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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

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Melbz’ Mission Control have found the clip for their shroomy reworking of Memory Tapes’ Green Knight featured on Pitchfork TV. While you’re there check out the Canyons’ clip and Cut Copy’s new making-of doco.


Black Eyed Peas’ new track The Time (Dirty Bit) is just fucking awful. It’s a bit of Dirty Dancing as if 2 Unlimited covered it – but at least we could blame the drugs in the 90s.


Kylie Minogue has scored her fi fth Billboard Dance/Club Play Chart number one in the US this week with Get Outta My Way. It peaked here at #69.


So the city council has been selling off CBD laneways to private developers. It netted $1.4 million from Colonial First State alone. Wonder if the st reet art they hate so much adds value?


James Packer has nabbed a chunk of Network Ten. It’s tipped that he will stop its expansion into cost ly current affairs in favour of The Simpsons reruns. Can someone also tell him that Junior MasterChef ain’t cheap either.


Been getting a lot of junk mail about the State Government’s eco initiatives lately? Anyone would think they are worried about the Greens pulling the lawn out from under them in the upcoming elect ion.

VETERAN IRISH ROCKERS U2 have decided to give the kids what they want by teaming up with hit making dance producer David Guetta to make a ‘club record’. Hopefully they don’t produce a Lemon (thanks, we’re here every week)… WITH LABELS GOING bust everywhere, a good news story – Australian independent distribution business Inertia celebrate ten years of operation next month. 11,000 artists and more than 35,000 releases have passed through their supply chain, with esteemed electronic labels Ninja Tune, Warp, Remote Control and Soul Jazz just some to feature on the local imprint… FOUR SCIENTISTS AT Leeds University have spent more than 1,000 hours testing 700 variations of the traditional bacon buttie to discover a formula for perfect crispiness and crunchiness. Good to see great minds being used so well – whatever grant money they’ve acquired should be doubled pronto… FOR BETTER OR for worse, Black Eyed Peas main man has posted a preview of The Time (The Dirty Bit), the first new material from forthcoming album The Beginning. It jacks (I’ve Had) The Time Of My Life from Dirty Dancing – we can’t verify reports that Patrick Swayze is rolling in his grave… YOU CAN NEVER ever have enough portaloos or policemen – shortages of both have been cited as reasons for the Glastonbury festival 2012 postponement due to a clash with London’s Olympics...



The best (ahem, only) music fest ival in the Wisemans Ferry region returns! And, with a teaser of their upcoming line-up that will dest roy all previous Playground Weekender qualms. Proudly presented by 3D World, the four day boutique music and camping fest ival will be held 1.5 hours north of Sydney, with the most diverse runsheet to date. PW 2011 will host Doves, Kool & The Gang, De La Soul, Kate Nash, Caribou, Four Tet, Damian Lazarus, Tunng, Hungry Kids Of Hungary, Toro Y Moi, Tom Middleton, LTJ Bukem, Canyons, Danimals, King Tide, Clive Henry and more for the marathon Thursday 17 to Sunday 20 February event. Tickets are on sale already for a cool $249 + booking fee for the four day ticket. Remember, the headline artist and many more acts for the 2011 fest ival are yet to be announced, so stay tuned. THE SHAPESHIFTERS


Not many acts can claim to have created a timeless anthem, and UK house duo The Shapeshifters certainly did just that with Lola’s Theme in 2004 – not to mention their reworking of Orbital’s seminal Chime to celebrate 20 years of acid house in 2008. In recent times they’ve been racking up remix credits for the likes of Pixie Lott and Seal, and over the past two years have turned in two successful compilations in their entry for Defected’s celebrated In The House series as well as the Summadayze set celebrating the Melbourne fest ival of the same name. With residencies for Defected at Pacha and Miami’s Mansion wrapped up, the duo are flying south for our spring to flaunt their wares, hitting The Market Hotel (Melbourne) Friday 12 November, SHE Boat Party (Sydney) Saturday 13 and Platinum (Gold Coast) later that night, then wrapping things up at Beach Hotel (Byron Bay) Sunday 14. TREY SONGZ


An Usher tour is already enough to set the hearts of R&B fans aflutter, but now an equally hyped support act is set to help get the party started. The man in quest ion is Trey Songz, who scored a Grammy nomination with his breakthrough album Ready on the back of hit singles like Say Aah, Neighbours Know My Name and LOL :-) (bonus points if you can pronounce that last one if trying to request it at a club while drunk). But that was 2009, and now Songz is all about his latest drop Passion, Pain & Pleasure, which is already heating up the Billboard charts in serious fashion thanks to Bottoms Up and new single Can’t Be Friends, which showcase the singer at his sultry and soulful best. The fi rst Sydney and Melbourne shows sold out in just minutes, so R&B nuts best snap one up for Rod Laver Arena (Melbourne) Sunday 20 March, Newcast le Entertainment Centre Tuesday 22, Acer Arena (Sydney) Thursday 24, and Brisbane Entertainment Centre Saturday 26 if they’re keen. Tickets for all shows through Ticketek.







GENERAL OUTLOOK Get closure on something this week. Finish that novel. Reply to those emails. Dispose of those unwanted corpses. AQUARIUS (20 JAN TO 18 FEB) Local kids will start a terror campaign against you, culminating in a suspicious house fire and an oil refinery explosion which isn’t at all suspicious. PISCES (19 FEB TO 20 MAR) A community gardening project will be soothing until you find partially decomposed human remains next to the tomatoes. ARIES (21 MAR TO 20 APR) Did you receive the email last week? No? We all got it. If you missed out you are severely disadvantaged this week. TAURUS (21 APR TO 20 MAY) A visit from a dead friend will prompt a warning about people who fake their own deaths. It’s just not done in polite society. GEMINI (21 MAY TO 20 JUN) Your podcast will be nominated for an Oscar, despite having poor sound quality and no subscribers. There must have been some mistake. CANCER (21 JUN TO 21 JUL) Suing your employer for sexual harrassment was a genius st roke. Except that you are selfemployed and you work from home. LEO (22 JUL TO 21 AUG) While trying to make your own gelati, you will become romantically involved with an ice cream scoop. Seek help immediately. VIRGO (22 AUG TO 21 SEP) Stop chatting with teens online. It’s a one way ticket to jail and that is a one way ticket to a severe beating. LIBRA (22 SEP TO 22 OCT) Your latest single will be released, to utter indifference. Your music simply isn’t good. Can you do anything else? SCORPIO (23 OCT TO 21 NOV) You are finally moving on with your life, after months of frust rating impotence. It may be time to start smoking ice again. SAGITTARIUS (22 NOV TO 20 DEC) A weird rash will cover your entire body. Don’t make excuses for it – tell people it itches and that it is highly contagious. CAPRICORN (21 DEC TO 19 JAN) Your appearance on a chat show will cause controversy when you announce plans to adopt the kid from The Sixth Sense.

MORE MARKET DOMINATION awaits for Apple with the new slim line MacBook Air laptops getting an Aussie release. 3D World recommends you hold off on purchase until the MacBook Air Jordans are released… SHARP TONGUED AUSSIE MC Dialectrix has just released a music video for his single Audio Projectile which features him visiting a shrink in a peculiar zebra patterned hoodie. Check ObeseRecords for the outfit alone... IN JUST FOUR days Will Smith’s daughter Willow’s music video for Whip My Hair has had over four million hits. A wild paint fight and some wild hairdos bring this catchy tune to life and will generally make you feel very old... THEIR GENRE DEFINING acid techno stormer Acperience 1 has just been dusted off for Timo Maas’ Balance 017 mix, but UK veterans Hardfloor aren’t resting on 1992’s laurels – they have the new Two Guys Three Boxes album dropping on their own label Friday 5 November… PREGNANCY RUMOURS SURROUNDING Beyonce ran rampant last week, but fortunately B’s mum Tina set the record straight “The truth is that’s it’s not Beyonce that’s pregnant. It’s me! I’m kidding y’all. I’m 56. No, no the reports are not true.” Thanks for clearing that up y’all... FORMER RECOVERY ENFORCER Angus Sampson adds another string to his bow by hosting film’s IF Awards Sunday 14 November…



The girl who seemingly never sleeps is about to make a long overdue return to the stage in Aust ralia. Yep, we’re talking about Katy Perry (a bit of a favourite around 3D World HQ as you may have noticed), who is giving local fans a present to celebrate her marriage to Russel Brand in India on the weekend. The California Dreams Tour will see her bring the sounds of her Teenage Dream album, not to mention previous hits like I Kissed A Girl and Waking Up In Vegas, to Aust ralia in her fi rst visit since August 2009’s Hello Katy Tour. Catch her at Rod Laver Arena (Melbourne) Friday 29 April, Sydney Entertainment Centre Wednesday 4 May and Brisbane Entertainment Centre Thursday 5 May. Tickets are on sale from 9am Thursday 4 November, with My Ticketek members getting fi rst crack at Melbourne and Brisbane ticets from 2pm Monday 1 November. KRAFTY KUTS


UK breakbeat icon Krafty Kuts is no stranger to these shores – it seems it’s comopulsory for him to escape northern climes at least once a year to show local fans what’s in his kitbag – and his impending jaunt around our wide brown land (with the odd New Zealand detour) is set to be one of his most extensive. The man who has created classics like Freakshow and Tricka Technology in his decorated career has a couple of new summer lovin’ bombs to drop on local fans this time round, namely the Shake Them Hips and Lets Ride double-shot on his own Instant Vibes label. You can expect to hear all of that and much more besides when the man born Martin Reeves struts his st uff at the Great Northern Hotel (Byron Bay) Saturday 13 November, Garden Party at Chinese Laundry (Sydney) Saturday 20, Brown Alley (Melbourne) Friday 26, Foreshore Festival (Canberra) Saturday 27 and Family (Brisbane) later that night, before wrapping things up in Newcastle at King St Hotel Wednesday 1 December. ANGGER DIMAS


Indonesia’s greatest (and quite possibly only) dance music export Angger Dimas has been unavoidable over the past 12 months, his product ions sitting in the pointy ends of charts ARIA, Beatport and otherwise. Having his work championed by the likes of David Guetta, Steve Aoki and Laidback Luke certainly hasn’t hurt his cause, and the US has started to take notice thanks to his many collaborative projects – Static Revenger and Aussie artists Tommy Trash and Vandalism among them. Dimas is now taking a quick trip down under to help Melbourne’s Vicious Recordings launch a new sub-label in Vicioius Bitch – that launch party hits Melbourne’s Q Bar Saturday 30 October, but Dimas has other dates confi rmed for Platinum (Gold Coast) Friday 29 October, Soho (Sydney) Friday 5, King St Hotel (Newcast le) Saturday 6 and LaLaLand (Byron Bay) Friday 12. WORLD’S END PRESS


Melbourne four-piece World’s End Press have rapidly established themselves as one of their city’s most formidable live ensembles, sets at both Lorne and Marion Bay editions of the Falls Fest ival set to be the cherry on top of a fantast ic year for the band. Fans who can’t wait til the imminent album release of their Music For The World album on Love + Mercy Records in early 2011 have two bits of good news – they’ll be releasing an album teaser in the Faithful EP very soon, and hitting the road to show it off ! Catch their disco synthpop antics (including a show-stopping cover of Pet Shop Boys’ West End Girls) when the band hit Northcote Social Club (Melbourne) Friday 5 November, Shark Bar (Gold Coast) Thursday 11, X & Y Bar (Brisbane) Saturday 13, GoodGod Small Club (Sydney) Thursday 18, Coogee Diggers (Sydney) Friday 19 and The Nash (Geelong) Saturday 27.



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CALENDAR OCTOBER ICE CUBE, SCORCHER – Wednesday 27, Palace Theatre MC EVIDENCE, TOTAL ECLIPSE – Friday 29, The Espy HARD KANDY: YOJI – Friday 29, Billboard DANIEL BELL – Friday 29, Mercat Basement B6 – Friday 29, My Aeon RORY PHILLIPS – Friday 29, New Guernica TWISTED AUDIO: DRUMSOUND & BASSLINE SMITH, B-COMPLEX, CHRIS. SU, LOWQUI – Friday 29, Brown Alley ANGGER DIMAS – Saturday 30, Q Bar SARAH LOVE – Saturday 30, Playground WE ARE FANS – Saturday 30, The Toff B6 – Saturday 30, My Aeon D. RAMIREZ – Sunday 31, Q Bar MOUSE ON MARS – Sunday 31, Corner Hotel STATIC REVENGER – Sunday 31, Neverland NOVEMBER SPRING BREAK: BINGO PLAYERS – Monday 1, Billboard KITE CLUB – Monday 1, Ding Dong Lounge DAS GLOW, RYNECOLOGIST, STRIP STEVE – Monday 1, Roxanne Parlour GRAMOPHONEDZIE – Monday 1, Q Bar SNEAKERPEEPS: STACEY PULLEN – Monday 1, onesixone SPEKTRE – Monday 1, Royal Melbourne Hotel PENDULUM – Monday 1, Festival Hall ANOTHER WORLD: BLISS N ESO, THE POTBELLEEZ, GRANT SMILLIE, PARIS WELLS AND MORE – Monday 1, Hisense Arena JUNGLE RUN 10 – Monday 1, Prince Bandroom MUSCLES – Thursday 4 , Eureka ILLY, SKRYPTCHA, 360 – Friday 5, The Hi-Fi MUSCLES – Friday 5, Prince WORLD’S END PRESS – Friday 5, Northcote Social Club JASON DERÜLO – Friday 5, Festival Hall DJ VADIM, DJ SARAH LOVE – Friday 5, The Espy BLOW YOUR OWN WAY: FUNK D’VOID – Saturday 6, New Guernica JASON DERÜLO – Saturday 6, Festival Hall SUPERDISCO: LOUIS LA ROCHE – Saturday 6, Prince PAGEN ELYPSIS – Saturday 6, Revolver GRAFTON PRIMARY, INFUSION – Friday 12, The Hi-Fi JASON DERÜLO

IF YOU WANT Splendour In The Grass to return to Byron Bay, head along to www. bringsplendourhome. com to see how you can help… ERSTWHILE FACEBOOK FOUNDER Mark Zuckerberg has had a whinge about his “inaccurate” representation in fi lm The Social Network, which suggest s his quest to pull chicks was a major motivation in ruthlessly chasing success. Given he was a 19-year-old college st udent at the time we would have thought this was a no brainer… ESTEEMED AUSTRALIAN AUTHOR Shaun Tan has just released a deluxe collector’s edition of his illust rated masterpiece The Arrival, housed in a suitcase with the Sketches From A Nameless Land companion piece. There’s only 1500 of them, and the damage is $350… HE’S HAD FANS of dubstep and techno fapping for a while, and Scuba collides those worlds again with a new remix project. Triangulation (Interpretations) contains the highly regarded original album and a second disc of remixes with Deadbeat and Mike Monday among those taking the blowtorch to his 2010 release… NME HAS NAMED Laura Marling, Janelle Monáe and Kanye West as the top three coolest people on their annual 75 Coolest People list. Lady Gaga and Jay-Z were not among the top ten but were too busy swimming in their millions to comment...



Betterdays is returning for New Year’s Day In 2011. Groove to Belgium houser Junior Jack, French DJ Alan Braxe and locals like John Course at Carousel on Albert Park Lake from 1pm ‘til late on Saturday 1 January. Th is time around Betterdays is reducing numbers so as to ensure a more exclusive (and intimate) experience. The catch? You’ll need to get in fast for your tickets. Tickets, at $90, are available through betterdays promoters (hint: look up ‘betterdaysaust ralia’ on Facebook).


While Lily Allen is away, Eliza Doolittle is out to play – and she’s headed Down Under on a promo tour. The quirky new soul-popster will perform songs from her eponymous album – including the fab Pack Up – at The Toff In Town on Thursday 2 December. Get your tickets from Moshtix.


The glam-pop Marina & The Diamonds, about to hit summer’s fest ival circuit (including Falls), will also perform at The Hi-Fi on Tuesday 28 December. Th is year the mercurial Marina Diamandis presented her st irling debut, The Family Jewels. Tickets are on sale through Ticketek or www.


The most buzzworthy elect ronic fest ival of the season has to be Strawberry Fields with Juan Atkins and Underground Resistance finally returning to these shores. Head to the launch party at

Room 680 on Friday 19 November with Israeli psy-trance act Quantize and Switzerland’s Liquid Soul both performing live. There’s also the chance for an aspiring local muso to play on the main floor. Go to for details. Tickets are $30 from Room and


Feeling the allure of the underground – and drum‘n’bass? The Twisted Audio crew have locked in their biggest line-up yet for Friday 29 October at Brown Alley. Headlining are Derby’s nu-skool heroes Drumsound & Bassline Smith, Hospital Records’ B-Complex, and Renegade Hardware’s Chris.SU, accompanied by MC Lowqui. Get your tickets from Moshtix, DMC Records, Polyester Records or Minist ry Of Style.


Don’t gurn, ghoul, when the After Dark Social Club throws its Halloween party at Roxanne Parlour on Saturday 30 October. Elect ro house spook Harris Robotis is

billed along with fellow Sweat It Out! zombie Kris Baha plus vampire Swick. There is a dress code – but a fun one. Wear a cost ume!


Less wonky pop than blissfully weird, Kite Club – the creation of post-operatic vocalist Nicholas D Futcher – touts himself as “Nico meets Fleet Foxes’ Robin Pecknold”. The now Melbournebased Futcher appears at Ding Dong Lounge on Monday 1 November (Cup Eve) as part of the Love & Light Tour. Cost is $5. Download his Goodtime Tea Show for free at www.kiteclub.


Got your Falls tickets? The live acts and DJs have been confi rmed for the Grand Theatre stage for those not inclined to take a kip. Those appearing include Sydney superstar DJ Hook N Sling, hip hop outfit Thundamentals and UK disco enfant terrible The Revenge. For more, visit www. fallsfest






THE SHAPESHIFTERS – Friday 12, Market Hotel WAX MUSEUM JAM: RICK WADE – Saturday 13, Croft MUTU – Saturday 13, Seven Nightclub BONE THUGS-N-HARMONY – Saturday 13, The Espy NOISEFEST: MC AKIL, LOUIS LOGIC, DJ SIZZLE – Friday 19, Prince Bandroom QUANTIZE, LIQUID SOUL – Friday 19, Room 680 BLOW YOUR OWN WAY: VINCE WATSON – Friday 19, Venue TBA ELECTRIC WIRE HUSTLE – Friday 19, The Hi-Fi BAG RAIDERS – Friday 19, Billboard DANIMALS, KYÜ, DOMEKYO/ GONZALEZ – Saturday 20, Northcote Social Club PHAROAHE MONCH, JEAN GRAE, PERCEE P, M-PHAZES – Sunday 21, Prince Bandroom BONE THUGS-N-HARMONY, THUNDAMENTALS – Monday 22, The Espy DJ KRUSH – Thursday 25, The Corner Hotel STRAWBERRY FIELDS: MODEL 500, TELEFON TEL AVIV, ALEX SMOKE, VINCE WATSON AND MORE – Friday 26, venue TBA AGAINST THE GRAIN: KRAFTY KUTS, KID KENOBI & MC SHURESHOCK, ADSORB, SKOOL OF THOUGHT – Friday 26, Brown Alley DECEMBER U2, JAY-Z – Wednesday 1, Etihad Stadium ELECTRONIC MUSIC MASTERCLASS: DIRTY SOUTH, GRANT SMILLIE – Wednesday 1, Billboard BELLES WILL RING – Friday 3, East Brunswick Club DRAPHT – Friday 3, Prince Bandroom KOMPAKT 4: DOMINIK EULBERG, MICHAEL MAYER, TOBIAS THOMAS – Friday 3, Brown Alley STEREOSONIC: TIËSTO, CALVIN HARRIS, CARL COX, RICARDO VILLALOBOS, TECHNASIA AND MORE – Saturday 4, Melbourne Showgrounds ELIZA DOOLITTLE – Thursday 2, The Toff SOLA ROSA, LAMKUM – Thursday 2, Roxanne Parlour GOTAN PROJECT – Wednesday 8, The Forum Theatre THE FIELD – Thursday 9, East Brunswick Club CLIPSE – Thursday 9, Prince Bandroom BROADCAST – Thursday 9, The Hi-Fi MEREDITH MUSIC FESTIVAL: PANTHA DU PRINCE, THE FIELD, DIRTY THREE, WASHED OUT, LITTLE RED, THE FIELD GIRLS AND MORE – Friday 10–Sunday 12, Meredith Supernatural Amphitheatre

SO HOT RIGHT now Aussie producer Katalyst (Z-Trip is one of his fans) has taken time out from Space Invadas to climb back into the solo saddle for the first time since 2007’s What’s Happening longplayer. Day Into Night features Stephanie McKay on the vocal, is out through Invada/ Remote Control 13 November, and precedes an as yet untitled album release… THE MARRIAGE OF Christ ina Aguilera allegedly broke down because hubby Jordan Bratman wasn’t happy with her lust for lesbian act ion. Sounds like the guy missed out on living the dream to us… A REMIX COMP of interest to producers might be the new one from Dutch producers Mason. They want you to “refurb” rather than remix their Boadicea featuring Róisín Murphy on vocals – you won’t get stems to work with, but if you win you’ll get a release on a remix package also housing Danny Howells and Evil Nine… HE’LL BE DOWN here for Summerbeatz soon, and it looks like Flo Rida will have some fresh tuneage to show off. His third st udio album Only 1 Flo (Pt 1) arrives via Warner Friday 26 November, featuring the new single Turn Around (5, 4, 3, 2, 1)… MORE PREVIEWS OF the forthcoming Brian Eno album Small Craft On A Milk Sea are online for your listening pleasure. Go to listen/ to wrap your ears around Horse, Emerald And Stone and 2 Forms Of Anger before the album drops via Warp 2 November…



There are some teachers you don’t wanna scowl at. Melbourne DJs Dirty South and Grant Smillie will lead the Elect ronic Music Masterclass at Billboard on Wednesday 1 December at 7:30pm. They’ll not only discuss their music product ion techniques but also remix on the spot, with st udents able to take the parts away themselves to make their own and possibly even snag a release on Neon Records or Phazing through Beatport. Also on the curriculum? Dealing with the new social media, marketing, and profi le-raising in the biz. Tickets are available from www.


They celebrated three years of cracking parties last month, but there’s no rest for the wicked – or wicked beats in the case of Dub Club Melbourne. They will once again be pumping out quality tuneage through the epic Heartical HiFi system for Basement Sessions at The Night Owl Saturday 6 November, so you can start preparing yourself now for for reggae, dubwise and ultra heavyweight basslines forwarded by Melbourne’s own custom built sound machine, crew and friends.


There’s a new reason to like Mondays. For eight weeks this summer live acts will entertain on Curtin House’s Rooftop Bar on Monday evenings. The Happy Mondays festival program is being announced in two parts (with the odd random addition!) so keep an eye on www.happymondays. The season kicks off 13 December at 7pm with Spain’s El Guincho, lauded

for his “space age-exotica”, and American chillwave auteur Washed Out. Cameron Bird will DJ, Beatbox Kitchen supply tucker. Tickets on sale via Moshtix Friday 29 October.


Art rock and elect ro noise rebels Holy Fuck, beloved of Pitchfork, are confi rmed to perform a Melbourne show in addition to the now sold-out Laneway. They’ll descend on The Hi-Fi on Thursday 3 February, presented by Mist letone Records. The Canadians, last here for Meredith a couple of years back, have lately released Latin through Remote Control. Tickets are available through www.thehifi.


The Toff In Town is celebrating the racing season on Monday 1 November with Suit Up brought to you by the Oz Soul Collect ive. It’s all about alt-hip hop, alt soul and the soulful side of elect ro with the likes of Vida-Sunshyne, DJ Wasabi and

Alphamania. Dress in your most st ylish gear – be it from Christ ine’s or the local oppie. Tickets $15 from Moshtix, or $20 on the door.


Heralded by the singles One Hit Away and Aerobiks, Adelaide hip-hop crew Pagen Elypsis’ debut album One Way Ticket has finally hit shelves, courtesy of their label Double Or Nothing Records. No release would be complete without an obscenely massive launch party and on Saturday 6 November they’ll be doing just that at Revolver Upstairs with support from Maundz, Syntax, Neat Street and DJ Matik. $15 entry.


The debut self-titled LP from Kiwis Elect ric Wire Hust le guides listeners along a journey through modern hip hop, psychedelia and soul with a fresh perspect ive. The Wellington act perform at The Hi-Fi on Friday 19 November. Tickets on sale via thehifi., album out through BBE/Inertia.





T WAS REALLY COOL, BREAKBOT FROM FRANCE, ON ED BANGER  THERE’S A VIDEO OF HIM PLAYING ONE OF MY TRACKS AT THE SOULWAX END OF THE YEAR CHRISTMAS PARTY IN PARIS,” Harris Robotis, We Are Fans mastermind and bassist, recalls a highlight from his pre-band existence. “And there was this whole thread on the Erol Alkan forum saying, ‘What the hell is this tune?’. Then somehow someone tracked me down via YouTube and said, ‘Oh, you should know that your track’s being played by Breakbot’. And then I got to meet him as well, while he was here, ‘cause I did the support, and, yeah! He played my track every time in his set and I was act ually on the side of the stage at this point – I’d just rocked up to the gig because we were playing after him, probably the first night – and he must have recognised me or something, ‘cause as soon as I walked onto the stage to put my records on the console I saw a big, cheeky French smirk looking over at me and then he dropped my track [Up All Night]! Oh, that was a really big highlight for me. It was awesome! “As a DJ, or more a tech house producer, things have gone really well over the last few years,” he acknowledges. “I’ve played regularly all over the country and overseas, like, in Paris, so that’s been good, but moving back to the live st uff is next level. You get a buzz from DJing, but from playing live it’s completely different – so much more organic and a completely different feeling.” Does he find it more nerve-racking? “Not really, to tell you the truth, you’d think it would be. But I think there’s less pressure on you because you’ve got a team with you, whereas, as a DJ, you’re the only guy. If people aren’t dancing, you’re gonna get booed off stage,” he laughs. “I’ve always had a love for Italo disco and funk and st uff and when I started DJing in bars, that’s all I played. So it was really nice to try and go back and emulate some of those sounds.” It was collaborating with Dutch vocalist NY Fan (who contacted him via MySpace as a fan of what he was doing “as Harris

Robotis”) that provided Robotis with a vehicle to move out from behind the console. After working on a few tracks while NY Fan was in Australia on a working holiday, Robotis decided he didn’t want to turn it into another st udio project. “I worked out at that point, ‘I wanna turn it back into a band and get back to being a musician rather than a producer, which is basically what I always wanted and sort of somehow after my…” here Robotis breaks into a fit of hysterics and resumes once he’s composed himself. “Since my high school band broke up, I was like, ‘Errrrrr, I can’t be bothered getting another band.’ So I just spent eight years working on st udio production st uff.”

Maxi Vauzelle is the frontvixen of We Are Fans and Robotis clarifies, “She’s on the act ual [Inferno EP] recording doing backing vocals”. “Those tracks were done end of 2007, start of 2008 so they’re quite old. They were just the start of the project and basically now every single other track is with Maxi’s vocals.” Vauzelle is also “good with the sewing machine”. On whether the singer will be given the job of designing We Are Fans merch, Robotis hesitates, “She could definitely do it, the only thing that I’m a bit scared about is the fact that she loves the Bedazzler!” Kicking off their Inferno EP tour with three dates in Sydney last month followed by a spot on the Melbourne Parklife line-up, Robotis admits infi ltrating the indie scene now has been a real shock. “You’re basically starting from scratch again and working your way back up and you don’t get treated as well by anyone,” he bemoans. “With DJing, I found I’ve been used to four-and-a-half star accommodation and whatever drinks you want on your rider. Act ually, we had something really funny happen to us in Bondi Beach Hotel. We got to the hotel, did our soundcheck – we were act ually staying at the hotel – and the manager came up to us and he’s like, ‘Oh, yeah, so what do you




guys want as your rider?’ And he goes, ‘Do want a case of beer or some spirits?’ And we were like, ‘Oh, maybe some spirits.’ And he was like, ‘Whadda you drink?’ And just from being used to having whatever you want as a DJ, we were like, ‘Oh, Grey Goose.’ And he was like, ‘Who the fuck are you, Metallica?’ [laughs] And we were like, ‘Oh, oh-kay!’ And then we were like, ‘Oh, can we get some ice and maybe some pineapple juice with it?’ And he was like, ‘Fuck! Whadda you think I am?’” Although they were denied the top shelf liquor, half of We Are Fans still managed to give it a nudge while in Sydney. “Two of the guys from the band – Maxi, the singer, and Ric [Sciarpa], the drummer – did the smart thing and went back to the hotel, as we had to be up at 5.30 to get to the airport and check in all our gear and make it to Parklife about 11am,” Robotis shares. “But the other two, Kris [Baha, keys] and I, ended up hanging out all night, got back to the hotel room and woke up the guys and were like, ‘It’s time to go’. We stopped at that point, but as soon as we got to the airport and sat on the plane we just crashed.” Baha, Robotis’ party-hard partner in crime, is a recent recruit. “We always had a fi ll-in keyboardist along the way so we never really had a locked-in fourth member. Kris is act ually another DJ in the industry and we’re on the same record label with our dance st uff, Sweat It Out, but Kris was probably our most loyal fan and if you looked at any of the photos in street press or wherever and they were taken from the back of the room, you’d see Kris in the middle with his bright red hair [laughs]. He was always there. And then it was act ually my girlfriend’s suggestion, she was like, ‘Oh, why don’t you get Kris? Does he play any instruments?’ And I had no idea at the time that he was a really accomplished keyboardist.” The We Are Fans four-piece is now locked in and Robotis says the band have written 20 songs from which they’ll pick “the best 11 or 12” for their debut album, scheduled to drop “in the middle of June next year”. “I just wish we had more time,” Robotis laments. “The ideas come out really easily and what’s really exciting, as well, is the other guys are starting to contribute to the writing. With the initial bunch of tracks it was my ideas that I was writing – and recording and playing most of the instruments myself – and then giving them to the guys and saying, ‘Hey, can you play this?’ Now it’s becoming more of a real band rather than a producer telling the band what to play.” WHO: We Are Fans WHAT: Inferno EP (Jupiter Clique) WHERE & WHEN: The Toff In Town Saturday 30 October, Prince Of Wales Thursday 2 December


Miami Horror (the band) have just released their debut Illumination set but the moniker was fi rst used by Benjamin Plant as a solo, synth-obsessed bedroom producer/remixer. Plant fi rst burst on the scene DJing at Street Party club nights and the now defunct Th ird Class nightclub, with early Miami Horror remixes including Walking With A Ghost by Tegan & Sara and Stardust’s Music Sounds Better With You. After releasing his five-track Bravado EP (featuring Don’t Be Off With Her) in 2008, Plant recruited guitarist Josh Moriarty, drummer Aaron Shanahan (also a DJ/producer) and keyboardist Daniel Whitechurch to take the sound live and this manifestation of Miami Horror have been booked on just about every fest ival line-up across the country since.


Having cut his teeth DJing in Melbourne’s underground techno scene with the cranking Centriphugal [sic, and, by all accounts from those who attended, also allegedly si-ick!] club nights, which ran until 2002, Christopher Coe also releases material under the Digital Primate tag. His latest project is Metals, completed by foxy singer Candice Monique. Their video for Drop Your Guard (featuring Boxwars) is beyond.


Fronting this band for a spell was a boon for Natalie Bassingthwaighte – it helped her get some postNeighbours cred and find a fiancée/baby daddy in drummer Cameron McGlinchey (who has also since left the band). Now fronted by Mindi Jackson, this outfit was originally formed after James Ash and Steve Davis met while they were DJs in London. The pair began releasing tunes as Union State before reinventing themselves to become Rogue Traders. Ash is the sole remaining original member but Davis st ill plays an act ive part in the songwriting process.








he nightmare beneath the suburban dream has long provided horror with a rich vein of inspiration to sink its teeth into. Wes Craven got literal about it in creating a dream demon who posed the fundamental quest ion to parents: does Neighbourhood Watch permit char-grilling a local offender? Steven Spielberg and Tobe Hooper taught Poltergeist ’s Freeling clan that bitchin’ mod cons, a swimming pool and a view are no excuse to confuse a cemetery for prime real estate. But no better representation of horror at the heart of the ‘burbs exists than John Carpenter’s Halloween; specifically its famed opening sequence. Tracking an unidentified character from the porch of an American every-home to inside - in a haunting Steadicam-enabled POV shot - where the figure puts on a clown mask, removes a butcher’s knife from the kitchen drawer, and, after climbing the stairs to the room of an attract ive young teen, opts to repeatedly show her the pointy end. She’s his sister, and he’s six-years-old. When Michael Myers’ concerned parents finally unmask the pint-sized perpetrator, the ensuing crane shot captures an epic bird’s-eye view of the ultimate adult nightmare. And, in a boy standing dazed on a driveway, bloody blade in hand, the slasher genre was born. Unlike A Nightmare On Elm Street or Poltergeist, Halloween doesn’t st rain credulity by leaning towards the fantast ical. Granted it’s not commonplace to see a primary-schooler despatching their sibling in cold blood, but when you consider that these days having your Xbox confiscated is apparently grounds enough to send you homicidally loco and pump your parents with lead, it’s really not such a st retch. Halloween never reveals what sets six-year-old Myers’ rage in motion, and that’s the beauty of it. “I spent eight years trying to reach him, and then another seven trying to keep him locked up because I realised what was living behind that boy’s eyes was purely and simply... evil,” shivers therapist-turned-hunter Dr Sam Loomis (Donald Pleasance), recalling the days before Myers escaped from Smith’s Grove Sanitarium to wreak Haddonfield havoc. “Death has come to your little town, Sheriff. Now you can either ignore it, or you can help me to stop it.” Humanising evil incarnate by attributing him motive, as Halloween’s slew of sequels attempted, is just about the most misguided thing you can do. Which makes Rob Zombie’s decision to steer his 2007 reboot deep into Myers’ back-story, blaming his maladjustment on a white trash upbringing, more heinous a crime than anything Mikey ever pulled. So if you’re looking for one good scare this All Hallow’s Eve, do yourself a favour and just head st raight back to where it all began: a sixyear-old with a blank, pale, emotionless face and the blackest eyes. The devil’s eyes.

DIMINISHING RETURNS PROOF THAT THERE’S NO KEEPING A GOOD BOGEYMAN DOWN, EVEN IF YOU OFTEN WISH YOU COULD. HALLOWEEN II (1981) Picking up st raight where the original ended, the beleaguered Laurie Strode – revealed to be Michael’s sister – is taken to Haddonfield General Hospital, only to find herself stalked once more. Warning: may contain needles in eyeballs, hot tubs, boobs, and not be very good. HALLOWEEN III: SEASON OF THE WITCH (1982) When you’ve a fanbase built around Michael Myers, it’s probably not wise to ditch him in favour of a new story about an evil toymaker out to do in the world’s children. Points for trying something different though, even if different was shit. HALLOWEEN 4: THE RETURN OF MICHAEL MYERS (1988) Reinstalling Michael Myers as public enemy number one, this time it’s niece Jamie Lloyd in his sights. Will she survive? Does anybody, at this point, particularly care? HALLOWEEN5: THE REVENGEOF MICHAEL MYERS (1989) Jamie Lloyd, poor little scamp, continues to try and evade Myers’ murderous rage, as Donald Pleasance’s Dr Loomis begins to look even past ier than his former patient. HALLOWEEN: THE CURSE OF MICHAEL MYERS (1995) Pleasance’s swansong (though he resembled an embalmed corpse two fi lms ago), H6 explains why Myers doesn’t exact ly seem human. Bosh about cults and rituals ensues. ‘Launched’ the career of The Wire director Joe Chapelle. HALLOWEEN H20: 20YEARS LATER (1998) Despite suffering an absolute clunker of a title, the post-Scream addition to the series, executive-produced by Kevin Williamson and returning Jamie Lee Curtis, remains the best sequel. Controversially, it pretended the prior three fi lms didn’t happen, which was probably for the best. HALLOWEEN RESURRECTION(2002) Hey, here’s a great idea – let’s invent a ludicrous explanation for Myers surviving a beheading in H20 (it wasn’t him, of course!), go Big Brother on Halloween’s arse, and throw in Busta Rhymes. What could go wrong? Much. HALLOWEEN (2007) Rob Zombie decides to remake a masterpiece and explores Myers’ upbringing, thus completely negating any possible mystery. Nice, Rob, nice. HALLOWEEN II (2009) Originally opposed to a sequel to his risible reboot, Zombie signed to write and direct HII in fear that any replacement would derail his vision. Rarely has a derailment looked quite so appealing.





s Iva Davies feeling lonely in the ARIA Hall Of Fame back room (it’s the elect ro room)? The founder and frontman of this country’s most famous elect ronic music outfit Icehouse is st ill the only local artist from the elect riconica/club genre to be inducted into the Hall. The Hall was established in 1988 to recognise artists who “have made a cultural impact locally and/or been recognised globally” in at least one of the following musical categories: pop/rock, jazz, classical and country. Elect ronic music would most likely fall under the ‘pop/rock’ umbrella. However, until recent times elect ronic artists have missed a place in the Hall due to its relative youth. One of the criteria for making it into the league of gentlemen musicians (and it is dominated by men) is that to be considered for membership an artist ’s recording must have commenced 20 years prior. So to make it into this year’s role call, artists must have begun recording prior to 1990 - effect ively wiping out the healthy roster of club and urban artists who thrived here in the 90s. Since 1988 though, the Hall has become less and less about jazz, classical and country artists and more about mainst ream pop and rock acts (over 80 percent of inductees would fall into this category). Unsurprisingly, those neglected genres’ grand achievers are now recognised elsewhere: the Aust ralian Country Music Foundation has the ‘Roll Of Renown’; the Classical Music Awards recognise long-term achievement at their annual ceremony; and the Aust ralian Jazz Awards, now the Bells, have their own Hall Of Fame. It’s no wonder that the annual ITM50 this year created a Lifetime Achievement category – no one else was singing our club music history’s praises. But really, is it too much to ask for some space for clubbers on the Hall’s grown-ups’ table? The closest Davies gets to having someone in common to talk to at the Hall meets are The Bee Gees (they went through a hard-to-miss disco period), INXS (were even remixed by Francois Kervokian once), Olivia Newton-John (Physical), Hunters & Collectors (started out as post-punk art dance), Vanda & Young (also had a disco phase as Flash & The Pan) and Helen Reddy (currently enjoying a revival due to DJs digging her antique soul take on Hit The Road Jack). Ah yes, that’s right, “there’s no love inside the Icehouse”. Th is year however, another band not afraid to dabble in dance beats has been invited to the table. Melbourne’s Models were purveyors of wonky 80s club tunes I Hear Motion and On before embracing chunky white boy funk with Barbados and Out Of Mind, Out Of Sight. Thank you, we’ll take what we can get. But even as Models are inducted, original member Ash Wednesday is being snubbed and so he remains one of this country’s unsung elect ro pioneers. In the 80s, Wednesday formed the Suicidelike Crashland having also fronted experimental elect ropunk outfit Modern Jazz and st raight-up elect ro band The Metronomes – he went on to become a touring member of German indust rialists Einst urzende Neubaten and worked with no wave icon Nina Hagen. That’s a huge catalogue of recordings and global recognition in our books. But hey, we don’t expect ARIA to start embracing our founding elect ro fathers considering most were forced to flee our shores due to lack of acceptance back in the dark ‘death to disco’ days. We don’t really expect to see Hall-renown for our internationally-praised experimentalists such as Jim Foetus, Surgical Penis Klinik (better known as SPK ) and Dead


Can Dance. Aust ralian audiences ran screaming from these artists and we’re not about to go crawling back to them now. But how about some of the artists who, like Models and Icehouse, came from the underground and eventually won over some of middleAust ralia’s hearts? Acts who have a decent amount of recordings under their belts as well as having a cultural impact locally. It’s hard to go past The Reels. The elect ropop outfit formed in Dubbo in 1976 and explored quintessential Aust ralian themes (they even had a song called Rupert Murdoch) and their song Quasimodo’s Dream has been acclaimed as one of this country’s greatest ever songs (as voted by an APRA panel in 2001). Hell, they even ended their initial career recording re-interpretations of Aust ralian rock standards (including Working Class Man). But there’s also I’m Talking, the Kate Ceberano-fronted funk band that formed from the ashes of experimental elect ro acts tsk tsk

tsk and Essendon Airport – they had hits galore and Ceberano’s now a household name. Not Drowning Waving came out of elect roish combo Easter and started combining ambient sounds with worldbeat back in 1983. Sydney’s Machinations were as close as we got to hip NY club music once they began in 1979. Melbourne’s Real Life created a global hit that has forever been remixed and reissued since they released the synthpop Send Me An Angel in 1983. And there were Kids In The Kitchen and Pseudo Echo at the hit-end of the synthpop wave in the 80s through to the hard-working but less-remembered outfits like MEO-245 and The Dugites. And that’s just skimming the top. What about those seminal elect ronic acts who inspired the techno and house progeny of the 90s? There’s the undisputedly influential Severed Heads, their poppier labemates Boxcar and Billy Thorpe’s Aztecs bandmates’ sideproject Cybotron who unleashed four albums of elect ronic experimentation between 1976 and 1980 (that’s three albums more than 2010 inductees The Loved Ones). Oh, and it’s hard to go past Kylie Minogue. ARIA, surely Iva Davies deserves to get some Minogue love inside the Icehouse.




or young Sydney duo Kyü, tt’s been a short trip to the place where doors open up and the bright light of opportunity shines down. After meeting a year ago on Sydney University campus, one accident after another lead to the self titled debut album which has impressed critics from Triple J and Radio National to the Sydney Morning Herald. But as Alyx Dennison tells it, before she and Freya Berkhout could make musical magic, they had to learn to like each other fi rst. “We met in English at uni, she was sitting outside the classroom reading a book and I was reading at the same time and I was like ‘hey I’m reading that book’ and I think she thought I was really st range. We didn’t really like each other all that much at fi rst but then we found out that we had a few mutual friends and a few mutual interests. At face value we’re very different but on a soul level we’re very similar.” The girls like to joke that they became friends by accident. As their friendship developed Dennison pursued her musical interests by way of the Sydney uni band competition when unexpected events forced her to defer her st udies. Without a USYD st udent she couldn’t remain in the comp so Dennison asked Berkhout if she would sing some backing vocals for her. “We tried that out and we were pretty crap,” she giggles. “We decided ‘let’s just have a cup of tea and not do this, pull out of the band comp or whatever’, and that night we wrote Funny In Splodges and we recorded it the next day and we just accidently wrote a song. Then we were like ‘hey we should do this, that happened quite easily, let’s keep writing songs and lets be a band and lets stay in the band comp’. And that was how it happened; it was just a total accident and the best accident I ever made.” Dennison and Berkhout individually come from different musical backgrounds. Berkhout’s family was not the musical kind but she was classically trained in the piano from a young age. Dennison’s family is very musical – her parents own a sound st udio and produce music for fi lm and television – yet she is self taught. “We often say that it takes something more st raight up, like, Freya’s st uff would be very kind of ‘dum di dum’ and my mine would be selfindulgently experimental and just shit,” she says, just to be st raight up. “And we’d take it and put it together and I think it makes it well balanced.” Th is is a fairly accurate description of Kyü’s music, sans the “shit” tag. Classical meets experimental and creates a pop soundtrack fi lled with the sound of synths, percussion and layer upon layer of vocal inst rumentation so that it’s haunting at times and exhilarating at others. It has drawn comparisons to artists such as Fever Ray and Björk, with one reviewer incorrect ly citing the latter as an obvious influence. “We’ve got influences that go far beyond that,” Dennison says sounding a little annoyed by the assumption. “We’re really at one with imperfect ion and we love that raw sound and we’re not singing as such, we’re using our voices as inst ruments to get a texture or a tone. It’s not as much about the singing or sounding nice. And I think that’s something that Björk does; she uses her voice as an inst rument.” Dennison says she and Berkhout don’t really have any contemporary

influences and didn’t know who Fever Ray was until someone compared them to her. World music is something they love to lose themselves in with Dennison having a taste for Celtic music while Berkhout has an “obsession” with all things Indian. Add to this the self proclaimed “daggy influences” such as Deep Forest and Loreena McKennitt – the last of which Dennison says, “I freaking love her,” before cracking up laughing. One of Kyü’s st rengths is the percussion, powerful and rolling drum rhythms accompanied by glockenspiels and their chanting vocals. The sound is other worldy, the live performance is challenging. Aside from their one person st ring sect ion both girls create all the music and play the inst ruments live. “We both have synths and samplers and then in the middle we have a percussion set up and so all the percussion is done live. We’re very busy on stage, we compensate for the fact that there’s only two of us and we play a lot of different things at once and it’s always very challenging but it’s also fun.” Kyü are about to set off on a tour to launch their debut self-titled album followed by a Danimals tour, a tour of the States and then a tour of Europe. Dennison is more than excited she’s in awe of the positive response to what st arted out as an accident. What she doesn’t realise is that talent is no accident and if the girls can weld their talent and ambition as successfully as they welded their classical and experimental tastes, they should have no trouble cementing their place in the world of music. “We’re hoping to record the second album over in Europe and just take it as it comes. Get st imulation from other places, learn from people. I think that’s the next big step for us. We have this really long term plan, ‘we’ll do the second album in Europe and then we’ll come back and do the third album over here’,” she says, imitating conversations between herself and Berkhout. “We’re very ambitious. Everyone around us thinks it’s really funny how ambitious we are.” WHO: Kyü WHAT: Kyü (Popfrenzy Records) WHERE & WHEN: GoodGod Small Club (Sydney) Thursday 28

October, The Old Museum (Brisbane) Friday 29 October), Workers Club (Melbourne) Saturday 30 October, Meredith Music Festival Saturday 11 December






he Hilltop Hoods have always done things a little differently. From self-funding their maiden EP Back Once Again in 1997, to their latest venture, a zombie apocalypse-themed live DVD, the South Aust ralian trio have been responsible for pushing the boundaries of the hip hop envelope. Fronted by two MCs, Suffa (Matt Lambert) and Pressure (Daniel Smith) and DJ Debris (Barry Francis), the Hoods have become one of the most recognisable acts in Aust ralian music. The trio have long been seen as the benchmark for hip hop in Aust ralia, both musically and professionally, largely seen by the general public as the group responsible for bringing locally produced hip hop to the attention of the Aust ralian mass market. They didn’t earn this reputation for doing nothing. Innovation has been at the core of the Hoods’ musical ethos for years now. Since releasing that debut EP, they’ve consistently brought something new to the table with each new endevour. Th is time around, they’ve introduced supernatural beings to the live music DVD fold.

Parade Of The Dead – titled after a zombie themed track appearing on their latest st udio effort State Of The Art – is set in Adelaide in the midst of an all-out supernatural apocalypse, the fi lm comes in as a fi rst in local hip hop. So far, feedback has been positive. “Mum said she liked it,” Lambert laughs. “Maybe we should put, ‘Well done, son’ on the back of the DVD.” Parade Of The Dead is shot in mockumentary st yle. Former Triple J personality Scott Dooley plays a journalist tasked with helping the Hoods create a DVD. Going behind the scenes with the trio in their “compound” in the Adelaide Gaol, Dooley is the viewer’s gateway to the ongoing zombie apocalypse. Despite the dire situation, the Hoods decide that the show must go on, and perform a concert for a few


hundred undeterred fans in the Gaol’s former wing. “It’s the laziest kind of writing,” Lambert, who penned the majority of the script, says of the mockumentary technique. “You just need to imagine a conversation, and write it down.” For the most part, the fi lm consist s of the foursome – Lambert, Smith, Francis and Dooley – moving around the confi nes of the Gaol, attending to the day-to-day chores that ensure the survival of its human inhabitants. They take a bewildered Dooley on a tour of their compound, showing him the many act ivities that they’ve designated for the zombies’ doing. The fi lm’s most interest ing aspect , though, is not the story itself, but the representation of the three main characters. For most fans, Parade Of Th e Dead will be the fi rst chance they’ve had

to see any kind of Hoods character candidly. Exact ly how accurate the representation of each character the fi lm exhibits is appears to be open for interpretation: The characters on display may be taken by fans as literal representations of the three musicians. “If that’s true, I’m sorry, Baz,” Lambert says to Debris. “[Writing] was easy because we all knew everyone so well,” Dooley adds. “We didn’t need to come up with characters.” Th is was the fi rst time Lambert, Smith and Francis had lent their hands to act ing for a camera. Ultimately, though, they settled into the creative process rather quickly. After a few initially uncomfortable takes, they stepped to the task with rhythm, knocking over most of the required fi lming in less than three days. “[Act ing] was a bit foreign at fi rst,” Smith reflects. “But it was a lot of fun.” “You know how every rapper thinks he can act because they’ve been in so many fi lm clips?” Suffa quips. “That’s how 50 Cent ended up in all these fi lms – no one had the heart to tell him that he was shit.” The live show featured in Parade Of The Dead was the smallest capacitywise the Hoods had played in their Adelaide hometown for close to ten years. With an attendance of around 300, the night was a special one. While overseas touring regularly sees the group play to crowds of just a few hundred, it’s not all that often they get to do so in their own country. “Most of the shows in Europe are about that size,” Smith explains, referring to the group’s time on the road in the northern hemisphere. “That’s the fun part about going to North America or Europe,” Lambert adds. “We get to play rooms like that again.” Now that the DVD project is complete, it’s time for the trio to turn their attention back to music. In Lambert’s case, he’ll be knuckling down and attending to his Golden Era label duties. LPs from fellow South Aust ralians Vents and The Funkoars are in the works, and will be released on the label in the coming months. The Funkoars, Lambert says, will up fi rst, with Vents to follow. “He reckons he’ll have his album out before The ‘Oars,” Lamberts says of Vents. “He won’t.” In addition to the label work, Lambert, Smith and Francis will be finding time to hit the st udio. They’re on the road to recording the next installment in the Hilltop Hoods chapter, having locked down and written to several beats. “We’ve started writing,” Lambert says quietly. “But haven’t recorded anything. We have about five or six defi nite tracks. It never stops. It’s an endless cycles of recording, touring, and shame.” WHO: Hilltop Hoods WHAT: Parade Of The Dead DVD/Blu-ray (Golden Era Records/ Universal)




t was a big fuck-around,” Maddox laughs of the Act of God which prevented he and Richard Wakley hitting Aust ralia in April. “We didn’t really have a choice but to cancel because of the volcano thing. There were these massive clouds hovering over the UK and it would just mess with everyone. It would start then stop, then start, then stop again… It was definitely a big disaster. “We’d been to Australia before that, like a few years ago, but we were playing different music and we were really keen to show off some new st uff. That’s what we’re doing now – making up for lost time with you guys.” And you can believe they’ve got a massive bag of goodies. Releasing their debut st udio album Casting Shadows Without Light last April, Spektre recently also launched their own record label Respekt – a name derived from an anagram of their artist name. Serving as a platform for the duo’s house-y brand of techno, Respekt marks a new beginning for Spektre. “Primarily, it started off just for us and the people that we’ve worked for before, like Matt Cooper and st uff,” Maddox explains. “But this year we’ve really changed our hat quite a bit. We’re trying to build up a big roster of artists that we like and who we feel comfortable working with. It would be nice to be able to mix their st uff and have them remix ours and so on. The main aim is to get a bunch of artists who do really forwardthinking techno.” Which pretty much sums up Casting Shadows Without Light too, according to Maddox. Describing the album as a bit of a mixed basket, Maddox claims it’s a result of close st udy of the duo’s favourite artists of the past decade. “It has absorbed a lot of our time, I’ll be honest,” Maddox states. “We spent so much time in preparation and brainstorming to get it exact ly how we wanted it to be. After that you spend so much time act ually writing it and producing it… Sometimes you think it’ll never get done. We’re really pleased and proud about how it came out. Initially when we came up with the idea to even do an album, one of the fi rst things we did was look at our favourite elect ronic albums of all time, and we realised that these were always the ones that had a massive mixture of st uff on them. The ones that have a big rise and falls throughout them. There are a few tracks on the album that you would definitely expect from us, like the

full-on club techno st uff but there are a lot of them which are very different. We have a dance-y track and a house-y track. The main theme we focused on was a futurist ic concept.” Initially coming together thanks to their mutual fascination of cutting-edge technology as well as a love of unnerving, atmospheric sounds, four years on and DJ Mag is tipping Spektre to give Berlin’s techno crowd a run for their money. “It’s flattering,” Maddox offers. “Richard and I are very different people. We’ve both got our st rengths and weaknesses but together it works well. I’m way more easily dist racted with st uff and I end up going on tangents whereas Rich is more methodical and good at laying things out and planning and putting ideas together. It’s also great to have someone to travel around with all the time. The place that we keep going back to over and over again is Mexico. Yeah, we have a thing

with Mexico. The gigs are always unbelievable there. We’ve toured all over the place and we always can’t wait to go Mexico. It will be the third time for us out there in the space of a year. It’s just crazy. The Mexicans love a good party! Eastern Europe is also very similar, it’s another area that keep revisiting often.” And while success has come relatively easy to Maddox and Wakley with Spektre, it’s keeping up momentum that’s the hard part when it comes to the UK music indust ry in particular. “It’s possible to make a living out of product ion, but it’s not enough. If you can produce, great. But if you can DJ as well and get involved in at least another project at the same time, you’re instantly bettering your chances of staying relevant. Or just staying around, at that. The only other option is if you’re that good that you’re unbelievably successful in just one aspect, like just product ion. I definitely recommend st icking your finger in at least a few different pies if you’re serious about your music. Also, if you’re just starting out, then make sure you listen back to your demos very carefully before sending them out. I suppose it’s no different from proof reading.” Oh and developing a seizure-inducing live set also helps when it comes to spreading wordof-mouth across dancefloors in Spain, Greece, Germany, Portugal and all the way to Australia. “Unless you’re releasing new records all the time and they’re all up in the top four on Beatport or something – touring is your most valuable promotional tool. So much music is valued as just a product now unlike even a few years ago when you could still sells thousands of CD or vinyl. That just doesn’t exist anymore. Otherwise, having a record label, like a home brand or whatever, that makes you more rounded as a package. You’re helping other people out as well at the same time by cross-promoting and it’s fun doing it with your friends.” WHO: Spektre WHERE & WHEN: Favela (Sydney) Friday 29 October, Hellements at Barsoma (Brisbane) Saturday 30 October, Royal Melbourne Hotel (Melbourne) Monday 1 November








alentine’s Day 2008, and the blogosphere is on high alert that one Thomas Bangalter has taken the faux holiday to his robo-heart and shown some free love by distributing a new track on the Headphone Sex comments board. Though a blog seems an unlikely venue for a Daft exclusive, the post’s reported origin, the ‘TB’ sign-off, and the fact that its Frenchfiltered groove wouldn’t sound remotely amiss on Bangalter’s Roulé imprint makes bloggers uncommonly accepting that this is the real deal… Informed to the act ion unfolding online, Love’s act ual creator, London producer Brett Ewels, isn’t quite sure how long to let the madness continue before setting the record st raight. And though a st inging appraisal of his work from Pedro Winter – “it’s of course not a new track from Daft Punk, it sounds really cheap” – beats him to the punch, the fact that blogs are so convinced of Bangalter’s involvement that they seek confi rmation from the Parisian automaton’s then manger is validation enough of Ewels’ talent. “The whole Louis things basically came about because the tracks I was making were put on a personal mailing list to friends, and they thought it would be funny to play a joke and do these blog post ings with the whole Daft Punk thing,” he explains. “By the time I found out about it, I didn’t want to say it was me. There were all these people talking and if you see that happen in front of your eyes you don’t want to end it right there; you want to cling onto it. So I thought it would be a good idea to come up with Louis, contact all these blogs and say ‘oh, y’know, it’s not Thomas, it’s me’, and try to grab hold of it as quickly as I could.” Ewels had to develop broad shoulders fast. If Busy P’s slight wasn’t enough to make the youngster newly reborn as Louis La Roche (Louis The Rock, for those about to seek Babelfish clarification) ponder whether all publicity is indeed good publicity, the vitriol of

scorned bloggers was. “It didn’t sink in really,” he recalls, “seeing all these things written about me. Some of it was positive, but a lot of it was quite harsh really… people calling me a hoax. I think it just took people a while to look at it differently.” By the time La Roche released his debut EP The Peach two months later, the furore had abated to the extent that even some of his biggest detractors had accepted his importance to the French touch renaissance. House may not have been where his music-making began, having originally dabbled with electro under the Night Facilities guise, but after plentiful software experimentation it became evident where Ewels’ true talent lay. Two further EPs later – Me & Her, and Oizo-tinged Supersoaker – and Louis La Roche is ready to drop his debut album Hello You, which he admits he took a stab at rushing out back in 2008 before learning a valuable lesson about pacing oneself. “All the hype, the blog post ings and everything had happened that year; it got to October/November and because I didn’t really know how things worked – I didn’t know then that you should release EPs fi rst and then an album later on – I went st raight into thinking I need to write an album,” La Roche recalls. “To be honest I rushed it; it probably took me about five or six months, then basically what happened was I was listening to these tracks for a couple of months, and decided that wasn’t the route I wanted to go down, that I needed to take my time and think about it a lot more. From those 12 or 13 tracks only four survived, which went onto become the Me & Her EP.” With Louis showing no sign of sticking with what’s comfortable or expected, Hello You’s lead single My Turn is already dividing opinion. Featuring Modjo’s Yann Destal on vocals, it’s more elect ro-pop than disco house, but already well accustomed to backlash, La Roche was prepared to hear some dissenting opinion. “Not many people know this, but this year behind the scenes I’ve been very much experimenting,” he shares, “and just really finding my sound. We knew this first single from the album was going to get mixed reviews. It’s basically a test: of what people think I am, what I think I am, and what people think the French sound is.” The producer has evidently learned to stop worrying about what other people think. Once labelled a Daft Punk imitator, Louis La Roche is now generating his own headlines, and not even the knowledge that those crazy robots have reportedly heard and enjoyed his music is enough to take his mind off what’s next, commenting “I’m not here to copy what they do; just to be so closely associated to the genre is enough for me.” WHO: Louis La Roche WHERE & WHEN: Family (Brisbane) Friday 29 October, Ruby Tramp (Gold Coast) Saturday 30 October, Superdisco at Prince Bandroom (Melbourne) Saturday 6 November






More sad news last week, especially if you follow the underground hip hop scene and most specifically if you’re either a Rhymesayers or battle MC devotee. Minnesota MC Eyedea passed away on Saturday October He was only 28 years old and the news that has come direct ly from his mother is that he died in his sleep, cause unknown and he will be sorely missed. It is easy to say that he was an extremely gifted MC, not just st ylist ically but also with his freest yle abilities and even moreso with his deft skills at penning deep and introspect ive lyrics that were almost philosophical at times. He started rhyming in the early 90s but hit the battle scene at the end of that decade. He ended up winning major spots at Scribble Jam (1999), Rock Steady Anniversary (2000) and the Blaze Battle in Chicago (2000). You can catch some of the footage of his battles on YouTube, but his most exhaust ing freest yle was caught on camera for Sway and King Tech’s radio spot The Wake Up Show in which his mate Slug st ruggles to keep up with Eyedea’s stamina. With his partner DJ Abilities they released 3 albums together on the Rhymesayers label – First Born in 2001 followed by the astonishingly brilliant EandA’(which was also released on the punk imprint Epitaph), then last year they dropped By The Throat which showed a more rock influenced trajectory than anything previously released. Coinciding with this sound was Eyedea’s appearance, in which he grew his hair out and took on the look of someone involved in the 90s Seattle grunge scene. The videos from this later period show a more introspect ive and tortured soul than the enthusiast ic kid who was ready to rip other MCs apart on the battle circuit. He was also the back-up MC for Rhymesayers and even fi lled in as a DJ when they toured. As well as his st raight up hip hop, he delved more into the indie rock sound with his band Carbon Carousel and also recorded with the more jazz inspired outfit Face Candy. In 2004 he also released a self-produced solo album entitled Th e Many Faces Of Oliver Hart with the new alias. Apparently he had another album almost fi nished before he passed away. Hopefully this will see the light of day and would be a fantast ic addition to his back catalogue.



dam Briggs doesn’t see the point in complicating things. Short, sharp, succinct quips fall out of his mouth whether he’s rhyming or merely having a chat. Even his MC moniker is simple – Briggs. An indigenous Aust ralian hailing from the rural Victorian town of Shepparton, his experiences have provided him with a unique perspect ive, a frust ration that brews just beneath the surface and a great sense of humour. After wooing the Hilltop Hoods last year with his EP Homemade Bombs he managed to get himself a spot on their European tour. “I think they wanted to try me out in the eastern European countries, see how I’d go in Czechoslovakia. I was the rap slave if you will, they kicked me out like that goat in Jurassic Park, waiting for the T-Rex to see if I could handle myself.” Handle himself he did because, as he says, “they brought me back. They didn’t leave me there chained up in that dungeon,” he jokes. Instead they kicked him out on stage for Aust ralians to eat up which lead to a signing and his debut album – The Blacklist. The producers behind Homemade Bombs – Jaytee, 76 and Trials (Funkoars) – return for The Blacklist joined by Suffa and Merlin The Wizard to name a few. It’s raw and guttural in that southern-ish Aust ralian (hip hop) way, as is Briggs’ flow. “I just try to think of the most entertaining and funny st uff to say and put it together in a nice 16 bar verse,”he says of his approach to writing. Th is seems to be the permanent position for his tongue, a react ion to growing up Aboriginal and doing so in a small town. Despite his experiences, Briggs has developed an avid sense of humour that makes him never want to give up. “I’ve dealt with things that a lot of other people won’t ever have to deal with. Coming up a lot of the chances that are offered to non-indigenous people, aren’t offered to us. Plus, we’re set to die a few years before

everyone so I’m just trying to get it while it’s good,” he says and proceeds to crack up laughing. A sense of frust ration also comes out in his music, often giving listeners the idea he is pissed off. The story behind the fi rst single from the album – The Wrong Brother – is a good example of this. “I was going to the pub and they stopped me at the door but let all these other dudes in. And [security is] speaking into his collar like he’s some kind of secret service guy and the other security guard comes out and he says ‘Nup, it’s not him’. Apparently one of the other boys from the town had come through and made a big mess at this pub the week before and [security] says ‘You’re right mate you can go in, we’ve got the wrong brother’. I thought ‘fucken oath you’ve got the wrong brother’ and I left. So, dedicated to dickhead security guard number thirtywhatever from the pub in Shepparton, thanks for the inspiration for my fi rst single.’

WHO: Briggs WHAT: The Blacklist (Golden Era Records/Universal) WHERE & WHEN: Palace Theatre (Melbourne) Wednesday 27 October, The Tivoli (Brisbane) EYEDEA

Saturday 30 October, Prince Bandroom (Melbourne) Friday 3 December, The Gaelic (Sydney) Saturday 4 December





irty Laundry were primed to become Melbourne’s answer to Sneaky Sound System, but then they were forced to take a step back. Th is year the outfit, formed by DJs Dean Cherny and JJ Styles, have mounted a fresh, and vigourous, campaign. And they’ve reinvented themselves as a bona-fide pop group – with an edge. “We realise we’re pop,” Cherny says. “We’re not trying to be anything other than that.” Dirty Laundry are following their mid-year single I Want You To Fly with the Ting Tings-ish Downtown Underground. Cherny attributes 2009’s recording hiatus to personnel changes and their splitting with a producer. “We did lose a bit of momentum last year.” Still, Dirty Laundry have gigged constantly.

Like Sneaky, Dirty Laundry began as a club entity, blending DJing with live elements, but the plan was always to be a recording act . Dirty Laundry grew in popularity on the local circuit largely because of heartthrob MC Seany B. Nonetheless, in 2006 Seany defected to TV Rock, with Matthew Charles (briefly) replacing him. The Dirty Laundry DJs mixed a Pacha CD alongside Kaz James – and it encompassed a potential single, Jump. Yet Dirty Laundry felt unhappy with the track and so it was never fully released. They debuted officially with 2008’s ARIA Club Chart hit Disco Infected. In time, Dirty Laundry’s line-up crystallised, with the DJs currently accompanied by two vocalists, Lee Lee (superseding Patricia Patterson) and Pete Hypes, and sax player Stevie Richards. Cherny is full of praise for Lee Lee and Hypes, both of whom can sing and MC. They’re also breakdancers, having been in Wickid Force Breakers. Ironically, Seany B’s career has floundered since his solo B Good 2 Me. Cherny never considered his returning. “He’s too busy working with Vanessa Amorosi!,” he says, referring to the MC’s cameo on Amorosi’s Mr Mysterious. “We still get on OK with Seany, but it was just a creative difference. I think Seany is probably best being on his own. He’s much happier just doing his own thing. But that’s the past – that’s three or four years ago for us now, so

that’s a long time ago.” Dirty Laundry have spoken of dropping an album for years. They suspended the project after falling out with a collaborator whom Cherny tact fully won’t identify. “We’ve been a little bit unlucky in love, I suppose, in some of the producers who we’ve worked with – one in particular. We pretty much finished an album and, unfortunately, it didn’t see the light of day due to a bit of creative difference between him and us.” (Their present “team” includes onetime Madison Avenue singer/songwriter Cheyne Coates.) Dirty Laundry have even discussed dispensing with the album format altogether and just airing EPs. Dirty Laundry have developed a sonic hybrid, melding elect ro house, indie rock and hip hop. Cherny plays down comparisons to Sneaky. Their origins may be similar but, for one, Dirty Laundry had a tight stage show from the outset – they didn’t start as a loose collect ive, jamming. Plus their influences lie in the mash-up scene, whereas Sneaky are rooted in house. “We’ve always been a bit more harderedged,” Cherny says. He perceives Dirty Laundry as an Aussie Black Eyed Peas “Look, with the success they’ve had over the last two years, if we could emulate that, I’d be more than happy.”

WHO: Dirty Laundry WHAT: Downtown Underground (Bangers N Mash) WHERE & WHEN: Beach Hotel (Byron Bay) Saturday 4 December, Summadayze (Melbourne)

Saturday 1 January, Beach Hotel (Byron Bay) Saturday 1 January, Summafieldayze (Gold Coast) Sunday 2 January




The Lil Wayne phenomenon has largely passed by OG Flavas. The best rapper alive? Bah. Even the most diehard Weezy fan would have to admit that, compared to a Jay-Z, he’s hit and miss. Dwayne Carter has comic flair, but his quality control is quest ionable – and he’s not exact ly a musical innovator. He doesn’t have Hova’s scope, be it emotionally, theatrically or musically. And, for all that wackiness, he’s become very predictable. Earlier this year Carter, an old Nirvana buff (!), unleashed the appalling rock-hop Rebirth – his most anti-climatic project since that Madonna collab, Revolver. Now the New Orleans native is back with the relatively st raight-up I Am Not A Human Being, his eighth album. Carter is, of course, currently in the pen, serving time on weapons possession charges. Carter might have shrewdly entitled this foray ‘Jailhouse Rap’, but the tracks were conceived when he was st ill a free man. I Am Not... is coming out in lieu of Tha Carter IV and, importantly, to keep the Lil Wayne franchise afloat. Business as usual, then. Those who dug 2008’s Grammy-winning Tha Carter III – Carter’s definitive recording – should feel cheated. I Am Not..., originally meant to be an EP, is less like an album than a throwaway mixtape. Evidently Carter didn’t read the reviews of Rebirth: the Limp Bizkit wannabe again haplessly enters nu-metal terrain on the titletrack. (It’s gotta be an outtake.) Elsewhere, he st icks to ringtone rap and synthy Southern hip hop, the album led by I’m Single, surely the weirdest lead single in a spell. Is it possible to sleep-rap? The beats are the aural equivalent of a cough syrup binge. I Am Not is derivative even by Carter’s own standards.Gonorrhoea (with Canadian emohopper Drake) is generic tech-hop, gruesome lyrics aside. With You is his attempt at an ol’ skool R&B ballad (dude has some help from a sampled Valerie Simpson). Femcee-cum-singer Nicki Minaj – like Drake, a member of Carter’s Young Money clique – enlivens What’s Wrong With Them (we’re so eagerly awaiting her Pink Friday). I Am Not only picks up towards the end, the Lollipop rapper finally bringing a lil’ drama. But the best song featuring Carter all year? Eminem’s Haddaway-jacking No Love off Recovery. Ironic, that.


Serious Underground Business With PAZ “But real talk glee is on some real shit tonight lol” Posted by @splash022 on Twitter. “Man this n+++a finna make me cry doc! (No homo) lol that’s how Dope this n+++a is on the guitar right now... Wow! Real talk” Posted by @kennygotsoul on Twitter. I think EMO culture got a hold of a great hip hop term. The “Talk” is less “Real” than ever, it’s cyber generated now. I think they gonna shorten it to RT so there is less talking more abbreviation. I’m going with pop culture on this one, as Business Music delves into Re@l T@lk. Abelton needs to create a dubstep plugin. Magentic Man could be a complete Abelton plug-in. How about a “Make It Sound Like Moombahton Remix” mastering plug-in? How about a “Witch house” pace slower for the EMOs? Bridge your audience. Real Talk – dubstep is the new elect ro house. I need to become a promoter DJ and forget about digging. I’m all ‘bout 2011 and this get a party started with my Ipod and Twitter friends. Post YouTube clips of Mix Master Mike to make it look like I know something ‘bout the “art”. More “phone in the face” requests, or even type your request into my Serato search engine. Real Talk - Serato plugin powered by Twitter requests. Hip Hop done got gay. Check the cover of XXL magazine. Is 50 hiding chrome steel behind Soulja Boy? They reckon it’s the second cover of XXL that has produced an unprecedented response for hip hop heavyweights in “your crack’s the best” poses. The other was Lil Wayne and Birdman. Real Talk - The J the I the M the M the Y... hat. The Bureau of Meteorology are going to be in town, dropping classic weather anthems like Sunshine of Your Love alongside Feeling Hot Hot Hot and It’s Raining Men. Real Talk – Heatwave Blog is coming. Early December. Turn and Wine. Reach out for their new mix at Real Talk – For local vibes the new Soca City Vol 12 from Emperor Chin. Big ups to the UK Funky crossover. Ringtone.M4rs are the new ish. Dutty Artz just droppped their whole new release as a ringtone app for iPhones. The world is moving closer to Twitter DJing apps. Real Talk – Dutty Artz is on some new Photoshop ish.




ouse gangster DJ Sneak, naturally a larger than life character, is in a particularly boisterous mood these days. Times haven’t always been easy for the Puerto Rican DJ/producer, forced to watch the late noughties emergence of elect ro result in a mass exodus from his cherished house. But his passion stayed true, and as the genre continues its recent resurgence, Sneak is pleased as punch not so much for himself, but for the music. “It feels really good because you know what, I didn’t go where I didn’t belong; I st uck to my guns,” the man born Carlos Sosa explains. “I’m just happy people are embracing house music the way I did it back in the early 90s. The transition is happening, the revolution is st ill going, I’m hearing more house music than ever now and that’s great.” Not willing to just sit back and let house die without a fight, Sosa took to his MySpace blog in 2008 and wrote an impassioned ode to the music that moved him, and received an outpouring of equally voracious fans, pissed as hell that their beloved genre appeared to be going the way of the dodo. “That was at the very end of my patience with dealing with electro and everything else being more important than house,” Sosa begins, “and people like me, who have been doing it since the early 90s, were getting pushed aside by all this ‘I’ll make a track today and be famous for two minutes then

be gone tomorrow’. I got sick of it; I realised that I had a voice, and I wanted this voice to be heard, so it was not about me and my career, but about the music that I loved so much.” While house may have regained its lustre, as confirmed by DJ Sneak’s 2009 album House Of House, which served very much as a state of the union, Carlos remains tired of producers and DJs always on the lookout for shortcuts. “I appreciate vinyl, I appreciate turntables, I appreciate the craft, and when people take the piss and make themselves look like superstars when they’re really just using programs to mix, that’s not being a DJ to me. I just jumped in when I was young and never doubted that I could do it because I had the passion for it, and still do now – I’m nearly 40-years-old, and I’ve been DJing since I was 16-years-old. You can be more creative the simple way rather than using tricks, and there’s a lot of tricksters out there.” Sosa doesn’t let it phase him, though. He’s too busy looking ahead into 2011, and that means staying true to the past. “I’ve got quite a few things lined up, a lot of personal tracks, influenced by what’s happening, and this whole rebirth of house music. I’m putting out a lot of tracks that sound like I did them back in the 90s, keeping the same love and influence and texture that I used to put in my vinyl. I think people just need to go back to their roots, man.”

WHO: DJ Sneak WHAT: Stereosonic at Sydney Showgrounds Saturday 27 November, Melbourne

Showgrounds Saturday 4 December, RNA Showgrounds (Brisbane) Sunday 5 December








uke Girgis cut his teeth as a part of Sydney’s Nurcha Records group. The outfit, formed around the label and helmed by promoter Shrek, enjoyed several years of prominence. The label hosted releases from Mind Over Matter and Dave V, and had a particularly act ive presence in the Sydney hip hop circle. Since Nurcha Records’ early-2009 closure, the act s signed to it have been left to handle their own business. Girgis, as it happens, has been leading the charge. It’s not st rict ly as an artist , though, that Girgis has been making moves. Behind the scenes, he has been one of the primary heads responsible for the promotion of one of 2009’s most hyped albums, Inkstains. Many who follwed Nurcha’s and its affi liated MCs’ progress, would be well aware of Phatchance. He currently st ands as the most highprofi le member of the Nurcha collect ive, a position that can largely be attributed to the release of Inkst ains, his maiden solo LP released last November. “We’ve only really knuckled down in the last 12 months, when we were shopping Chance’s album,” the Shire native explains. “We’ve done a lot of research, and we had a lot of mentors helping us out early on. On Nurcha, it was a really great time, but we were really young, and didn’t do much ourselves.” Do-it-yourself promotion is by no means a new phenomenon in Aust ralian music. Recent years have seen this do-it-yourself approach on dist inct characterist ics, pioneered by a select group of artist s. A profound dedication to crafting a professional fi nished product has been taken up by several act s, Girgis included. The consistent promotion of a high quality product has characterised Girgis’ past 12 months, most predominantly with the lead-up to and release of Inkst ains. “I don’t know what it is about me,” he laughs. “Whenever I’m interested in something, I go all out. When music really took a hold of me, I just haven’t stopped.” “I don’t seem to be hitting it as hard as I hit Chance’s st uff,” Girgis muses on the effort he has made to promote The Sound Of Wings, his EP collaboration with Miriam Waks. “I act ually thought that I should maybe get my own manager. But it’s not really an issue. I always seem to be a lot more passionate and vested in my friends’ music than my own.” Musically, the creation of Th e Sound Of Wings was a simple process. Upon meeting, Girgis and Waks clicked, and chose to work together towards an EP shortly afterwards. “It could’ve turned into an album,”

Girgis says. “We decided to go for an EP, because we were really keen to do something together, but she also had way too many commitments.” On of the EP’s tracks has already gained some remarkable attention. Initially, Burn Churches, a reflect ion on the fi nancially driven motives of some members of the Christ ian inst itution, was singled out by listeners. After performing the track at a series of events, the track was labeled by some as an attack on religious devotion, and the entire Christ ian apparatus. Th is was far from the case. “It’s a lot better now,” he reflect s with regard to the attitudes towards the track. “A lot of people were getting the wrong message it. People who were open about hating Christ ians liked it because they thought I was agreeing with them. And then there were Christ ians who thought I was openly dissing Christ ianity. But it has calmed down now.”

WHO: Coptic Soldier WHAT: The Sound Of Wings EP (Independent) WHERE & WHEN: First Floor Monday 1 November



Israel’s Ace Ventura has a new release out, and it’s all I want to talk about. The Connected EP is on Plusquam Records, a label I’ve had little time for in the past. The original mix clocks in at just over ten minutes long, but feels like it owns every second. A spacey intro leads us in, followed by an unusually powerful (for Ace Ventura)plucky bassline – it sounds more like a Zen Mechanics creation than anything. Like most of what I write about here, it’s this st rong element which underwrites the whole track. Up until the three minute mark, however, we’re treated to fairly standard progressive trance. That’s not to say it’s boring though. Rather, it increases the impact of the trancey-yet-dreary melody that kicks in after. It’s an intelligent hook, with an evolving rather than repetitious feel. Th is’d be a perfect track, but for an extended breakdown in the latter half. Th is isn’t awful it itself; a cheesy spoken sample about UFOs is the problem. The fi rst remix is from Liquid Soul. Straight off the bat, I have to admit that I’m a total sucker for Nicola Capobianco. However, of late his work has become noticeably lazy, particularly the remix of System 7’s Spacebird. Thankfully, this is an absolute return to form. He’s pumped up the bassline to create more drive, added some percussion and used the spoken samples creatively. The best element in this revision, however, is a sharper off-beat acid stab, rather than the original fluid line. Another graceful bassline characterises the third version. Prior to writing this, I’d not heard of the remixers – Sunst ryk – but I’m impressed. Again, this is a long track, but it’s artfully const ructed over its nine minute length. Though the main melody is the same as the original’s, this is far sharper, and probably more suited to small dancefloors. Last is a remix by Symphonix. Over their two albums and handful of EPs, I’ve found the two brothers to be patchy, alternately turning in brilliance or mediocrity. With their usual techy, raspy feel, this remix is somewhere in between. It’s the only track on the release to eschew the ‘rolling’ bassline that characterises most psytrance, and the percussion is more typical of tech house. Sadly, like the other two remixers, they didn’t have the courage to throw off the dist ract ing vocal sample altogether...



ANTIX Cavalier

(Iboga Records)

SUPER8 & TAB Empire

(Anjunabeats/Balance Music/EMI) Finnish duo Super8 & Tab have brought an irresist ible dash of progressive euphoria to their records since their early days of putting out music on Above & Beyond’s Anjunabeats label, but over the years they gradually developed their sound into something even more special. With each successive single they pushed it a little further, fusing big-room house grooves with melodic trance, and on their debut artist album Empire they’ve polished that into a shiny gem. The opener Slow To Learn is a great introduct ion to Super8 & Tab’s sound, quickly getting down to business with a deep bassline and proggy rhythms that’ll put a smile on your dial. Welsh singer Jan Burton is present across a lot of the album, and on the title track he’s helped Super8 & Tab craft a vocal bomb of the very best kind. Techy stabs of elect ronic noise set the scene perfect ly, and draw us into a groove that could easily hold its own in the set of someone like Axwell or Roger Sanchez, kicking arse both as a ‘song’ as well as a club tune. The divine Black Is The New Yellow sees the duo playing with a chopped-up vocal sample that delivers one of the most spine tingling breakdowns we’ve heard all year, but like the rest of the album it’s defined as much by its 4/4 house drive as it is by the colourful trance synths. Most dance acts seem incapable of properly grasping the concept of an ‘album’, and Super8 & Tab aren’t immune to this. Technasia and The Chemical Brothers are examples of artists who managed to get it right this year, and while Super8 & Tab aren’t quite up to that standard yet, the tracks are just so st rong that it’s worth overlooking. Sophist icated, classy and accessible, it’s another win for Anjunabeats. ANGUS PATERSON

In the same way that it nearly slipped quietly past this reviewer, the new album from prolific New Zealand progressive duo Antix risks cruising underneath the radar for a lot of music fans, which is a minor tragedy as it’s something that shouldn’t be slept on. It’s their fourth LP on Danish label Iboga Records (in addition to their output under the psytrance alias Fiord), and with Cavalier they’ve sought to compile an album that’s sequenced exact ly like a carefullycrafted mix CD. Beginning with the epic 10-minute build that is The Hoard, which slowly gets the wheels spinning in a suitably rest rained fashion, the techy beats that follow in Manta lift the vibe up nicely. From there it ebbs and fl ow in the fashion of a DJ mix that truly is

ASC Nothing Is Certain

(Nonplus+/Inertia) At times going by the name Intex Systems, ASC (aka James Clements) has been releasing drum’n’bass and elect ronica for almost a decade on labels such as Bukem’s Good Looking and Paradox’s Outsider, but has recently attracted a lot of attention over his tracks featured on Inst ra:mental and dBridge’s celebrated Autonomic podcasts. His brand new album Nothing Is Certain has been released by Inst ra:mental’s label and will definitely appeal to those who enjoy the half-step Autonomic vibe, albeit a lot darker. Album-opener Midnight is a very ambient affair almost reminiscent of a 90s-era Warp Records release. Fade Away Seasons features like-minded NZ producer Consequence and is quite a brooding track with pads washing out the steppy beat. The other collaboration here features San Diego-based partner Vaccine whose beat sounds very techno until the synths and shifting rhythms take it somewhere else. Another note-worthy track on the album is The Depths which sounds like a rest rained version of Boxcutter or Milanese complete with huge bass, echoed-out ambience and female vocal slices. Th is is definitely one of the more interest ing d’n’b albums of 2010. BRAD SWOB

“progressive”, with Antix cleverly pitching the energy up and then lowering it again. Th ey eventually introduce the vocals of Mark Ridout in Lost and Found, channeling Depeche Mode in a gorgeous moment that’s both deep and exhilarating. Cavalier is the antithesis to the disconnected series of club tracks that make up these kind of albums, or worse, the half-baked attempts at sliding in a “chill out” track here and there. It’s a wonder more dance artists don’t take this approach; Antix make an impressive go of a completely dancefloor-focused approach with an album of surprising maturity and focus. Though it’ll likely be overlooked by many, Cavalier deserves a proper airing from the prog heads. ANGUS PATERSON

EL GUINCHO Pop Negro (Remote Control/ Inertia)

If it’s exotic and sundrenched you’re in search of, the tropical sounds of El Guincho could be just the ticket. Pablo Diaz-Reixa to his mother, El Guincho was born and raised on the beach in the Canary Islands before shifting to Paris where he was exposed to its hugely diverse music scene and seduced by its hip hop underground. His background, combined with these new influences, informed the sound of his first two albums yet his third and latest, Pop Negro, sees him return to his roots. Teaming with engineer John Gass, who has previously worked with both Michael Jackson and Mariah Carey, and switching back to singing entirely in Spanish, El Guincho has attempted, he says, to incorporate the classic pop sounds of the 80s and 90s he loved growing up. In reality Pop Negro sounds unlike much else around, juddering, almost reggaeton riddims paired with sparkling inst rumentation and a slightlytipsy-drinking-a-cocktail-in-a-resort type feel. Which, by a check of the calender, is all rather perfect ly timed. DARREN COLLINS



ONE TRACK MIND BITROK Push The Envelope (Elite Force Remix) (U&A Recordings)

VARIOUS/FLORIAN KELLER Party-Keller Vol 3 (Kompakt/Inertia)

Florian Keller is Germany’s answer to the UK’s Keb Darge or New York duo Kon and Amir, a black music tragic with a record collect ion that has no doubt cost him a lot of money, and probably a few relationships. Bad news for him, good news for everybody else – his taste is sublime, his Party-Keller club nights and compilation series bringing funk and soul music, most ly from the 70s and 80s, few people would have heard before. Impressively, Keller puts accessibility ahead of obscurity, working to keep everybody interested with novelty cover versions and a devilish sense of humour, traits that do not exist in your garden variety overserious spotter. His third Party-Keller compilation begins with the weird Here Comes The Family by Peter

VARIOUS/DJ TROY T AND DJ EKO rnb superclub: Club Party Anthems (Platinum One Entertainment/ Sony)

The ‘rnb superclub’ brand has become somewhat of an inst itution for devotees of this st yle of music, so it is with some level of expectation that this year’s rnb buperclub: Club Party Anthems compilation encapsulates all the feelings of stepping up and letting loose on an pumping d-floor at one of these nights. Guiding the experience are DJ Troy T and DJ Eko – both masters of the turntable who have attracted a legion of loyal fans for their ability to recognise quality R&B tracks over the rubbish. Troy and Eko really do deliver on this release blending an interest ing mix of the latest club hits such as Ke$ha’s My Love Is Your Drug, Chiddy Bang’s Opposite Of Adults and Iyaz’s Repay along with classic older tunes including Jaggard Edge’s Where The Party At, Ice Cube’s You Can Do It and DMX’s Party Up. While collect ively select ions are largely predictable it all serves to be extremely entertaining and will no doubt be very much appreciated by R&B enthusiasts all round. AMBER MCCORMICK


Giger & Family Of Percussion, a st rippeddown spoken-sung jazz exercise in coolness mixed into Mickey Erbe Orchest ra’s jazz-funk take on the theme from 2001: A Space Odyssey, Stanley Kubrick’s future re-imagined as one equally populated by pimps and hos as rogue computers. Bronx River Parkway’s La Valla and Ralph Marco Band’s High Snobiety will sound familiar to funk and hip hop fans as will the work of Gino Dentie who takes on the unforgettable, horn-drenched, driving rhythms of BT Express’ Express and Brass Const ruct ion’s Movin’. The only time this cover version-ism mis-steps is with BA Baracus Band’s take on LL Cool J’s Mama Said Knock You Out, a live funk groove ruined by its raspy Sam Kinnison-like rap.A fabulous collect ion of funk obscuritiesblended into a superfly soiree of the highest order. DARREN COLLINS

SUPER MELODY Dest ination Unknown

Elite Force is back doing what he does best with this stomper: flattening dancefloors. The crunchy, heavy beats are sure to get the old school breaks fans frothing, while the bassline is vintage Elite Force: rough, rugged and heavily resonated. Add ravey stabs and overdriven 303 line and you’ve got a tune that demonst rates why good breakbeat is unbeatable.

JASON SPARKS Gangsters (Sparks 2010 Mix) (Botchit & Scarper)

Sparks’ veritable classic gets a 2010 rework and thankfully, unlike so many “updates”, it rocks. Keeping the key features of the original (the three chord riff and the spoken word vocal), Sparks turns his breakbeat original into a chunky house groover which relies on a big, deep bassline to keep it rolling.

STEVEN M Viriata (Paradise Mix) (two-B-music)

The kind of tune that makes you sit back and thank whoever invented the synth patch that makes that trademark “dub chord” sound. Th is is all kinds of deep awesomeness, utilising a couple of simple chords that intertwine with one other beautifully over tight, techy beats and super smooth bass. ANDREW WOWK

(Love & Mercy/ Shock) Since leaving Oz quirk-pop outfit Architect ure In Helsinki, Melbourne-based producer and inst rumentalist James Cecil has continued to develop the genre-bending culture of sounds growing around his ongoing Super Melody World st udio project. Under the more succinct Super Melody signature, Cecil has woven the essence of approximately 40 working-tracks into a 52-minute sonic fur, covering folk rock, R&B, jazz and elect ronic fusion in a single st roke. With him, a flock of local talent has come along for the ride, transforming what began as a bulk of home st udio and bedroom recordings into a fully realised and high-flying compendium of brain-budging sounds… Destination Unknown. Opener Tinder Hearted is allowed to expand from an initially simple synth-backed beater to an orgy of multi-layered elect ro-folk meanderings – the soulful Full Time Occupation on its tail with a courting allure. As the record slides past halfway, Nervous Energy provides a jilted, jittery dive through the mind of a psychrock fuelled frontman. CARLIN BEATTIE

3DPLAYLIST 3D 1. Kilimanjaro SUPERPITCHER 2. Nightlife 5 VARIOUS/ANDY C 3. Barrington Tops (Jamie Stevens Remix) THE FROLLIX 4. Revolutions Per Minute REFLECTION ETERNAL 5. Untold Stories EELKE KLEIJN 6. Teenage Crime ADRIAN LUX 7. Eyes Wide Open BUTCH 8. May Day Radio WESTERNSYNTHETICS 9. Olympia BRYAN FERRY 10. Drop Some Drums [LOVE] TATTOO



t was just another drum’n’bass night in a swanky club in Brixton, London, where a rotation of DJs dropped the normal bout of energetic melodies, tight drums and jumbled synths. That was until Slovakian inhabitant Matus Lenicky, better known as B-Complex, decided to add an additional level of zing to the night. When Lenicky took to the stage he changed the direct ion of his set and dropped John Lennon’s revered Imagine. It was a ballsy manoeuvre to say the least. The success of that moment garnered Lenicky a fan base. “It was a great experience as the react ion of the crowd was excellent. The crowd kept on waiting for the drop and the drums but it never arrived. I like to change things and like to keep things interest ing when I’m playing. I try to come up with something people remember as it’s good to surprise people now and again,” he says. He also reckons Lennon’s original message is even more poignant today, regardless of whatever genre the songs fall into. “Nowadays radical ideas are increasing and tension is growing, so I was glad I played it. It was

the kind of message that used to be in rave and hardcore music and is now starting to appear in drum’n’bass.” Lenicky predicts a slight change in drum’n’bass. “Drum’n’bass is a musical genre that inspires many people from all over the globe. At the moment it’s heavily influenced by dubstep, particularly with the basslines. Drum’n’bass doesn’t really have much competition with other music. However it’s also getting more positive and not just coming across as dark and evil music,” he laughs. Lenicky’s drum’n’bass tilt is laced with energy and infected with melodies and harmony. His journey to become a drum’n’bass foreman has been a typical one. He grew up with a fascination of music that started with hardcore, moved through trance and psy-trance before fi nding hip hop. The young Slovak was enamoured with hip hop until he discovered Stakka and Skynet’s Clockwork. Lenicky dealt with his discovery of drum’n’bass easily. “To be honest it was more about a girl,” he laughs. “I always wanted to make music and couldn’t really fi nd any girls who wanted to make trance. I eventually found a girl who liked drum’n’bass and breakbeat, so I told her we could try something that combined elements of trance and drum’n’bass. Although that partnership ended I just kept on going with my project,” he says. Lenicky’s name has become a symbol of sophist ication. He was officially discovered in late 2008 by Hospital Records’ Tony Coleman. The story goes that Coleman grabbed his Beautiful Lies track and included it on the influential Hospital Records podcast. Lenicky started to receive attention from admirers, DJs and producers, which eventually led to its official release. Beautiful Lies is said to have reached the top 30 in the iTunes UK Download Chart and is widely acknowledged as one of the all-time great drum’n’bass tracks. Another diverse output was Break The Silence, again lauded by fans and independents. Despite the attention and success, Lenicky is adamant that it hasn’t changed him or his music. “Having success does add pressure but it’s not always easy to create copies of what I’ve done previously. If I wanted to ride the wave of my success I’d make Beautiful Lies 2 or Beautiful Lies 3. I’m just trying to make music the way I like.” WHO: B-Complex WHERE & WHEN: Twisted Audio at Brown Alley (Melbourne) Friday 29 October, Bass Drop at Shush (Sydney) Saturday 6 November








THE DIGITAL ASSASSIN (SCOTTY B) WHERE AND WHEN WAS YOUR FIRST SET? “1999 – The Hunter on Hunter in Newcast le, I had a laptop and a Yamaha rm1x, old skool beat product ion machine, it cost two bucks to get in, I played to about three old man barflys.” FAVOURITE CLUB TO PLAY? “Miss Libertine.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “Anything from Bloody Fist, Mark N and the Bloody Fist entourage were some of the fi rst


live computer and machine based gigs I ever saw.” WHO ARE YOUR FAVOURITE DJS? “Sizzle (Mel), Bonnita (Mel), Ching Rock (NY), DJ Show (NY), Skoob (NCL), Mark N (Mel/Ncl), Crayzefingaz (NY), Ezpz (UK).” WHAT’S YOUR BEST ALL TIME GIG? “In an old hip hop crew I was in, we did many shows with the likes of Downsyde, The Herd, Terminal Illness, Koolism – these were definitly a highlight.” WHAT’S THE FUNNIEST

THING YOU’VE SEEN FROM BEHIND THE DECKS? “A couple dry humping and throwing up at the same time – if you know Melbourne, you’ll know exact ly where I’m talking about.” WHAT’S THE WORST REQUEST YOU’VE GOT? “Bob Marley – I like Bob Marley, but I play my own product ion, so no one else’s tracks are in my repertoire.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “Always supportive of everything

I do, even the tatts and the potty mouth.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “More DJs spinning local product ion. Now that Serato is a staple in many clubs, people like me are more willing to supply some tracks to see how they fare.” WHAT GIGS HAVE YOU GOT COMING UP? “Renaissance Fest ival at Camp Eureka Friday 29 October, Ghetto Arts Live Sunday at Miss Libertine Sunday 21 November.” PHOTO BY KANE HIBBERD



DJ STIFFY’S WIDE WORLD OF SHORTS IDIOT WATCH: AXE/LYNX Apparently some British/Danish company that makes some sort of scented chemical liquid that comes out of some sort of long cylindrical can decided that TI as a spokesmodel/endorsee would probably increase their sales to an extent, and they were probably right. I mean, look at the George Foreman Grill (that said, I now have a collect ion of these that I’ve been purchasing at Savers on a weekly basis, the final incarnation of which is going to be the centrepiece for my reality/arts/mast urbation Foxtel show, When Arts Grants Go Bad), and hell, you don’t even have to ring up and wait for delivery with a can of deodorant. So anyways, apparently said manufact urer of spray-on whatever (apparently called Axe, which is the US incarnation of Lynx) decided that they should drop TI as an endorsee now that he’s in jail. At which point we hope that the person who decided either to hire or fi re TI (possibly both) act ually loses their job, because, basically, what kind of idiot thinks that a two-bit criminal who is now a successful rapper isn’t going to be going back to jail at some point, either because they have a propensity for urinating on teenage girls, or they want to boost flagging album sales? And what kind of idiot thinks that the person who might have act ually bought Body Spray on account of the fact it was endorsed by a person who was clearly a past, current or future resident of the US Department Of Correct ions (or at the very least enjoyed talking about engaging in criminal act ivity) would suddenly stop buying that product on account of the fact that that person has ended up in jail? VALE GUCCIONE So, anyways, one of the greatest pornographers to walk the face of the earth – Bob Guccione, founder of Penthouse magazine – died last week. To a furiously mast urbating teenager living in a world of websites with names like ‘Jizz-CoveredCum-Sluts’, Guccione’s work will seem relatively tame. However, to a sexually frust rated teenage virgin living in rural Aust ralia in the 1980s, his work proved, with photographic evidence, that a lesbianthreeway was act ually possible, and a reason to keep living.

1. Just The Way You Are BRUNO MARS 2. Teenage Dream KATY PERRY 3. Dynamite TAIO CRUZ 4. Love The Way You Lie EMINEM FEAT RIHANNA 5. Dear Snow ARASHI 6. Club Can’t

Handle Me FLO RIDA FEAT DAVID GUETTA 7. Fuck You! CEE LO GREEN 8. Only Girl (In The World) RIHANNA 9. DJ Got Us Fallin’ In Love USHER FEAT PITBULL 10. Just A Dream NELLY


If you somehow missed out on the Ben Hur Stadium Spectacular at the Olympic Stadium last weekend (we’re still totes kicking ourselves at 3D HQ ), we’ve found the next best thing – the spectacular urban street fight epic that accompanies Canyons’ newie My Rescue is not only full of LOL, but also features some of history’s most sensational man boob act ion to boot...






INDUSTRY WATCH WHAT INSPIRED YOUR DJ NAME? “DJ Sizzle was given to me by New York hip hop group The Apost les. We’d just agreed to do a tour together when they had a radio interview about the shows. They didn’t even know yet what my DJ name was so, when asked, they just pulled out the fi rst thing that came to mind. Ever since, I’ve been DJ Sizzle.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Futurist ic, glitchy hip hop, brainsqueeze music.” WHAT TRACK TURNS YOU ON RIGHT NOW? “The opening track on my new mixtape Fuck Your Day Job – Mightyfools – Hoo

hours spent behind the wheels.”


Haa (4 Centers + Knowa Knowone Remix).” WHAT MADE YOU START DJING? “Obviously a deep love for music, but also the allure of taking a path that had no teachers, only pract itioners. Back then, there wasn’t a music book around that could teach you how to do it, only commitment and long frust rating

WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “A lot of weird st uff goes down in nightclubs, but possibly the hopping, armwaving fi re dance of a friend of mine who accidentally set himself alight, blowing out a flaming ABC shot.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Probably I Kissed A Girl - Cherry Chapst ick Remix by Rusko. It’s a terrible thing to do to people, and happens to be the worst bootleg I’ve ever heard. It may also be the best. I haven’t decided yet.”

WHERE & WHEN: Beat Bazaar Friday 5 November, Noisefest at Prince of Wales Friday 19 November, Elements Hip Hop at Miss Libertine every Wednesday

KISS FM CHART 1. Holidays (Sam Sparro & Jess Rogg Mix) MIAMI HORROR 2. She DUOSSEUDO 3. Universal Cryout MATA & MUST 4.Th irst y KELDAMUZIK 5. Downtown Uderground (Dublin Aunts Mix) DIRTY LAUNDRY

6. Love Lost (Sister Bliss & Rollo Mix) THE TEMPER TRAP 7. Promise Part 3 KOSHOWKO 8. Hold On (Ian Pooley Mix) DJ NIBC 9.Superstar (The Krays Mix) AEROPLANE 10. Dreamer (Javi Mula Mix) TUNE IN TOKYO


America. Home of the free and a land of opportunity where folk have the right – no make that the duty – to be completely ridiculous if they feel so inclined. Street performers who have long since brightened up public areas of New York are a great example of this truth. However recent reports have indicated that New York’s law enforcers are not always so appreciative of these creative types forcing one st reet performer to take them to court over harassment claims. According to the NY Post, Steven Mercier – who dresses up as a Big Apple – has fi led a civil lawsuit claiming that cops have unfairly hassled him but not his rival performer the Naked Cowboy. The court papers state that, “When [Mercier] was harassed by police officers for his st reet performance as the ‘Big Apple’ in Times Square and asked why the Naked Cowboy was never harassed, an officer told him that the mayor said the Naked Cowboy is popular, even iconic, and for that reason was never to be bothered.” Mercier, who is said to have a valid vending license, also claims that he was once forced to remove his apple



THE IDEA BEHIND OUR NIGHT IS… “To celebrate the first year of our humble little club’s existence with a party urging all those who didn’t get scared watching Danny DeVito cough up black blood in Tim Burton’s Batman Returns to dress up and make this a party to remember.” WE’LL BE PIMPING THE SOUNDS OF… “Leatherface’s chainsaw taking out the whole Studio 54 wannabe-kick your flairs outplatform-heeled disco crowd. ‘Werd’.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Over ten of our residents taking turns cranking out the tunes on our battered old organ in versus sets that will make even the st raightest edged of club goers end up at home loopier than Beetlejuice!” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Free champagne and beer for the first hour (woot!) along with $5 spirits, cider and beer till the clock strikes midnight! We’re currently trying to get a hold of one of those puzzle boxes from Hellraiser on the night for everyone to have a crack at solving, but no promises okay.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “The sight of Elvira and her big knockers airbrushed along the side of some old hotrod, Return To Oz, and of course a good party.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Our want to be anti-glam, but not in a Marc Jacobs grunge range type of way. Just that nice people are always welcome, our bar staff are friendly, our disc jockeys like to party and even our door bitch (she’s on holidays) Penny is lovely. Struth!” WHERE & WHEN: Goth Ball, New Guernica’s First Birthday Party at New Guernica Saturday 30 October

cost ume “in front of many children”, causing him “embarrassment.” As a 40-year-old who dresses up as a piece for fruit everyday you would think that “embarrassment” would be a prerequisite of the role. While you would imagine that a case like this has no real grounds, chances are it probably does. Stay tuned for the inevitable Law & Order spin-off...







1 Bad Habits @ Pretty Please 2 Mama Said @ Circus

3 New Guernica 4 Rhythm-al-ism @ Fusion





4 4











2 2






CO. Stand And Deliver: DJ Petar Tolich. 9:30pm. Free before 11pm. LOUNGE Lounge Wednesdays: DJs PCP, Matty Radovich and guests. 9pm. $5. LUCKY COQ Coq Roq!: DJs Lady Noir, Agent 86, Kiti, Mr Thom, Joybot. MISS LIBERTINE FRONT ROOM Elements: MzRizk, Sizzle, Ayna, Rampage. 8pm. Free. MISS LIBERTINE BACK ROOM School Night Funk: Soul Trip, Superjuice, Bronson, and Tron. 8pm. Free. PALACE THEATRE Ice Cube, Scorcher, Briggs. 8pm. $89.90. NEW GUERNICA Fromage Disco. Free. REVOLVER Lost & Found: Spidey, Adalita, DJ Mary M, Gupstar, Decameron. 10pm. Free. THE TOFF Sex On Toast: Mandek Penha. 8pm. $10.

THURSDAY BILLBOARD Matty Grant, Matt Dean. 8pm. CO. Funhouse: Finlo White, Scotty E. 9:30pm. Free before 11pm. THE COMFORTABLE CHAIR Comfy Beats. 6pm. Free. FIRST FLOOR Ring The Alarm: Jesse I, DJ Major Krazy. 9pm. Free. FUSION Rhythm-Al-Ism: Damion De Silva, Funkmaster Rob, A-Style, K Dee, Simon Sez. 9:30pm. HOME HOUSE DJs Jim Danza, Herbee & Guests. LOUNGE Agent 86, Snowie, 10pm. $5. LOOP Amanaska. 8pm. Free. LUCKY COQ Free Range Funk: DJs Who, Agent 86, Lewis CanCut. MISS LIBERTINE Knee Deep: Louis McCoy, Luke Bruin, Mack The Knife, Francis Inferno Orchestra. 8pm. Free. NEW GUERNICA DJ Negativ Magick, Post Percy, Nu Balance, James Kanes. 10pm. Free. REVOLVER 3181 Thursdays: Hans DC & Who. 6pm. Free. THE TOFF Love Story: The Bloodpoets, Tranter, Megawuoti, Sleeves, Supremes, TDAH. Free.

FRIDAY 3D Rave Of The Dead: Hellraiser, Dep Affect & The Engineer, DJ Hellraiser vs Satyriasis, The Engineer, Dep Affect, 6head_slug vs Remane, DeX vs BCD, Chris Dynasty. $18/$14 Guestlist. ABODE Mezzanine: Jon Montes. 10pm. BILLBOARD Hard Kandy: Yoji (Japan). 9pm. BROWN ALLEY Darkbeat Local Sessions 003: Kasey Taylor, Sean Quinn, Stuart King, Phil K, Rollin Connection, Lister Cooray b2b Jon Beta, Alam, Samar, Bart B, Dig & Dog, Samari. Twisted Audio: Drumsound & Bassline Smith, B-Complex, Chris Su, MC Lowqui, Wasabi, Bonsai, Deall, Monkee, Barron von Rotton, Deviant, ctoafn, Flip, Deep Element, Lickweed, Meltdown, Rubix, Psimocybin, Dyzlexic CM & MC Harzee, Blue MD. CO. Papparazzi: Nikkos, Joe Sofo, Kitty Kat. 9:30pm. Free before 11pm. CUSHION After Dark: Tom Lally, Harry Brownbill, Dancefloor Terrorism, Samantha Cooke, Walker, Jody McLeod, Luke Will, Silversix, Dean Del, DaSilva, Kid Kodi. 9pm. EUROTRASH Eurotrash Fridays: Mu-Gen, NXR. Free. THE ESPY LOUNGE BAR: Evidence, Total Eclipse, Syntax, One Sixth, Flagrant, Rusty. 6pm. FIRST FLOOR Cowabunga: Btwo, Ms Butt, MuGen, Perplex. 10pm. $10. FUSION Sounds Of Fusion: Ian Carey, DJ Atomik, Dean T, Phil Ross, Johnny M. 9:30pm. $12 guestlist. $15 on the door.

HOME HOUSE DJs Jim Danza, Herbee, Syme. LA DI DA Like Disco: Luke McD, Phil K, Mark Pellegrini. LOOP Cosmology: Fantastic Mr Fox. 10pm. Free. LUCKY COQ House Party: Matt Rad, Mr George, Tom Meagher, Phato A Mano. 9pm. Free. MERCAT BASEMENT Daniel Bell. 8pm. MISS LIBERTINE Purple Sneakers: Kristina Miltiadou (Live), Drunk Mums (Live), Hungry Kids Of Hungary (DJ set), Th ieves Of Aon, Wildlife DJs, Bad Horse, Em-Sem, Lukewarm. 9pm. $12. MY AEON The Clarity 3rd Birthday feat B6. $10 guestlist. ONESIXONE Alex Kidd, Jen Tutty, Mic Newman, Liam Waller, Katie Drover, Jesse Young, Jad Hamzi, Mitch Kurz, Ed Myer. 9pm. $15–$20. NEW GUERNICA Rory Phillips. PIER HOTEL Blue King Brown. 7pm. $28.95+bf. PRETTY PLEASE Bad Habits: Canyons (DJ set), Opulent Sound, Oohee, Lewis Cancut, Play. REVOLVER Upstairs: Micasa: Damon Walsh, Silversix, Nick Jones, Lucca Tan, Timmus, Hez. SANDBAR WINE BAR Illy, MC 360, Skryptcha. 8pm. $15.30. THE TOFF Poprocks: Dr Phil Smith. 9pm. Free. TRAK Potbelleez, DJs Grant Smillie & Christian Luke. 8:30pm. $25.

SATURDAY ABODE Night Of The Living Dead: DJ SmuDJ, Syme Tollens, Lady J, M-4-T, Pixelated. ALIA BAR Rinsed: DJs Chestwig, Samari, Tahl, Volta and guests. Free before midnight, $5 after. BIMBO DELUXE Phato Amano, Adam Askew, Peter Baker, Sam McEwin. BILLBOARD Billboard Saturdays: Frazer, Jamie Vlahos, Mr Magoo, Scott McMahon, Ziggy, Phil Ross. 8pm. CIRCUS BAR Mama Said: Jacob Malmo vs Liam Waller, Daniel Tardrew vs Matt Kovic, Jesus Feat Matty Charles, Oliver James vs Virginia Le, Jay Ueta, Kenan Huric, Jamie Lamittina. CO. Ruby Rose, Finlo White, Joe Sofo. 9:30pm. $15. EUROTRASH Eurotrash House Party: 1928, Sleeves, Mu-Gen, Megawouti, DCeed. 8pm. $5 before 10pm/$10 after. FUSION Tate Strauss, Keli Hart, Dean T, DJ Nova, Johnny M. 9:30pm. $15 Guestlist before 11pm. HOME HOUSE Herbee, Anth’m, Syme, Jim Danza. KHOKOLAT BAR Khokolat Koated: Damion De Silva, K Dee, Jay Sin. 9:30pm. $5 before 10pm/$12 guestlist/$15 general. LA DI DA Poison Apple: Tom Piper, Chardy, Chango Phat, Ross Horkings, Bianca White, Clint Morgan, Nick Kennedy. LOUNGE Darren Coburn, Luke McD, Nick Coleman. 10pm. LOOP Unstable Sounds: Bobby Raver, Ranjit Nijjer, HenkD, Loki, Simon Murphy, Denham Jay, VJs Kyogen & Ninja. 10pm. Free. LOFT The Loft Saturdays: Scotty Erdos, Phil Ross, Nick James, On Time. 8pm. LUCKY COQ Textile: Pacman, Jean Paul, Sam McEwin, Tahl, Kodiak Kid, Moonshine, Ash-Lee, Dj Volta. 9pm. MISS LIBERTINE Freaky Beats: Circuit Bent (Live), Men Imitating Machines (Live), Uone, Rhythmik, Motive, J-Dub, Monkeymarc (Live), Sam I Am, Kodiak Kid, Anna Ce. 9pm. $15 in costume/$20. ONESIXONE Audioporn: Agent 86, China, James Ware. 8pm. PALACE THEATRE Shaker: Lee Davies, Scotty

Erdos, Mark John, Srubz, DJ Andy G, Kevin Watts, Brandon Collins. 9pm. $5–$15. PLAYGROUND Sarah Love. PRINCE BANDROOM Superdisco: Harris Robotis, Cassian, Sunshine, Tyson O’Brien. 9pm. PRETTY PLEASE Good Manners: Van She Tech, Knightlife, Deacon Rose, Dublin Aunts,’96 Bulls. Q BAR Vicious Bitch: Angger Dimas, Vandalism (live), Butterbox (live), Fidget Champions Jackhammer, Aress, Buster Stickup, Jarrod Moran, Colin Mcmillan, Mr Wolf, Clockwork DJs, Sophia Sin, Michael Steenhuis. REVOLVER The Late Show: Ransom, Nick Thayer, Mat Cant, Boogs, Spacey. 11pm. ROXANNE PARLOUR After Dark Social Club: Harris Robotis, Kris Baha. 10 pm. $16. THE TOFF The House de Frost: We Are Fans, Andee Frost. Midnight. Free. TRAK Strut Saturdays: Tribal Kings, Mark Pellegrini, Jason Sirini, Michael T. 9pm.

SUNDAY BILLBOARD Matinee Melbourne: J Louis, Jimi Harrison, Kitty Glitter, Mike Evans, Murray Hood, Peter McNamara. 12pm. $59 + bf. BROWN ALLEY Black Market Haloween Party: T-Rek, Boogs, Kalus, Kizzam, Steve Mink, Heath Renata, Shameless, Katie Drover, Wacho. $25. 9pm. CO. Be: Damion De Silva, Jay J, Ken Walker, Lighting, Rev, Hoesty, Ever. 9:30pm. $5 guestlist before 10pm/$12 after/$15 general. CIRCUS BAR Circus Sundays: Luke McD, Nick Young, Aaron Trotman, Nick Young, Tom Evans, Rowie, Katt Niall. 8pm. CORNER HOTEL Mouse On Mars, Qua, Clue to Kalo. 8pm. $39.80. LOVE MACHINE Gossip Sundays: DJs Haylenise, Stoj, Peter McNamara. 9pm. LUCKY COQ Sth Side Hustle: Askew, Booshank, Paz, Miss Butt, Jumbo, Junji, Disco Harry, Pete Baker, Jake Judd, Nikki Sarafian. 7pm. MISS LIBERTINE BACK ROOM Insomnia Speed Shop & Halloween Afterparty: The Happy Lonesome, The Cheats and Team Rad. 9pm. Free. NEW GUERNICA Spike, Faux Real. 8pm. Free. NEVERLAND Static Revenger. 8pm. Q BAR D. Ramirez, Nick Young, DJ Aaron Trotman, Rollin Connection, Phil K, Silversix, D-Manual, Tahl, Jesse Young, Muska, Guy Lewis. 9pm. $25. THE SAINT HOTEL Holy Smokes. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.







THIS WEEK: INDIE-DANCE ‘Indie-dance’ is a misleading tag as indie nightclubs have long existed, while New Wave, or at least its synth-pop side, was often ‘dancey’. However, when in the 80s British rock musicians discovered acid house culture, they unwittingly invented indie-dance. Indie-dance combined rock’s melody (and jangly guitars) with dance rhythms, synths and samples. The forerunners were Manchester’s New Order. The New Wave band, fronted by Bernard Sumner, evolved out of Joy Division in the wake of Ian Curtis’ suicide. Although identified as post-punk, Joy Division were Kraftwerk fans. In the early 80s New Order exposed themselves to New York’s club underground, revelling in post-disco sounds as well as elect ro. Their 1983 Blue Monday, created with synths and a drum machine, would not only become an indie classic, but also founds its way into many a later dance DJ’s set. New Order delved even further into house on 1989’s Technique album. The band were aligned with Tony Wilson’s fabled indie Factory Records in Manchester. In 1982 New Order – and Factory – launched The Haçienda nightclub, which, though initially catering to an indie crowd, soon picked up on house. The Haçienda is today recognised as a cornerstone of the Northern house movement – and the ‘Madchester’ scene. Manchester’s Stone Roses merged indie with dance and psychedelia on 1989’s eponymous debut – which they followed with the non-album single Fools Gold, the band’s biggest hit. Happy Mondays signed to Factory, having been ‘discovered’ by the Haçienda DJ Mike Pickering. John Cale helmed their tripped-out


Horse-riding, woman-seducing, aftershave-splashing internet celebrity Isaiah Mustafa (aka The Old Spice Guy) hit our shores last week to spruik Microsoft’s new Windows Phone 7. The former NFL player turned actor shot to fame at the beginning of this year through a series of popular commercials for the men’s body spray Old Spice released through YouTube, Facebook and Twitter. Each video features a shirtless Mustafa reciting a monologue encouraging women to make their men use Old Spice and smell like a “real man”. The guy has had the hearts of women around the world aflutter ever since and his first Australian interview with radio host and former pop diva Ricki-Lee, who was notably frazzled and lost for words as Mustafa described various features of the new Windows phone. Mustafa then went for a surfing lesson at Bondi Beach where onlookers begged him to take of his shirt and recite lines from his popular commercials. Not since Bieber fever have we seen such pandemonium.

debut (full title: Squirrel And G-Man Twenty Four Hour Party People Plastic Face Carnt Smile (White Out)). Happy Mondays surpassed then recruited Paul Oakenfold to oversee 1990’s Pills ‘N’ Th rills And Bellyaches. Madchester influenced Scotland’s Primal Scream, who embraced dance on their breakthrough third album, Screamadelica, with Andrew Weatherall producing. The scene surrounding Factory was depicted in Michael Winterbottom’s 2002 movie 24 Hour Party People. There were other fusions of rock and dance in the 90s, with the advent of big beat acts such as The Chemical Brothers, who’d bonded while st udying (and partying) in Manchester. The Chemicals have collaborated with rock types on their more Balearic excursions. Oasis’ Noel Gallagher sang the mid-90s Setting Sun. Indie-dance has enjoyed a revival in recent years with New York’s DFA fold ushering in a new ‘punk-funk’. But closest to Mancunian indie-dance are Klaxons, somewhat absurdly dubbed ‘nu-rave’.


GLEEFUL The makers of the weird hit TV show Glee are courting controversy and drawing criticism, after three members of the Glee cast posed for a raunchy photo shoot in sophist icated men’s magazine GQ. A “powerful parent’s group” in the US has said the pictorial “borders on pedophilia”, which is act ually great publicity for GQ, who can now expect a spike in magazine sales, thanks to the pervert community. GQ is the magazine for the discerning, upworldly mobile mast urbator. A GQ man likes to treat himself to the special things in life. You’ll never catch a GQ man jacking off over a copy of Zoo Weekly like some truck driver. Or rubbing one out to 3D World at a bus stop. No, a GQ man works hard and plays hard. So when he finds a moment to be hard by himself, he deserves to do it in st yle. A GQ man is classy. He uses 30 year old cognac as a lubricant and he demands to have an expensive magazine in his lap. If Don Draper from Mad Men got caught wacking off to a magazine in his office, it would surely be GQ. The Glee pict ures in GQ are act ually pretty st upid. They show female cast members (who play high school st udents even though both are in their 20s), in ridiculous pouty poses, with lollypops in their mouths. They aren’t wearing school uniforms, they just look like they were given ten seconds to steal a couple of random items off a clothes line. The “borders on pedophilia” thing seems to come from the fact that the actresses are posing in front of some school lockers. Whatever. I’ve only ever seen one episode of Glee and I remember thinking it was like watching a porno made by a bunch of fundamentalist Christ ians. Quite frankly, I couldn’t figure out what the fuck was going on. If “parent’s groups” want to make a big deal about the raunchy Glee photo shoot in GQ, they are making a big mistake. The Glee gang are just doing what Britney Spears did 40 years ago when she released her fi rst single. GQ isn’t sexualising school kids, it’s just sexualising the cast of Glee. It could be worse. They could be sexualising the cast of The View. But I think a GQ man deserves a little better than that, don’t you? DAVE JORY


After being trapped for two months below the Atacama Desert after a cave-in this August, 33 Chilean Miners have finally been rescued, squeezed out one-by-one through a shaft just 68cm in diameter and returned back into the arms of their loved ones. But now that they’ve been showered, shaved, been re-introduced to the sun, isn’t it time we explained to these Chilean Miners how different the world has become in the time they have been trapped underground? For starters, Hungary has been chemically burned out of existence. A massive toxic sludge leak has killed nine people and injured another 150 as it sludged its way across 40 square kilometres. Also, you can pretty much see every movie in 3D now. Th at might not sound like a big deal, but let’s not forget that the fi rst time you see a 3D movie, it takes a while to stop trying to touch things that aren’t there. Th is makes you look like an idiot, so we should give the miners a heads-up. Also important to know: Christ ina Aguilera is newly single after divorcing her husband of five years. Who knows – the pale, emancipated

arms of a rescued Chilean Miner could be just what she’s looking for right now. Also, the Aust ralian dollar is now better than the US one. That means that the real imperial bast ards are us, the Aust ralians. Quake before our might, inferior currencies! Speaking of US citizens, the Chilean Miners will be alarmed to hear that while they were underground the world outdid itself in the stupidity stakes, as a prime selection of the very stupidest and fattest that the US has to offer trampled all over Washington DC for the Restoring Honour rally, protesting against the fact that the US now has a public healthcare system, and Obama attempted to rescue the US economy by bailing out the stock traders, and that he is apparently racist towards white people for reasons that the protesters couldn’t actually explain. Hopefully they haven’t closed up that 68cm shaft yet and we can shove all the Restoring Honour protesters down there? Oh no, wait, they’d have to make it three times as big to act ually fit any of them. HOLLY HUTCHINSON



PERSONALITY TEST MR. MOONSHINE HOW WOULD YOUR MUM DESCRIBE YOU? “As her special little boy.” WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “Music solely produced with the intention to be consumed on a commercial level.” WHO INSPIRES YOU MUSICALLY? “All the local cats that keep pushing and producing dope music, you know who you are!” NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR.

“ Paul Hardcast le – Sound Chaser, Mike Dunn – Feel the Muzik, Afrodesia/ Coco Kane – Eddie Tour Edit.’ TELL US ABOUT A CLASSIC CLUBBING MOMENT. “I took a pill that was unbeknownst to me dipped in LSD. Good times ensued. I remember hearing New Order.” WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “MC Miker G & DJ Sven – Holiday Rap.” SPIKE MILLIGAN QUIPPED

HE’D LIKE HIS TOMBSTONE TO READ ‘I TOLD YOU I WAS ILL’ – WHAT WOULD BE ON YOURS? “Take it as it comes.” WHO’S YOUR +1? “Coolio.” WHERE & WHEN: Varsity at Bimbo Deluxe Wednesday 27 October, Textile at Lucky Coq Saturday 30 October, The Late Show at Revolver Tuesday 2 November, Funk Club at The Manor Friday 5 November, It’s Your Th ing at Loop Saturday 20 November


SUPERPITCHER KILIMANJARO CD In his near decade-long history of recording and performing for Kompakt, Cologne’s Aksel Schaufler aka Superpitcher has become synonymous with the sound of the label. Six years since his debut Here Comes Love, Superpitcher delivers us Kilimanjaro and it was certainly worth the wait. Hailed as a a breathtaking effort that tugs the heartst rings from start to finish, Kilimanjaro reconfi rms that Superpitcher is not only a fi rst class producer but also a formidable pop songwriter. We can babble on and on about this release, but you really should experience it for yourself. To win a copy of Superpitcher’s Kilimanjaro simply email your name and address to with “SUPER” in the subject line. Entries close Friday 29 October. BONE THUGS-N-HARMONY DOUBLE PASS After over a decade of producing remarkable hip hop releases, Bone Thugs-N-Harmony have come to be a classic example of the American Dream. With over 30 million albums sold worldwide, and tracks recorded with some of the most respect ed names in the business including 2Pac, Notorious BIG and Mariah Carey, Bone Thugs-N-Harmony returned in 2010 with a new album entitled Uni-5: Th e World’s Enemy. To celebrate the release, the group have embarked on an Aust ralian Tour hitting Melbourne Monday 22 November at Th e Espy. 3D World have three double passes up for grabs – simply email your contact details to giveaways@3dworld. with “BONE” in the subject box for your chance to win. Entries close 9am Friday 19 November.


BELIEVE In the category of mythical creatures that

people really want to believe are true, Unicorns rate highly alongside tooth fairies, leprechauns and gummi bears. At the start of this month a YouTube video was posted featuring a white horse galloping through a sun dappled forest in Ontario. Closer inspect ion of the footage reveals that the horse has a horn attached to its head clearly indicating it to be a Unicorn. The video was followed by an official sounding press release from the Ontario Science Center stating that they were in the process of reviewing the footage frame by frame to determine its legitimacy. The center also set up an emergency unicorn hotline for more information and sightings. Th is was all very exciting until some killjoy pointed out that the Center were coincidently just about to launch a new exhibit titled Mythic Creatures: Dragons, Unicorns, & Mermaids. It was soon revealed that the video was in fact part of an online viral marketing campaign and the Unicorn featured was a big fraud. With over 100,000 views this has certainly a successful publicity campaign, but at what expense? Shame on you Ontario Science Center for breaking the hearts of the millions of people worldwide who really want to believe in the elusive horned beast.




B6 WHERE & WHEN: My Aeon Friday 29 October , Sitars n Bleeps Fest ival at Red Violin Saturday 30 October

GIVEAWAY SPHEX TWIN ANALORD 111 (Rephlex), 2005. “For this man, all I need is to randomly pick one of his records... I happened to be listening to it while typing.”

X-102 DISCOVERS THE RINGS OF SATURN (Tresor), 1992. “Cosmic jazzy classic from Detroit. However, I hope it will be remastered someday.”

HOW DID YOU CHOOSE YOUR MC NAME? “Act ually M-Phazes suggested it to me. After I looked into the meaning of the word and its use in language it seemed an exceptionally appealing name to adopt.”

WOLFGANG VOIGT, MICHAEL MAYER KREISEL 99 152 (Kreisel 99/ Kompakt), 1999. “Very organic and warm sound plus good taste as always, I love most releases from Kompakt and it’s sub labels.”


MOUSE ON MARS TICKETS For over a decade Mouse On Mars, comprised of Andi Toma and Jan St Werner, have constantly reinvented themselves and taken elect ronica to new heights with a unique blend of sound annihilation, fragmented melodies and an impassioned hatred of conformity. With a series of 11 albums and numerous remixes under thieir belts, Mouse on Mars remain fresh and innovative, refusing to conform to the prevailing cliché of nerdy elect ro-tinkerers. The German duo will bring their unique sound and show to The Corner Hotel Sunday 31 October – 3D World are giving away three double passes so be sure to put yourself in the running by emailing your details to with “MOUSE” in the subject line. Entries close 9am Friday 29 October.


HOW LONG HAVE YOU BEEN RAPPING? “For over 10 years now, but a good six of those years was me trying to discover ‘who I was’. That may sound wanky, but it’s true. Right now I’m happy with who I am, I don’t feel as though I’m influenced by trends, and my skill level is at its highest.” ARE YOU AFFILIATED WITH ANY CREW? “No ‘crews’ as such, but I have good friends in every city. I work closely with Choose Mics from Queensland, Whisper and A-Dict ion in Melbourne, 13th Son and my friend SDub in Sydney, and of course am st ill really good friends with M-Phazes.”

hotcakes tray, a midget danced for the crowd with his chopper out, and I met a drunken female criminal who thought she was famous because she was in the paper for armed robbery. Awesome.” WHAT’S THAT ON YOUR SHIRT THERE? “An Inquisitors hat with the phrase ‘Nobody expects the Spanish Inquisition’.”

WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “I was 16, and some friends and I formed a little high school rap group called the 5 Dollar Ninjas. Genius. Our fi rst gig was performing at our graduation party – we didn’t really understand the concepts of hardware, and halfway through our show people began to crowd around the speakers and shrug their shoulders complaining they couldn’t hear the lyrics.”

WHAT’S YOUR DREAM COLLAB? “Even with all of the classic names to drop tracks with throughout hip hop history, probably Kanye West. That dude has it all, he’s everything a rapper should be.”

YOUR BEST SHOW AND WHY? “Probably in Bundaberg on the Bliss N Eso tour in ‘06; not because the crowd was good, or even because I performed well, more so because the night was so memorable. I watched Phrase take a dump in a McDonald’s

WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “We don’t alienate fans in Aust ralia; there is no cultural, class or financial divide and everyone can appreciate it. And we don’t take ourselves too seriously.

FAVOURITE COMEBACK LINE? “Oi dickface, you have a face like a penis.”



WHERE & WHEN: The Espy Friday 29 October





LIONEL RICHIE ALL NIGHT LONG ALL NIGHT (Motown), 1983 Back before he was a controversial select ion to play a pre-game set at the 2010 AFL GF replay, Richie was better known as the father of Paris Hilton’s ex-BFF Nicole. Prior to that he managed the occasional ‘yacht funk’ classic, including this pop smash. It’s since been sampled galore (even by Pitbull and Enrique Iglesias), covered heaps (Jason Mraz) and, most notoriousy, is alleged to have soundtracked the 2003 US invasion of Baghdad.


FAITH NO MORE WE CARE A LOT (Slash Records), 1987 Back before Faith No More became arena funk metal champions they were led by singer Chuck Mosley and released this aggro melding of pre-grunge punk and Gang Of Four indust rial funk. Released through seminal US alt.label Slash Records (home to Violent Femmes, L7, The Germs, Fear and Gun Club), the band would later nit number one in Aust ralia with a cover of Easy – originally recorded by Richie’s old band Commodores.


ARCHITECTURE IN HELSINKI HEART IT RACES YACHT’S I SHOULD COCO MIX (Polyvinyl/Scotland Yard/Tailem Bend), 2007 Officially anointing Melbourne’s AIH as the country’s ambassadors of hip, Yacht were one of many international hipster-types falling over themselves to be one of the band’s remix groupies (climaxing with the hipstar-st udded We Died, They Remixed set), along with the likes of Mehdi, Hot Chip and Mocky. The band’s Heart It Races was also re-fantasised by San Fran alt.pop duo Hey Willpower, which boasts one Will Schwartz amongst its membership – he is also a member of FNM’er Roddy Bottum’s side project Imperial Teen.




ARTIST NAME: Jessica Kease/23rd Key ARTWORK TITLE: Grind On My Face FROM: Caulfield South, NSW DESCRIPTION OF WORK: “Grind On My Face is ‘my face pressed against what seems to be glass but on a skate deck’. I’ve exhibited my work at 696 gallery from 2007 ‘til its closure late last year, donating several works to charity events and shows through them. I exhibited two of my works in the Melbourne Stencil Fest ival last year. I was an entrant of the ASAP in 2009 winning an awesome run of postcards.”

Fun loving folks of Aust ralia have joined forces to show the world just how well we can party for The Smirnoff Nightlife Exchange Project, which has seen 14 countries putting together the best elements of their country’s nightlife, all captured online and then packed-up in a crate to be exchanged for the party experience of another country. Over the past six weeks more than 85,000 people submitted their suggest ions for what best characterises Aussie nightlife via Facebook. Popular ideas included elect ro beats, laneway bars, beach-inspired fashion, the Melbourne Shuffle and late night pies. Brazil is the lucky nation who will receive our pack in exchange for theirs. Dan Single, co-founder of Ksubi and DJ collect ive Bang Gang, was bestowed the big task of curating Aust ralia’s submission. He gave 3D World a brief rundown of his career and his contribution to the project. BANG GANG DJS HAVE BECOME SYNONYMOUS WITH GETTING THE PARTY STARTED IN AUSTRALIA, WHAT DO YOU THINK HAS LED TO YOUR APPEAL? “The unbridled, untarnished passion of five way too keen young DJs trying to learn to mix in front of 300 people every week. If there were rules we didn’t know them, we just wanted our party to be fun and the music to be good.” WHAT THREE INGREDIENTS ARE REQUIRED FOR A KILLER PARTY? “Music. People. Surprise.”


ARTIST NAME: Danny Guinsberg ARTWORK TITLE: Memento #1 FROM: Clayfield, Qld DESCRIPTION OF WORK: “Memento is a series of intimate portraits paired with st ill life subjects, exploring themes of personal growth and change. Spray painted stencil on recycled plywood, dyptich.” The Aust ralian Stencil Art Prize exhibition launches at Oh Really Gallery (Sydney) on Thursday 11 November at 6pm.

The words “work out” suggest a number of negative things – pain, sweat, tears and possibly heart failure – if you have been st uffing your face with Krispy Kremes for a few years. The word “Zumba” does not spark such a react ion and this may be why it has become the latest fitness craze to sweep our nation. Zumba adverts are everywhere you turn, calling folk to “Ditch the work out and join the party” – a very alluring offer. Created by a dancer named Perez in Colombia during the 1990s, Zumba combines Latin music with dance – supposedly making exercise fun. Music is an integral part of classes and participants are encouraged to wear bright happy colours while they sweat it out. Stephanie Perry from Club V in Sydney attributes the phenomenon of Zumba to its appeal to a diverse range of people. “We have found that Zumba appeals to everyone. You don’t have to know how to dance, be rhythmic or overall fit. You just have to want to have fun!” Inst ructor Pierre of Zumba Fitness in Melbourne agrees, explaining that

HAVING PARTIED ALL OVER THE WORLD, WHAT SPECIFICALLY DO YOU THINK AUSTRALIANS DO BETTER THAN ANYWHERE ELSE? “I think everyone is just trying to act ually have fun, not worry about who is in the room or who the DJ is.” WHAT IDEAS, FEELING OR IMPRESSIONS DO YOU WANT PARTY GOERS TO TAKE AWAY FROM THE AUSTRALIAN SMIRNOFF NIGHTLIFE EXPERIENCE? “That feeling of fun for no reason but fun, the feeling that everything in the party is fun and not knowing why, the vibe!” THE LINK BETWEEN MUSIC AND FASHION BRANDS SEEMS TO BE GETTING INCREASINGLY STRONGER EACH YEAR, WHAT HAS THE RELATIONSHIP BETWEEN FASHION AND MUSIC BEEN IN YOUR LIFE? “I think it’s been like that forever though – you get dressed up to go out and listen to music, to play music you get dressed up too. They’re hand in hand.” CONSIDERING YOUR DESIGN BACKGROUND, CAN WE EXPECT THERE WILL BE A STRONG VISUAL ELEMENT TO THE EVENT? “Yes, trying hard to push that feeling of carefree and fun without trying to be too over the top.” WHAT OTHER TRICKS DO YOU HAVE UP YOUR SLEEVE? “Tricks up my sleeve ? Maybe I won’t be wearing any sleeves, maybe just a muscle T... Hahahhah. Joke.” WHERE & WHEN: Smirnoff Nightlife Exchange Project at Secret Inner City Location (Sydney) Saturday 27 November

his classes draw people from ages 7 up to 70. He sees the program to be much more than a passing fad with a cool name. “So many people have told me that Zumba has changed their lives, I can get up to 100 people in my class. I see them all like a community now.” It seems Zumba is here to stay (well at least until after summer), so don’t be a hater, roll off the couch and get ready to shake your bon bon.



WIPE-ON, DACKS OFF There’s probably not a lot of things that you would willingly wipe against your skin in a Sydney nightclub bathroom, so what’s got into the head of a visiting Brisbane DJ? One word: pheromones. In the greater wild, a pheromone is a secreted substance that can impact the behaviour of the receiving individual, but why let the birds and bees corner the market on sexual domination? The Wipe-On Sex Appeal girl has been a fi xture of bathroom commerce for as long as the 3D World office can remember, which may or may not be saying much in the world of dance music journalism. The quest ion once raised, however, requires an answer. Does this shit act ually work? With such a saturation of the promise of triggering, and we quote, “powerful responses”, there is a point in every bathroom attendee’s life that leaves them open to the wonderfully anonymous form of the Wipe-On Sex Appeal girl, and the pure and unadulterated science of a


warning that urges, nay pleads, the user to “use responsibly”. As The Amazing Spiderman taught us all those years ago, “with great power there must also come... great responsibility”. And if there’s anyone you should take advice from at the 2am waypoint of a weekend bender, it’s a guy in a red and blue Lycra bodysuit with an arachno-obsession. In fact, there’s a couple of Sydney clubs that specialise in just that very thing. Unfortunately for the scientific community, the Brisbane DJ in quest ion was last seen double arm swirling his way across the dancefloor, although a dist inct lack of groupies chasing in a bacchanalia-inspired conga line of orgasmic decay raises the quest ion of just how reliable the investment really was. And never has a more difficult quest ion been raised – as all hardy travellers will know, there is little in the world more familiar, more trust worthy and more essential than Weird Shit from Random Vending Machines. Whether it’s Gundam Wing mobile phone st ickers in Hong Kong, (allegedly) pre-worn panties in Tokyo, or a pregnancy test on-campus in an American university, the vending machine goes beyond the mere supply of essential provisions. It acts as an effect ive barometer to the pressures of modern life. Thanks to Wipe-On Sex Appeal, countless predatorial, adventurous or desperate sexual deviants are able to wipe themselves with a cost-effect ive placebo, boost their chances of conquest (or not), and hope like hell that no-one saw them enthusiast ically rubbing themselves with what appears to be a KFC towelette. Which could, in itself, be a handy tool should one end up going home alone... TOM EDWARDS

TUBETIME The incredible world of television with 5SPROCKET

Finally, along comes a programme that spits at my face. Junior Mast erChef (Channel 10) is like an infuriating aunty that finds joy in telling you how successful her kids are, and how you need to stop smoking and get your licence. Her kids, Marina, Sunbow, and Cooper, are all outstanding dancers and actors and are now highly skilled chefs! These kinds of extraordinarily talented children, a rare form of hellspawn, were clearly designed to wear me down. I watch Ben 10 and eat Coco Pops too, but apparently that just makes me ‘sad’. In tonight’s episode the little wonders are set a challenge – to make food fit for high schoolers. The prize is to not get your pocket money stolen. Granted, lunchtime for the ‘big kids’ usually involves smoking in the bathroom (the boys) or throwing up in recess (the girls), so our little chef superstars will need to offer supplemental attractions to entice participation, such as a can of LYNX on fire or a loose dog in the playground. Cassidy, 12, inst ructs the audience about her chocolate cake making procedure. The audience in turn chooses to tell little Cassidy about the welfare payments, neglect ful boyfriends, and alcoholism that linger on her horizon. Like Muppet Babies or Tiny Toons, watching waist high pipsqueaks run around a kitchen makes Junior MasterChef a cosmetic parody of its own format. It vomits optimism in chunks of undigested youth, unpalatable to anyone who can currently read. Hosts Gary and George, too afraid of going to court for dispiriting natural born winners, are dust farts of their former selves. “These kids sure are doing well aren’t they, Gary?” says script line one. “They sure are.” End scene. They can, however, get away with speaking in CONDESCENDING VOICES because KIDS can’t UNDERSTAND US. The kids’ names are penned on their aprons in Comic Sans. Parents seem to be absent from the ‘on location’ shoot, off planing another Fiji holiday with their offspring’s Macaulay Culkin payload. ‘Remember son, if you want to keep your rabbit you’ll do us proud.’ Th is skull-crushingly happy show is like a euphoric group hug as you plummet from the skies into a volcano of love. No matter who wins or loses, the result is the same – kids high fiving one another and planning a short-lived media career.



The latest effort from Cloverfield director Matt Reeves raises an awkward quest ion: does making a good fi lm counteract the fact that the fi lm itself is completely unnecessary? Let Me In is an English-language remake of Let The Right One In, the chillingly excellent 2008 Swedish fi lm about the friendship between a young boy and a female vampire child. In essence, they are the same fi lm, simply in diff erent languages. Reeves lifts entire scenes, sequences and passages of dialogue from Let The Right One In, giving Let Me In something of a template feel. However, in terms of direct ion and performance, it cannot be faulted. Aust ralia’s Kodi Smit-McPhee is fantast ic as the bullied, lonely Owen, while Kick-Ass’s Chloë Moretz is st unning as the undead Abby. She’s like a miniature Scarlett Johannsen, a sensual

yet childlike vision of death. In fact , Moretz’s portrayal of Abby is one of the few diff erences between the two fi lms – Let Me In explores a chilling dimension of romance between Abby and her older human protect or, a facet of the original novel that was left largely untouched in the Swedish fi lm. Beyond that, Let Me In contains a little more gore than the original fi lm, and of course, it’s in English. The differences between the two more or less stop there. WHERE & WHEN:

Screening in cinemas now ALEKSIA BARRON

THE LOVED ONES Th is Aust ralian comedy-horror fi lm is being touted as “Pretty In Pink meets Wolf Creek”, and honest ly, it’s right on the money. Writer/director Sean Byrne has come up with a genuinely entertaining fi lm here that will doubtless have audiences cowering behind their popcorn one minute, and laughing out loud the next. The fi lm follows rural high schooler Brent (Xavier Samuel), a young man who has never really come to terms with inadvertently causing the death of his father while driving. Brent’s girlfriend Holly (Victoria Thaine) is his one source of comfort, despite his efforts to keep her at a distance emotionally.

However, Brent has also attracted the attentions of another girl, the quiet Lola (Robin McLeavy), who is determined to have Brent as her partner to the school dance – whatever the cost. (Cue “dun dun dun” st yle music here.) Gore, psychological warfare, unsettling familial relationships, and cannibalism ensue, as well as lots of pink satin and body glitter. You’ve been warned. The Loved Ones falls slightly short of the mark with its secondary plots – Byrne goes to a lot of effort to explore the lives of the Valentine family, whose mute Goth-looking daughter goes to the school dance with Brent’s best friend. The Valentines are revealed to be dealing with their own tragedy, which is just getting interest ing when, suddenly, the plotline is aborted. It’s a shame, considering the screen time invested in these characters. WHERE & WHEN: Screening in cinemas from 4 November





TOUCHOSC (AUD$5.99) TouchOSC is one of the more exciting interface development Apps to be ported to the iPad. Th is is simply a modular control surface, allowing the user to create their own virtual faders, knobs and buttons, and then map them to control OSC compliant programs and gear. While the list of OSC compliant applications continues to grow, anything that handles MIDI can be routed via an intermediate application. Th is may sound daunting, but the user community has flooded the forums with videos and templates of incredible custom interfaces for everything from Ableton and Traktor, to Reaktor and PureData. An essential application.



A few neat steps out of the range of the counterculture snipers lies an exciting avenue for Apple iPad enthusiasts. While this area is standing room only, and falls short of the fully funct ional living space that many expected, there is no quest ion that this little device could find a home in all but the meanest of hearts. Featuring email, music and maps out-of-thebox, the real promise lies in the available of third party applications through the App Store. The team at 3D World are not immune to enthusiast ic debate about personal preferences, and out of many a heated argument come this core of common favourites. Needless to say, as a rag-tag collect ion of musicians and music enthusiasts, we generally consider Shazam (Free) something between a guilty secret and an essential battle weapon. Shazam leapt into the world of party tricks with the ability to reliably identify a song and artist by holding a compatible portable phone up to a sound source. The developers have now extended the application into the iPad environment with funct ionality similar to the Last.FM service, allowing for song and artist tagging, preferential playlist identification and music recommendations. The more you play and tag, the more relevant the recommendations become. For the producers among us, the iPad is an incredibly cheap interface, and no more so than in comparison the relative costs of a Jazzmutant Lemur and the equivalently featured pairing of an iPad and TouchOSC (see sidebar). Th is is virtualisation at its best, as evidenced again by Korg iElect ribe (AUD$23.99), delivering on the promise of an incredible iPad emulation of a hardware music device where Propellerhead Software’s embarrassing attempt to port their seminal ReBirth emulation (AUD$8.99) failed so spectacularly. Consider buying it just to join in on the forum rage. A discussion of essential audio tools for iPad wouldn’t be complete without a mention of Soundcloud (AUD$1.19). For those of us involved in evaluating the beta version, it has been a rocky ride through multiple pricing models, but the service has perfected their pitch and appeal where the likes of ReverbNation have fallen short. Essentially an evolution


of the MySpace domination of band music host ing, the community interact ions and visual aest hetic of the service are a joyful display of bestpract ice interwebs. The application allows for all the basic playlists and accessibility to your own and your network’s music, but also enables the sending and receipt of private tracks on the fly. Never miss the chance to network and hust le again, be it in the back of a taxi or crammed into a bathroom at the ARIAs. The product ivity side of the App market can involve a beautifully unproduct ive use of time in exploration and evaluation. Start with the cross-platform favourite Dropbox (Free), which brings its popular fi le synchronisation abilities to the iOS realm of iPad and iPod. Dropbox creates a virtual

folder on every computer or device you install it on, and instantly shares the contents of that virtual folder across all your devices. So now that you have your essential fi les everywhere you go, do something important with them. Consider trying Th ings (AUD$23.99), which defies a steep price with a beautiful user experience in the Get Th ings Done realm of product ivity tools. If you are more inclined to Get Nothing Done, then you may be surprised that the official Twitter iPad App (Free) has defied the early dominance of third party developers. Rejoice in the generational improvements in multi-user support, link shortening, photo-host ing and time-wast ing. And while you are there, be sure to follow @3D_World and let us know what your essential applications are.

GETTY IMAGES (FREE) Getty Images is a supplier of over 80 million stock images, and have pulled off an incredibly inspiring iPad implementation of their searchable catalogue. The App appears as a simple grid of images, split only by a minimal search box to allow for immersive dives into their extensive catalogue of images. Th ree of the boxes in the grid are dedicated to a menu of Editorial, Creative or Archival image themes, but all boxes in the grid are composed of a series of consecutive images. The effect is a mesmerising and ever-changing display of one of the world’s greatest collect ions of stock photography. GOODREADER (AUD$2.49) The only negative of the GoodReader PDF App is that Apple didn’t natively develop it themselves. The infuriating arrogance of Apple in preventing their iOS devices to be used as a simple removable drive has forced the development of otherwise basic funct ionality. GoodReader was the fi rst popular solution to the need for compiling collect ions of PDF documents, and has extended to cover MS Office and iWork fi le formats, as well as increasing audio and video handling. Th ink of this as your one stop shop for those st udy or work-related PDF texts, or for an incredible st ash of PDF magazines.


WE MADE OUR OWN DISASTER Film-maker Robin Mahoney and bass fiend Si Begg have a new full length DVD out! We Made Our Own Disaster is a st udy of fascism in late 20th Century democracies by Robin Mahoney and Si Begg out now through Optronica – a UK group founded in 2004 by artists/producers Addict ive TV and curators Cinefeel. REWINDING TO THE NOODLES FOUNDATION If unfamiliar with the turn of the millenium era Death Of Cool compilation series, browsing should give a good indication of what goes through the head of Si Begg when he’s not sculpting monster basslines and synth earworms (Act ually, one step better – listen to 30 second snippets from each track on The Complete Death Of Cool, which combined the best Noodling via the Leaf label). Somehow those compilations managed to blend sonic sophist ication, chunky basslines and quirky British humour into some sort of lovable mutant elect ronica. And at some point, they also released “a blitzkrieg assault of scratchpunk videos to feed your desktop” entitled Ho-FuN - “The Smallest Film Fest ival In The World”. LIVE CINEMA AND DANCEFLOOR DVDS? Live cinema is tricky to define and tricky to execute well. Different lighting conditions, fragmented audience attention and a general emphasis on audio mean that good live video often tends to focus on higher contrast over fine detail, and narrative snippets rather than longer storylines. And even if artists manage to excel at making live video work well, they st ill face a challenge when translating that to a home viewed DVD, where product ion levels, screenwriting, editing and narrative satisfact ion inevitably get compared to traditional cinema and television. Inevitably then, this st udy of fascism is more Ali G than (famed BBC documentary maker) Adam Curtis. Its best moments harness the curatorial judgments of the editors, their technical flair and an ability to create captivating sonic and visual transitions. For example, I quite liked the way they transformed a TV cabaret moment into something sublime, by extending it out, slowly zooming in, and eventually cross-fading into a cat spinning in zero gravity with some trainee ast ronaut. While We Made Our Own Disaster is a welcome addition to the canon of fi lms seeking to extend the way we view cinema – their continual leanings towards something that would work on the dancefloor means it often works less well as a DVD. @JEAN_POOLE



A NAME CHANGE IS A PRETTY BIG MOVE IN ANY BAND’S LIFE – WHAT PROMPTED THE CHANGE FROM CONTINUUM, AND IS THERE ANY STORY BEHIND THANKYOU CITY? Brent Mirams: “We had some legal issues with the name Continuum and we thought its probably the right time to change it to something else while it’s st ill early days. Also, we saw this as good opportunity to start something fresh and new.” Scott Mirams: “As for the new name Thankyou City, its kind of a wonky one thats certainly had mixed responses, although its different and unique which is a reflect ion of our music in a way.“ HOW FRUSTRATING IS THE CHANGE GIVEN YOU’D DONE QUITE WELL ESTABLISHING CONTINUUM THROUGH BOTH YOUR RELEASES AND YOUR SHOWS? Scott: “Well now that we look at it we see it as an awesome opportunity. It’s cool because everything we have learnt over the past three years with Continuum we can take into the Thankyou City project.” HAS THE CHANGE IN NAME BROUGHT A CHANGE IN MUSICAL APPROACH? Brent: “I think our music is always evolving anyway so I guess it will be different in a sense, although we haven’t set out to make the Thankyou City tunes any different from our previous ones – we’re going to st ill write music that makes us move, has the wonk factor and sounds fresh.” THE BARRINGTON TOPS RELEASE ALONGSIDE OBLIQUE INDUSTRIES IS A GOOD WAY TO LAUNCH THE NEW MONIKER – HOW DID THAT WORKING RELATIONSHIP COME ABOUT AND WHAT DID HE BRING TO THE PARTY? Brent: “Ryan (Oblique), Scotty and I are really glad to have Barrington Tops as our fi rst EP for Thankyou City – especially on Subsonic Music, who have been awesome for us. Ryan has always been someone we have worked closely with in the st udio and he always brings some sonic magic to table, he’s always good fun to write tunes with as well.” Scott: “We love Ryan’s original sound and his dedication to the scene over the last five or six years – keep an eye out for some of his product ions in the future, the boy is certainly onto it! LEGEND HAS IT THE TRACK WAS INSPIRED BY LAST YEAR’S SUBSONIC MUSIC FESTIVAL? Scott: “After last year’s Subsonic Music Fest ival we were blown away by the quality of the party and the professionalism of the label, we were inspired by the magic of fest ival itself and just had to write a track when we got back into the st udio, so we all got together after the party and started writing together and Barrington Tops was born.” PERFORMANCE WISE, ARE YOU STILL PLAYING AS A LIVE UNIT AND BRINGING THE CONTINUUM TUNES INTO PROCEEDINGS?

Brent: “Yeah, st ill doing the live thing and buying some new toys to make it more interest ing. Also there are st ill lots of tunes we wrote under the Continuum name that we st ill love to play so were going to keep them onboard.” WHAT’S NEXT ON THE RECORDING AGENDA? Brent: “We have just finished a remix for SQL that’s coming out on Subsonic soon which we are excited about and we have another EP coming out through Chameleon Recordings early next year with Tom Clark (Highgrade) remixing. Our main focus over summer is to get back in the st udio and keep making tunes, and to play more live shows.” Scott: “We want to focus on getting more originals out there and not get too tied up with remixes as we did with the Continuum project – we st ill have a couple of collaborations with some big artists from Europe out in the next few months and also working closely with Aust ralian artists. We are also looking at a debut album out in the near future also.” WHO: Thankyou


WHAT: Barrington Tops (Subsonic Music) WHERE & WHEN:

Shine On Fest ival Friday 26 November, Strawberry Fields Fest ival Sunday 28 November, Subsonic Music Fest ival Friday 4 – Sunday 6 December



PLEASE DRINK RESPONSIBLY. The Smirnoff word and associated logos are trademarks. Š The Smirnoff Co. 2010.



YDNEY FASHION DESIGNER JON SCHEMBRI WAS ANNOUNCED THE WINNER OF THE SECOND ANNUAL PERONI YOUNG DESIGNER AWARDS LAST WEEK FOR A STRIKING RED CARPET GOWN FUSING ELEGANCE AND GLAMOUR. Entrants were required to submit a design that represented Peroni’s Italian heritage and brand values of high quality, style and attention to detail, as well as incorporating a “blue ribbon”. Renowned fashion designer and Peroni ambassador Antonio Berardi visited Australia especially to judge the award. Schembri will now go on to visit the esteemed designer at his studio in Milan where he has created gowns for the likes of Victoria Beckham, Gwyneth Paltrow, Kyra Sedgwick and Jessica Alba. Watch out European fashionistas – Australian designers are well and truly on the rise!





WHO DO YOU THINK ARE AUSTRALIAN FASHION ICONS? DO WE EVEN HAVE ANY? “Of course! Surely we can’t forget Linda Jackson and Jenny Kee – legends!” WHAT WILL YOU BE WEARING THIS SUMMER? “Cheap Monday Five and Staff Boy Dry with mandals.” WHAT ARE YOU WEARING NOW? “Antipodium tee, Cheap Monday jeans and Jeremy Scott trainers. Unfortunately, all black. Even black briefs – shame.” WHAT IS THE NEW BLACK? “Red.”


Sportsgirl enamel snap bangles ~ $19.95.

Nat-Sui grey heels ~ $265.

Coco clutch ~ $179

Rachel Gilbert ‘Roma’ dress ~ $450. 02 8338 0192

Rachel Gilbert ‘Alexandra’ dress ~ $695. 02 8338 0192

Rachel’s OnTrack

Sydney designer Rachel Gilbert will ha have you leading the pack in fine form with her divine creations perfect for Spring Racing Season. The Alexandra, Roma and Ivana styles are but a few of her sensational collection defined by luxury fabrics, simple cuts and embellishments. Figure hugging in all the right places, these designs really work to flatter the female form. Loved by the likes of Natalie Bassingthwaite and Taylor Swift stepping out in a Rachel Gilbert frock is a sure way to have you feeling like a million bucks even if you leave race day with an empty wallet. To view the entire range see

60 60




Sportsgirl beaded maxi dress ~ $169.95.

Napoleon Perdis

Ghost & Lola necklace ~ $188.

Rachel Gilbert ‘Ivana’ dress ~ $695. 02 8338 0192

Havana Brown

RACY ATTIRE Racing carnival season is now officially in full flight with ladies and gents around the country donning their most elegant and sophisticated attire to drink themselves silly and blow plenty of dough – good times all round. Across the board 1950’s styles have emerged as all the rage check out for inspiration.


Ghost & Lola earrings ~ $128.

Make-up guru, Napoleon Perdis will be making a personal appearance this week at David Jones stores around the country as part of his brand’s 15th anniversary celebrations. Accompanied by The Napoleon Perdis National Creative Team offering consultations, he will be at the Sydney CBD store Wednesday 20, Melbourne’s Bourke St store Friday 22 and the Gold Coast (Robina) store Thursday 28, appearing from 12:00-2:00pm each time.

DESIGN FOR HUMANITY Billabong’s second annual Design For Humanity benefit is to be one epic fashion-music-art block party headlined by The Vines and supported by Operator Please plus a host of kick-ass DJs. Billabong’s latest bikini range will also be showcased with proceeds from the night going to benefit UNICEF’s Pakistan Children’s Appeal. Event occurs at the Oxford Arts Factory (Sydney) Wednesday 24 November. For details see

EPIC: DJ Havana Brown looking wholesome and lovely in white at the David Jones marquee for the Caulfield Cup last week. .au id? Send products and info to laid? Wanna get lai


FAIL: Designer Marc Jacobs posing naked and oil-slicked for his latest ad campaign for men’s fragrance Bang. This could not be further from alluring.




Ten cans in the esky with a six-pack in the park.



As the product of an Australian company that says all the right things about quality, cost and the environment, Ironlak is also some seriously impressive paint.


Going in for a single can and giving in once again to the $50 grab bag of cans and caps.


Any aerosol enthusiast that doesn’t sleep on a local company getting up with a worthy offering to the art scene.


Three nights without sleep perfecting that 20 layer stencil, and then waking up in Perth after bombing the Indian Pacific line.


$8 a can.



Two cans and a pack of gloves in a backpack.



$10 a can.


One of the more readily available premium import paints, with more colours than Pokemons.


A relatively expensive addition to the arsenal. Especially for obsessive compulsive writers that gotta catch them all.


Stencil and aerosol artists that appreciate good quality pigment, and the odd retired B-boy or B-girl looking to repaint their lawn chairs in style.


Brain damage and fatigue from attempting a piece in one weekend with all 91 colours.




One tucked under a puffy jacket.



Cheap and nasty like Lil’ Kim.


It looks like Flava Flav sings.


Toys and the budget conscious.


Suburban throw-ups and some painfully bad cut-out fi lter attempts from that kid that saw the Banksy movie.


Two months community service if you get caught racking it.








3D World - Melbourne Issue #1034  

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