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This Week:

















A Puzzling Benefit Gig * GETTING LOOSE SINCE 1853 *









$15 from 8:30pm

S Y D N E Y ’ S I N D I E T R A S H PA RT Y N O W D E S T R O Y I N G M E L B O U R N E E V E RY W E E K !



Favela Rock

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B F a smorgasboard of awesome live acts to feast on! $5 Entry.

High Society , Ghostsoul , Digital Assassin , Inner City Science, Pauly Fatlace




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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W E E K D AY S 1 2 - 7 P M

Coming Soon Saturday August 21



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$5 pizzas and $10 jugs from 6pm







For enquiries email


Saturday September 18th





Doors Open 10.30pm Tickets $13 @ the Door Support from HomeHouse Kids Syme | Herbee | Anth’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









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

Corey Brand, Cybele Malinowski, Daniel Munns, Dave Dri, Kane Hibberd, Kostas Korsovitis, Luke Eaton, Monique Easton, Philip Poyner, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Sarah Blaby QLD – Adam Reilly, Melissa Tickle ART DEPT artwork@3dworld. Dave Harvey, Samantha Smith, Stuart Teague






COVER DESIGN Stuart Teague CLUB PICS clubpics@3dworld.

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CLASSIFIEDS ACCOUNTS DEPT accounts@3dworld. (03) 9421 4499 PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@3dworld. SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks).




ADDRESS 2 Bond St, Abbotsford, VIC 3067 PO Box 1079, Richmond North, VIC 3121 Phone (03) 9421 4499 Fax (03) 9421 1011 Email info@3dworld.





Brad Marsellos, Carine Thevenau,






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 with ‘RICHA RD DURAN D’ in the subject line by Midday Friday 27 August.


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1 6 5





3 4


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







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!


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.



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).


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. to enter the ticket ballot and check out full event info.


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. 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…



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 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


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.



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.










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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.


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.


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,, 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@ or through Moshtix.


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.


Strawberry Fields

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.


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.


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.





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




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.


“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.






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.”



“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)



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






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



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





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



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...




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)





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




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.




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.


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.


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. Current Foreign Affairs Status – Exercise Caution. See 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.




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








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, 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 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



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.


(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




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.”



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?”


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





1 2








1 Brand New Heavies @ Trak

4 I Love Dancehall @ The John 3 on

2 House Party @ Eurotrash

5 Kiss FM

3 Gossip Sundays @ Love Machine

6 Rhythm-al-ism @ Fusion

2 6 3




2 6




1 5





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:, 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,, 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.








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 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.”


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 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.


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.


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.



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?


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.


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 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


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.


Ibiza... Where even the mannequins gurn... 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... 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.





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




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:

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



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




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 – Most ly they involve magnifying glasses of some sort in front of the camera lens. @JEAN_POOLE



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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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.”

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MASTERING BENCHMARK MASTERING Professional Mastering from $110 per track in Australia’s most prolific mastering suites. We have the dedication and experience to make your music come alive using the world’s best equipment. Located in the heart of Sydney’s CBD. Conditions apply email:info@ Ph:(02) 9211 3017 iFlogID: 6217

DOMC MASTERING - $95 PER TRACK Domc Mastering is a dedicated mastering suite located just outside of Brisbane. We specialise in getting your next audio project ready for the public. DOMC work with you to get you the ‘sound’ that you are chasing. iFlogID: 5710 I’m looking for someone passionate about dance music to assist with the mixing and mastering stages of music production. Please email for details or 0439 457 791. Ta, Jeff. iFlogID: 7190

OTHER MARKETING AND PROMOTION A rockin’ salute from the Team at Clk Click Publicity! Clk Click Publicity is a music and entertainment publicity company that specialises in providing excellent quality management, marketing and PR services in order to promote music, film, arts and events in Australia. We have an introductory offer that will blow your mind, and keep your pockets full! For a limited time Clk Click Publicity can whip you up a professional Bio and Press Release for only $100. We can also organise band photos and logo creation for a very reasonable price. If you’re interested in finding out about our full range of publicity services, we’d love the opportunity to have a chat with you and put together a proposal for your next release, event or tour. For further information please shoot us an email at or visit our website at We look forward to working with you! iFlogID: 5312


From small PA to large high powered rigs. Crystal clear custom built mids and tops cabs with heavy duty bass bins. Suitable for indoor and outdoor events. delivered, set up and operated. Call Derek for quotes on 0423979396 iFlogID: 5135

PA SYSTEM 3200W FOH FROM $300 Band PA system for hire. 3200w FOH, 2 x 2x15 cabs with subs, 1350w FB, 4 wedges on 2 sends, 16 input desk, FX, mikes/ stands,DIs, icolor lighting. Experienced operator, many satisfied clients. From $300 p/night. Best value for money. Chris 0432 513 479 iFlogID: 5402

PHOTOGRAPHY SETLIST PHOTOGRAPHY Sydney’s Live Music Photography specialist with over 5 years experience in the industry. Artists include Moby, Groove Armada and festivals such as Soundwave, Good Vibrations plus many more. Cheap and affordable for local artists. Go to or email for a quote. iFlogID: 6533

POSTERS ILLUSTRATOR AVAILABLE NOW! Professional illustrator available for any project. Book covers, children’s books, album art and much more. Based in Melbourne, drawing world wide! Excellent rates. -Phone: 0403 996 129 or email iFlogID: 4701

RECORDING STUDIOS AFFORDABLE SYDNEY PRODUCTION Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. for details. iFlogID: 4508

REHEARSAL ROOMS PRIVATE REHEARSAL STUDIO AVAIL Your own private rehearsal room inside CBD recording facility. Hours of access: 7pm - 12pm Mon - Fri 7pm - 3am Weekends - Equipment can be left set up in the room, giving you free storage and time saved on setups. - wall length mirrors - Great for bands leading up to recordings or major tours. - Can be shared between 2 bands quite comfortably. - Security building - Shared bathroom & tea room facilities - walking distance from Central Station (approx 100m) - City views, great vibe - Great recorded rehearsal & demo rates for rehearsal bands at the brain. $450/week min 4 weeks or $400/ week 3 month commitment (works out @ less than $65/rehearsal and includes storage) This space would also comfortably fit 4 workstations with room to spare, so we would consider applications for creative/ music related office use. contact: 0431337488 iFlogID: 6367


ABLETON CERTIFIED TRAINER Ableton certified trainer and author of Ableton video training for Groove 3 (USA) Craig McCullough is available locally in SE Qld for private Ableton and music technology training. Video training is also availble from Mobile: 0431 556 746 email: iFlogID: 4154


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. iFlogID: 4776


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 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@ 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 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. 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 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 iFlogID: 6440

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Games Design 3D Animation Graphic Design Games Programming Web Design & Development HURRY LAST CHANCE TO ENROL! SEPTEMBER 13TH START DATE



3D World - Melbourne Issue #1025  
3D World - Melbourne Issue #1025  

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