• JESSICA MAUBOY ON FOLLOWING UP HER DE-BUTT • SHAUN TAN: RETURN TO THE ARRIVAL • THE PSYDE PROJECTS: STRAIGHT OUTTA BOOMTOWN TRAVEL
• HOT AIR BALLOONING OVER CAPPADOCIA
NEO-SOUL’S HIGH PRIESTESS
•ISSUE1037 WEDNESDAY17 NOVEMBER 2010
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CREDITS PUBLISHER Street Press Auﬆralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse LURE EDITOR Rupert Noﬀs SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAliﬆer, Ben Kumar, Blaze, Brad Swob, Bryget Chrisﬁeld, Carlin Beattie, Chloe Scardina, Clare Dickins, Darren Collins, Darryn King, Dave Dri, Dave Jory, DJ Stiﬀy, Gloria Lewis, Graham Cordery, Guy Davis, Holly Hutchinson, Huwﬆon, Jane Stabler, JC Eﬆeller, Jean Poole, Jeremy Wood, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa Weﬆ, Monica Connors, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney
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THE WALKING DEAD
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.
ROCK CHICKS ARE OK TOO
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.
YOU CAN TASTE THE PORK
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.
HELLO MARTIN, GOODBYE BABS
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).
DEAD OUT OF ORDER
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 www.zoukout.com 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...
THE CLOCK’$ TIKING
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 SOUL OF THE PARTY
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 consume.oztix.com.au 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
MARK HIS WORDS
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
WHAT’S IN A NAME?
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...
BIG NIGHT OUT
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. com.au.
ON IT GOES
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 ival.com. 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 (www.facebook.com/ 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 news.com.au 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…
JAXX IN A BOXX
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 firstname.lastname@example.org or go to www.facebook.com/thatparty.
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. gotye.com.
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.
SHE’S TAKEN TO TWITTER LIKE A NATURAL, GUESTED ON SOME CERTIFIED HIP HOP CLASSICS AND EVEN FEATUREDIN A CAMPAIGN FOR ESTÉE LAUDER, BUT IT’S THE SLOW AND STEADY APPROACH TO HER OWN MUSIC THAT HAS MADE ERYKAH BADU SUCH A REVERED FIGURE. CYCLONE SPEAKS TO THE ENIGMATIC SONGSTRESS ABOUTWHAT FANS CAN EXPECT WHEN SHE FINALLY TOURS DOWN UNDER AND WHAT THE NEXT STEP IN HER UNPREDICTABLE CAREER MIGHT BE.
INDEPENDENT STATE OF AMERYKAH
ANY A NEOSOULSTER 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’.
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BACK TO THE FUTURE TIME TRAVEL TRILOGY,1985-1990 SCOTT HENDERSON WAXES LYRICAL WITH SCREENWRITER BOB GALE, A MAN WHO WILL FOREVER BE IMMORTALISED ON THE USA’S NATIONAL FILM REGISTRY COURTESY OF HIS WORK PENNING THE CLASSIC MICHAEL J FOX STARMAKING VEHICLE BACK TO THE FUTURE.
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)
JAPAN’S HIDEAKI ISHI HAS BEEN EXPANDING THE DEFINITIONS OF HIP HOP AND ELECTRONIC MUSIC FOR NEARLY 20 YEARS. MATT O’NEILL SPOKE TO THE PRODUCER ABOUT SPENDING TWO DECADES AS DJ KRUSH.
OUTSIDE THE GATE
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
LONG BEFORE HER NOW INFAMOUS ARIA PERFORMANCE, JESSICA MAUBOY UNDERTOOK A SOLO PILGRIMAGE TO THE USA TO GATHER BEATS AND GUESTS FOR HER SECOND ALBUM. CYCLONE HELPS THE DARWIN BORN URBAN SUPERSTAR IN THE MAKING CHART THE JOURNEY.
GIRL GONE WILD
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)
COMING HOME LIKE A GOOD PIECE OF INSTRUMENTAL MUSIC, SHAUN TAN’S WORDLESS ILLUSTRATED MASTERPIECE THE ARRIVAL SPEAKS A UNIVERSAL LANGUAGE. KRIS SWALES CATCHES UP WITH THE AUSTRALIAN AUTHOR TO DISCUSS HIS PROCESS AND THE POSSIBILITY OF A FILM ADAPTATION.
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)
LET YOUR HAIR DOWN
THOUGH PAUL RIDGE HAS SPENT MUCH OF THE PAST 12 MONTHS OUT OF THE SPOTLIGHT, MATT UNICOMB LEARNS THE PERTH MC HAS BEEN BUSILY CRAFTING HIS FOURTH ALBUM DROP AS DRAPHT – AND HE’S NEVER WORKED HARDER IN HIS LIFE.
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
WHERE & WHEN:
Tempo Hotel (Brisbane) Friday 19 November, Prince Bandroom (Melbourne) Friday 3 December, Gaelic Club (Sydney) Saturday 4 December
LIGHT & SHADOW THE THIRD ALBUM BY ELECTRONICA DUO TELEFON TEL AVIV MET AN UNEXPECTED LEVEL OF SCRUTINY AFTER TRAGEDY TORE THEM APART, BUT BENEATH THE HEADLINES AND THEORIES SIMPLY LAY THE ALBUM THEY HAD ALWAYS WANTED TO MAKE, SAYS JOSHUA EUSTIS TO TRISTAN BURKE.
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
UP WHERE WE BELONG FEW SIGHTS IN THE WORLD CAN MATCH THE SPLENDOUR OF HOT AIR BALLOONING OVER THE TURKISH REASON OF CAPPADOCIA, AND NICK CONNELLAN WAS ALL TOO HAPPY TO VIEW THE AREA’S FAIRY CHIMNEYS AND MAN MADE SCULPTURES FROM ABOVE THE CLOUDS.
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.
WHEN IN TURKEY?
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.
IF YOU LEFT TODAY?
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 www.expedia.com. Current Foreign Aﬀairs Status – High degree of caution – and reconsider your need to travel if exploring borders with Syria, Iraq and Iran. See www.smartraveller.gov. 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.
MENTAL COMBAT Hip Hop With BLAZE
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.
LAND OF THE RISING SON NIGERIA’S FEMI KUTI GREW UP IN THE SHADOW OF ONE OF THE MOST IMPORTANT AND INFLUENTIAL MUSICIANS OF CONTEMPORARY SOCIETY. MATT O’NEILL SPOKE TO THE BAND LEADER ABOUT CONTINUING AND RESHAPING HIS FATHER’S CONSIDERABLE LEGACY.
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
OGFLAVAS OG Urban news with CYCLONE
SUN-KISSED BEATS AS NEW ZEALAND OUTFIT SOLA ROSA PREPARE FOR THE AUSTRALIAN RELEASE OF THEIR NEW ALBUM GET IT TOGETHER, FOUNDER ANDREW SPRAGGON TALKS TRISTAN BURKE THROUGH THE METAPHORMOSIS FROM ONE-MAN BAND TO LIVE POWERHOUSE.
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
VIC & NSW
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.
PICK OF THE BUNCH
ALEXANDER BARCK DESCRIBES JAZZANOVA AS MORE OF A “BUNCH OF FRIENDS” THAN “COLLECTIVE” TO A SUITABLY CHILLED OUT NINA BERTOK.
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
RENEGADE OF MONCH
PHAROAHE MONCH PROMISES CYCLONE HIS LONG-AWAITED WE ARE RENEGADES ALBUM IS HIS MOST COHESIVE TO DATE – AND ALSO MUCH MORE SERIOUS THAN ITS PREDECESSOR.
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
‘BURN HIP HOP Local Flow with STEVE DUCK
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 northcotesocialclub.com. 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 1line.com.au. 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. com.au
THE ALBUM OF WEEK
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
BOOMIN’ BACK ATCHA JURE KODRE ADMITS TO LUKE MCKINNON THAT HIS SOUL, FUNK AND DISCO SAMPLING HIP HOP ACT THE PSYDE PROJECTS AREN’T ABOUT SEARCHING FOR DEEPER MEANING – THEY JUST WANT TO BE THE LIFE OF THE PARTY.
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)
CREDITED WITH INTRODUCING NEW STRAINS OF BASS MUSIC TO AUSTRALIA IN THE EARLY 1990s, UK EXPAT DJ LADY ERICA IS NOW BACK IN AUSTRALIA FOR GOOD – AND SHE COULDN’T BE HAPPIER, AS NINA BERTOK DISCOVERS.
INNER CITY PRESSURE
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.”
WHAT’S YOUR FAVOURITE ALL TIME 12”?
WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS?
“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.”
WHO ARE YOUR FAVOURITE DJS?
WHAT’S THE WORST REQUEST YOU’VE GOT?
“DJ Clark Kent, DJ Pete Rock, Kenny Dope, Armand Van Helden.”
FAVOURITE CLUB TO PLAY?
“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
DANCE MUSIC HUB CHART
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
FEAT MR VYBZ KARTEL
2. Jumping (Santiago Moreno Re-punch Remix) MIXTLI BEAT
4. Drop It On FULLHOUSE
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
YOUTUBE OF THE WEEK
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...
POLITICS IS MORE FUN IF EVERY TIME A POLITICIAN SAYS ‘BATTLER’ U PICTURE A WORLD OF WARCRAFT TROLL IN A VIKING HELMET #QANDA’’ SOCIAL COMMENTATOR JOHN SAFRAN PROVES THAT A LITTLE IMAGINATION IS ALL YOU NEED TO APPRECIATE AUSTRALIAN POLITICS.
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
KISS FM CHART
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
INDUSTRY WATCH STEREOSONIC
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...
SUSHI SNAPS 1 Khokolat Koated @ Khokolat Bar 2 Kiss FM
3 Mama Said @ Circus 4 Miss Libertine Fourth Birthday
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 Citizen.com, 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 email@example.com with HARRY in the subject line. Entries close Friday 19 November.
BLOG STANDARD damnyouautocorrect.com
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
A B C D E F G HI JK
3D WORLD’S A-TO-Z OF DANCE MUSIC GENRES THIS WEEK: LOOPED TECHNO
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.
CLUB CLASSICS TRANTER PERSONALITY TEST DEAN SPANOS HOW WOULD YOUR MUM DESCRIBE YOU? “A lazy bum who relies on her cooking.”
CLAUDE VONSTROKE THE WHISTLER (Dirtybird), 2006.
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 firstname.lastname@example.org 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 REREWIND (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!”
AUSTRALIAN STENCIL ART PRIZE WINNER 2010
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 SECOND DEGREE
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 THIRD DEGREE
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
DISCWORLD DVD Reviews With RIP NICHOLSON
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 Projectorcentral.com 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
SOUNDADVICE Gear reviews with LAWRENCE DAYLIE
SHURE SRH750DJ HEADPHONES
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. jands.com.au/ purchase/auﬆ ralian_ dealers
TSE E K AL C I T N S ----K ! O OW N--- O NE BONLI O EA SC RLY 7A REE BIR NO M T NIN D V 1 HU G 8 RS
EXPERIENCE IT IN Check the Classification
PURCHASE TICKETS ONLINE — IMAXMELBOURNE.COM.AU RATHDOWNE STREET CARLTON CALL 9663 5454
HIS YEAR’S ARIA AWARDS WILL BE FOREVER REMEMBERED AS A RATHER CRINGE-WORTHY AFFAIR, BUT ONE THING WE CAN APPRECIATE IS THAT THE FASHION WAS FUN AND WILD. Ladies rocked the
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. www.fossilaustralia.com.au
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. www.orrihenrisson.com
Hurley camaro jean ~ $119.99. www.hurley.com
Havaianas slim black-gold thongs ~ 39.95 www.havaianas.com.au
Kenneth Cole square touch screen digitalwatch ~
Lyle & Scott mens’ polo ~ $90. www.lyleandscott.com
Rimell Vinyl Gloss ~ $12.50. www.rimmellondon.com
WORLD WOR W RL LD D
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 www.welovefairground.com.
Fairground’s In Your Silents jumpsuit ~ $149. www.welovefairground.com
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 newyork.salon-du-chocolat.com.
~ $135. www.kennethcole.com
Keds Mens’ canvas chuka ~ $60. www.keds.com
Big In Japan With a focus on contemporary Japanese expressionism, The Kirin ‘Big In Japan’ cultural exchange program has been built by the Ksubi collective with Japanese beer brand Kirin to showcase emerging Japanese and Australian creative talent. The event represents an avante garde selection of artists working across multiple mediums including performance, video, music, noise and installation. The exhibition comes to The Royal Hall of Industries, Moore Park (Sydney) Tuesday 16 November and Thousand Pound Bend (Melbourne) Friday 19 November.
Havana Nights In addition to being a wizard behind the decks, DJ Havana Brown is perhaps one of the most consistently stylish celebs rocking the red carpet. The gorgeous DJ has recently teamed up with Vok Beverage’s Ruski to create the ultimate girl’s weekend including flights, accommodation, private limo, shopping spree, exclusive dinners and personal make-up artist for one winner and three friends. For entry details see www.thenightstartsnow.com.au.
EPIC Sweet as pie, Taylor Swift the epitome of elegance in a tight, floorlength rust-coloured dress on the Country Music Awards red carpet in Nashville last week. Wanna get laid? Send products and info to email@example.com
FAIL Rebel pop singer Ke$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.
MUSICIANS FOR FUNCTIONS/VENUES
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. yayabings.com.au iFlogID: 5076
ASIAN DJ’s and promoters wanted for new Asian Dance Party events. Once a month at Level 1 Chatswood. Contact Peter K @ the Chatswood Club on 9419 5481 iFlogID: 6883 Resident DJ’s WANTED Nth Shore Venue. Level 1 Chatswood, a new venue on the North Shore. Resident nights are up for grabs. Call Peter K @ the Chatswood Club on 9419 5481. iFlogID: 6881
FOR SALE PA EQUIPMENT ROSS PC110 POWERED MIXER 100watt rms. 4 channell with EQ/REVERB. stereo CD input. CUBE STYLE. Very good condition. $300.00 Ph Jimbo on 0428744963. iFlogID: 5837
MUSIC SERVICES BOOKING AGENTS SYDNEY’S PREMIER DJS Do you want to book some of Australia’s finest DJs? Our agency supplies the most experienced & popular DJs for festivals, clubs, bars & corporate events. We can set up a roster of stellar DJs for your club or offer you the very best in DJs, or the hugely popular DJ based bands, for your event. Contact us today at firstname.lastname@example.org or visit www.thegrooveacademy.com.au. iFlogID: 5847
RAPPERS / MC’S / HIP HOPPERS Stately Manor Productions – Sydney’s newest Hip-Hop Production House are offering MC’s, Rappers and Hip Hop Artists recording, custom beats, songwriting, production, mixing and mastering to release quality at affordable prices. www.statelymanor.com.au for details. iFlogID: 4510
HIRE SERVICES Cheap competitive hire rates for lighting, audio, staging and vision systems. Small and large. Will customize for any event to suit your needs and price range. Give us a call on 0432 714 863, or online at techlineentertainment.com.au iFlogID: 7401
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. aaaentertainment.com.au 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 email@example.com 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 firstname.lastname@example.org 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@ benchmarkmastering.com Ph:(02) 9211 3017 www.benchmarkmastering.com 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 email@example.com for details or 0439 457 791. Ta, Jeff. iFlogID: 7190
firstname.lastname@example.org for a quote. iFlogID: 6533
POSTERS ILLUSTRATOR AVAILABLE NOW!
DETAX GOT ME A GREAT REFUND! Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & 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 Detax@optusnet.com.au 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 email@example.com or visit our website at www.clkclickpublicity.com 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 setlistphotography.com 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. www.paulikin.com -Phone: 0403 996 129 or email firstname.lastname@example.org 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
NY TRAINED SONGWRITING TUITION PROFFESSIONAL ROYALTIES EARNING POP ROCK SONGWRITER AVAILABLE FOR TUITION AND GUIDANCE. TRAINED WITH LEADING NYC VOCAL TEACHER WHO HAS WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. COMMERCIAL RADIO PLAY FOR ORIGINALS. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME OR BEGINNING FROM AFRESH. K.I.S.S. = $$$$$. 0435 426 012 iFlogID: 4454
PRODUCTION/MIXING TUITIONS I’m a professional Music Producer and Sound Mixer who has worked with internationally renowned artist such as Seal and De La Soul, and I’m offering private tuition in Mixing and Production. Bring your own session (Logic or Protools) or use one of mine, and I will show the tricks that they do not teach you at school, I work from my home setup (Surry Hills) only, $65 per hour.
http://www.steevebody.com iFlogID: 4776
SINGING TEACHER NYC TRAINED
1100 FULL COLOUR POSTERS = $80
CONTEMPORARY AND MUSIC THEATRE SINGING TUITION. TRAINED WITH LEADING NYC VOCAL TEACHER WORKED WITH ARTISTS IE. AVRIL LAVIGNE, KELLY CLARKESON AND BEYONCE. WORLD RENOWNED VOCAL EXCERSISES TO VASTLY IMPROVE VOCAL TECHIQUE BASED ON EXCSERCISES FROM MANHATTAN SCHOOL OF MUSIC. LOCATED EASTERN SUBURBS. AVAILABLE TO TRAVEL. ORIGINALS WELCOME. AUDITION COACHING. 0435 426 012 iFlogID: 4452
VIDEO / PRODUCTION MUSIC VIDEOS Bands who have recently made videos with us include El Duende, Line Drawings and Grace Before Meals. Get your band on Rage and Youtube, or make a video for your myspace page. Fantastic concepts and slick production that wont break your budget. See examples of our videos on facebook. com/dynamic.screen.content Call Darrin on 0413555857 (we’re based in Sydney) iFlogID: 6681
MUSICIANS WANTED DJ Calling all DJ’s, new venue North Shore LEVEL 1 above the Chatswood Club requires resident DJ’s for a variety of nights. Give Peter K a call on 9419 5481 for expressions of interest. iFlogID: 7054 DJ Wanted to play live with RNB Hip Hop Band with Management & Agency Backing please email full contact details and also a bit of details about yourself to info@ starpowerstudios.com iFlogID: 7134
KEYBOARD COVERBAND REQUIRE KEYS Sydney based, agent backed coverband requires a keyboardist. Must have good gear, own transport able to gig most fri / sat nights. We play mostly modern covers and are after ages 18 - 35. Please send your details to email@example.com iFlogID: 5905
Visit our website for an extensive price list and other services! iFlogID: 4554 check out our Blog:haemeandrobecca.blogspot.com 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. comedyintheraw.com.au 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 www.comedyintheraw.com.au 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@ hotmail.com iFlogID: 6719
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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 firstname.lastname@example.org 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
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