard classic, Pierrot le fou whilﬆ the video for Sunday Beﬆ is a Godard lovefeﬆ) as is doo-wop, soul, and even a little Cyndi Lauper. The whole album carries through it an erratic anxiety, at times spiralling out of control and at others conﬆ rained. Washington has delivered a wake-up call to the tiring female singer/songwriter scene. Finally, Disco Nap, comprising of ex-Iron On vocaliﬆ Ross Hope and Intercooler’s Darek Mudge, have their debut album Running Red Lights.(Intereﬆ ingly, former Iron On and Intercooler members Kate Cooper and Damon Cox are respect ively now playing as An Horse.) If you’re a fan of both those bands you’ll know what to expect - a marriage of various 1990s indie bands and a lot of Death Cab For Cutie. The delicate love letter Song For Meg is a highlight, while the whole album makes for an exciting cocktail of elect ronic samples, sombre guitars, and, over-all, subtle romance. Very well worth the hunt down.
STATE OF FLUX
ON THE BACK OF A SUCCESSFUL DEBUT EP THAT THE BAND THEMSELVES DON’T RATE, EKHI LOPETEGI OF DELOREAN TELLS NINA BERTOK THEIR FIRST ALBUM IS A COLLAGE OF TEN YEARS OF MUSICAL INFLUENCES.
rom hardcore punk, to upbeat pop, to tech house… It’s pretty much unheard of in club circles, but Barcelona foursome Delorean have dipped their toes in many diﬀerent musical waters before embracing their current dance leanings with debut album Subiza.
“All of us came from punk and hardcore bands in Basque,” chief songwriter Ekhi Lopetegi announces. “It was probably about 10 years ago now and I can’t remember much about those days but that’s how we ﬁ rﬆ met. We were going to lots of shows and sometimes we pract iced together until we got bored and wanted to try something diﬀerent. We wanted to surprise ourselves but also people who knew us for the music we were doing then. I guess we didn’t really care what they would think because we did it anyway.” It was several years ago when Delorean ﬁ rﬆ ﬆarted turning their attention to pop tunes and layered melodies, but it wouldn’t be until 2009 that the band really found its niche. Embracing every genre it had covered since 2001, Lopetegi and his band of ex-punkers combined all their eﬀorts into their debut Ayrton Senna EP which garnered rave reviews from Pitchfork and the Guardian soon after. Conﬁ rming that 2009 was deﬁnitely a good year for the band, Lopetegi claims Delorean were now ready for bigger and better things – ﬆarting with a re-introduct ion. “Everybody seemed to love the EP but to be honeﬆ , we weren’t really that thrilled with it,” Lopetegi confesses. “We didn’t hate it or anything, but I can’t say we were that happy with the songs. To us, they ended up sounding too watered down and juﬆ really safe, which was not what we were trying to do. Let’s juﬆ say we were shocked that the reviews it got were so good.” More than anything, according to Lopetegi, Delorean wanted Subiza to “speak to the people”. By that, Lopetegi says he means that the band’s main focus is always for the audience to feel the music rather than merely hear it. “The basic idea was to mix house music and pop music but it was more about the vibe rather than juﬆ the sounds,” Lopetegi explains. “We produced it with a big focus on the texture and the layers underneath. The EP was ﬆ ill us being caught halfway between the indie-rock live
band sound and elect ronica, so there is a huge gap between the EP and the LP.” Lopetegi claims that those who followed Delorean’s remixes sometime around 2008 and 2009 would have seen this album coming. Their remix work on tracks for The Teenagers, The Myﬆery Jets and The Big Pink provided a glimpse into the future sound now found on Subiza in 2010. “The EP was always not much more than juﬆ a ﬁ rﬆ try for us,” says Lopetegi. “Now that the album is done, we feel like a certain way of doing things has come to a completion with this album. Once you know how to do something, when you maﬆer your own techniques, you move onto the next level. “For us, that’s the live show which we’re not 100 percent happy with yet. We think of Daft Punk as a reference to how we want to look and sound live, without copying obviously! I saw them in Barcelona three years ago and it blew my mind. If we can work on a set like that from beginning to the end, that would be amazing.”
WHO: Delorean WHAT: Subiza (True Panther/Remote Control) WHERE & WHEN: Parklife at Sidney Myer Music Bowl Saturday 2 October
‘BURN HIP HOP Local Flow with STEVE DUCK
A RARE JEWEL
RICHIE MELDRUM CATCHES UP WITH BEN FINOCCHIARO, BETTER KNOWN TO LOCAL DRUM’N’BASS FANS AS SAFIRE, AS HE AND HIS MELBOURNE BASS MUSIC COMRADES PREPARE TO UNITE TO SEE OFF ONE OF THE CITY’S FAVOURITE UNDERGROUND SPACES.
elbourne venue the Mercat Cross is being forced to close the upﬆairs section of the club because of noise complaints from nearby neighbours. It’s long been a favourite for promoters looking for a mid-sized venue that caters for underground music, and losing the space is a heavy blow to local bass music promoters – though events will continue to run at the venue in the downﬆairs basement, rumoured to be going through a bit of a face-lift in preparation. To bid a fond farewell for the time being at leaﬆ , the Melbourne underground is coming together for a laﬆ hurrah in the space which holds fond memories for many. One of them is Ben Finocchiaro aka Saﬁ re – DJ, producer and founding member of the Broken Beat Assault crew who’ve had a close connect ion to the Queen Street venue. “We’ve been using the venue for several years and have done a lot of parties there in the paﬆ, so it’s disappointing,” Finocchiaro admits. “There’s been a lot of music, a lot of good events and it’s always been a good venue to slot into.” So is this lateﬆ closure juﬆ another unfortunate turn of events or does it signify something more worrying for the city’s underground? “There’s not that many venues in Melbourne available,” Finocchiaro says. “Moﬆ of them have got regular nights, so unless you’re doing a regular night, it’s hard to get a booking these days for a Saturday night.” As someone who’s been running drum’n’bass parties and events with some of the biggeﬆ international gueﬆs for the paﬆ eight years, Finocchiaro is a good person to ask why the options seem to be dwindling for fans of underground club music. His answer? Commercialisation. “Club venues ﬁnd it harder to survive doing bookings oﬀ [external promotion] crews,” he says. “They want to secure regular nights in and get as much commercial music in there as possible because that’s what brings people through the door. They juﬆ want a regular Saturday night without having to wait for crews like us to book in the venue and book international gueﬆs. I think it’s also about ﬁnding promoters who are willing to put in. There are a lot of guys in the same sort of spect rum as us but who don’t really have that much ﬁnancial backing or don’t
want to risk putting something into it, so they ﬆ ruggle with numbers and the clubs are ﬆ ruggling too.” As well as his role in Broken Beat Assault, Finocchiaro has been DJing since he was 14 and has had his own product ions under his Saﬁ re guise released on labels like Mindtech Recordings and Resolute. And his musical talents, along with many others, have been enliﬆed to show a united front for bass heavy music in Melbourne, and to raise money for a good cause in Beyond Blue in the process – though Finocchiaro is a little out of the loop on the particulars. “I was act ually overseas, in Japan for the laﬆ three weeks when it all got locked in. So I act ually don’t know all the details! We’re doing one of the rooms and we’ll be booking a few artiﬆs that represent the Broken Beat Assault sound, so we’ve got myself, my brother Finna, Consequence and Joe Seven and moﬆ likely Johnny Hooves.”
WHO: Saﬁ re WHERE & WHEN: Laﬆ Bass Party at Mercat Cross Hotel Saturday 28 Auguﬆ ,
Broken Beat Assault at Brown Alley Saturday 11 September, Maximal Techno at Miss Libertine Saturday 2 October, Jungle Run 10 at Prince Of Wales Monday 1 November, Bass Jump NYD at Prince Of Wales Saturday 1 January
WALK YOU HOME TOUR Sydney duo Horrorshow have not only earned a reputation as one of Auﬆ ralia’s foremoﬆ hip hop groups, but also as one of the beﬆ live acts in the country. With a new album’s worth of material alongside a wealth of experience gained from a successful tour of Europe, Horrorshow are ready to rock for one laﬆ tour in 2010. The Walk You Home Tour will take Horrorshow across the country alongside support act Seth Sentry and DJ Jackie Splash. The Walk You Home Tour hits Melbourne on Friday 10 September when Horrorshow play the Eaﬆ Brunswick Club. Tickets only $16, available now through eaﬆbrunswickclub.com, horrorshow.oztix.com.au or you can cop em for $20 on the door. Don’t miss it. THREE UP TOUR While we’re talking great tours, it’s impossible to overlook the upcoming Three Up Tour, announced late laﬆ week. Th is one combines the talents of Melbourne acts 360 and Illy, plus Sydney’s Skryptcha. Illy will be performing tracks from his acclaimed Long Story Short album, plus tracks from his upcoming album due out through Obese later this year. Skryptcha will be in full album launch mode as he sets oﬀ his The Numbers album to new crowds across the country, while 360 will perform tracks from his upcoming album, and of course his single Throw It Away. The Three Up Tour rolls through Victoria throughout the month of October, including a ﬆ int at the Obese Block Party (Friday 8 October, The Palace), plus shows at Ruby’s Belgrave, The Loft Warrnambool and Geelong’s The Bended Elbow. The trio perform their solo Melbourne show Friday 5 November at The Hi-Fi. All the info available now at oztix.com.au. SYNTAX ATTAX Gold Coaﬆ MC Syntax has dropped his debut long player The Musical. The album is the culmination of Syntax heading south, moving to Melbourne and teaming up with Soulmate Records (360, Pez). The Musical features limited gueﬆ spots, with only Supaﬆ ition (North Carolina), Haunts and Prime popping up for gueﬆ spots, while product ion is handled primarily by Mules and SDub, with a little help from Whisper and Gold Coaﬆ producer extraordinaire M-Phazes. Cop The Musical through Soulmate/Inertia now. More info syntaxthemusical.com.
THE ALBUM OF WEEK
MIAMI HORROR Illumination (EMI)
FEINDREHSTAR Vulgarian Knights
(Music Krause/Kompakt) Often a band’s own description of itself can be clouded by delusions of grandeur, yet Feindrehﬆar’s assertion their so-called ‘krautclub’ sound is a blend of Fela Kuti and Henrik Schwarz is pretty much spot on. Originally from the German city of Jena, the seven-piece found fans in Jazzanova who put the group’s debut single out on their Sonar Kollektiv label in 2006 and then donated their Berlin ﬆ udio for four years to allow the group to solidify their unique sound, a meshing of Afrobeat with jazz and modern club beats. Flitting in and out of both tempo and ﬆ yle without reﬆ rict ion, the Feindrehﬆar sound is powered by live inﬆ rumentation as much as synthetic elements, a fusion of worlds as much as inﬆ ruments. The opening two tracks ﬆay largely organic, as Knochenbrecher combines jazzy keys, big horns and a little synth diﬆortion with hard ﬆepping live breaks that build into a wall of percussion while Fete De La Kita is righteous modern jazz, as much Harlem as Lagos. In this atmosphere Arabikanana is ﬆartling with its techy 4/4 big room thump yet Feindrehﬆar drench it with enough live horns and Middle Eaﬆern vocals that it somehow blends in. They are quite cunning in this way, running similar house kicks through the exotic, bluesy Felafresh and percussive depth of Tex Ass. Making an eﬀort to avoid over-serious, boring beat science, The Mask With The Man ﬂaunts classic Public Enemy scratches while Tyurkiimsbour settles into a comfortable disco beat. Elsewhere, the wonderfully mellow Novation reminds a little of Moby circa Play with its bluesy loops while the closing Happy Hour begins life as spacious melancholic jazz before morphing into another rough Afro-dance excursion. It is this co-mingling of seemingly disparate ﬆ yles into something that sounds quite natural that is Feindrehﬆar’s gift to the world. DARREN COLLINS
Miami Horror (speciﬁcally Melbourne producer Ben Plant) have been a ﬆaple of the Oz dance diet for nearly four years. The 2008 Bravado EP, featuring Don’t Be On With Her and Summerfeﬆ 86 provided a link, absent but necessary from the local club scene, gathering the ﬁnal tethers of Junior Senior’s concluding eﬀorts and our initiation to Texan outﬁt, VEGA. Not until now, however, have Miami Horror released their much anticipated debut album Illumination, and Plant welcomes a few key additions to what appears to be a new sonic contemplation and direct ion from the band. The group returns to the ﬆage during a period when the cruisy melange of sounds inspired by the United States’ lower eaﬆern cities are enjoying somewhat of a revival – tunings
VARIOUS Brownswood Elect r*c (Brownswood/ Inertia)
UK DJ/taﬆemaker Gilles Peterson has been pigeonholed as future jazz/broken beat/nu-soul yet he has far more ﬆ rings to his bow, proven by his surprising deep-tech-tribal house set for UK label Defected a couple of years back. Over four Brownswood label compilations Petersen has ﬆ uck to more organic sounds, yet his moﬆ recent signings have forced him to branch out with an alternative compilation concentrating on more synthetic music, Brownswood Elect r*c. The chilled elect ro-funk of B.Bravo’s Computa Love comes oﬀ like Roger Troutman meeting Air, deep house beats power Eliphino’s percussive Let Me Love You Forever and Shlomo’s dubﬆep-ish Antigravity while Letherette’s Blad is glitchy, summery chopchop soul. Taking it a ﬆep further Mosca’s rocking Square One somehow surmises breaks, drum‘n’bass, elect ro, house and broken beats in juﬆ four minutes while Hypno’s Over The Top is a twiﬆed throwback to the rave/house sound of the early 90s. While Gilles Peterson usually ﬆarts trends rather than follows them, on Brownswood Elect r*c his charges take the sounds of now and brilliantly make them their own. DARREN COLLINS
motivated by the coaﬆal club and dance hot spots are at a high. Miami Horror on the other hand peer deeper into the paﬆ of this concrete and sand realm, ﬂeeing any high-energy inclinations and looking towards glitter and disco to spike their elect ro punch oﬀerings. Following the decidedly downbeat intro Inﬁnite Canyons, I Look To You delivers a synth and horn mirrorball ﬆandoﬀ, featuring Melbourne vocaliﬆ Kimbra. While perhaps not the moﬆ elaborate composition on the record, this early track is surprisingly the only place of any real emotional grip within the album’s 12 cuts. While the music on face value easily welcomes an appreciative liﬆen, it’s perhaps the fact that we’ve heard this before that pulls down Illumination. Miami Horror’s eﬀorts to evolve their product beyond previous creations are all too apparent, so much so that the overall sentiment comes across as presumptuous and without musical tenderness. CARLIN BEATTIE
SYNTAX The Musical
(Soulmate/Inertia) From the top corner ﬆate, Syntax is punching out his version of local rap, lyrically retelling life through his eyes growing up on the Gold Coaﬆ. Pitted as having a delivery similar to Drapht, Syntax harks on the dark side of ﬆ udent life, religion, depression and drinking in lyrics poured liberally over top shelf hip hop. Two years in the making, The Musical allows Syntax to spill his mind over loops of duﬆed oﬀ and chopped soul – measured nicely to the personal and ﬆ ripped down emotive of Syntax. Product ion credits go to M-Phazes, Mules, Whisper and Sdub, with gueﬆs from Supaﬆ ition (USA) on Onwards, Adelaide new kid Prime on Talk and Haunts and Mules from the Choose Mics duo who take over Action. Laﬆ track Stand Up is a shout out across every hip hop circuit in the Sunshine State and ﬁnishes with the old cassette tape button bleeps before returning for an encore in ode of our forgotten cassette collect ion. All in all, The Musical s a collect ion from a kid who juﬆ wants to rap his life over old beats and collect foam platinum plaques. RIP NICHOLSON
SKREAM Outside The Box (Tempa/Inertia)
Almoﬆ ﬁve years on from a debut which set the blueprint for many dubﬆep albums, Skream delivers his second album Outside The Box. While his Magnetic Man supergroup with Benga and Artwork have juﬆ cracked the UK top ten, his determination to appeal to as broader audience as possible may well be his downfall on this eﬀort – Skream trys to pull himself in too many direct ions, resulting in a disjointed album with a handful of ﬆandouts. 1. PERFERATED The album opener is a beat-less atmospheric intro featuring wiﬆ ful synths that aim for the heart but fall juﬆ short of really ﬆ riking an emotional chord. 2. 8 BIT BABY (FEAT MURS) Skream tips his hat to the Nintendo sounds of wonky hip hop while Def Jux alumni Murs delivers somewhat uninspired verses about how good the pair sound together. “This is 8 Bit Baby/Ain’t this crazy/It’s Murs and Skream /Don’t it sound amazing?” 3. CPU Keeping a slightly wonky tinge, CPU employs 8-bit synths over a really simple half-ﬆep beat that act ually provides one of the underﬆated highlights of the album. 4. WHERE YOU SHOULD BE (FEAT SAM FRANK) The ﬁ rﬆ real cringe-worthy moment of the record comes in the form of a heavily autotuned and reverbed vocal from Sam Frank over one of Skream’s limpeﬆ dubﬆep beats. While
ONE TRACK MIND he is clearly pushing for a pop aeﬆ hetic, it juﬆ sounds awfully contrived. 5. HOW REAL (FEAT FRECKLES) How Real employs a decent ﬆeppy beat with housey synths that again set the ﬆage for overproduced vocal cutups from Freckles. As a ‘popﬆep’ track this works better than its predecessor, but is ﬆ ill devoid of any real emotional resonance or grit. 6. FIELDS OF EMOTION Th is is what Skream does beﬆ – ﬆ raight ahead well-produced dubﬆep that blends the melancholy with the playful while keeping things slightly reﬆ rained. 7. I LOVE THE WAY Embracing his muchdiscussed love of old rave tunes, Skream uses an old diva vocal sample over a huge breakbeat that sounds like it could’ve come from the 90s. 8. LISTENIN’ TO THE RECORDS ON MY WALL Keeping it retro, Skream duﬆs oﬀ the Amen break for the ﬁ rﬆ of a few jungle tunes that feature on the album. Th is one pulses with a bleepy melody. 9. WIBBLER If you’ve been waiting for a big, ﬆ upid, fun
bass wobble bashing then your arms will be in the air for Wibbler. Despite the cliches and the silliness, the tune act ually sounds quite fresh ﬆanding on its own amongﬆ the other varied sounds on this record. 10. METAMORPHOSIS The ambience of this track punct uated by a big old snare is so economical and sparse as to be almoﬆ hypnotic. Another gem. 11. FINALLY (FEAT LA ROUX) After the ubiquitous Skream remix of In For The Kill laﬆ year, La Roux returns the favour lending her vocals to Finally – easily the beﬆ shot Skream has for chart success on this collect ion. 12. REFLECTIONS (FEAT DBRIDGE & INSTRA: MENTAL) Teaming up with close friends and emo-ﬆep kings dBridge & Inﬆ ra:mental, Reﬂections is a wellproduced, intereﬆ ing and (yep) emo sounding tune that is awash with their signature airy synths and tight percussion. 13. A SONG FOR LENNY Another semi-ambient tune that goes for the heartﬆrings, but Skream’s composition here probably won’t get the emos sobbing or the trippers tripping. 14. THE EPIC LAST SONG The curtain comes down with synthheavy jungle vibes on a track that is not quite as epic as its title may suggeﬆ, but ﬆ ill a lot of fun. BRAD SWOB
KASPER BJØRKE Heaven (HFN Music/Stomp)
I’m ﬆarting to suspect Danish producer Kasper Bjørke of being rather lightweight: all of his sing-songy poﬆ-balearic disco mood music passes through consciousness with a minimum of impression. Heaven is lovely sounding, a creepy ballad of echoing Spanish guitar, nervous ﬆ rings and breathy vocals, recalling David Lynch and Angelo Badalamenti’s work with Julee Cruise; but unlike, say, Cruise’s Falling, it’s never act ually haunting. Nicholas Jarr’s pianodominated house remix is a keeper though.
ROLL DEEP Good Times (EMI)
Sad to see how far Roll Deep – former UK grime heroes Roll Deep! – have fallen. Good Times is turgid trance-pop-rap, for people who think Black Eyed Peas are too subtle. From the ridiculous to the sublime: current UK Funky heroes Ill Blu brilliantly refashion the tune into apocalyptic syncopated house-pop somewhere between Pump Up The Jam and dancehall.
RUSKO Hold On
(Mad Decent/Inertia) I associate Rusko with the moﬆ obnoxious of duck-fart dubﬆep, but Hold On is a clever case of repositioning. He retains the archetypal ﬆodgy bass, but the more perky lopsided 4/4 groove a la Benga and Coki’s Night and the smooth female vocals both smarten and sweeten his sound considerably, especially during the swirly ﬁnal minute. Rusko’s going for feminised pop crossover – I’m ﬆ ill ambivalent but it’s a decent ﬆart. TIM FINNEY
3DPLAYLIST 3D 1. Fabric 54 VARIOUS/DAMIAN LAZARUS 2. Chase The Devil NASA 3. Special Moves MOGWAI 4. You Ain’t No DJ BIG BOI FEAT YELAWOLF 5. Dr Teeth SWAHILI BLONDE 6. Eagle BOTTIN 7. Alternative Energy THE TONGUE 8. Central TECHNASIA 9. Black City MATTHEW DEAR 10. Psyence Fict ion UNKLE
HOW DID YOU CHOOSE YOUR MC NAME? “Couldn’t tell you really. Was a long time ago in a galaxy far, far away. I think I was about 11 years old so your guess is as good as mine. Not bad decision making for a little tacker though if I do say so myself!” HOW LONG HAVE YOU BEEN RAPPING? “Since even younger than I was when I chose my name. I would always spit along with tracks I was liﬆening to as a youngﬆer. There was never a conscious decision to ﬆart spitting it juﬆ happened.” ARE YOU AFFILIATED WITH ANY CREW? “WaspzNeﬆ, Wobble, Bass Addicts and more.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “Don’t remember my ﬁ rﬆ gig to be honeﬆ but my ﬁ rﬆ residency was Juﬆ Rite at the late great Scubar. A very eye-opening experience for a young MC coming up, to put it lightly.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “What? 8 Mile ﬆ yle? Nah, but I’d be lying if I told you I’ve never had a blood nose whilﬆ on ﬆage. Damn pre-game caﬀeine pills!” YOUR BEST SHOW AND WHY? “The Scubar closing down gig was deﬁnitely the crazieﬆ. Having the right front of house speaker explode in ﬂames during a set at Metro with Cliﬀery was pure awesomeness. A wild gig with Dopebeat at Mobius in Hobart is also a ﬆand out.” WHAT’S THAT ON YOUR SHIRT THERE? “A bit of leftover tacos. Savin’ it for later yo! Why, wanna share?” FAVOURITE COMEBACK LINE? “Is that a Superman joke? Juﬆ kidding. Don’t have one really. I’m not in the habit of responding to douchebags.” WHAT’S YOUR DREAM COLLABORATION? “For me it’s an album with my cousin Dopebeat, Cliﬀery, Emceedee and the reﬆ of my good friends… oh, wait that’s already happening! Look out for Chronicles Of The Spider-Wasp (end plug). Doing tracks with my friends and family is a gift I do not take for granted.” WHAT’S THE BEST THING ABOUT THE LOCAL CLUB SCENE? “Melbourne has a great club scene. The variety of gigs and venues is exceptional. If you want to hear it or experience it you can do that here. A bit of co-operation from the government for those who do it right would be nice though.” WHAT GIGS DO YOU HAVE COMING UP? “Wobble at The Night Owl Saturday 18 September.” PIC BY KANE HIBBERD
WIDE WORLD OF SHORTS MAKIN’ THAT GREEN So, anyways, after ﬁ nally waking up after what was possibly the worﬆ elect ion campaign ever, I have of course discovered that now everyone’s talking about the real victors of the campaign, ie that party run by a Tasmanian homosexual, the Greens. Of course, I underﬆ and that within the wonderful under-30 demographic, the Greens are the party that everyone likes, either because they are run by a Tasmanian homosexual or because somehow they think that if the Greens were running the country that all our problems would be solved, and that everyone would be riding ﬁ xies to work in their cool Green jobs saving rainforeﬆ s and designing magazines that describe in great detail how wonderful the people are riding ﬁ xies to work and saving rainforeﬆ s. Which is all a beautiful and wonderful orgy of well-meaningness. But what moﬆ people act ually manage to forget – and something the Greens always forget to tell you – is that the Greens are act ually the party that should be called the ‘Not Very Fun’ party. Let’s go through a simple example – climate change. What causes climate change? Guys on loud motorcycles. Green answer? Get rid of guys on loud motorcycles. Result? Manufact urers of backyard amphetamines move oﬀ shore and suddenly Saturday nights are juﬆ nowhere near as much fun. Now, all of a sudden, we have to get our party bags from overseas, eg Th ailand or Indonesia, and it has to be ﬂ own in on a low-coﬆ ﬂ ight from Asia. But, yes, that’s right, the Greens hate it when people use planes, because of climate change. Suddenly, not only is it backyard amphetamines that are more expensive, it’s anything else you can imagine that makes Saturday night at the disco – and Sunday morning – remotely tolerable, particularly when the Greens have demanded that we all turn our friggin’ ﬆ ereos down so we don’t upset the fucking bilbies or obscure wallabies or whatever the fuck it is we’re supposed to be saving this week. See my point? So, yes, sure, the Greens might act ually look like the “vote for us and you’ll never have to work again” party, but they are in fact the “you’re gonna have to pay more for drugs” party, and the “turn it down at the party party”, which makes me think the main reason people voted for them – because they’re not like other parties – is act ually right. They’re like no party at all.
DANCEMUSICHUB CHART 1. Punkass SIDNEY SAMSON 2. The Secret JORIS VOORN 3. Deﬆ roy Me (Autoslide Remix) MILES DYSON & JERIQUE 4. My Pussy (Jeﬀ Doubleu Mix) LARRY TEE FEAT AMANDA LEPORE 5. Sing Sing Sing (Yolanda be Cool & DCup mix) JAZZBIT 6. OMG (Gordon & Doyle Remix) JASON BORN 7. My Feelings For You AVICII & SEBASTIEN DRUMS 8. Punkass (The Muﬆard After The Meal Remix) SIDNEY SAMSON 9. Chica Bomb (Extended Mix) DAN BALAN 10. Big Booty Bitches (Edit) BOMBS AWAY
NEVER NORMALLY RE“WOULD TWEET SOMEONE BIGGING ME UP BUT AS IT WAS A RE-TWEET FROM THE OFFICIAL MOON BOT IT HAD TO BE DONE. EXCITED!! GERTY.”
JAMES ZABIELA EMBRACES HIS INNER NERD. AGAIN.
YOUTUBE OF THE WEEK
Freeﬆ yle MC battles? So passe – it’s all about ﬆ reet artiﬆs duking it out now. Check this time lapse of Sydney’s Secret Wars Final, where Houl and Creon went toe to toe for an hour before Houl took the title – and all on the ground ﬂoor of the church that doubles as 3D NSW HQ...
HOW DID YOU GET YOUR DJ NAME? “A bowl of nabeyaki.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “Tech house through to chugging, ﬁ lthy techno.”
THING YOU’VE SEEN IN A NIGHTCLUB?
DJBOOTH MO ICHI
WHAT TRACK TURNS YOU ON RIGHT NOW? “Cirez D – Glow (In The Dark Dub).”
“A life size Jesus ﬆatue holding handbags.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “David Hasselhoﬀ – Hooked On A Feeling.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Have you got something I can sing to?”
WHAT MADE YOU START DJING? “The music.” WHAT’S THE WEIRDEST
WHERE & WHEN: Lindy Hop at Bimbo Deluxe Friday 10 September, Pitch(b):tch at Loop
Saturday 11 September, Sunny at Brown Alley Friday 17 September, Tchupa Tchup at My Aeon Saturday 20 November
KISS FM CHART 1. New Bag (Alex Di Stefano Remix) ANTHONY PAPPA 2. Here We Go LOWRIDER 3. Conscindo WOLFGANG GARTNER & MARK KNIGHT 4. Cash Monet KOOLISM 5. Gaia GANGA 6. Microdot DJ AGENT 86 7. The Devils
Courtney Love, the infamous widow of Nirvana lead singer Kurt Cobain, settled a $1 million lawsuit over the proceeds from the sale of the famed grunge act’s catalogue laﬆ week. The suit was brought againﬆ Love after she sold some of Nirvana’s catalogue for close to $20 million and did not share the proﬁts with London & Co, the band’s management ﬁ rm. It’s yet another chapter in the singer’s ongoing battles with the law. In 2003, Courts was arreﬆed in Los Angeles while breaking windows to enter the home of her boyfriend, producer Jim Barber, and was later charged with being under the inﬂuence of drugs. Soon after child services got involved and the former Hole front woman loﬆ cuﬆody
Clap (Ryan Riback’s Hellﬁre Mix) T-REK 8. Track A DA SUNLOUNGE 9. Vern Rebola GREGOR SALTO, DJ GREOGORY, DAMA PANCHA, DJ MANKILA 10. Cash Money NICK THAYER
of her then 12-year-old daughter to Cobain, Frances Bean. Then in 2004 Love faced reckless endangerment and third degree assault charges after she allegedly ﬆ ruck a fan with her microphone ﬆand at a concert. Love entered a ﬆate-enforced rehabilitation program and probation in 2005 and later regained cuﬆody of her daughter only to lose cuﬆody again in 2009 for her wild ways. Eﬆ ranged from her mother, Frances Bean now lives with relatives of her father. In 2010 London & Co were not the only party in court againﬆ Love – Mark Younger-Smith, a photographer and former guitariﬆ for Billy Idol also ﬁ led suit againﬆ Love for copyright infringement and misuse of his work. Let’s hope that Ms Love can one day ﬁ nd a better use for her time and ﬆay out of hot water – preferably not making music though...
SOMETHING DIFFERENT AT BROWN ALLEY THE IDEA BEHIND OUR NIGHT IS: “The right venue, a kick arse sound syﬆem, a family environment, forward thinking and cutting edge music policy and the shared love of a great night out with your mates is what drives us to continue providing the beﬆ clubbing experience Melbourne has to oﬀer.” WE’LL BE PIMPING THE SOUNDS OF… “Techno, minimal, tech house, house, elect ro and everything in between!” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Next up is ‘The King of Minimal’ Ahmet Sendil and Ireland’s lateﬆ dance prodigy Reuben Keeney, as well as the regular Loud crew DJs.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “The paﬆ year has seen the Loud crew release records on very eﬆablished record labels like techno ﬆalwart Bush Recordings, Bulgarian based Fanfare Recordings and a hoﬆ of Auﬆ ralian labels.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES... “Getting loud! We are conﬆantly bringing together the beﬆ crews Melbourne has to oﬀer, while never ﬆopping to push the musical boundaries of dance music to all hours of the morning.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Something Diﬀerent!” WHERE & WHEN: Something Diﬀerent at Brown Alley Saturday 4 September
SUSHI SNAPS 6
1 Brand New Heavies @ Trak
4 I Love Dancehall @ The JohnďŹ† 3 on
2 House Party @ Eurotrash
5 Kiss FM
3 Gossip Sundays @ Love Machine
6 Rhythm-al-ism @ Fusion
2 6 3
BARON VON ROTTON
BIMBO DELUXE Cosmic Pizza: NJH. Doord 8.30pm. CO. Girls On Film: DJ Petar Tolich, Stand and Deliver. 9:30pm. Free before 11pm. LOUNGE Lounge Wednesdays: PCP, Matty Radovitch and friends. Doors 9pm. $5. MISS LIBERTINE Elements: Helmy, Zak Rampage, MzRizk. Free. MISS LIBERTINE Fresno Funk Sessions: Huggy Per, MzRizk, Loco Ren, Pauly Fatlace. Free. REVOLVER BACK ROOM Revolver Rock DJs.
THURSDAY CO. Funhouse: Courtney Mills vs Elaina Musto. 9:30pm. Free before 11pm. CORNER HOTEL Everybody Talks About The Weather II: Oren Ambarchi, PIVIXKI (Anthony Pateras & Max Kohane), Robin Fox and Marco Fusinato. $12/$10 concession at the door. ANDY MURPHY
HOME HOUSE DJs Syme and Herbee. LOFT Dysfunctional: Damion De Silva, Ken Walker, K-Dee, $uga & Durmy. 9pm. $15 General/$12 Guestlist. LOOP Cosmology: Andras Fox, Kablam, Cosmo K, Fromage Disco, Jelly. Visuals by Jem The Misﬁt. 10pm. Free. LOUNGE Lounge Fridays: DJs Agent 86, Popeye, Hey Sam and Guests. 9pm. LUCKY COQ Panorama: Matt Rad, Mr George, Tom Meagher, Phato A Mano. MERCAT CROSS BASEMENT Hypnotech: Ranjit Nijjer, Freya, Jacqui Dusk, Amelie, Rachel Orchard, VJ Inexile. 10pm. $10. MISS LIBERTINE Purple Sneakers: Goodnight Owl, City Calm Down, Adalita, Shakey Memorial, Quick Fix DJs, Kill The Landlord, Samaritan, Kiti. 9pm. $12. NEW GUERNICA Herbie, Post-Percy. 10pm. REVOLVER FRONT ROOM Cupcakes. REVOLVER BACK ROOM Wax!: Resident DJs. 10pm. $6 before midnight/$15 after. THE TOFF Poprocks: Dr Phil Smith. 9pm. Free.
FIRST FLOOR Ring The Alarm: Jesse I, Major Krazy, Renegade Sound. 9pm. Free. FUSION Rhythm-al-ism: Damion De Silva, FunkMaster Rob, A-Style, K-Dee & Simon Sez. 9:30pm. $15 General / $12 Guest. LOUNGE Lounge Thursdays: Citizen.com, Smile On Impact, Mr Moonshine, JD. 10pm. $5. LUCKY COQ Free Range Funk: Who, Agent 86, Lewis CanCut. 7pm. Free. MERCAT BASEMENT Ghosthouse: Horse Macguyver, Raceless, Stack, DJ Flippo, Aoi, Ivens, Baddums. 10pm. $8 til 1am/$5 after. MISS LIBERTINE MISK: Dave Pham, My Friend Samuel, Oblique Industries, Brock Ferrar. 8pm. Free. NEW GUERNICA Negativ Magick, Post Percy. 4pm. Free. REVOLVER 3181 Thursday: Hans DC, Who. 6pm. THE TOFF Love Story: 1928, Tranter, Megawuoti, Sleeves, BTVDJz, Supremes, TDAH. Free.
FRIDAY ABODE LEVEL ONE Mezzanine: Jon Montes. 10pm. BAROQ HOUSE Andy Murphy. LA DI DA Base Space: Shaun Reeves. 10pm. $20 + bf. 3D. DJ Hellraiser, Master Kaos + Open Decks. $18/$14 Guestlist. CO. Papparazzi: DJs Nikkos, Joe Sofo, Kitty Kat. 9:30pm. Free before 11pm. EUROTRASH Eurotrash Fridays: Mu-gen and NXR. Free. FUSION Sounds Of Fusion: Midnite Sleaze, Dean T, Phil Ross,Johnny M. 9:30pm. $15/$10 Guestlist. FIRST FLOOR Rampage: DJ J-Red, Danielsan Koolism, DJ Manchild, MzRizk, Rob C, Zack Rampage. $10/$8 PBS Members.
ABODE LEVEL ONE Sinthetic: Catatonic, Nero, Lady J, SmuDJ, Syme Tollens, Visual Installations by Tracy G. 11:30pm BROWN ALLEY Under Suspicion: Muska, Miyagi, Tahl, Citizen.com, Timmus, Kodiak Kid, Diistortiion, Tavish, Rollin Connection. CO. Envy: Scarlett Belle, Mykey B, Finlo White. 9:30pm. $12 Guestlist/$15 on the door, more after 12pm. CROFT INSTITUTE Wax Museum feat. Kon. EUROTRASH House Party: 1928, Sleeves, Megawuoti, Tranter, Mu-gen, D.Ceed. $5 entry before 10pm/$10 after. FUSION Replay: Minx, Tate Strauss & Dean T. 9:30pm. $18 Guestlist / $22 on the door. HOME HOUSE DJ Kay Z plus homehouse kids Syme, Anth’m & Herbee. THE JOHNSTON I Love Dancehall: RuCL, Shikung, Jesse Jahmal, House Wife’s Choice, Nukc, Soﬁ re, Major Krazy, Jean Poole, Burn City Queenz. $5/$10 after 11pm. 8pm. KHOKOLAT BAR Khokolat Koated: Damion De Silva, K Dee, Jay Sin. 9:30pm. $15 General/$12 Guestlist. SHAUN REEVES
LA DI DA Poison Apple: Boogs, Spacey Space, Jen Tutty, Tyron, Luke Wellsteed, Matthew Grisold, Death By Disco. LOOP Unstable Sounds: cTrix, mBUG, Sardonyx, Loki, Nikki Sig, Drew, Dunkbot, Henk.D, visual conductors Kyogen & Ninja. 10pm. Free. LOUNGE It’s OUR House: Nick Coleman, Luke McD, Darren Coburn. 10pm. LOVE MACHINE Hysteria Saturdays: Justin Ng, David V, Andy J, Sebastian Morxx. 9pm. LUCKY COQ Textile: Pacman, Jean Paul, Sam McEwin, Tahl. 9pm. Free MERCAT CROSS BASEMENT Last Bass Party: Joe Seven vs Consequence, Finna, Tobias, Saﬁ re, Beatski, Baddums vs Aoi, JPS vs Nam, Myst, Same O, AC23, David Bass, A13 vs Aﬃ ks, Fooishbar, Baron Von Rotton, The Shredder, Flip, Cammo, Bonnita, Citzen.Com, Deviant. 10pm. $5 before midnight/$10 after. MISS LIBERTINE Favela Rock: Moriarty, MAFIA, Steezy, Micka5k, DTP, Skratch 22. NEW GUERNICA DJ Belgium, Dave Pham, Cheapdate, Mike Hunt, Ant J Steep & friends. 9pm. PRINCE Superdisco. RED BENNIES South Side Show. REVOLVER The Late Show: Ransom, Nick Thayer, Mat Cant, Raph Boogie, Moriarty, Tamas Jones, Junji Masayama & Disco Harry, Neil Staﬀord. ROXANNE PARLOUR After Dark Social Club: Acid Jacks, Harry Robotis. SEVEN Playground: Motown Tribute. Electric Empire, Candice Monique, Ella Thompson. THE TOFF The House deFrost: Andee Frost. TRAK Strut Saturdays: Collective featuring Chloe Maggs, DJs Mark John, Jesus, Jason Serini. 9pm. $15/ $12 Guestlist.
SUNDAY BIMBO DELUXE Sundae Shake. CO. Be: Damion De Silva, Jay J, Ken Walker, Kate Jean, DJ Ryza, Lighting, Rev, Hoesty, Ever. 9:30pm. $5 Guestlist b4 10pm/$12 after/$15 General. HOME HOUSE Recovery Sundays: DJs Herbee and Syme. LOVE MACHINE Sunday Goss: Haylenise, Mike Evans. 8pm. LUCKY COQ Sth Side Hustle: Askew, Booshank, Paz, Miss Butt, Jumbo, Junji, Disco Harry, Pete Baker and guests. 7pm MISS LIBERTINE Beat Feast: Ghostsoul, The Digital Assassin, High Society, Inner City Science, Dj Pauly Fatlace, 6pm. $5. REVOLVER Revolver Sundays: Boogs, Spacey Space, Radiator and T-Rek. THE TOFF The Sunday Set: DJs AndyBlack and Haggis. 4pm. Free. THE TOFF Oz Soul Sundays.
MONDAY BIMBO DELUXE Diamond Dogs. LUCKY COQ Wolfgram Sisters. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.
MEET THE CREWS
OPULENT (PRESENTERS OF FAVELA ROCK)
PCP WHERE & WHEN: Lounge every Wednesday, Club Retro every Friday and Saturday, Daily Motions at Killing Time some Saturdays, An Afternoon In Edinburgh Sunday 26 September
MEMBERS? “We roll deep – Evet Jean, Will Bond, Steezy, Maﬁa, Micka5K, TPC, Caz, Opulent Sound, DTP and Edo. Aﬃ liated members Prince, Biggie, Tupac, Nicki Minaj, Rick James and Duﬀ Man.” WHY DID YOU GUYS START PROMOTING PARTIES? “We ﬆarted out as a print magazine and soon realised a free magazine focusing on emerging music was probably not the beﬆ business model. But furthermore, it’s more fun to hear the music than read about it. Th is was back in 2005 when sounds like Baltimore club, baile funk, and crunk were pretty much nonexiﬆent in Melbourne’s clubs. So we thought we would change this and convert a few people along the way.” WHAT SOUND WERE YOU LOOKING TO PUSH WHEN YOU STARTED OFF, AND HOW HAS IT EVOLVED? “At the ﬆart, the emerging sounds like Baltimore club or baile funk were new and exciting. Now you’re likely to hear those inﬂuences in a new will.i.am produced joint and some of the excitement has gone as a result. But what hasn’t changed is the concept of good club music – every genre rises and falls but good jams are forever.” WHAT WAS THE FIRST GIG YOU RAN, AND HOW DID IT GO? “The ﬁ rﬆ international tour we did was with Penny Drop, and we put on Diplo’s ﬁ rﬆ Auﬆ ralian tour. It was a great time for music, MIA juﬆ dropped Arular and people were juﬆ discovering Diplo. Mad Decent didn’t even exiﬆ and I remember him telling us about the name and I thought it was dumb. Shows what we know! The ﬁﬆ club show was Favela Rock #1 at Loop. Even then a precedent was set – raucous behaviour. We had people dancing all night, the ﬂoor covered in drinks, and the buzz swept over Melbourne overnight.” WHAT’S BEEN THE BEST ONE SO FAR? “All Favela Rocks are great but the birthday editions crowd seems to go extra hard. It might be the free alcohol or the dumb/funny giveaways like Favela Rock ﬆadium cups, either way they always result in the biggeﬆ hangovers of all.”
MONSTER ZOKU ONSOMB! Tequila! (Rat’s Milk Records), 2004.
“Tequila, re-imagined dn’b / breakcore ﬆ yle by Brisbane’s own electronic, cabaret band. Features a Vincent Price sound-alike groaning “Tequlia”, wild IDM noise and ﬂawless production. Amazing.”
ROBIN S Show Me love
(Big Beat), 1990. “One of the beﬆ vocal dance tracks ever. The bells in the intro are almoﬆ, always greeted with cheers from the danceﬂoor. Mobin Maﬆer’s 2007 update is fantaﬆ ic also.”
LCD SOUNDSYSTEM All My Friends (DFA), 2007.
“The niceﬆ 12” vinyl I own. Also one of my favourite songs. No chorus, it gently gathers rocking intensity over seven and a half minutes. James Murphy played everything on this track. Genius.”
WHAT WOULD BE YOUR ULTIMATE LINE-UP FOR AN EVENT? “Something achievable like Major Lazer, Sinden, MIA, UGK (RIP), Benga and Skream, Joker, Bun B and Lil Wayne. But honeﬆ ly, our line up is moﬆ ly locals, and they mash up the place without fail, so we wish for nothing.” WHAT HAVE YOU GOT COMING UP? “Th is month we have Moriarty from Sydney crew Ro Sham Bo. September is going to be a Grand Final bonanza. In October we celebrate Favela Rock’s ﬁ fth birthday – need we say more? In December we have UK dancehall DJ Gabriel Heatwave coming. And people should keep an ear out for a special summer event we’re planning.”
2010: AN ELECTION COVERAGE ODYSSEY
In the lead up to laﬆ week’s nail-biting polling day we presented our guide to the election. This week, we review Saturday night’s TV coverage of the event.
SEVEN Ben Fordham’s gig. His job for the night was to read tweets oﬀ an expensive-looking HD ﬂatscreen TV.
SKY Multi-channel act ion. You could follow the usual panel/ analysis route or tune to the tally room channel or click into their ﬆate-by-ﬆate breakdowns for a localised breakdown. Exhauﬆ ing.
Monﬆer Moves. While the reﬆ of the networks were getting down to elect ion business, SBS ran this doco series about removaliﬆs until 8:30pm.
Laurie Oakes. Jabba The Oakes was at his grumpy beﬆ. As it progressed, ﬁrﬆ-time elect ion hoﬆs Lisa Wilkinson and Karl Stefanovic (from Today) loﬆ control and it became a bitchfeﬆ on a par with Project Runway.
Kerry O’Brien made his “slight swing to the ABC” blunder again. And then denied his former ABC-mate Maxine McKew spat the dummy juﬆ seconds after we saw her spit it all the way from her NSW seat to the Vic capital’s Gillard HQ.
‘Your Call 2010’. What kinda title is that for elect ion night coverage? They also divided their pundits into a ‘power table’ (real journos at work) and a Sunrise table (where Koshie threw to links in Wales, outside Gillard’s place of birth).
Those ‘dead duck’ graphics. Looking very Hey Hey It’s Election Day, pollies losing seats were illuﬆ rated as a fairground-ﬆ yle duck-shooting gallery. Making for lots of “Can we revive that duck? The results seem to be shifting...” comments. Where was Plucka?
The elect ion set, with the anchorman ﬆanding between panel gueﬆs and a giant screen, looked like someone trying to present a complicated PowerPoint presentation to the caﬆ of The Footy Show.
Someone forgot to wake this very solemn panel up. Yet they managed to make the ‘hung parliament’ call the second they went to air, ahead of the reﬆ.
Anthony Green. He is the king of ﬆat porn and certainly didn’t need a ﬂuﬀer to keep his poll juice ﬂowing all night.
That Maxine dummy spit! Beﬆ to be seen here as it was the same network that tried to humanise her image with The Chaser lads juﬆ weeks earlier. And, then to see Green get the giggles as he ducked for cover while O’Brien sprayed ﬁ re on all who called the spit a spit. Priceless.
What was with the billowing Auﬆ ralian ﬂag graphic that was backdrop to the evening’s facts and ﬁgures? Almoﬆ as obnoxious as the crowd at Abbott’s elect ion night speech.
Former Lib leader Peter Coﬆello tried to tell youngeﬆ-MP-ever Wyatt Roy (he’s about 12) that he should head the party in the future... but before he’d ﬁnished a Labor pundit was screaming, “You’re the laﬆ person to be giving leadership advice.” Was there a scratching pole on the rider?
Former Labor leader and ex-PM Bob Hawke taking great delight in declaring early in the night, “(The) Coalition can’t win majority government.” Actually, given Abbott’s smugness later, this doesn’t seem so ugly in retrospect.
The giant portrait of Tony Abbott that hung behind the dozing panel looked more suited to be a bill poﬆer for a new Wes Craven ﬁ lm. Well, the nightmare was beginning again...
THE WTF MOMENTS
The ratings result. ABC led by a whopping amount with over a million metropolitan viewers. The ABC website also experienced record traﬃc on their website that night.
During their broadcaﬆ of Malcolm Turnbull’s speech, as talk turned to the Libs’ swing, a supporter was heard to scream, “SWIIIIIIIIING, BABY!”
They kept showing the full Abbott and Gillard speeches over and over and over and over...
That moment when it dawned on you that this looked suspiciously like one of those community TV harness racing shows.
The look on Koshie’s face when someone cracked, “I bet the Aus Sex Party will be happy with a hung parliament.” Maybe he needed the joke explained.
3 DEGREES OF SEPARATION THE FIRST DEGREE
THEME FROM DISCOTHEQUE Samantha Fu (PIAS Recordings, 2001) Produced by the Dewaele Brothers (more commonly known as 2manydjs), Theme From Discotheque’s lifespan has been ﬆ retched thin due to hordes of elect ro DJs sampling its “pounding techno music” vocals. Going under the pseudonym Samantha Fu, the Belgian wunder-bros were commissioned by Ghent-based dance group Kung Fu to create the 2001 tune, which later became a safety track for budding “mash-up” artiﬆs worldwide.
THE SECOND DEGREE
NY EXCUSE Soulwax (PIAS Recordings, 2004) Favouring further musical endeavours over sleep, David and Stephen Dewaele also dabble in the indie-elect ro scene with their band, Soulwax. Alongside Steve Slingeneyer and Stefaan Van Leuven, the foursome are renowned for their enigmatic live shows and conﬆant genre hopping – with NY Excuse being teﬆament to the latter. Produced as an excuse to ﬂy Nancy Whang to their Ghent ﬆ udio for singing duties, the song’s arpeggiated blips and repetitive vocals set the pace for further Soulwax releases.
THE THIRD DEGREE HAPPY HOUSE The Juan MacLean (DFA, 2008) Whang’s talent didn’t go unnoticed and has since been snapped up by Juan MacLean. MacLean, who ﬆarted producing after extensive rib-jabbing from DFA overlord James Murphy, featured Whang’s voice heavily on his 2009 album The Future Will Come and on the advance single, Happy House. The pair toured with drummer Jerry Fuchs until his sad passing in November 2009.
3 DEGREES OF SEPARATION THE FIRST DEGREE
PRE-ELECTION POST-ELECTION WRAP-UP With the Federal Elect ion already done and duﬆed by the time you’re reading this, I feel like a time traveller from the recent paﬆ. I wrote this article in the week juﬆ before the elect ion, so the chances of it being current are remote. I’m confused, sweaty and totally unprepared for your modern world. I don’t know what day it is when you’re reading this. Chriﬆ, I don’t even know who the Prime Miniﬆer of Auﬆ ralia is! Where I come from, in the recent paﬆ, we have a female Prime Miniﬆer. Times are good. Free love is everywhere. I’m naked right now, except for some body paint and a butt plug, which is hanging around my neck on a chain. In the lead up to the 2010 Federal Elect ion, I was driving to my local shop, which is 400 feet from my front door, when I noticed a bumper ﬆ icker on the back of the car I was tailgating. The ﬆ icker said: “I Love My Miniature Schnauzer And I Vote”. It was hard to fathom the political leanings of the woman operating this motor vehicle. Based on the information on the ﬆ icker, all I could tell for sure was that if her dog ever ran for political oﬃce, she would vote for it in a heartbeat. Because she loves the mini little son of a bitch. Intereﬆ ingly, she didn’t have a Mini Schnauzer in the car with her, which makes you wonder how much she really loved it. If I had a dog I’d take it everywhere with me. Not this lady though. She might vote for the dog in a Federal Elect ion, but no way was it going to rub itself all over her upholﬆery. She would probably implement a similar policy if, say, Gillard or Abbott got worms and wanted to drag themselves across the back seat of her car for relief. Do you even know these people I’m referring to ‘Future Reader’? There’s very little I can tell you about the upcoming Federal elect ion, since you know so much more than me, including the outcome. I’ll only wind up making a bigger fool of myself. All I can hope is that you made the right decision. And I hope that lady’s Miniature Schnauzer isn’t in charge of the country. DAVE JORY 48 3DWORLD
VILLAGE PEOPLE FIRE ISLAND (Casablanca), 1977. Behind the cheesy gay façade of 70s disco machine Village People lay a sleazy gay backroom. For every camp anthem they had a not-for-the-nanas X-rated anthem loitering in the alley. Fire Island ranks alongside Sleazy as the Peoples at their queereﬆ. And doncha dig the recent Horse Meat Disco edit utilising the song’s “Don’t go in the bushes” refrain?
THE SECOND DEGREE
LOU BEGA MAMBO NO 5 (BMG), 1999. The German one-and-a-half-hit-wonder went to number one in ten countries, including Auﬆ ralia, with this piece of Latin-tinged Eurotrashpop. The muﬆhave-seemed-like-a-good-idea-at-the-time hit was followed up with a less than ﬆellar performing album. However it did feature a cover of the Juﬆ A Gigolo/I Ain’t Nobody medley - previously tackled by Fats Waller, Peter Allen, David Lee Roth and, you guessed it, Village People.
THE THIRD DEGREE
YOLANDA BE COOL FEAT D-CUP WE NO SPEAK AMERICANO (Sweat It Out), 2010. Guess what else Lou Bega covered as his career went down the gurgler? Tu’ Vuo’ Fa’ L’americano. Che? That translates to You Wanna Be Americano, a 1956 Italian cabaret tune penned by Nisa Celerno. But we are pretty sure that it wasn’t the Bega version that caught this local duo’s attention. Given they nabbed their name from a scene in Pulp Fict ion, we reckon the movie buﬀs may have taken a liking to the version sung by Matt Damon and Jude Law in the 1999 ﬁ lm The Talented Mr Ripley.
Have you yet discovered the joy of Chriﬆ wire. org? It’s brimming with illuminating content that it boaﬆ fully claims consiﬆs of “conservative values for an unsaved world”. Chriﬆ wire does live up to its claim. There are articles such as Is My Husband Gay?, The Dirty Girl Trend, How A Girl’s Misguided Friendship Choices Can Lead To A Lifetime Of Loneliness and, our favourite, How To Spot A Chronic Maﬆurbator (they wear “tight belt and jeans to hide unexpected erect ions”). On face value Chriﬆ wire seems like another of those ultra conservative websites that litter the web.
Remember how outraged everyone got in 2007 when lovegodsway.org published its liﬆ of ‘gay bands’ for parents to keep an eye out for, so that if they appeared in your kids’ collect ions you had to deﬆ roy/delete them. The liﬆ included everyone from Ween to Lindsay Lohan and added, often intriguing, reasons for why the artiﬆ was on the liﬆ: The Cure (make-up); Marilyn Manson (dark gay); Sigur Rós (nudiﬆs). So absurd was the liﬆ that soon people began to doubt the legitimacy of the site… was this act ually a really clever satirical site? Act ually, yes it was. So, having been cited as a genuine ‘threat to the gay community’ by liberal Chriﬆ ian group Heart Strong, the site’s creators ‘fessed up to the prank.
HOW DID YOU CHOOSE YOUR MC NAME? “I was tossing a few names around in high school when I ﬆarted rapping. Once I told people about Whisper, they juﬆ ﬆarted calling me that.” HOW LONG HAVE YOU BEEN RAPPING? “I ﬆarted around 1999-2000 so at leaﬆ ten years – man, that’s scary!” ARE YOU AFFILIATED WITH ANY CREW? “I’m moﬆ known for being in the group Equills with Mantra, that’s how we both got our ﬆart in the game really but now I’m also in a crew called In Good Company with artiﬆs Syntax and A-dict ion.” WHAT CAN YOU
MC BOOTH WHISPER
REMEMBER ABOUT YOUR FIRST GIG? “I think it was the launch for the ﬁ rﬆ Culture Of Kings compilation at the Corner Hotel in 2000. I had juﬆ turned 18 so wasn’t used to going to shows. Even juﬆ going to a gig was amazing to me, let alone it being one of the beﬆ hip hop gigs ever.” YOUR BEST SHOW AND WHY? “Me and Mantra supported Lyrical Commission, Celph Titled and Apathy at The Corner Hotel. Before we jumped on ﬆage the
whole crowd was chanting ‘Equills, Equills, Equills’ – that was a pretty good feeling!” WHAT’S YOUR DREAM COLLABORATION? “As far as a rapper goes, I’d have to say Mos Def. He changed the way I think about hip hop and music in general. As far as producers, I’d have to say DJ Khalil, Swiﬀ D or Juﬆ Blaze. All hot producers!” WHAT’S THE BEST THING ABOUT THE LOCAL HIPHOP SCENE? “So many people out there making good music and even though there isn’t that much induﬆ ry support, it means people are doing it for the love. That keeps me inspired and hungry.”
WHERE & WHEN: The John Curtin Hotel Saturday 11 September.
The Espy Friday 17 September.
Chriﬆ wire rings the same bells. But the site’s articles are delivered with a po-faced hyﬆeria that many of us have become accuﬆomed to when ﬂ icking paﬆ Fox News, (Did anyone see Fox reporting that the Taliban were training monkeys as assassins? They even photoshopped a gun into a monkey’s paw to illuﬆ rate their news bulletin) clicking onto Conservapedia by miﬆake or, closer to home, catching up on the lateﬆ campaigns of Fred Nile’s Chriﬆ ian Democrats. And let’s not ﬆart on that naﬆ y article that went viral in the week leading up to the elect ion about Julia Gillard – that was homegrown hatemongering of the higheﬆ order. Those zipping it around the Auﬆ raliawide-web credited it to an unnamed UK newspaper but it was act ually from Free State Voice, the media of the Central Queensland Free State, an ‘independent’ territory that has ‘seceded’ from the nation.
So once you ﬆart reading their densely-written pieces like Is My Husband Gay?, you continually teeter between wanting to believe it’s real (so you can get angry at someone) and wanting it to be the smarteﬆ online gag ever (well, since SuperGreg, at leaﬆ). Tips for spotting if your hubby may be light-footed include ‘excessive drinking’, ‘ﬆrange sexual demands’ and ‘secretive late night use of computer’. This is the kinda homophobic schtick neo-conservatives trot out all the time. But would your run-of-the-mill neo-con also add ‘going bare-cheﬆed in public’, ‘feigning attention in church’ and ‘being sassy and ironic around friends’? And, Chriﬆ wire goes on to warn that if your hubby enjoys Glee as well as ‘the science ﬁction end of popular culture’, you are in big trouble. Now you know you are well and truly in pisﬆaking territory. But beﬆ of all, archived on Chriﬆ wire is the seemingly now defunct, but ﬆ ill glorious, advice column Ask Amber. Concerned readers ask queﬆ ions such as ‘How Do I Go About Making Friends With Black People?’, ‘Is NCIS The Worﬆ Television Show Ever Made?’, etc. When responding to another’s concerns about their son’s gaming habits, Amber oﬀers: “many video games do indeed inspire the desire for violence,
terrorism and hedoniﬆ ic acts in teenagers… limit your son’s gaming time, even when playing a good Chriﬆ ian reviewed game.” But even their cleverly disguised links sect ion (popular liberal and satirical sites are liﬆed under the heading ‘Axis Of Evil’) isn’t the deadlieﬆ of giveaways for some, who ﬆ ill fail to see that Chriﬆ wire is deﬁnitely pulling your genuﬂect ing leg. Online debate continues as innocent folk ﬆ umble across Chriﬆ wire and scratch their heads. Perhaps they need to read the opinion piece Lady Gaga Telephone Leads Another Child Into Gay Temptation.
TWEETER OF THE WEEK @FUNKAGENDA
Ibiza... Where even the mannequins gurn... http://poﬆ.ly/sSo4 4:30 AM Aug 18th via Poﬆerous God_Damn_Batman Caught Robin lifting his shirt and pointing at his abs in the mirror. Not sure what he meant by “The Situation”, but I’m canceling cable. 8:30 AM Aug 19th via web Retweeted by Funkagenda and 100+ others My cab driver is kickin back with a bit of Phil Collins... Gotta love it :-) 4:37 AM Aug 20th via Twitter for iPhone Watching Transformers 2... The whole ﬁ lm is Orange + Teal... 10:08 AM Aug 20th via TweetDeck Super cool ﬆart to the day... I checked in at T5 behind Ricky Gervais... But then he disappeared into the Concorde Lounge so I couldn’t... 2:00 AM Aug 21ﬆ via Poﬆerous
Juﬆ in Bieber made international headlines when news broke that he had been hit in the head by a bottle while on ﬆage. To his credit little Biebs took it like a man and didn’t spit the dummy like other more precious artiﬆs have in the paﬆ (Richard Ashcroft, we’re looking at you – and you didn’t even get pelted). Shocking as they are, on ﬆage “bottlings” are really nothing new – 3D World reﬂects on ﬁve of the beﬆ /worﬆ... GOOD CHARLOTTE @ READING FESTIVAL 2003 American pop-punk band Good Charlotte were the target of naﬆ y bottle project iles at the Reading Feﬆ ival in 2003. The group encouraged the crowd to “Boo, hiss and throw some more” on the count of three, only to then ﬆorm oﬀ ﬆage shortly after. THE VERONICAS @ COKE LIVE ‘N’ LOCAL 2006 The Aussie emo twins were bottled at the Coke Live ‘n’ Local in Adelaide 2006 – Lisa was hit in the face and the girls threatened to end their set early, screaming abuse at the crowd. The singer later played it cool in an interview commenting, “I got a bottle in my face. It was quite amusing until it hurt… but I recovered nicely.” PANIC! AT THE DISCO @ READING FESTIVAL 2006 While beginning their opening song, frontman Brendon Urie was ﬆ ruck in the face by a bottle thrown from the crowd. Urie immediately collapsed on the ﬆage ﬂoor, forcing the group to ﬆop playing. The singer was then surrounded by his band mates and roadies for several minutes before he managed to get back to his feet. What a trooper!
I wish to ﬆate for the record that I have insane trousers on today... http://poﬆ.ly/t03i 4:47 AM Aug 21ﬆ via Poﬆerous Watching too many B2B episodes of “The Wire” is deﬀo messing with my head... I juﬆ woke up expect ing a page from Avon Barksdale... about 8 hours ago via TweetDeck Working on a demo for @example’s new album whilﬆ waiting for my underpants to ﬁnish in the washing machine... #whosaysmencantmultitask about 4 hours ago via TweetDeck
LIL WAYNE @ STRATFORD REX 2008 Tattooed, drugged-out New Orleans rapper Lil Wayne was booed oﬀ ﬆage and then showered with bottles on his way out during a performance at London’s Stratford Rex in 2008. The incident saw Wayne shouting to the crowd, “Whoever juﬆ did that, this whole motherfuckin’ crowd needs to beat his ass because he juﬆ... he fucked up our shit.” TILA TEQUILLA @ JUGGALOS GATHERING 2010 Trashy fame whore Tila Tequilla was pelted with glass bottles, rocks and ﬁ recrackers by Insane Clown Posse fans at the Juggalos Gathering in southern Illinois laﬆ week, after ignoring warnings from event promoters and exacerbating unfriendly crowds by removing her top and singing about how she fucks DJs and can take anyone down. Classy lady.
ON THE LUNATIC FRINGE
ARIA CLUB CHART 1. Phazing (Tiëﬆo/Norman Doray/ Original mix) DIRTY SOUTH 2. Gotta Make A Move HOOK N SLING FEAT SNOB SCRILLA 3. Freefallin’ (TV Rock/Denzal Park Mix) ZOË BADWI 4. One (Your Name) SWEDISH HOUSE MAFIA FEAT PHARRELL 5. The Bum Song TOMMY TRASH & TOM PIPER 6. Elect ric Boogaloo (Riva Starr/Hump Day Project /Chris Fraser/Chardy mix) WILEY FEAT J2K & JODIE CONNOR 7. Teenage Crime (Axwell & Henrik B mix) ADRIAN LUX 8. Elevated (Dabruck & Klein/Chardy/ Tune Brothers/Club Mix) TV ROCK & TARA MCDONALD 9. California Gurls (Armand Van Helden/ Passion Pit/MSTRKRFT mix) KATY PERRY FEAT SNOOP DOGG 10. Blackwater CARL KENNEDY & TOMMY TRASH FEAT ROSIE HENSHAW
NICK JARVIS IN EDINBURGH
CLARKE PETERS IN TREME
A SEMI-REGULAR LOOK AT THE BLOGOSPHERE. NEON GOLD Overview: A treasure trove of proﬁ les, links, updates and videos of emerging artiﬆs across a variety of elect ro ﬆ yles. Genres: Jungle pop, elect ro pop, ambient, pop, elect ronica, experimental. Design: Completely in tune with its title, the interface of Neon Gold is sharp, priﬆ ine and polished. As kitsch as it may sound, pink and baby blue fonts contraﬆed againﬆ a black backdrop work really well here with a basic Blogspot layout. Super easy to navigate and very appealing to the eye. Recent Poﬆs: Th is week Neon Gold announces the release of the Young Blood 7” from The Naked & Famous, raves about The Knock release Make It Better (Stylus Duﬆ Remix), pre-empts the rise of unknown high school band Egyptian Hip Hop and lavishes praise on the video for Samuel’s I Heart NY. Quality Control: Content is intelligent, well ﬆ ruct ured, informative and not overly
opinionated. Tone is reﬂect ive and celebratory if not a little self-congratulatory – although this is probably juﬆ iﬁed. Update Frequency: Consiﬆent poﬆ every one to two days. Downloads/Streaming: Mp3 ﬆ reaming but no downloads. Plenty of direct links to artiﬆ webpages. Audience: Punters who like to ﬆay ahead of music trends and take great pride in knowing that they’ve been vibing to an artiﬆ like La Roux three years before they blow up… WWW: neongoldrecords.blogspot.com
Former 3D World Editor Nick Jarvis now lives in Edinburgh; a city currently in the midﬆ of Fringe, one of the largeﬆ arts feﬆivals in the world which many Auﬆ ralian feﬆivals look to for inspiration. This is his weekly wrap-up. Th is week saw a small Fringe miracle... Sunshine! And clear skies! For two days! (You know how everyone jokes about Brits always discussing the weather? There’s a reason for it – like vict ims of Stockholm Syndrome, you inevitably become obsessed with your oppressor.) On the topic of malevolent forces, Auﬆ ralian comic Jim Jeﬀeries comes on like a punch in the face. Plying the ‘ﬆ raight talking (ie oﬀensive) Aussie bloke’ route, Jeﬀeries weaves a ﬁne drunken line – you’re not only wondering whether he’s going to pass out or piss his pants, but whether the ugliness in the crowd will boil over into violence. It’s a rare comedy show where there’s more people in the audience heckling each other than the bloke onﬆage - full points for pointing out hypocrisy, but no points for validating the prejudices of parts of the audience. On the complete opposite end of the spect rum, Kevin Eldon’s Titting About is like having buttered crumpets for dinner – a bit silly and immensely satisfying. You may recognise Eldon from bit-parts in pretty much every comedy classic from the paﬆ two decades (from Brass Eye to The IT Crowd), but this year is the ﬁ rﬆ time he’s ever put together an act ual ﬆand-up show. It was worth the wait, though, with a raft of excellent character sand musical comedy. Speaking of the over-talented, you know how Clarke Peters (of HBO’s The Wire, The Corner, Treme, etc.) is a brilliant character actor? Well, turns out he can also hold a tune like a pro, cut the rug like a pro – and write ﬆageplays. Peters penned, and plays the lead in, comedy ragtime musical Five Guys Named Moe, in which down and out Nomax (Peters) is schooled in the ways of love and snappy dressing by the all-singing, all-dancing aforementioned Moes, all told through the medium of jazz and swing ﬆandards. Probably the moﬆ fun you can have in a theatre that’s not Harlem’s Apollo...
TUBETIME The incredible world of television with 5SPROCKET
HOW TO HAVE SEX AFTER MARRIAGE HOST CATHERINE TOWNSEND
Do you remember the days when you ﬆayed up late for moments of brief tittilation and the odd glimpse of nipple on Tottie Goldsmith’s Sex/Life? The days of dial-up grunts and disconnection, where foreplay with your CRT monitor laﬆed three hours and resulted in four jpegs? The joys of adolescence. Deal with your pubescent noﬆalgia by getting a half-maﬆ to How To Have Sex After Marriage! (Channel 9) This reality programme attempts to give a ﬆiﬀ injection of carnality to the ﬂaccid bedroom antics of a Canadian couple. After ﬁve years of marriage, Bobbi and Cliﬀ ’s love life has shriveled like a grandma trapped in a sauna. With no desire to lick the bowl of love or ﬆick sugar in the furry tea cup, they look for the assiﬆance of reality television experts to help them along the path to pussy. Enter exotic dark woman (relationship therapiﬆ), luscious brunette (sex writer), and ﬂamboyant gay (ﬂamboyant gay) to rub their erogenous zones until they are raw and infected with passion. But how bad is the problem? David Koch bad. They rate each other poorly on their ‘sex assessment’: He gets one out of 10, she gets hit in the face. The couple spend a week with respect ive therapiﬆs to think things over like, “Should I keep the car?” and, “Herpes, herpes, herpes”. To improve Bobbi’s sense of self-image she is taken to a room full of naked women that are less attract ive than her. Voiceover says, “Scientiﬁc ﬆ udies have shown that women perceive themselves as heavier than they are.” Dr Science ﬆ rikes again! To spice up her “sexual repertoire”, Bobbi is taken to a den and left there to deal with “the leather people”. Meanwhile, Cliﬀ is encouraged to lube up and massage his “deﬁnitely not gay” male mentor. For pract ice. So he can do it on a woman. Later. Cliﬀ spends a whole day writing an emotional letter about his failings as a lover. The wife cries and decides she maybe could fuck him, if he were richer. They reunite to reignite in the city of venereal disease, Las Vegas. After an unnecessary re-marriage ceremony, they hit the romantic plains of the Nevada desert, and dig up the remains of the former wives that are buried there. “Bonnie and Cliﬀ are a real success ﬆory,” say the therapiﬆs as they walk away into the sunset, keen to self-deﬆ ruct another defunct partnership same time next week.
New Zealander Taika Waititi, whose previous Eagle vs Shark got him noticed, has once again written, directed and ﬆarred in Boy, about a youngﬆer whose world is turned upside-down by the unexpected reappearance of his absent father. Newcomer James Rolleﬆon is brilliant in the title role, playing his neglected, fantasy-prone character with the perfect mix of comedy and vulnerability. Given that the ﬁ lm is set in 1984, Boy’s obsession with Michael Jackson is spot on, particularly when he projects that ideal onto his father, seeing him as all-singing, all-dancing, and all-conquering. Of course, it couldn’t be further from the truth. Waititi plays Alamein, Boy’s father, who has only come home to retrieve a buried bag of money – not his
sons. He is a ﬂawed character, juﬆ as prone to fantasy as his desperate young son. He fancies himself a gang leader, despite having only two pathetic followers, and ﬂirts with the idea of being a father, doling out gifts and advice – yet turning his back at the earlieﬆ inconvenience. As good as all the young performers are in Boy, it’s Waititi who lights up the screen. Boy doesn’t plumb the social depths of a Whale Rider or Once Were Warriors, but it has a lightheartedness that will no doubt put smiles on many faces. WHERE & WHEN:
Screening in cinemas now ALEKSIA BARRON
Whilﬆ British satiriﬆ Chris Morris’ name has only been popping up in Auﬆ ralia over the paﬆ ﬁve years or so, his groundbreaking television shows paved the way for The Chaser’s own brand of political and media satire back in the early 1990s. With The Day Today (1994) taking on the form of the evening news, Brass Eye (1997) representing the 60 Minutes current aﬀairs ﬆ yle, Jam (2000) a bizarre sketch show, and Nathan Barley (2005) a critique on hipﬆer culture (taking a direct ﬆab at the likes of The Face and Vice), it appeared Morris had nowhere left to go. Keen observers
would’ve noticed his foray into short ﬁ lm with My Wrongs #8245–8249 & 117 (2002), so a feature didn’t seem out of the queﬆ ion. What was the queﬆ ion, however, was what the hell his ﬁ lm would be about. He would play with terrorism, of course: a satire on suicide bombers, speciﬁcally. In Four Lions, four young Muslim men have decided to become suicide bombers, their target the London Marathon. But, being a Chris Morris ﬁ lm, these wannabe martyrs are also complete idiots. While we watch in absurd horror their daily lives, what Morris marvelously humanises their characters. We see their family lives, their petty arguments, their inadequacy to get moﬆ tasks done, the spotlight they keep walking into. And the ﬁnal set-piece is one of the more surprising in recent memory. Four Lions is another ﬁ lm to add to the canon of classic British farce, and major kudos to Morris for making light of a topic few would dare touch. WHERE & WHEN: Screening in cinemas now DCR
DISC WORLD DVD Reviews with GLORIA LEWIS
EASTBOUND & DOW DOWN (Warner Bros Home Entertainment)
Television comedy is overﬂowing with loveable douchebags – Basil Fawlty, George Coﬆanza and more recently David Brent all spring to mind as reprehensible comic creations who you can’t help but empathise with despite their multitude of ﬂaws. On ﬁ rﬆ glance Kenny Powers, Danny McBride’s mulleted, washed-up pro baseballer with a heart of ﬆone and a mouth of pure vitriol, doesn’t feel like he’s going to join that illuﬆ rious company. But as Eaﬆbound & Down wears on, like a good sports drama, you ﬁnd yourself rooting for Powers – that is when you’re not laughing your arse oﬀ at the ﬆ ream of politically incorrect diatribes McBride unleashes in every scene he chews up and spits out. Eaﬆbound & Down is yet another gem from Home Box Oﬃce, the American television network that has delivered Entourage, The Wire and True Blood unto the world. It tells the ﬆory of Kenny Powers, a baseball pitcher who is thruﬆ into the spotlight inﬆantly when he throws the winning pitch in the Major League Baseball World Series, ﬆarts to believe his own hype, and proceeds to lose his game almoﬆ immediately. He ﬆ umbles from one club to the next via raciﬆ comments againﬆ his team mates and doping scandals before being literally hit out of the Majors by an opponent (The (US) Oﬃce’s Craig Robinson, who in a later episode ﬆars in one of the series’ many showﬆopping moments). Powers ﬁnds himself back living with his
brother’s good Chriﬆ ian family in his Shelby Valley, Alabama hometown, working as a relief Phys Ed teacher and trying to win back the aﬀect ions of his childhood sweetheart April “Big Cannons” Buchanon (Katy Mixon), now engaged to the school principal (a wonderfully uptight Andrew Daly). When he’s not snorkeling rack with his old sidekick Clegg (series co-creator Ben Beﬆ), joyriding with topless proﬆ itutes on his jet ski or talking himself up to his bewildered ﬆ udents, Powers drives around in his SUV liﬆening to his own motivational tapes and dreaming of getting his pitch back and returning to the majors. McBride excels as Powers, perfect ly pitching him as a character with relentless self-belief and very little else going for him. The reﬆ of the caﬆ play ﬆ raight to his tirades (Mixon often visibly ﬆ ruggling to ﬆay in character), with only Will Ferrell’s car salesman Ashley Schaeﬀer ever going toe to toe with McBride. And then there’s the hopeless music teacher Stevie Janowski, a long-forgotten former classmate of Powers who ﬆ ill idolises the fallen hero. It’s not juﬆ a gag reel for McBride though, with the laﬆ episode in particular having an eye-opening turn from Mixon, then a ﬆ ing in the tail you never see coming. With a second season of Eaﬆbound & Down to ﬆart screening in the States in late September, you’ll want to get on board before the ﬁnale of season one gets spoiled by your in-the-know torrenting buddy.
LOWDOWN (ABC DVD) Frontline is perhaps diﬆant enough in the paﬆ now for another single-camera Auﬆ ralian comedy series to wade into the world of journalism, and Lowdown wisely ﬆays away from television to follow the celebrity gossip columniﬆs at ﬁct ional tabloid The Sunday Sun. Circulation is falling, writers and editors alike are being marched, and only the scandalous column of Alex Burchill (series co-creator Adam Zwar, himself a former gossip columniﬆ) and his photographer sidekick Bob Geraghty (Paul Denny) is keeping the paper aﬂoat and paranoid editor Howard Evans (Kym Gyngell) in a gig. In between assignments inﬁ ltrating the lives of rock ﬆars, golfers, and underworld crime bosses, the hypochondriac Burchill details ﬆ range new ailments to his GP (Dailan Evans) while ﬆ ruggling to keep things together with his promiscuous artiﬆ lady friend Rita Heywood (Beth Buchanan in wide-eyed innocent mode). While it generally delivers a couple of solid laughs per episode (usually from deadpan narrator Geoﬀ rey Rush, or the grammar nazi sub-editor), Lowdown is ﬆ ill trying to get the mix right – if it gets a second series, hopefully it delivers on its promise. CLASSIC ALBUMS: BLACK SABBATH – PARANOID (Shock) Misunderﬆood by critics upon release, Black Sabbath’s 1970 opus Paranoid not only went on to shift a shitload of units but is largely credited with creating the blueprint for heavy metal wannabes the world over to follow. Yes kids – before The Osbournes, Ozzy really could wail out a tune, though here his incoherent ramblings provide more comic relief than anything as his band mates Tony Iommi, Geezer Butler and Bill Ward tell the ﬆory behind the band’s beginnings and the creation of their ﬁneﬆ 42:07 of music. Henry Rollins and some slightly out of place critics also wax lyrical, the passion of Rollins in particular helping you see the riﬀery and tempo changes of Iron Man (which Butler hilariously reveals was almoﬆ called Iron Bloke) in a new light. Seeing Iommi discuss his riﬀs today before ripping them out on his SG and Butler earneﬆ ly discuss lyrics with more political clout than the surface reveals will have you wanting to duﬆ the record oﬀ for another spin before the show is over. And if you don’t own it, your exceptionally cool Dad probably does. Give him a call.
THE TEXTURE OF THE WORLD DSLR cameras extend the possibilities of macro photography to video. Aside from the expensive macro lens options, there are a range of super-cheap DIY modiﬁcations that let you capture miniature worlds in motion. All below are cheap options, and can be frowned upon by photography puriﬆs – you’ll lose some of your camera controls (eg autofocus), but when used for DSLR video, image quality is ﬆ ill fantaﬆ ic compared to traditional video cameras in the same price range, and really, you’re swimming in miniature worlds, and potentially capturing them in HD video. MACRO CONVERSION LENSES Find out what diameter your lens is (it’ll look like this on the lens – Ø72, meaning 72mm), then buy a cheap lens add-on magniﬁer of the same diameter that will screw on. An eBay search for ‘macro lens kit’ will deliver a cheap collect ion of lenses with a variety of magniﬁcations. REVERSER RINGS Again, the diameter of your lens is needed here, and when you ﬂush the reverser ring search through eBay, a small package will arrive from Hong Kong in a week or so. The reverser ring attaches to the front of the lens, which let’s the lens go onto the camera backwards. EXTENDER TUBES These cheap metal cylinders extend the diﬆance of your camera’s innards and the end of the lens, enabling a closer minimal focal diﬆance for shooting from. BELLOWS There’s something perversely analogue about these, kind of like attaching a small piano accordion to your digital pixel capture magic box. They allow easy ﬁnetuned adjuﬆ ments, moving the lens with respect to the focal plane for focusing. CHALLENGES? Depth of ﬁeld will be a problem. Even very, very small movements with the camera will take objects in and out of focus. Stability is key then, and DIY ﬆages/environments for objects are even better. Lighting can also be a problem, both in terms of having the camera so close to the object, and with the extra lens lengths being added, letting less light through to the camera. This can be solved with ring lights ﬁt around a lens, or thoughtful side lighting/reﬂected light. Naturally, there are many DIY iPhone macro photography tutorials (Inﬆ ructables – http://goo.gl/dvja). Moﬆ ly they involve magnifying glasses of some sort in front of the camera lens. @JEAN_POOLE
INTHESTUDIO INTHE STUDIOWITH...
HOW DID KARTON COME TOGETHER, AND WHAT TWISTS AND TURNS HAS YOUR SOUND TAKEN SINCE THEN? Paul Beohm: “We got together on the advice from a mutual friend, spent a couple of sessions working on a tune which got picked up by now defunct Melbourne label Sound Not Scene and it juﬆ continued on from there. We always were pretty heavily into breaks so that’s what moﬆ of our output has been. While we have been working together our sound has deﬁnitely become more reﬁned not only technically but also in terms of what a Karton tune sounds and feels like.” HYBRID SEEM TO BE AN OBVIOUS INFLUENCE – ARE THERE OTHER ACTS WHO INSPIRE THE KARTON VISION? “Hybrid are deﬁnitely one of the big inﬂuences, not so much in that we try to write Hybrid sounding tunes but more in the level of complexity and quality of product ion they pack into each tune. Their use of big cinematic movements and the emotional response those sounds elicit is something we love and have ﬆ rived to implement into our own product ions. Often though it’s not one particular act or band that really inspire us but rather a whole movement within a genre – we have been really inspired by a lot of the half-time ﬆ uﬀ that’s going on be it dubﬆep or drumﬆep, and the overall quality of product ion in drum’n’bass has really inspired us to improve the quality in the dynamics of our own product ions.” FOR ALL SEASONS IS AN AMBITIOUS DEBUT ALBUM – HOW LONG HAS IT BEEN IN THE MAKING? “About two years – we spent a long time working on it between doing other remix and single work and then decided to juﬆ work solely on it for about six months towards the end of 2009. We knew that we didn’t want to do an album of all breaks or all drum’n’bass, so we did conceptualise what that album would be before we ﬆarted writing it and that’s where the For All Seasons name for it came from. We wanted to do something that we felt would represent the whole spectrum of music we were into, while being something that would appeal to diﬀerent people in diﬀerent ways.” WHAT ROLES DO YOU TAKE IN THE STUDIO, AND WHERE DO THE VOCAL CONTRIBUTIONS COME FROM? “Generally we try to work out how a tune is going to sound in very broad ﬆ rokes before we write any of it. Once we get into writing there is a bit more of a separation of roles as [Paul] Richter is much more musically adept than I am, so laying down melodies etcetera is his realm. My role is more of the engineer. The main vocaliﬆ on the album is Jeﬀ Hann who is a solo artiﬆ and the front man of roots band Friendly Yen, Jeﬀ is on ﬁve of the album tracks including the ﬁ rﬆ single We Bleed. Cris Clucas adds
her vocals to three of the album tunes and Nick Craven from indie band Hancock Basement is on two tracks including second single All You Need. The one interﬆate gueﬆ is Manuel Sharrad from Infusion who sings on Breathe For Me.” WHAT’S THE PLAN ONCE THE ALBUM DROPS? “We are pretty busy at the moment with remix work which hopefully will continue for a while, and we are keen to drop a few originals over summer. Additionally we are also ﬆarting to put together ideas for what may become the second album. We have done some album launch shows and feﬆ ivals overseas already and will be doing some shows around the place to launch the album here in Auﬆ ralia.” WHO: Karton WHAT: For All Seasons (Sound Of Habib/SRD) out Thursday 30 September
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FASHION QUESTIONNAIRE Q
ABI CROMPTON NEED MATCHING ‘COCAINE AND HEROIN SHAKERS’? TRY ABI CROMPTON’S THIRD DRAWER DOWN STORE. RUPERT NOFFS RIFLES THROUGH HER DRAWERS.
TELL US ABOUT THIRD DRAWER DOWN? “Third Drawer Down and The Museum Of Art Souvenirs Store is a storefront museum and place of trade in Fitzroy, Melbourne. Assembling a curated array of art and designer products, the store functions as both showroom, design studio, museum and retail space with objects either hand-picked from various popular cultural contexts or made by Third Drawer Down for leading museums around the world. We are about to open up a ‘guest shop’ out the back of the main store, which will house some of our favourite designers and retailers from overseas starting with Confetti Systems then Partners & Spade and Kiosk. A taste of New York to start with as I have this idea to discontinue travelling overseas by bringing personal shopping to a new dimension in Australia. Ultimately our mission is to be the fi rst online store to ship to the moon.” DO YOU THINK MELBOURNE PEOPLE ARE THE MOST STYLISH PEOPLE IN AUSTRALIA, OR IS THAT A MASSIVE GENERALISATION? “I used to think Melbourne people were the most stylish people in Australia… until I recently spent some time in Sydney and now I am a traitor to my own city. If you compare Fitzroy to Surry Hills, Surry Hills is way cheekier as I wish more people in Melbourne held hands in the street. Am I suggesting that style comes down to holding hands? Yes!” I LOVE WHAT YOU STOCK. WHERE DO YOU SOURCE THESE AMAZING PIECES? “Thank you. We have a lot of fun finding things. As we are constantly looking at things over the internet for client projects, we find fun things on the way, things we just can’t resist and want to share with other like-minded witty folk.”
I think she is an amazing actress and a really down to earth person.” WHAT WOULD YOU LIKE GOD TO SAY WHEN YOU ARRIVE AT THE PEARLY GATES? “We have Vegemite here.” WHAT IS YOUR FAVOURITE SOUND? “Turning off the light switch at night.”
DO YOU LIKE WATCHING INSIDE THE ACTORS STUDIO?
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I LOVE THIS QUESTION… ARE YOU READY? “Where are we going? Do I need my phone?” WHO WOULD YOU GET TO PLAY YOU IN A HOLLYWOOD FILM? “Toni Collette” I LOVE TONI COLLETTE, TOO. WHY WOULD YOU HAVE TONI PLAY YOU? “She would be honest with my character and laugh in the same tone, and probably at the same jokes.”
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PRODUCTION/MIXING TUITIONS I’m a professional Music Producer and Sound Mixer who has worked with internationally renowned artist such as Seal and De La Soul, and I’m offering private tuition in Mixing and Production. Bring your own session (Logic or Protools) or use one of mine, and I will show the tricks that they do not teach you at school, I work from my home setup (Surry Hills) only, $65 per hour. http://www.steevebody.com iFlogID: 4776
SINGING TEACHER NYC TRAINED CONTEMPORARY AND MUSIC THEATRE SINGING TUITION. TRAINED WITH LEADING NYC VOCAL TEACHER WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. WORLD RENOWNED VOCAL EXCERSISES TO VASTLY IMPROVE VOCAL TECHIQUE BASED ON EXCSERCISES FROM MANHATTAN SCHOOL OF MUSIC. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME. AUDITION COACHING. 0435 426 012 iFlogID: 4452
VIDEO / PRODUCTION MUSIC VIDEOS Bands who have recently made videos with us include El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. See examples of our videos on facebook.com/dynamic.screen. content Call Darrin on 0413555857 (we’re based in Sydney) iFlogID: 6681
MUSICIANS WANTED DJ Calling all DJ’s, new venue North Shore LEVEL 1 above the Chatswood Club requires resident DJ’s for a variety of nights. Give Peter K a call on 9419 5481 for expressions of interest. iFlogID: 7054 DJ Wanted to play live with RNB Hip Hop Band with Management & Agency Backing please email full contact details and also a bit of details about yourself to info@
starpowerstudios.com iFlogID: 7134
KEYBOARD COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. Must have good gear, own transport able to gig most fri / sat nights. We play mostly modern covers and are after ages 18 - 35. Please send your details to firstname.lastname@example.org iFlogID: 5905
SERVICES BEAUTY SERVICES BEAUTY WEBSITE: COVETED CANVAS If you love beauty, you’ll love Coveted Canvas! We’re the beauty website for you, with tips and tricks, product reviews, salon reviews, competitions, insider advice and a personalised Q&A section like no other. With info spanning from hair to makeup, skin to nails, if it’s beauty related you’ll find it on Coveted Canvas. www. covetedcanvas.wordpress.com iFlogID: 6341
GRAPHIC DESIGN FULL COLOUR POSTERS Visit our website for an extensive price list and other services! iFlogID: 6348
MUSICIAN & BAND WEBSITES Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169 iFlogID: 6665
OTHER 1100 FULL COLOUR POSTERS = $80 Visit our website for an extensive price list and other services! iFlogID: 4554 check out our Blog:haemeandrobecca.blogspot.com for awesome vintage fashion,stuff you can buy, music,film and art! iFlogID: 7032
COMEDY FOR LUNCH IN THE CBD Comedy For Lunch dates starting Sept 17th. Here’s your chance to spice up the regular CBD friday lunch with some tasty food and yummy laughs. Lunch starts at 12noon12:35, show starts 12:35-1:10pm. We’ve lined up some very funny comic chefs to tantalise your tickle taste-buds. Plus if someone from the office is a jokester, he or she can have 3 minutes on stage to keep up the tradition :-).So gather up the gang from the office, family, friends and out of town guest and book into Comedy For Lunch. Lunch price includes choice of 6 mains, a Drink (Beer, Wine, House spirits, Juice, soft drink) and V.I.P seating in the worlds most comfortable comedy theatre, “The Star Bar Theatre” 600 George Street (formerley Planet Hollywood) or if the only serving you want is laughs, regular admission is just $10.00 for the show only! Booking now at 0295472578 or on line at www.comedyintheraw.com.au iFlogID: 6440
For a limited time. Free online andprint classifieds Book now, visit iflog.com.au
DIPLOMA & DEGREE COURSES IN:
Games Design 3D Animation Graphic Design Games Programming Web Design & Development HURRY LAST CHANCE TO ENROL! SEPTEMBER 13TH START DATE
Published on Aug 24, 2010
Published on Aug 24, 2010
3D World has been serving the electronic dance music and hip hop community of Sydney and surrounding areas since 1989, recently racking up 1...