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CREDITS PUBLISHER Street Press Australia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse LURE EDITOR Rupert Noffs SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAlister, Ben Kumar, Blaze, Brad Swob, Bryget Chrisfield, Carlin Beattie, Chloe Scardina, Clare Dickins, Darren Collins, Darryn King, Dave Dri, Dave Jory, DJ Stiffy, Gloria Lewis, Graham Cordery, Guy Davis, Holly Hutchinson, Huwston, Jane Stabler, JC Esteller, Jean Poole, Jeremy Wood, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa West, Monica Connors, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney

Corey Brand, Cybele Malinowski, Daniel Munns, Dave Dri, Kane Hibberd, Kostas Korsovitis, Luke Eaton, Monique Easton, Philip Poyner, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Sarah Blaby QLD – Adam Reilly, Melissa Tickle




ART DEPT artwork@3dworld. Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague


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CLASSIFIEDS ACCOUNTS DEPT accounts@3dworld. (03) 9421 4499 PRINTING Rural Press (02) 4570 4444 DISTRIBUTION distro@3dworld. SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). ADDRESS 2 Bond St, Abbotsford, VIC 3067 PO Box 1079, Richmond North, VIC 3121 Phone (03) 9421 4499 Fax (03) 9421 1011 Email info@3dworld.

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SUSHI SNAPS 1 Be @ Co. 2 Eurotrash 3 Playground Saturdays @ Seven

4 Rhythm-Al-Ism @ Fusion 5 Rick Wade @ Croft Initute 6 Saturdays @ Q Bar














Proving the old ‘there’s no such thing as bad publicity’ adage is Jessica Mauboy. While de butt of most post-ARIA jokes last week, her easy to pronounce Get ‘Em Girls set sold enough to de-butt at number six.


The Arts Centre exhibition tracing the history of local women in music is worth catching despite detouring hip hop and dance (but hey, it is called Rock Chicks). However there is a nod to 80s elect ro chicks (Karen Ansell, Johanna Pigott). Take glasscutters, there are cost umes in cases that you will want.


Are zombies the new vampires? US madefor-cable series Th e Walking Dead is the show everyone’s RapidFiring now that True Blood is between seasons. Don’t be caught dead without it.



Now that the state government has realised music fans vote too, they have started throwing money our way. Okay, the grants to help venues soundproof is cool, but a $12 million ‘music hub’? C’mon... we like our couches stained and our carpet st icky.


Although local cuts have dominated the top of the Club Chart most of the year, internationals have taken over. Th is week sees Frenchman Martin Solveig’s Hello knock North Americans Duck Sauce off after a nine week run with Barbra Streisand. Ace clip though (you’ll get that pun when you see it).


Head Muff-ateer Richard Wolstencroft’s home was raided by cops because they thought he had a copy of Bruce La Bruce’s banned gay zombie porn LA Zombie. No zombie porn was found. Not even The Wanking Dead, Night Of The Giving Head or Horn Of The Dead.

NOT JUST ONE of the world’s most respected nightclubs, Singapore’s Zouk are also regulars in the festival world with their annual Zoukout extravaganza. This year’s edition running Saturday 11-Sunday 12 December features Tiësto, David Guetta, Lindstrøm, Seth Troxler and Midnight Juggernauts among many more. Check for more info, or enter the Zoukout DJ Search at www.yousingapore. com/au... 69-YEAR-OLD granny Ruth Flower has found a cult following as DJ Mamy Rock. The widow from Bristol began spinning in Europe earlier this year and recently wowed a packed crowd of 3,000 at Anaheim’s Electro Festival in LA. Watch out Tiësto… POOR KANYE WEST just can’t seem to escape his infamous rant during Taylor Swift’s VMA acceptance speech. The rapper became visibly unsettled during a recent interview with NBC when they played a clip of the incident while he was speaking about his empathy for former President George W Bush about being called a racist... LADY GAGA HAS boosted her security team and taken an AVO out against a stalker. You’d think that walking around in a meat dress would act as decent enough people repellent, especially when you add her music on top... AGING POP STAR Madonna has another reason to hit the gym now that Rihanna has just scored her eighth #1 on Billboard’s Hot Dance Airplay chart with Only Girl (In The World), eclipsing Madge’s record of seven...



We were a week early with our Ke$ha interview last week stating that 2010’s breakout elect ro-pop starlet would only be hitting Aust ralia to play the Future Music Fest ival – in fact fans under the age of 18 will now get a chance to see the self-professed “luckiest bitch on the block” at a series of sideshows around the country. It’s turning out to be a timely trip down under for the 23-year-old born Kesha Sebert, with her new single We R Who We R (off the Cannibal EP) following Tik Tok right to the top spot of the ARIA Singles Chart. So if you can’t make it to FMF, or want a second bite at the cherry, you’ll want to be at Brisbane Riverstage Thursday 3 March, Fest ival Hall (Melbourne) Wednesday 9 or Hordern Pavilion (Sydney) Thursday 10. Brisbane and Melbourne shows on sale through Ticketmaster, while Ticketek handle Sydney. DE LA SOUL


The prospect of the Gorillaz bringing the sounds of their Plastic Beach album (not to mention previous hits like Clint Eastwood and Feel Good Inc) to Aust ralia with a massive band featuring The Clash’s Mick Jones & Paul Simonon, Bobby Womack, Bootie Brown, Rosie Wilson and Kano among others was already enticing enough, but now two quality supports have been confirmed to not only perform their Gorillaz tunes with the once virtual super group, but also play sets of their own! We mentioned last week that Little Dragon would be here on the back of their Machine Dreams album (just out through EMI) and join the headliners for a couple of tunes, but even bigger is the addition of De La Soul to the line-up. They of course fronted early hit Feel Good Inc plus the new record’s Superfast Jellyfish, but also have a decorated career of their own with certified classic hip hop albums like 3 Feet High And Rising and De La Soul Is Dead. Catch this triple-threat at Rod Laver Arena (Melbourne) Saturday 11 December, Sydney Entertainment Centre Thursday 16 and Brisbane Entertainment Centre Sunday 19. JA RULE


It wouldn’t be a good urban tour without a last minute line-up change, and Summerbeatz 2010 is no different with Soulja Boy now off the line-up as he “has decided to not make the trip to Aust ralia” according to promoters Paperchase Touring. The show must go on however – and how, with Ja Rule announced to be taking the young shock trooper’s place on the bill. Calling in a replacement with worldwide album sales of 35 million is far from a step backwards for the line-up, and when you add the award winner to a bill which already features Akon, Ciara, Flo Rida, Jay Sean, Travie McCoy and Stan Walker, you’re onto a winner if you like music of the urban/pop persuasion. The roadshow of beats and bling hits Brisbane Entertainment Centre this Friday 19 November, Acer Arena (Sydney) Saturday 20 and Rod Laver Arena (Melbourne) Thursday 25 – get your tickets via Ticketek now.







GENERAL OUTLOOK Let’s all join hands and try to feel each other’s love. Then let’s all start to make out. Then we can have full sex together. AQUARIUS (20 JAN TO 18 FEB) In a Blu-ray world, you are an ex-rental VHS tape in a bargain bin at some piece of shit suburban video shop. PISCES (19 FEB TO 20 MAR) It’s weird waking up in the boot of a car. And that will happen to you twice this week. In different cars. What are the odds? ARIES (21 MAR TO 20 APR) Global warming is going to be a problem for you this week, when you slip into way early menopause. TAURUS (21 APR TO 20 MAY) A horoscope writer buddy of mine was bashed by a Taurean and is now in a medically induced coma. So write your own predict ion, prick. GEMINI (21 MAY TO 20 JUN) Underwear and good manners are only going to slow you down this week. So get crazy and get impolite. CANCER (21 JUN TO 21 JUL) Physical exercise will give you emotional grounding this week. Try assaulting a shop keeper then running from the cops. LEO (22 JUL TO 21 AUG) A dugong isn’t really what you’d call a ‘companion pet’. Have you considered getting a cat? Or hiring a prost itute? VIRGO (22 AUG TO 21 SEP) You think you’re better than me? You can st uff your head up your arse. Th is week is gonna kick your face in. LIBRA (22 SEP TO 22 OCT) Everybody knows what you did last week and that’s why no one is returning your calls. And it’s why a cat gets nailed to your door on Saturday. SCORPIO (23 OCT TO 21 NOV) Can you really expect to travel the world without a passport? Get your paper work in order for God’s sake. SAGITTARIUS (22 NOV TO 20 DEC) If your life was made into a movie, who would play you? And who would direct it? And do you think it would go st raight to video? CAPRICORN (21 DEC TO 19 JAN) In the great carnival of life, you are the inbred hillbilly who runs the Haunted House ride and gets stabbed with a broken bottle.

THE CEO OF ARIA, Dan Rosen, has stood by this year’s cringe-worthy awards ceremony. In a recent interview he gave the event a pat on the back for its “great performances” showcasing Australia’s best music acts. He obviously spent most of his time backstage where all the best performances happened... AFTER A KILLER year in 2009, Melbourne rapper Phrase is back with a new single Never Fade. The song was written and produced entirely by Phrase, who also recently tied the knot with soulful song bird Jade McCrae. An album will drop in 2011... MICROSOFT HAVE BEEN made to look the fool by cheeky pop singer Katy Perry, who blasted the software giant for not supplying audiences with promised free drinks at a show they were sponsoring in New York last week. “It’s Microsoft! Don’t they own half the world?” she commented to thirst y crowds. Is there anything she can’t do?... POPULAR AUSSIE HIP hop artist Drapht has confi rmed that he has left Obese Records, with his forthcoming album The Life Of Riley to be released independently. “I totally appreciate what Obese has done for me by throwing my career into the right direct ion and I’ll never forget that,” the talented West Aust ralian commented to The Vine. Read more on the MC later in these pages… SULTRY SYDNEY DUO kyü took out the Qantas Spirit Of Youth Award for Music in a ceremony held in Sydney last week…



While many of the Big Day Out artists are giving the rest of Aust ralia the swerve when it comes to sideshows in favour of just Sydney and Melbourne appearances, New York City elect ronica duo Ratatat just can’t wait to get dirty and downright esoteric with the whole country. The sounds of their LP4 long-player are as enchanting as ever, interlocking guitars which sound like George Harrsion jamming with War Of The Worlds leaping out from a sound palette which is always far from predictable. Evan and Mike have been busily criss-crossing the globe in 2010, and Aust ralia gets its turn when the duo play The Hi-Fi (Brisbane) Monday 24 January, Manning Bar (Sydney) Friday 28 and The Hi-Fi (Melbourne) Monday 31. Tickets on sale via and the usual outlets Monday 22 November. ROUND TABLE KNIGHTS


Ethnic influences have been the flavour du jour for deep and tech house producers for a much of the past 18 months, but it’s not just in chinst roke world where the sounds of the world are rearing their head – ‘tropical’ is a buzzword in more elect ro-oriented domains, and that’s just one of the sounds that Swiss duo Round Table Knights have touched on. And that’s just on the Caribbean-flavoured monster Calypso, with Cut To The Top displaying a more bouncy Balkan influence. Little wonder than that they’ve found themselves a home on Jesse Rose’s Made To Play label and shared stages with tastemakers like Soulwax and Tiga. Now they’re headed our way, starting at Revolver (Melbourne) Sunday 12 December, then Monastery (Brisbane) Friday 17 and finally United Colours at GoodGod Small Club Saturday 18. MARK BROWN


The northern winter is most often the time that Aust ralia experiences the pleasure of host ing the crème de la crème of dance music talent, but rarely do overseas act set up camp in Aust ralia for an extended period. Mark Brown, front man of house music behemoth the MYNC Project, has obviously seen the error in his ways and will call Aust ralia home through our summer and into spring – perhaps to headhunt talent for his CR2 imprint, but also smashing the fuck out of a number of clubs with his recent Beatport chart topper I Feel Love and forthcoming collabs with Wally Lopez, Eric Morillo and Green Velvet. Catch Brown at Platinum (Gold Coast) Saturday 27 November, Saturday 18 December and Saturday 19 February, Chinese Laundry (Sydney) Saturday 29 Janurary and Lot 33 (Canberra) Saturday 12 February, with further sets in Brisbane and Melbourne st ill to have the finer details locked in. TORO Y MOI


Dreamy elect ronic-pop crossover is enjoying something of a golden age at present, and South Carolina innovator Toro Y Moi is foremost amongst those generating global heat – and not just for his unpronounceable moniker. Artists like Flying Lotus, J Dilla and Madlib have been name-checked by Wire magazine in reference to the troupe lead by 24 year old producer/musician Chaz Bundick, so earnest chinst roking and appreciation will be order of the day when the psychedelic songscapes of Toro Y Moi float into Shake Some Act ion (Melbourne) Thursday 17 February, Playground Weekender Saturday 19 February, Goodgod Small Club (Sydney) Wednesday 23 and Woodland (Brisbane) Thursday 24.






CALENDAR NOVEMBER NOISEFEST: MC AKIL, LOUIS LOGIC, DJ SIZZLE – Friday 19, Prince Bandroom QUANTIZE, LIQUID SOUL – Friday 19, Room 680 PURPLE SNEAKERS: THE PHONIES – Friday 19, Miss Libertine BLOW YOUR OWN WAY: VINCE WATSON – Friday 19, Prince Rooftop ELECTRIC WIRE HUSTLE – Friday 19, The Hi-Fi BAG RAIDERS – Friday 19, Billboard DANIMALS, KYÜ, DOMEKYO/ GONZALEZ – Saturday 20, Northcote Social Club SWEAT: TOTAL ECLIPSE – Saturday 20, Q Bar WOBBLE: LADY ERICA – Saturday 20, The Night Owl PHAROAHE MONCH, JEAN GRAE, PERCEE P, M-PHAZES – Sunday 21, Prince Bandroom ALEX SMOKE, MARTIN BUTTRICH – Sunday 21, Revolver GHETTO ARTS SHOWCASE: THE PHONIES – Sunday 21, Miss Libertine BONE THUGS-N-HARMONY, THUNDAMENTALS – Monday 22, The Espy MIAMI HORROR – Wednesday 24, The Espy PAQMAN – Thursday 25, Revolver METRONOMY, WORLD’S END PRESS, MAGIC SILVER WHITE – Thursday 25, Prince Bandroom SUMMERBEATZ: JA RULE, CIARA, FLO RIDA, JAY SEAN, TRAVIE MCCOY AND MORE – Thursday 25, Rod Laver Arena DJ KRUSH – Thursday 25, The Corner Hotel RICARDO VILLALOBOS – Friday 26, Prince Bandroom FAT FREDDY’S DROP, SOLA ROSA SOUNDSYSTEM – Friday 26, The Forum SHINE ON FESTIVAL: GANGA GIRI, HIKOIKOI, FAT FREDDY’S DROP, SOLA ROSA, PIG & DAN, CANYONS AND MORE – Friday 26 - Sunday 28, Pyrenees Ranges STRAWBERRY FIELDS: MODEL 500, TELEFON TEL AVIV, ALEX SMOKE, VINCE WATSON AND MORE – Friday 26 Sunday 28, Yorta Yorta Dhungala AGAINST THE GRAIN: KRAFTY KUTS, KID KENOBI & MC SHURESHOCK, ADSORB – Friday 26, Brown Alley DIGITAL PRIMATE – Sunday 28, Rooftop Bar (Curtin House) DECEMBER U2, JAY-Z – Wednesday 1, Etihad Stadium VINCE WATSON

A SOME TIME snapper for 3D World, Kane Hibberd has placed second in UK rock bible NME’s annual Music Photography Awards – not a bad feat considering there were over 5,000 entrants from around the globe… IF YOU HAVE a beard, beer gut and like to build st uff then you are just the type of guy US pop singer Ke$ha is looking for. The starlet recently mentioned that these qualities were what she was looking for in an Aussie man, so let yourself go and get yourself to Ikea before she returns to play some shows in March… AS IF PRODUCING the next U2 album won’t be keeping him busy enough, Danger Mouse will be releasing a new western inspired album titled Rome with vocals from Norah Jones and Jack White on 25 February. Hopefully the winning run from his Sparklehorse collab continues... AUSSIE DJ TWIN sisters Nervo were warmly welcomed home last week, but a recent tweet from Mim confi rmed that the US has a few things we are lacking. “two things I will not tire of in The U.S. 1) toilet seat covers, 2) free diet coke refi lls. It’s great to be back! /M”. Sounds like we’re really missing out… FOR THAT HARD to buy for cousin you never see, the new release from Just in Bieber looks like the perfect stocking fi ller. My Worlds: The Collection includes his debut in its entirety plus a brand new acoust ic album. Next level shit...



The 2011 Big Day Out sideshows have been announced – with stacks for dance and hip hop types. Baile funk punks CSS let rip at The Corner on Saturday 29 January. Post modern renegade MIA hits The Palace on Tuesday 1 February with South African hip hop freaks Die Antwoord, while conscious US MC Lupe Fiasco performs there on Thursday 3 February. Brit indie-dance icons Primal Scream will recreate their landmark Screamadelica at The Forum on Wednesday 2 February. Catch German elect ro housers Booka Shade live at the Prince Of Wales on Monday 31 January, then London soul boy (and MC) Plan B heads to the Prince on Tuesday 1 February. Tickets for all shows except CSS are available through Ticketmaster – and the Prince for its gigs – from Monday. CSS tickets are available through The Corner.


Stereosonic is nearing and there are yet more buzzworthy additions with Switch, the other half of Major Lazer, and Italy’s Phonat. They join a massive bill with Tiësto headlining on Saturday 4 December at the Melbourne Showgrounds from noon. Tickets are available from Moshtix, Ticketek and www.stereosonic.


The inaugural Shine On Fest ival looms on the weekend of 26 to 28 November in the beautiful Pyrenees. The camping fest has added two acts: Aussie pan-global dub outfit Ganga Giri plus New Zealand’s roots, soul, funk and rock group Hikoikoi. They join headliners like Fat Freddy’s Drop, Blue King Brown and Sola Rosa. Tickets are available from Ticketek, among others. For more, go to www. shineonfest au.


Belgian houser Junior Jack is already playing Betterdays on New Year’s Day and now comes confi rmation that his old cohort Kid Creme will DJ, too. Betterdays returns to Carousel on Albert Park Lake from 1pm ‘til late on Saturday 1 January. French houser Alan Braxe will also sprinkle some disco stardust. Local DJs include Graz. Tickets, at $90, are available through betterdays promoters ( betterdaysaust ralia).


Scottish deep techno auteur Vince Watson performs live at Blow Your Own Way this Sunday. Th is time it’s an indoor/ outdoor terrace party from 2pm at the Prince Of Wales – complete with BBQ. Watson has disseminated music through Delsin, F Communications and Planet E and runs Bio Music, and will preview fresh material. Supports include Christ ian

Vance (live) and Sydney’s Claire Morgan. Tickets are $15 on the door.


New Edition’s Bobby Brown, Johnny Gill and Ralph Tresvant are touring with their retrospective Heads Of State blockbuster. Over two hours, they’ll perform New Edition’s New Jack Swing and 90s R&B classics plus solo favourites, with Brown revisiting Don’t Be Cruel, 1989’s bestselling US album. The show comes to The Palace on Wednesday 22 December, with tickets available from Ticketek and Facebook.


Art vs Science head up the MAG After Dark party at the Prince Of Wales on Friday 10 December as the MAG publication celebrates seven years. Infusion will also perform, along with Kiss FM (and progressive house) DJ Sean Quinn. Tickets are available through the venue.






ELECTRONIC MUSIC MASTERCLASS: DIRTY SOUTH, GRANT SMILLIE – Wednesday 1, Billboard ELIZA DOOLITTLE – Thursday 2, The Toff SOLA ROSA, LAMKUM – Thursday 2, Roxanne Parlour 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 PUBLIC OPINION AFRO ORCHESTRA –Sunday 4, The Order Of Melbourne GOTAN PROJECT – Wednesday 8, The Forum Theatre THE FIELD – Thursday 9, East Brunswick Club GOTAN PROJECT – Thursday 9, The Forum Theatre CLIPSE – Thursday 9, Prince Bandroom BROADCAST – Thursday 9, The Hi-Fi MEREDITH MUSIC FESTIVAL: PANTHA DU PRINCE, THE FIELD, DIRTY THREE, WASHED OUT AND MORE – Friday 10–Sunday 12, Meredith Supernatural Amphitheatre MAG AFTER DARK: ART VS SCIENCE, INFUSION, SEAN QUINN – Friday 10, Prince Of Wales LITTLE DRAGON – Friday 10, East Brunswick Club EL GUINCHO – Friday 10, East Brunswick Club HERMITUDE – Friday 10, Northcote Social Club GORILLAZ, LITTLE DRAGON, DE LA SOUL – Saturday 11, Brisbane Entertainment Centre PANTHA DU PRINCE – Saturday 11, New Guernica TWISTED AUDIO: CYANTIFIC, SHOCKONE, PHETSTA, MC LOWQUI – Saturday 11, Miss Libertine JEROME ISMA-AE – Saturday 11, Room 680 ISHU – Saturday 11, The Workers Club ROUND TABLE KNIGHTS – Saturday 12, Revolver NQR: DJ PP – Friday 17, Revolver RAP CITY: BLACKALICIOUS, MURS & 9TH WONDER, RA THE RUGGED MAN – Saturday 18, The Espy DANE RUMBLE – Saturday 18, Revolver LOTEK, RUCL – Sunday 19, The Toff BOBBY BROWN, JOHNNY GILL, RALPH TRESVANT – Wednesday 22, The Palace MIND OVER MATTER – Monday 27, First Floor MARINA & THE DIAMONDS – Tuesday 28, The Hi-Fi

LAST SEEN HERE on a blink and you’ll miss him bombing raid of the bottom right corner of Australia in October, Guy J returns on Bedrock with the double-pronged Heliscope EP Monday 22 November. A release to top up an ailing arsenal… IF YOU’RE TIRED of seeing Regurgitator on local shores, they’ve got gigs in Dubai and Bahrain through late November/early December to keep you on your toes. Let us know what Abu Dhabi’s Ferrari theme park is like if you pop over the border… THIS HEADLINE ON pretty much sums up everything we love about the world – “Company makes robotic arms you can control over web and lets people use them to play with kittens”. You wouldn’t read about it… ICONS OF THE 1980s The Human League are apparently done with trading on past glories, the Sheffield trio delivering new single Night People (featuring Mylo on the remix) Monday 22 November. The Credo album follows in March 2011… THE COLLECTIVE EYEBROW of a million lust ing males has raised at Daniel Radcliffe’s revelation that kissing Emma Watson (“a bit of an animal”) in the Harry Potter finale wasn’t exact ly the romantic experience he expected… SYDNEY DJ/ PRODUCER Jamie Lloyd is back with a new release on Vitalik. He shares the honours with Mark Henning & j u g on the Last Drive EP, out Monday 29 November through your digital portal of choice…



THAT Party really should be the talk of the town when it returns this New Year’s Day. Original wonky housers Basement Jaxx will DJ at The Point in Albert Park, with tickets limited to 1,100. The Brits are playing alongside house godfather Frankie Knuckles, elect ro pioneer Arthur Baker, and globetrotting Melbourne DJ Kaz James. For details, e-mail or go to


It’s time to say “peace out” to US turntable champ Total Eclipse, who, after spending nine months in Melbourne, is headed home. He DJs one more time at Q Bar’s Sweat this Saturday with supports including Agent 86.


Hospital Records artist Cyantific, originally spotted by High Contrast, heads the next Twisted Audio event at Miss Libertine on Saturday 11 December. On the line-up too are ShockOne & Phetsta and more – MC Lowqui hosts.


The support act has been announced for the sold-out Fat Freddy’s Drop show at The Forum on Friday 26 November. New Zealand’s eclect ic Sola Rosa will appear in a soundsystem set-up.


Uruguay’s DJ PP guests alongside NQR crew stalwarts like Chardy as they live up their fi rst birthday in Revolver’s front room Friday 17 December. PP is the guy behind this year’s massive Miami Vice.



Wayne “Lotek” Bennett worked on Speech Debelle’s Mercury Prize winning Speech Therapy and has produced Roots Manuva, but he also MCs. The Brit expat launches his own International Rudeboy album, traversing hip hop, reggae and ska, at The Toff In Town on Sunday 19 December. RuCL supports. Tickets are $15/$25 (with CD) on the door.

DJ/producer/MC Edan received kudos for his Beauty And The Beat album of hip hop psychedelia, touring with 2006’s Big Day Out. Lately Edan issued the innovative ol’ skool mix-up Echo Party. He DJs in The Espy front bar Wednesday 29 December. Free entry.



Loved Mulatu Astatke at the last Jazz Rooms? Then be sure not to miss the Christmas party with Melbourne’s Public Opinion Afro Orchest ra at The Order Of Melbourne on Saturday 4 December. Russ Dewbury and local Blair Stafford are DJing. Limited tickets from Moshtix.


Progressive soul and funk hero Gotye has rematerialised for his fi rst theatre shows in three years – complete with visuals. He’s at the National Theatre on Friday 14 January. Gotye will deliver the follow-up to Like Drawing Blood next year on the back of his new single Eyes Wide Open. For ticket info, go to www.

Ding Dong Lounge together with the Tone Deaf crew are throwing an NYE indie bash with Brisbane’s Violent Soho. Th is year the postgrungers released their eponymous on Ecstatic Peace!, run by Sonic Youth’s Thurston Moore, and received an ARIA nomination. Tickets $20 via OzTix.


Irish elect ro-pop outfit Two Door Cinema Club have now sold out their Laneway sideshow at the Prince Bandroom on Wednesday 9 February, but tickets remain for an under18s show the night before. Get yours at Polyester Records, Greville Records or the venue.









ANY A NEOSOULSTER HAS DISAPPEARED. D’ANGELO HASN’T RELEASED AN ALBUM IN A DECADE, REPUTEDLY UNCOMFORTABLE WITH BEING DEPICTED AS A SEX SYMBOL. Lauryn Hill railed against the industry machine. Yet Erykah Badu, who rejected Erica Wright as her ‘slave name’, is still creating music – and thriving. And, this summer, neo-soul’s high priestess is finally bound for Australia to headline Good Vibrations. Badu says fans “should not expect anything”. “I just go by the energy of the people. We rehearse a full catalogue of music… I’ve been working with the same lighting and sound people for the past ten years, so we just like to be very spontaneous… That’s what I am, a performance artist, so you never know what’s gonna happen.” The Dallas native is not prolific – she’s an intuitive artist. Since 1997’s debut, Baduizm, Badu has presented just five albums, including a live set. The Afro-centric soulst ress grew up in an artist ic milieu. Badu’s actor mother, a single parent, exposed her not only to the richness of black music but also to Joni Mitchell. The precocious Badu was playing as a child in local theatre productions. She attended the performing arts Booker T Washington High School – Norah Jones is another famous alumni – and showed an aptitude for dance. The B-girl freest yled, initially as Apples The Alchemist, then Erykah Badu. Inspired by Kemetism, the revival of Ancient Egyptian spirituality, Erica adopted the ‘Kah’, which denotes the ‘self ’, while ‘Badu’ was derived from jazz scatting. On graduating, Badu headed to the traditionally black Grambling State University in Louisiana to st udy Theatre. (Her minor? Quantum Physics.) She didn’t stay – music lured her away. Badu demo-ed songs like Appletree with her cousin and these led to her signing to Kedar Massenburg’s fledgling Kedar Entertainment, the company subsequently absorbed into Motown. Massenburg had previously broken D’Angelo. Badu captured the popular imagination with the boho soul of Baduizm. She appeared with a giant headwrap, resembling Nefertiti. She was compared to Billie Holiday – and Diana Ross. The On & On singer scooped two Grammys and Baduizm clocked up multi-platinum sales. But devotees had to patiently await a sequel. First, Badu proffered a live album. In 2000 Mama’s Gun materialised, Badu now down with the fluid Soulquarians collective founded by The Roots’ ?uest love. Between albums, Badu had romanced – and split from – OutKast’s Andre 3000. They had a child, Seven Sirius.


In 2008 Badu delivered New Amerykah, Part One (4th World War), her first ‘proper’ album in eight years. She followed it this year with Part Two (Return Of The Ankh), the project shrouded in controversy. The viral video accompanying Window Seat rivals MIA’s Born Free for its provocative context. Filmed at the site of President Kennedy’s assassination, Badu disrobes before she herself feigns being shot. She sought to take a stand for individualism and, indeed, reclaim female sexuality. If Badu hasn’t aired more music of her own (she’s famously guested with The Roots, Common and D’Angelo), it’s largely down to family commitments. She now has three children, the youngest, a daughter with Jay Electronica, under two. (Badu has ostensibly parted from the maverick MC – and one suspects that she’s a romantic who gives her heart away too freely.) Still, Badu is a big artist on a big label in Universal, so how has this eccentric retained control of her music while others st ruggle? Badu has no horror stories, she maintains. “When I first came to the label, I came with a full album and ideas and I think that they just trusted my creativity. I work as slow or as quick as I want to. I guess I’m the artist on the label who has a cult following – and I don’t think they underestimate the audience’s ability to connect with wherever I am.” The parties do “compromise” but “it’s not a bad situation,” Badu st resses. It was reported that New Amerykah would be a trilogy – not so. “I don’t know if there’s gonna be a third one,” Badu meditates. “People have been saying that, but I never announced that – that was just an assumption. I did name another album Lowdown Loretta Brown, I said that that would be my next effort, but it was not part of a trilogy for New Amerykah. I started it years ago. It was an idea that I had years ago of Loretta Brown being one of my aliases – it’s a character… It’s my take of a futuristic blues woman.” Badu has an elusiveness about her, but she’s embraced the new social networking media, especially Twitter, recently expressing her disdain for the prevalence of “pop techno cornball-ass music” in contemporary hip hop and R&B. In the same way that Laura Marling disapproves of ‘nu-folk’, Badu has consistently repudiated the neo-soul tag – attributed, ironically, to Massenburg. But Badu, “an analogue girl”, appreciates ol’ skool values. Today she misses “the boom-bip and the hump” – that is, the funk – in urban music. Above all, she doesn’t feel “techno-pop” is “authentic”. “When I see an artist who looks like he should be at a rave rapping over a techno beat, it just makes me not believe it!” she says. Regardless, Badu is astonished at the response to her Tweeting. “It was on, like, 10 blogs in 15 minutes, so I think I’m just on Twitter radar,” she laughs wryly. “Whatever I say is gonna be news, so I better make up some good shit, right?” Badu isn’t antagonistic to techno, which emanated from black Detroit in the 80s. “I love techno music, authentically – and house music – but I don’t wanna hear it on my R&B and hip hop station, too. That’s just how I feel.” Surprisingly, Badu isn’t necessarily antiAuto-Tune. “It’s just a trend – I’m not against trends and gimmicks and changes and things,” she states. “Auto-Tune? I don’t care. I mean,

whatever sounds good – if it’s chopsticks and a paper bag, [and] if it sounds good, it sounds good. I might do some Auto-Tune, I don’t know.” Badu has pursued a multi-faceted career as an artist and activist. She made a credible silver screen premiere in 1999’s The Cider House Rules. Tom Ford also approached the beautiful Texan to be the face of his White Patchouli perfume, marketed by Estee Lauder. The revered designer, who revitalised Gucci, has lately turned to directing, his first fi lm, A Single Man, a true marvel. Badu is eff usive in her praise for the fellow Southerner. “I enjoyed it very much,” she says of Ford’s campaign. “I think he’s everything in a designer and personality that I am in a musician and personality. We’re very kindred – we’re from the same tribe. I can’t describe it exact ly, because I don’t know where this thing comes from, [the thing] that I feel connected to with him, but it feels like a kindred spirit. We’re fearless and creative, and his taste is exquisite. I’m so proud and lucky to have been chosen to be the face for White Patchouli – what a clever thing, a black girl for White Patchouli!” And Badu aspires to do more in the fashion world. “I’m an artist. I love every form of art – painting, I love that, I love dance, music, I love philosophy, I love hair, I love, of course, design and things and jewellery and funct ional art… I love art, period. Everything I do, art is a part of it; it’s where I shine best. I think my career’s very young. I don’t know what I’ll do next – it’s a feeling, like I say it, but I see me branching out into other things.” WHO: Erykah Badu WHAT: New Amerykah Part Two (Return Of The Ankh) (Universal) WHERE &WHEN: Good Vibrations Festival at Centennial Park (Sydney) Saturday 12 February, Flemington Racecourse (Melbourne) Sunday 13 February, Gold Coast Parklands Saturday 19 February

ESSENTIAL ERYKAH Baduizm (1997) Erykah Badu’s debut is her finest moment – and a neo-soul classic. Baduizm is her most disciplined, dist illed and song-oriented foray, with gorgeous numbers like On & On (a breakout single), Appletree and Next Lifetime. It saw Badu work with The Roots for the fi rst time.

Live (1997) Badu’s inaugural live set wasn’t merely a stopgap, but an acknowledgement of her phenomenal reputation as a live performer. Live encompasses Tyrone – Badu’s take on hip hop soul – plus covers of songs like Roy Ayers’ Searching.

Mama’s Gun (2000) Looser and rawer than Baduizm. Bag Lady was the key single – but the psyjazz Green Eyes trumps it and everything else. At over ten minutes and in three sect ions, it chronicles Badu’s painful break-up from OutKast ’s Andre 3000. (He’d write the poppier Ms Jackson for her.) For the fi rst time, Badu collaborated with hip hop legend J Dilla.

Worldwide Underground (2003) Badu’s first really unorthodox project was this album masquerading as an EP. She devised it after experiencing writers’ block. Worldwide Underground sounds like a jam session or a mixtape. Here Badu offers the posse-cut Love Of My Life Worldwide with Queen Latifah, Bahamadia and Angie Stone as a tribute to 80s all-girl hip hop group The Sequence. Lenny Kravitz plays guitar on Back In The Day (Puff ).

New Amerykah Part One (4th World War) (2008) The fi rst of two experimental albums in what was supposedly a trilogy, 4th World War is Badu at her most experimental. The record is less about ‘songs’ than grooves, with numbers like the Prince-y jam Amerykahn Promise. Badu touted 4th World War as a socio-political endeavour, her react ion to the Iraq War. She also teamed with the likes of hip hop producer Madlib.

New Amerykah Part Two (Return Of The Ankh) (2010) The second volume of New Amerykah is tauter – and more organic. It’s also personal, even romantic, and so more accessible. The sensual Window Seat is a wise choice of single from an album that isn’t geared towards singles. Badu conjures her own liquid soul – sensibility triumphing over commercial ‘sense’.



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





n the 1980s, California was the place to be. It was where kids went to school without uniforms, drove awesome cars (hell, even the clapped out battering ram Buicks had appeal) and anything was possible. No kitchen sinks, only a magic realism where Gremlins, One-Eyed Willies and Flux Capacitors were the cultural touchstones of the day. Mock though many do, those were more innocent times when a healthier sense of irreverence dominated fi lms made for young cinemagoers. Can you imagine Back To The Future getting made today? It would either be a glossy vanity project starring some vaguely talented, impossibly good-looking Zac Efron-type (in fact 17 Again steals some ideas from BTTF), or a dist urbing Aronfosky drama in which more quest ion marks would be raised about Doc Brown’s relationship with Marty McFly, or possibly some headfuck in which Marty conceives himself by sleeping with his mum instead of making sure she hooked up with his dad. Barring any interference with the space-time continuum, BTTF remains the greatest ever time travel movie. But more than that, it is one of the best examples of what made the 80s a special decade for those who grew up when cars with gull-wing doors make perfect sense, when hoverboards seemed just around the corner and when Huey Lewis was deemed cool. In fact, it’s hard to count all the ways in which BTTF has had such a cultural impact and the degree to which it influenced the vernacular of this writer’s generation. The responsibility lies at the feet of a number of protagonists, but chiefly with writer Bob Gale and writer-director Robert Zemeckis. The two Bobs met at fi lm school – USC to be precise – and bonded quickly over their shared ownership of The Great Escape soundtrack and a taste in older movies. Says Gale, “They told us in school it was going to be really hard to get into the business and of course at age 19 we were arrogant little assholes, thought we were tough and could handle it. But they were right and it was tough.” The eureka moment for BTTF came from Gale in the summer of 1980 while he was visiting his parents in St Louis, Missouri, where he had grown up. “I was rummaging around in the basement and I found my father’s high school yearbook,” explains the writer. “I’d never seen it before and I discovered my father had been the president of his graduating class and I thought about the president of my graduating class who was one of these political, social, school spirit raa raa kind of guys who I couldn’t stand. I thought to myself, ‘Gee, was my dad one of those kind of guys? Would I have been friends with my dad if I’d gone to high school with him?’ And that’s where the light bulb went on: what if you could go to school with your dad?” As soon as Gale returned to California he met up with Zemeckis and shared his idea, which the pair then set about embellishing. The way Gale tells it Zemeckis was the one with the cheeky sense of perversion as they developed the hypothetical further, turning their protagonists mother from innocent high school sweetheart to “class slut”. “The next thing we knew we had a time travel story and we pitched to Columbia Pict ures a couple of weeks later and got a deal to write it.”


What made BTTF work where other time travel movies failed was its focus on a personal butterfly effect. They had no intention to send Marty McFly back in time to save the world from a historical event, instead turning him into a reluctant and hapless traveller who disrupts the spacetime continuum and must fi x it or become erased. With the stakes in place the pair then added their own comic inst incts, which found perfect conduits in Christopher Lloyd and Michael J Fox. “The interesting thing about the two actors is Chris is a theatrically trained actor,” Gale continues, “meaning his training was you learned the entire script or entire part before you step out on stage for the first night. Michael had learned from doing sitcoms where they kept changing the script every ten minutes so he never learned his lines until right before had to go out and perform them. So they both had this completely different approach to act ing, but they somehow just connected. And Michael had that effect on everybody.” The rest, as they say is history. BTTF spurred two very successful sequels and turned Fox from a television star (Family Ties) into a Hollywood A-lister, while Zemeckis enjoyed a highly successful career as a director culminating in the Best Director Academy Award for Forrest Gump. Although Gale’s legacy was secured with BTTF – the fi lm was selected by the Library of Congress for presevation in the National Film Regist ry – his career never topped those early heights (though his 1992 effort Trespass, starring Bill Paxton, Ice Cube, Ice T and William Sadler is a forgotten gem). But how does one measure a fi lm’s own legacy? That the DeLorean, an otherwise shitty, fibreglass concept car, is now forever considered the time travelling vehicle of choice? Or that Chuck Berry stole his sound from Marty teaching it to Chuck’s fictitious cousin Marvin (“watch me for the changes and try and keep up”)? Self-drying jackets? The power of love? Did you even know what plutonium was before? Back To The Future, let me count the ways I love thee: 1.21 gigawatts. And nobody, but nobody, calls me chicken. WHAT: Back To The Future 25th Anniversary Trilogy Blu-Ray (Universal)




ideaki Ishi has always used genre as a last resort. While Ishi’s work as DJ Krush over the past 20 years has consistently seen him positioned as Japanese hip hop’s greatest ambassador, the DJ and producer has always inhabited his genre almost entirely by dint of circumstance. There have always been strains of hip hop within Ishi’s work, but, by the same token, there have always been competing strains of jazz, soul, the avant-garde and countless other genres. Th is has arguably been Hideaki Ishi’s greatest achievement as DJ Krush. One could attach several accolades to the producer’s chief pseudonym – from bringing Japanese elect ronic music to Western audiences to assist ing in transforming hip hop from a predominantly urban form of expression to a popular post-modern artform – but remaining a unique artist for nearly two decades is almost undoubtedly his most significant accomplishment. The DJ began his work in the late 1980s as the leader of hip hop ensemble Krush Posse. One of the earliest exponents of hip hop in Japan, Ishi reputedly came upon the form after becoming disillusioned with life in the Yakuza. Such was the genre’s infancy, the bourgeoning producer originally found it difficult to even locate a mixer and turntables – visiting countless music shops before finally managing to source the necessary technology. “There is so much more information surrounding us now than when I fi rst started playing music. There are even DJ schools,” Ishi considers. “The Japanese hip hop scene keeps getting bigger as the generations flow. There are so many artists with their own st yle – though there are of course some people within the community who seem to have some misunderstandings about the genre. They’re just interested in the surface appearances of hip hop.” It wouldn’t be until Ishi embarked upon his solo career as DJ Krush, however, that the former criminal would begin to genuinely exert influence upon hip hop’s international template. Debut album Krush, released in 1994, st ill represents one of contemporary beat music’s most crucial records. The album’s blend of mellifluous jazz, dubbed-out ambience, broken beats and clever samplecraft paved the way for every pioneer from DJ Shadow to Amon Tobin. Ishi’s subsequent albums, meanwhile, would all play a pivotal role in navigating hip hop’s body of compositional techniques from their position as utilitarian experimentation (see: Public Enemy) to populist musicmaking tools (See: Radiohead’s Airbag) to a post modern artform in their own right (see: Amon Tobin). The catalogue of DJ Krush encompasses collaborations with everyone from hip hop impresarios like Mos Def to jazz legends like Bill Laswell. “I’ve always tried to bring my own unique ideas to track making and DJ


st yles,” the producer reflects on his unique development as an artist. “The most important thing to me since I started making music has been originality, so being original has always been my goal from back in the day until right now. Truly great music goes beyond genres and into people’s hearts. It is a really great feeling to listen to music free from genre.” Impressively (and atypically), Ishi has not been responsible for one innovation or movement but has played a key role in the development of several – progressing throughout his career from sound to sound as his creativity dictates. Early records like 1994’s Strictly Turntablized helped unite jazz and hip hop long before Th irst y Ear’s Blue Series while the fract ured sonics and rhythmic contortions of 2003’s The Message predate the jazz-damaged meanderings of Flying Lotus by several years. “I don’t have any end of my creations in mind so I want just positively keep express myself,” the DJ explains of his seemingly inexhaust ible pursuit of innovation and creative development. “I just want to have more musical experiences and produce good music to everybody. My 20th anniversary is on next year so I’m preparing for 20th anniversary tour and new tracks and so many things at the moment.” The only quest ion hanging over Ishi’s career at this point is: how long? Everything is fi nite and, while Ishi has managed to stave off repetition and derivation for 20 years, few could expect the artist to successfully continue along such a path indefinitely. There’s already even been whispers of the artist ’s retirement. While Ishi has remained act ive over the past five years with collaborations (most notably in Bill Laswell’s Method of Defiance), DJ Krush hasn’t released a st udio album since 2004. “Music doesn’t have an end for me,” Ishi protests bluntly. “Always, if you climb up to the top of the mountain that is your your musical limit, another taller mountain appears in front

of you. I intend to keep on walking and working and just forget about the idea of giving up. I’ve always managed to progress myself by using my imagination throughout my musical career. Imagination and experimentation have always been the most significant elements for me when I produce music. “I can’t really tell you the details but, step by step, new st uff is in progress,” Ishi assures – confi rming that, as announced in April of this year, a new full-length record is st ill in the works. “I’m trying to put my soul and my own st yle into this new work. I think I’ll be making an official announcement about the details of the new work sometime this year. Please, just wait for a bit.” WHO: DJ Krush WHERE & WHEN:

Corner Hotel (Melbourne) Thursday 25 November, The Basement (Sydney) Friday 26 November




essica Mauboy is set on world domination with her second album, Get Em Girls. But are pop listeners ready for the Aussie starlet’s new hard urban steez? For her crunk pop breakthrough Running Back, Mauboy employed the electro rapper Flo Rida. Th is time she went one better with Snoop Dogg on the lead single, also entitled Get Em Girls – a song about girl power and posh shoes. The bootylicious video, shot by fl ashy US director Hype Williams, has copped heat on YouTube – and Mauboy relished reading the comments. She believes in Dr Dre’s old mantra that all controversy is good. “It’s really quite entertaining for me,” Mauboy enthuses. “I love hearing what people have to say. It doesn’t inspire me more, but it gives me more energy.” She can laugh, too. Critics have suggested that in the clip Snoop “looks sleazy”, which has act ually been the mack daddy’s modus operandi for the last, oooh, 20 years. “You’re a bit late on that one!” Mauboy giggles, rolling her eyes. The Californian was complementary about the record, and Mauboy, albeit professionally. “It was nice to hear him say that personally – it’s like, ‘Th is is a really great song and I love it and your voice sounds amazing’. Here’s me saying, ‘Thanks, Snoop!’” The starstruck Mauboy “felt awkward” accepting the OG’s praise, but she’s grown in confidence. Mauboy developed a thick skin when competing in Australian Idol – she came runner-up to Damien Leith in 2006’s season. She shirked off Kyle Sandilands’ disgraceful diss of her “jelly belly” (to this day interviewers ask Mauboy ‘body’ questions in interviews, as they do Kate Winslet). However, Mauboy’s image is that of the outback teen – and some still want her to be that naif. If anything, Mauboy is franker than in the past. “I just wanna be real – and be real with every single person who I meet. I really tell it how it is – be honest.” In some ways, Mauboy remains that shy (and thong-wearing) girl from Darwin. This was evident when, presenting at the ARIAs, she fumbled the title of Tame Impala’s debut – er, “de-butt” – album and flirted with an unresponsive Geoff Huegill. (Speaking subsequently to Nova, Mauboy blamed her mispronunciations on a lack of rehearsal – and nerves. She declined a chance to clear the air with 3D World.) That said, her ‘gaffes’ are hardly in the league of Kanye West’s award show upsets.

Mauboy was born to a Timorese Indonesian father and Indigenous mother – and raised in a music-loving family. She’d attempted to launch a pop career prior to auditioning for Idol at her Dad’s encouragement. Mauboy, then 14, won the Road To Tamworth, resulting in her cutting a countrified cover of Cyndi Lauper’s Girls Just Want To Have Fun. Post-Idol, she dropped the prerequisite spin-off ‘live’ CD, The Journey. Mauboy temporarily replaced Ricki-Lee Coulter in Young Divas. Soon she was plotting 2008’s Been Waiting, her official debut, with primarily homegrown producers such as Audius. Been Waiting did big things: it spawned six singles, including the chart-topping Burn, and reached double-platinum status. Mauboy scored multiple ARIA noms, yet won only Highest Selling Single for Running Back. Together with Lisa Mitchell, another Idol 6 survivor, she’s proven that Idol acts need not be fly-by-night. Mauboy was determined to up the ante for Get Em Girls

– and, to do that, she travelled to the US. Alone. She insisted on taking her time, under “no pressure”, and her label obliged. “I knew that I had to really take control and come on board with the next album. I did a lot of co-writing for Been Waiting, [but] I guess it happened so fast, that was the thing about it – that we just wanted it out already.” It was her desire to hire Americans, not Sony’s. Mauboy’s “dream” is to court US radio – and this represents the fi rst step. (She’s currently arranging a UK release). Mauboy has worked with A-list hitmakers like Bangladesh, who helms the title-track. He’s previously produced jams for everyone from Ludacris to Lil Wayne to Beyonce. Chuck Harmony, the guy behind Rihanna’s Russian Roulette, masterminds the dramatic (and ingenious) Scariest Part. Get Em Girls is an amped-up Been Waiting with epic synths, heavy bass, thumpin’ club beats, and a modicum of Auto-Tune – Mauboy’s voice is st ill crystalline. Snoop isn’t the sole US mega-star. Mauboy also paid out for Ludacris, who does his thang on Saturday Night, while the Brit Jay Sean sings on What Happened To Us. Mauboy’s interact ing with US beatmakers was eye-opening – for one, they record noct urnally. “I was on a trip on my own, so it was quite hard to just go in there and write with producers who’ve worked with my idols. It’s intimidating.” She was unimpressed with Jazze Pha, who gave her Handle It. “He left me in the st udio for about four hours. There were, like, groupies in the room. So here’s me, tiny, among these big guys – [I] wasn’t introduced to any of them, they didn’t introduce themselves. It was like, ‘Whooo! OK, are we gonna work now?’ Then, from that point, I knew I just had to be really fi rm about what I wanted. I almost felt like walking out. I almost felt disrespected. ‘Wow, do you treat everyone like this – or is it just a celebrity thing?’” Success has brought Mauboy other surprises. She duets virtually with Elvis Presley on Love Me Tender for the Aust ralian edition of Viva ELVIS. And, of course, she scored a lead role in Rachel Perkins’ adaptation of the Aboriginal musical Bran Nue Dae, act ing alongside her hero Deborah Mailman. Mauboy identified with Rosie in the fi lm – she was playing herself. Mauboy would love to act more – for now, though, it’s about music. “I’m so passionate about music that I just wanna continue and be surrounded by music at the moment – and, with this album, Get Em Girls, I wanna see where it can take me.” WHO: Jessica Mauboy WHAT: Get Em Girls (Sony)





he magic of Shaun Tan’s awardwinning 2006 graphic novel The Arrival is the way in which its fantast ical world feels instantly familiar. Though its essentially an allegory for the immigrant experience, drawing not just from his father’s journey to Western Aust ralia from Malaysia in 1960 but the extensive archives kept when foreigners landed in New York seeking a new life in the late 19th and early 20th centuries, the story of a st ranger in a st range land (Hayao Miyazaki’s Spirited Away is a good reference point for the uninitiated) is something that anyone who has found themselves lost in a foreign country will relate to. Though the themes of isolation are heavy (as they were in his earlier but equally magnificent The Red Tree), The Arrival ’s sense of hope and wonder no doubt caught the eye of the The Children’s Book Council of Aust ralia when they awarded it Pict ure Book of the Year in 2007 – the fi rst of many nods its received both here and abroad. Four years on from its initial publication, Tan is giving fans and newcomers alike an insight into its making with the Sketches From A Nameless Land companion piece, available both in a slipcase set with The Arrival or packaged with it in a suitcase in a limited edition of 1500 copies. Though Tan is quietly spoken and remarkably humble, he says that taking readers inside his creative process wasn’t a big step out of his comfort zone. “One of the unexpected occupations of an author/illust rator is you end up doing this talking circuit,” Tan explains. “Particularly about children’s literature, and there’s a lot of interest at the moment about graphic novels. And when a book comes out without words, for English teachers it has the opposite effect of what you think – they become fascinated with it and want to know how they can teach it. So


I’ve been constantly giving these lect ures where I have all my rough sketches and I explain my process, and for me I don’t see a difference between the finished book and the process – it’s all part of the same thing.” The process of completing The Arrival took six years from conception and four years of dedicated work, Tan admitting that undertaking the project was far more detailed than sitting at his sketchpad and seeing where he ended up. “You have to plan it meticulously for a number of reasons,” Tans says. “It’s a bit like fi lm – there are costs involved. And unlike music you can’t afford to be too spontaneous because you’re working within a confined st ruct ure. And then with a graphic novel you have to think about how act ion is revealed as you turn the pages – you don’t really want an unwanted revelation on a facing page. And of course the act ual rendering of particular pages is not fast – it takes me about a week to complete a page, and you don’t want to spend a week doing a page that’s not going to be useful. “So I did all up maybe three dummies of the book. It started off at 64 pages and I storyboarded it at many different lengths. The 64 page version didn’t have the back story of the secondary characters and that was something that was bothering me. It all made sense and checked out and compared well with my research, but it just lacked some kind of complexity. It was just a cut-and-dried story of someone leaving their home and traveling to another country and having these various accomplishments – in the beginning it was a very simple, quiet, un-dramatic kind of book.” It’s also a book which wouldn’t seem to lend itself easily to adaptation, though two theatre companies have done so by scaling it back to reflect the protagonist’s inner journey. But the

most thorough adaptation so far was a live score orchest rated by Ben Walsh (perhaps best known to 3D World readers for his work behind the drum kit with The Bird) for the Sydney Opera House’s Graphic Fest ival in August 2010. “I thought that he followed the book quite closely,” Tan offers on a performance he sat in on. “There’d been a few other adaptations of the book prior to that where they had departed to some extent from the book, which is also very interest ing for me. In this case he was following the st ruct ure of the book but there was more of a difference in interpretation and mood. Th at’s always fascinating to me anyway – in fact I kind of look forward to those parts which are novel interpretations.” Tan’s most recent project is an animated short fi lm adaptation of his 2000 book Th e Lost Th ing (interest ingly narrated by fellow author Tim Minchin), his deep involvement in the Melbourne-based product ion proving the catalyst for his relocation there from Perth in 2007. So with one of his treasured publications already doing the rounds of the world’s big screens via various fi lm fest ivals, what are the chances of Th e Arrival getting the feature fi lm treatment? “There’s been some discussion about that,” Tan reveals, “and it’s st ill in discussion. I’m a little in two minds about it – it’s such an obvious one to adapt because it looks so cinematic already, but also it’s quite difficult because it just doesn’t have the kind of dramatic st ruct ure that you need to kick it along for a fi lm. Th ings don’t adapt in such a st raightforward way. “It’s easy to do something, but the number of disappointing adaptations that are out there… it does outnumber the satisfactory ones.” WHO: Shaun Tan WHAT: The Arrival/Sketches From A Nameless Land (Lothian Books/Hachette Aust ralia)




aving spent much of 2009 on the road riding the prolonged wave given off by his 2008 LP Brothers Grimm, Perth-based MC Paul Ridge has spent a much needed few months in the lab, penning and demoing his upcoming album. The album, entitled The Life of Riley, will be Ridge’s fourth. Since his st udio debut as a teenager in 2000 on Hunter and Dazastah’s Done DL, the Syllabolix crew member has steadily risen to become a member of Aust ralia’s hip hop elite class, a position that became truly realised by the public react ion to Brothers Grimm. Ridge rose from a kind of obscurity in 2003 upon the release of his fi rst full-length, Pale Rider. Though the MC has long since departed from the boom bap aest hetic the album showcased, it remains, for some, one of Western Aust ralia’s defining hip hop achievements. Not long after its release, however, the MC drast ically altered his st yle. By 2005 and the release of the follow up Who Am I via Obese Records, Ridge had become, along with label mates the Hilltop Hoods and Muph & Plutonic and Canberra’s Koolism, one of the artists regarded as pushing the hip hop envelope. While the Hoods had mass appeal, Muph & Pluto had dust y soul and Koolism prevailed with sheer experimentation, Ridge brought raw melody to the vocal booth. Like many artists that embark on a significant st yle switch, Ridge’s catalyst was disenchantment with the Perth live environment. Years spent performing for and in front of rowdy teenage graffiti writers led to a drast ic change of method, and the aggression and griminess left Ridge’s recording arsenal. “I was so sick of rocking up to shows where there’d be fights all the time,” he reflects. “95 percent of the crowd would be 18-year-old graff writing dudes. I was 18 or 19 at that time, but I felt like I’d grown from that. I wasn’t enjoying performing live. I wanted to add a little more melody – a lot of people hate that.

“I still get comments to this day from people who say that Pale Rider was their favourite record. I can’t believe that shit.” His most successful release to date, Brothers Grimm, came in 2008. Sporting Jimmy Recard, which would go on to become one of the most popular local hip hop tracks in recent memory, the album saw the young MC st rike up a partnership with South Aust ralian producer/MC Trials. Vast ly different than the loopy sample-based product ion of Who Am I, the Brothers Grimm soundscape would stand as Ridge’s most diverse yet. While the big drums remained, Ridge’s chosen platform was more layered and dynamic than that of his previous work, calling upon leftfield samples that primarily referenced rock rather than the dust y funk and even classical much Perth hip hop had become renowned for. Shortly after Brothers Grimm dropped, Ridge found himself in a place where only a handful of Aust ralian hip hop artists have been – able to give away his day job. While this emancipation from non-music related employment is undoubtedly the envy of musicians all around the country, it calls for some degree of caution. For Ridge, gone are the eight hour working days followed by fiery night-time recording sessions. “A lot more effort is being put in,” Ridge muses, explaining the switch’s impact on his music. “[But] it’s been very taxing. I don’t think I’ve put as much effort into anything in my entire life.” Th is effort, though, seems to be paying off. Just last week, Ridge dropped Rapunzel, the lead single from his upcoming The Life of Riley album. Built around a guitar lick, the track sees Ridge giving his vocal chords what seems like the biggest workout of his career. So far, nine tracks have been recorded at Ridge’s home st udio, each over a Trials joint, with more to come. Lyrics-wise the album is complete, with raps over an M-Phazes beat, plus more, st ill to come. “They’re a lot more up tempo than the last record,” Ridge says about Trials’ beats. One of the main contributors to Ridge’s improvement over the years has been that access to a private home st udio. Installed with the help of fellow Perth resident Dazastah in the wake of Pale Rider’s release, the st udio has provided a comfortable environment, where Ridge could gradually build up his vocal range and dexterity. Th is ability to record and demo at home is a luxury not to be downplayed. It has led to a significant and rapid improvement in the st yles of numerous MCs, including Dialect rix, who, incidentally, will be appearing on several of Ridge’s upcoming tour dates in support of Rapunzel ’s release. “I find it hard going into a st udio now and having someone else record me,” the MC states. “I like waking up in the morning and walking st raight over to my computer, pressing record, running to the booth and not having anyone looking over my shoulder. I can try whatever I want.” From now until The Life of Riley’s release, which is penciled for late February, Ridge has a lot to get done. He’ll be stepping out of the st udio

shortly for a st ring of national tour dates, where a time out in South Aust ralia will give him a chance to link up with Trials in Adelaide. Once there, Ridge will take the Funkoars beatsmith through each of the nine tracks he’s written to. The pair have a unique working relationship, helped in no small part by Ridge’s proficiency in self-recording and arranging Trials’ supplied loops from his own Perth st udio as needed. “Trials hasn’t even heard the st uff I’ve recorded,” he says. “He doesn’t know what’s going on until the last minute. I like to be there when he first hears it, because a lot of the arrangement has changed.” WHO: Drapht WHAT: Rapunzel



Tempo Hotel (Brisbane) Friday 19 November, Prince Bandroom (Melbourne) Friday 3 December, Gaelic Club (Sydney) Saturday 4 December





ven without the baggage it so tragically carries, Chicago-based Telefon Tel Aviv’s third and likely last album is an easy record to read into. School pals Joshua Eust is and Charles Cooper may have opted for a more pared back approach to recording than on 2004’s Map Of What Is Effortless, ditching the digital affectation in favour of analogue tones, but the result was their most complex effort yet, a st irring journey through the emotional spect rum, leaving fans wondering exact ly what Immolate Yourself was made to inspire – gloom or hope. On 22 January 2009, two days after the album’s release, the announcement of Cooper’s death sent conject ure into overdrive. While the ghoulish were busy spinning theories on the cause, others were letting their ears play detect ive as they scoured Immolate... for encoded evidence of some personal hell being endured by one of its makers. Nothing, best friend and partner Joshua Eust is maintains, could have been further from the truth. “People were trying to put this Ian Curtis legacy behind it, and it’s like, ‘no dude, we’re not Joy Division; we’re blue collar, mediocre, semicompetent musicians, who are working day jobs while making records’,” Eust is asserts. “All these people were saying it was this gigantic thing that Charlie was trying to do, to make this dark, dismal, morose and hopeless record, and that wasn’t at all what we were trying to make. Of course some of it is dark, but it has a lot of hope in it; we were trying to show that there’s hope for everything. I don’t know if people are really getting that, when to me that’s the most important part of the record.” Eust is does admit that Immolate Yourself – a tongue-in-cheek reference to “all those 80s death metal bands who used long, complicated words” – was almost never made, but that was more a product of creative exhaust ion after agonising over the minutiae on Map For What Is Effortless. “We pretty much stopped making music after that, and weren’t sure if we were ever gonna make another record. But then we were like fuck it, we’ll do another, but we’re not gonna make a big deal about it, or pore over details that ultimately don’t service the songs. We’re just going to have fun and experiment in the st udio, hang out, play cards, video games, watch movies and if we feel like making music, we’ll make music. “It was a really great experience for both of us, and the record came out of that. That Charlie died later of a complicated cocktail of over-the-counter sleeping pills and some champagne, though not even in lethal doses, it kind of looks really suspicious, but we had three autopsies done and none of them were ruled as suicide – there just wasn’t anything sinister enough in his blood st ream to call it suicide. It just makes the record a lot creepier than it was ever intended to be.” Believing that on Map Of What Is Effortless they overreached in regard to songwriting, and spent too much time getting bogged down in “trickery”


when it came to inst rumentation, producing Immolate Yourself required Telefon Tel Aviv to completely reassess their approach to both. “We didn’t really know what we were doing on Map, so we ended up with these songs that weren’t really developed, with really over the top product ion. We didn’t want to do that again; we thought ‘people are going to remember a poignant lyric or vocal melody, not the skittery beat st uff,’ so we got a tape machine, and started doing things the old fashioned way. It felt like we were starting all over again, which is the best feeling in the world when you’re making music.” For Telefon Tel Aviv’s forthcoming Aust ralian live dates, Eust is will be joined by Fredo Nogueira, who’s “essentially been like the third member of the group since day one”. The on-stage dynamic between them has come easily, but their recent dates don’t mark a decision to continue touring indefinitely – rather a commitment by Joshua to finish what he and Cooper started. “I didn’t just want to give up on the thing,” he says, “I wanted to see the record through, play the songs lives so Charlie’s last big great work wouldn’t just fall through the cracks. The only choice was Fredo, he was brave enough to try it and it’s been great.” Eust is is presently putting the finishing touches to a new album he describes as “much more primitive, much more shitty” than past material, though it’s unlikely he’ll release the record as Telefon Tel Aviv. Should Immolate Yourself indeed prove to be its last, at least two friends would say with absolute certainty that it was also their best. “It was definitely mine and Charlie’s favourite of all the st uff we’ve done. It was the record we’d always wanted to make but were never really brave enough to try and make. I pretty much hate every record I make after I make it, but I st ill somehow don’t hate Immolate Myself, I st ill somehow think it’s a solid record, I stand by it. I feel like it’s our most successful record, our most complete record.” WHO: Telefon Tel Aviv WHAT: Strawberry Fields Fest ival Friday 26 November, Subsonic Music Fest ival Friday 3 December, Barsoma Saturday 4 December




e’re huddled in the pre-dawn light while a large brazier throws fl ickering shadows on our faces. Around me stand Japanese, Australians, Spaniards and everyone in between. To ward off the cold, many are sipping coffee out of polyst yrene. As a solitary red balloon drifts upward into the inky sky, a tense feeling of togetherness is palpable. Though we’re all strangers, today we’re united by one cause: getting into the air. The balloon is emblazoned with the same symbols as Turkey’s flag – a white crescent moon and star. It’s a wind test; only gentle conditions will allow us to get airborne. We’re just outside a small town named Göreme, in the middle of the country’s rugged Cappadocia region. For decades now, the area has attracted tourists with its unique and captivating scenery. Central to this are the so-called “fairy chimneys”, tall, crayon-shaped rock formations which were hollowed out and used as houses in older times. There’s really no better way to see them than from on high. As a second red balloon is released, more people begin to take note. Of the 150-odd tourists, none of us are quite sure what the red orb should be doing, only that it’s important. A group of

middle-aged pilots stand laughing and smoking by themselves. With their khaki jackets and gold-starred epaulets, they look more like the cast of Top Gun than masters of the delicate behemoths laid out nearby. An hour later, and three more helium balloons have been released. Though the pilots keep up the joking, everyone else is now looking worried. It’s fully light, and we’ve missed the sunrise which the early start intended to capture. It looks like we’re going to be sent home, but after a quick word from their boss, the staff suddenly erupt. By the closest balloon,

two petrol-powered fans appear and roar into life, triggering a round of relieved smiles. Everyone’s thinking the same thing: here we go! A group of support staff approach a minute later, each carrying a placard aloft. Ours says “TC-BGF”, matching the tags around our neck. It might stand for “Totally Cool Balloon Gang Forever”, but we’re not sure. Regardless, 16 of us follow our leader to a more distant balloon and watch as more furious blades start pumping air into it. The racket is exhilarating after the previous stillness of the morning. As if

attracted by our noise, another company’s balloons appear over a nearby hill. They’ve clearly got the jump on us, but no one is jealous after beating the prospect of cancellation. It’s no easy task getting a balloon into the air. The baskets are the size of a family sedan and when they’re inflated, the balloons as high as a ferris wheel. It takes a good 15 minutes before ours starts to look the right shape. The basket lies on its side at the beginning. From inside, a frighteningly large flame is issuing into the open mouth of balloon. The flame periodically pauses while two men run inside the giant tent to push out the folds. Gradually, less and less of the balloon touches the ground. When it finally lifts off, the support staff cut the fans and heave the basket upright. By now, dozens of colourful spheres from other companies are drifting overhead. While the passengers are assisted into the sectioned wicker gondola, our female pilot hands out multi-language safety cards and explains the landing procedure. As the balloon begins to lumber skyward, a photographer scampers up and frantically urges us to smile. Though the lift-off is gentle as anything, the radiant heat from the burner is immense. With 80 litres of propane on-board, there’s plenty more to come, too. Most of the fl ights are able reach a height




Hot air ballooning in Capadocia can cost anywhere between $155 and $325. Thankfully, the rest of Turkey is far more price accessible, though no less interest ing.


FACTS & FIGURES BOX Population: 2,500 (Göreme approx) Language: Turkish/ English National Drink: Raki Average Annual Rainfall: Sparse Currency: Turkish Lira (AUD1.00 = HUF1.42118) of about 2,000 feet with this fuel. Thus, it’s not long before we’re able to see it all – a road which seemingly st retches from horizon to horizon, a snow-capped, dormant volcano and a shallow valley packed with fairy chimneys. The valley is like a forest made of stone. Several balloons appear to be st uck at the bottom, vict ims to the imprecise art of piloting. Luckily, our pilot catches a gentle gust and crests a rise to reveal farmland laid out like a patchwork quilt below. Generous farmers have const ructed complex geometric patterns on a hillside with large rocks. It’s unnecessary – the scenery itself is enough. From the air, mundane patches of dirt become intricate portraits of colour. There’s red earth like Uluru’s, green soil the shade of pistachio and a splash of bright cream where rocks are being quarried. Bits of earth are cracked deeply here and there like rising bread, while deep blue rivulets of water separate the neatly plowed squares from the messy ones. The surrounding mountains are like layered sponge cakes with frilly frosted hills at their feet, caramel and vanilla with a powdered chocolate peak. The colours are different though. Everything is washed out, faded, as if bleached by the beating Turkish sun. When the burner’s not fi ring, the sheer


sense of quiet adds to the spectacle. It’s like observing a painting in a hushed museum. After an hour of drifting peacefully, we sadly begin preparations for landing. The pilot stops the burner, cooling the air within the balloon. We’re inst ructed to hang on tightly while crouching down; the inside of the basket is lined with loops of rope to grasp. As the earth comes closer, it becomes apparent that we weren’t just drifting – we were flying, in every sense of the word. The ground is moving rather fast through the small gaps in the wickerwork. Suddenly the


basket tips sharply, jarring muscles and showering us with dirt. “Don’t let go, don’t let go!” yells the pilot as she st ruggles to bring things under control. As we finally grind to a halt, she’s unsuccessful though. The basket has stopped on its side, and we crawl out laughing hysterically. The ground crew’s car is within throwing distance, despite us having travelled 15km on unpredictable winds. As they set up a table and start pouring celebratory champagne, I somehow feel like it’s appropriate, even if just for making it into the air in the fi rst place.

ISTANBUL The city is split in two by the Bosphorus Strait, which connects the Black Sea to the Aegean. Thus, Istanbul is the only city in the world to st raddle two continents, Asia and Europe. Cruises on the shimmering st rait are a must for visitors. The Blue Mosque and Hagia Sophia are also rate highly. These twin st ruct ures face each other across a park and measure up to any church in Europe for beauty. PAMUKKALE About ten hours on a bus from Istanbul, Pamukkale is perhaps the most valuable geographical treasure in Turkey. For thousands of years, natural thermal waters have flowed down a hillside above the town. With them, they bring calcium deposits which harden, forming a pure white shell. Above the white hill, there’s an ancient Roman city complete with all the accoutrements – baths, amphitheatre and gym. SELÇUK Down on the Aegean coast, Selçuk is a convenient base from which to explore the nearby Greek islands. Selçuk’s biggest drawcard is Ephesus, an ancient city nearby which rivals ruins found anywhere else in the world. Again, a 25,000 seat amphitheatre crowns this noble site. ÇANAKKALE Ten hours by bus from Istanbul, this small seaside town is an ideal base to explore the trench-riddled site of Gallipoli.


Emirates flys to Istanbul – from their Turkey’s bus system is the cheapest form of transport to Göreme. Return Airfare: $1789.16 (from Sydney)/ $1769.75 (from Melbourne) / $1791.58 (from Brisbane). Cheapest Hotel Room – Room only accomodation from AU$41 (per night twinshare) via Current Foreign Affairs Status – High degree of caution – and reconsider your need to travel if exploring borders with Syria, Iraq and Iran. See au for updates. Entry/Exit Requirement – Aust ralians who enter or depart Turkey by land or sea borders, including those who make short trips to the Greek islands and then return to Turkey, should ensure that they are correct ly processed by Turkish immigration and that their passports are stamped for all exits and arrivals.



The latest Aust ralian hip hop release to score an album of the week gig on Triple J is from Obese lad Illy with his second album The Chase. It’s probably the fi rst album from the label that diverts from a pure underground sound. In fact it almost sounds like something that Elefant Traks would consider. That’s not a bad thing, but I can see the indie rock kids accepting this more than many of the other artists on their label. At times Illy’s microphone persona reminds me of Atmosphere’s Slug. And that’s not necessarily a bad thing. Illy’s thoughtful lyrics, coupled with a crossover appeal that doesn’t dilute his persona, shows that respected MCs can captivate audiences outside of their initial fanbase without sacrificing their integrity. Th is aspect is evident when Illy employs the use of various singers for his hooks with barely a guest MC on the horizon. As long as he retains the skill factor with his mic skills he should be able to convince the underground heads that he is just expressing his own version of the music and so far he’s succeeded. The musical collaborators from his 2009 album Long Story Short continue with the new album. M-Phazes, Taku, J-Skub and J-Squared return, with Stylaz Fuego being the new participant. Sure to please the heads is Illy’s party joint Put ‘Em In The Air, which rips over a thunderous beat from Taku with DJ Flagrant providing the album’s only turntable work. Taku’s other beats include Illy’s most vocally aggressive in which he disregards the likes of internet critics on We Don’t Care, while Same Number, Same Hood goes for a more melodic and relaxed angle, yet st ill sounding like it was borne of concrete. J-Skub brings a different slant with his beats, with two of them being decidedly uptempo – one of those being the lead single It Can’t Wait in which female singer Owl Eyes pleasantly coos while Wren warbles over the more downtempo Diamonds. The only elect ronic sounding joint is provided by J-Squared for Feel Something in which he conjours up a more Balaeric cosmic disco twist whilst Illy bathes himself with a vanguard of emotional awareness. M-Phazes goes for a more live sound with a few of his tracks with the title track probably exploring the most commercial avenue with Olivier Daysoul on chorus duties.



he relationship between the works of Femi and Fela Kuti is, at once, both surprising and familiar. Femi’s decision to refi ne the Afrobeat innovations of his departed father into a more concise and eclect ic, but equally politically conscious, format over the past two decades recalls the efforts of countless musical offspring forced to contend with the legacy of their accomplished parents. Femi’s work acknowledges his father’s past while embracing his own musical future. Yet, unlike the descendants of many celebrated musicians, Femi Kuti has never made any conscious effort to distance himself from his father’s legacy. There are notable differences in Femi and Feli’s compositions and perspect ives but, rather than exist ing as a point of difference, Femi’s work seems like a logical evolution of his father’s output. The same blend of interlocking polyrhythms, cyclical grooves, political ire and layered brass arrangements characterises the work of both musicians. “I st ill think of what I do as Afrobeat,” Kuti explains. “I don’t have any problem with the comparisons made between mine and my father’s music. I think it’s just a part of life. I don’t think my songs really sound like songs that could have been written by my father – I mean, some of my father’s songs could st retch over six or twelve hours in concert – but, without Fela, Afrobeat wouldn’t really exist. It would be nice if my music could be viewed by itself but I understand that will never be the case.” The relationship between the two has been pronounced throughout the entirety of Femi’s career. The musician made his stage debut as a member of his father’s band Egypt 80 in the 1980 – even briefly taking over his father’s role as frontman when Fela was arrested en route to a performance – and has maintained close ties to his father’s work ever since.

The difference relates to how Femi perceives the work of his father. Whereas the majority of the world regards Fela Kuti’s legacy to be that of a musical iconoclast, Femi Kuti prioritises the man’s work as a political act ivist and human rights advocate fi rst and foremost. Fela Kuti’s son, therefore, is less concerned with competing with the musical impact of his father and more interested in continuing his father’s work on behalf of the Nigerian populace. “To me, I think there are more important things to deal with than ensuring African music gets the recognition it deserves,” the bandleader says bluntly. “I think it’s more important Africa gets access to proper education and schooling, access to proper medicine and hospitals, access to clean water. These are the issues I think people should be discussing about Africa and Nigeria. This is what I’m fighting for with my music. “You know, being a musician is my job. I was brought up in a household where we taught to fight corruption and, through my music, I hope this is what I’m doing,” Kuti continues. “I don’t think all musicians have to write about politics but this is what I feel I have to write about as a musician. I have to sing about corruption and tell people of corruption through my music and make them aware of what is going on in the world.”

WHO: Femi Kuti and The Positive Force WHERE & WHEN: Metro Theatre (Sydney) Saturday 20 November, Aust ralasian World Music

Expo at The Hi-Fi (Melbourne) Sunday 21 November, Brisbane Powerhouse Tuesday 23 November






early a decade since the release of debut album Solarized, it’s been quite a journey for Sola Rosa. A dizzying cocktail of hip hop, reggae, soul, funk and jazz, what began as a one-man show has evolved into a formidable live band to be reckoned with, and that’s exact ly what Andrew Spraggon intended to capture on latest album Get It Together. “The early days of Sola Rosa were synths and drum machines, which turned into more vinyl sampling, and I did that for a few albums and I guess I just exhausted that method of getting old op-shop sounds and sampling them; I got bored of it,” Spraggon explains. “And over the years I’ve pulled more and more people into the st udio to record live, and it’s been a little bit more rewarding working with other people – they bring their own ideas, and we were playing more live as a band, so I wanted to recreate that.” The fi rst live performances from Sola Rosa were simply its founder standing behind a pair of CDJs and trying his best to look engaged. As Spraggon admits though, as a spectacle it was just as likely to bore him as the crowd. “When Sola Rosa went from playing bars and clubs to this fest ival in Auckland in front of 8,000 people or something, where it was just me on stage, I thought I can’t do this anymore, it’s not entertaining. I don’t find it interest ing, so I don’t see how anybody else could. Unless you’re extremely energetic, like Fatboy Slim or something, it doesn’t work, and that wasn’t me, so I decided I needed to pull in more players. The line-up changes, but we’re pretty solid now.” Get It Together sees Spikey Tee, who collaborated on 2005’s Moves On, rejoin the mix, as well as the purring of German singer Bajka. Each collaboration is the product of a wish list compiled by Spraggon before each album, and when it comes to fulfi lling it, his methods are simpler than you might expect. “I just track them down through their MySpace pages or friends of friends.”

As Sola Rosa have evolved into a fully formed musical collect ive, Spraggon has had to loosen his grip on songwriting duties, allowing the collaborative environment to permeate the tracks. “I guess I used to be a bit more egocentric with it, but not as much these days, because I fi nd the calibre of the players I’m working with are far more talented than me,” he laughs. “I quite often come up with an idea, then let them do whatever they want with it, and I think the result is easily the best album we’ve done so far.” What direction the next album will take is something Spraggon is hesitant to discuss, though he does share that it’s going to be more funk and soul orientated. “I’m not talking about a rendition of Sharon Jones & The DapKings, or whatever,” he elaborates, “just a little less schizophrenic in all the different genre st yles, and probably a little bit more centred.”

Concept albums are surely the st uff of the 70s – and the province of rockers. Indeed, The Beatles yielded one of the fi rst full-blown concept albums in 1967’s Sgt Pepper’s Lonely Hearts Club Band. Over the next decade The Who, Pink Floyd and David Bowie exploited the format to the point where concept albums were deemed pompous, if not self-indulgent, by the 1980s. Nonetheless, the concept album has made a sly comeback, not in rock, but in urban music. Many a hip hop blockbuster is a concept album: Jay-Z’s American Gangster, Kanye West’s 808s & Heartbreak, Kid Cudi’s joints. Then, on the R&B side, you have Mariah Carey’s The Emancipation Of Mimi... Such concepts are as much about marketing angles as pulling together albums that, invariably, feature tracks from disparate producers. And urban artists are fi xated with movies... Now Ne-Yo has resurfaced with a proper concept album, Libra Scale. The R&B star has dropped albums annually since his breakthrough, but skipped 2009. In that time, his rival Chris Brown trashed his career. Libra Scale’s cinematic narrative isn’t obvious from listening to it. Apparently, it’s a sci-fi morality tale centring on three garbos who are offered riches, power and fame, providing they save the day from some malevolent force – and don’t fall in love. Of course, Ne-Yo’s character, Jerome, spots a hot chick – and dang! It’s not a concept to rival Janelle Monáe’s wacky The ArchAndroid, but you get the idea. The story is illuminated (presumably) in extended videos – and the CD booklet’s cartoon. However, fans should focus on the music, for this is Ne-Yo’s best album yet. He’s (most ly) eschewed contemporary gimmickry, namely Auto-Tune, crunk-trance beats and loads of guests. Instead Ne-Yo travels back to 90s R&B, and draws on older influences like Isaac Hayes, Marvin Gaye and Michael Jackson. The bling-themed Champagne Life might be an old Bad Boy product ion from Stevie J (memories!), Ne-Yo forgetting about the GFC for a night on the town. His current single One In A Million evokes 80s Gaye with its smooth vocal, seduct ive melody and percussive groove. Cause I Said So could have been on Thriller. The only jarring moment arrives with the Stargatehelmed Beautiful Monster, which squelches like an acid techno throwback. It’s a dope dancehop track, but ill-suited here.

WHO: Sola Rosa WHERE & WHEN: Shine On Fest ival Saturday 27 November, Roxanne Parlour

(Melbourne) Thursday 2 December, The Gaelic (Sydney) Friday 3 December, Subsonic Music Fest ival Saturday 4 December



CLAMP DOWN! Alt.indie.pop with DCR


I’m pretty sure that the real reason behind Noel Gallagher leaving Oasis was to focus on a solo career (or at least a solo album), not because he hates his brother. Sure, words might’ve been exchanged but they would’ve simply been a catalyst for something bigger. Noel has always been the talented one. Don’t get me wrong, Liam’s got a masterful voice – Oasis were one of my favourite bands; their fi rst few records are outstanding – but whenever you hear a track featuring Noel on the main vocal you realise how much more accomplished a singer he is. Last week Liam debuted the first song from his new act Beady Eye, which is simply Oasis without Noel. It’s awful. Oasis’s last album, Dig Out Your Soul, was their worst – an overblown psychedelic mess that received far better reviews than it deserved. (And before you start throwing the expression ‘déjà vu’ around, Be Here Now was, and still is, a brilliant record. So too is Standing On The Shoulder Of Giants.) It’s no surprise then that Oasis broke up in the wake of its touring – obviously Noel woke up to himself and realised that what they were touring was absurd, and so he went his own way. Th is is evident in Beady Eye’s Bring The Light, which hits you in the face with all the grace of a curry belch. With a manic piano line reminiscent of Little Richard and gospel back-ups, it has the blueprints of being a great rock’n’roll revival song – but unfortunately it takes itself far too seriously and completely misfi res. It needs to tone down the product ion and ditch the piano (there’s a reason no other bands are pummelling keys like that these days). The lyrics are god awful and Liam’s delivery is tired. It literally sounds like he’s out of breath at the end of every line. It’s evident by the track that the genius of Oasis is Noel, not Liam. Sure, Liam’s written a good song or two – Songbird ’s a beautiful tune, but one has to now wonder if Noel had much input on it, because regardless of Liam writing and recording the song, it was released under the Oasis name, not ‘Over-inflated Ego’. Some might consider it unfair to judge a band on one song but when you know what they’ve done in the past you can quickly come to your assumptions. The album’s going to be terrible.




ith a little help from some famous friends like Gilles Peterson and Patrick Forge, not to mention the timing of Jazzanova’s fi rst emergence on the German scene, DJ/producer Alexander Barck says his jazz/elect ronica collect ive had a relatively easy start in life. Fifteen years on Jazzanova are undoubtedly one of the biggest proponents of nu-jazz, chillout and house, as well as among Berlin’s best-known and respected musicians. “I think it’s easier to be recognised if you do other st uff than all the rest,” claims Barck. “When we fi rst started with J-Nova there was a lot of techno and rock st uff going on in Berlin. We came up with some more music for the clubs. That wasn’t new outside of Germany though. People like Gilles Peterson, Patrick Forge and a small circle of friends helped to make a big wave coming back to Germany. The UK hype press pushed a lot of our remix work. Especially the Ian Pooley remix [1998’s What’s Your Number] that we did. And st ill people ask me if I can play it! I think there is not such a big moment, it’s more making steps and always finding a new territory to explore for us.” At the moment, Barck himself is exploring new territories with former Compost label mate Christ ian Prommer, with whom he’s releasing a 12” Alex And The Grizzly in February next year. “I’ve known Christ ian for quite some time now,” Barck states. “We were label mates on Compost back in the day and later I signed the Drumlesson project for our label Sonar Kollektiv. He is a brilliant engineer and is even teaching music product ion in schools. I had a quest ion for him to help me with Ableton Live. He showed me some tricks working on a sample I’d chosen and that became the fi rst tune for our album. We felt the communication flows perfect ly between us. And before I ended a sentence it was done. “We worked 12 days in Munich in Christ ian’s st udio and we did this album called Alex And The Grizzly, which are our nicknames! Everything

on this album was very spontaneous. We had a very good work flow. I even decided to sing a few tunes myself, which I never thought of doing previously.” Still, it’s Jazzanova that’s on the top of Barck’s priority list right now. Also consist ing of Class Brieler, Jurgen von Knoblauch, Roskow Kretschmann, Stefan Leisering and Axel Reinemer, Barck says Jazzanova hardly ever tours as a whole. “It’s always a quest ion of the budget. There are only two DJs in Jazzanova and the other one is busy with a little daughter. I never have sets, I bring a lot of music with me. Music I like, that’s most important. And then I play what I think fits to the people and the place. First of all, I collected music from every genre. The red line was always my taste. And my taste is not so special that nobody can follow it. Th is might come from my early teenage days, like The Smiths and Morrissey and more pop music. “‘Collect ive’ is a nice word to describe us but I act ually prefer ‘a bunch of people’. It seems that this ‘collect ive’ term impressed many, maybe because there are not many of them around. And in the beginning people told us we are crazy sharing all of the income. We st ill do this like in every company with a few owners. Our goal was always to be able to make a living from music without running after fashion waves or trends.”

WHO: Jazzanova WHERE & WHEN: Berlin Dayz at Roxanne Parlour Friday 19 November






haroahe Monch, aka Troy Jamerson, has had any number of comebacks, but this time he’s not going away. In 2010, the MC is on a roll – and globally. Jamerson is preparing to return to Aust ralia. He’s bringing his friend Jean Grae, “a fantast ic artist”. They bonded when Jamerson moved into the same building as Grae. The elite New York MC formed the pre-backpack Organized Konfusion with Prince Po in the 90s. The duo espoused a literary hip hop best epitomised by the powerful narrative Stray Bullet. The oft-underrated Organized Konfusion parted after 1997’s riveting concept album The Equinox. Two years later, Jamerson dropped the solo Internal Affairs on Rawkus. He enjoyed a crossover hit with Simon Says, but his album was pulled because of an uncleared Godzilla sample on the same track. (The classic Internal Affairs is being re-issued.) Alas, Jamerson’s career lost momentum. Rawkus was gobbled up by Geffen and the label shelved his follow-up. Jamerson nearly signed to Diddy’s bling empire Bad Boy, having ghost written rhymes for Press Play, but thought better of it. Along the way, the MC cameo-ed on a credible remix of Amy Winehouse’s Rehab. Eight years on from Internal Affairs, Jamerson finally resurfaced with the brilliant alt-rap Desire on Steve Rifkind’s SRC. It traversed everything from gospel to rockabilly, while Erykah Badu sang on the hip hop soul Hold On. Jamerson is due to release his long-awaited WAR (We Are Renegades) in early 2011, the lead single Shine featuring Jamerson’s back-up singer MeLa Machinko (Diamond D is behind the boards). “It’s really exciting for me,” he says. “I can’t wait to get it to the fans and the listeners because I put my heart and soul in it!” WAR is another loosely conceptual album from Jamerson, a buff of intricately plotted fi lms such as Pan’s Labyrinth and the animated 9. Its themes, he reveals, span “the war within ourselves to just be better humans, humanity, me getting older, illnesses, and my own issues of ast hma and just health issues – as well as authority, indust ry, police brutality and society...” Yet WAR is also

Jamerson’s “most cohesive record to date”. Above all, he wants WAR to promote dialogue on the matters it raises. The versatile Jamerson contributes production, alongside the likes of D12’s Mr Porter (who was involved in Desire) and Australia’s own M-Phazes. As for guests? How about Grae, Jill Scott and Living Colour’s Vernon Reid? WAR is musically distinct from the “inspirational” Desire. “The tone of this record is very serious – [but] not necessarily dark.” There will be uplifting moments, though. “Jill Scott did an amazing song called Still Standing, which is a very inspirational and hopeful song – and that’s produced by M-Phazes from Melbourne.” Prince Po, too, apparently materialises on WAR, yet Jamerson remains noncommital about an Organized Konfusion reunion. It’s more likely that they’ll tour together, he suggests. (“I speak to him on a regular basis.”) Jamerson clicked with Aust ralians on his fi rst tour – at 2008’s Good Vibrations, he was accompanied by a full band. The MC has worked with, not only M-Phazes, but also Hilltop Hoods. Jamerson promises to premiere some of his WAR material in Aust ralia, commenting “We both really appreciate being brought back over, so we wanna do our best. We’re rehearsing all this week.”

WHO: Pharoahe Monch WHERE & WHEN: Prince Bandroom (Melbourne) Sunday 21 November,

Transit Bar (Canberra) Thursday 25 November, Metro Theatre (Sydney) Friday 26 November



It’s been around 12 months, but Phrase is back in a big way. With an album due out March 2011, Phrase has dropped the album’s fi rst single Never Fade. The track features Phrase on a contemplative vibe, thinking back to days gone by. The hook features Phrase singing, and honest ly the product ion on this song sounds like it could be right at home anywhere from Triple J to Triple M. Phrase’s currentlyuntitled third album will feature product ion from Phrase and Jan of Crooked Eye/Jackson Jackson. In the meantime, you can catch the video for Never Fade on YouTube, at youtube. com/phrasetv, or buy the song on iTunes. Blue Mountains inst rumental hip hop act Hermitude are hitting up the Northcote Social Club early next month. These guys have performed alongside heavyweights from RJD2 and DJ Krush to Dizzee Rascal, and now it’s time for the crew to hold it down solo in Melbourne. Catch Hermitude’s Luke Dubs and Elgusto on Friday 10 December at Northcote Social Club. More info myspace. com/hermitude or Bias B is back this month as he headlines a big night of hip hop at The Prague. Honest ly I’ve never even heard of this venue, so we’ll cover that fi rst: The Prague is located at 911 High Street in Northcote. Bias will be joined on the night by Bigfoot and Mixa, plus support acts Klirx, Call & Response and six-piece hip hop act 12 Legged Beast. Th is one hits The Prague on Saturday 27 November, entry is only $15 on the door, plus there will be giveaways from You can’t lose. The Push are at it again with another free, all-ages gig. Th is time around it’s The Message, which will take place at Signal, Flinders Walk, Northbank (behind Flinders St Station). The Message will feature live performances from dance crews and MC’s Dig Deep Collect ive, Massive Hip Hop Choir, Group 120, Jungle City, MzRizk, Darebin’s young female DJ team Believe In The Beat DJs, young African hip hop duo Flybz, and dance crews Double Cross Krew and A2D. Plus you’ll catch Yung Philly playing host, and of course there will be free-for-all cyphers for both MCs and B-boys. The Message hits Melbourne from around 1pm on Saturday 20 November. More info thepush.




BRUNO MARS Doo-Wops & Hooligans (Warner)

VARIOUS Riddim Box: Excursions In The UK Funky Underground (Soul Jazz/Inertia)

Soul Jazz are perhaps one of the most reliable imprints in the world in regards to delivering comprehensive and original compilations to dance music listeners. From commemorating influential musical developments long gone (Dancehall: The Rise of Jamaican Dancehall) and movements still germinating (Box of Dub 1 & 2 – one of the earliest dubstep compilations) to exploring niche cultures (Nu Yorica! Culture Clash in New York City) and presenting idiosyncratic takes on formative genres (Steppa’s Delight), the label have consistently excelled as curators of the leftfield. It’s perhaps unsurprising to note, then, that Riddim Box – Soul Jazz’s debut compilation foray into the developing sound of UK Funky – is another exceptional piece of work from the imprint. Rather than attempting to provide a comprehensive overview of a genre still in its infancy, the label have wisely opted to handpick a series of cuts from across the culture’s entire spectrum – touching on the work of crossover artists like MJ Cole (who provides the grime-heavy, strings-enhanced Volcano Riddim) as well as less celebrated acts like Zumen (whose afrobeat-influenced Rolexx is an unquestionable highlight) and genre forefathers like Kode 9 (Black Sun showcasing just how far the Hyperdub head has moved from dubstep in recent years). The compilation’s greatest success is that it act ually manages to capture the excitement currently surrounding the genre while also providing ample just ification for such excitement. UK Funky’s percolating rhythms and austere product ions have often been viewed by skeptics as little more than a variation on dubstep’s formula but the consistency of quality and variety of sound chronicled on Riddim Box demonst rate that the genre is very much its own beast – and the raw product ion st yle of many of the tracks featured suggests the best of the genre is st ill yet to come. Highly recommended. MATT O’NEILL

Mars’ definitive falsetto range and ability to sound both mellow and lively at the same was fi rst introduced to the world via featured hooks in BoB’s Nothing On You and Travie McCoy’s Billionaire. With his fedora, acoust ic guitar and mini fro, this Hawaiian born newcomer continues to display his ‘chillax’ persona on his debut album Doo-Wops & Hooligans. Opening track Grenade is aggressively pop and gives off an unexpected Taio Cruz vibe, while fi rst single Just The Way You Are is slightly more generic than Billionaire or Nothin’ On You but st ill easily pulls on that feelgood nerve. Liquor Store Blues featuring Junior Gong Marley has been added to give some reggae authenticity but never comes off as a novelty track with its dub samples. Other tracks featuring that familiar

PARIS WELLS Various Small Fires (Illusive)

In 2010 it’s almost a given that, regardless from what scene an artist originates, elect ronic influences must now be incorporated into the sound. Despite her history being fi rmly rooted in blue-eyed soul, funk and hip hop, Paris Wells claims to have always been into ‘dance’ music and this secret passion has flowered on the Melbourne singer’s second solo album, Various Small Fires. A cynic might say another day, another artist goes electro. It’s not a complete fl ip-flop though as the album combines a wide range of musical influences with Wells’ sassy, sophisticated and still soulful vocals, vocals that suggest a life lived to the fullest. The changes Wells has undergone are well demonst rated by the first single, Through And Through, catchy modern disco which would

skank rhythm include the soulful vocals and standard baseline of Go With It and The Lazy Song – a relaxing track with a Gen Y flavour with lyrics such as “I’m gonna kick my feet up and stare at the fan, turn the TV on, throw my hand in my pants”. Count On Me’s positive vibe acoust ics are reminiscent of Jason Mraz’s I’m Yours and provide a glimpse of Mars’ past as a child Elvis impersonator, while energetic The Other Side, featuring fellow big voicer Cee Lo Green and old friend BoB, is one of those interest ingly undefinable tracks with elements of pop, drum’n’bass and dance with rap bridge thrown in for hipster kudos. Lyrically aligned to his lover-boy st yle, DooWops & Hooligans refreshingly contains simple, sweet lyrics and no random repetitive syllables or catchy new school phrases to add to your st reet vocabulary. JANN ANGARA

not have been out of place on La Roux’s album, the blues-cum-electro fireworks of How Many Moons and Goldie, on which Tex Perkins appears to help narrate the life story of a dominatrix. Didn’t see that coming... Yet for fans of Well’s earlier work there is plenty to like. On the title track she plays the troublemaker over a tidal wave of piano, Let’s Get It Started is as frenetic as it is French while the beautiful Believe In Me soars with its lush st ring sect ion. Keeping the twists and turns coming, Jenny is cryptically self-deprecating over a ska-ish bounce while the reggae skank of Mess Mr recalls the work of Blondie – at least until it unexpectedly breaks down into a humid bossa groove. On Various Small Fires, Well’s brash, sexy rawness is both highly engaging and entertaining; the challenge is for the listener to keep up with the constant changing of scenery. DARREN COLLINS



ONE TRACK MIND JAMIE LIDDELL I Wanna Be Your Telephone (Warp/Inertia)

EELKE KLEIJN Untold Stories (Manual Music)

The predominately progressive flavours of Rotterdam-based product ion wiz Eelke Kleijn have always been underpinned by layer-uponlayer of melody from the moment he announced his arrival with his pitch perfect 2006 anthem 8 Bit Era. He’s plied his trade in solid rather than spectacular fashion since, but his second longplayer Untold Stories sees him truly lay his skills on the table across a seamless 16-track select ion which is all but bereft of bombs. Sonically it’s as lush and as enveloping as one would expect of Kleijn’s work, but haunting st rings and woodwind (opener Ortni), majest ic lead guitars (The Lone Ranger) and big male vocals (Niels Geuzebroek on Will I Love) show the producer isn’t afraid to operate out of his comfort zone – even if some of his drum sample

VARIOUS/ ANDY C Nightlife 5 (Ram Records/ Inertia)

It’s been more than two years since the last release in Andy C’s highly successful Nightlife series, but just in time for summer Ram Records’ Big Cheese (and the man voted best drum’n’bass DJ ten years in a row) is back with the next installment. Nightlife 5 has a larger offering of tracks than previous editions, amongst which are included new Ram signings Wilkinson and Delta Heavy as well as some new and upcoming select ions from fellow label-mates Xample & Lomax and Culture Shock. Launching face fi rst into Spor’s Kingdom (which double-drops with Delta Heavy’s Space Time), Nightlife 5 takes the listener on a noisy 66 track expedition. The number may seem gargantuan but the songs are mixed quite short, generally no longer than three minutes each. Standout tracks include Perth boy ShockOne’s monster hit from 2009 Polygon, Marky’s remix of Bukem’s Atlantis, Drumsound & Bassline Smith’s Can You Feel It and of course the heavy drop of Sub Focus’ anthemic remix of Rusko and Amber Coff man’s Hold On. If you’re partial to a bit of quality d’n’b, Nightlife 5 is a great pick to guide you through the warm(ish) months. ESTELLE GONZALEZ


and synth patch select ions are baffl ing at best, jarringly out of place at worst. Tempo-wise Untold Stories for the most part lurks in downtempo range as one track undulates into the next, the stabbing synths and bass of Nu Gaat Het Los sounding like they’re itching to be pitched up to dancefloor speed before the elect ro-funk of Theme For Nosey gets you there. Fittingly old sparring partner Nick Hogendoorn stops by for the album’s biggest moment Compact – itself far from a monster tune – but it’s the ride that gets you there which is most beguiling. Untold Stories does have a story to tell – you might not get it fi rst time round, but when it starts to make sense you’ll be pleased Kleijn chose not to deploy the most lethal munitions in his arsenal this time round. But if he ever does, you’ll want to be there to witness his display of shock and awe. KRIS SWALES

BRIGGS The Blacklist

(Golden Era Records/Universal) An epic introduct ion to the self-released debut LP from rapper Andrew Briggs sets the bar for something exceptional across our waist line of Aust ralian hip hop. The Blacklist is shaped off the return from his smash EP Homemade Bombs. As the defiant lyrical onslaught cuts in, making local hip hop stand up and hear what the fuck Briggs has to state, the enormity of his heaving delivery pits the young MC as the love child of both the Hilltop Hoods and Funkoars, who both feature prominently on the 14-track Golden Era love affair. While Briggs bursts out like a hurricane on the mic, he finds room on vocals for BrothaBlack and Direct Influence’s Dylan Smith over key product ion from Suffa, Jaytee, a return from Trials, Pokerbeats, 76, Kelakovski and Merlin The Wizard. Is heavy-worded point is pushed, opening up a plethora of hard-hip hop on tracks like Since Forever. Lead single The Wrong Brother brings with it droning guitars and crashing drum patterns courtesy of Germany’s Merlin The Wizard, serving as a heavyweight highlight to The Blacklist which aptly closes on Gargantuan. RIP NICHOLSON

More post-Prince pop-funk from Mr Lidell, complete with the kind of seemingly ad-libbed hollering and messy faux-live arrangement that Prince himself rarely did but which signifies him anyway in this day and age. The trend is familiar, and I’m one of those philist ines who has never understood how Lidell’s efforts stand out from similar material from Beck, Basement Jaxx, Bilal et al, but this throwaway ditty remains reliably likeable. Comes with decent house mix from Tiga.

HECTOR & NATE Jomo (Scattermusic)

Melbourne label Scattermusic have carved out a niche by breeding 00s minimal house with 90s minimal techno, and while this probably fits the mood of the times, the results can tend towards grayscale. Hector & Nate’s Jomo is basically a kick drum and what sounds like a marble rolling down a stairwell. I cannot st ress how much you don’t need to hear it. But then the more upbeat Habbekrats, all cut-up vocals and pouncing piano stabs, is act ually marvellous, while Slurp is fine trancey minimal anthemics. What gives?


(Ninja Tune/Inertia) Hard to say what Ariel act ually is: kinda leftwing R&B with thumping digital bass, falsetto vocals (Jeff Buckley listening to nu-soul perhaps) and, um, Turkish guitar? It’s intriguing, but the song itself doesn’t do much for me. TIM FINNEY

3DPLAYLIST 3D 1. You Got To (Keep Movin) RAMON TAPIA 2. Heliscope GUY J 3. Street Spirit (Blunt Inst rument Remix) RADIOHEAD 4. As U Were LYRICS BORN 5. The Hits Collect ion Vol 1 JAY-Z 6. Dancing In The Dark (The Immigrant Radio Mix) SARAH MCLEOD 7. Bilder (Wiretappeur Remix) JOHN DIGWEED & NICK MUIR 8. Showdown THE VERSIONARIES 9. Point The Bone DUBMARINE 10. Choice: A Collect ion Of Classics VARIOUS/DANNY HOWELLS



LResponce act ually hosts a male st rip show every Saturday night, he’s their MC and he often uses his MC-st ripper-voice to introduce the band at the start of our shows as he would the male st rippers.” Host ing an all male st rip review is not your typical Aust ralian hip hop side project, but as Mr Moonshine, aka Jure Kodre – the DJ and producer behind Melbourne hip hop outfit The Psyde Projects – regales with this story, it seems like the most normal thing in the world, emblematic of a band that doesn’t take themselves or their music too seriously. “People usually have a really fun time at our shows,” says Kodre, and it’s true. Over the past few years the three piece – consist ing of MCs ILResponce (James Barr), D-Fro (Ben Echols) and Kodre – have garnered a reputation as one of Melbourne’s chief party starters. Their music pays homage to the hip hop of the late 80s and early 90s, but is very much seen through a 21st Century, contemporary Aust ralian lens – think De La Soul meets early TZU. Having cut their teeth on stages and dancefloors around Melbourne, The Psyde Projects were consequently faced with the challenge of trying to imbue their music with that some sense of energy and st yle when they embarked on their fi rst foray into the full-length recorded medium. “It wasn’t that hard to be honest ” says Kodre. “We had a bunch of songs that we used to perform live and when we were putting Welcome To Boomtown together we would basically choose the songs that were similar to one another and that worked well when recorded. I guess behind the album concept there wasn’t much thinking. A couple of us are pretty big vinyl collect ors, we collect soul, funk, rock, library records and we use the MPC, so it’s a pretty basic approach to beat making; it’s all about digging, fi nding the right loops and really getting a fl avour for the music. So in that respect , it all really just came together. But at the same time our sound is also evolving; currently we’re sitting on an EP which is already fi nished, but we are just waiting to release it at the right time and that EP sounds a lot diff erent to what’s on this album – it’s act ually quite clubby and elect ronic sounding.” Sonically, hip hop purist s will love Welcome To Boomtown. It’s an album that has been crafted by a group of producers with a genuine love of digging for, and sampling from, vinyl. It’s littered with funk, soul, disco and some amazing vocal samples. Aurally it is an album steeped in contemporary music making technique, but at the same time nost algically familiar and exceedingly fun to listen to. Such is

the group’s love of the vinyl medium that they prolonged the album’s release so they could afford to get it pressed up on wax. “Honest ly, this album has been two or three years in the making, only because we’ve been saving our money” comments an almost breathless Kodre. “We made the album from the money we’ve saved from shows, but for a while there, about two years ago, one of the MCs was unemployed, so that was hard, because every time we’d do a show he have to get paid from that, so it was just a st ruggle getting the funds together. But finally we got it – you know, we are offering the digital version free, because these days anyone can get anything of the net for free, so we figure, if you want to download it and spread the gospel and share it around then sure, that helps us, but at the end of the day, if you want a record you can buy it and it just feels good. It’s all shiny and packaged and colourful and hopefully we can keep the ball rolling, pay off manufact uring costs and press up more records.” With the rise in Australian hip hop’s popularity there is an increasing emphasis – primarily driven by money – on intricate, slick production techniques and sounds. Thus, there is an almost idealistic (yet refreshing) approach to the way The Psyde Projects create their music. “It’s a pretty simple process,” Kodre states. “You get a record, you loop it up, you sequence it on the drum machine, you either chop it up and change the original sample or you just leave it as is. You know, electronic music can be quite complex and layered with heaps of effects, but I guess with the kind of hip hop sound that we go for it’s all about the right sample, the flavour of it and then the lyrics. It’s not that complicated, it just all comes together as it does.” Perhaps Aust ralian hip hop’s greatest achievement over the past five years has not been its rise in popularity, but its ability to shed the stereotypes that once governed and defined what const ituted ‘real’ or authentic Aust ralian hip hop music and subsequently open the doors for a broad spect rum of groups and st yles to exist. The Psyde Projects are the epitomisation of this; here is a group that doesn’t rap in a broad Aust ralian accent, doesn’t have an overt focus on the ‘local’, yet they typify the latest crop of young Aust ralians redefining the Aust ralian hip hop landscape. As Kodre declares, “the music we make is not deep, it’s not personal, it’s not introspect ive and it’s not some lyricist being very philosophical. Where we are coming from it’s all about the party, but we’d st ill like to become synonymous with Aust ralian hip hop music, simple as that.” WHO: The Psyde Projects WHAT: Welcome To Boomtown (Groove Penguin Records)






he tried to stay away, but Aust ralia pulled her back in. And as much as Lady Erica is stoked to be back to her second home in Melbourne after a brief return to her native UK, garage and grime heads are just as ecstatic to welcome her back to Wobble this month – and she’s back to entertain rather than educate. “I’m not there to teach a lesson – I’m the person you need to see if you’ve had a crap week at work and you want to hit the dancefloor,” she states. Credited for fi rst introducing the garage sound to Aust ralian audiences in the early 1990s after relocating from England, she says it wasn’t an easy feat converting st ubborn Aussies to the hottest sounds from the UK. Almost two decades later, Lady Erica says she not only earned herself a fanbase in Aust ralia after introducing us to garage, grime and jungle, but also gained respect from the big boys back home. “At the time everybody else was playing house and techno in Aust ralia and I started playing garage,” she recalls. “I ran a weekly underground garage night for four years which was a long time even by England’s standards. To be running this night in the southern hemisphere with a small crowd meant that I got a lot of respect from the boys back home. I was one of the fi rst people to play dubstep and I remember playing it out somewhere and people were asking me, ‘is that the wrong speed?’ “When I first came to Aust ralia I was playing jungle and people weren’t into it at all. The fi rst gig I did in Perth I cleared the dancefloor, everyone was like, ‘what the fuck is this music’, they hated it. But it wasn’t for long because I was one of the fi rst people that played Dizzee Rascal in 2004 and he’s huge now and doing fest ivals. Dubstep has grown massively in the last seven years.” It wasn’t just new music that Lady Erica pushed to introduce into Aust ralia – it was also respect for female DJs in general that she worked to establish both in Melbourne and in the UK, having had to prove herself in the male-dominated world of dance music. To make matters even tougher, she says her skin colour didn’t help in the beginning either. “In the UK if I booked a gig the response a lot of the time was, ‘when’s the real DJ coming in?’,” she recalls. “That was pretty frust rating. Because I was host ing on pirate radio at the time, playing some rare funk and disco, I was also very well spoken. Most of the time they would be expect ing a white chick to come and I’m black, so it would be like, ‘oh… hello’. Act ually I fi rst met MJ Cole through the pirate radio because I did an interview with him on the phone for my show. When he did his fi rst gig here we met up and kept in touch by email because he was my absolute idol. I was so starry-eyed, like, ‘I can’t believe I’m meeting you!’, and he was like, ‘what the fuck’s wrong with you, close your mouth!’.” It didn’t take long for Lady Erica and MJ Cole to form a solid friendship


which is st ill going st rong to this day. In fact, as she reveals, it was he who gave her the title ‘Lady’ all those years ago. “He said to me at one point, ‘you know, you’re a classy bird, you should be Lady Erica’ because I was known as just DJ Erica at that time,” she giggles. “He’s st ill bringing out absolutely storming tunes, he’s just amazing. I mean, I think of him now as just one of my mates, but then he’ll play you a tune and you’ll be like, ‘fuck this is awesome!’ and you kind of remind yourself who he is and you look at him in a different way.” That was earlier in the year, adds Lady Erica, before she made the decision to return to Aust ralia – and permanently this time. One reason was her love of Melbourne, while the second was the disappointment she

experienced upon her initial return to the U.K. “When I came back to England the good thing was that I was where the centre of the act ion was, I thought. I got to hang out and spend more time with my favourite producers like MJ Cole, but what wasn’t cool was that there weren’t that many parties which was ironic. Hardly anybody plays garage now. Maybe there’ll be a revival night once in a while, but most ly there are lots of problems with violence. My cousin has a bar in the UK and they have to ask for police permission to put on parties… It’s bizarre. People would get shot at these parties and even if you’d DJed at a party where there’s been problems, they won’t allow you to DJ if you try somewhere else. Then there are also residents moving into the city centre and complaining about the noise. Even the rest of Europe, there were fuck-all gigs to play at. There’s no grime whatsoever, it’s only played on pirate radio which is only because people can’t put parties on in the fi rst place unless they’re illegal.” Though not without issues of its own, Aust ralia luckily does not face the same problems. “In Aust ralia you can be out all night and no-one’s going to get shot, which is nice,” she says. “I was at a party in Brixton and halfway through a fight broke out and glasses started getting thrown. We had to duck and hide in the DJ booth because we were just waiting for someone to get shot. Stupid political shit doesn’t affect Aust ralian’s right to party and dance. Th is is how it should be.” WHO: Lady Erica WHERE & WHEN: Wobble at The Night Owl Saturday 20 November



DJ TOTAL ECLIPSE (X-ECUTIONERS) WHERE AND WHEN WAS YOUR FIRST SET? “My fi rst set was DJing at a friend’s party from my neighborhood in Brooklyn when I was in high school. To this day, that gig was the most nervewrecking. By the end of the night I was the man. That party was my fi rst test of confidence as a DJ.”

“My favorite clubs here in Melbourne are Q Bar, One Six Five, Colonial Hotel, Fabrique.” WHAT’S YOUR BEST ALL TIME GIG? “The MTV tribute to Aerosmith. So many lights, so many people and I was live so I only one shot to rock with no mishaps.”



“Chic – Good Times. Learning how to DJ in Brooklyn, you had to own two copies of these.”

“Janet Jackson looking at me rising the roof while I was spinning.”



“DJ Clark Kent, DJ Pete Rock, Kenny Dope, Armand Van Helden.”



“Bangs – Take U To Da Movies.”

WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “My family is very proud of me. I am happy doing what I love and worked so hard on since I was a child. It’s a profession that has enabled me to help take care of myself and loved ones.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “I think the clubs need more skilled DJs which will make the club promoter respect the artform of DJing a bit more for what it’s worth.” WHAT GIGS HAVE YOU GOT COMING UP? “ Q Bar Saturday 20 November.” PHOTO BY KANE HIBBERD


DJ STIFFY’S WIDE WORLD OF SHORTS IS IT MY IMAGINATION OR DOES KID CUDI COMPLETELY SUCK BALLS? So, anyways, there I was a couple of years ago thinking about how much progress the world has made in the past decade. (To think that in the ‘olden days’ people act ually had to pay money for pornography!) And then some fucking arsehole decides to put on the fi rst Kid Cudi album and completely fucking ruin my day. I mean, really, if I want to hear someone complain, I don’t need to hear some fucking rapper with a contract on Kanye West’s label do the complaining, and I certainly shouldn’t have to pay to hear someone who’s about to get his dick sucked by large numbers of groupies complain about being lonely, or being on the moon, or being lonely on the moon, or whatever, and since when did going to the moon become a fucking analogy for being depressed anyway, and the last time I looked, getting in a rocket and flying to the moon looked like it might act ually be pretty fucking exciting, I mean, ask the nearest four-year old what the fuck he’d think about going to the moon, and you get pretty fucking fair assessment of what it might act ually be like. So, anyways, we have to put up with the whole Kid Cudi schtick again (and no, arsehole, I’m not unnecessarily using the shift key just so I can spell your name the way you want – that shit went out with calling yourself ‘sonicanimation’), so now, Goths have decided once again it’s okay to like hip hop, and people who I thought were B-boys think it’s okay to sit around and fucking complain about their metaphysical state, at which point I should remind them that this is hip hop, and you’re only allowed to complain about one thing – ie the correlation between mo’ money and mo’ problems. And, no, I haven’t act ually listened to the album. I’m going to leave it until it’s absolutely necessary, ie when there’s a slightly angst y looking dough-eyed girl in her late teens standing at the bar, y’know, who looks a little more sensitive than her friends, looks as though she likes reading, got into a bit of Sylvia Plath at high school. At which point I will ask her if she’s heard the new Kid Cudi album, and only when she’s act ually in my living room wearing nothing but her heels will I even contemplate putting it on.

1. Got That Feeling COHEN & LEVI


2. Jumping (Santiago Moreno Re-punch Remix) MIXTLI BEAT


3. Pon De Floor MAJOR LAZER

5. Herbert LUCA ALBANO & ZIMON 6. When It All

Comes Back (Sasch BBC & Caspar Remix) SUB_ COMPRESSION 7. El Mambose DJ MYRLA & CAMILO DO SANTOS

8. Diskonnect ZOUTMAN 9. Sense (Oleg B Breaks Remix) OLEG SOUL 10. Sense (Ricky Inch Remix) OLEG SOUL


It was reportedly three months in the making, and you can certainly see every second of that time reflected in the results of the new Bliss N Eso fi lm clip Addicted. Animated old school stop motion animation st yle in a West Auckland warehouse using over 2,200 photos of the work of graff world superstars Askew One and Deus, it’s a work of art which perfect ly syncs with the part hip hop, part drum’n’bass-esque rhythms of the track in quest ion...





HOW DID YOU GET YOUR DJ NAME? “My name came about when I discovered a record by Pharoahe Monch called Simon Says, the B-side of the 12” had the acapella, so after being able to scratch my name while spinning I was sold. Sold I tell ya!”

WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “Two midgets breakdancing on a magical journey to Timbuktu. Shroomed!”

IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “I play a mix of R&B, hip hop, mash-ups, Bmore, elect ro breaks.”


WHAT TRACK TURNS YOU ON RIGHT NOW? “Heavy D – We Found Love (Dublin Aunts 2010 Remix).”

WHAT MADE YOU START DJING? “The love of music and being able to throw my creativity in the mix to create a formula for dancefloor mayhem... plus drinking on the job!”


WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Too many and anything with Fatman Scoop all over it!” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Cool but idiotic for the place I was playing, The Choirboys – Run To Paradise – and yes he was rocking a flanny!”

WHERE & WHEN: Faktory at K-BAR every Friday


1. Stardust JIMMY LE MAC 2. Lose Contol MIDNITE SLEAZE 3. Gotta Leave Now (Infusion Flaming Disco Mix) INFUSION 4. Day Into Night KATALYST 5. Dark Matters AGENT 86 6. Long Time 2010 (Lazrtag Remix) STATIC REVENGER VS ANGGER DIMAS 7. Get Busy DARREN GLEN 8. Perception ELECTRIC WIRE HUSTLE 9. Universal Cryout MATA & MUST 10. Carried Away BTK FEAT CHRISTA


The record label of Swedish super group ABBA have hit out at Aust ralia’s multitude of ABBA tribute bands, alerting groups that they must cease using any derivation of the famed pop band’s name. In a move that st rikes at the heart of ABBA’s most dedicated fans, Polar Music International (a division of Universal Music) have told impersonators who make their living by singing such classics as Dancing Queen, Fernando and Ring, Ring, Ring that they are “act ively seeking to create clarity in the names



THE IDEA BEHIND OUR NIGHT IS… “Pretty simple – get the world’s best acts, over 30,000 people and amazing venues with a great ticket price. Heaps of new bars and new stages. We always have an amazing day with new and old friends.” WE’LL BE PIMPING THE SOUNDS OF… “Everything from elect ro, trance and techno to dubstep – and everything in between.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Tiësto, Calvin Harris, Carl Cox, Major Lazer, Afrojack, Ricardo Villalobos, Luciano and the list goes on and on.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Increased bars and toilets at all shows. It’s pretty awesome.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Good times.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Stereosonic has quickly grown in to Aust ralia’s largest dance music fest ival catering for the discerning fest ival lover with state of the art facilities, fair ticket prices, our gold class VIP sect ion is ace and there will be some amazing lighting, lasers and other suprises at all shows.” WHERE & WHEN: Stereosonic at Melbourne Showgrounds Saturday 4 December

of all ABBA tribute bands around the world”. Aussie group FABBA have declared they will not change their name on the grounds that their band haveoperated for 15 years and registered their name as a trademark over ten years ago. In other random court related ABBA news, former member Anni-Frid Reuss is embroiled in a bizarre legal battle to recoup £4.5 million she gave to a Buddhist monk. The three-timesmarried singer, 64, whose fortune is said to be more than £100 million, gave monk Marcus Bongart funds to build a temple in her home of Sweden. But now she claims the money was a loan not a donation and has fi led court papers in an attempt to recover it. Bongart claims Anni-Frid wants to bankrupt him, take control of the temple and turn it into a hotel. Moral of the story – don’t mess with ABBA, they will sue you...



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SUSHI SNAPS 1 Khokolat Koated @ Khokolat Bar 2 Kiss FM

3 Mama Said @ Circus 4 Miss Libertine Fourth Birthday


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CO. Girls on Film: Stand And Deliver, DJ Petar Tolich. 9:30pm. Free before 11pm. LUCKY COQ Coq Roq!: DJs Lady Noir, Agent 86, Kiti, Mr Thom, Joybot. MISS LIBERTINE For Walls Gallery: Opening Night A3 Small Art Show. 6pm. MISS LIBERTINE FRONT ROOM Elements: MzRizk, TakaCO, Billy Hoyle and Amin Payne. 8pm. Free. MISS LIBERTINE BACK ROOM 6 Feet High and Rising!: Julez, Dragonfly, Defron & Ilyak, Next Stop Automatic. 8pm. $5. LOUNGE PCP, Matty Radovich, Fixd, Amy Matilda, Mahatia. 9pm. NEW GUERNICA Fromage Disco. Free. REVOLVER Lost & Found: DJ Spidey, DJ Punk Drunk Damo, DJ Adalita. 7pm. Free.

THURSDAY CO. Funhouse: Finlo White, Scotty E. 9:30pm. Free before 11pm. THE ESPY BASEMENT Redcoats, New Birds, The Decoys. 9pm. THE ESPY LOUNGE Rhymada, Arkayan, A Lonely Crowd. 9pm. 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, Smile on Impact. 9pm. LOOP Mood: Tuan Besar, Johan ELG. 9pm. Free. LUCKY COQ Free Range Funk: DJs Who, Agent 86, Lewis CanCut. MISS LIBERTINE FRONT ROOM Knee Deep: Louis McCoy, Luke Bruin & Mack the Knife. 8pm. Free. MISS LIBERTINE BACK ROOM Creatures of Karma with Bushido Fields, Straight No Chaser. 9:30pm. $6. NATIONAL HOTEL Spit Syndicate, The Tongue, Class A. 8pm. $12 + bf (pre-sale)/$15. NEW GUERNICA DJ Negativ Magick, Post Percy, Nu Balance, James Kanes. 10pm. Free. REVOLVER 3181 Thursdays: DJs Hans DC, Who. 6pm. THE TOFF Cumbia Cosmonauts, Tijuana Cartel, Busby Marou, DJ Simon Winkler. 8pm. $10/$15. TRAK The Factory: The Aston Shuffle, DJs Ken Walker, Mitch Kurz, Tom Evan, Ed Vine and more. 8pm. $17/$12 guestlist.

FRIDAY 3D Rave Of The Dead: DJ Hellraiser vs Satyriasis, The Engineer, Dep Affect, 6head_slug vs Remane, DeX vs B.C.D. & Chris Dynasty, Soul-T, St. Luke, M-Experience, X-Statik, Kid Dyl, Raving Alco vs Gazmatron + open decks. $18/$14 Guestlist. ABODE NTI: Steve Punch, Jon Montes, Syme Tollens. 10pm. BILLBOARD Bag Raiders, 1928, The Holidays, Flight Facilities. 9pm BROWN ALLEY Alex Smoke, Anthony Pappa, Rollin Connection, Gavin Keitel, Aaron Smiles. CO. Papparazzi: DJs 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 Mu-Gen, NXR. Free. FIRST FLOOR Blak Roots Band, DJs Jono, Binghi Fire & Comerade Dubs, So Fire, Mr Fish, Manchild 6:30pm. Free before 10pm.

FUSION Sounds Of Fusion: DJs Phil Ross, Dean T, Travis G, Johnny M, Atomik. 9:30pm. $10 guestlist/$15. THE HI-FI Electric Wire Hustle. HOME HOUSE DJs Jim Danza, Herbee, Syme. KHOKOLAT Faktory: Damion De Silva, Ken Walker, Durmy, K Dee, Simon Sez, Yaths, Jacqui Dusk. 9.30pm. LA DI DA Like Disco: Luke McD, Phil K, Mark Pellegrini. LOOP The Nice & Ego Show. 10pm. LOUNGE Baambaataa First Birthday: Timmus, Mr Magoo, Nick Verwey, Hey Sam, Popeye, Tom Ellis, Mr Moonshine. 9pm. LUCKY COQ House Party: Matt Rad, Mr George, Tom Meagher, Phato A Mano. 9pm. Free. MISS LIBERTINE Purple Sneakers: Young Heretics (Live), The Cairos (Live), Animals (DJ Set, Kyu DJ Set, The Phonies (Live), Strangetalk DJs, Wildlife DJs, Badhorse, Nouveau Riche. 9pm. $12. PRINCE BANDROOM Noisefest: Akil, Louis Logic, King Kapisi 8pm. $35 + bf (pre-sale). REVOLVER FRONTROOM Dane Rumble. 9pm. $8 + bf (pre-sale)/$10. REVOLVER BACKROOM Revolver Fridays: Mike Callander, Katie Drover, Luke Bowditch, Tom Lally, NQR Crew, Anyo, D-Manual, Chardy, TBIB, Aaron Trotman, Nick Young, Tom Evans, Sunshine. 10pm. $8 before midnight/$15 after. ROOM 680 Quantize, Liquid Soul. THE TOFF Poprocks: Dr Phil Smith. 9pm. Free.

SATURDAY ABODE Secret Room. 11pm. BIMBO DELUXE Phato Amano, Adam Askew, Peter Baker, Sam McEwin. BROWN ALLEY Twisted Audio: Futurebound, Utah Jazz, 12th Planet, Makoto, MC Lowqui. 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. Envy: Jade Macrae, Finlo White, Joe Sofo . 9:30pm. $12 guest list/$15 on the door. EUROTRASH Clique Party: 1928, Tranter, Sleeves, Supremes, Mu-gen, D.Ceed, Pingu. 8pm. $5 before 10pm/$10 after. FIRST FLOOR Smile On impact, Simon Sez, Paz. $10. FUSION icious Cuts Tour: Lorne Padman & SGT Slick, Tate Strauss, Dean T, Johnny M, Nova. 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 The Slow Ride album launch. 5pm. Free.. LOOP It’s Your Th ing: Mr Moonshine, iLLResponce, D’fro, D-Visual, Sketchenry. 10pm. LUCKY COQ Textile: Pacman, Jean Paul, Sam McEwin, Tahl, Kodiak Kid, Moonshine, Ash-Lee, DJ Volta. 9pm. MISS LIBERTINE Babe In The Woods: Spoonbill & Dropbear, Dysphemic + Miss Eliza, Editor + Phaic, The Nomad, The High Society, 8Bit Love, Julez + Sizzle, Able + Syreneyiscreamy, JPS & Kodiak Kid. 9:30pm. $15. NORTHCOTE SOCIAL CLUB Danimals, Kyü, Domekyo/Gonzalez.

THE NIGHT OWL Wobble: Lady Erica, Cubist, AC23, Spinfx, Retsa, Woz, Wasp, Fraksha, Scotty Hinds. 10pm. ONESIXONE Audioporn: Agent 86, China, James Ware. 8pm. PRINCE BANDROOM Superdisco: Harris Robotis, Cassian, Sunshine, Tyson O’Brien. 9pm. Q BAR Sweat: Total Eclipse, Agent 86, Kuya, Eddie Mac, MJ. 9pm. $15. REVOLVER The Late Show: Ransom, Nick Thayer, Paz, Dust, Nikki Sarafian & Jake Judd, Planet Jumper, Tamas Jones, Who, Boogs and Spacey. 11pm. SUGAR Homebass Launch: DJs Anferny, B-Dub, Ken.T, Kylie Chambers, Minus 1, Donka, Brother John, Clyde. 9pm. Free before 10:30pm/$10 after. THE TOFF The House de Frost: Andee Frost. 12am. Free.

SUNDAY 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. FIRST FLOOR Supa Fly Sundayz: DJs Duchesz, Dusk, Ayna. 8pm. Free. FUSION Sunday Sounds: DJs Marcus Knight, Mr Timothy, Dean T. 9:30pm. $10. 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 Ghetto Arts Live Sunday: DJ Sizzle, Ghostsoul, The Phonies, The High Society. 5pm. $5. NEW GUERNICA Spike, Faux Real. 8pm. Free. PRINCE BANDROOM Pharoahe Monch, Jean Grae, Percee P, M-Phazes. PRINCE BALCONY Blow Your Own Way Day Party: Vince Watson, Christian Vance, Craig McWhinney, Claire Morgan, Myles Mac, Lou-is. 2pm. $15. REVOLVER Boogs, Spacey Space, Radiator, T-Rek. $15. REVOLVER Sunday Summer Series: Alex Smoke, Martin Buttrich, Mike Callander, Dave Pham, Virginia Le, Nick Young, Aaron Trotman. 7pm. THE TOFF The Sunday Set: DJs AndyBlack and Haggis. 4pm. Free PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.




TO JAT OR JATZ? THAT IS THE QUESTION Arnott’s Biscuits knew what they were doing in the late 1950s, hitting the television for the first time to advertise their Jatz Crackers with the immortal line “The Great Entertainer”. Some sources say that this advertising campaign was so powerful as to spill out over national boundaries and influence generations of entertainment industry identities, including, of course, Jay-Z. The only difference being that Jay-Z sold crackers, and Jatz is a cracker. Or something to that effect. In the 50-odd years since the advertising blitzkrieg, there is still one question remaining. One that has caused more controversy than the argument over how to pronounce the word “controversy”. If a box of crackers contains Jatz, then is a single cracker a Jat? In reality the humble Jat has long since been incorporated into the linguistic evolution of the English language, with the days of Shakespeare’s infamous and emotive exploration of personal identity in the line “I am but a Jat amongst Jatz” brushed aside like so many celery sticks at a dinner party. This is not so much by plan as it is the utilitarian grouping of like language. The Jat has become Jatz in amongst the other pluralised foods of


the planet, including fish, sheep, deer, moose, bison and aircraft. All of which are the staple foodst uff for generations of humanity. It is fitting to note that the evolution of language moves across linguist ic boundaries, with a clear tangent between the Jatz and the French term hors d’oeuvres, meaning “an appetizer or food item served before the main meal”. Since the late 1950s advertising campaigns, the Jatz has been a common attribute of the Aust ralian understanding of hors d’oeuvres – although again, being the bogans of the southern hemisphere, the term has been incorrect ly applied. Were the linguist ic channels uncrossed, we would be served a Jat as an amuse-bouche, meaning a “mouth amuser”. Th is might seem like a dangerous or exciting thing to order at the tail end of an all-night bender in France, but the term refers to a single bite snack that is created at the whim of the chef alone. In this way, the pre-loaded party Jat would be correct ly defined. Alas, as the world steams on with its internetz, lolcats and Ke$ha, our (mis) understanding of our cuisine, and indeed out very identitiez, moves with it... DAVE DRI


FORMAL CHARGES Hannah Williams and Savannah Subski were planning to attend a school formal together when the headmaster determined that the couple were not allowed in, because Savannah is only in year ten. But that wasn’t the real reason. The real reason was insufficient gender diversity. Specifically, Hannah and Savannah are short one penis. Apparently the staff at Ivanhoe Grammar School are confused about the ingredients required for a gay relationship. You can’t just introduce a penis into a lesbian relationship and expect it to work. The school might also want to brush up on their definition of ‘discrimination’ because their attempt to oppress the openly gay couple has backfi red spectacularly. The story went viral and the school is now floundering around attempting damage control. I couldn’t get a date for my school formal. I showed up alone. They should’ve banned me from attending. I just bummed everyone out. So if you’re lucky enough to find a date for your school formal, the last thing you need is for your teachers to tell you your date isn’t acceptable. If Hannah was bringing a 45 year old ex-con to the dance and he started dealing heroin to the other st udents there may be grounds for concern. Given the rampant homophobia on display, the theme for the dinner-dance must be something like ‘The Dark Ages’. They seem to want their st udents in some kind of Picnic At Hanging Rock time warp. But if no gay st udents are allowed at the dance, where does the discrimination end? No fat st udents? No ugly kids? No inter-racial couples? Pretty soon no one will be allowed. I think Hannah and Savannah have dodged a bullet by being refused entry. It sounds like it’ll be a crap night. But that isn’t the point. They deserve to have the same crappy time as their fellow st udents. So it’s great that they’re fighting the decision. And Ivanhoe Grammar School must be wishing they’d never opened this can of worms. Do they honest ly care if two girls show up at the formal together? Perhaps the school get a percentage of every tuxedo that gets rented? Maybe if Hannah agrees to wear a tuxedo, the school might feel more comfortable. DAVE JORY


HARRY BROWN GIVEAWAY Micheal Caine gives one of his most powerful performances in revenge thriller Harry Brown. Harry Brown (Caine) is a law-abiding retiree and widower who lives on a rundown housing est ate. When his best friend is murdered by a gang of thugs and the police seem to be indifferent to the case, Harry feels compelled to act . Dispensing his own brand of just ice, he begins to clean up the st reets from the hooligans who have taken control, bringing him into confl ict with the law. In a chaotic world where drugs are the currency of the day and guns run the st reets, one man takes a st and. 3D World have five DVDs of this intelligent thriller to giveaway. For your chance to win email your name and address to with HARRY in the subject line. Entries close Friday 19 November.


Damn You Auto Correct! is part of the Pop Hangover network (some of their other sites include Lame Graffiti and Funny Receipts) and even though it was only launched in October this year, it attracts thousands of visitors everyday. Anyone who uses an iPhone or other touchscreen keyboard will be familiar with the “helpful” Auto Correct feature – while you are typing it changes words based on what it thinks you’re trying to say. Unless you’re the type that proof reads all your text messages, hilarity can ensue. Users send in screen grabs of funny, embarrassing and sometimes inappropriate messages they have received or sent. Design: Looks like an advertisement so designwise it’s a bit of a fail, but you’ll be too busy laughing to notice. Recent Posts: November 6: CONSIDERATE CO-WORKERS “Oh my god I get so cranky when I don’t eat. My co workers start dropping off poofarts at my desk so I stop snapping at them!!!... Waaahhh POPTARTS!!!” November 7: QUERTIAN SLIP “Wow, They didn’t even open up my vag. They just squished it a little….Wow. Bag. Best typo ever.” Quality Of Content: The content is user generated and different people laugh at different things, but the administ rator does a good job of choosing which Auto Correct slipups will make it onto the site. Frequency Of Updates: Usually several updates a day. Downloads/Streaming: There are very few videos. No downloads. Audience: Users of iPhone or similar will be able to relate more easily to the content but anyone can appreciate the humour. Some of the messages may refer to products or places that those in other countries may not recognise. However, any confusion is usually cleared up in an accompanying blurb.




FALSE ADVERTISING Recently, I was st ruck down with a horrific disease. Influenza might not sound that lifethreatening, but when you’re lying in bed running out of orifices to breathe out of, you know that influenza is hell. Luckily, illnesses like this are unusual for me now, but in the bad old days before I discovered hygiene, I was constantly being st ruck down by even the weakest st rains of mucus-creating bacteria. Back in those days, a large part of my day involved buying things that claimed to be good for me. I would stagger down to my local supermarket and make purchases based purely on the outlandish promises they offered me about wellness. Juice companies can be notorious for making unrealist ic claims about what they could do for you. There was a time when you could find juices like ‘smart juice’, that made you think clearer, Noni Juice, which could cheer you up, and Goji Berry Juice, which could cure cancer. I also enjoyed making purchases like teas that claimed to calm you, invigorate you, or even put you to sleep. And let’s not forget the dairy isle of the supermarket, where you could find dairy products that allegedly made children’s brains grow bigger.


Those were the good old days, where a feverish, disoriented and easilyinfluenced sick person was simply told what to buy by reading the outrageous claims made on the labels of different foodst uffs. And then everything changed. With st ricter advertisement rest rict ions now in place, claims like “purchasing and drinking this juice will stop you being sick” are forbidden under false advertising legislation. Now, you can’t even claim to be the “next best thing to fruit and vegetables” anymore, as was the case for Juice Plus, a dietary supplement pill, who found themselves being hounded by an annoying bunch of medical dogooders. So during my recent illness, as I feverishly staggered through the harshly lit isles of my local supermarket, I found myself without the help and compassionate guidance of this fact ually inaccurate advertising. I was forced to think for myself as I chose items to buy, and as a result, I just grabbed blindly at items without direct ion or explanation about what they might do for me. Thanks a lot, board of advertising and various medical bodies – now I don’t even have the comfort of false advertising to get me through my illness. I hope you’re satisfied. HOLLY HUTCHINSON




Looped techno was a phase as much as a genre in itself. Detroit’s Jeff Mills pioneered minimal techno along with Robert Hood in the early 90s. (Also act ive were figures like Daniel Bell.) But Mills, a techno Steve Reich, was chiefly responsible for popularising the “DJ tool”, as he called it. Mills introduced his Purpose Maker imprint (an Axis Records offshoot) for these looped techno tracks. Techno’s DJ tools were st ripped-down pieces of music that used looped or repeated rhythmic patterns and phasing. A DJ would mix, and manipulate, them to create the larger ‘composition’ of his set. Mills often played just a sect ion of a record in his quick-mix st yle. (And he traditionally DJed on three turntables, embellished with a 909 drum machine.)



The best known of Mills’ DJ tools was the infamous The Bells with its chiming cymbals – it’s still deemed his signature record. The Bells proved so versatile that even those techno DJs antithetical to a harder sound, like Derrick May, played it. Mills’ percussive records were widely copied. As such, techno became harder and tougher – with most ly dudes attending the parties. The UK’s Surgeon and his cohort James Ruskin adopted a Millsian sound. Ben Sims, like Mills, had a hip hop background – and formidable turntable skills. Only Oliver Ho tapped into Mills’ occasionally abst ract (and textural) approach with his deep tribal techno. And it wasn’t just the Brits into the Millsian ethos. Before the Swedish House Mafia, there was a Swedish Techno Mafia led by Adam Beyer. Th is contingent was ferociously prolific with their utility techno – and, in fact, by saturating the market, they precipitated its demise. Many late 90s DJ tools were generic – and boring. At around the same time, the indust ry started to experience the effects of the Internet. Dist ributors st ruggled. Techno

crashed – and was superseded by elect ro(clash), which ushered in a discernible musicality and personality. Mills has suggested that (electronic) music relies on cycles and minimalism is part of that cycle. By the time looped techno began to fade, he was already experimenting with epic soundscapes. Mills came full circle when, in 2006, he performed The Bell live with the Montpellier National Orchestra (check out the CD Blue Potential). That same year Mills released a DVD to mark The Bells’ 10th anniversary, testament to its influence. In the mid-2000s techno made a resurgence – and was rebranded as ‘minimal’, but this reincarnation was closer to German micro-house.







WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “Electro. That cheesy electro sound makes me want to stab myself in the ears.”

“I love everything Dirtybird releases, but this was the song that really introduced me to the whole quirky minimal sound, with influence from Hyphy and Juke. Perfect track.”

WHO INSPIRES YOU MUSICALLY? “Jamiroquai. So unique yet so funky!” NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “Danny Serrano & Hector Couto –Murmullos, Jazzmopper J – Or The Highway, Lil Louis – Club Lonely (J. Cub Remix).”

TELL US ABOUT A CLASSIC CLUBBING MOMENT. “Getting a photo next to a girl who was on top of a guy and her arse cheeks were hanging out.” SPIKE MILLIGAN QUIPPED HE’D LIKE HIS TOMBSTONE TO READ ‘I TOLD YOU I WAS ILL’ – WHAT WOULD BE ON YOURS? “Shut up I’m sleeping!” WHERE & WHEN: Cushion Lounge every Saturday, Boutique Every Thursday, Kick Start Summer Beach Party at St Kilda Foreshore Saturday 27 November


ELECTRIC WIRE HUSTLE DOUBLE PASS Developing their own sound and twist on modern hip hop, psychedelic and soul, New Zealand’s Elect ric Wire Hust le have forged a fresh sound that challenges genre boundaries and preconceptions. Since forming in 2007, the trio of Mara TK, Taay Ninh and Myele Manzanza have performed all over New Zealand and Europe and supported the likes of UK soul singer Alice Russell, Japan’s DJ Krush, Grooveman Spot and US.psychedlic soul outfit SA-RA Creative Partners among others. Now it’s our turn to experience Elect ric Wire Hust le when they bring their bangin show to The Hi-Fi Friday 19 November. 3D World have one double pass to giveaway, for your chance to win email with EWH in the subject line. Entries close 9am Wednesday 17 November.


WHERE & WHEN: Eurotrash every Saturday, Love Story at the Toff every Thursday, Fashion Keyboard every Friday, Pogo at Inflation Thursday 25 November, Summadayze 2011 at Sidney Myer Music Bowl Saturday 1 January, Falls Fest ival (Lorne) Saturday 1 January

ARTFUL DODGER FEAT CRAIG DAVID REREWIND (Sony Music), 1999. “Obvious but greatest example of UK garage and two-step. Set the standard for the whole genre, and st ill has an impact on pop and dance music now. Bo Selecta!” BLACK LEGEND YOU SEE THE TROUBLE WITH ME (Vendetta), 1999. “One of the catchiest house songs ever, and is st ill relevant 11 years after being released. I remember as a young kid going nuts to this and st ill do!”



Canberra artist Luke Cornish, aka E.L.K, last week took out the 2010 Aust ralian Stencil Art Prize for his stencil artwork titled Saul Williams, Cornish’s photo realist stencil of American poet, writer, actor and musician Williams impressed judges with its technical brilliance. Cornish has spent the past six years developing his own st yle of painstakingly detailed stencil art. The softly spoken artist explains that he originally started experimenting with stencils as a healthy and creative past ime. “It just kind of happened. I needed a hobby – something to do that didn’t involve getting smashed every weekend.” He is self taught and was drawn to stencils over other art forms because of their st ruct ured results, he explains. “To me it’s all about control. I found with graffiti I get frust rated – I never know when it’s finished, I just keep adding and taking away but with stencils you know what you’re going to get. The process of cutting it out is almost like meditation for me. I

can just tune out, just zone out.” Cornish has certainly mastered his hobby and earned himself a st rong reputation amongst the local and international art world. He won the prize for Most Popular Piece at the Melbourne Stencil Fest ival Poster Competition in 2008 and was runner-up in the Aust ralian Stencil Art Prize in 2009. His work has also been exhibited in the USA, Iran, Germany and Britain. After seeing his work it is difficult to imagine how something so photo realistic can be made with a spray can. Cornish spends up to 200 hours on each artwork, creating the stencils by methodically cutting out layer upon layer of shade and detail from recycled acetate plastic. He then uses a spray-can to build up the image from the lightest colour to the darkest. The process as a solitary one with only his dog, music and audio books for company. Cornish shys away from the limelight and has found solace his home town of Canberra for so many years. “I sort of created my own thing in Canberra which is why I like it not being a part of any scene and being influenced by other artist. I think that’s why I have avoided moving for so long.” However having spent a lot of time in Melbourne over the years, the esteemed artist is considering a move to a city renowned for its thriving arts culture. “There is only so far you can go in Canberra. I’m thinking about moving to Melbourne. I know a lot of artists there.” WHERE & WHEN: Aust ralian Stencil Art Prize at Oh Really Gallery (Sydney) Thursday 11 – Sunday 21 November.



P53 3 DEGREES OF SEPARATION THE FIRST DEGREE DIZZEE RASCAL DIRTY CASH (Dirty Stank Recordings), 2009. Who’d ever have thought that when UKG star Dizzee Rascal covered this early Brit house smash, originally by The Adventures Of Stevie V, that it would end up catapulting alt.elect ro act Florence and the Machine into the mainst ream. But that’s what happened when Flo’s take on You’ve Got The Love (also a house anthem way back when…) was mashed-up with Rascal’s cover for a one-off live performance at the Brits. A hit was unleashed.


THE KLF 3AM ETERNAL (KLF Communications), 1989. Speaking of house anthems and bizarre Brit collabos… this UK rave cut was performed on the UK awards show in 1992 by the enigmatic duo alongside grindcore punk outfit Extreme Noise Terror. It didn’t lead to a hit mash-up though. Rather, The KLF chose the moment to announce their retirement. Perth’s Mind Elect ric latest release is a cover of this club classic – back in 2006 he issued an elect ro house cover of Dirty Cash on the Vicious label.


THE TRIFFIDS WIDE OPEN ROAD (Hot Records), 1986. Not only did The Triffids’ slide guitarist Evil Graham Lee play on The KLF’s White Room album but most of the band performed on KLF-member Bill Drummond’s pre-stadiumhouse-stardom solo album The Man. Yes, only a few years after encapsulating the prototype Aus indie sound, The Triffids (who like Mind Elect ric, hailed from Perth) were helping shape the future of dance. Late singer David McComb also dabbled with elect ronica on an ’89 solo outing I Don’t Need You.


TUBETIME The incredible world of television with 5SPROCKET

The host of Sunrise, a financial wunderkind, and one-time winner of ‘Father Of The Year’, David “Kochie” Koch continues to warm the hearts of a small proportion of the nation. One of Aust ralia’s most tolerated celebrities, he was born on 7 March 1956 to parents ‘Mum’ and ‘Dad’. As a child he liked to eat red frogs and imagine that he was a life-sappingly dull accountant. He pursued this dream and succeeded. As an acne-scarred teen he dealt with the propositions of pretty girls with direct financial acuity, denying their offers of fellatio and instead assist ing them in establishing long-term invest ment funds that would see them turn towards fellating people in university, a place they could now afford to go. It was this ‘nice guy’ demeanour that has differentiated David Koch from the rest. “I never set out to become a television star,” he says in an interview that never took place. “It’s funny, but I’ve always been happiest dickin’ around with a calculator.” And dick around this Koch did, founding a couple of business magazines and providing financial commentary for national media. But blood continued to pump into Koch’s reputation, getting even bigger as a director of the NSW Small Business Development Corporation. He became involved with the Seven Network as a correspondent who gave brief financial updates for the ‘working man’. It was in these fleeting minutes of NASDAQ and DOW that a balding, bespectacled star was born. Along with Melissa “Cow” Doyle, Kochie has hosted Sunrise – the nation’s number one breakfast show since 2001 and number two breakfast show since 2008. As if providing the latest news, integrated marketing, cross promotion and tabloid gossip wasn’t enough, David Koch also has a soft spot for comedy. He has published three volumes of Kochie’s Best Jokes, which are available substantially discounted at Target. Kochie also helped thousands of small businesses weather the GFC because of his financial booklets, I’m Not Made Of Money and Kochie’s Guide to Keeping It Real. He follows Port Adelaide, has climbed Mt Kilimanjaro (twice!), and met Just in Bieber, who he called “good fun”. David Koch will continue to inspire the very few people that act ually like him until the day he’s made redundant. What a Koch!



You can expect big things from director Patrick Hughes. Not only is his debut feature Red Hill one of the best movies of the year, it is one of the best Australian films ever made. Hughes has taken a gamble in boldly going where few Australian filmmakers have dared to since the late 1980s, when genre filmmaking went out of fashion. A tense, taut but also very funny thriller, Red Hill is a gunslingin’ knockout. Truly unmissable. Hughes has said that filmmakers Robert Rodriguez (Machete), George Miller (Mad Max) and the Coen Brothers (No Country For Old Men) have been major influences on his aesthetic, and their impact on the film is unmistakable. Holding the reins of the story is True Blood star Ryan Kwanten as police officer Shane Cooper, who, having relocated to the country with his pregnant wife Alice (Claire van der Boom), is on his fi rst day’s duty. But

the jail-break of Jimmy Conway (Tom E Lewis) throws the seemingly quiet town of Red Hill into chaos. As Old Bill (Steve Bisley), the sheriff, orders the area to be locked down, things go from bad to worse to a total nightmare and Cooper finds himself in the crossfi re. In many ways, Hughes has managed the unmanageable in this country; despite having no backing from a distributor and no government grant, he raised the money needed privately and made Red Hill independently. And regardless of having to use second-hand film stock and shooting quickly over 24 days in freezing temperatures, Hughes twists genre cliché into a st ylish and bold cinematic punch; American revenge Western meets Aussie thriller and morality tale in rural Victoria. WHERE & WHEN:

Screening in cinemas 25 November ANITA CONNORS





Book Reviews with ANDREW MAST

MICHAEL CHUGG Hey You In The Black T-Shirt (Macmillan Aust ralia)

HILLTOP HOODS Parade Of The Dead

(Golden Era Records/Universal) There’s what we know of the Hilla Toppa and what we learn along the way. The live show is exactly what you would expect and what you’ve seen before. It’s the very reason they sit comfortable at numero uno. It’s also no surprise to see the Hoods use a Zombie apocalypse theme for their most recent State Of The Art album’s adaptation to DVD. But going into the minds of these guys is where this DVD unlocks a different side to the Hilltop Hoods – a side that new signee Briggs sure as shit doesn’t get either. Hilltop have closed themselves into an abandoned prison living off a veggie patch and biscuit stockpiles for Debris. Pressure delights in popping off zombies from the gun tower as this docu-fi lm opens with an interview with the three discussing their catering to the


consciousness of the zombies gaining on them. Using them as house-hands and gardeners, the Hoods find a way to contain and control the mindless masses which includes The Funkoars, kept locked away with porn and pot. It’s not quite Johnny Cash at Folsom, but the Hoods’ perform their latest album on the landing to a crowd who now must feel blessed to have been a part of such a roaring set. Interject ions

break it up by way of various comical skits including Pressure’s tips on fi rst dates with Zombie chicks and keeping the hired help fit with Suffa MC. The act ing leaves a lot to be desired but nobody’s trying to be Johnny Depp here. From smashing zombies with Mark Waugh bats and catching Debris with a zombie hooker, it all comes down to one big fi ght scene, zombies versus the Golden Era crew. The extras package gathers together the live concert and State Of Th e Art’s videos with various skits collected. Parade Of The Dead unlocks a creative lust for the death genre in Aust ralia’s greatest hip hop export and regardless of how their directorial attempts pan out, the Hilltop Hoods’ concert alone is worth an hour’s wage.

Local promoter/entreprenaur Michael ‘Chuggi’ Chugg has delivered this indust ry memoir and dared stay in the game. So, you know this ain’t going to be a You’ll Never Eat Lunch In This Town Again (the bio that lived up to its name and killed the career of Hollywood producer Julia Phillips) but, then again, there’s enough dirt to keep even those with a passing knowledge of the Oz rock scene enthralled. Before you even get to the boyhood chapter, Chuggi has explained how Fleetwood Mac were the cause of his decades-long love affair with the rack – and it’s a corker of a story that involves the kinda amounts of cocaine you only expect to see in Scarface. From there, cocaine punct uates the entire book. Chuggi’s tales of the fledgling pub circuit in the 60s and 70s are also of great historical value – these stories don’t get told enough (hence young artists continue to make the same mistakes their rock ancestors made). From his days as a teen stalking mainland bands who gigged in his native Tasmania through to bringing out Frank Sinatra and Guns N’ Roses (a humourous anecdote that lends the book its title), Chuggi is brutally honest about the ups and downs of various music projects over the years (probably why former cohort Michael Gudinski requested a copy prior to it hitting stores). And he is just as honest about his personal life as we learn about his st ring of partners, an almost fatal heart attack and a prison stint in the US. Co-authored by journo Iain Shedden (of The Aust ralian), it captures the madness that has been/is Chuggi’s life, from Abba to Gary Glitter through to AC/DC and the dog whisperer (yes, really). But it’s little vignettes about witnessing the grassroots scene that really get you into Chuggiworld – like when he saw the potential in trannytoting, nazi-dressed, mock-rape-re-enactors Jimmy & The Boys. Don’t try this at home.


PORTABLE PIXELS A few tips for shrinking and smoothing your touring video kit. VELCRO + LAPTOPS Attaching spare portable hard drives to your laptop lid with velcro is a super win. Not only does it save precious performance space and avoid drives being bumped, it also extends to three the list of quest ions VJs will most likely asked at venues. 1. “Can you play a track by <insert popular R&B artist> or something from <insert genre unrelated to event>?” 2. “What software are you using?” 3. “Wow, what’s all that st uff on your computer?” Another tip? Minimise external drives cutting out when fi rewire cables move or get unplugged by using cable ties to tighten the fi rewire cable to an ethernet cable plugged into the port beside. HARDWARE MIXER-FREE ZONES* Hardware mixers have become a luxury (or an insurance policy against computer crashes) rather than a necessity, as most clip mixing and blending is preferably done through software and a MIDI controller. If tight on budget/space, mixers can be avoided. Need a live cam? Use a USB webcam to mix within your VJ software. Other USB capture devices open up worlds of lo-fi video capture, play-through and mixing. (At least until SPARK’s tiny DVI mixer is released!) PROJECTORS is a fantast ic resource for comparing different projectors. Lumens (Brightness): aim for minimum 2,500 for a small room, and get as many as you can. Contrast Ratio: Higher is better, richer blacks. Zoom Range: The difference between minimum and maximum sizes, which enables flexible distance from screen. Resolution: Aim for a minimum of 720P (1280x720), which is the smallest HD size, or WXGA (1280x768). Full HD of 1920x1080 will avoid any scaling, and delivers the best image. Aspect Ratio: 16:9 native is preferable over 4:3 Inputs: VJs will want VGA inputs, and HDMI if available. Most will include RCA/composite. eBay offers 15m VGA cables for around $30, and if you need more distance between projector and your laptop maybe consider entering the world of baluns. @JEAN_ POOLE



A set of headphones is not the easiest of products to review, particularly as they’re something that one person might use in a completely different way to the next. The simplest examples in the marketplace, most commonly seen plugged into the user’s media player of choice and often sourced for free by passengers flying Virgin Blue, have nothing to do with sound quality and everything to do with convenience given they’re all about portability and sit inside your ear rather than on top of it. And then when you take the next step up to fully enclosed headphones, some swear by entry level sets like Sennheiser’s no frills but dependable HD 202 range while others pay far more heed to the endless range of variables which sort the acceptable from the essential. Shure’s SRH750DJ are certainly shooting at the upper range of the DJ market, but not necessarily with a price tag to match. On the specs front, the earpieces have a 50mm driver and frequency response from 5 to 30,000 Hz, meaning you can push the volume to the limits of human tolerance (a necessary evil in noisy clubs and DJ Booths) without the speakers even threatening to tremble until they’re at ear-dest roying volume. The sound produced is immaculate, while a three metre coiled cable (with stock gold-plated 1/8” jack and 1/4” jack adaptor) giving you plenty of leeway when it comes to wandering over to your CD wallet/ drink stash between mixes. The busy touring DJ/live act will also appreciate the inclusion of a heavy fabric carry case and set of replacement earcup pads – especially given 3D World ’s review set shed an earpiece (fortunately easily reattached) before we’d even put the headphones on! What might be contentious for some is the build design, which incorporates earcups which can swivel 90 degrees horizontally and 180 degrees vertically. When in the mix this is invaluable, allowing onthe-fly adjustment dependent on where your head is in relation to your monitoring, but at the same time it can almost see the headphones take on a life of their own and snap into a position which is perhaps best suited

to contortionists – or even fall off your head altogether – and they aren’t as easily manipulated as some might hope for. But the swivel component really comes down to personal taste. If it’s not a st yle of headphone you warm to chances are the Shure SRH750DJ set isn’t going to change your tune, but the quality sound, st urdy build and userfriendly price tag are reason enough to at least st rap them on for a test run if you’re in the market for a new performance set. Especially if you don’t fly Virgin. Gear for review supplied by Jands. COST: $199 RRP SUPPLIERS: www. purchase/aust ralian_ dealers




EXPERIENCE IT IN Check the Classification






POPS! it



red carpet with so many bold and experimental trends that standing out in this crowd was no easy task, however in the end it was Channel [V]’s Jane Gazzo who really turned heads with an original creation made entirely out of balloons by Sydney designer/entertainer Ben Orson. Gazzo approached Orson to make her a ARIA dress after seeing a couple of his innovative designs at underground fashion show Lunamorph. Starting out with about 1,000 balloons of different colors and sizes, Orson underwent an arduous trial and error process of making the dress, which took about 15 hours to complete. As the dress only lasts three to five days, the process had to be done with haste. Orson, who has been creating balloon figures for parties and events for a few years, hopes that his dress will lead to more creative uses of balloons, commenting, “Creating clothing out of balloons is a relatively new concept but has definitely become quite popular around the world. I look forward to it becoming popular here.” While the fashion world may be knocking at his door, Orson is taking a step back to focus on his other passions for now. “I’m presently putting all my energy into crafting a mysterious new illusion for my magical stage show. Balloons are such a beautiful medium though; it will be difficult not to be creative with them. I will surely be drawn back to them again soon… I would like to do a few more dresses or maybe something really huge like a 15’ tall football mascot. Let’s see where the little sparks and the universe lead me to next.”


Liv Fossil Steel mens’ bracelet ~ $139.

Who likes short s about everyone. Loc to the much loved h For a 1950’s feel why a splash of citrus co and sandals for the out. The floral lace creative minds at L fabric this one is a enjoy the atten For m

Orri Henrisson Blazer Cardigan ~ $249.

Hurley camaro jean ~ $119.99.

Havaianas slim black-gold thongs ~ 39.95

Kenneth Cole square touch screen digitalwatch ~

Lyle & Scott mens’ polo ~ $90.

Rimell Vinyl Gloss ~ $12.50.

660 0




vin’ LaVida Luna

shorts? On scorching summer days just cal label Luna have taken a fresh approach hot pant look with a bold new colour scheme. y not mix up your casual denim threads with olour this season? Teamed with a cute tank beach or a jacket and heels for a hot night and stripe tee also comes courtesy of the Luna - made with sexy sheer lightweight a guaranteed to turn a few heads. So just ntion while you sparkle in the sunshine. ore Luna looks and stocklist see


Fairground’s In Your Silents jumpsuit ~ $149.

Taylor Swift

Chocolate Couture An event of heavenly indulgence - The 13th Annual New York City Chocolate Show kicked off last week with a series of spectacular fashion shows showcasing chocolate couture designs as well as as demonstrations and workshops from chocolatiers and pastry chefs, including Jacques Torres, Nick Malgieri, François Payard, Johnny Iuzzini. The Chocolate Show was founded in 1997 by two French chocolate lovers, Sylvie Douce and François Jeantet. It has since become one of New York City’s favorite events. View photos at

~ $135.

Keds Mens’ canvas chuka ~ $60.

Big In Japan With a focus on contemporary Japanese expressionism, The Kirin ‘Big In Japan’ cultural exchange program has been built by the Ksubi collective with Japanese beer brand Kirin to showcase emerging Japanese and Australian creative talent. The event represents an avante garde selection of artists working across multiple mediums including performance, video, music, noise and installation. The exhibition comes to The Royal Hall of Industries, Moore Park (Sydney) Tuesday 16 November and Thousand Pound Bend (Melbourne) Friday 19 November.

Havana Nights In addition to being a wizard behind the decks, DJ Havana Brown is perhaps one of the most consistently stylish celebs rocking the red carpet. The gorgeous DJ has recently teamed up with Vok Beverage’s Ruski to create the ultimate girl’s weekend including flights, accommodation, private limo, shopping spree, exclusive dinners and personal make-up artist for one winner and three friends. For entry details see

EPIC Sweet as pie, Taylor Swift the epitome of elegance in a tight, floorlength rust-coloured dress on the Country Music Awards red carpet in Nashville last week. Wanna get laid? Send products and info to


FAIL Rebel pop singer Ke$ha taking her garbage glam style a little too far on the MTV EMA red carpet sporting a black-and-white slashed t-shirt and a pair of purple silk pants. Mangled and messy.





Come in a variety of sizes.

PROS? A range of designs for you to express your personality. And very durable.

CONS? If everyone buys the brown ones it’s hard to tell who owns which pair when seven of them are lined up outside your front door.

FOR? Festival goers who laugh in the face of conventional footwear and busted toenails.

COST? $29.95 RRP.




Come in a variety of sizes.

PROS? So uncomfortable for the novice wearer that no one will ever borrow them to nip down to the shop. And good for your feet.

CONS? So uncomfortable for the novice wearer you might turf them after a day. Which will be bad for your feet.

FOR? The sophisticated walker.

COST? From $38.95 RRP.




Come in a variety of sizes, all of them manly.

PROS? Can withstand the force of a stampede of cattle on a hard day of droving.

CONS? Prone to falling apart after 15 years of hard service when you least expect it.

FOR? Fair dinkum, ridgy-didge, dinky-di Aussie blokes (and their shelias).

COST? More than $5? Tell ‘em they’re dreaming.







Are you thinking of hiring quality musicians that bring an audience ? Do you have a function/event and considering live entertainment ? For a limited period, we are offering a Venue Promotions Package featuring favourite entertainers. If it is about raising your venue profile or just great entertainment you want, contact us now. Chris 0419 272 196 http://infovisionproductions. iFlogID: 5076

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MUSIC PUBLICITY AND MARKETING Promoting a CD? Want to let fans know about your gigs? Take your band to the next level with our competitive rates for your marketing and publicity needs. We strive to bring our artists to as wide an audience as possible conducting a broad media campaign which encompasses national print media and online promotion and an artist administration area allowing access to realtime 24/7 campaign results. We can also look after your paid advertising, sourcing some of the most competitive pricing. Contact 0402257148 or www. iFlogID: 5801

PA and lighting hire for your party, band nights (full mixer with operator), discos, fetes, and any other events! We do events all over Sydney, not just the Hawkesbury! 600W-3000W Systems. Email at iFlogID: 7389

PA SYSTEMS, LIGHTS , STAGES We have the gear and have the people. From small to BIG - give me a call for a quote - PA SYSTEMS from $110 - CALL MATT on 0424 399 801 iFlogID: 5236

PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. You can play your own music through it, sing, talk, do a disco, small function, etc, etc, etc. Contact Chris 0419 272 196. iFlogID: 3721

MANAGEMENT Manager wanted for Hip Hop RnB Artist. Contact Jhal on 0421 557 587 or email iFlogID: 7089 MINSTREL MANAGEMENT Connecting acts with Australia’s leading industry professionals. Recording Mastering Photoshoot Timed release stratergies Direct to fan marketing Solicitation to industry & media licensing & sync film clips social networking practices launch shows with promo 4 industry packages avaiable. iFlogID: 7192

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

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

LEGAL for a quote. iFlogID: 6533


DETAX GOT ME A GREAT REFUND! Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment &amp; Arts industry tax knowledge &amp; personal industry experience into each and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email iFlogID: 8597

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

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

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

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

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

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

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


PRODUCTION/MIXING TUITIONS I’m a professional Music Producer and Sound Mixer who has worked with internationally renowned artist such as Seal and De La Soul, and I’m offering private tuition in Mixing and Production. Bring your own session (Logic or Protools) or use one of mine, and I will show the tricks that they do not teach you at school, I work from my home setup (Surry Hills) only, $65 per hour. iFlogID: 4776





VIDEO / PRODUCTION MUSIC VIDEOS Bands who have recently made videos with us include El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. See examples of our videos on facebook. com/dynamic.screen.content Call Darrin on 0413555857 (we’re based in Sydney) iFlogID: 6681

MUSICIANS WANTED DJ Calling all DJ’s, new venue North Shore LEVEL 1 above the Chatswood Club requires resident DJ’s for a variety of nights. Give Peter K a call on 9419 5481 for expressions of interest. iFlogID: 7054 DJ Wanted to play live with RNB Hip Hop Band with Management & Agency Backing please email full contact details and also a bit of details about yourself to info@ iFlogID: 7134

KEYBOARD COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. Must have good gear, own transport able to gig most fri / sat nights. We play mostly modern covers and are after ages 18 - 35. Please send your details to iFlogID: 5905

Visit our website for an extensive price list and other services! iFlogID: 4554 check out our for awesom e vintage fashion,stuff you can buy, music,film and art! iFlogID: 7032

COMEDY FOR LUNCH IN THE CBD Comedy For Lunch dates starting Sept 17th. Here’s your chance to spice up the regular CBD friday lunch with some tasty food and yummy laughs. Lunch starts at 12noon-12:35, show starts 12:35-1:10pm. We’ve lined up some very funny comic chefs to tantalise your tickle taste-buds. Plus if someone from the office is a jokester, he or she can have 3 minutes on stage to keep up the tradition :-).So gather up the gang from the office, family, friends and out of town guest and book into Comedy For Lunch. Lunch price includes choice of 6 mains, a Drink (Beer, Wine, House spirits, Juice, soft drink) and V.I.P seating in the worlds most comfortable comedy theatre, “The Star Bar Theatre” 600 George Street (formerley Planet Hollywood) or if the only serving you want is laughs, regular admission is just $10.00 for the show only! Booking now at 0295472578 or on line at www. iFlogID: 6440

COMEDY FOR LUNCH STARTS SOON! The People who bring you Comedy Court stand up competitions featuring audience Digital voting (Fri nites) and Quick...Some Comedy Quick stand up shows (Sat nites) present the CBD’s only live Stand up comedy lunch show. One price gets you your choice of 6 mains and some spicy laughs. Held every Friday 12noon at Star bar Theater 600 George Street Sydney. Get your office mates, friends, tourist and your boss together for lunch with a twist. Book now at 95472578 or Starts Sept 17th. Limited seating per show iFlogID: 5985


Event Managment service,Promotions and Production. Specialising in the arts. Fashion shows, exhibitions,gig’s & album launch parties. We also offer entertainment such as dance, models, performance and live music. Please email chicpetiteevents@ iFlogID: 6719



FULL COLOUR POSTERS Visit our website for an extensive price list and other services! iFlogID: 6348

MUSICIAN & BAND WEBSITES Create your presence online and get noticed. Sydney based web designers are here to help you create and design your website with ease. We specialise in building websites that work. When you hire us to design your website we’ll give you a product that looks great and that actually works for your business or service. Packages start from $400 Call Richard or Kelly on 0424 125 169 iFlogID: 6665

T-shirts, Hoodies, Caps, Polos, Screen Printing, Direct 2 Garment, Transfers Embroidery, Artwork Design,0415 139 056 iFlogID: 6027

ICE CREAM FACTORY PHOTO STUDIO Inexpensive photo/video studios for hire from $150. Located at Turrella (10 mins drive from Newtown) iFlogID: 4768

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



3D World - Melbourne Issue #1037  

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