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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

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Brad Marsellos, Carine Thevenau,







GIVEAWAY From the makers of Resident Evil and Alien Vs Predator, comes Pandorum – a sci-fi thriller starring Dennis Quaid and Ben Foster as two ast ronauts who awaken in a hyper-sleep chamber aboard a seemingly abandoned craft. They have no memory of who they are or what their mission is but one thing they do realise very quickly is that they are not alone. With an unspeakable horror lurking around every corner, they must fight to stay alive.Intrigued? To celebrate the release of Pandorum to Blu-ray and DVD, Icon and 3D World are giving you the chance to win one of 10 Pandorum prize packs including a Pandorum DVD and official Pandorum T-shirt. Simply email your name and address to with ‘PANDORUM’ in the subject line by midday Monday 20 September. 5



8 2 1


6 7 4

SUSHI SNAPS 1 After Dark Social Club @ Roxanne

5 Playground Saturdays @ Seven

2 Ashley Roberts @ Home House 6 Poison Apple @ La Di Da 3 Be @ Co.

7 Rhythm-al-ism @ Fusion

4 Eurotrash

8 Strut @ Trak 10 5







Melbz’ own Zoë Badwi has taken her Club Chart-topping Freefallin’ into the mainst ream with it debuting in the ARIA Singles Chart at 36 this week.


Good Vibrations have seemingly done the impossible by putting together a line-up with as many fi rst-time Aust ralian tourists as any local fest ival has managed in recent memory. If we see a bigger hip hop/urban line-up down under in the next 12 months it will be a sight to behold…


Okay, so Duck Sauce have broken the 13-week run of local number ones on the ARIA Club Chart, but their Boney M-sampling Barbra Streisand is just so damn catchy.


Did the word ‘education’ get dropped because the mining companies told our PM they didn’t want us educated? And then to put Garrett in charge of ‘schools’… hope he doesn’t insulate them.


We thought it was a rave reunion party… spending time hungover in jail ain’t as much fun as you’d reckon.


What century are we living in that Cee-Lo’s delightful soul song Fuck You has to be released as FU and gets changed to Forget You for radio? We thought Abbott was beaten in the elect ion.

NO LINE-UP WHISPERS yet, but the dates are in for the 2011 Laneway Fest ival. Put a big circle around Friday 4 February (Alexandria St off St Paul’s Terrace in Brisbane’s Fortitude Valley), Saturday 5 February (Melbourne’s Footscray Community Arts Centre) and Sunday 6 February (Sydney College of the Arts (SCA), Rozelle), and start praying for lineup gold... AUSSIE ELECTRO BAD boy Muscles is making a triumphant return this October with the release of his Younger & Immature EP. We are not too sure what the beat wizard has cooked up for us this time but we assume it will have its fair share of “Ohhhs” and “Ahhhs”. Expect the video for Girl Crazy Go to be viral by the time you read this… JUST WHEN YOU thought the glory days for kids entertainers The Wiggles were over, the group have collaborated with Aussie rockers Mental As Anything to sing and dance about healthy food and cooking in their latest DVD Let’s Eat. And on top of that they’ve released seven new iPhone Apps, including Colouring In which is available for free download now, don’t pretend you don’t want it… TRY BEFORE YOU buy is always a good thing, and Norse elect ro-pop wizards Röyksopp obviously subscribe to the same theory with the st reaming of new album Senior via SoundCloud last week. The companion piece to last year’s most excellent Junior is out now...



We certainly do after Good Vibrations Fest ival took the wraps off their 2011 line-up, especially with a plethora of acts making their Aust ralian debuts. Topping the bill are the masters of hands in the air rave Faithless, hitting Oz for the fi rst time since 2004 on the back of their biggest collect ion of bombs in years – The Dance. Also bringing the epic is prog master Sasha, while Rusko will rinse out dubstep fans and Erykah Badu, Janelle Monáe, Cee-Lo Green, Kelis, Nas & Damian Marley and Ludacris should satisfy the hip hop massive. Phoenix, Friendly Fires, Miike Snow, Fake Blood, Sidney Samson, Mike Posner, Yolanda Be Cool, Koolism, Kill The Noise, Tim & Jean and Fenech-Soler round out the touring contingent when Good Vibrations hits Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February and Gold Coast Parklands Saturday 19 February. Tickets on sale Thursday 16 September from 9am. DARREN EMERSON


The already formidable line-up for Melbourne’s Summadayze 2011 New Year’s Day celebration has become even more tantalising with the addition of Miguel Migs & Lisa Shaw, Nick Warren, Darren Emerson, Dave Seaman and UK techno legend Luke Slater – Migs and Shaw are also locked and loaded for Summafieldayze on the Gold Coast the very next day. Also on the bill are David Guetta, N*E*R*D (live), Just ice (DJ Set), Armand Van Helden, Chromeo (live), Boys Noize, Erol Alkan, Tinie Tempah, Miami Horror, Riva Starr, Aeroplane, Claude VonStroke, Dennis Ferrer, Nervo, Art vs Science, Plump DJs, So Me v DVNO, Yuksek and Zombie Disco Squad. Correct – that is a lot of awesome. BAG RAIDERS


With Way Back Home – the lead single from their selftitled debut album – currently caning the airwaves in advance of a Wednesday 1 October LP release, the Bag Raiders are gearing up for a national tour which will see the wraps removed from their very special, very new live show. They’ll be hitting the road with friends Flight Facilities, The Holidays, The Swiss (DJs), Cassian, Mitzi and Graz on selected dates, including the The Hi-Fi (Brisbane) Thursday 28 October, Coolongatta Hotel (Gold Coast) Friday 29 October, Billboard (Melbourne) Friday 19 November and The Forum (Sydney) Saturday 4 December. Tickets available from Wednesday 22 September. Visit for more info.







GENERAL OUTLOOK We need to press forward this week if we are to have any hope of inciting group sex in major capital cities this coming Friday. AQUARIUS (20 JAN TO 18 FEB) Running things. It ain’t all gravy. Th is week you will find your ‘Alpha’ status a challenge. “Heavy sits the crown”, and all that shit. PISCES (19 FEB TO 20 MAR) Once again I seem to have offended a star sign with my sexual advances. When will I learn? Predict ion – NEVER, Sugar Tits. ARIES (21 MAR TO 20 APR) The discovery of human remains under your bed will give you a lot of explaining to do and keep you busy all week. TAURUS (21 APR TO 20 MAY) Sleeping with a loaded gun under your pillow really isn’t that bad. Unless you are trying to sleep on a commercial fl ight. GEMINI (21 MAY TO 20 JUN) Your love life will take a bizarre turn this week when you fall down a well and begin a relationship with a bucket. CANCER (21 JUN TO 21 JUL) You need to start taking responsibility for the things you do. And for some of the things I’ve done as well. LEO (22 JUL TO 21 AUG) I appreciate why you couldn’t lend me that $23,000. Which is why I’ve kidnapped your mum. The ransom? You guessed it. VIRGO (22 AUG TO 21 SEP) There will be some interest in your script about the dead body and the necrophiliac who fall in love. Until people read it. LIBRA (22 SEP TO 22 OCT) Stop ignoring me. Do I have to show up at your work before you’ll talk to me? I’m carrying your child for God’s sake. SCORPIO (23 OCT TO 21 NOV) Your inability to maintain an erect ion will win American Idol and begin a 23 city tour of the United States. Fantast ic. SAGITTARIUS (22 NOV TO 20 DEC) You might find that your printer ink would last longer if you stopped drinking it at dinner. Just a thought. CAPRICORN (21 DEC TO 19 JAN) You are starting to get your shit together. Keep up the mediocre work. Th is could be the start of something quite average.

WE’VE ALREADY BEEN treated to one 2010 collection of John Digweed gold with his momentous Structures compilation in June, and now comes news of the Bedrock 12 celebration of a dozen years of service from his label of the same name. The unmixed twodisc set including bombs from Robert Babicz, Quivver, King Unique and more drops Monday 4 October… WIDESPREAD SHOCK AND dismay have ensued after news that Kyle Sandilands’ ex Tam Jaber has had her album with Scarlett Belle placed on hold by Sony due to poor single sales and a general lack of interest. We certainly did not see that one coming… FESTIVAL FEVER IS already at fever pitch, and if you were planning on hitting up Meredith or the Victorian edition of The Falls Fest ival you’re shit out of luck – both have sold out, so Meredith sideshows, The Falls in Tassie, or Sunset Sounds in Bris are your only options… IF YOU THOUGHT Cooper’s pumping out 110 million brown glass 375ml bottles of beer last year was impressive, the South Australian beer gods have changed their glass supplier in a bid to be even more efficient. More efficient Cooper’s production can only be a good thing… THE EVERLOVABLE Lily Allen has never pretended to be perfect, and the pregnant singer’s latest revelation has been that she has blown a huge portion of her $8.9 million dollar fortune on designer dresses and “st upid things”. You go girlfriend...



He may have grown up “alone and lonely” in the south of Germany, but thanks in no small part to his uncompromisingly well produced music, Aksel Schaufler – aka Superpitcher – is making friends all over the globe. Though best known for classic tracks such as Tomorrow, and remixes for Dntel (The Postal Service), Schaufler’s collaboration with Michael Mayer as Supermayer proved equally popular, and his recent album Kilimanjaro dovetails neatly from that musical effort. As popcentric as ever, Schaufler’s latest full-length contains plenty of heartrending moments but plenty more dancefloor stormers which will go down a hit on his tDmuzic and Kompakt co-presented October tour. Dates include New Guernica (Melbourne) Saturday 23, Luna Loca (Gold Coast) Sunday 24, Barsoma (Brisbane) Friday 29 and the Subsonic & Chemist ry Cruise (Sydney) on Saturday 30. GRAFTON PRIMARY


In celebration of their forthcoming single The Eagle, Grafton Primary are gearing up for a nine-date national launch tour throughout October and November. Already a hit with Triple J and Nova listeners, the fest ival dominators are also hard at work on their sophomore album, which should hit shelves some time in 2011. The duo are joined by live elect ronica veterans Infusion in gigs at Oxford Art Factory (Sydney) Saturday 16 October, The Hi-Fi (Melbourne) Friday 12 November and The Zoo (Brisbane) Friday 19 November. Tickets available through Moshtix, Oztix or direct from the venue, dependant upon the gig. For more info, hit


Sporting a decade worth of experience in the field, Frankfurt based DJ/producer Gregor Tresher is no mere st ripling. A fervent and talented techno exponent, tracks such as A Thousand Nights and The Life Wire have propelled his name into the spotlight, where he has consistently surprised and amazed at every twist and turn. While GREGOR TRESHER quiet on the release front lately, Tresher has been A&Ring his heart out to bring plenty of new treats to technoheads through his appropriately named label Break New Soil. Expect to hear plenty of it during his October Antipodean tour, including gigs at Darkbeat/Sunny (Brown Alley, Mebourne) Friday 8, Chemist ry & Subsonic (Secret Venue, Sydney) Saturday 9, Luna Loca (Gold Coast, Friday 15) and Barsoma (Brisbane) Saturday 16.


Laneous and the Family Yah’s brand new album Found Things is due to hit stores on Friday 8 October after a rigorous period of road test ing, which the band claim involved plenty of hours simply hanging LANEOUS & THE FAMILY YAH out and listening to new music together. Already a hit with critics, the lead single I Am Dog is available now and sports a hilarious video which features many of the colourful characters to be found on a daily basis in Brisbane’s West End. The band kick off an October national tour in support of the album launch at The Hi-Fi (Brisbane) on Friday 1 with support from Tin Can Radio, before hitting The Brewery (Byron Bay) on Saturday 2, Northcote Social Club (Melbourne) Thursday 7, Caloundra Music Fest ival Friday 8, Old Manly Boatshed (Sydney) Thursday 14 and The Gaelic Club (Sydney) Friday 15.






CALENDAR SEPTEMBER METALLICA – Wednesday 15 - 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 BLOW YOUR OWN WAY: LEE CURTISS – Friday 17, Mercat Cross JEFFREE STAR – Friday 17, Billboard ROCK LIKE THIS: MILES DYSON – Friday 17, Prince Bandroom WOBBLE THIRD BIRTHDAY– Saturday 18, Night Owl KAITO, TOBIAS BECKER – Saturday 18, New Guernica AFTER DARK SOCIAL CLUB: AJAX – Saturday 18, Roxanne Parlour JULEZ – Saturday 18, Miss Libertine 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 CHICO MANN – Wednesday 22, The Toff CYPRESS HILL, SPIT SYNDICATE – Thursday 23, Palace Theatre SNEAKERPEEPS: DEETRON – Friday 24, QBar RBMA TOUR: MARTYN, ILLUM SPHERE, TOKIMONSTA – Friday 24, Roxanne Parlour JIMMY EDGAR, EGYPTIAN LOVER – Friday 24, The Espy Gershwin Room EMILIE SIMON, MELANIE PAIN – Wednesday 29, Prince Bandroom OCTOBER BOTTIN – Friday 1, New Guernica A-DICTION – Friday 1, Evelyn Hotel HOLY GHOST – Friday 1, Revolver PARKLIFE: MISSY ELLIOTT, GROOVE ARMADA, SOULWAX, CUT COPY, GRUM, DELOREAN AND MORE – Saturday 2, Sidney Myer Music Bowl and King’s Domain TIN ALLEY – Saturday 2, Fusion WORLD’S END PRESS – Sunday 3, The Toff MIKE MONDAY – Sunday 3, Onesixone LANEOUS AND THE FAMILY YAH – Thursday 7, The Northcote Social Club OBESE BLOCK PARTY: MANTRA, DIALECTRIX, M-PHAZES, PEGZ AND MORE – Friday 8, Palace Theatre LEE CURTISS

THE 2010 WINNERS of the UK’s prestigious Mercury Prize have been confirmed as THE XX, taking the title with their selftitled debut over the likes of Dizzee Rascal, Mumford and Sons, and Laura Marling… THE ATTENTION SEEKING antics of Lady Gaga are really coming off as desperate these days. Her recent shock stunt was posing on the September cover of Men’s Vogue in Japan clad in a bikini made of raw meat, predictably ruffling the feathers of animal rights activist. Wake us when you go swimming with piranhas in that outfit... FEMALE R&B SUPERSTAR Rihanna works fast, with new st udio album Loud set to drop Friday 12 November. First single Only Girl (In The World) has production team Stargate back on the boards – no word on whether Chase & Status, as featured on 2009’s Russian Roulette, will return… FINDINGS FROM THE Ticket Attendance and Revenue Survey 2009 has found Aust ralia’s live sector generated $1.083 billion in revenue last year, up 3.3 percent. Growth was attributed to concerts by Pink, Britney Spears and Coldplay, so local music fans are also discerning as well… ANOTHER WEEK, ANOTHER iPhone app – this time the Nike+ GPS App which allows you to map every run, track pace, distance, time and calories-burned, and get instant feedback during and after each run from Lance Armst rong and comedian Tracy Morgan, hopefully in far less annoying than 30 Rock mode…



Illusive and Frontier are on the case yet again, this time bringing Melbourne the Southern Hemisphere’s biggest under 18s fest ival. Another World brings a diverse line-up including Bliss N Eso, The Potbelleez, Grant Smillie, Paris Wells, The Aston Shuffle, DCUP, Diafrix, Pez, Bang Gang DJs, Nino Brown, Fangs, Scott Alert, M-Phazes, Dublin Aunts and many more besides to Hisense Arena on Monday 1 November. After all, why should you miss out on fest ival fun just for being young? Tickets available through Ticketek from 3pm Wednesday 15 September for $54 + b/f. More info at anotherworldfest

HIP DICTION Melbourne hip hop MC duo A-Dict ion are launching their debut album Walkin’ Alone (out now through Formula Recordz/Obese) at the Evelyn Hotel on Friday 1 October with support from Eloquor, Whisper, Mixed Alliance and DJ Doc Felix. Tickets are $13 on the door or $11 + bf through Moshtix – album and mixtape giveaways on the night. Hit for further info.


Dirty funk, wobbly beats and collect ive groove smearing keep The Grand Szechuan members Riki Gooch, James Brown, Jon Hunt, CJ Rhodes and Adam Page entertained and chances are their interpretations will do the same for you. Influenced by Sun Ra, Bob Marley, Madlib and Parliament – amongst many others – the five piece will be smashing The Toff In Town with their funk fuelled sounds on Wednesday 29 September. Adam Page performs solo in support.

SWEET SPOT Hard Kandy are upping the ante

considerably for their eleventh birthday celebrations, calling on the flamboyant Japanese prince of hard dance darkness, Yoji – aka Yoji Biomehanika. The Hellhouse label boss brings his unique fusion of trance, techno, hard dance and more to the Hard Kandy floor, where a Harajuku/anime theme will keep the audience cost umes interest ing; as will the yet to be announced local supports and PLUR Underground hosted side room. General admission tickets available now through Moshtix for $60.40.


Dist ribution experimentalist and tech house nutter Mike Monday is making a welcome excursion from his London home to Onesixone for a six hour Morning Glory recovery set on Sunday 3 October. Because he’s a kind fellow and would prefer giving you his music himself, you can get plenty of it from mikemonday. com for free. Morning Glory kicks off at 4am, supports include Damanual, Dwayne Thompson, Tom Evans, James

Fava and Rowie.


The fi ftieth session of Pressure Drop hits The Johnston on Saturday 25 September with a massive, st rict ly reggae and dancehall, killer all-female lineup. Sista Itations will be joined by Troublemaker (feat Burn City Queens), So’fi re, Night Nurse, Fee, Sista Sarah, Sista Raquellina, and the Bam Bam Assassins in an extra special performance. $5 entry before 11pm, $10 after.


If a crowded local pub doesn’t seem like the best venue to appreciate the AFL Grand Final, chances are you’ll like what Bimbo Deluxe and Lucky Coq have on the table. The Saturday 25 September footy friendly entertainment promises big screens, less crowding, jugs o’beer and stacks o’pies plus tunes from DJs Phato Amano, Adam Askew, Peter Baker, Sam McEwin, Pac Man, Tahl, Kodiak Kid, DJ Return and Ash Lee.







GREGOR TRESHER – Friday 8, Brown Alley 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 YACHT CLUB DJS – Thursday 14, The Corner Hotel SAGE FRANCIS, B.DOLAN – Friday 15, The Forum DEEP ROOTS: THE BLACK SEEDS– Friday 15, The Espy HEAVY INNIT: DOCTOR P, BAR9, ADDISON GROOVE, DEADBOY – Friday 15, Brown Alley YACHT CLUB DJS – Saturday 16, The Corner Hotel SWAG FEST: FABOLOUS, MARIO, PHINESSE AND MORE – Saturday 16, Festival Hall TIMO MAAS – Saturday 16, Brown Alley SURGEON – Friday 22, Roxanne Parlour KINGS KONEKTED, MATA & MUST, NINE HIGH, TINEY TED, DJ AFFIKS THE MELODICS – Saturday 23, The Corner Hotel SUPERPITCHER – Saturday 23, New Guernica ICE CUBE, SCORCHER – Saturday 23, Palace Theatre HARD KANDY: YOJI – Friday 29, Billboard WE ARE FANS – Saturday 30, The Toff D.RAMIREZ – Sunday 31, Street Party MATINÉE MELBOURNE HALLOWEEN – Sunday 31, Billboard MOUSE ON MARS – Sunday 31, The Corner Hotel NOVEMBER BINGO PLAYERS – Monday 1, Billboard PENDULUM – Monday 1, Festival Hall ANOTHER WORLD: BLISS N ESO, THE GETAWAY PLAN, THE POTBELLEEZ, GRANT SMILLIE, PARIS WELLS AND MORE – Monday 1, Hisense Arena JUNGLE RUN 10 – Monday 1, Prince JASON DERÜLO – Friday 5, Festival Hall JASON DERÜLO – Saturday 6, Festival Hall GRAFTON PRIMARY, INFUSION – Friday 12, The Hi Fi BAG RAIDERS – Friday 19, Billboard STRAWBERRY FIELDS: TELEFON TEL AVIV, WRECKED MACHINES, ALEX SMOKE, VINCE WATSON AND MORE – Friday 26, venue TBA

KINGS OF THE Aussie hip hop hill the Hilltop Hoods have turned movie producers with latest DVD release Parade Of The Dead – what seems to be a concept fi lm revolving around zombies taking over the planet with the Hoods’ State Of The Art album as the soundtrack. It’s out 22 October, see for yourself then… A RECENT STUDY by the Northumbria University in England has found that men looking like complete tools on the d-floor act ually increase their chances of picking up the ladies. Apparently women are attracted to primal signals of health, vigour and strength from wacky dance moves. Experts explain that “movement of the trunk, the neck and the shoulders give out signals of strength, suppleness and vitality”. We thought it just meant your pingers were kicking in... SAFE AS FUCK! At least you will be when reaching for the lasers after Super8 & Tab drop their debut album Empire on Anjunabeats Friday 24 September – through the newly formed Balance Music label here in Oz.... EMINEM IS KNOWN to enjoy a good whinge but for once the rapper has had some just ice thrown his way. A US federal court ruled that Eminem’s former product ion company is entitled to more money from digital sales than record label Universal was willing to offer. The decision, which has shaken up an ongoing music royalty debate, will see Em gain tens of millions of dollars. Hopefully he’ll spend it on better beats for his next album...



Aust ralian house and techno fans will usually look to Europe for the realisation of their clubbing fantasies – The Likes Of You, Th ick As Th ieves and Revolver Sundays are, however, always a good source for keeping them local. The Sunday Summer Series will be have surely every serious clubber salivating with a booking sheet that includes Radio Slave, Martin Buttrich (live), Jamie Jones, Alex Smoke, Butch, David Squillace and Konrad Black in the six months of mayhem from Sunday 24 October – Sunday 27 March.


Hip hop junkies can get their Revolver fi x somewhat sooner than the above, as Queensland’s Kings Konekted join Mata & Must, Nine High, Tiney Ted and DJ Affiks at Revolver Upstairs on Friday 22 October. Head to revolverupstairs to keep in the loop.


Afternoon InSanity is raising much needed funds for mental health awareness charities by throwing a free day party at Miss Libertine on Sunday 26 September. You’ll be able to bop along as 23 of Melbourne’s best DJs bring a drum’n’bass, breaks, glitch, hip hop, minimal, tech house and techno onslaught to both rooms of the venue from 12pm till whenever they finish.


After selling out their fi rst show at the Corner Hotel in just ten days, Yacht Club DJs have announced a second at the venue for Thursday 14 October. Gold Coast lo-fi punk act Bleeding Knees Club join in support, more special guests to be

announced. Tickets $18 + bf though


Keeping Melbourne Fest ival interest ing will all be in a day’s work for Japan’s Boredoms. Their BOADRUM10 show employs Melbourne based drummers Evelyn Morris, Cameron Potts and Mat Watson to the join the sevenpiece percussion powerhouse on the Beck’s Fest ival Bar, Forum Theatre stage at Midnight, Saturday 9 October. Art-rock indie outfit Kes Band and Bum Creek support. Tickets $20 + bf through Ticketmaster.


Roxanne Parlour has a diverse range of promoters booking a ceaselessly attention grabbing st ream of guests. Techno fans have cause for celebration with Future Entertainment presenting Marcel Dettmann on Sunday 19 September while the Red Bull Music Academy does the same for dubsteppers on Friday 24 September,

with Martyn, Tokimonsta and Illum Sphere. Head to roxanneparlour. for more info.


North-London MC, grime producer, entrepreneur and rising star Scorcher has just been snapped up by Geffen/ Universal, and is ready to launch his latest lyrical assault on Aust ralia with the release of his brand new single It’s My Time. Catch him when he performs at the Palace Theatre on Wednesday 27 October in support of Ice Cube.


3RRR brings Deep Roots back to The Espy on Friday 15 October for another serving of the freshest and finest in roots jams. Wellington based eight piece The Black Seeds bring their dub, funk, and soul fusion to the headline slot and are joined by Bonjah, Public Opinion Afro Orchest ra, Direct Influence, Jess Harlen, The Marabou Project and Afro Mandinko. Tickets $30 plus booking fee from and all OzTix outlets.









ERHAPS IT’S IN HIS BLOOD, OR MAYBE JUST HIS PROFESSIONAL DEVELOPMENT, but whatever your speculative core concerning Lee Burridge may be, one thing is certain: he’s an entertainer and a bloody good one at that. He commenced his long appreciated career behind the decks as a teen spinning Top 40 tunes at his parents’ bar and has managed to find himself somewhere within the minute core of large developments in the elect ronic music world ever since. It was while wowing progressively larger rave and club crowds in Wan Chai Dist rict, Hong Kong and Haad Rin, Thailand with his customarily broad blend of house and techno that he came to meet Craig Richards and Sasha, who invited him to form the Tyrant Sound System. Soon after Burridge found himself playing with his then kindred vinyl slingers at the newly formed Fabric Nightclub, before contributing to the fi rst Tyrant compilation with Richards and putting forth the fi fth instalment of Global Underground’s celebrated Nubreed compilation series – the latter helping to catapult him to number 29 in the DJ Mag Top 100 poll (2001). Popularity has never been a difficult commodity to attain for Burridge and, though you’ll rarely see him scaling such st ratospheric heights on polls nowadays, he st ill garners as much enthusiast ic attention from punter and press alike, thanks in no small part to his wicked sense of humour and uncraven obsession with curating good parties. His bold and ambitious 365 project – a residency-based affair that saw him spend a month or two in

CONCEPT AND SURVIVE several cities – has inspired several new concepts that US audiences have already enjoyed and the rest of us can look forward to. Burridge is always, in poltician speak, “moving forward”. “I think it’s good to retain the essence of the project to take a thread or two so you have a similar feel to something without being exact ly the same,” he explains. “There’s only so many things you can do with this music; you can do your artist album, mix CD, tour, make some music, go out [and] DJ, do a club residency, whatever – it does have parameters. It’s unlikely in the short term that I’m going to seven cities in a year; that was the concept for [365] and the following year. It worked really well and I loved it but there’s other things I want to do right now; I’ve started making more music so it places limitations upon the freedom of doing something like that. “I have got several other parties that I want to launch concepts in which I’m working on for next summer at the moment. [Get Weird] was born from going to Burning Man fest ival and seeing the input of everybody to make the communal experience an amazing one. I did it in San Francisco, which was great because you get loads of people that go to Burning Man. I just encouraged them to make their own party, dress up weird, bring along st uff if they wanted and try to give it a theme but have more input than just turning up in a pair of jeans and a t-shirt. It’s like Halloween – people enjoy dressing up crazy and doing st upid shit and it gets competitive as well, which I kind of like. You know, who can outdo the other person!” As a wholly social creature, it’s hardly surprising that Burridge should reach for an idea that, in some form at least , “fucks with the program”. Always foremost in his consideration is the fact that the consumption of dance music is a unifying experience and one which should be enjoyed in the widest sense of the expression. Hence, Get Weird feeds into yet another concept. “[With] the other, I’m going to start doing Sunday day parties,” he enthuses. “The mix I did for Resident Advisor two years ago now I think was this mix of beautiful, ethereal, melancholic sort of house music that I really like – some of it’s not danceable but some of it is and I just want to do day parties where you get either people who don’t go out on Saturday night or people who go out all night on Saturday night and have that kind of lovely warm tingly connect ion that you tend to get if you stay up.


“I’ve [done one] already in New York on a rooftop and it was amazing – of course everyone had been out all weekend already, which helps! There’s something about Sunday day parties; a lot of girls came along, it’s not this dark moody club experience… There’s a very different vibe to it. The one thing we suffered from is that July in New York is ridiculously hot so at three o’clock in the afternoon on a tar roof in Brooklyn, as much as the music was great – I think one of the Kabuto & Koji guys was playing – it was just roast ing and people were cowering for any shade or sitting against the wall to try and deal with it. Th inking it through [though], it’s nice to put these parties on and get them slightly wrong to start with and work on making sure that they’re completely right after a few. When you already have a good crowd they’re quite forgiving.” Besides experimenting with new and wonderful ways to entertain audiences, Burridge has also made a long overdue move into product ion. In years gone by, his output has been sporadic at best, due to a lack of experience, time and appropriate collaborators. A recent hook-up with one-time progressive house st udio lord Matthew Dekay is already paying dividends and pushing Burridge closer toward a regular release schedule. Their fi rst track, Wongel, was pitched to Nick Curly for release on Sven Väth’s Cocoon Recordings but has instead ended up on Curly’s disc for the label’s Party Animals Ibiza summer mix compilation. According to Burridge, the track will get a full release through Curly’s Cecille label some time this month and there should be plenty more to come. “I met Matthew Dekay last year in New York and he was going through a personal musical crisis. He didn’t really know what he wanted to play and came along to my party, got completely out of his mind and had a musical epiphany,” he says jokingly. “Before that we’d never met before but had a chat for an hour like we’d known each other 20 years, and he’s one of those people you have an instant connect ion with so the st udio was the next logical path to take. The guy is just ridiculously talented – he’s not just programming the computer, he’s a musician. He plays a lot of different inst ruments, which just blows my mind because I’m just on the triangle in the back, playing sometimes at the right time and sometimes not. We have out st udio partnership down; I shout ‘louder’, ‘more reverb’, ‘do you want tea?’ and hit a triangle occasionally and that’s about it. “We were working on some new material a couple of weeks ago so I’m just basically back and forth between here and Berlin to make as much as I can. Tim Green [also] engineered a couple of tracks for me, one of them is coming out on Leftroom in September and the rest I don’t know. It’s all about putting them out on the right label at the right time nowadays, otherwise if everything comes out at the same time people are sick of your name and if it’s out at the wrong time of the year your tracks get missed.” WHO: Lee Burridge WHERE &WHEN: Sunny at Brown Alley (Melbourne) Friday 17 September, Subtrakt Th ird Birthday at Barsoma (Brisbane) Saturday 18 September, Chinese Laundry (Sydney) Saturday 25 September


HEN IT COMES TO EQ RECORDI RECORDINGS’ DINGS’ BALANCE E COMPILA COMPILATION ATION SERIES, there are a few instalments tha that at fans tend to prattle about fi rst r , and more often than not it tends to be James Holden’s Balance 0055 getting people in a lather. Seminal though it is, it’s not the only two-disc cracker to have really blown expectations out of the water, and Lee Burridge’s Balance 012 does just that – across three discs. Despite this, you won’t often find too many house fans raving about it. Why? The problem is perhaps twofold. First ly, there’s no out-of-the-box defining feature at play like the “howmanytrackscanIcramintoasmallspace” efforts of Joris Voorn on Balance 014, and secondly, Burridge isn’t professing to capture any zeitgeist. He just mixes a bunch of really bloody good tracks using vinyl, a pair of turntables and a decent mixer. Or something like that, anyway – he even apologises to the producers for speeding them up by +4 on the pitch in the sleeve notes! All this and more is what makes his compilation so appealing and so definitively Burridge – there’s never the smallest shadow of pretence or contrived concept, and that’s the way it probably should be. In keeping with his talent for covering serious range, the Orange, Red and Green discs traverse a broad array of tracks that at the time – and st ill do – rock different dancefloors at different hours in different ways. The captivatingly textural, melodic and deep Orange disc takes in some of 2007’s most defining tracks, bringing Lazy Fat People (Ripperton and Mirko Loko), H.O.S.H, Jacek Sienkiewicz and Marcus Wogull to the party with Club Silencio, Steppenwolf, Good Luck and Dragon Loop respect ively. In a seemingly trend-predict ing move, Burridge also gives tracks from Onur Ozer, Super Flu, Broke (Matias Aguayo and Marcus Rossknecht), Tigerskin and Marc Houle pride of place in the woozy groove assault of the Red disc, before banging the arse of it good and proper with the likes of Gabriel Ananda, Luca Bachetti and Par Grindvik on the Green finale. Both at home and abroad, you’ll find music from all these producers taking pride of place in many a record box, CD wallets or hard drives – Burridge getting there fi rst of course. All this would mean little were it not for fine pace and form however, and thankfully, Balance 012 has it in spades. If only Burridge would get cracking on another mix…










ne of the true stars in the annals of Australian television is Bouncer the labrador. A supporting character on Neighbours between 1987 and 1993, this lovable scallywag won the hearts of a nation by rolling over, playing dead and shaking hands with the mediocre soap opera stars and not making a big deal of it. It is this absence of ego that made Bouncer a true blue icon, saying more with his big dopey eyes than thousands of episodes of Neighbours ever did. The story of Bouncer’s journey on Ramsay St is as timeless as a platinum clock thrown at Kylie Minogue. Initially a gift to Lucy Robinson by Mike Young, after he accidentally drowned her terrier, Bouncer struggled to form a stable and commited relationship with his owner. Lucy went on a Eurotrip (relationship status: open) and Mike soon took Bouncer under his wing, where they spent afternoons together chewin’ bones and smokin’ cones. Realising the limitations of a friend that doesn’t split weed evenly, Bouncer followed his nose to the home of Mrs Mangel, a lonely old biddy written for comic relief and the over-60 demographic. After a brief bout of amnesia, Mrs. Mangel grew to love the pup. Mike was pissed; it was his dog after all and she stole it. Like all sensible parents going through a bitter divorce, they let Bouncer decide, patting their knees and hoping he would come to them. Knowing that Mrs Mangle had cocktails of heavy prescription drugs, he wagged his tail her way. Such is the cycle of foster parenting on Ramsay St. You will be loved unconditionally by a character until they decide to move overseas and pursue a ‘lucrative’ career opportunity in Children Of The Corn 5. Bouncer was nonplussed, a hand-me-down dog that outlasted many of the show’s stars in its early years. He found love when sheep dog Rosie came to town, vowing to clean up his act and be a good dog-dad for the sake of his kids, all the while developing heart-warming relationships with the program’s weaker characters. One of the most notorious moments in the history in the long-running show is Bouncer’s ‘Dream Sequence’. Predating the backward-talking dwarf of Twin Peaks, it dives into the bizarre subconscious of a sleeping dog, drifting uneasily through his love lorn desires. Pipe organs playing in the background, Bouncer fantasises about licking the ear of a female Border Collie, trying to shake hands with her. Giant plastic flowers pass by. Marriage is his great desire, it is only a matter of time before the law acknowledges the importance of dog-on-dog action. It ends with Bouncer and his dog wife (?) sitting in a kennel that bears the words ‘home sweet home’, looking on as their crossbred puppies eat from a bowl. You won’t see shit like that on COPS L.A.C. In Josephine Munroe’s book Neighbours: The First 10 Years, she looks back at the Bouncer’s integral role in the program: “Bouncer was a hero – he even answered the phone and barked to Joe when baby Sky was in trouble – and often had major storylines of his own, like the time he was run over and nearly died. But most importantly, he was a loyal and loved friend.” While he had many fond memories of his time on Ramsay St, Bouncer ultimately chose to retire and moved to a rural farm where he could rear his puppies out of the spotlight. Bouncer passed away in 1992, aged seven (or 41 in dog years). He’s currently digging for bones in that great park in the sky.



IN BEETHOVEN The world’s most famous St Bernard after Cujo, Beethoven is a whole lot of trouble. He is adopted by a family that loves him, but patriarch Charles Grodin just doesn’t like him. Beethoven slobbers everywhere, chews shoes. That dog!!! Only when he’s kidnapped and taken for animal test ing does the father realise that he should rescue the dog if he wants to save thousands of dollars on therapy for his children. They made several sequels.


IN THE ADVENTURES OF MILO AND OTIS As a puppy pug, Otis befriended ranga kitten Milo, forming a life long inter-species bond. One day Milo accidentally floats down st ream in a box, Otis chases after her. Thus begins the picaresque escapades of Tom and Huck by way of cat and dog. The Japanese-produced fi lm is also notorious for its inhumane treatment of animals on the fi lm, allegedly drowning kittens and puppies in sacks when they got too old and difficult to fi lm. Kind of makes you not want to watch it any more, hey.


IN SPACE BUDDIES After making seven Air Bud movies, about a dog that plays basketball/baseball/volleyball, the series was relaunched focusing on a pack of trouble some puppies, named the ‘Buddies’. Th rough the power of digital animation their mouths come to life, but their eyes stay dead and doll-like. One of them wears bling, the other has a backwards hat, another has a pink bow in her hair. Their best adventure is when they accidentally fly into space, dest roy a Russian space station, moon walk, and fart their way back to safety. ‘The Buddies’ prove, once and for all, that dogs truly do live remarkable lives and make for spectacularly awful fi lms.






our years after their last foray, Canberra’s Koolism have returned to reclaim their stake in a now buoyant Oz hip hop scene. And The ‘Umu is their st rongest album yet. So why, then, is MC Hau (aka Langomi-e-Hau Latukefu) kicking back in New York just as it’s dropping? Alas, Latukefu isn’t wheeling and dealing with that Roc Nation powerbroker Jay-Z, but holidaying. “Act ually, I was with Diddy last night – nah, but I did see Diddy last night at a concert,” he teases. “It was interest ing. He definitely has NY in his hands, that’s for sure. He was performing with [his new elect ro group] Dirty Money and Rick Ross. It was Rick Ross who was interest ing. He did a lot better show than I thought he would!” It’s the second time the Queanbeyan native has visited New York – and Latukefu, who’s also interviewed Black Sheep’s Andres “Dres” Titus for Triple J while in town, wishes he’d encountered it in the mid-90s. In 2010 Koolism, comprised of Latukefu and DJ Danielsan (Daniel Elleson), can call themselves veterans. The ‘Umu is their fi fth album, named for a Tongan underground oven – and all the hip hop allusions to barbecues, tast y beats and sizzling raps apply. Koolism existed as early as 1992, albeit in a different incarnation. By the time their debut album, Part One, materialised in 2002, they’d already contributed to an important compilation (Homebrewz), issued a cassette (Bedroom Shit), and aired cred singles and EPs (Lift Ya Game). Signed to Invada, Koolism went on to scoop the Best Urban Release ARIA for their third album, Pt 3 – Random Th oughts. Koolism’s last joint, New Old Ground, surfaced just as Aussie hip hop was coming into its own commercially – 2006 was the year Hilltop Hoods blew up with Th e Hard Road. Koolism have progressed substantially with The ‘Umu. The album has a similar vibe to TZU’s Computer Love – it’s ol’ skool party hip hop spiked with retro elect ro. Latukefu attributes the duo’s sonic experimentation to Elleson, dubbing him “a mad scientist”. “We’ve always been into bass music – like Miami bass, jungle and drum‘n’bass – and especially 808 beats from people like Too $hort and st uff like that. Daniel wanted to have a theme throughout the album. And his theme was the 808 [drum machine] – also sampling a few classic drum sounds that you may have heard somewhere else, but can’t really put your finger on ‘em. So we wanted to mix that together – like [have] a mix of synthetic and organic, and old and new.” Koolism’s idea was to ultimately have The ‘Umu sound, not vintage, but “familiar”. It had to be “fresh”. Latukefu, for his part, wanted the lyrics to again be personal, avoiding the “same ol’ same” topics of other Aust ralian MCs. “We’re known to be quite open with feelings,” he suggests. “I always love to talk about family and friends, so a lot of that is in the music for this album.” Alone was inspired by his uncle, who arrived in Aust ralia from Tonga. A promising soccer player, he was to join the Aust ralian team but, as “a brown-skinned man”, couldn’t travel to South Africa because of the country’s racial politics.

Still, it’s odd that Koolism have taken years to furnish a follow-up. Indeed, Th e ‘Umu was in the pipeline at the end of 2006. Since 2008, Latukefu has had another major commitment – host ing Triple J’s Hip Hop Show. But, even before that, the pair were trying to negotiate their living in different cities – Elleson having moved to Melbourne and Latukefu Sydney. The MC originally relocated to Sydney because of his wife’s career. “Th at’s when things happened with Triple J – and I was able to do it because I did live in Sydney.” Sust aining Koolism became a challenge. “Trying to co-ordinate time with our own lives happening was hard,” he explains. Initially, Latukefu st ayed in Melbourne for burst s, but then the Hip Hop Show required him to be in Sydney two days a week. “It did

put a hold on the album for a while, but we realised, ‘Th is is just how it is, so we have to work with that’ – and it took us this long to complete the album.” Latukefu once claimed that being based in the ACT gave Koolism an advantage. There were fewer dist ract ions – and, isolated from other cultural hubs, they were less susceptible to external influences or pressures. Yet Latukefu is now doubtful of his ever going back, Koolism outgrowing Canberra. “I always thought I would [return] – [but] I don’t think my wife would,” he laughs. “The same with Daniel. I think he would like to go back for a little bit, but I don’t think he could live there.” Presenting the Hip Hop Show has opened Latukefu’s eyes. It led to his decision to assume some responsibility for promo-ing The ‘Umu. He sent advance copies to media with a handwritten press release on a paper plate, plus plast ic cutlery. Koolism’s recommendation? “Eat While Hot”. It’s no surprise to Latukefu that Aust ralian hip hop should crossover in recent years. “I always thought that would happen in time,” he says. “I’m not surprised that groups like The Hoods and Bliss N Eso were the ones to break ground and really break through with number one records and Gold sales – I just feel it has a bit more appeal to wider Aust ralia. If you were within the scene, you saw it coming. But maybe, if you weren’t into the scene, it feels like [Aust ralian] hip hop just came out of nowhere.” WHO: Koolism WHAT: The ‘Umu (Remote Control/Inertia) WHERE & WHEN: Good Vibrations at Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February and Gold Coast Parklands Saturday 19 February





hen most people throughout the world think of jazz music, Utah does not typically spring to mind. However, the Utah Jazz has a well-established reputation in the National Basketball Association. They have housed greats ranging from John Stockton and Karl Malone to Adrian Dantley and “Pistol” Pete Maravich, yet have never won a championship since moving to Salt Lake City in 1979. Musically, Utah Jazz is also the moniker of Luke Wilson, a d’n’b producer who chose his basketball-inspired name in an effort to sound catchy while also representing his st yle. His sound is “liquid” – somewhat in the same vein as Fabio – and he started to make a name for himself in the mid-90s, via his amalgamation of jungle and the more atmospheric side of product ion. Five years later, he had garnered himself a monthly residency at Fabric and only two years ago he released his debut artist album, It’s A Jazz Thing. Not only does Wilson have a new label in Vintage, he has a new record under the same name as well. As the very fi rst LP on the imprint, life for the amiable Londoner has been immensely hect ic of recent times. But has undertaking two massive endeavours at the same time frightened him? “A little bit yes, but that’s what made it all the more exciting,” he exclaims. “I’ve had experience running a label in the past but this was on a much bigger scale. Financially, it was a bit of a risk but I had confidence in the album and I made sure I was planning far enough in advance so that nothing could go wrong.” Vintage is just as harmonious as his fi rst, yet much more multifarious as well. Thankfully Wilson agrees. “I’d say Vintage is more explorative in terms of the samples used and their origins,” he begins. “It’s A Jazz Th ing was very soul and funk sample based, whereas the new LP draws on a few other genres, such as the prog rock influence of Avoiding Puddles, the 60s blues vocal and guitar of Take No More, and even what some might call happy hardcore – early 80s breakbeat st yles, like in NRG ‘93.” Full of collaborations(Jonny L, Chelonis R Jones, Ragga Twins and DRS all make appearances), the “chance” encounters of Vintage have added that extra depth to the record. “I definitely think the collabs have brought a new dimension to my sound and the album as a whole, although I was a


bit worried that it might mean losing a bit of my signature st yle so to speak. That said, even though it’s st ill predominantly a liquid album, I was exploring with new sounds and so they were just part of that progression.” Utah Jazz has always been more famous for his role as a DJ, yet he acknowledges that a change may be occurring as we speak. “The response to the album has been overwhelming and has definitely pushed me up a notch or two in terms of being well-known as a producer, which is great,” he states. “In turn, this means more DJ gigs, so I’m really happy to be able to please people using both routes.” And while there is still so much more to know about Luke Wilson (he has a university degree in Sports Science, he is not Owen Wilson’s younger brother, Vintage was named Album Of The Week in The Independent and he is freshly married), Mr. Jazz gives some insight into his other current ventures. “I’m still just out there promoting the album, doing lots of interviews and a few radio shows here in the UK too,” he declares. “I’m also putting the final touches on a few tours this autumn, such as a five-date Canada tour in October, loads of European clubs, and of course the Paradise In Bali festival – that is sure to be one of the highlights for me.” WHO: Utah Jazz WHAT: Vintage (Vintage) WHEN & WHERE: Paradise In Bali Fest ival at Lotus Pond, GWK (Bali) Sunday 14 & Monday 15 November, Twisted Audio at Brown Alley (Melbourne) Saturday 20 November



n the surface, 4chan is just a messy looking, fast moving image forum with a heavily codified st yle of conversation between the largely anonymous members. Underneath the crude leetspeak, cutting edge sarcasm and glimpses of brilliant humour lies a powerful message about the value of anonymity, and one that has earned founder Christopher “moot” Poole a place presenting on the same esteem TED stage that has hosted the likes of Former Vice President Al Gore and mathematician Benoit Mandelbrot. (Yes, you fractal-loving hippies, that Mandelbrot.) While the site has a limited range of funct ionality and various themed boards, it is the legendary /b/ random board that earns 4chan the reputation as being a meme factory. Th is is where you can haz cheeseburger, the birthplace of the lolcats, and an apt segue back into animal cruelty – as in, what happens when 4chan catches you doing it? (And no, we aren’t referring to “ceiling cat”.) The story kicks off in the traditional manner – a teenage American douchebag in a ninja outfit, making terminally unfunny jokes to a camera. Nothing new for YouTube by any means. What happens next managed to anger some 30,000 viewers before YouTube pulled the plug. As our masked antagonist is followed into a bathroom, we see a small cat locked in a shower cubicle. If you can stomach the uncomfortable footage, Google “Dust y the cat” to see the beating it takes under the hands of the laughing idiot and his creepy cameraman accomplice. By the time the original footage was pulled, 4chan signaled a call to arms, and a challenge for the Anonymous horde to track down the culprits. With little clues to go on, they pulled it off in a manner of days, and headlines around the world read of a 14-year old Oklahoma native and his brother being arrested for animal cruelty. The internet rejoiced briefly, before launching into debate about the severity of the response, the tribulations of teenage hormones and the finer details of animal cruelty. One of the great lessons of the 4chan intervention is that the interwebs has eyes everywhere. In the past month a new villain was caught in that steely gaze, as a 45-year old English woman made the mistake of throwing a cat into a garbage bin in full view of a CCTV camera. Known by now under an arsenal of amusing names, including the generic “bin cat lady” and the more ridiculous “purrminator”, the grey-haired Mary Bale was tracked down in only a manner of hours. Her initial responses of “it’s just a cat” and “I suddenly thought it would be funny to put it in

the wheelie bin” only played further into the hands of the masters of internet memes, and Ms Bale soon found herself under police protect ion as the details of her identity, location and employment rolled out across that great series of tubes that we once called the information superhighway. The success of their CSI routine has propelled 4chan into the lofty ranks of Batman, evidenced in the last fortnight as the Dangerous Minds blog requests their help in tracking down yet another net-villain – this time a Slavic girl lobbing puppies into a river like hand grenades, and once again we see the same reports from the battlefield playing out across the feeds as 4chan eat her up like so much marble cake. Certainly, the irony should be appreciated that one of the most vocal proponents of anonymity in the digital age is also the greater force in indentifying other members of the digital community with ease.


Please don’t ever, ever, ever ask me to go to 4chan again. I lost a significant part of my soul today doing “research”. I don’t even really want to describe it to you, as I don’t want you to suffer as did I, or to see the fucking awesome things I’ve seen. Like this for example – I was doing some “research” on the /b/ forums, which are the super-fast moving random threads. I noticed a girl post a booby pic, and the thread exploded in real time as nerds egged her on. Th is subsequently moved into a number of webchat sites, which are created as required like an instant-soup of webpron. Some lovely young lady with Daddy issues bared all, and contorted and performed upon request, as 80 eager geeks and one polite researcher bore witness to the full force of a bored and extroverted young lady at her best. I mean worst. And then... her mother walked in midperformance. You have forced me into the lion’s den, and I crave salvation. It’s bad enough that I know is out there – I don’t need to fall asleep wondering what /b/ (or dare I suggest /s/) is doing. Yours Sincerely, Enzo Stephenson





he disco haters of the 70s assumed that nightclub music would be a fad, soon fading to black, but instead it’s experienced successive revivals. Italy’s Guglielmo “William” Bottin, born in 1977 when disco’s mortal enemy punk sprang out of London onto an unsuspect ing world, is leading the nu-Italo disco charge in 2010. Though originating from Padua, Bottin currently resides in nearby Venice, no clubber’s paradise. Reggae, not house, is ubiquitous. “It’s quite the tradition here because we’ve had reggae in the Venetian dialect since the late 80s or something. It was a big success nation-wide in Italy – like [people] went to big fest ivals. So it’s been like this for the past 25 years.” Bottin has been act ive for ages. As a teen, he was playing keyboards in acid jazz combos. He developed an interest in elect ronica – and made lounge music. In 2002, having contributed Good Morning Sunshine to a compilation on the Italian Irma Records, he presented an album, Chill Reception, as Bluecat. “It was st range because it was something that now we would call ‘Balearic’ – this kind of downtempo, chilled-out house music with some trip hop influence,” he recalls. “It’s not so different from what I’m doing now. I think it was just a bit more naive maybe.” Bottin was also employed as a sound designer at the Benetton-affi liated cultural lab Fabrica before going “freelance”. “I st ill do it from time to time,” he divulges, “but I don’t really enjoy it so much as I enjoy making music. It’s one of my trades.” Then he’s worked as a producer/arranger for Euro pop acts, among them Italy’s seasoned Lucio Dalla and the Spanish flamencotronica outfit Chambao. Th is taught him how to deal with the “idiosyncrasies” of “stars” – and tact fully guide them. While at Fabrica in 2001, Bottin took up DJing. Later, he was involved in Crist iano Spiller’s label, Nano – Spiller his fellow Venetian whose Groovejet (If This Ain’t Love) had crossed over globally in 2000. Unaware of an Italo revival, Bottin was persuaded to submit his Fondamente Nove to Eskimo Recordings when, spinning alongside Richard Dorfmeister at a fest ival, the Aust rian quizzed him on whether it was an Eskimo track. His fi rst conscious experimentation with Italo disco culminated in No Static, disseminated through Mike Simonetti’s Italians Do It Better. Bolder again was last year’s acclaimed Horror Disco, a concept album inspired by the peculiar cinematic genre of giallo – and cult Italian directors like Mario Bava, Dario Argento and Lucio Fulci, the ‘godfather of gore’. Coincidentally, Claudio Simonetti, who, together with his 70s prog rock band Goblin, cut music for George Romero’s zombie fl ick Dawn Of The Dead, went on to become an Italian disco icon. But, that love of slasher movies aside, Horror Disco is ultimately Bottin’s homage to Italo. ‘Italo disco’ is a problematic tag, meaning something different to different people. It frequently denotes all European disco. In fact, Bernhard Mikulski, founder of the German stable ZYX, introduced ‘Italo disco’ as a marketing tool in the 80s. Bottin admires the Italo of, not its cheesy proponents, but the underground pioneers: Claudio Simonetti and


Bologna’s Mauro Malavasi. At any rate, everything – disco, horror, coolkitsch – converges on Horror Disco. “It started with the discovery of an old Italian synthesiser [the Farfisa Stereo Syntorchest ra] in my friend’s attic – and, fiddling around with that, I came up with some sounds that reminded me of these Italian B-movie soundtracks,” he says. On Horror Disco, Bottin performs, not only the synth, but also guitar, bass and trumpet. Douglas Meakin – an English expat and, importantly, old Claudio Simonetti associate – sings. Symbolically, the album materialised on Stevie Kotey’s Bear Funk, the Brit an early champion of ‘nu-disco’. The nudisco phenomenon is longer a surprise to Bottin, who holds

the music to be more “musical” than today’s other increasingly “boring” st yles. (“It’s either very minimal or it’s very spanking and just too much of the same,” he points out.) Bottin might be expected to express an affinity with Norway’s cosmic disco contingent – after all, he’s remixed Lindst røm. However, he considers nu-Italo as dist inct. “We take a different approach,” Bottin suggests carefully. “We might listen to the same records, but, especially the Scandinavian sound, I can tell it’s Nordic. It’s not a bad thing, it can be good, but it’s just very different. It’s very polished, in a way, and the product ion is more clean. I like to keep some dirtiness and leave a little mess here and there.” Recently, Bottin issued the mix-comp Discoursive Diversions in Nang’s New Masters series – it encompasses his tweaking of Lost Valentinos’ Nightmoves. Apart from discreetly launching a re-edits label, Artifact, with a mystery Dutchman, Bottin is plotting another artist album. It won’t be horror disco. “I’m st ill digging around for a concept. I just don’t wanna pigeonhole myself in it too much because I’ve done that – it’s st ill my own sound, it’s not something that was artificially created – but I don’t wanna do only horror-sounding music any more.” WHO: Bottin WHERE & WHEN: Picnic at GoodGod Small

Club (Sydney) Friday 24 September, New Guernica (Melbourne) Friday 1 October, Lick It at Barsoma (Brisbane) Saturday 2 October




ewind a few years before Major Lazer and the South Rakkas Crew brought dancehall and elect ro on a collision course in clubland worldwide. It’s 2002 and the Canadian product ion buddies Dennis Shaw and Alex Greggs are living at the centre of the pop music world at the time – Orlando. Their gig is writing pop tunes for the most powerful manager in pop music, Johnny Wright, and his stable of artists with a roll call including the likes of N’Sync and Britney Spears – a world away from the grimey club bangers that are now the signature of the South Rakkas Crew. “It just got kind of boring to me, and I wanted to do something that was just a little more grounded,” Shaw shares down the line from a rare st int at home in LA. “I wanted to start something that I liked, that I wanted to get into myself. I was born in Jamaica and I’ve wanted to get back into some st uff like dancehall fused with other things that I other things that I like.” Shaw hit up Greggs to see if he was down, which he was. They’d both tired of writing sugary pop numbers, and their attempts to st retch the major labels beyond their regulation urban genre boundaries were constantly rebuffed. After 4 years of producing pop tunes with their creativity st ifled, something had to give. Thus the South Rakkas Crew were born, the production duo’s catchy name a throwback to their pre-pop days. “Back in the day we used to call dancehall music ‘rakkas’ music,” Shaw reminisced. “Back in Toronto we used to put on the flyers, you know ‘we play hip hop, R&B and rakkas’. That’s what we called dancehall. So because we were in Florida, South Rakkas.” Success wasn’t instant though and when it came, it hit from afar. Florida at the time had nothing like the South Rakkas – there was no dancehall scene, so local support was non-existent. “That’s what they always say you know – people don’t really appreciate an act that is local,” Shaw shares philosophically. Tellingly, despite naming their act in honour of the southern state, the guys are st ill yet to play a show there, with the UK that biting onto their dancehall-fusion st yle early on. “With reggae music, with dancehall music, I mean like the fi rst things we put out as South Rakkas were like rhythms on Greensleeves Records which is a UK based record company. From the beginning we got more promo over there and I think bigger dancehall markets are in Europe and other places outside of the US. It was just a natural thing for us to get more recognition for us over there.” With the recognition came requests for them to tour. There was a catch though. “People used to call us all the time from these different countries and they were like ‘Can you play a set here? Can you play a set there?’ and I was like ‘We’re producers, we’re not DJs!’ The requests got so plentiful that, you know it took about four years but it made me reconsider.” Shaw DJed in his bedroom growing up in Toronto, so decided to re-teach himself the art. It was a purely pragmatic decision though, the idea of

showboating clearly not in his genetic make-up. These days the show consists of Shaw DJing, accompanied by an MC or other artist. The UK MC Serocee featured heavily on their recent Stimulus Package album (available free online), so he will be sharing the spotlight with Shaw for their upcoming Aust ralian tour. Shaw is an unabashed, unashamed fan of Aust ralia. The Canadian kindred spirit plays some part, plus the fact he’s collabed with a couple of our finest in the Killaqueenz and Grafton Primary (whom he describes as “really talented dudes”). However it’s the reactions from our punters in the past that seal the deal with the South Rakkan. “You know you try to be political about it and you’re like ‘Yeah it’s one of our favourite places to play’, but it really is my favourite place to play,” a sincere Shaw continues. “The crowds are great, the people have a different kind of mindset there. They’re there to party, they just want to hear good music. I find that in other places the crowds are a lot more segregated. Because we produce a lot of different st yles of music you’ll get people at other places be like ‘Oh well we’re here to hear South Rakkas dancehall’ or ‘We’re here to hear South Rakkas elect ro’, so you can tell the people that are really into one st yle or another because they’re just dancing when one song comes on but not another.” That said, Shaw is liking the direct ion his adopted homeland is heading in musically. The US of A belatedly catching on to elect ro house is a good thing for the South Rakkas Crew. “It’s funny because we’ve always been ahead of the curve in what we do, and when we used to talk to labels and used to say ‘Hey this is gonna be the new st uff, this is what you need to get on’, they’d be all like ‘Naaaaaaaahhhhh’. Especially hip hop guys – hip hop guys weren’t into that elect ro st uff a couple of years ago but you know with the success of Flo Rida and these guys, it’s undeniable at this point. “I think it’s great, this is one of the fi rst times music from outside of America, in my opinion, has influenced American music in any recent memory for me. You know how with like Euro st yle and UK st yle, America was always doing its own thing. But with the internet and it being more of a global market, it’s caught up with America.” WHO: South Rakkas Crew WHERE & WHEN: Conception Day at Macquarie University (Sydney) Friday 17 September, Dubrave at Oxford Art Factory (Sydney) Friday 17 September, The Espy (Melbourne) Saturday 18 September





irren Staaf wears many hats inside Aussie hip hop – as the rapper Pegz he is verging on his fourth LP, and Gully Platoon’s 2009 album still smoulders behind us. These days Staaf is taken seriously as a captain of industry keeping very busy at the helm of Obese Records, Australia’s leading independent hip hop recording house. Coming at a time when Aust ralia wasn’t taking its hip hop scene very seriously, Staaf found the only option to be heard was to build your own indust ry. He transformed a small record store in Prahran into the almighty Obese Records that released Reason’s debut album Solid in 2000, the cleverly const ructed Culture Of Kings trilogy and Obesecity, placing a platter of too-legit rappers right into the bedrooms of local hip hop’s young and ruthlessly devoted few for the fi rst time. Obese Legends Bias B and Pegz released their 2003 debut albums and Hilltop Hoods dropped Aust ralia’s fi rst gold with The Calling. Muph & Plutonic, Bliss N Eso, Downsyde and Funkoars have all at some point called Obese home and held down top dog status across the nation before moving onwards and upwards. Obese Records has a heaving roster, enough to pitch their own small fest ival and beyond. For 2010 and on, Staaf would be content for his label to hit a century. “I’ve always had the object ive of releasing good music and I never thought about how long it’s gonna last. I’ve always thought that if I reached 100 records that would be a huge accomplishment for us. But I’m enjoying the moment, taking a look back on ten years of a fairly product ive and pleasing period,” a pleased Staaf states as he rolls off a current count of over 75 records stamped by Obese. And when he does reach 100, he contemplates his next move. “Not sure, maybe a holiday.” In the meantime, it’s all business. “When I’m in the office I’m playing the boss role. I don’t try to get tangled up with artist sort of st uff. I wear both hats at certain times but usually when I’m in the office it’s Pegz the director more so that Pegz the artist,” Staaf admits. And when he dons the rap cap, he becomes the boss who can see the deal from both sides of the contract. “I think the success to Obese Records is me being able to communicate. The majority of artists are on a level that I’ve been through,” Staaf explains. “I’ve experienced the ups and the downs and I think they appreciate that and there’s a special kind of perspect ive you can add to your role. It’s definitely been part of the success of Obese Records, having peace of mind where artists can talk to their label boss where he feels and can understand what they’re trying to say and create with their music.


“When we’re on stage and on tour and any other time that we’re not in business, I’m Pegz the artist and Pegz the friend who can tolerate beers being poured over his head on stage,” Staaf laughs in reference to an infamous incident on last year’s Block Party tour at Brisbane’s Tivoli Theatre. “Obviously there’s enough friendship there were the artists can get away with that sorta thing.” After 2007’s Burn City, Staaf declared it would be his last record as a solo MC, venturing out of his comfort zone with the newly formed Gully Platoon with Dialect rix and Joe New to create The Great Divide. “I’ve never ever sat down and nutted out ideas and concept and written with anybody for a whole project like that,”he recalls. “It was amazing. I’ve got a ton of memories sitting around in my lounge room for weeks with Dialect rix, pretty much getting extremely messy and battling each other away line for line. It really breaks away from the solidarity process of being a solo artist and [is] really, really rewarding – you know, to have instant response to your lyrics and just be able to share those ideas.” Out of retirement and back to being the solo MC, the Capricorn cat has passed the halfway point on his fourth LP and explains his new-found enthusiasm in writing. “I know I mentioned to all my fans that I wouldn’t release another solo project, but the way that things panned out in the last few years hadn’t been how I’ve planned to happen and it’s thrown a few curveballs which has revamped a whole new passion for music within myself. “I’m probably about 60 percent through the new solo record. It looks like it was gonna be an EP and it was supposed to be due out September but it’s due to me just being extremely passionate and hungry to be writing again,” he continues. “It started in January and I’m nine months deep now and I’m putting less pressure on myself because I’m really enjoying the process of writing this record. I’m just getting into a really good spot at the moment and feeling passionate about the culture and contributing something to it. Celebrating his label’s contribution to our local dialect, Staaf declares this latest Block Party will showcase more to the culture than just rap. “It’s a celebration of how many years in terms of the culture as well and what we’ve contributed to it and we will try to incorporate some graffiti artists and a breaking showcase. We’re just trying to mix it up and show a few more aspects to the culture and I think it will be a very special show.” WHO: Pegz WHERE & WHEN: Obese Block Party at Palace Theatre Friday 8 October



Those bad boys from Canberra have since relocated to Melbourne and Sydney, but have lost none of their charisma nor their natural and engaging st yle. Danielsan’s production, coupled with his dynamic scratching and Hau’s extremely captivating flow and memorable lyrics have always worked magic whenever they hook up as Koolism. Despite all the exhausting touring and interstate recordings they did manage to get their fourth album Random Thoughts (2006) together for Katalyst’s label Invada without anyone being the wiser, but it’s now been four years since that last effort, so how have they come along in the meantime? Amazingly they might have benefited by their different locales, for this is a fantastic culmination of however, wherever or whatever took place. This fifth album, the underground oven entitled The ‘Umu, will hopefully prove to be yet another pig on a charcoal spit to feast over. Hau keeps his sly humour and the topical lyrics alive with a personality that has become more confident and boisterous since he took over the helm of Triple J’s Monday night Hip Hop Show upon the departure of Maya Jupiter. Despite Hau’s playfulness and his often magnetic sunny aspect, he also shows his thoughtfulness by delving into subjects that makes his character so much more deeper that would be taken on face value. He st ruggles with his religious beliefs – or rather quest ions it – on the freaky keyboard sounds of Turning Back, but he also tackles racism as a lad of Tongan descent on Can’t Stand It and a family tale of Polynesian migration for the solemn Alone. Hau’s cousin Jonah Latukefu provides the chorus while Koolism associate Axe Aklins offers up a couple of verses for the soulful Have, Have Not. It’s rewarding to hear these more downtempo joints, when we know that live on stage they get the audience ramped up usually uptempo beats. Danielsan hooks up Hanz High with what sounds like a breakbeat from a Demis Roussos track. Danielsan’s keyboard skills get freaky on the Uli and Solomon Theta guested Get Free, but check the chopped up MPC st yled drums for Yeah in which Hau drops a cheeky profanity laced line.Why they aren’t household names is beyond me.




e’s released a st ring of successful tracks since the late ‘90s on New York’s Deeper Rekords, Nitegrooves and BPM King Street Sound, but it’s Hiroshi Watanabe’s current Japanesebased project Kaito that’s seen this house maest ro drop his most st unning full-length record to date in his 2010 masterpiece Trust. “It’s about connect ions in life – with my son, with my family, audiences, and with my music,” Watanabe says. “It’s trust that makes these connect ions st rong, and that’s the basic concept of the album. My son Kaito has always been my inspiration, and this project is named after him. He is already 11 years old now, he’s not a child anymore, he’s like a full person, and my music has grown up with him in a way. The music speaks about the connect ion between us.” With Watanabe’s son gracing the covers many of his father’s releases, Kaito has served as somewhat of a soundtrack to his son’s childhood. “It’s the same boy!” Watanabe laughs. “The project is my child as well, the music reflects that. I know that it confuses a lot of people when I talk about Kaito – nobody knows if I’m talking about my music or my son! When I sent my fi rst demo to Kompakt they loved my music and wanted to release it, but I hadn’t decided on a project name yet. Kompakt wanted me to use a Japanese name, so when I told them my son’s name they thought it was perfect.” And while the name of Watanabe’s project was only established at the last minute, the sound had been fi rmly cemented since he made his return to Japan from New York City in 1999. Blown away by the house scene he witnessed in the Big Apple, Watanabe was instantly converted from his st rict former techno st ylings to house, vowing to create a whole new sound by adding minimal to the mix. “Before I got to New York City I was living in Boston and st udying music,” he recalls. “I was producing lots of techno music and I thought that house

music was boring. After I went to New York City several times I experienced a huge shock with their music scene and fell in love with house music. I realised there was something very different and wonderful about house and I made up my mind that I would go back to Japan with that in mind, but wanting to create something unique.” Since 2001, and under the Kaito moniker, Watanabe has been responsible for producing some of the most luscious atmospheric sounds to come out of Japan’s underground, including albums Special Life (2002), Special Love (2003), and Soul Of Heart (2004). Now Watanabe is excited to bring Trust to Aust ralia for the fi rst time. “When you say ‘Kompakt’, you think of lots of different colours and sounds and vibes,” says Watanabe of his upcoming Kompakt 3 tour alongside Tobias Becker. “It’s an amazing label that doesn’t stay in the borders.”

WHO: Kaito WHERE & WHEN: Kompakt 3 at Barsoma (Brisbane) Friday 17 September, New Guernica (Melbourne) Saturday 18 September, Civic (Sydney) Friday 24 September, Earthdance (Sydney) Saturday 25 September, Manifest (Brisbane) Sunday 26 September



With close to 20 years under his belt, the talented DJ/ producer has ridden the ebbs and flows of the elect ronic music indust ry with a keen eye. Which wonder what the motivation was for his track Minimal My Ass?




lobetrotting elect ro/techno/house DJ/producer Miles Dyson has been moonlighting as a super successful entrepreneur since the early noughties. On the music front he’s been lauded by Beatportal as one of the fastest rising stars in the world of elect ronic music, but the size of his music empire baffles 3D World, so we’re going to cover off on that fi rst. The barely 30-something German owns 15 record labels, with an artist roster in excess of 500 producers worldwide under his Plasmapool Media Entertainment umbrella group. Eliminating the risk of sharing any of the profits with middle men, he also owns his very own dist ribution company, as well as st udios in Hollywood, Rio de Janeiro and Germany. The obvious quest ion though looking at his hect ic touring schedule is – how on earth does he find the time to run his multi-national organisation? “We always use latest technology, automate time-consuming elements and minimise certain business aspects,” a non-plussed Dyson shares. “Plus I have a reliable crew in my head office and my st udios that allow us – due to the international spread of my st udios – to work 24/7.” Anyone feeling a tad underachiever-ish should note Dyson did get his start in this business very young. In the early 90s at age 13 he developed a taste for Chicago house music, older kids in town taking him under their wing on clubbing trips to Zurich, a world away from his small village home. Dyson, who swears his DJ name has no connect ion to the Terminator 2 character, landed his fi rst club residency at 15. He’d moved out of home by 16 for the freedom of working in his st udio through the night. Not long after he was playing raves and fest ivals, with international appearances coming well before his 18th birthday, giving him “the opportunity to play in front of tens of thousands right from the beginning of my career”.

“Don’t get me wrong – I love all kinds of electronic music, but what happened in Germany was just overload! Minimal everywhere! Then clubs started closing and people didn’t go out anymore,” Dyson shares. Luckily his global touring diary meant such localised dramas didn’t affect him personally. He is scathing of the culture that minimal brought though, and the legacy it left behind. “All DJs wanted to be ‘special’ and play only ‘special’ music; music with a ‘higher meaning’, ‘intellect ual music’, ‘innovative music’,” Dyson laughs. Th is lack of variety from his homeland cuts Dyson deep, as he was a music aficionado even before the hypnotic sounds of house drew him in at such a young age. “I started listening to disco, funk and jazz from the 60s, 70s, and 80s, since house music back in the day was all using samples from that era. It st ill is a big thing in my life and I proudly own a huge collect ion of vinyl from the late 50s to the late 80s where I always find inspiration for new projects.”

WHO: Miles Dyson WHERE & WHEN: Rock Like Th is at Prince Bandroom (Melbourne) Friday

17 September, Elect ric Playground (Brisbane) Saturday 18 September




Jason Derülo is credibly competing with established R&B stars like Usher – even if he’s st ill bigger in Aust ralia than the US. No doubt Warner is hoping that his label mate Iyaz, aka Keidran Jones, will enjoy the same level of success here with his debut album, Replay. Already Jones has relished a monster break-out with the catchy Replay, which reached #2 in the US and topped the UK and Aust ralian charts. Replay the album was issued in the UK prior to the US. And Jones has made at least one highprofi le cameo – on Charice’s Pyramid. (Should we also mention Miley Cyrus’ – or Hanna Montana’s – This Boy, That Girl?) Jones is the latest artist from JR Rotem’s Warner-affi liated Beluga Heights, Rotem the super-producer behind Rihanna’s SOS. Evidently, Rotem is signing potential crossover acts, rather than innovators – his flagship was Sean Kingston. In fact, Kingston, not Rotem, discovered Jones, contact ing him via MySpace. The Beautiful Girls singer brought Jones to the producer’s attention, albeit not before recruiting him for his own fledgling product ion company, Time Is Money Entertainment. (The Beluga Heights stable is very communal – Derülo’s name, too, pops up in the Replay credits.) Jones had st udied engineering at the New England Inst itute of Technology and cut the underground Caribbean hit Island Girls. Jones’ music blends Derülo’s urban trance with Kingston’s hybrid reggae. Though born in the US, Jones was raised in the British Virgin Islands, and so he has a dist inct Caribbean lilt. However, he often sounds like Akon! Jones followed Replay with Solo, which borrows from Janet Jackson’s Again. The song is Jones’ counterpart to Derülo’s Ridin’ Solo, yet it could easily have turned into gospel – Jones sang gospel growing up. There is nothing on Replay as hi-NRG as Derülo’s output, but the album has a similar commercial orientation with poppy hooks – and prevalent auto-tune. The singles all come early – the third, So Big, in the same vein as its predecessors. OK quotes from Bob Marley’s No Woman, No Cry, while the airy Breathe is the best of the ballads. Jones remains a good church boy. His music is cuss-free, which surely explains why he was a suitable contender for that Hannah Montana hook-up. He’s just wrapped a support slot for Just in Bieber. In contrast to Akon, Jones has no criminal past, fabricated or otherwise.


Let’s start things off with something special. Sydney-based beat head Mark Pritchard aka Harmonic 313 looks set to re-unite with old product ion partner Tom Middleton as seminal ambient elect ronic act Global Communication. It’s been over ten years since the boys last worked together as GC, but according to a post on Middleton’s Facebook page, the time has come to rekindle the magic. Those that missed them the fi rst time round should experience the sonic beauty that is 76:14,listed by the UK’s Guardian newspaper as one of the 1000 albums to hear before you die. No confi rmation of dates as yet, but there are a few rumours flying around that new material is also forthcoming – watch this space! From the old skool to the new blood and there are plenty of exciting young producers out there making beautiful bass-led dance beats for our listening pleasure – too many to mention in these pages, but special shout outs have got to go to a select few. London based producer and Werk Discs label boss Act ress has had a great year so far. Check out debut album Splazsch to hear his melting pot approach to experimental, post-everything music and try to get a grip on this unique st yle and sound. Closer to home, NZ continues to belch out top quality dubstep, this time courtesy of Christchurch trio Truth. Having already released on Mala’s Deep Medi Musik and Skream’s Disfigured Dubz, you know their debut full length album Puppets on Aust ralia’s own Acquatic Lab Records is going to deliver the goods. The result of the highly anticipated collaboration between Rusko and Untold (heading this way soon) finally finds its way to us in the form of Myth released on Glasgow’s Numbers Records later this month. The percussion of UK funky meets a wicked Middle Eastern melody. If you’ve been on certain dancefloors over the past few months, this one will sound familiar. Send your bass news, events and release to




hico Mann is Marcos Garcia, whose blend of proper elect ro, freest yle and Latin rhythms is finally on its way to Aust ralia after he took a quick trip here as part of Antibalas in April. A hired gun for artists as diverse as The Roots, TV On The Radio, Th ievery Corporation, Philip Glass, Patti Smith and Tony Allen, Garcia finds a way to fit all of these peoples influence into his own music. Dist inct ively New York, Garcia’s sound harks back to the tradition of immigrant culture fusing with Black American music to create altogether something different and fresh. Citing artists like Afrika Bambaataa, Lisa Lisa and Fela Kuti as influences, it’s this hypnotic blend that gives Chico Mann and New York its backbone. Whilst 1980s R&B and the Afrobeat rhythms of Tony Allen may seem an odd combination, Garcia has a simple way of breaking it down. “The music I write is Afro-freest yle. There’s a musical conversation that’s been going on between Africa, Cuba and New York and it continues to this day,” he says. “I see what I do in a historical context and I think people will be able to connect those dots when you see us live or hear the record.” Put like that and with the context of the hip hop movement and labels like Fania compressed in to the boroughs of New York, things become a little clearer. On record the Chico Mann sound is an exciting hotpot of horns, synths, percussion and drum machines, but often a long trip to the other side of the world with a condensed band line-up brings the concern that elements of the record won’t translate. “Thanks to modern technology, there’s really nothing we can’t do live that we do on record,” Garcia assures, offering hope to all that worry we won’t get the full experience down under. Garcia is quite excited by the current state of the music indust ry after just signing his next album to publisher Wax Poetics’ emerging label. The album, due out late October, sits well in a catalogue littered with a number of different genres of the soulful ilk; a catalogue that’s backed by extensive coverage in the pages of the record collectors’ bible. As far as

writing music and selling records goes, Garcia has always st uck to his guns. “I’ve always been doing me but I will say that even in the advent of the new landscape of the music indust ry, previous experiences have taught me that labels st ill want to have a say in what an artist does because of what they consider to be commercially viable. I don’t try to cater to anyone’s sense of what’s commercial or what’s viable. I do what I do and I think tast es will eventually come around if what I’m doing doesn’t seem commercially viable right now… that’s how I feel about it.” Under a banner that seems like it is remixed itself, the Chico Mann sound has been tweaked along the years by people like Quantic and Comtron, but is it redundant for such a fusion of elements to be rearranged? “Depends on who is doing the remix!” he jokes. “I feel like some people try to fuse different st yles of music whereas my approach is to create something new…”

WHO: Chico Mann WHERE & WHEN: The Toff In Town (Melbourne)

Wednesday 22 September, Melt Bar (Sydney) Thursday 23 September



thought they made every single bit of the music themselves. So I was a little bit starst ruck.” Olsen’s epiphany came later. He fell in love with the aest hetics of 70s Euro disco – and its sense of vast ness. He wanted to put a modern spin on it. Olsen found a new ally in Prins Thomas, who was working in an Oslo record store. Thomas would issue Olsen’s Mjondalen Diskoklubb on Full Pupp in 2005.



uch of what is cool in dance is coming out of Norway, from those chill masters Röyksopp to the elect ro-pop Annie through to the space disco contingent led by Lindst røm. “Todd” Terje Olsen – his monicker is a tribute to Todd Terry – abandoned his university st udies to become the ‘Nor-Wave’ DJ. Olsen has circulated hip re-edits as Tangoterje – not even Wham! escaped his attention – and remixes (including a heavenly version of Lindst røm’s Another Station). Then there are his original product ions, like Eurodans. Th is year he presented an album, or rather a compilation, Remaster Of The Universe. It entails a reworking of M’s Pop Muzik for its 30th anniversary. But Olsen is unsure when a proper ‘artist ’ album might show. Is he st ill act ually planning one? “Yeah, theoretically I am, but not in real life!” Olsen laughs. “I mean, DJing takes a lot of time – and I’ve just realised I want to do more live st uff. Right now I’m working more on performing live with different inst ruments and other people than focusing on making tracks – although I think I have three singles lined up for release now. But the album will [have to] wait at least half a year or a year or so.” Olsen hails from Mjondalen but, having learnt piano in childhood, settled in Oslo to st udy music at uni. He felt unhappy with the course, however – he was covering old ground. So Olsen switched to physics – which he’d never st udied prior. Discovering elect ronica as a teen, Olsen fi rst dabbled in product ion while at school. He cut rudimentary jungle with a buddy. “I was very bad, but I was 13-years-old or so. I didn’t really have good equipment. Even if I had had good equipment, it would have been rubbish. I was in my learning phase.” He was frust rated, too. “I was listening to The Prodigy and all that breakbeat st uff, which is what you listen to when you’re a kid, and I really wanted to recreate all those sounds – all those beats. But I didn’t realise that they used all the samples, which were already great! I

Olsen had nearly finished his degree when he took time out. The DJ considered returning to uni after furnishing an album but, with that project nowhere in sight, he now concedes that it’s just “an excuse” to never go back. He’s done with physics. Norway’s space disco has flourished in tandem with the Italo revival – and a nu-disco movement. Yet in 2010 Olsen distances himself from space disco, being newly enamoured of dance rhythms other than 4/4. He’s also ambivalent about what passes as ‘nudisco’. “Now I think you can so clearly hear when a track has been made today... All the charm has just vanished when you try to imitate that [original] sound. There’s so many people doing the same sound... That’s why I’m not really into the space disco sound [any more] – because I think it just felt too much like nudisco. I’m not really a fan of that, either. I’m a disco man.”

WHO: Todd Terje WHERE & WHEN: Children Of Realness (Melbourne) at Roxanne Parlour

Friday 17 September, Adult Disco at Civic (Sydney) Saturday 18 September




How goes it readers of The Get Down? I hope the winter blues have started to leave you well and truly alone and the coming warmth of spring and summer has got you excited for a musical spect rum of funkiness. For me, it’s all about my man Agent 86. I know I’ve hyped just about every release off his Lightspeed Recordings label, but he really can’t do no wrong. On his latest, Microdot, he’s gone st raight back to the Hacienda for some acid house inspired twist-a-beats. Surely, this will be spun and dusted all over the Revolver backroom in the coming months and if not, then the Nick Thayer remix will continue to own the front. No brainer here, peeps, buy now! Another that you simply should not be without is anything from DJ4AM. His edit of Allen Toussaint’s Soul Sister slides along like liver on a steel top table and if that thought pleases you then you just got to live the dream with his take on The Chi-Lites Being In Love. I dropped both last month at Section 8 and some dude wet his chaps and, unfortunately, that dude was me. Gold! Speaking of old tunes done the right way, I really do hope you’ve all already picked up every one of the Bangers R Mashed edits off Juno or Beatport. Imagine the dopest old-skool reggae, dancehall, ska and lovers rock classics from the likes of King Tubby, Buju Banton and Bob Marley mashed just the right way with some new school hip hop goodness. They’ve been out since February this year, but I get asked about every one I play out and thought you should all know so you can find them, too. Get on em, quick. Also someone you should get onto quick is the latest from the Drop Out Orchest ra camp, International Track. From the Drop Out City Rockers, it’s another track that I liken to a Euro-disco Texas rodeo, so if that sounds like something you’d dig, get onto them now. Locally on the DJ tip, I have to hype multiple personality impresario, Herbie Lavender. His 45 F*#ked Reviews are beginning to turn some heads due to the fact that he plays for six hours with nothing but op-shop, used and abused 45s that cover every conceivable genre under the sun. Producers, send me your tunes for review to – and with that, I am officially out of here.



VARIOUS Re Cognition: The Clan Analogue Legacy Collect ion VARIOUS/DANNY KRIVIT Edits By Mr K Vol 2: Music Of The Earth (Strut/Inertia)

It would be with a mix of reverence, trepidation and excitement that Danny Krivit must approach the re-editing of the classic disco records he grew up with, partied to, and made famous as a DJ. He has been observing what they can do to a dancefloor for thirty to forty years now and as such would know exact ly the parts of the record requiring enhancement. And that’s exact ly what he does on this second edition of Edits By Mr K; massaging, tickling, elongating and relocating different sect ions of each record, transforming dancefloor bombs into sonic nuclear weapons. It’s a mix of the well known and the obscure getting the Krivit treatment here – Philadelphia All-Stars’ Let’s Clean Up The Ghetto is extended into a ten minute bassline epic, Fatback Band’s Spanish Hustle becomes a devastating, percussive groove, while Rare Pleasure’s Let Me Down Easy has the same pianos that made David Morales’ Needin’ You a smash pushed right up front in a moment of true disco heaven. Of the more obscure gear, Patrice Rushen’s Music Of The Earth is a righteous, sweet, soulful journey back to nature, Midnight Movers’ Follow The Wind has its funky guitar intro st retched while Black Blood’s Chicano locks onto to a relentless Latin groove. While a track such as Sound Experience’s Don’t You Know You’ve Broken My Heart is st raight out of the poppy, soulful, school of Philly disco, things get far more edgy with the elect ro-boogie bassline of Blue Moderne’s Through The Night and Chairmen Of The Board’s Life And Death which starts out all weird and exotic before falling into a dirty, funky rock grind. The wisdom of 40 years behind the decks colliding with a slew of records that were already great, Edits By Mr K Vol 2 is another fabulous re-write of dancefloor history. DARREN COLLINS

(Clan Analogue/MGM)

Before fest ival culture took hold, before the days of the dreaded DJ/promoter and long before even Minist ry Of Sound put down roots in Aust ralia, there was Clan Analogue. A rotating roster of elect ronic pioneers with a history st retching back nearly 20 years and more than 30 releases, the time has come to pay tribute to their righteous underground pursuits. So how have they gone about capturing such an extensive history of leftfield elect ronica? The first disc hosts Re Cognition’s most memorable moments – quirky and timeless electronica that transcends any trends that have come and gone in the years since, it illustrates just how many seminal careers they’ve fostered. Deepchild and Infusion for instance, the latter

THE SUBS Subculture

(Hussle/Universal) The Subs, best known for their international smash Mitsubitchi featuring heavily on trance and elect ro compilations of late, have quickly risen from the unknown to serious club victory. Debut album Subculture’s fi rst track Music Is The New Religion teases with just a taste of what’s to come, literally screaming “I am excited, about the house of God!”. Blasphemous yes, but a trashy, trancey and heart pumping. Then there’s Kiss My Trance, initially dest ined to be no more than a joke to test the limits of trance with the joke now on them as it’s become a substantial hit among crowds. Heading toward the middle third of the ten track album, Subculture st rains to stay alive with the same quality it began with, but manages to regain the listeners’ energy towards the end with Fuck That Shit and the aforementioned Mitsubitchi. These trance junkies will be popping up on compilations all over the place come summer. And to think it all started out as a joke – luckily they’ve got the goods to back it up. MELISSA WEST

of whom drop an epic piece of acid-soaked big beat from all the way back in 1995. Aussie accents rear their head in Bleepin’ J Squawkins’ contribution, we get some smooth synthetic funk from Disco Stu, while Biftek’s Bedrock will instantly trigger the memory receptors. Combine this with the deeper, glitchier moments from the likes of Ubin and Two4K, and there’s more than enough personality and warmth to separate these classics from the immeasurable amount of music that’s come since. The second disc is a rather interest ing experiment that sees the next generation of Clan Analogue select ing and remixing their favorite moments from the back catalogue. As a beautifully presented package that also includes a DVD featuring all 30 of the Clan’s fi lm clips,it’s an essential footnote in the Aust ralian music canon which pays legacy to a proud history of underground elect ronica. ANGUS PATERSON

THE TRANSATLANTICS The Transatlantics (Mecca/Freest yle Records)

The funk is a slippery customer, capable of popping up anywhere. It might be New York, it might be Detroit, it might be Adelaide. On much the same deep/retro funk tip as Melbourne’s The Bamboos, The Transatlantics are an eight-piece from the city of churches lead by the impressive lungs of singer Tara Lynch and recently snapped up by respected London funk/soul imprint Freest yle, through whom they have now released their debut album. While many of these modern funk bands push a break-heavy, 70s-influenced sound, the happy-go-lucky Transatlantics lean on 60s R&B, their three-piece horn sect ion drenching everything including inst rumentals Tea Legs, Thumbin’ It and gear-changing closer The Bloodnut Strut. Yet it is the vocal tracks that hog the limelight, Lynch beautifully melancholic on Couldn’t Be Him and That’s When I Feel So Lonely yet brimming with sassy, Alice Russelllike attitude on Things Gotta Get Better and Turn You Loose. In a great novelty moment they also smash a frenetic inst rumental cover of The Presets’ Talk Like That blaxploitation car chase st yle. Great fun, funky gear from an evergrowing scene. DARREN COLLINS






CHRISTIAN VANCE Wanna Give You (Claire Morgan Vibez)

(Cooking Vinyl/Shock Records) After three years of touring an un-tourable yet under-rated album (2007 opus Oblivion With Bells, a horse so dark it had bolted by the time fans warmed to its charms) by a band whose reputation has been built on stadium techno euphoria, product ion gun Rick Smith, mouthpiece Karl Hyde and their trust y st udio sidekick Darren Price put their thinking caps on and have emerged with Barking – not only the most dancefloor-focused record of their post-synth pop career, but also their most vocal heavy. And with the product ion assistance of a roll call of modern clubland’s most respected players, it’s also perhaps their least Underworld-sounding… 1. Bird 1 feat Dubfire The track previewed in Aust ralia as Strumpet back in 2009 is given a menacing rebirth, Hyde singing rather than chanting “There is one bird in my house” among his typically random musings. Smith deploys some of his standard st udio tricks (the blip snare, the one-word vocal loop, the big st rings), but staccato drum programming stops this one from taking off. Dubfi re’s influence, thankfully, is minimal. 2. Always Loved A Film feat Mark Knight & D. Ramirez The successful union with Mark Knight & D. Ramirez for Downpipe is repeated here, and almost hits paydirt. Driven by a throbbing synth motif st raight out of the Deadmau5 bag of tricks circa-2007, it’s const ructed with pieces out of the Dummies’ Guide To Prog Bombs starter kit and may well infuriate chinst rokers – provided they can keep their hands out of the air long enough to st roke. 3. Scribble feat High Contrast We have lift-off ! “And it’s okaaaaaaaaaaay!” Hyde assures us over a bassline so wide it could protect China from invading Mongols, before drum’n’bass wizard High Contrast brings the ecstasy across a giddy seven-minute ride. D’n’b purists will bemoan the lack of change-up in the machine-like rhythms, but it’s hard to deny Scribble’s place in the upper echelons of Underworld anthems. Even Juanita mumbles some nonsense in the breakdown. 4. Hamburg Hotel feat Appleblim & Al Tourettes It might not be long but it’s most certainly dark,


(HAUL Music)

One of the most consistently high quality labels delivers yet again, with Claire Morgan channeling her inner blackness and turning Vance’s excellent deep house original into a lush, Detroit-inspired deep techno jam. Everything just works, from the thumping kick to the swirling pads, spacey atmospherics and funky, funky, FUNKY bassline and organ stabs.

FLORE FEAT SHUNDA K Raw (Hackman Remix) layers of arps dancing with each other until Appleblim and Al Tourettes chime in with a rhythm equal parts two-step and dubstep. One of Barking’s two Hydefree moments, and also one of its best. 5. Grace feat Dubfire Dubfi re’s second appearance is as innocuous as the fi rst, Grace never reaching any great musical heights and without any memorable vocal input to speak of, though Hyde’s guitar solo is screming out for remix treatment. 6. Between Stars feat Mark Knight & D. Ramirez Underpinned by yet another off beat sidechained bassline, Between Stars fortunately has a lot more going for it – namely synth leads fi ring every which way and one of Hyde’s biggest

choruses to date.

(Botchit & Scarper)

7. Diamond Jigsaw feat Paul van Dyk

A bouncy 4/4 garage vibe that st raddles the line between accessible and credible. The rolling beats and jumpy percussion give it a mainst ream edge, but the deep sub bass, well-placed 90s st yle vocals and piano loops make it a worthy addition to the record box of edgier DJs.

Another attempted anthem which doesn’t quite hit the mark, Smith’s usually inventive drum programming again eschewed for a meat and potatoes approach. Another big Hyde chorus just gets Diamond Jigsaw over the line. 8. Moon In Water feat High Contrast More of an afterthought than a track, with High Contrast phoning some epic synths in from his Wales st udio and even Juanita’s ramblings sounding more disinterested than usual. 9. Louisiana Hyde’s voice is sent through a Leslie speaker effect over a gentle piano refrain on a love song about being “quietly violent”. It’s not quite Underworld’s The Long And Winding Road, though Barking ehoces the patchiness of The Beatles’ Let It Be. Hopefully they’ve st ill got an Abbey Road in them somewhere. KRIS SWALES

BONAR BRADBERRY Siula Grande (Pete Herbert Remix) (Needwant)

Pete Herbert demonst rates yet again that you can write feel-good, fun-times music without needing to be cheesy. All the trademark elements are there: chunky, lowslung beats, funky analogue bassline, dubby chords, guitar licks and of course gratuitous piano. Wonderful. ANDREW WOWK

3DPLAYLIST 3D 1. Balance 017 VARIOUS/TIMO MAAS 2. After Dark THE COUNT & SINDEN FEAT MYSTERY JETS 3. Night Works LAYO & BUSHWACKA 4. Kilimanjaro SUPERPITCHER 5. Pineapple Crush LONE 6. Tougher Without Bruce MARTIN VOGEL 7. Since We Last Met (Ricardo Villalobos Remix) NDF 8. Fragment Ten THE KENNETH BAGER EXPERIENCE FEAT JULEE CRUISE 9. Fly Like A Beagle BOTTIN 10. Songs In The Key Of Life STEVIE WONDER



mma Stone is a star on ascendance. Having first come to audiences’ attention in sleeper Judd Apatow hit Superbad as the figure of Jonah Hill’s affect ion, AKA his forehead, Stone has since gone on to work with some of the best comedians Hollywood has to offer, including Billy Murray, Anna Faris, Woody Harrelson, Jeff Daniels, et al. With Easy A the young act ress takes on her fi rst lead role but even at the tender age of 21, she is already a career entertainer with the chops of a seasoned pro. “It’s been amazing and I feel pretty crazy lucky,” says Stone with the genuine modest y oft reported of her by those who have worked with the young act ress. “Comedy is where my heart is, so being around comedians is incredible.” Born in Arizona, Stone, having cut her teeth in youth theatre and improv, convinced her parents to relocate to California so she could pursue acting fulltime at the age of 15. It didn’t take the actress long to find her feet and make her impact. Having caused ripples with her performance in The House Bunny and Superbad, Stone hit it big with Ruben Fleischer’s Zombieland. “Everyone wanted to play the part,” says Easy A director Will Gluck. “I got calls from what seemed like every act ress between the ages of 16 and 28. As soon as I heard Emma wanted to do it I was very excited…she was by far, always my fi rst choice.”

“I inst antly related to the character,” explains Stone, who proves both whip smart and funny over the phone as the characters she tends to portray onscreen. “Oliver uses all these big words and makes silly puns, and she’s well aware that what she’s doing is kind of dumb, but she can’t stop herself from doing it. There were so many things that made me feel a kinship with the character I felt that whether or not it was me, she deserved whoever it was that played her to be willing to underst and her.” In Easy A Stone’s character Olive gets caught in tangled web of her own doing having lied about losing her virginity. Word of her exploits spread across her some town school like an internet meme exalting double rainbows with less charitable

appreciation. Although referencing John Hughes abashedly, Easy A owes far more to Mean Girls as a teen fi lm that broke the mould and Stone shares similar moxie to Lindsey Lohan. Beyond the obvious talent both possess and shared hair colour, the comparison ends there. Stone doesn’t sound too interested in the celebrity cautionary tale of her peer. “On weekends when I’m working I try to sleep as much as possible and it’s not too different when I’m not working,” she claims, disappointingly for juice chasing journos. “I tend to really lay low so I can through [the work] because it’s normally up at 4.30am everyday.” All the excitement of being part of the “travelling circus,” as Stone calls it, seems to inspire a desire for prolonged spells of social hibernation, when the opportunity is afforded her. “It’s so funny, because when you finish working on a fi lm people are like ‘you should go on a vacation’. I’d rather be sat at home. I mean, it’s a pretty nice problem to have, living in place you would never otherwise live, for free, you know.” If only. Course, it’s understandable coming from someone who takes so much pleasure from their work, an aspiration we can all relate to. It’s late Saturday night wherever Stone is fielding this round of publicity commitments, having caught just three hours sleep after shooting a small part on Gluck’s latest project Friends With Benefits. “It’ll drive you a little loopy,” Stone says with a laugh. In the travelling circus a little loopy goes a long way. And for Emma Stone the journey has only just begun. WHAT: Easy A WHERE & WHEN: Screening in cinemas from 16 September







DUCHESZ WHERE AND WHEN WAS YOUR FIRST SET? “Elwood Lounge 2004.’ WHAT’S YOUR FAVOURITE ALL TIME 12”? “Rappers Delight – Sugarhill Gang.” WHO ARE YOUR FAVOURITE DJS? “Mix Master Mike, Rectangle, P-money, Devist8, J-Red, Agent 86, Kay-Z, Flagrant, Devise, A-st yle, Wax Vandal, Matt Radovich, Ayna, Mafia.” FAVOURITE CLUB TO PLAY? “First Floor because you don’t have to play


mainst ream st uff.” WHAT’S YOUR BEST ALL TIME GIG? “Supporting DJ Rectangle at Icecream Sunday a couple of years back.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS “Too many stories and not enough time.” WHAT’S THE WORST REQUEST YOU’VE GOT? “Britney Spears – never ever ever ask me to play that!” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO?

“Happy for me.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “Serato and less politics and more love!” WHAT GIGS HAVE YOU GOT COMING UP? “Elements at Miss Libertine Wednesday 15 September, The Jam at First Floor Friday 17 September, Lighters Up at Red Violin Saturday 2 October.” PICBYKANEHIBBERDATMERCATCROSS

DJ STIFFY’S WIDE WORLD OF SHORTS I HATE SNOOP Last week I asked if Snoop was for real in his sudden endorsement of computer-safety products. Th is was done in a reasonably tongue-in-cheek manner, thinking more specifically that, y’know, hey, sometimes you might get drunk one night and wake up and suddenly discover that you’ve either married Dennis Rodman and/or endorsed some anti-virus software. However, I was not prepared for the possibility that Snoop may have some amazing weed and/or is very broke, referring specifically to his planned record with David Beckham. I mean, Busta Rhymes doing a verse on the Pussycat Dolls record was in some ways understandable – he’s a guy, they spend most of their time in their underwear, and, like most guys, probably enjoys putting his dick in girls that spend a lot of their time in their underwear. No such excuse exists for David Beckham. After years of wanting to have his children (with the exception of the period in which he made The Wash and Starsky & Hutch), I am now going to burn my Snoop records, which raises a more interest ing quest ion – how do you symbolically dispose of mp3s? Press the delete button really hard?

DANCE MUSIC HUB CHART 1. Scary Song (Alex Mind Remix) FRACTAL SYSTEM 2. In Da Name Of Love (Hardforze Mix) RAY & ANITA 3. It’s Our Future (Deadmau5 Remix) FRANCESCO DIAZ & YOUNG REBELS 4. Music Of Yourself VINCENT THOMAS 5. Bass SWEN WEBER 6. Spaceship (Fedde le Grand Remix)

BENNY BENASSI FEAT KELIS, APL.DE.AP & JEAN-BAPTISTE 7. Mucho Mambo (Sway) (Sunrider Remix) SHAFT 8. Freakin’ GRANT NALDER & ADAM ASENJO 9. Scenario (Daniel Portman Remix) MARCO V FEAT KHASHASSI 10. Beachball (Extended Vocal Mix) NALIN & KANE


SPORTS SPURTS 1 Readers of this column understand that I have a very st rong passion for female sports. The Aust ralian Open is basically a mast urbation marathon (otherwise known as the Mast urthon), and if the Netball World Cup is on, forget about coming into my lounge room unless you’re wearing gumboots and wet-weather gear. There is, however, something to be said for things remaining a fantasy. Case in point: Lisa de Vanna’s Facebook photos. God. That was just awful, and a stark reminder that an all-female lesbian soccer orgy may look good when directed by talented European perverts, but in reality is not unlike watching Julia Gillard getting it on with Bronwyn Bishop during Question Time. SPORTS SPURTS 2 Brendan Fevola’s dick needs its own agent. I mean, if the guy can’t manage to keep it in his pants, he should at least be charging an appearance fee and/or renting out the space for advertising – every time it appears in public it seems to make front page news all over the country, even in cities where a large percentage of the population will ask, “Who’s Brendan Fevola again?”. “He’s that guy whose dick is signed to the William Morris Agency. I think it’s doing a track with Snoop next year.”

We’re not usually ones to toot the trumpets of Kiwis here, but when you add Booka Shade to the equation we can’t possibly resist. What’s it all about? New Zealander Matthew Harris won a global competition to make the video for the German duo’s brilliant Teenage Spaceman, his homemade effort of a supremely high quality and soundtracking their emotional dreamscape in suitably esoteric fashion.






woman out in the open, middle of the club on a couch with a light pointing on them. That’s the latest one that’s made me go ‘what the?’.”

WHAT INSPIRED YOUR DJ NAME? “When I was a kid I thought Andy Cole and Manchester United were the best thing in the world. Also Michael Jorden was 23. Andycole23 st uck until I first time I played on the radio with Kombat Bass and AC23 was born. True story.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “I play what I want to hear. I play bass heavy music you feel physically. So hard to do without saying words like dubstep, jungle, drum’n’bass, hardcore, funky, garage, bass driven music.” WHAT TRACK TURNS YOU ON RIGHT NOW? “ Mala – Eyez, Redlight – MDMA (Mz Dynmite vocal version), SX - Wooo


Riddim. Digital Soundboy forthcoming st uff. ” WHAT MADE YOU START DJING? “I’ve always been obsessed with playing music to people. I’ve always been a pain in the arse with playing music too loud, I like turning it up loud. I don’t have a good memory. I think it’s a natural progression from making sure everyone knew what I was listening to growing up – multiple stereos linked up etc. Louder!” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “Watching a guy get a hand job from this

WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Off the top of my head there was this Missy Elliott drum’n’bass tune that made me go ‘what the fuck?’. I think I’ve act ually steered cleared of a lot of shit music. There aren’t many in the sound I play and I don’t listen to much past Rinse FM and Task Force or Lewis Parker.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “There has been all the standard shit you get – Kylie, The Veronicas etc.”

WHERE & WHEN: Wobble Th ird Birthday at The Night Owl Saturday 18 September


1. Barbara Streisand DUCK SAUCE

2. The Mighty Ming FUNKAGENDA & DAVE SEAMAN 3. Microdot


6. Flor De Cana MOWGLI 7. I am Your DJ BUTTERBOX 8. Oops FELIX DA



Has Britney Spears returned to her wicked ways? Or is she the vict im of a smear campaign? The troubled pop star is being sued by former bodyguard Fernando Flores for harassment and “repeated unwanted sexual advances”. He claims Spears walked around



MAMA SAID AT CIRCUS THE IDEA BEHIND OUR NIGHT IS… “To expose good quality music to the kids of Melbourne today.” WE’LL BE PIMPING THE SOUNDS OF… “House, techno and everything in between.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Bart Skills and a few other little secrets we can’t release at the moment.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Themed parties, sunrise sets on the rooftop and vibe oozing out the walls.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “A new experience musically in comparison to what every other night is doing in Melbourne.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Melbourne’s best in the one room on the same night.” WHERE & WHEN: Mama Said at Circus every Saturday

the house naked [That poor, poor bastard – Ed] and performed “numerous sex acts” in front of him as well as engaging in inappropriate conduct around her young sons. While Spears has denied allegations, describing Flores as someone “trying to take advantage of the Spears family and make a name for himself ”, the fiasco is not a good look for the pop star who has already fought a number of court cases and custody battles. After a tumultuous marriage to back-up dancer and all round douchebag K-Fed in 2004, Spears fi led for divorce two years later and lost custody of her two children. While the reasons for the court ruling were not made public a series of bizarre behaviour – including driving with her baby son on her lap plus the infamous head shaving followed by time in drug rehabilitation – is believed to be the grounds. Watching Britney morph from an innocent 16-year-old school girl in pigtails to a mentally dist urbed trash-bag adult was tough for all, and it’s been a rough ride for the one time pop starlet, so let’s hope that Flores’ allegations are found to be untrue so Brits can go back to being the wholesome ditzy Southern girl we all want her to be.










SUSHI SNAPS 1 Billboard


2 dysFUNKtional @ The Loft

5 Khokolat Koated @ Khokolat Bar

3 Fridays @ Cushion

6 Kiss FM

4 Mama Said @ Circus

7 Playground Saturdays @ Seven











7 3 4

6 2



4 3







CO. Girls On Film: DJ Petar Tolich, 9.30pm. Free before 11pm. LOUNGE Lounge Wednesdays: DJs PCP, Matty Radovitch and guests. 9pm. $5. LUCKY COQ Agent 86, Kiti, Lady Noir, Joybot. 9pm. Free. MISS LIBERTINE 5 Elements: MzRizk, DJ Sizzle, TakaCO, Ayna, Duchesz. Free Entry. ROD LAVER ARENA Metallica. 7pm. $130 (silver)–$150 (premium). REVOLVER Revolver Rock : DJs Spidey, Mary M, Adalita, Whitt.

THURSDAY CO. Funhouse: Jono Earle, Finlo White. 9.30pm. Free before 11pm. THE COMFORTABLE CHAIR Mike Kay, Galapagoose, Able. 6pm. Free. CORNER HOTEL Buck 65. 8pm. $35+bf. EUROTRASH Hangtime: Dublin Aunts, Mat Cant, Swick, Mafia and more. SMILE ON IMPACT

FIRST FLOOR Ring The Alarm: Night Nurse, Fee. 9pm. Free. FUSION Rhythm-Al-Ism: Damion De Silva, Funkmaster Rob, A-Style, K Dee, Simon Sez. 9:30pm. HOME HOUSE DJ’s Jim Danza, Herbee & Guests. LOUNGE Lounge Thursdays: Smile on Impact vs , Shifty Sly. 9pm. $5 entry. LUCKY COQ Mike Gurrieri, Luke McD. 9pm. Free. MERCAT BASEMENT Ghosthouse. 10pm. Free before 11pm. $5 after. MISS LIBERTINE Octopussy: Baby Lotion, Kavinda, Tendekasha. NEW GUERNICA Thursdays: Dj Negativ Magick, Post Percy, Nu Balance. Q BAR Q Bar DJ’s Sean Rault, Tim Evans, Asron Trotman, Scott Thompson. REVOLVER 3181 Thursdays: Hans DC & Who. Free. ROD LAVER ARENA Metallica, 7pm. $130 (silver)–$150 (premium). THE TOFF Love Story: Rotating guests Tranter, Rad Pitt, Megawuoti, Sleeves. 11.30pm. Free.

FRIDAY 3D DERB :Kan Cold, DJ Hellraiser, Scott Alert, St. Luke + many more! $25-20 Guestlist. ABODE LEVEL ONE NTI: Steve Punch, Jon Montes , Syme Tollens. 10pm. BILLBOARD Jeff ree Star. $49. BROWN ALLEY Sunny: Lee Burridge (UK), Gavin Keitel, Phil K, Lister Cooray, Jon Beta, Rollin Connection, Ozzie LA. 10pm. $25

CIRCUS BAR Lady Luck Fridays: Feenixpawl, China, James Fava, Butters & Jaydee, Paradisco, Tim Murphy, Jad Hanzi. CO. Papparazzi: DJs Nikkos, Joe Sofo, Kitty Kat. 9:30pm. Free before 11pm. CRISTAL Vintage: Soulbeats, Rima T, Carmen Hendricks. CROFT Rootdown: Aux One, Dust, Doens, Kano, Kuya. EUROTRASH Eurotrash Fridays: Mu-gen, NXR. Free Entry. THE ESPY BASEMENT Choose Mics, A-Diction, Syntax, M-Phazes. From 9pm FUSION Sounds of Fusion: Feenixpawl, Dean T, Phil Ross, Johnny M. 9:30pm. $10 Guestlist/$15 on the door. FIRST FLOOR The JAM!: DJs Ayna, Duchesz, Wax Vandal, Mamacita Bonnita. 9pm. $10 on the door. LA DI DA Like Disco: Luke MCD, Phil K, Mark Pellegrini. LOOP Mr Nice, Ego. Free. LOFT Dysfunktional: DJs Damion de Silva, Ken Walker ,Dean K, Durmy. 9pm. LOUNGE Lounge Fridays: Mr Nice, Bambaataa DJs: Hey Sam, Popeye, Tom Ellis, Nick Verwery. LUCKY COQ Sth Side Hustle: Askew, Booshank, Paz, Miss Butt, Jumbo, Junji, Disco Harry, Pete Baker. 7pm. MERCAT BASEMENT Blow Your Own Way: Lee Curtiss. MISS LIBERTINE Purple Sneakers: Official Washington Afterparty. Kimbra, Chicks Who Love Guns, Washington. 8pm. $12. PRINCE BANDROOM Rock Like Th is: Miles Dyson. 9pm. $28.50. REVOLVER Upstairs: Pretty n’ Fatboy, Just Lewis, The Rash of Satan, Soul-Glo DJs. 9pm. $15 at the door or $12 pre-sale REVOLVER NQR: MM9, Anyo, Sam Deluxe, Luke McD, Chardy, TBIB, Tom Evans, Aaron Trotman , Nick Young. Wax!: features Andee Frost, Oohee, Who, Sunshine, special guest Jnett. ROXANNE PARLOUR Children of Realness: Todd Terj. 7pm. $28.30. THE TOFF Poprocks: Dr Phil Smith. 9pm. Free.

SATURDAY ABODE LEVEL ONE Secret Room: Olly G, Syme Tollens. 11pm. BIMBO DELUXE Phato Amano, Adam Askew, Peter Baker, Sam McEwin CIRCUS BAR Mama Said: Murat Kilic, Nick Jones, Virginia Le, Daniel Tardrew, Viking vs Luke Bourke. CIRCUS BAR Mama Said Recover: Rueben Keeney (IRE), Lucca Tan Vs Dean Benson, Jesse Young, Graig Pringle, Jamie Coyle, Michael Dichera, Lex Stringbow vs Jamie Lamington 4am til late. CO. Envy: Matty G, Mykey B. 9.30pm. $12 Guestlist / $15 on the door. CROFT Mark De Clive Lowe, Edseven, Prequel, Martin L, Andras Fox. THE ESPY Gershwin Room: South Rakkas Crew, Press Play DJ’s, Mickey P, Hangtime DJ’s, Swick Vs Tranter, Mat Cant. 8pm. $25. EUROTRASH Eurotrash House Party : 1928, Sleeves, Supremes, Tranter, Mu-gen, D.Ceed, Superhanz. $5 entry before 10pm, $10 general after. FIRST FLOOR Ci CI Shnapps, Mr Fish, Ooh Ee. FUSION Replay: Tribal Kings DJs Tate Strauss, Dean T, Johnny M. 9:30pm. $18 Guestlist/$22 on the door. HOME HOUSE Grant Smilie, Syme, Herbee, Anth’m.

KHOKOLAT BAR Khokolat Koated: Damion De Silva, K Dee, Jay Sin. 9:30pm. $5 before 10pm/$15 General/$12 Guestlist. LA DI DA Poison Apple DJs: Boogs, Spacey Space, Jen Tutty, Luke Wellsteed, Tyrone, Matthew Grisold and Death By Disco in the Pussykat Palour. LOOP. It’s Your Th ing: Harmon, iLLResponce, D’fro, D-Visual, Sketchenry. 10pm. Free. LOUNGE Luke McD, Nic Coleman, Darren Coburn. 10pm. LOVE MACHINE XY Saturdays: A Music Generation: Justin Ng, David V. 9pm. LUCKY COQ Pac Man, Tahl, Kodiak Kid, DJ Return, Ash Lee. MERCAT BASEMENT LuxxeParty ‘The Bunker’All About: Kaysh, Mark J, Volta, Johan Elg, Samari, Rips. MISS LIBERTINE Julez, Class A, Loose Change. 9pm. NEW GUERNICA Kompakt 3 feat Kaito, Tobias Becker. NEVERLAND Edly Rose, Jesus, Buz Emera. Romaz. 10:30pm. $10-15 door. NIGHT OWL Wobble Th ird Birthday. Cubist, AC23, Spinfx, Retsa, Woz, MC Wasp, Fraksha, Scotty Hinds, Altezz, Dyslexic 10pm .$15. 10pm .$15. THE PRINCE Superdisco Djs Harris Robotis, Cassian, Sunshine, Tyson Obrien. REVOLVER Ransom, Nick Thayer, Mat Cant, Rex, Danielsan, Ms Butt, Lewis Cancut, Paz. ROXANNE PARLOUR After Dark Social Club: Ajax Nick Foley, Rob Pix, J-Heasy, Josh Gillho, Marco Polo, WTRS, Verdan . 9pm. $15–$20. THE TOFF The House De FrosT: Andee Frost & guests. Midnight. TRAK Strut Saturdays: Mark Pellegrini, Andreas, Mas, Michael T, Mike Steva, Anyo, Danny Merx, Louie Gallina. 10pm.Entry $18. Guest List $15.

SUNDAY CO. Be. Damion De Silva, Jay J, Ken Walker, Lighting, Rev , Hoesty, Ever. 9.30pm. $5 Guest list before 10pm , $12 after, $15 general. CIRCUS BAR Circus Sundays: Luke McD, Nick Young, Aaron Trotman, Nick Young, Tom Evans, Rowie,Katt Niall. LOVE MACHINE Gossip Sundays: DJs Haylenise, Stoj, Peter Mcnamara. 9pm. NEW GUERNICA Spike, Faux Rea. 8pm. Free entry. REVOLVER Revolver Sundays: DJ Boogs, Spacey Space, T Rek, Radiator. 7.30pm. THE TOFF DJs Andyblack and Haggis. 4pm. Free. ROXANNE PARLOUR Marcel Dettman 10pm .$15-30 on door .Morning Glory : D-Manual, Dwayne Thompson, Joel Alpha, Tom Evans, Sam Gudge. 4am. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.





A13 WHERE & WHEN: The Crucial Social Club at The Black Cat every Saturday, Sect ion 8 every third Friday of the month, The Crucial Social Academy at Workshop every fourth Friday of the month, Heavy Innit at Brown Alley Friday 15 October 2010

D DOUBLE E Street Fighter

(Dirty Stank), 2010. “New grime banger from D Double E all about Street Fighter can’t really go wrong. Nice product ion from Swerve using old school computer sounds with a massive bass sound! Tiger upper cut!”

ACTRESS Maze (My Dry Wet Mess Remix) (Honest Jon’s Records) 2010.

“Something a little different then a normal Act ress tune – nice summer dubstep vibes.”

FREESTYLERS FEAT BELLE HUMBLE Cracks (Flux Pavillion Remix) (Never Say Die Records), 2010.

“Straight up rave anthem (reach for the lazers!).”



BROWN ALLEY: 03.09.10 One Bottle of ooh la la champagne from Rosa’s kitchen in Flinders Lane, two dirty martinis from The Toff and we’re officially on our way to one of this year’s most anticipated club nights. Dirty French minimalist ic house master Agoria has finally reached Oz, having famously missed his last gig due to volcanic debris. Teaming up with the German doctor (literally) of minimal tech Marc Romboy and deep house pioneer and Derrick’s May partner in crime, Chez Damier, the night has no other option than to rip the shit out of any competing events. It’s the first weekend of spring, and despite the chance of rain and gale force winds, the CBD is packed. Brown Alley, hit and miss sometimes with crowd capacity, gets it spot on. There’s room to dance, short lines to the bar all the while pleasantly decked out with this decade’s most techno savvy crowd – black ankle boots galore stomp and grind through Damier’s deep soul set, as all the while a sweaty eagerness is brimming in the main room. The bathroom is chock full of gen Ys, whipping out this season’s swish shade of vampire ruby red, dousing excited smiles while Romboy takes to his throne. Shots are shot, drinks are drunk and the crowd congest s to gain better floor position. Romboy’s cohorts Booka Shade and Bodzin creep throughout a dark and notoriously minimal tech set. Time out at the one hour point as thoughts are collected, shattered feet are rested and blurry critiques are swapped, but no rest for the night’s most wicked. Agoria is in the building – just as we exit another epic night for LOY. FERN GREIG-MOORE


MEET THE CREWS WOBBLE CREW MEMBERS? “Performing Artists: Cubist, AC23, Spinfx, Retsa, Woz, MC Wasp, Fraksha and Scotty Hinds. Soundsystem: Heartical Hi Fi Soundsystem. Decor: Lava of the Butterfl ies. Visuals: DVS.” WHY DID YOU GUYS START PROMOTING PARTIES? “We wanted to create a party focused around Soundsystem Culture of the UK – that is, large stacks of speakers moving AIR in the BASS Region. The low frequencies hold the melody in drum‘n’bass, dubstep and jungle, and we wanted these low frequencies to breathe effortlessly, with an emphasis on decor and lighting to match our high quality soundsystem.” WHAT SOUND WERE YOU LOOKING TO PUSH WHEN YOU STARTED OFF, AND HOW HAS IT EVOLVED SINCE THEN? “Drum‘n’bass, dubstep and jungle. The genres are constantly evolving, sometimes for the good and sometimes for the bad. Certain producers peak and fall with their creative output, then new producers burst onto the scene. Most of the Wobble crew write music, so we are always playing our tunes out on the Soundsystem. We all have our own st ylez and soundz, from minimal to jump-up, tek and jungle. It’s all music.” WHAT WAS THE FIRST GIG YOU RAN, AND

HOW DID IT GO? “We’ve all been promoting different parties for the last ten years and life bought us together three years ago. It was quite st range that we all wanted to create the same thing in Melbourne. We all had a similar vision with an emphasis on big sound and product ion for the music we love. The fi rst Wobble was special. The fi rst six months were a real underground thing.” WHAT’S BEEN THE BEST ONE SO FAR? AND ANY DISASTERS ALONG THE WAY? “Cubist Bon Voyage UK Tour was dope. It was just a special night where everything was so easy. The music, the night, everything just floated effortlessly. We had disasters yeah – it’s a tough indust ry. We try to constantly push things forward and improve what we do.” WHAT WOULD BE YOUR ULTIMATE LINE-UP FOR AN EVENT? “We are all happy with what we got. We’re not asking for anything more. We got the sound, the DJs and the support. We put a lot of effort into everything we do, paying attention to every detail. We just wanna continue to push the music we love, plus inspire and give support to the younger DJs so they got a platform to perform and give the heads an event so they can experience the music the best possible way.”

WHERE & WHEN: Wobble Th ird Birthday at The Night Owl

Saturday 18 September



SUCK IT STEPHANIE I don’t have a Twitter account. Glamorous swimming sensation Stephanie Rice does have a Twitter account, but she should really close it down before she hurts herself. In three words, posted for all to see, she has gone from the poster girl of Australian sport, to the poster girl for homophobic bigots. Clearly that wasn’t her intention, but if she goes around calling people “faggots” on Twitter, she is going to offend people. And the only people who are going to defend her are homophobic bigots. If she gets so worked up by watching a sporting event that she feels the need to publicly gay bash the other team, she needs to do some work on herself. When Stephanie won her Olympic gold medals, she didn’t tell her opponents “Lick it lezzos!”. She knows better. I don’t know if Stephanie Rice hates gay people or not. Her teary apology suggests she feels bad. But the lesson should be learned: “Gay” is not a punch line in and of itself. Aust ralians at large, particularly in the sporting world, seem to regard homosexuality as either a sign of weakness, or something we’re all free to laugh at. By telling the South African football team “Suck it faggots”, Stephanie Rice joins the long line of dull, witless people who think being gay is, by definition, funny. The other implication is that the worst thing that could happen to a man is that he would get another man’s penis inserted in to his mouth. Gay people have every right to feel offended when their lifest yle is constantly held up as a societal joke. But when people complained about Stephanie Rice’s dumb as shit comment on Twitter, homophobes from everywhere came out with homophobic comments to defend her. Stephanie Rice isn’t standing by her comment. All evidence suggests she is mortified. And I’m sorry that it took this nast y little incident before she realised how inappropriate it is to use the idea of homosexuality as a tool to insult people. And if that’s just “how kids talk today” (as many homophobes are saying), then kids today are ignorant homophobes. There are many reasons to hate people. Many things we can criticise people for. Being gay really isn’t a valid one. People like Stephanie Rice need to use their imagination a bit more, before they use Twitter. DAVE JORY

CALIFORNIA GURLS KATY PERRY FT. SNOOP DOGG (EMI), 2010. From recording for Christ ian label Red Hill to shooting cream from her bra, Katy Perry has moved out of the one-hitwonder shadow that hung over her head until she started to hang with the right people (Russell Brand, Snoop Dogg, The Smurfs). Kissing girls wins over prayer…


SHAKE YOUR DIX PEACHES (XL), 2003. Having once tried to perform her own take on Jesus Christ Superstar (as a one-woman show), Peaches could teach Perry a thing or two, starting with this sleazy crotch-shaker which features long-time collaborator Chilly Gonzalez. Gonzalez later helped Jarvis Cocker pen songs for Perry’s poke Russell Brand to perform in this year’s Get Him To The Greek Hollywood comedy.


CHERRY BOMB THE RUNAWAYS (Mercury), 1976. As sweaty and sexual as Peaches and Perry gettin’ it on, this barely-legal metal gurl anthem has survived the ages (and not just ‘coz of the corset worn by Cherie Currie in the clip). Runaways also kick-started the career of one Joan Jett who jammed with Peaches on You Love It (2006) after Peaches sampled her Bad Reputation cut on I Don’t Give A Fuck (2003). Jett has also been known to kiss a girl… or two.









With Australia’s two major football codes now well and truly at the business end of proceedings, 3D World begins to look back at the year that was.



Carlton’s move to risk the ire of fans and jettison perennial grub Brendan Fevola, following a collection of unbecoming conduct that put Ben Cousins to shame. Unable to keep his todger in his pants and his conduct reasonable with more than a couple of beers under his belt, you’d have to say Fev is tailor-made to be the fi rst cross-code jumper from AFL to NRL in history.

Todd Carney took a massive step towards having the prefi x ‘bad boy’ removed from his CV by taking out the Dally M for the game’s best palyer in 2010 after a season in purgatory. While the tabloid press fall over each other to pat him on the back and congratulate the Sydney Roosters for taking a punt on him, Raiders fans quietly contemplate how good their team would be if he learnt how to stay off the booze two years ago.

Michael Voss and his list management team’s decision to recruit Fevola. Before the ink had even dried on his contract he’d unveiled to his new club a notso-well-kept secret that he had a major gambling problem – oh, and shady figures hot on his tail to settle some scarily substantial debts. Oh Brisbane, where did it all go wrong...

It took a full 26 rounds, but Roosters Toyota Cup players Sam Brunton and Anthony Gelling finally stepped up to the mark – or much rather left their mark – when they were sacked by the club for allegedly leaving fecal calling cards on the table and floors of several Townsville hotels after their final home and away match of the season. They were last seen being thanked by Nate Myles for taking the mantle of the NRL’s serial shitter off him.

The unfortunate Dancing With The Stars success of Fev’s utterly horrid former other half, Alex the Bogan Queen. Also Fev’s 2010 season. At times he looked disinterested and was injury prone, and he failed to convince Lions supporters (and fellow players) that the gamble to sign him had paid off. Does he seriously give two st uffs about Brisbane? Uglier st ill was his request to train in Melbourne in the off-season and recuperate away from his teammates. Not exact ly the team approach from our Bren, rapidly becoming known to Brisbane fans as ‘Little Aker’.

The authorities seemed so determined to nick a footy player after the alleged drug dealing antics of a couple of Newcast le Knights that some police bailed Carney and fellow reformed Roosters bad boy Jake Friend up in a McDonald’s one Saturday night and came up with... seven Valium. Thankfully, our st reets are now safe from this menace.

As if he hasn’t already royally fucked his debut Queensland season up, Fev is now alleged to have given a surprised lady a sneak preview of his trust y trouser snake last week at a non-club charity day. You are an enigma, Brendan. Has there ever been a larger amount of God-given ability wasted on a bigger waste of space?

We’ve got through this whole column without mentioning Bredan Fevola’s brother from another mother Willie Mason, who went about his business with the terrible North Queensland Cowboys with a minimum of fuss and bother, than queitly signed with Hull at the end of the year. Wannabe NRL bad boys stand up – there are clearly some positions vacant.



THIS WEEK: CRUNK Hip hop originated in New York, but in the late 80s the West Coast emerged as the new hotspot, led by the G-funk massive. Southern rap was dismissed, even mocked, by the wider hip hop scene. Th at st arted to change in the 90s with the arrival of act s like Goodie Mob, proud to rep the Dirty South. The Southern crunk was the first of the ‘new’ regional music genres to explode – not just across the States, but globally. To this day, it’s enjoyed greater commercial success than, say, B-more. Atlanta producer/rapper Lil Jon (aka Jonathan Smith) is generally considered the originator of crunk. Together with his homies, The East Side Boyz, he first dropped the term ‘crunk’ in 1996’s Who U Wit? – included on the album Get Crunk... – but crunk was already old Southern slang for ‘get hyped’ or ‘get amped’. Crunk is high-energy. It’s st ripped-down party (or st rip club!) music that is indebted to Miami bass as well as elect ro. Th e drum machine features prominently along with bass and ravey synths, although its tempo is slower than most hip hop. Samples are rare. Th e vocals are shouted so as to encourage list eners to join in, call and response-st ylee. Crunk might be a communal urban punk. It’s about the anthem – and an attitude. Crunk doesn’t facilitate social commentary and so it’s st ill perceived as gimmicky – and monotonous – by hip hop traditionalist s. Smith was responsible for the earliest crunk crossover hit, 2003’s Get Low, with the Ying Yang Twins. Since then, crunk has spawned off shoots, the most obvious crunk&B. Yet again Smith was at the fore here, producing Usher’s mega-hit Yeah!. Ciara blew up with Goodies, proclaiming herself the Princess of Crunk&B. Following Yeah!, crunk became the fresh sound of pop – and mainst ream. Memphis’ Th ree 6 Mafia – also early exponents of crunk, who some maintain were act ually making the music prior to Smith – won an Oscar for ‘best song’ with It’s Hard Out Here For A Pimp. Meanwhile, outsiders jumped onto the crunkmobile. Smith beefed with Philly’s Scott Storch, producer of Chris Brown’s crunk&B Run It!, for ‘biting’. Crunk’s revolution pre-empted elect ro-hop. Smith, a former club DJ, was familiar with dance music. In 2006 he said, “Really, the sounds that I use are techno – it’s the sound that you hear predominantly in techno and rave kinda tracks, but I just put it over hip hop.”


AUSSIE DJ ABROAD CASSETTE REPORTS BACK FROM PACIFIC FESTIVAL: OC, THE DEBUT OUTING OF A NEW VENTURE FROM DANCE MUSIC WILD MAN STEVE AOKI. DAY ONE – THURSDAY 2 SEPTEMBER After a gruelling 13 hour fl ight I arrive into LAX in the early afternoon. A limo driver is holding a sign reading “CASSETTE”. Yay, I have arrived! I feel dazed and confused from the last ing effects of Xanax and jetlag, but then I look outside and it’s sunny and beautiful – so I decide to go with it. First stop is Laguna Beach, where I meet up with friends and hit the water and sand within minutes of dumping my bag. Surviving on only three hours sleep we collect ively decide the best solution is to start drinking cocktails immediately. A friend hooks us up at an amazing rooftop bar called Kya, which overlooks the entire Laguna Beach. After drinking free cocktails in the sun ALL afternoon I realise my pale winter skin has been scorched by the Californian rays. I take a cold shower then power through for a late

night Reggae Party at a club called Sandpiper. The place is packed with young and beautiful Californians and there’s no quest ion why – great DJ sets and one of the most amazing live reggae performances I have ever seen. We dance and party all night then head back to a Laguna house party for a communal jamming session by the fi re. I feel like a local already. DAY TWO – FRIDAY 3 SEPTEMBER Attempt hangover recovery. DAY THREE – SATURDAY 4 SEPTEMBER Day one of the fest ival! I head in at 2pm for the fest ival press shots. There is a massive VIP area with a completely open bar and the whole venue is absolutely packed. One of my favourite DJ acts Classixx (on their home turf) are





on at 3pm and play an amazing mellow disco set which gets everyone dancing and sets the vibe for an amazing day. Next up are Aussies Miami Horror, who are apparently really popular in California now. We got to hang with the guys a bit later, they were super nice and it was cool to hear some other Aussie accents. An interesting addition to the festival was Deejay DC, a Red Bull sponsored DJ from Austria trying to break the world record for longest DJ set in the world. He had to DJ for 125 hours with no sleep! The whole set is recorded and he couldn’t play any of the same songs twice. He got personal endorsement from Californian governor Arnold Swarzenegger (a fellow Austrian) and is now the world record holder! The Sounds were great live as well. I have loved the lead singer Maja since I saw her perform at Parklife a couple of years back, she is one sexy minx that really knows how to work a stage! Steve Aoki’s set was one of the highlights – mainly because of his energy and the crazy ambience he induced. The crowd was going crazy, backstage was chock full of scenesters and artists, The Cobra Snake was running around taking photos and being crazy, lights were going mental, confetti bombs were dropping from the ceiling and Aoki & crew were engaging in the usual stage diving, crowd surfing antics. Lots of fun! After Aoki it was time to head to my set in the DFA room. Some of the crowd seemed skeptical when I fi rst hit the decks (I don’t think they have many female DJs in CALI) but that skepticism wore off quick. I played loads of Aust ralian st uff and people danced non-stop! Girls and guys were dancing on the stage and taking their tops off, people were jumping up to high five me and pass me business cards, bottles of Jägermeister and drinks – it was pretty crazy and definitely one of the most fun sets I have played this year. After my set things got a little hazy. I had


Continuing its mission to bring together the best cutting edge elect ronic musicians in the world, the Red Bull Music Academy is bringing out three of the future beats movement’s biggest names in Martyn, Illum Sphere and Tokimonsta to our shores for the RBMA tour. Kicking off with the latest instalment of The Beat Invitational producer’s showcase featuring


forgotten to eat much all day and the drinks had kept on flowing. We rallied together what crew we could and went downstairs to watch disco house legend Alan Braxe and Dim Mak Records DJ Them Jeans play one of the main rooms. The crowd were going wild and the place was pumping. We danced behind the decks like groupies the entire set and it was a great way to end the night. DAY FOUR – SUNDAY 5 SEPTEMBER I woke up in my hotel room a shell of my former self. Fest ival promoter Mike Tunney and my friends are passed out in the living room. I seem to have pulled a major muscle in my thigh (not sure if it was from some experimental dance move, a crash tackle or perhaps just falling over). I have also lost my wallet, my sunglasses and my phone charger. Eek! I come to terms with the loss and decide it was all worth it. Besides, the show must go on – I have two gigs today. We have a few short hours to recover before I have to go back to play again

at the fest ival, then drive down to San Diego for another gig. My San Diego gig is at notorious hotspot Voyeur, an amazing club with one of the best DJ booths I have ever played in – the booth is elevated and they have an epic light board behind the decks. A live feed camera tilted towards the mixer projects your mixing skills onto a big screen for all the crowd and club to see. After Voyeur we drive back to Orange County to play a big after party with Dirty South, another Aust ralian DJ who has made it BIG overseas (do u think they LOVE Aussies?) DAY FIVE – MONDAY 6 SEPTEMBER It’s Labour Day – a public holiday in America and sadly my last day in the USA. Unfortunately I had to cancel my gig in LA at Dim Mak Tuesdays so I could get back to Sydney in time for the Vogue party there. We meet up with everyone for lunch in Laguna Beach and reflect on the weekend’s highlights – agreat mellow end to a long weekend of whirlwind gigs!

live performances by beatmakers Daltron Beats, Mike Kay, Hooves, DJ Kuya and Harmonic 313, this is a show not to be missed. The big double-header takes place at Roxanne Parlour Friday 24 September. To win a double pass to the show plus a RBMA prize pack including a limited edition t-shirt and compilation CD from Red Bull Music Academy London Edition, email your name and address to au with ‘RED BULL’ in the subject line. Entries close Wednesday 22 September.

E.L.K (CANBERRA, ACT – OVER 18) CRUSH THE REBEL SCUM E.L.K is renowned for his time exhaust ive stencil layers and technical skills. Crush The Rebel Scum depicts Jesus on a cross wearing a Ned Kelly mask. E.L.K works with aerosol on wood for this piece. He is a self taught, Canberra based stencil artist and recently exhibited alongside the ‘Godfather’ of stencil art – Blek le Rat – in Los Angeles. E.L.K didn’t watch MasterChef, he didn’t go to art school, he didn’t vote for Tony Abbott.

BOO (MELBOURNE, VIC – OVER 18) SAILORS RIGHTS Boo describes her enamel and oil on wood stencil as “the bizarre, the serene and all the beautiful layers in between”. Boo is a stencil artist and facilitator from Melbourne city. In spite of her Honours Degree in Fine Art she has been making st reet art for many years. Boo is obsessed with the point at which the aest hetic and the political collide, the creation of a subtle frict ion and that slight sense of uneasiness. Her motivation is to create engaging work that leads the viewer to quest ion immediate visual gratification and look for more, a disjunct ure, a gift, or another way of seeing. All this and more glad wrapped in a pleasing 1940s aest hetic. The winner of the Australian Stencil Art Prize is announced at Oh Really Gallery (Sydney) Thursday 11 November at 4:30pm.

TUBETIME The incredible world of television with 5SPROCKET

Never has a programme pissed into the wind as much as the new prime-time quiz show Letters And Numbers (SBS). Hosted by Richard Morecroft, former ABC newsreader now craggy faced volcano, the show is the TV equivalent of the word jumble and number games on page 72 of The Daily Telegraph. Like those deadening puzzles, Letters And Numbers is equally disposable and should be discarded on a peak hour train and covered in a st icky Fanta spill. Devoid of any form of charisma and joy, I would much rather build a canoe out of frozen milk. In the programme there are several quest ions, based on letter and number puzzles (that’s where the title came from!). Host and contestants are seated at a giant round table, several metres between them to ensure that they need to rotate their entire body any time something happens. The show opens with a brief discussion of the word ‘erudition’. I choke on my tongue with laughter, and then realise they’re being entirely serious. The contestants are reigning champing Narween and Jim, a self-employed executive recruiter who almost went bungee jumping once but then decided not to. Good story. The fi rst game is a letter game, where they need to make the longest word in 30 seconds. Two middle-aged men fighting for the biggest one at the table. Like Wheel Of Fortune, one of the contestants needs to pick out letters to be put on a board. The letters are selected randomly by Lily, the ‘Letter Girl’, the closest thing to Adriana Xenedis that SBS could afford. She smiles and I’m sure she’s nice, but she’s like your hot friend’s less appealing sister who doesn’t answer your quest ions, but smiles a gummy grin. Th is gets very annoying. Asking Lily for letters is a drawn out and uncomfortable affair, which goes: “Can I get a vowel please? Another one. A consonant now. Another one. Another one. And another one. Can I get a vowel please? And a consonant.” The challenge is set - make a word from the letters OAIFBTHAL. The contestants bury their heads in pen and paper solutions. Their solutions are presented. Reasoning explained. Richard Morecroft says, “Petioles - now there’s a good word.” The take-home prize for the loser is a Macquarie Dictionary.



It opens on a Home And Away-esque teen speaking direct ly to camera, fi ltered as though to look like it were shot on video. She talks about an invasion, about survival, about how everything has changed. Th is monologue clearly st retches her act ing range, as she st ruggles to deliver phrases without messing up her hair. It’s war time - and it’s laughably bad. Moments later, through the magic of cinema, we are taken back several weeks to before ‘the war began’. The girl is now riding on a tractor in a farm, Missy Higgins playing on the soundtrack. Aust ralian flags waving in the breeze. The scene fi rmly establishes the hyperbolic nationalism that just ifies the direct ion of the fi lm. I suppose this is what you get for a $30million rehash of Red Dawn. Ellie Linton (Caitlin Stasey) looks for the fun in life. That’s why she decides to round up her friends - rich, Catholic, rebel, sporty, and Asian - for a camping weekend at ‘Hell’, an absurdly named piece of remote bushland. They eat Vegemite out of the jar with a spoon, they laugh, they play with snakes in sleeping bags. Sexual tension begins to spark. They head back in to town so they can check their Facebook profi les and update their collect ive status as ‘OMG had the best WEEKEND!’ and ‘like’ each other’s digital snaps, but something is wrong. Their parents are missing, a dog is in a cupboard, there is no phone reception. The intrepid gang decides to invest igate further - it’s an invasion, like, war and st uff. Once the kids realise that the local showground has been taken over by invading forces, they do what any sensible teen would do and take it on themselves to lead a guerilla resistance. Tomorrow When The War Began is a fi lm that comes with average-to-high expectations. A big-budget product ion that tries to rival the quality Hollywood output in our local multi-plexes, it is based on the fi rst in a series of teen novels by local author John Marsden. Since their publication in the mid-’90s, the novels have become a valued piece of Generation Y cultural cache. Stuart Beattie, screenwriter of Collateral and Pirates Of The Caribbean, makes his directorial debut here angling the fi lm towards the broadly illust rated themes and inflated act ion set pieces that have become tediously familiar in mainst ream Hollywood product ions. It is intentionally a popcorn fi lm, and taken on those terms it is a rare achievement to see a local fi lm with such ambition. An action sequence with a garbage truck and a dune buggy isn’t bad, and the scene where they skinned and ate a kangaroo was surprising (this didn’t happen). The heavy handed expressions of Aust ralian identity are unrealist ic and uncomfortable, with another use of Flame Trees on the soundtrack and

rural towns made to be the heart and soul of an underdog nation. It’s Aust ralia for an international audience, packaged and sold as a backended tourism campaign. The biggest fault in the fi lm is in its representation of the invading force. The villains are generalised Asian evil people, bent on tearing down our tin sheds and our Sunday arvo barbies. They’ll kidnap our parents, blow up our houses, and steal our internet. There is something very off about the fi lm tacking this tact, altering the tone of the narrative from one of a youth st ruggling with moral compromise to an ‘us and them’ showdown. I’m not worried though, I’m sure they’ll fi x this mortifying demonisation in the sequels. WHERE & WHEN:

Screening in cinemas now






There are some elect ronics companies that have made the foray into mobile phone manufact uring with class, such as Apple. Others, such as Sony – through their purchase of Ericsson – started out on shaky grounds, but have come of age in the world of smartphones. Then there are those that should just give up, such as television company LG. Perhaps it’s bad luck, but the two LG phones I’ve played with in the past (both were friends’ devices) have been awful. But then, Sony Ericsson were never that great, either – and their Xperia is a sublime piece of plast ic and glass. So, giving LG the benefit of the doubt, we thought we’d look at their Optimus smartphone (full name: LG Optimus GT540f). The fi rst thing you’ll notice is how light the phone is. In weight it’s the equivalent of holding half a Popular Penguin in your hand, and about as comfortable. Th is thing is so light you could almost play cards with it – if you had another 51 phones and a permanent marker. Companies may say, ‘But it’s light!’ and they wouldn’t be lying, but, you know, being light isn’t really always a good thing. There’s nothing like a little weight in your hand to make you feel like you’re holding something of quality. See: The Wire boxset. And then there’s the screen. Do you remember your fi rst look at a touch-screen phone? Chances are it was at the pub and a mate wanted to show you how awesome his phone was by launching an app that makes fart noises when you speak into it. If, like me, you were fascinated by the screen and starting prodding away with your digits like you were determining it if were dead or alive, you quickly learned that the beauty of touch-screen lay in its sensitivity. Now with most phones all you need is the pressure of a feather floating through the air to access your data. Not so with the Optimus, whereby the only way to open your address book or to answer a call is to stab your



phone with such pressure that you’ll fear the police will come knocking at your door with accusations of grievous bodily harm. It’s an awful screen, worse than the very fi rst consumer released touch-screen (which is a feat, when you think about it). One of the fi rst things you learn when you get a touch-screen device is the difference between pressure for scrolling through menus, and the pressure required to open apps. On Optimus, you need to apply serious pressure to do anything on screen (such as scrolling), and so often you’ll inadvertently open up an app, which, of course, is fucking annoying. And the physical buttons on the phone itself feel – and (shock, horror) sound – like plast ic, which is not going to win you kudos when you present your phone to the table. Telst ra being Telst ra – i.e. a company that st ill manufact ures physical phone books – Optimus comes with an abundance of unnecessary apps that

cannot be removed, from BigPond TV and Foxtel guides (really?) to WhereIs, Telst ra’s location service that has no hope in hell of being your fi rst choice for finding pubs when the device you’re using also contains Google Maps. Meanwhile, browsing the internet is also a painful experience – a lot of websites don’t automatically open in mobile view, and when they don’t the text is excruciatingly small. (However, it must be said: images are sharp.) The only real positive about the phone is that the one we tested out was with Telst ra, who, regardless of being the conglomerate ‘Man’ that it is, act ually gives good coverage. Unfortunately, you’ll be too busy breaking your fingers trying to unlock the device to have time to use it. And when you’ve got much better alternatives from Sony and HTC available you’d have to be a mad old bat to choose LG’s embarrassing Optimus. DCR

OTHER ANDROID DEVICES Currently on the market you have the Sony Ericsson Xperia X10 (which we reviewed last week), the HTC Desire, the Samsung Galaxy, the Motorola Milestone (née Droid), and probably a lot more, but those are the main ones. All of them are much better devices than the Optimus. If your argument is size, then we’ll point you in the direct ion of the Xperia Mini Pro, which is smaller, even more powerful, and certainly better. However, for all-round performance it’s HTC all the way. NOKIA ANYTHING + IPAD COMBO Now we’re talking. While Nokia insist on remaining st ubborn and resist ing the call of Android OS, if you really don’t care which operating system your phone runs on then Nokia is probably your best bet. They always have – and probably always will – created the best mobile phones on the market. They’re durable, sleek, fast, and easy to use. (A Nokia phone running iOS is the st uff of fantasy.) Then all you need is an iPad to feed your App Store/ iTunes addict ion. MEGATRON-PHONE Finally, it’s a bit audacious to name yourself after the leader of the Autobots, and, since the Optimus just doesn’t come up trumps, we’re going to have to go against our childhood alliance here and switch to the Decepticons. Megatron was always cooler, anyway – who wants to be a truck when you can be a gun with a God complex? (A Nerf gun, of course.)


GANGPOL & MIT : FAITS DIVERS What’s a DVD again? a) “Another Useless Ironic Colourful Object In The Long List of Items Produced By The Falling Western Empire” b) Plast ic taking up room on shelves you wouldn’t need if you didn’t collect plast ic c) A great way to support independent visual artists and musicians d) A snap frozen piece of the internet, a medley of fragments and cross wired influences e) All of the above, eg. Fait Divers by Gangpol & Mit, published by Pictoplasma publishing ( “SONIC AND VISUAL IN LOVE” Faits Divers finds my favourite French audiovisual duo heading off into a more narrative driven direct ion than previous animated efforts. Sure, the sugarbuzzy pop charm is st ill there, and they are st ill farming the possibilities of blending nostalgic sounds and visions with a caricatured cutting edge tech. Where this once presented itself as mutant rhythmic AV probably best suited to a live environment, we are now treated to extended explorations in their cartoon worlds – where deviant plots unfold over time and the music doesn’t try to fit so much in at all times. “Many of the characters in the clips are easily read as extensions of the creators themselves, battling it out on the ping pong table, aloof deities on a tiny cloud, lust y beings united in tantric embraces, or sailors st randed on a distant shore, on the verge of embracing cannibalism.” The DVD comes in four flavours: Clips/ Stories (eg The Hatred Boat), Act ivities (eg Stand On Waste) and Art with Heart (Interviews with fake artists) and Archives. There is no option to play the soundtrack by itself, which is maybe deliberate, but there is available: “A special free gift mp3 package delivering four new edits of its soundtrack, alternative versions especially reworked to animate your new years celebrations, wedding parties, myst ic choirs, ethnic orchest ras and goat skin percussions etc”. Check it at gangpol-mit. “In times where digital media and low-cost travel shrink the globe to the size of a pixel, we are haunted by the computer generated nightmare version of this carnival. The man-eating feast is taken place just millimetres below your computer screen – slaughter on the motherboard.” @JEAN_POOLE


HOW LONG DID IT TAKE YOU TO FINISH THE MIDNIGHT MENU LP AND WHAT’S THE OVERALL CONCEPT? “It’s insane to think how the album has been received worldwide, especially since it’s most ly a Japanese release. Outside of Japan, it’s most ly through word of mouth, or the word of social networking, that it’s been reaching the ears of so many people. The album didn’t take too long to create because of the manner it was put together. It’s basically a ‘menu’ of songs, so there is a lot of range of st yles in the tunes. It isn’t conceptually focused, but I thought this would be a nice introduct ion to my sound and people will find a least one song that draws them.” WHAT USUALLY KICKSTARTS AN IDEA FOR YOU AND WHERE DO YOU USUALLY START WITH A FRESH TRACK/PROJECT? “My ideas for tracks are dependent on my inspiration. I’ve learned over the years that I’m never happy with a tune I’ve forced myself to make. Also, I’m usually only happy with the songs I’ve made at night – midnight and after. Depending on my mood, I can start tracks differently. Sometimes with the percussion and drums, then I’ll build melodies and things around that framework. Other times I start with chords, and let the rest fall in place. It’s really odd how I make music because the state of mind I’m in at night changes my sound a lot.” DO YOU FEEL IT’S REALLY NECESSARY TO HAVE SOME SORT OF “FORMAL” INSTRUMENTAL OR COMPOSITIONAL EDUCATION OR CAN YOU GET BY WITH INNATE SKILL? “Definitely not necessary. Many people without formal training are so much more innovative because they don’t have this learned behaviour of creating according to rules. I’ve learned to let go of a lot of these rules to create something more mind expanding. Music is for everyone, not just the trained.” YOUR LIVE SETUP IS AS DISTINCTIVE AS YOUR MUSIC – DID IT TAKE MUCH TRIAL AND ERROR TO ARRIVE AT THE RIGHT APPROACH TO PRESENTING YOUR MUSIC? “I’ve messed up so many times that I’ve tried to fi ne tune the best way to do my set without any major errors. There were moments where I’ve kicked my power cables and all my gear shut off during the middle of my set, my laptop has fallen off of tables because of the bass, I’ve gotten so drunk I ruined my set, I’ve forgotten about BPM and ending up playing a slow tune at two-times the speed. When I think I’ve learned my lesson, I discover a new way my live set can get messed up, but these things happen and I’ve accepted this inevitability. I’ve definitely minimised the chances of these errors though.” THE RED BULL MUSIC ACADEMY HOOK-UP HAS OBVIOUSLY BEEN PRETTY PRODUCTIVE FOR YOU SO

FAR, WHAT HAS THE EXPERIENCE BEEN LIKE TO DATE? “I have a great affinity towards the RBMA and everyone associated. It’s such a large network, but it’s almost like an extended family. I’ve grown so much from my experience with them and witnessing what the RBMA does with music is fantast ic. If I had the resources, I’d want to do exact ly the same thing, but I wouldn’t even need to because they’re so great at spreading music and culture.” WHO: Tokimonsta WHERE & WHEN:

RBMA On The Floor at Family (Brisbane) Saturday 18 September, RBMA Workshop at Roxanne Parlour (Melbourne) Thursday 23 September, RBMA On The Floor at Roxanne Parlour Friday 24 September, RBMA On The Floor at The Forum (Sydney) Saturday 25 September, RBMA Workshop at Tone Nightclub (Sydney) Sunday 26 September







YOU THOUGHT HANGIN HANGING ONTO A BOUTIQUE BEER COUL COULDN’T GET ANY HIPPER? WELL IT JUST DID. h created Dogfish Head Craft Brewed Ales has Bitches Brew in honour of the 40th anniversary ann of the album of the same name by M Miles Davis. The brewery describe the album as a ““paradigmshifting landmark fusion breakthrou breakthrough” and so “thr threads their dark brew is a fusion, too, of “three imperial stout and one thread honey hone beer with gesho root”. Unfortunately, the brewery is based in Delaware and it’s hard to find their boo booze stocked in Australia. So if you wish to tast taste this beer, which they reckon is “the ultimate partner for curry chicken”, hit them up at www.g www.gogfi


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WHAT MADE YOU START WWW.MYCATWALK.COM.AU? “A little over eight years ago, was started as a modern approach to fashion and shopping for the Australian market; blurring the restriction lines geographically and allowing the pleasure of fashion to be obtainable throughout the country. A large part of our business is the internationally offering the best Australian fashion product to the global market. Anytime, anywhere is waiting for you... It’s a dream come true for true fashion lovers, Australia was as ready as the rest of the world.” HOW DO YOU SOURCE YOUR LABELS? “Sourcing of labels is the most important part of being a buyer. My assistant buyer, Jenny Lewis, and I spend the majority of our week in private collection viewings, of both brands we currently represent and upcoming labels to keep an eye on. I am very fortunate to have many close friends within the fashion industry globally. From buyers, stylists, sales agents, magazine editors, etc, we all tend to bounce off each other and share experiences, which is such a positive and friendly way to succeed. We have subscriptions to underground overseas magazines such as French magazine Jalouse - one of my faves - and we keep our eyes all over blogs. When I am travelling I spend a lot of time trawling through department stores and boutiques, physically trying on clothes to making note of what brands stand out to me. We see hundreds of collections each season, even if we end up buying into half of them. This is how I ensure our clients are receiving the best product possible. It is a big responsibility and I take their trust very seriously... and their wardrobe.” LIKE EVERY OTHER GIRL, YOU LOVE FASHION, BUT YOU TOOK YOUR LOVE AND STEP FURTHER. HOW DID IT GO FROM BEING AN IDEA TO WHAT IT IS NOW? “My personal history in fashion really began as the Global Wholesale Manager for alice McCALL, it was in this position that I really got comfortable gaining knowledge by working with fantastic people and liaising with many on a daily basis. Dealing with so many buyers from around the world I learnt to truly understand this side of the game and I guess it was an organic transition to move into this area. Essentially I buy from collections months in advance of when it arrives for our customers, so it’s vital that I have a firm grip on what they will want then. Understanding your market and growing with them is really the key to everyone’s happiness.”

WHO’S YOUR FAVOURITE AUSSIE DESIGNER? “This is a tricky question that I just cannot narrow down to a single designer. Honestly, I have so many to choose from. I love the way I feel when I wear Willow, her pieces are feminine and fit to perfection. Josh Goot is a striking favourite and a new addition to our website, his pieces are truly show-stopping. Arnsdorf is a great essential to every girl’s wardrobe, I love her chic aesthetic. Not a day goes by where I do not wear something from Bassike, honestly that is not even an exaggeration. The colours and fabrications of Gary Bigeni, Alistair Trung’s fur jackets and of course everything brought to life by Dion Lee are all very high on my personal favourite list.” IF YOU WEREN’T LIVING IN AUSTRALIA, WHERE WOULD YOU BE RIGHT NOW? “If I wasn’t living in Australia I would be living in New York or London right now. The pace of New York is very much on par with my rhythm. [But] London is where my family heritage lies so it feels like a second home, I love the architecture and the history of the streets. However, UK style is very different to ours so New York would undoubtedly win the race.” BY SEA OR BY AIR? “By air. Although I really am waiting for the next generation in travel. Planes feel so old school

and outdated, I am so curious as to how our children and grandchildren will be traveling. I personally believe with this modern day and age we should be able to teleport by now.” I LIKE TO START THE DAY WITH A NICE CREAMY LATTE AND CONSIDER A WALK, BUT, NEVER DO. ARE YOU INTO MORNING EXERCISE? “This is my favourite question of all time. Yes, I start every day with a work out. The truth is that I just love exercise, I understand that this is not for everyone and I think it’s important to do what is best for you. I wake up as soon as the sun rises and enjoy a 3/4 long black on my way to the gym, have a session, sometimes a steam room, eat something delicious from the Bondi organic store then head to work with a massive smile, focused and ready.” WHAT ARE YOUR PLANS NEXT? “I would like to head to LA to further explore the market and increase our brand mix with some amazing unknown and established cult labels. Copenhagen Fashion Week is also another mark on my hit list. We are also working closely with Sweaty Betty PR and together are working on some exciting upcoming projects.”




• Exclusive streaming of Röyksopp’s Senior album • • Your friendly neighbourhood Bar Hop guide • • All the usual 3D shit •







131 minutes (Original theatrical version), 134 minutes (Special Edition).




GROSS REVENUE? $475,106,177.


Gold bikinis, “It’s a trap/tarp!”, and the Ewok Celebration and Finale (aka “Yub Na”).


Ewoks defeating an armada of the Emperor’s best Stromtroopers makes suspending disbelief difficult. Special Edition replaces “Yub Na”. Sacrilege.


Geeks everywhere to bitch and moan for the rest of eternity about how George Lucas fucked the whole thing up after Empire.


Around $72,000 once you’ve bought all versions on all formats. More when the 3D version comes out.




170:06 (Theatrical US), 161:02 (Theatrical EU), 169:45 (Final Cut VHS), 170:10 (Restored VHS), 170:09 (DVD version), 176:57 (Extended Cut).



GROSS REVENUE? $136,766,062.


It introduced Sofia Coppola to the world.


Her performance was so universlly panned she wasn’t seen again until Spike Jonze plucked her from obscurity to play a gymnast in the clip for The Chemical Brothers’ Elektrobank in 1997.


Joe Mantegna completists.


See Return Of The Jedi above.



SIZE MATTERS? 93 minutes.

BUDGET? Minimal.


Substantially less than that.


No one at 3D World has ever seen it.


You have to ask?


People who enjoyed Saló.

THE DAMAGE? Mainly to the brain.


Google that shit.






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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

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

MUSICIANS WANTED with room to spare, so we would consider applications for creative/ music related office use. contact: 0431337488 iFlogID: 6367

TUITION APPLE CERTIFIED LOGIC TRAINER Logic studio training now enrolling. Are you a DJ,musician,songwriter or composer.Fully customised courses for your individual needs,now available. 1,Logic for DJ’s 2,Logic for Beginners 3,Intermediate Logic Techniques 4,Advanced Logic Techniques.I am a Logic Pro User and Apple Certified Logic Pro 9 Trainer with over 17 years experience.Courses are enrolling NOW.Song Surgery “making music technology,simple”. One on One tuition is also provided. Reasonable Rates Call 8212 4522 iFlogID: 7467


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

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 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



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

YOUR BAND BIOGRAPHY Stuck trying to spin together a bio for your band? Professional writer available for constructing amazingly clever and exceptionally unique band biographies. Don’t settle for a self written boring bio. We’ll do a good job. We will work with you to create a short, sharp, memorable bio. -5 years writing experience -from $50 only (one off fee, no royalty payments) email or call/text 0421449002 with your inquiry. iFlogID: 78611

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3D World - Melbourne Issue #1028  

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

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