3D World - Melbourne Issue #1042 by TheMusic.com.au

END of THE LINE?

MELBOURNE Issuee 1042

WEDNESDAY 22 DECEMBER 2010 WED

FREE SHPONGLE: DMT & Biscuits With Raja Ram THE BAMBOOS: Ten Years Of Deep Funk BEATS ON THE BEACH: ZoukOut 2010 Reviewed TRAVEL Berlin: A Clubbing Odyssey

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CREDITS PUBLISHER Street Press Auﬆ ralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel CrichtonRouse SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAliﬆer, Ben Kumar, Blaze, Brad Swob, Bryget Chrisﬁeld, Carlin Beattie, Clare Dickins, Darren Collins, Dave Dri, Dave Jory, DJ Stiﬀ y, Fern Greig-Moore, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwﬆon, Jane Stabler, Jann Angara, JC Eﬆeller, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Kierﬆen Seeto, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matt Unicomb, Melissa Weﬆ, Monica Connors, Nick Connellan, 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, Tom Brabham, Tom Edwards, Triﬆan Burke

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Alexis Dewick, Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Koﬆas Korsovitis, Luke Eaton, Terry Soo

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SUSHI SNAPS 1 After Dark Social Club 2 Be @ Co. 3 Eurotrash

4 Faktory @ Khokolat Bar

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Good Manners @ Pretty Please Mama Said @ Circus Playground Saturdays @ Seven Strut @ Trak

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EPIC&FAIL

KEVIN BACON

EPIC JONESING FOR DIDDY

If you can spare a second from salivating over Kanye’s Fantasy world, try Diddy’s Yeah Yeah You Would with Grace Jones. He has ﬁnally delivered that club record he’s been promising for a decade.

ONE DEGREE OF KEVIN BACON Gotta love the Logitech ad ﬆarring an actor who looks suspiciously like Kevin Bacon discussing his obsession with Kevin Bacon. He even does a great impersonation of Bacon in Tremors.

HAPPY NEW/OLD YEAR

Dance chinﬆ rokers rejoice! We’ve got the legends in town. Firﬆ we’ve got Brennan Green on Boxing Day and then a choice of (or both if you can) Francois K and DJ Harvey on NYE. We are ﬆarting the New Year moiﬆ.

FAIL NEWSY BIT

Enough of the Auto-Tuned news ﬆory clips online. No prizes for seconds. Unless, of course, someone wants to Auto-Tune that meow ﬆory on A Current Aﬀair earlier this year.

MOB DEATH

And, may we announce 2011 as ‘‘the year of no more flash mobbing’’. Mobbing jumped an ocean of white pointers when Glee flashed. May we suggeﬆ, 2011 – the year of the flesh mob?

GO WEST

Can we ﬆart the Kanye Weﬆ backlash yet? Or do we have to wait two years when the man himself decides to apologise for the Fantasy set on Twitter?

MORE THAN A few hip hop fans were particularly envious of the young ﬆ udents at Sydney’s Canterbury Boys High laﬆ week who were treated to a surprise visit by rap superﬆar Jay-Z. The Big O also dipped into her pocket and donated a million dollars to the school for new computers. Very cool… IF YOU’RE ALREADY plotting and scheming a visit to Serbia’s Exit Feﬆ ival next year, there are Chriﬆmas specials on for tickets until 9pm on Chriﬆmas Eve – which is even later for us given the time difference. Spread some Xmas cheer your own way at www.etickets.to/ exit-xmas... BILLY RAY CYRUS has tweeted that he is “so sad” after a video showing his daughter Miley Cyrus smoking a bong hit the internet. Well Billy, when you let your daughter pose nude for an “artiﬆ ic” photoshoot at age 15 you can kind of expect she won’t be at home knitting socks by 18. Fingers crossed Miley is not the new Britney… MELBOURNE CLUB BRAND Onelove continue to pump out the compilations, with the recent Dubﬆep Invasion set followed up by Onelove Sonic Boom Box on Tuesday 11 January. And with Calvin Harris, Andy Murphy and Acid Jacks on the mix this is one not to sleep on, especially given it’s Harris’ firﬆ official compilation release in Auﬆ ralia…

ROGER SANCHEZ

THE S-MAN COMETH

Sydney and Melbourne audiences already knew they were getting a taﬆe of Roger Sanchez as he heads down under to celebrate the tenth anniversary of his Release Yourself events and compilation series, but he’s now revealed club shows for Queensland fans plus a feﬆ ival sideshow in Melbourne. Commerically Sanchez is beﬆ known for his big room house anthems Another Chance and Turn On The Music, but hardened clubbers also know he can work an extended DJ set like few others, traversing big vocals, elect ro, tribal and more along the way. The 10 Years Of Release Yourself comp will feature tracks from Rene Amesz, Baggi Begovic and the S-Man himself, and you’ll get some idea of what it sounds like when he plays Rush (Geelong) Thursday 20 January, Trak (Melbourne) Friday 21, The Hot Barbeque (Portsea) Saturday 22 and Kink at The Arthouse (Sydney) later that night, Platinum Nightclub (Gold Coaﬆ) Tuesday 25 and Elect ric Playground (Brisbane) Friday 28. STANTON WARRIORS

WAR ENSEMBLE

Revered by breakbeat aﬁcionados for their Stanton Sessions series of compilations, and laﬆ seen giving the clubs and feﬆ ivals of Auﬆ ralia a thorough work-out in November 2009, the Stanton Warriors are set to return to our shores in the New Year. The good news is their crates/wallets/ hard drives will contain tracks from their freshly minted Warriors longplayer (coming soon on Central Station), including the bass-heavy lead single Get Up, to share with fans, so if you count yourself as a member of the Warriors’ army get yourself down to Great Northern Hotel (Byron Bay) Thursday 20 January, Brown Alley (Melbourne) Friday 21, Garden Party at Chinese Laundry (Sydney) Saturday 22 and Wollongong’s Grand Hotel later that night, Academy (Canberra) Friday 28 and Barsoma (Brisbane) Saturday 29. GARETH EMERY

LIGHT UP YOUR LIFE

It’s been promised for many years now, and while it might not quite be of Holy Grail importance to the wider musical world the arrival of Northern Lights – the debut artiﬆ album of UK trancer Gareth Emery – is pretty big news if reaching for lasers is your thing. The ten track eﬀort sees Emery team up with like-minded producers like Jerome Isma-Ae and Act iva, plus vocaliﬆ Lucy Saunders on the anthemic Sacntuary (among others), to explore progressive house, full-on trance and beyond. His skills behind the decks have seen him anointed the position of seventh moﬆ popular DJ in the world in the 2010 DJ Mag poll, so if he got your vote don’t miss him at Platinum Nightclub (Gold Coaﬆ) Friday 4 February, Home (Sydney) Friday 11 and Colonial Hotel (Melbourne) Saturday 12.

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STARS

GENERAL OUTLOOK Keep a ﬆ upid smile plaﬆered on your face all week. At leaﬆ no one can accuse you of being some kind of misery guts, even if you are high on horse tranquilisers. AQUARIUS (20 JAN TO 18 FEB) Your problems aren’t going to go away juﬆ because you dance to the Grease Megamix every morning. Grow up. PISCES (19 FEB TO 20 MAR) What you thought was “Oprah Fever” turned out to be a dreadful case of shingles. Bed reﬆ is crucial now. ARIES (21 MAR TO 20 APR) It’s official. Morgan Freeman’s lawyers are coming after you for everything you’ve got. Hide your money. TAURUS (21 APR TO 20 MAY) Binge drinking is the leaﬆ of your worries right now. You need to concentrate on learning how to read and write. GEMINI (21 MAY TO 20 JUN) Are you really expected to care if ‘Horny Warney’ is sleeping with Liz Hurley? No. Only if you are Hugh Grant or Mrs Shane Warne. CANCER (21 JUN TO 21 JUL) A pat down at airport security will devolve into a frisk, then a feel up. Eventually it will lead to full sex, fi lmed and poﬆed online. LEO (22 JUL TO 21 AUG) Th is week you need to remember that you should NEVER get out of your car in a road rage incident. Your car is your beﬆ weapon. VIRGO (22 AUG TO 21 SEP) A reunion with an old lover will lead to a trip down memory lane. But you’ll get a weird vibe off them, before realising they’ve had a sex change. LIBRA (22 SEP TO 22 OCT) Unable to pay your debts to Jabba The Hutt, you will be captured and frozen in carbonite. And during the Summer no less. Bummer! SCORPIO (23 OCT TO 21 NOV) Be honeﬆ with yourself for a moment. That Inception movie really wasn’t that good was it. I mean, it was OK, but hardly a classic. SAGITTARIUS (22 NOV TO 20 DEC) When Carrie Fisher insinuates that you are a closeted homosexual, you will have to decide what is really important to you. CAPRICORN (21 DEC TO 19 JAN) A one night ﬆand with a rare Panda bear will leave you pregnant, broke and alone. Fucking Pandas. I hope they all die.

IT WAS THE day all Short Stack haters had been waiting for when bass player Andy Clemmensen apparently cobbled together a Kanye Weﬆ album review for Channel [V] from a variety of global sources. Short Stack fans couldn’t care less, as one Facebook follower commented “I love you Andy... Fuck that plagerism [sic] shit...” Right on brother… SPEAKING OF KANYE, he’s dropped a Chriﬆmas tune titled Chriﬆmas In Harlem. The jolly tune features a whole heap of his protégés including CyHi Da Prynce and Teyana Taylor... IT’S NOT JUST Yeezy jumping on the Chriﬆmas song bandwagon, with veteran UK housers Saint Etienne recently diﬆ ributing the decidedly less chipper No Cure For The Common Chriﬆmas – check it at the RCRD LBL blog... WE MENTIONED A couple of weeks back that PNAU would be back with a new long-player in 2011, and you can hear a snippet of lead track The Truth if you type the appropriate keywords into the YouTube search engine right now. Might be handy if you want to know the words when they play Big Day Out... 3D WORLD HAVE known all along that Katy Perry was onto something special with her Teenage Dream album, and it seems we were right. Ms Perry-Brand is the ﬁ rﬆ female artiﬆ in 11 years to score three number on singles form the same album on the Billboard Hot 100 with California Gurls, Teenage Dream and Firework respect ively. What a gal...

SUPA SIZED

TAIO CRUZ

Trumpeting itself as one of the world’s largeﬆ urban music feﬆ ivals, Supafeﬆ 2011 has certainly upped the ante on the line-up front from their fi rﬆ outing in 2010. Iconic hip hop figure and serial gueﬆ verser Snoop Dogg is the obvious headline act, having earned inﬆant cred from his debut on Dr Dre’s The Chronic and moved into the mainﬆ ream through a ﬆarring role in the Starsky & Hutch fi lm plus gueﬆ verses for Katy Perry, Jessica Mauboy and many more. Fellow chart-topper Nelly also plays on the back of his 5.0 record, while dynamite newcomer Taio Cruz and former child ﬆar and now very much adult Bow Wow complete the fi rﬆ announcement. The quartet play ANZ Stadium (Sydney) Saturday 9 April, RNA Showgrounds (Brisbane) Saturday 16 and Melbourne Showgrounds Sunday 17. Tickets for all shows through Ticketek now. MOWGLI

DIRTY DANCING

Raised on a ﬆeady diet of everything from hip hop to house to drum’n’bass, Italian producer Michele Savaﬆa has gathered all of that acquired knowledge into his own output as Mowgli. It’s clearly working for him, with artiﬆs as diverse as Martin Solveig and X-Press 2 calling on his services for remix duties over the years, and that’s no forgetting his cheeky bootleg of The Chemical Brothers’ Do It Again which copped a smashing through 2008. He’s sure to have plenty of fresh elect ro bombs to shred speakers with when he hits Monaﬆery (Brisbane) Friday 14 January, 151 Nightclub (Wollongong) Saturday 15 and Chinese Laundry (Sydney) later that night, Revolver (Melbourne) Saturday 22, Barking Dog (Geelong) Sunday 23 January, Platinum Nightclub (Gold Coaﬆ) Saturday 5 February and ﬁnally Trinity (Canberra) Sunday 6. CAT POWER

THE POWER OF ONE

When Atlanta-born songﬆ ress Cat Power takes to the ﬆage, you never quite know whether you’ll get an incendiary performance or a meltdown – and that’s part of the appeal. It’s been nearly two years since her Jukebox album dropped on the eﬆeemed Matador label but she’ll be back in Auﬆ ralia in January to show oﬀ its sounds for a series of theatre shows, ﬆarting at The Forum Theatre (Melbourne) Friday 21, then Theatre Royale (Caﬆ lemaine) Saturday 22, Brisbane Powerhouse Friday 28, Coolangatta Hotel Saturday 29 and Sydney Opera House Sunday 30. HUNGRY KIDS OF HUNGARY

STILL HUNGRY

2010 was a watershed year for Brisbane indie kids Hungry Kids Of Hungary, their debut album Escapades dropping on EMI to much love and their grueling touring eﬀorts not slowing down. It’s looking like 2011 is going to be another year of road warrior antics for the quartet, with a ﬆack of feﬆ ival and club shows through the early months of the year. They play The Hot Barbeque (Portsea) Saturday 22 January, Brass Monkey (Cronulla) Tuesday 25, Baroque (Katoomba) Thursday 27, Mona Vale Hotel (Sydney) Friday 28, Fitzroy Hotel (Sydney) Saturday 29, Joe’s Waterhole (Eumundi) Thursday 3 February, Laneway Feﬆ ival (Brisbane) Friday 4, The Loft (Warnambool) Saturday 12, St Kida Feﬆ ival Sunday 13, Playground Weekender Friday 18 and Good Vibrations Feﬆ ival (Gold Coaﬆ) Saturday 19.

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CALENDAR DECEMBER BOBBY BROWN, JOHNNY GILL, RALPH TRESVANT – Wednesday 22, The Palace THE CUBAN BROTHERS – Saturday 25, The Espy OZ SOUL SUNDAY: LOTEK – Sunday 26, The Toff JIM BARON & CHRIS TODD – Sunday 26, Eureka Tower Level 88 & 89 UNSTABLE SOUNDS – Sunday 26, Loop Bar MIND OVER MATTER, PHATCHANCE & COPTIC SOLDIER – Monday 27, First Floor NO STANDING: T-REK, NICK COLEMAN, VAN.G, MADISON – Monday 27, Brown Alley MARINA & THE DIAMONDS – Tuesday 28, The Hi-Fi DUBMARINE, DIRECT INFLUENCE – Tuesday 28, Northcote Social Club PYRAMID ROCK FESTIVAL: N*E*R*D, ARRESTED DEVELOPMENT, CHROMEO, XAVIER RUDD, GYROSCOPE, MYSTERY JETS AND MORE– Wednesday 29 – Saturday 1, Phillip Island PUBLIC ENEMY – Wednesday 29, Corner Hotel ARRESTED DEVELOPMENT – Wednesday 29, The Espy THE CASIOKIDS, NEON INDIAN – Wednesday 29, Revolver THE FALLS MUSIC & ARTS FESTIVAL: PUBLIC ENEMY, INTERPOL, JOAN JETT, TAME IMPALA, THE RAPTURE, LADYHAWKE AND MORE – Tuesday 28 (Lorne) Wedesday 29 (Marion Bay) EDAN – Wednesday 29, The Espy PEACHES, JD SAMSON – Thursday 30, Corner Hotel ARMIN ONLY – MIRAGE: ARMIN VAN BUUREN – Friday 31, Etihad Stadium DJ HAVANA BROWN – Friday 31, Fusion THOMAS SCHUMACHER – Friday 31, Onesixone JAMAICA, WORLD’S END PRESS, KNIGHTLIFE – Friday 31, The Corner MORE FIRE NYE: RAS CRUCIAL, TROUBLEMAKER, BLOOD LIP SOUND, SISTA SARA, ARMAGIDEON TIME – Friday 31, Deep 11 (Mercat Cross) CARL KENNEDY – Friday 31, Platform 28 SARCASTIC DISCO: DJ HARVEY, DJ GARTH – Friday 31, The Toff CODE RED: AJAX, NICK FOLEY, CHRIS PAPAS, PTFFP, JAMES FAVA – Friday 31, Prince of Wales LORD FINESSE, BOOGIE BLIND, OZI BATLA – Friday 31, First Floor TENSNAKE – Friday 31, New Guernica DJ HAVANA BROWN

AUSSIE HIP HOP legends Hilltop Hoods and APRA will once again be teaming up in 2011 for the Hilltop Hoods Initiative. It offers a $10,000 grant to an aspiring artiﬆ or act who is yet to release an album professionally to help kickﬆart their development. Laﬆ year’s winner was Melbourne’s 1/6 - this year’s judges include Hau, Nish, Ran-Dee and Raph. Apply via www.apraamcos.com.au before 22 February for your shot at the title… WANT TO LIFT your Facebook chat game? A new survey of online fl irting by dating website Badoo.com has found that the beﬆ internet chat-up line for men to use is: “You have beautiful lips.” Seems a bit personal to us... WELL NOW IT’S official. TRON: Legacy has reached cultural blockbuﬆer ﬆatus now that Playboy have commemorated the fi lm with a TRON inspired spread featuring Playmates painted in glow-in-the-dark paint to simulate the lightsuits worn in the fi lm... IT’S THE COMEBACK we didn’t know we had to have. Sweden’s late 80s/early 90s chart conquerors Roxette return from nowhere when Charm School drops on 11 February. We hope they ﬆ ill have “the look”... 80S RAPPER, FASHION icon and now social media ﬆar – MC Hammer’s career is unﬆoppable. The incredible Hammer, who has close to two million followers on Twitter, was recently awarded Social Media Marketer of the Year Award by The Gravity Summit...

CARL COX

COX OF THE CREW

He calls Auﬆ ralia home for part of the year and he’s already served up local fans with a dose of what he does beﬆ with yet another barnﬆorming set at the recent Stereosonic feﬆ ival – but Carl Cox also likes to get up close and personal with his fans. So you won’t want to miss The Revolution Continues when it takes over Billboard Friday 18 March, especially with Coxy conﬁ rmed to be delivering a three hour set where he’ll be joined on ﬆage by some very special DJs, singers and musicians. Doors open at 10am and close at 4am, and if you wanted to be inside them you’ll want to grab your tickets now from billboardthevenue.com. au or Moshtix.

WHAT A NERVO!

If you’ve got tickets to the Armin van Buuren Armin Only – Mirage spectacular which takes over Etihad Stadium for New Year’s Eve, chance are you’re pretty excited to be getting a night of nothing but epic from the Dutch trancer. But if nine-ish hours of AvB is a bit too much for you and you’re lucky enough to have snagged yourself a VIP ticket, you’ll get an alternative to the prog and trance in the main arena with the Melbourne-born songwriters to the ﬆars Nervo hoﬆ ing the exclusive VIP Area. Tickets on sale through Ticketmaﬆer – don’t miss out.

OVER IT

The line-up for the 2011 inﬆalment of Push Over is here, and it’s looking big! At the Abbotsford Convent on Sunday 13 March you’ll have the following acts doing their thing across three ﬆages - Anchors, Children Collide, Deez Nuts, Illy, Laﬆ

Dinosaurs, Metals, Oh Mercy, 1/6 feat MzRizk, Owl Eyes, The Tongue and more. You can expect more to be announced between now and then – and if you’re an MC or breaker and want to get involved, head to www.thepush.com.au to regiﬆer now.

TURN IT UP

Since he turned in the outﬆanding Fabric 48 compilation in the tail end of 2009, Matt Edwards has been a busy boy – and not juﬆ under his Radio Slave moniker. When not helming his Rekids label, Edwards has crafted the debut album under his new alias The Machine – and Redhead is an even more esoteric capturing of his dyﬆopian vision. Catch him in the ﬂesh when he plays The Likes Of You at Revolver Sunday 16 January and Rainbow Serpent Feﬆ ival Sunday 23.

HOUSE ‘EDS

If you’re a fan of the Boysnoize Records ﬆable of artiﬆs, liﬆen up! It wasn’t so long ago that

Housemeiﬆer and DJEDJOTRONIC were down our way separately, but they’ve both been busily globetrotting since – and EDJOTRONIC also has a freshly minted EP on the eﬆeemed elect ro label featuring South African rapper Spoek on the hook. They both bring the rave to Any Excuse at Brown Alley Friday 28 January. Get on board.

RED LIGHT

If you make it through NYE/D unscathed, Roxanne Parlour are ensuring you don’t have to wait long to do it all again – especially if you’re a fan of bass music. Friday 7 Janaury see drum’n’bass and dubﬆep fans treated to Chase & Status, Sub Focus, 16Bit and Netsky, while Sunday 9 sees Espionage Part 2 hoﬆ Flying Lotus, The Gaslamp Killer and Harmonic 313 – if you missed out on the big Saturday night show (also featuring Hudson Mohawke) at The Hi-Fi, this is your only other chance to get your future beat ﬁ x.

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CALENDAR TENSNAKE

JANUARY SUMMADAYZE: DAVID GUETTA, MIAMI HORROR, RIVA STARR, BOB SINCLAR, BOYS NOIZE, N*E*R*D AND MORE – Saturday 1, Sidney Myer Music Bowl. BASS JUMP 2011: ANDY C, EXCISION, LOEFAH, DBRIDGE, BREAK, KLUTE AND MORE – Saturday 1, Prince of Wales 2 LIVE CREW – Saturday 1, The Espy ILLY – Saturday 1, The Espy WELCOME SUMMER 11: BOB SINCLAR – Saturday 1, Peninsula, Shed 14 BLOW YOUR OWN WAY BOAT PARTY: QUARION – Saturday 1, Port Phillip Bay MILTON JACKSON – Saturday 1, Revolver THAT PARTY: BASEMENT JAXX, FRANKIE KNUCKLES, ARTHUR BAKER – Saturday 1, The Point in Albert Park, BETTERDAYS: JUNIOR JACK, KID CREME, ALAN BRAXE – Saturday 1, Albert Park Lake THE DYNAMITES, CHARLES WALKER – Thursday 6-Friday 7, The Order of Melbourne KILLER: A-TRAK, AJAX, GENERIK, TRANTER, OPULENT SOUND, KRIS BAHA, MATT CANT, MAFIA, POST PERCY – Friday 7, Billboard CHASE & STATUS, SUB FOCUS, 16BIT AND NETSKY – Friday 7, Roxanne Parlour PROMOE, COSMIC – Friday 7, The Espy SLEIGH BELLS – Friday 7, Prince Bandroom ESPIONAGE: FLYING LOTUS, HUDSON MOHAWKE, THE GASLAMP KILLER – Saturday 8, The Hi-Fi THE RAPTURE, STRANGE TALK, ANDEE FROST – Saturday 8, Corner Hotel THE NATIONAL – Sunday 9, Palais Theatre DARREN EMERSON – Sunday 9, Royal Melbourne ESPIONAGE PART 2: FLYING LOTUS, THE GASLAMP KILLER AND HARMONIC 313 – Sunday 9, Roxanne Parlour MOS DEF – Friday 14, Palace Theatre SHPONGLE – Friday 14, The Forum Theatre GOTYE – Friday 14, National Theatre BLOW YOUR OWN WAY: HENRIK SCHWARZ – Friday 14, Roxanne Parlour THE BAMBOOS – Friday 14, Prince of Wales OWEN PALLETT – Saturday 15, Thornbury Theatre RADIO SLAVE – Sunday 16, Revolver OWEN PALLETT – Sunday 16, The Toff In Town ROGER SANCHEZ– Thursday 20, Rush RAINBOW SERPENT FESTIVAL: SHPONGLE, BEATS ANTIQUE, QUIVVER, D-NOX AND MORE – Friday 21, Beaufort

MARK ZUCKERBERG MAY have been portrayed as a spiteful yet pitiful genius in this year’s acclaimed fi lm The Social Network, but that hasn’t ﬆopped him from being voted Time Magazine’s Person Of The Year. Wikileaks honcho Julian Assange was also a contender for the top spot. Clearly uniting the world is more important than allegedly attempting to divide it… LIKE LYKKE LI? Like the Beaﬆ ie Boys? Well Mike D of Beaﬆ ies fame has remixed Lykke’s new single Get Some, Google that shit... IF YOU LOVED 8 Mile then you will be pleased to know Eminem is returning to the silver screen. The rapper’s product ion company Shady Films is reported to be in talks with Dreamworks to produce Southpaw, a fi lm about a welterweight boxer... YOU MIGHT HAVE heard Armin van Buuren play it on his A State Of Trance radio show, and now Sander van Doorn’s Love Is Darkness has a release slated for February 2011 via his own Doorn Records. Featuring Carol Lee of Dutch band Bettie Serveert, it’s SvD’s fi rﬆ official vocal track release – and not surprisingly, suitably laserreachingly epic... JENIFER LOPEZ IS to be sued by Claudia Vazquez, the girlfriend of her ex-husband Ojani Noa, for $10 million dollars. It is alleged that J-Lo mis-ﬆated facts to the court to obtain a reﬆ raining order againﬆ her former spouse. You can take the girl out of the block...

CARL KENNEDY

THE HOUSE DOCTOR

2010 has been quite the year for house DJ/producer Carl Kennedy, following up previous releases on labels like Stealth, Toolroom, CR2 and MOS with his ﬁ rﬆ drop on Erick Morillo’s Subliminal – Blackwater in collaboration with Tommy Trash and Rosie Henshaw. If those house music touchﬆones are of appeal to you, then Kennedy’s New Year’s Eve gig in Melbourne is probably one you’ll want to attend. He plays Docklands hot spot Platform 28 Friday 31 December with a range of ticketing options available from entry only at $20 to an all-inclusive $140 ticket if you want to make the night an extra special one. Head to www. platform28.com.au for all the details.

ILLY NYD

Local hip hopper Illy’s second album The Chase pitched him ﬆ raight at the mainﬆ ream, thanks in part to the catchy as fuck lead single It Can Wait featuring ﬆ unning Melbourne vocaliﬆ Owl Eyes – and he even featured on the front cover of this very magazine on the back of it! He’s not waﬆ ing any time kicking his 2011 campaign into gear either. You can catch him at The Espy for some New Year’s Day beats and rhymes Saturday 1 January. Entry is free, and he’ll have some unspeciﬁed gueﬆs by his side.

OUT BOXED

It looks like there’s only one place to be this Boxing Day – and it’s not the MCG! The Curtin House Rooftop plays hoﬆ to disco par excellence courtesy of New York City’s Brennan Green, Loveﬁngers and Hey Convict !, with local legends Ransom and NHJ keeping the gueﬆs honeﬆ. It runs from Midday til 1am, the Beatbox BBQ will be

in act ion, the view is great and tickets are limited. Don’t miss out.

HIGH LOVE

There’s another Boxing Day party of a similar nature happening at Eureka Tower Level 88 & 89, this one ﬆarring Jim Baron & Chris Todd (aka Hot Toddy) of Crazy P fame. They’ll be joined by Aaron Trotman & Mic Newman, John Course, Brad Sassman and Simon Digby from 8pm til 2am. Tickets $40 from Moshtix now, or $50 on the door.

SIT DOWN

The laﬆ time locals-only night No Standing was held tickets were sold out a week in advance, so the return bout at Brown Alley Monday 27 December is sure to be much anticipated. The line-up includes T-Rek in live band mode featuring Nick Coleman plus Van.G with vocaliﬆ Madison, while the massive DJ/producer line-up features Kalus, Orkeﬆ rated, Heath Renata, Spacey Space vs

Boogs and Crank among many more. Tickets are $25, call 1300 100 030 (free call from mobile phone) to snap one up.

CUBAN XMAS

The Cuban Brothers will be hitting The Espy on Chriﬆmas Night (that’s Saturday 25 December if you can’t keep up) the only way they know how – by throwing a big fuck-oﬀ party of course! These crazy Latinos know how to funk the fuck out of a room. If you’ve seen them before you’ll be there – if you haven’t, it’s time to pop your cherry.

IT MATTERS

Sydney crew Mind Over Matter are prepping themselves for a 2011 album drop with a warm-up jaunt through the clubs of Oz which wraps up at Firﬆ Floor in Melbourne Monday 27 December. Catch the duo ﬆ rut their ﬆ uﬀ with support from Phatchance & Coptic Soldier, TYS, Matik and Count Eﬀect z before everyone else catches on.

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LAST DANCE? HE’S OVER THE HILL, YET HAS JUST MADE THE RECORD OF HIS LIFE; HE WRITES TRACKS THAT MAKE YOU WEEP AND DANCE AT THESAME TIME - BUT DOESN’T CONSIDER THEM APPROPRIATE FOR WEDDINGS. JAMES MURPHY TELLS TRISTAN BURKE WHY THIS IS THE END OF LCD SOUNDSYSTEM AS YOU KNOW IT.

AMES MURPHY IS A MAN OF FLIPSIDES, AND AFTER A DECADE WITH THREE INCREASINGLY BRILLIANT RECORDS, STILL CAN’T SEEM TO DECIDE WHICH WAY’S UP. Suited and sideways, the dapper, curiously askew gentleman gracing the cover of LCD Soundsyﬆem’s lateﬆ, and potentially laﬆ, album is a far cry from the more commonly recognised man-bear with the unruly thatch of don’t-give-adamn hair and tendency to get hammered at gigs on a self-prescribed tonic of champagne and whiskey. There’s advantages to both, as he points in Pow Pow, This Is Happening’s eight-minute meditation on ins and outs. And never have the many facets of James Murphy – cooler king, clown, poet, goofball – combined on an album to better effect. If it is indeed LCD Soundsyﬆem’s laﬆ hurrah, it’s the perfect swansong. “I didn’t really think about it until I was doing the vocals; when I was in Los Angeles making the record I wasn’t thinking about it at all,” Murphy reveals, asked whether a conscious decision was taken prior to recording the new record that it would be the fi nal one. “I realise now that somewhere in my brain I muﬆ have known, because recording in this big, ﬆ upid mansion in LA was a perfect way of doing it, y’know. So it wasn’t like I decided, more like I realised, ‘Oh, ah, okay…’” The mansion in queﬆ ion served as the perfect rock ‘n’ roll retreat. Rather than the upﬆate New York farm at which LCD’s eponymous debut and Sound Of Silver were recorded, Murphy summoned his collect ive to the Hollywood Hills, insiﬆed they wear white for the duration of the record’s production, and embraced making music in a space that, depending on who you talk to, was the site of The Beatles’ fi rﬆ experimentation with LSD and haunted by a gay ghoﬆ. Living a life of arreﬆed development wasn’t some ﬆab at Murphy reclaiming his youth, but turning 40 during This Is Happening’s making did partly inform his decision to call it a day. “I juﬆ definitely remember when I was 30 ﬆarting with this I was like, ‘I juﬆ want to do this for ten years.’ It wasn’t like there was anything sad about 40, it was more like ‘oh, this is when I said I’d be done’, so I tried to get the record done by my birthday, but I loﬆ my voice so it was act ually two weeks after.” It was Dance Yrself Clean, the higheﬆ vocal regiﬆ ry of any LCD track, and laﬆ to be recorded, that was responsible for breaking him, leading Murphy to ﬆeroids and to proudly proclaim: “I juiced for this record.” The lack of sentimental fanfare for reaching the mileﬆone age should come as no surprise to LCD Soundsyﬆem fans. “I find sentimentality kinda repulsive,” says Murphy. “Sad, happy – I try to

make those two things happen at the same time as often as possible. I think sad things without humour are very often really shallow; I mean you can make sad-sounding songs, with certain ﬆ upid words, but it’ll be this kind of emotional tone poem that makes me want to pull my eyeballs out and ﬆ uﬀ them in my ears so I’ll never have to look at, or see or hear anything again. I think humour is one way of allowing yourself to be more brutal and more real about yourself – it’s like a disinfectant for sentiment.” This Is Happening carries a romantic quality lacking from its predecessors, but that’s less down to content, and more the fact that James Murphy act ually allows himself to sing on the record. “Singing is always going to feel more romantic than yelling, except for a few people with certain issues,” he laughs. “When I wrote All My Friends I was like urgh, it’s too poppy, this is juﬆ terrible. But I realised later, when the song connected to a lot of people, that melody coupled with emotional content has power and that I should let myself write songs with melodies a bit more. It wasn’t that they were connect ing to it because

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PICS BY Kane Hibberd

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I FIND SENTIMENTALIT Y KINDA REPULSIVE...”

they underﬆood what I was saying, it was a combination of a couple of lines meaning a lot more to certain people than they necessarily meant to me when making them, and the melody.” The evolution of LCD Soundsyﬆem’s songwriting was particularly noticeable on Sound Of Silver. While the debut record presented hipﬆer anthems like Daft Punk Is Playing At My House, its followup saw tracks like All My Friends and Someone Great showcase a depth liﬆeners thought Murphy was too much of a smartarse to go to. Even he had undereﬆ imated how difficult such songs would be to conceive. “I had made the fi rﬆ record pretty easily. I did Losing My Edge amazingly easily; it was all juﬆ written off the top of my head and I thought ‘ah, this is fucking great, I can write songs all the time’. The fi rﬆ album I went in the ﬆ udio and made in a couple of weeks. It wasn’t until I went in to make Sound Of Silver that I realised I had nothing and I had to ﬆart from scratch, and I had to ask myself ‘is this as good as the laﬆ record?’ and all that sort of shit, which I hated asking myself, so it was really brutal experience.” While LCD’s more melodic tracks may have been more difficult to write, it continues to amuse Murphy that people equate the sound to something more personal to him. “It’s a little bit confusing to others, I think. People see Losing My Edge as a funny song, but that was a song where the moﬆ personal information, the moﬆ embarrassing ﬆ uff, the moﬆ specifically about me than any song I’ve ever made, it’s juﬆ how it’s interpreted. A song like I Can Change on the record is primarily not about what it seems to be about. It’s not about thinking you can change, it’s more about being pathetic, being sung from the position of what you do and how you act when you feel desperate. Some person was like ‘we’re going to get married to that’ and I was like ‘please don’t get married to that’. That song is literally about how desperate and pathetic you get when you lose sight of yourself, it’s not really a warm song, y’know. Sometimes I think that ﬆ uff gets mixed up: what seems funny isn’t necessarily funny and what seems serious isn’t necessarily serious.” WHO: LCD Soundsyﬆem WHAT: The London Sessions (DFA/EMI) out Friday 29 January WHERE & WHEN: Big Day Out at Gold Coaﬆ Parklands Sunday

23 January, Sydney Showground Wednesday 26 and Thursday 27 January, Flemington Racecourse (Melbourne) Sunday 30 January

KERMIT, I LOVE YOU... OR “WHY I MADE A MUPPET OUT OF MYSELF IN A NEW YORK, I LOVE YOU BUT YOU’RE BRINGING ME DOWN” VIDEO, BY JAMES MURPHY .

ERE’S THE FUNNY THING, I’d coincidently been videotaping our fi rﬆ show ever in London years ago, and shoved this guy Simon Owens off the ﬆage. Later, at a bar in Brooklyn, he walked up to me and was like, “Hey, I hope this doesn’t offend you, but I’m making this little art project for myself: I’m shooting a video to your song, with a Kermit puppet. I juﬆ think you sound like Kermit on that, I hope you’re not insulted…” I said, “Of course I’m not insulted”. When I sang the song the fi rﬆ time, I realised it sounded a bit like Kermit The Frog, and so sang it again. Then I realised no, I need it to sound more like Kermit again, so sang it a third time – purposefully more like Kermit. Kermit to me is like a super New York thing, because of Sesame Street, which is all New York City. He’s like, “Well, I’m doing this puppet thing…” And I’m like “Well, I’m a puppeteer…” I was as a kid; I really loved puppets. He’d already shot a whole bunch of the footage around the city, with someone else doing the Kermit puppet, and I did the one shot by the Eaﬆ River in Brooklyn, so it’s me at the end, which I thought was pretty funny. Weirdly enough, my friend Saam [Farahmand, director of Soulwax’s Part Of The Weekend Never Dies] sent me another Kermit, unrelated, New York, I Love You video that he had made. So clearly the unconscious Kermit that I was trying to sneak in there got through to someone, and if I’m Kermit, Pat’s animal, Nancy’s Janice, and Gavin’s Dr Teeth…

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AMBIENT PSYCHEDELIC TRANCE MASTERS,1996-PRESENT AS THE LIVE INCARNATION OF HIS VAUNTED SHPONGLE PROJECT PREPARE TO MAKE THEIR AUSTRALIAN DEBUT, AUSTRALIA’S COOLEST EXPAT SEPTUAGENARIAN RAJA RAM GRANTS CLARE DICKINS A 90-MINUTE AUDIENCE WITHIN HIS WEST LONDON APARTMENT TO DISCUSS HIS PSYCHEDELIC AWAKENING, HIS BAND’S GENESIS AND HOW SIMON POSFORD HELPS TRANSLATE EACH TRIP INTO A NEW MUSICAL ADVENTURE.

f ever you needed any proof that music was a family affair for Raja Ram, a visit to his multifloor apartment in the Weﬆ London suburb of Kensington proves the point. Upon entering, 3D World is greeted by not juﬆ a hospitable Ram, but the three foremoﬆ members of his tribe, as wife Nita, daughter Saﬆra and pint-sized granddaughter Bella all gather around the apartment’s ﬆairwell offering welcome. They could very nearly be your average multi-generational family, except Raja Ram (born Ronald Rothfield) is anything but your normal grandfather – or musician for that matter. Of all the colourful ﬆories that characterise modern music, Ram’s is surely one of the moﬆ remarkable. Born in Melbourne in 1940, he left Auﬆralia

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in 1958 to follow the hippie trail and wandered wide-eyed through Old Delhi, later hitchhiking from Piraeus in Greece to Ibiza to hang out with jazz musicians and world travellers long before Paul Oakenfold and Danny Rampling ‘discovered’ the party island in the late 1980s. Ram remembers it as a “ﬆrange world”. Later that year he’d find himself in New York City hanging in Greenwich Village, meeting Bob Dylan and other key music figureheads and discovering psychedelics. “That’s when it really ﬆarted,” Rothfield recalls.

“I was juﬆ meeting people and finding the way. That was such a fantaﬆ ic adventure to be so young and in New York taking LSD in 1958. It was quite an eye-opener.” Rothfield would go on to form psychedelic rock outfit Quintessence in 1968 at London’s Notting Hill Gate and play Glaﬆonbury in 1970-71. With the 80s came the advent of synthesisers, but it wasn’t until a trip to Goa in 1988 that all of the pieces of the puzzle fell into place. Together with Graham Wood, Ram birthed early proto-psy outfit The Infinity Project and threw London’s firﬆ ever Goa trance party, Relentless, on 16 December 1990. The partnership with Wood would ultimately lead to the formation of Tip Records (now TIP World) and lay crucial foundations for the nascent psy-trance movement.

Ram wo would go on to form 1200 Mics (with Riktam and Bansi from GMS and DJ Chicago) and The Zap! (with Benji Vaughan), but it was through his partnership with Simon Posford as Shpongle Shpon that the music world was gifted with true tru genius. The pair’s firﬆ album Are You Shpongled? was a landmark release in 1996, marrying twiﬆed psy with ambient and world music elements, as Ram – a classically trained musician specialising in woodwind inﬆ ruments and a penchant for mind-altering hallucinogens – paired with Posford’s next-level product ion prowess. With their 14-year partnership ﬆill going ﬆrong and with 2009’s fourth long-player Ineffable Myﬆeries Of Shpongleland ﬆill fresh in the minds of fans, Ram and Posford are anticipating a trip to Auﬆralia to showcase the Shpongle sound with a 10-piece band for the very fi rﬆ time. It’s an experience Ram describes as “icing on the cake” after a career spanning over 40 years. WHAT WAS THE GENESIS OF THE SHPONGLE PROJECT? “I went to a party one day and I was ﬆanding out in a field in the rain and I had this sort of vision. It would happen with Quintessence, too. It came in a flash – Shpongle. Someone juﬆ came up to me and said, ‘What’s going on with you?’ and I said, ‘I juﬆ feel so Shpongled.’ He asked, ‘What does that mean?’ and I said, ‘I don’t know what it means, but that’s how I feel,’” he laughs. “Si of course is a genius, he is amazing. But he couldn’t do Shpongle by himself because he has his own direction. It was good that I came in and the chemiﬆry worked. It juﬆ sort of evolved like that.” WHERE DOES THE SHPONGLE SOUND STAND IN 2010? “We’ve done this thing on the Hadron Collider in Switzerland; they try to find the origins of the universe and they have about 10,000 scientiﬆs working in this laboratory under the ground. We used a lot of the act ual sounds that they got in Switzerland because we knew a few people who worked on the project and they gave us the act ual frequencies and everything. We fed all those through the computer and built the track up from these amazing sounds. We put probably 300 layers of different tracks on top of each other. And the result [called The God Particle] is really different. It’s a bit weird.”

( WHO: Shpongle WHERE& WHEN: Forum Theatre (Melbourne) Friday 14 January, Enmore Th

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HOW MUCH OF SHPONGLE’S MUSIC IS WORKING AROUND THE CONCEPT OF ‘VISUALSCAPES’ OR DREAM SEQUENCES AND TRANSLATING THESE INTO MUSIC? “Well, that’s how we work. I’m classically trained and everything, but we never talk in musical terms. I never come in and say, ‘We’re going to do this time sequence or this key.’ What usually happens is that I come in with a visual idea of something I have seen and I explain that vision to him and then we go about interpreting the particular images. It’s a ﬆrange way of working. I don’t know anyone else who works like that with the visuals. I’ll go in and say, ‘I see a blue lake and the sky is reflected in the lake and underneath the lake there are fishes swimming in the lake,’ so we’ll get these different levels. And he’s sort of like an artiﬆ and he pinpoints these particular things and comes up with brilliant sounds.” I KNOW THE DMT EXPERIENCE HAS LAID THE FOUNDATION FOR THE SHPONGLE SOUND TO A CERTAIN DEGREE. IS THAT SOMETHING THAT IS ONGOING? “I haven’t taken DMT for a while now. I ﬆill have some here. It’s quite a difficult one to digeﬆ. I never take drugs juﬆ like that for kicks, it’s more an inveﬆigatory purposes… I ﬆ ill take acid on occasions when it’s right, but I always take it as a tool in that way, whereas a lot of people juﬆ like to take it to get high, which is fine, I’m not critical of that. It’s a powerful experience where one pulls in on one’s spirituality and one’s visionary experience and tries to translate that into something that other people can get the experience without taking the drugs basically. I’m the guinea pig in a way. Si doesn’t take many drugs – he has to navigate the spaceship, whereas I can kick back a bit.” WOULD YOU EVER SIT DOWN WITH HIM AND TAKE A TRIP FOR THE PURPOSE OF CREATING SOME SHPONGLE MATERIAL? “He has done that and we have done that together, but basically I’d say I’m the one that takes it much more than him… I might go to Brazil and go and take Ayahuasca in the jungles and then I’ll come back with some samples that I’ve recorded and I’ll play him the samples and tell him what I’ve seen and we’ll build it from that.”

INEFFABLE MYSTERIES OF SHPONGLELAND

or many Shpongle fans, the duo’s fourth longplayer came out of leftfield. Posford and Ram had maintained Nothing Laﬆs…But Nothing Is Loﬆ to be their final offering, likening it to the concept of a trilogy – juﬆ like the movies. Inﬆead, Posford completed his maiden trip to India, an inspired journey that would ultimately lay the foundations for Ineffable Myﬆeries Of Shpongleland.

WHERE DID THAT ALBUM COME FROM? “The second album was very influenced by Brazil and this laﬆ album that we’re talking about, Si had been to the India for the very firﬆ time. So he’d never been there, but I’d been to India like 100 times and beenup the Himalayas and gone on pilgrimages. So when he came back he had a lot of samples and was really fired up about India. I’d been fired up about India for about 30 or 40 years, but I never wanted to lay my trip on him and say ‘let’s go India’, but he was in that mood, so a lot of that laﬆ album has more of an Indian

WILL THE AUSTRALIAN SHOW BE A CULMINATION OF ALL THE SHPONGLE ALBUMS, WITH PERHAPS MORE OF AN EMPHASIS ON THE RECENT ALBUM? “Probably more tracks from Ineffable Myﬆeries – hadn’t really thought about it, but I guess. We will probably play four to five tracks from it, so probably 12 or 14 tracks per show. Also we’re thinking of doing a jam based on early material and reinventing it live on ﬆage and maybe doing that. And I want to play this new ﬆ uff; Simon isn’t act ually convinced we can do it, but I really want to play the very lateﬆ ﬆ uff we’ve done, but we’re sort of in discussion about it, because it’s very hard to play.”

Theatre (Sydney) Saturday 15 January, Rainbow Serpent Feﬆ ival Friday 21 – Monday 24 January )

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inﬂuences than maybe some of the other albums.” HOW DOES THE PRODUCTION PROCESS GO FOR YOUR BOTH? “He’s got the beﬆ house I’ve ever been to. He’s in Berkshire next to Greenham Common and we juﬆ lock the door and don’t let anybody in ever and juﬆ buy all the food and ﬆay there and work. We work 15-20 hours a day, then go up and sleep and then come down and work again. It’s quite a monk-like exiﬆence. We do have a lot of fun, it’s a laugh working with him and all of that, but it’s juﬆ intense. It’s like driving at a very high speed because if you lose your concentration it’s very easy to go oﬀ the road. It’s very easy to get diﬆ racted in this world, because there are a lot of diﬆractions. So we both sort of hold each other together so we’re good that way, because we know we’ve got to do it. And try and keep all his girlfriends away!“

WEAPONS TESTERS WHEN GERMAN LIVE ACT BOOKA SHADE TAKE A RARE STEP UP TO THE DECKS, ARNO KAMMERMEIER LETS DANIEL SANDERS KNOW THEY BRING A STACK OF GADGETS AND A SENSE OF MUSICAL HISTORY WITH THEM.

it the release of More! – Booka Shade’s fourth LP – in the early days of 2010, German product ion powerhouses Walter Merziger and Arno Kammermeier re-eﬆablished themselves as a dancefloor force to be reckoned with. Though its predecessor The Sun And The Neon Light had its moments, the album unified critics and fans alike in discord – sure it was ambitious, but where were the hook laden hits? Merziger and Kammermeier have an especially rich musical hiﬆory under a wide variety of aliases which ﬆ retches back to the mid/late 1980s. Though their earlier work bears little resemblance to Booka Shade, it’s no less relevant – a major chart hit as synth pop group Planet Claire and the eﬆablishment of Perky Park Music laid the foundations for their eventual, much later shift into the wider dance music world. Though Merziger and Kammermeier scored a hit in Una Musica Senza Ritmo as Degeneration back in 1993, it was the founding of Get Physical with Thomas Koch (DJ T), Phillip Jung and Patrick Bodmer (M.A.N.D.Y.) and the subsequent eﬆablishment of Booka Shade which catapulted them even further into the dance music world’s collect ive consciousness. It’s as if they’ve come full circle with More!, returning with the same pulse, bump and infect iousness which made tracks such as Body Language and Mandarine Girl so effortlessly popular. It’s this sensitivity to what audiences like about their music that Merziger and Kammermeier seem to carry with them in all their musical endeavours and onto the ﬆage. Whilﬆ they’ve typically done so as a twoman band in the paﬆ, the duo have taken to DJing like ducks to water – despite Kammermeier’s admission that they’ve avoided it in the paﬆ. “Ever since, after the end of the laﬆ tour I believe, we ﬆarted this DJing every now and then and had a DJ residency at Space for example over the summer in Ibiza and headed to Mykonos and some of these smaller places and clubs,” Kammermeier recounts. “Th is is what it was intended to be for the DJ shows but then we got the offer and invitation from the Big Day Out to bring the DJ show also. Th is is a different thing for us and we’re very excited about it. Apart from the DJ shows we couldn’t resiﬆ to do two live shows in Sydney and Melbourne – at leaﬆ we do those two, we couldn’t come to Auﬆ ralia without doing that.” By no means the fi rﬆ fi rﬆ chaps to grace the decks in the Boiler Room, they’ll be bringing a great deal more panache and detail to the artform. Equipped with a horde of effects units and small synthesisers, their set is more akin to a live PA than a typical DJ set. Despite this is, it’s the fundamentals which Kammermeier seems moﬆ focused on. “Some DJs already call this a ‘live show’ in their DJ world but for us this is ﬆ ill juﬆ DJing,” he says teasingly. “That’s the nice thing – there’s a lot of spontaneous ﬆ uff going on when we do the DJ shows and we can fiddle around with all the ﬆ uff. It’s a different way of working and for a long time we said we’re not DJs and that it’s a completely different artform, which it is, but taking other peoples music also, combining it and seeing

what comes out is a great pleasure for us. “I ﬆ ill believe in this artform of DJing; [where] if you give a DJ enough time he takes you through a whole night or so. Not a lot of DJs I believe nowadays are able to do this because they normally do only an hour and a half or two hours. When we went out to see DJs in the 90s that was the thing – [to] create music that takes you through the whole night and brings you through different moods. In a way when we do the DJ sets we don’t do one sound for the whole time, we juﬆ can’t do this because also when you know Booka Shade and the music we do, it’s also not the same thing all the time. We… go in different direct ions; we bring in some classics, some ﬆ uff that some kids don’t know any more and combine them with up to date grooves, [so] something new comes out of it.” A more cynical critic could quite fairly call Kammermeier and Merziger’s complimentary move into DJing as a cash grab, yet it seems anything but. After all, if the duo are making music as much for DJs as for themselves, what better way to road teﬆ music? Thankfully they bring a good deal more to the table than others, choosing inﬆead to treat it as a fun way to entertain different audiences. Though they suffer no such problems, Kammermeier cites the death of record ﬆore culture as the prime cause of declining DJ skills. “Record ﬆores have died everywhere, I don’t know how it is in Auﬆ ralia but in Europe and especially in America vinyl is gone and you only have a couple of digital platforms. On these a certain sound is pushed in a big way and I remember once we had been at an aftershow party with some other DJ – who has been around for while – and he didn’t have his records with him. He went to the local DJ and said ‘alright give me your records. I’ll do something with your records’. He fl ipped through the CDs and said, ‘well there’s only ﬆ uff from the laﬆ twelve months or so, there’s nothing older and there’s no variety’. Probably that’s a bit of a problem.” WHO: Booka Shade WHAT: More! (Get Physical/Bandroom Records/Sony) WHERE & WHEN: Big Day Out at Gold Coaﬆ Parklands Sunday 23 January, Sydney Big Day Out at Sydney Showground Wednesday 26 January, Big Day Out at Sydney Showground Thursday 27 January, Manning Bar (Sydney) Friday 28 January, Saturday 29 January at The Forum (Sydney),Big Day Out at Flemington Racecourse (Melbourne) Sunday 30 January, Prince Bandroom (Melbourne) Monday 31 January

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DENNIS FERRER HAD A BREAKOUT 2010 THANKS TO THE SUCCESS OF VOCAL HOUSE BOMB HEY HEY, BUT KRIS SWALES DISCOVERS ON A SINGAPORE BEACH THAT THERE’S MUCH MORE TO THE NEW JERSEY NATIVE THAN HIS GLOBAL CHART TOPPER. LIVE PHOTO BY DAVE DRI.

SIMPLY UNPREDICTABLE

t’s 9am on Singapore’s Siloso Beach and laﬆ drinks have juﬆ been called on the tenth anniversary running of the ZoukOut feﬆ ival – but not before Dennis Ferrer ﬆepped up at daybreak to deliver the set of the entire event. Ferrer is ﬆ ill vibing and deservedly so, having kept a full floor of people who’d been dancing on the beach for up to 12 hours in front of him even while Singapore’s oppressive heat ﬆarted to have a noticeable impact over his set’s twoplus hours duration. “It was a great time,” an animated Ferrer says. “I always have a great time when I come out to Singapore. It was fantaﬆ ic because we had the misfit ﬆage [laughs]! All the misfits were playing on this ﬆage – we had me, Seth [Troxler], Dubfi re, we had a great time. “I juﬆ got on the train and kept going,” he continues of a set which ﬆ retched well paﬆ its scheduled two hour running time. “[The crowd] weren’t giving me anything to make it easy, sometimes you juﬆ have one of

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I NEVER STAY IN ONE PLACE FOR TOO LONG, I’M ALWAYS MAKING MOVES HERE AND THERE. THAT’S THE KEY TO STAYING CURRENT AND HAVING SOME LONGEVITY, IS BEING ABLE TO FLIP THE SWITCH WHENEVER YOU NEED TO.” those nights where they make you work, you know – so I tried to work! I enjoy playing and it’s a business as well as being fun. And I’m paid to entertain so that’s what I tried to do for everybody tonight – entertain.” It’s a refreshingly humble approach from a house music veteran who has every right to reﬆ on his laurels, particularly given the achievements of the paﬆ 18 months. Though act ive from as early as 1994 with ambient trance outings under his early Aurasfere guise (he’s also more recently explored deep to tech house as Son Of Raw), it was the November 2009 release of Hey Hey on his own Objektivity imprint which arguably lifted Ferrer into a diﬀerent league. The vocal anthem was subsequently licensed by Defected (among many others) and given the remix treatment by artiﬆs as far-ﬂung as Crookers, giving Ferrer the impetus to spend 2010 globetrotting – but he promises there’s plenty more to come from his ﬆ udio yet. “Hey Hey was November [2009], Red Room was this year, and I’ve been working on some other

deeper ﬆ uff also,” Ferrer reveals. “I never ﬆay in one place for too long, I’m always making moves here and there. That’s the key to ﬆaying current and having some longevity, is being able to fl ip the switch whenever you need to. And that’s what I like doing – I like being unpredictable.” But before he settles back in front of his monitors in Union City, New Jersey, Ferrer has some highly-anticipated DJ dates down under. “I’m doing a couple of cities in one day if I’m not miﬆaken…” he trails off. “I could be, I don’t really know, I’m sorry! It’s really busy – [I’ve] been [playing] every weekend, every other weekend, it’s really ridiculous. But it’s been fun. That’s the main thing, that we have fun doing what we love to do. It’s a blessing.” WHO: Dennis Ferrer WHERE & WHEN: Harbour Party at Luna Park (Sydney) Friday 31 December, Summadayze at Sidney Myer Music Bowl (Melbourne) Saturday 1 January, Summafieldayze at Doug Jennings Park (Gold Coaﬆ) and Platinum Nightclub (Gold Coaﬆ) Sunday 2 January

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BROWNIES IN BERGHAIN

LIKE MANY BEFORE HIM, DANIEL SANDERS WAS LURED TO THE FORMERLY WAR-TORN CAPITAL OF GERMANY BY THE THROBBING BEAT OF TECHNO – BUT HE FOUND BERLIN CLUBBING TO BE A MIX OF THE SURPRISINGLY FAMILIAR AND THE UTTERLY OTHERWORLDLY.

oﬆ locals will tell you Berlin is typically better in summer, but without the convenience of leave to sample the city’s more act ion packed months, I was left with the option of enjoying the cooler October weather. As a mad techno fan, I could hardly give a shit if it were 40 below: I was headed to Berghain after all and even the moﬆ miserable conditions in the world were unlikely to ruin the experience. Contrary to popular belief, every second Berliner is a not a vinyl loving club-nut. Whilﬆ the city has more quality underground clubs per capita than you could ever hope to see in any Auﬆralian equivalent, you’ll ﬆill plenty more fans of Pink than Ben Klock in this German metropolis. Not that this should be much of a surprise. Perhaps the moﬆ defi nitive cause of the Berlin clubbing boom is the availability of dirt cheap fl ights with airlines such as Easyjet. The near conﬆ ant influx of Elect ronic music mad Europeans ensures a consiﬆent revenue ﬆ ream for local clubs, which in some cases have reputations which far outﬆ rip that of long-gone mid to late nineties superclubs. However, there is a great division growing between some, which will undoubtedly become

as dark, murky, and yawningly wide as the city’s legendary Spree River. Such is the case with Watergate and Berghain/ Panorama Bar, and rarely has the expression “chalk and cheese” been so appropriate. Nevertheless, fantaﬆ ical descriptions of Berlin as a clubbing mecca cannot detract from the oppressive weight of hiﬆory which hangs over it. Maybe it’s the late autumn gloom, or perhaps the many landmarks which hint at a dark paﬆ ; either way, a pervading feeling of seriousness is inescapable… until you hit the clubs.

Though the Wednesday to Monday party schedule is dulled somewhat, the clubs are no less busy in Autumn. In fact, the frigid weather seems ﬂ ing many locals further into the hedoniﬆ ic spiral within their favourite club. After all, what better way to escape the cold than by dancing with a horde of sweaty revellers? It’s the opinion of Oﬆgut Ton label manager Nick Hoeppner that the lack of feﬆ ivals can only mean more act ion for the clubs – and the end of the year is usually more fun as a result. That said, as a Berghain/Panorama Bar resident he does

have a slight bias, and the impetus to encourage us to head along. The fi rﬆ ﬆop of this weekend clubbing tour is Horﬆ Krzbrg – a smaller club located near a tributary in Eaﬆ Kreuzberg. Getting off the U-Bahn at Hallesches Tor Ubahnhof, it takes a good while to act ually find the place which despite being located on a relatively busy road, is sufficiently sheltered from view by evening. Headlining the Clique It party this Friday are Danish duo Kenton Slash Demon, whose Schwarzchild Solution series of singles have eaten up plenty of column space. With a ceiling full of hanging LED lighting panels as accompaniment, local support cmCarl does a ﬆerling job of warming the floor with heavy house ranging from the likes of Matt Edwards’ Cabin Fever Trax Vol 1 to Mike Dunn’s Phreaky Motherfucker. It’s ﬆereotypical fare at times but the feet never lie. On the other hand, Kenton Slash Demon are anything but by the book. Their background as band members of When Saints Go Machine is evinced in their song by song Live PA ﬆruct ure which relies more on the ﬆrength of their productions than smooth segues. Despite the jerky ﬆart-ﬆop pacing, the Horﬆ crowd devour tracks

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THE LOCAL TIP

Two friends on seemingly opposite sides of the Berlin club scene, ex-My My members Nick Hoeppner and Lee Jones are veterans nevertheless. It’s easy to get caught up in the attempt to see every possible landmark and miss what really makes a city tick. Who better to ask than a local who can tell you exact ly what to go for?

FACTS & FIGURES BOX Population: 3,440,441 (31 March 2010) Language: German National Drink: Beer Average Annual Rainfall: 571mm Currency: Euro (EUR€1 = AU$1.34)

such as Sun and Runaway with guﬆo – they juﬆ don’t seem to dance so enthusiaﬆically. It’s always the net result for crimes of unconventionality. Well before the sun has even threatened to rise, we call ﬆ umps to pay Watergate a visit. Located on the banks of the Spree and adjacent to the caﬆ le-like Oberbaumbrucke bridge, the club could hardly be located in a more picturesque location and yet remain so curiously inconspicuous. I had in fact walked ﬆ raight paﬆ it earlier in the day without even realising it. By 3am it was decidedly less meek; sporting a snaking queue and barely indiﬆ inct boom that quite give it away. As usual, a popular German label takes point in an effort to fi ll the dancefloor and tonight, it’s Robag Wruhme’s Freude Am Tanzen. The crowd is predictably much trendier as a result, far less varied and a good deal more dolled up than the pleasantly rag-tag lot at Horﬆ. Not that this presents a problem of course, but by the time we hit the main room, several others presented themselves; moﬆ notably – an incredibly oppressive heatwave which, after being outdoors in below zero conditions, comes as a mighty rude shock. The energetic bounce of Krause Duo is to blame, and blame them

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we shall, despite enjoying every laﬆ facet of their bouncy tech house grooves. Tracks of their own (Wurm) sit lazily beside similar fare such as Ruede Hagelﬆein’s Emergency and the effect is unmiﬆakably infect ious. The wild hooting of punters within the heaving mass of bodies is incessant, and the fabled floor to ceiling LED lighting syﬆem only promotes their mania. There is, however, the inescapable feeling that it’s reminiscent of mainﬆ ream Auﬆ ralian clubs – the only difference is that the music is far better and the punters slightly better

“If you’re a meat lover and you want to experience grassroots level German cuisine, then you should check out Fleischerei Domke on Warschauer Strasse,” Hoeppner says. “[It’s] a very old traditional Butcher and they’re open until ten at night. You can get meat, potato, gravy and red cabbage, sausages, Bratwurﬆ, meatballs, goulash, whatever. It’s really, really cheap and it’s quite famous, not very oﬀ the beaten path but sometimes if I’m working late I’ll work over and it’s the perfect German soul food. You can get a huge plate of potatoes, brown gravy and a piece of slowly cooked pork and red cabbage for like four Euros. It’s really taﬆ y, like Grandma would do it.” By contraﬆ, Jones looks at Berlin from a much more indeﬁnable perspect ive, inﬆead recommending a gentle ﬆ roll around one of its more popular suburbs. BERLIN, GERMANY

behaved. Resident DJ Lee Jones is certainly on the money when describing it as a place where anything goes, and the fun factor is high. A few hours of feverish dancing in and we decide to call ﬆ umps. The cab ride back to Baxpax Backpackers – which is more like a hotel with dorms than a hoﬆel – is typical of others before it. The Turkish born driver is friendly, chatty and helpful, which is a damn sight better than you can expect in Paris. Though in retrospect it may have been beﬆ to ﬆay in Kreuzberg, our Mitte digs are more than amply equipped

“I juﬆ love the ﬆ reet life really,” he enthuses. “I think the beﬆ thing to do is juﬆ walking around, especially in Kreuzberg – I love this area. On a nice day it’s a pleasure to juﬆ go from one cafe to the next and go do some cultural ﬆ uﬀ. When I’ve had friends visit I juﬆ hang out with them here and show them the neighborhood because it’s a really nice place to be. Moﬆ cities have this pace and energy about them and it’s good when you get caught up in it, but Berlin has this lack of energy about it. It’s fairly chilled here, I love the pace… it’s easy.”

IF YOU LEFT TODAY?

Qantas flys to Berlin with connect ions. Return Airfare: $4454.66 (from Sydney) / $4466.42 (from Brisbane). Air France flys Melbourne to Berlin with connect ions. Return Airfare: $3419.25. Note prices refer to peak Chriﬆmas season. Cheapeﬆ Hotel Room – Room only accommodation from AU$121 (per night twinshare) via www.expedia.com. Current Foreign Affairs Status – Exercise Caution. See www.smartraveller.gov.au for updates. Entry/Exit Requirement – Germany is a party to the Schengen Convention, along with 24 other European countries, which allows Auﬆ ralians to enter Germany without a visa in some circumﬆances. Make sure your passport has at leaﬆ six months’ validity from your planned date of return to Auﬆ ralia.

TAKING THE FOCUS OFF THE HYPE OF FREQ NASTY AND ONTO THE WELFARE OF OTHERS HAS FRESHENED DARIN MCFAYDEN UP FOR A LONG OVERDUE RETURN ASSAULT ON AUSTRALIAN DANCEFLOORS, AS JANE STABLER DISCOVERS.

GIVING BACK AGAIN

peak to fans of Freq Naﬆ y and it seems it’s not his frequency that’s naﬆ y. Nor is the man behind the name, Darin McFayden, frequently naﬆ y – in fact he ﬆarted the musically geared Giveback.net charity in 2007 to bring together his love of music and helping others. So what is it that makes this Freak of the beats so Naﬆ y then? A love of old comics, it seems. “When I firﬆ ﬆarted Freq Naﬆ y, I was reading lots of 50s and 60s comics and they were full of superheroes,” he laughs. “It wasn’t about the music, it was based around the idea of a superhero. If you look at the artwork from the fi rﬆ albums the covers are all based around that. Everyone had crazy names and I came up with Freq Naﬆ y and it kind of ﬆ uck. It’s funny like that, your fans choose at the end of the day and if they choose to like you, then you can keep the name!” A truly international artiﬆ, McFayden was born in Fiji, raised in New Zealand, spent much time in Auﬆralia and now calls London and California home. The intro to the Americans was a slightly trickier one however, given the ﬆreet meaning of the works freak and naﬆ y on their soil. “When I came to America it has a totally different meaning,” he giggles. “I have to explain it doesn’t mean that in England!” Which may explain why he feels moﬆ at home in the UK – although being truly international, the man is a bit of a wandering minﬆ rel. “Musically I identify with London,” McFayden says. “It’s where I’ve lived for so long and it has so much music coming up. I am in LA a lot now though, and moﬆ people think of the city, but I spend a lot of time by the beach and it’s a lot like Auﬆ ralia. “Wherever I am tends to be home for me to be honeﬆ. I find that because I’m around people so much for my job I don’t mind going to a new place and being by myself, but I tend to meet people all the time [and it’s] important to be able to feel at home where ever you are.” His love of people explains the DJ’s desire to

ﬆart a charity and he says it was a great way to bring two of his passions together, even if it does mean sometimes one is at the expense of the other. “I noticed in myself and in a lot of other artiﬆs, we really wanted to do something,” he recalls. “With the media and the press showing us all these images of difficult situations in terms of food issues and wars... it’s a generalisation but artiﬆs tend to be passionate and open-hearted to what’s going on around them because we tend to travel a lot. The idea was to provide a platform for musicians to integrate and give back. “It has been difficult to focus on both,” he admits. “Setting up Giveback was really juﬆ getting that going, and then you realise you want to focus on another aspect of it, so for a while music took a back seat. It was kind of good for me, I’d made records for 10 years ﬆ raight so it was nice to take a break and coming back into the ﬆ udio now I’m working on some new records that’s totally different from ﬆ uff I’ve done before. “So it’s kind of a balance really and there are times in your life you have to shuffle things around to achieve what you want to achieve. You can get loﬆ in all the hype and the bullshit and it’s good sometimes to take the focus off me for a while.”

“

YOU CAN GET LOST IN ALL THE HYPE AND THE BULLSHIT AND ITS GOOD SOMETIMES TO TAKE THE FOCUS OFF ME FOR A WHILE.”

WHO: Freq Naﬆ y WHERE & WHEN: Blah Blah Blah at Riverlife (Brisbane) Tuesday 28 December, Peats Ridge Feﬆ ival (Glenworth Valley) Thursday 30 December, Truﬆ Us NYE At Brown Alley (Melbourne) Friday 31 December, Great Northern Hotel (Byron Bay) Thursday 6 January, Chinese Laundry (Sydney) Friday 7 January

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SOUPED UP TEMPO BROOKLYN DISCO BOFFIN BRENNAN GREEN INFORMS LIZ GALINOVIC THAT AN UNLIKELY COMBINED FASCINATION WITH MINISTRY, PANTERA AND BONEY M LEAD HIM INTO THE REALMS OF 120BPM.

“Y

es it’s my real name,” Brennan Green begins. “Mean, lean and fucking Green from Brooklyn! Write it down.” A DJ and producer, Green has been associated with numerous artiﬆs – whether he’s remixing or coproducing – and numerous dance genres. A kind of jack of all trades when it comes to producing dance music it is said that his sound cannot be categorised and when asked what the label would read on a box filled with his sound, Green delivers a frank response – “Brennan Green”. Growing up in a musical home, Green began relationships with the drums and the guitar early in his life. Polygamous relationships that withﬆood the teﬆ of time even as these inﬆ ruments were forced to make room for others. “I would play everything and anything I could get my hands on and I ﬆ ill do.” When it comes to his relationship with “dance music”, an umbrella-like application for a variety of musical ﬆ yles, Green claims an affinity since a young age. “I guess I can say I was always [drawn to dance music]. I base this on a couple of fact s. I always – no matter what ﬆ yle – loved tempo around 120BPM. Eddie Rabbit – I Love A Rainy Night; Miniﬆ ry – Burning Inside; Pantera, Walk; Boney M – Rasputin. And my mum was a fan of Boney M and Abba. Moﬆ ly during Chriﬆmas but I loved that groove.” With such broad taﬆe in ﬆ yle – not so much in tempo – there is little wonder Green manages to incorporate, and enjoys playing with, inﬆ ruments that range from acouﬆ ic to elect ronic. All of which can be heard in his un-categorical sound, with DJ sets that traverse the fields of house and rock, dub and techno though he’s credited as the pioneer of the new underground disco sound. Much of his work is released independently on

VIC & NSW

”

I ALWAYS – NO MATTER WHAT STYLE – LOVED TEMPO AROUND 120BPM. EDDIE RABBIT – I LOVE A RAINY NIGHT; MINISTRY – BURNING INSIDE; PANTERA, WALK; BONEY M – RASPUTIN.”

his own label Chinatown as well as Wurﬆ Records and Daniel Wang’s Balihu. His remixing skills are in high demand with recent tracks for Liquid Liquid, Lindﬆ røm, Runaway and Damian Lazarus all reaching the heights of popularity – the laﬆ for Lazarus recently labelled Pete Tong’s Essential New Tune on BBC Radio 1. “Usually I come at remixes as a chance to recreate a previous ﬆ yle and apply it to the job. For example, when I ﬁ rﬆ hear the song I liﬆen for similarities to other tunes. Say if it sounds like Radio Clash, I will sit down and liﬆen to Radio Clash to see what they did there and then try to do something similar. I guess it’s a bigger free pass to ﬆeal when doing a remix than something original since you’re already working on somebody else’s tune. Green has spent the paﬆ year in the ﬆ udio working on Arthur’s Landing, a collaborative eﬀort featuring artiﬆs who at some point in their lives were apart of the numerous musical projects of the late Arthur Russell. However, this lateﬆ release out of the way only leaves a little room for various other projects to move forward on Green’s agenda. “I’m working on several remixes right now. One of Toby Tobias and Foolish Felix; soon releasing a remix of Ajello on Playground out of Italy and another remix for Under The Shade out in the New Year as well. Then once I get back to NYC after this trip I’ll try to get some time in the ﬆ udio to do my own thing.” WHO: Brennan Green WHERE & WHEN: Pretty Please (Melbourne) Sunday 26 December, Picnic at Civic Underground (Sydney) Saturday 8 January

MENTAL COMBAT Hip Hop With BLAZE

APOLLO BROWN

Earlier this year producer Apollo Brown dropped his collect ion The Reset. It was a fantaﬆ ic effort featuring an array of MCs that would make anyone take notice – Finale, Oddisee, Ken Starr, Buff 1, John Robinson, Big Pooh, Grap Luva, MED, Declaime and Prince Po. It also featured an act by the name of The Left with the tune Real Detroit. Well now it turns out that The Left’s November debut release Gas Masks is already becoming a ﬆaple inclusion on many end of year liﬆs of beﬆ albums. It includes Apollo on the boards with Journaliﬆ 103 on the mic and DJ Soko on the decks. They are the lateﬆ incarnation to come from the fruitful ﬆ reets of Detroit yet they don’t venture into the more familiar Dillaesque ﬆ yle that has grown ﬆ rong in that city, inﬆead their sound is entirely soaked in the art of sampling a hefty amount of soul music. Not only does this reiterate the background of the musical hiﬆory of their motor city, it also reminds us of a classic mid-90s ﬆ yle that screams puriﬆ hip-hop. There are only a few gueﬆs, but they couldn’t be more appropriate. Kool G Rap is a surprise, but the likes of Finale and Guilty Simpson leading the charge makes sense, with Hassaan Mackey, Mu, Marvwon, Paradime and Frank Weﬆ coming from behind. The album was also available on vinyl in a smoky marble wash as well as including a link to an inﬆ rumental version download. Solid and consiﬆent. Finally, a decent British long-player to finish off the year. Kashmere ﬆeps out with his third LP with a thematic venture as Galaktus: Power Cosmic. Now he’s a slightly bent MC who carries a wry angle with his lyrics, but this time he’s coming from outer space with this DJ Jazz T and Zygote produced effort that contains loads of samples from Marvel Comics records such as the much loved Power label. Now I love this ﬆ yle of kooky puriﬆ hip hop, especially from the lads from across the pond. It’s definitely not for everyone, but the lazy, very downtempo beats juﬆ crawl around in my head. Th is is released on one of my favourite UK labels, the under-appreciated Boot. Hmmn, he goes Kool Keith with his cosmic penis on Metal Moleﬆer, then akin to a humourous drug-addled Necro for Bang! Splat!, but he moﬆ ly keeps it on some superhero future world galaxy tangent.

WHIP IT NICOLAS SCARAVILLI MIGHT EARN PROPS FOR HIS DJ WORK AS KID CRÈME, BUT HE TELLS JANE STABLER HE PREFERS TO WORK HIS MAGIC IN THE EGO-FREE ZONE OF THE STUDIO.

rom a place that sounds like a vegetable (Brussels) with a name that sounds like a dessert, Nicolas Scaravilli, aka Kid Crème, has acted more like the latter association and has risen to the top of his trade through some impressive mixing – but not in any food related way. Seemingly always geared towards music, the internationally in-demand DJ has progressed from hip hop through to house and it’s a career that doesn’t appear to be slowing down any time soon.

Speaking from his European ﬆ udio, Scaravilli says it’s “quite cold” in reference to the snow on the ground, which is underﬆandably depressing when he has an annual headline residency in Ibiza – a gig he admits nowhere else really comes close to. “It’s the Mecca for house music,” he enthuses. “We’ve been all around the world and to the places that are called the new Ibiza, and I’m not a promoter of Ibiza, and you love it or not, but the party is completely different. People come there to party. Every night, every week, you can have a party, there is no day off, it’s all the time. Where do you find that? Nowhere on Earth!” Having been on the scene since the 1990s and with a few years behind him since his moﬆ recent visit to Auﬆ ralia, Scaravilli admits that there have been changes both in the scene and the music that the scene is demanding. Having made the transition between genres as well, the DJ can admit that although necessary, change has not always been a happy scenario for him. “The music sadly changed for me,” he says, “but the laﬆ time we came to Auﬆ ralia, people were already so happy to hear happy house. People were tiring of the minimal music and the sound changed, and we evolved with the change. But we [have] ﬆ ill got our soul, it’s kind of tribal, it can be minimal, it can be a bit techno, its’ everything we like. “It’s a complicated ﬆory,” he continues of the changes he’s witnessed. “Now, not like more than 10 years ago, everyone can make music. You buy a computer and two weeks later you’re online and you can sell your track. I have nothing to say about that other than young people want to

make music, and it should be accessible to everyone, but 10 years ago if you produced some tracks you had to go to an independent label and they had a ﬁ lter on it and today moﬆ of the DJs around the world want to be known, and they don’t wait – even if it’s shit music.” The sadness comes from Scaravilli’s genuine love of music and what he does, and wanting to be good at it – winning accolades for his DJ skills is an added bonus. “It changed nothing,” he says. “We are ﬁ rﬆ producers, we never planned to be DJs – it was the market that pushed us to be DJs and now we earn money but if I had to choose, I’d produce music. Playing in front of people is really nice, but it’s even better to produce your music and see people react to your music. I can spend months producing tracks. Music is music, so there is no ego.”

WHO: Kid Crème WHERE & WHEN: SHE Pool Party at Ivy (Sydney) Monday 27 December, Betterdays at Albert Park Lake (Melbourne) Friday 1 January, East Nightclub (Gold Coast) Friday 7 January, Pure Ivy at Ivy (Sydney) Saturday 8 January

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make music I tend to ﬆ udy other people’s music and not juﬆ liﬆen to it. I analyse other sounds and try to incorporate certain elements into our product ions.”

ANYTHING GOES TONIGHT STUART EVANS TALKS SHOP WITH ASTON HARVEY – PART OF THE FREESTYLERS BY NAME AND VERY FREESTLYE BY NATURE WITH HIS MUSICAL APPROACH.

t wasn’t long ago that Freeﬆ ylers Aﬆon Harvey and Matt Cantor appeared on the now defunct UK TV inﬆ itution Top Of The Pops. On the back of the mammoth 2004 hit Push Up, the Freeﬆ ylers were lauded as champions of both breakbeat nd bouncy house music. Notwithﬆanding Push Up, singles B-Boy Stance and Get A Life positioned the English boys as an elect ronic musical power that appealed to both the commercial and underground divide. The success and subtle composition of Push Up was largely ignored or, worse, misunderﬆood. The slight reference to ‘80s elect ro pop was missed. Push Up wasn’t new – it was simply the music Harvey and Cantor had been making for years. “We’ve always tried to be a little different and make our music act ually ﬆand out from the pack,” Harvey offers. “I love liﬆening to old records and using some of that in our music.” The Freeﬆ ylers formed around 15 years ago and have released four ﬆ udio albums – We Rock Hard, Adventures In Freeﬆyle, Raw as Fuck and Pressure Point – as well as numerous mix compilations. For Auﬆralian audiences, the Freeﬆ ylers have remained immensely popular. “I don’t really know why we’ve been popular with Auﬆralian audiences. I know that breaks have taken a bit of a dive [in Auﬆralia] but the crowds have always been amazing.” Harvey reckons the idea of the duo being rooted in the breakbeat paradigm is fl awed. Push Up demonﬆ rated a mixture of influences and paﬆ singles revealed a tendency for innovation and a desire to explore new territories. He explains their lateﬆ material proves their product ion resourcefulness. The single, Cracks, which featured Belle Humble, had elements of musical adaptability. “It’s all about being as current and as relevant as possible. I always liﬆen to other people’s music. When I

Still, they’ve been described as chameleons – musicians who can easily change. “I guess we’re chameleons as we adapt to environments. Dubstep is popular at the moment but you won’t see us making a dubstep track. What we’ll do is incorporate it into our own style of music.” Since their primitive days as DJs and producers, the Freeﬆylers have expanded. Using guitar, drums and bass, the live band experience has taken shape – juﬆ don’t call them a band. Harvey reckons their “decks and effects” live show contains live scratching and sounds effects. “We’ve been working and perfecting the show for the paﬆ year. Our aim is to go back to our roots so the crowd can see what we’re doing and not juﬆ us ﬆanding there pressing buttons on a computer,” he explains. He says to expect a few surprises during their forthcoming tour of Auﬆ ralia. “They’ll be our familiar older records that people will hear. The difference is that people will hear them played and performed differently. People want to see something different. Our show is very freeﬆ yle!” he laughs.

WHO: Freeﬆ ylers WHERE & WHEN: Sunburnt Xmas at Bondi Pavilion (Sydney) Saturday 25

December, Peats Ridge Feﬆ ival (Glenworth Valley) Thursday 30 December, Truﬆ Us NYE at Brown Alley (Melbourne) Friday 31 December, Great Northern Hotel (Byron Bay) Thursday 6 January, Chinese Laundry (Sydney) Friday 14 January, Grand Hotel (Wollongong) Saturday 22 January, Trinity Bar (Canberra) Sunday 23 January

NAT

OGFLAVAS OG Urban news with CYCLONE

NICKI MINAJ

Major label bios contain little by way of controversy, yet Nicki Minaj is her own chick. In acknowledging how femcees have traditionally excited hip hoppers, she relegates her rival Lil’ Kim to the canon. “I know I was always excited by whatever female was hot at the time.” Oh, so cold. Minaj is one of 2010’s break-out urban acts – but her debut, Pink Friday, is surprisingly pop. Lil Wayne’s protege has opted for Flashdanceﬆ yle elect ro-rap (cue: Bangladesh’s Did It On’Em). The minimal Annie Lennox-enhanced ballad Your Love is incongruous in contraﬆ. However, the product ion on Pink Friday is very cool (Save Me, which Minaj sings, has drum‘n’bass beats, Here I Am is ambient, and a playful will.i.am samples Trevor Horn’s Buggles for the guilty pleasure Check It Out). Minaj held her own on Monﬆer with Kanye Weﬆ and Jay-Z and here she’s a real match for Eminem – Roman’s Revenge is fierce, Minaj coming off like a femme Buﬆa Rhymes. The ballad Fly, helmed by JR Rotem and featuring Rihanna, is defiant poﬆ-emo. Of course, RiRi has juﬆ delivered her fifth album – in five years. Alas, Loud finds the ﬆarlet plateauing following the powerful Rated R. It lacks narrative and so RiRi falls back on sexed-up themes previously exploited by Madonna et al (S&M). There’s no gamechanging – the singles (including StarGate’s What’s My Name? with Drake) are generic disco-trance. Many tracks are derivative of RiRi’s back catalog. Minaj joins her on the song-swap Raining Men. California King Bed is overblown alt rock, although Cheers (Drink To That) is worse, sampling Avril Lavigne. RiRi even cuts a ‘Pt II’ to the smash Love The Way You Lie (Part II) with Eminem. The beﬆ on offer? The subversive (and murderous) dancehall Man Down. ‘R’ for ‘retrograde’? Ciara’s 2009 Fantasy Ride was an imaginative concept album – but, despite the funktaﬆic Love Sex Magic with Juﬆ in Timberlake, it bombed. Now CiCi is returning to her urban (not crunk‘n’b) roots with Basic Inﬆinct – and, like her nemesis RiRi, she’s all about clubhopping. Primary producers Tricky Stewart and The-Dream bring inventive ideas, yet the tunes are missing. CiCi’s ballads sound like Janet Jackson’s old duds. Lyrically, too, she reveals no personality beyond the rapped intro – and readily descends into cliches.

BUSINESS MUSIC

Serious Underground Business With PAZ

CDJ-2000

The noughties embraced the merging of music and technology and in turn inspired terms like “promoter DJs”, “rocking the 1s and 0s” and “can’t you download it?”. Parties were promoted through online friends and text invites turned into Facebook events. Raves became outdoor events, Garage became Funky. Our new decade ﬆarts with emo influencing musical trends like jerk, witch house and Kid Cudi. Trance is the new elect ro, dubﬆep is the new d‘n’b and boombachero act ually becomes a ‘tag’ on SoundCloud. Serato merges into a virtual touring ﬆ udio, so now you act ually have to look and sound like Daft Punk in a Spielberg thriller. The biggeﬆ disappointment so far is from hardware/technology leader’s Pioneer. They named their worﬆ ever product after one of the beﬆ technological decades, the “2000”. Pioneer changed the game in the decade paﬆ. The CDJ syﬆems were as common as bad requeﬆs, and ﬆ urdy enough to handle “Jack ‘n’ Poﬆmix” spillage. The DJM-800 mixer is frequently requeﬆed by trance’s elite touring artiﬆs. It is the ﬆaple for clubs, and tops the Xmas wishliﬆ for private school wannabe DJs. Ultimately the 800 changed the face of DJ mixing altogether. They “dropped the pressure” (great 00s pun) with the release of the 2000. The 2000 has a “white noise effect” which was banging for part of the 00s, but it was equally shared by Vuvuzelas, backpackers and VE Commodore burnouts. Why not go the whole hog and make a “Guetta” or “Dutch house” module? The core effects unit in the 2000 has been confused as a social networking app that invited the DJ to initiate punter interact ion via Twitter, downloads the moﬆ requeﬆed tracks and auto cues it for you. No longer would the DJ have to bring anything to the event besides an index finger to turn effects on. The 2000 clearly needs more iPhone recharge points, breathalysers, auto requeﬆ cueing (especially during Xmas funct ions), a Wikileaks announcement LED, Bluetooth enabled to play punters songs from their phones, EPA detectors to turn down levels when neighbours complain, auto-trance adjuﬆ when the inebriated want you to “pick it up” (as signaled with upward, open palm movements).

IN TOO DEEP GLASWEGIAN HOUSE PRODUCER MILTON JACKSON’S FORTHCOMING NEW YEAR’S DAY SETS MAY SURPRISE PEOPLE, BUT WHEN IT COMES TO PRODUCTION IT GETS CONTINUALLY HARDER TO SURPRISE HIMSELF, HE ADMITS TO TRISTAN BURKE.

“I

’m doing a track for them? Oh yeah, I think it’s a remix; I should probably finish that this week. What date’s the gig? They keep changing the itinerary…” Milton Jackson is a decidedly laidback character. Tapped up to feature on the fi rﬆ release on the Reckless Republic label, and to appear at the accompanying New Year’s Day boat party launch before jetting south for a set in Melbourne later that night, it’s a teﬆament to his easygoing nature that he seems to have retained sketchy knowledge of either. “Really though,” he laughs, “I’m looking forward to it. I’ve been out to Auﬆ ralia a few times but never act ually played, and also I get to escape the Scottish winter.” As for what tunes he’ll bring out to play, Jackson advises that he may go a little harder than moﬆ would expect. “I like to play party tracks. I like deep house but sometimes it’s juﬆ not suitable, so I may play some old techno tracks as well. A lot of people will be quite surprised.” Milton Jackson ﬆormed onto the scene in 2002 with his debut LP The Bionic Boy, but despite the record’s critical success, it wasn’t until laﬆ year that he finally released his follow-up, Crash, on the Freerange imprint. Yet the sizeable gap between releases was borne out of financial and creative necessity. “It was bit different back then; it was harder to get gigs, only the big boys got gigs, so it was difficult to really make a living out of it. So I sort of drifted into proper work and went back to uni and ﬆ uff, so I didn’t have much time to spend on music. But the break was nice, I came back to it nice and fresh.” Inspiration is a key factor in deciding when Jackson decides to put his producer’s hat on. Though the demand may be there, he’s also very conscious of leaving enough time between releases to let ideas percolate, rather than rushing out material on a whim. “It’s weird, I’ll have two years where I’m getting up at 8am and going to bed at 4am, but others where it’s more diffi cult,” he explains. “It’s quite hard to

come up with other new things, so really what I’ll do is go into hibernation, liﬆ en to new music, liﬆ en to old music and juﬆ take a break from it. You see people who come out and at the ﬆ art of their career have loads of ideas, but then you never hear from them again because they burn out. It can be quite dangerous.” Thankfully we won’t have to endure a similar break before his third record sees the light of day, as Jackson is currently in the process of mulling ideas for its direct ion. “Hopefully I’ll finish it next year. The fi rﬆ one did pretty well for Freerange, so they were eager for me to get ﬆarted on the second one. I want to get it quite varied – there are so many different ﬆ yles at the moment within tech house and I really want to represent that in the album. Somehow I always end up with that deeper sound though – you can’t escape from yourself.”

WHO: Milton Jackson WHERE & WHEN: Spice Aﬂoat Sunrise Cruise (Sydney) and NYD Night at Revolver (Melbourne)

Saturday 1 January, Barsoma (Brisbane) Saturday 15 January

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at those critical moments when you are ﬆ uck someone arrives and puts the remaining pieces together. I think this is what our producers did for us. They gave us some perspective on our songs and inspired the playing so it all ended up pretty slick.”

ELECTRO ROCK HOLIDAY JAMAICA’S ANTOINE HILAIRE TELLS GUIDO FARNELL THAT THE FRENCH DUO USED A LACK OF EQUIPMENT AND BUDGET AS A STATEMENT RATHER THAN A CONSTRAINT ON THEIR DEBUT ALBUM.

arisian outfit Jamaica comprised of Antoine Hilaire and Florent Lyonnet, having juﬆ unleashed their debut album No Problem to much acclaim, are moﬆ definitely the new kids on the French hipﬆer block. The guitar jangle of their polished pop tunes washes over like Phoenix but surprisingly the outfit is attract ing comparison to Daft Punk more than anything else. “It’s amazing to be named in the same sentence as Daft Punk,” says the band’s singer-songwriter Hilaire from her bed in the morning. “I think these comments muﬆ be coming from people who have never liﬆened to Daft Punk or Jamaica. It’s nice juﬆ as long as we are compared to truly great artiﬆs.” Hilaire seems more concerned that people underﬆand what Jamaica are trying to achieve with their music. “When we play dance shows people usually think we are too grungy and when we play rock shows people don’t like the fact that we use machines. All we really are is a rock band with a few machines. I’m not sure people are really getting the point.” The cool ,clean and immaculately priﬆine production adds much depth to what would otherwise juﬆ be a collection of gritty three minute rock songs, Juﬆice’s Xavier De Rosnay and Daft Punk’s sound engineer Peter Franco credited with the luscious production. Hilaire admits that they drew Jamaica out of their comfort zone and inspired the outfit to simply make better music. “Their job was to record the song and then mix them, but all four of us were involved in all the decision making on how these tasks should be done. They certainly pushed us. When the music or playing was not good enough they really pushed us to move forward and to improve what we were doing. This is what producers are supposed to do. Recording an album is a little bit like putting the pieces of a puzzle together and

Surprisingly though Jamaica recorded this album on a shoeﬆ ring. “We didn’t have a drummer when the album was recorded so all the beats are programmed. The album was recorded using juﬆ one guitar and bass plugged direct ly into the computer because we did not own any amps at that time. There is no ‘air’ involved on the album because the sound transfer is purely elect ronic to elect ronic. Recording the album in this way was our ﬆatement. We didn’t have the money for equipment and even if we had money it would not have been spent on equipment. The approach to recording we adopted is kind of chemical and we think kind of modern too.” Looking forward to escaping the below zero freezing temperatures across Europe, Hilaire promises a rocking party in Melbourne on NYE while contemplating his New Year’s resolutions. “I need to ﬆop smoking I am losing notes in my voice. I guess I should also ﬆop using being on tour as an excuse for not doing things like writing new songs.”

WHO: Jamaica WHAT: No Problem (Shock) WHERE & WHEN: Falls Feﬆ ival (Lorne) Tuesday 28

December, Corner Hotel Friday 31 December

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TRANCE SPOTTING On Tour with NICK CONNELLAN

tinyurl.com/2uqnrrc There, that’s a link. I’ve put it there for the benefit of those of you with short attention spans. Following that will take you to my SoundCloud account, where you can download an hour-long mix showcasing some of my favourite tunes this year. Surprisingly, there’s absolutely no hint of psy in there; juﬆ smooth progressive trance. Central to the mix are three tracks from breakthrough artiﬆ Timewave, real name Antti Ervaﬆ i. I fi rﬆ noticed this Finnish producer about 18 months ago when he poﬆed several unsigned tracks on the web. What followed was a torrent of approval, and I wasn’t alone in recommending Ervaﬆ i attempt a signing. In December ‘09, that thankfully became reality. Noticing a competition to remix Michael & Levan and Stiven Rivic’s Invisible Children for the preﬆ igious prog label Miﬆ iquemusic, Ervaﬆ i submitted his effort and won. “I think the talk for the album fi rﬆ began around February 2009,” he says. “Stiven Rivic (one of the founders of Miﬆ ique) asked if I’d like to do an album. I thought about it for a while and then I was like: ‘sure’. It took me about nine months to finish.” Released on 15 November, the result of the 31-year-old’s work is a ﬆ unning full-length debut entitled Solar Syﬆem. Like Mirco de Govia and Kay-D before him, Ervaﬆ i has managed to craft a highly melodic and atmospheric sound, which is nonetheless devoid of bombaﬆ ic elements. The unmixed album kicks off with Re-Entry, a slow, spacey trancer which fi rmly eﬆablishes the tone of the release. With a gentle yet crisp breakbeat, the track leads liﬆeners perfect ly to the next, which ups the power of the kick drums but keeps the breakbeat going. It’s not until the fourth track, Void, that things really ﬆart to pump up, with the cuﬆomary ethereal melodies being backed by a deep, driving bassline. Apart from the aforementioned producers, this one is also reminiscent of Vibrasphere’s earlier work and Swedish artiﬆ Solar Fields’ EarthShine album.

THE ALBUM OF WEEK

ALBUMREVIEWS

DEADMAU5 4x4=12 (EMI)

TEEBS Ardour

(Brainfeeder/Inertia) Even if Flying Lotus hadn’t put out a single tune this year, his contribution to the musical landscape in 2010 via his label Brainfeeder would have been enough to cement his reputation as the figurehead of an entire musical movement. Having already released the amazing Lorn album earlier this year and EPs from Daedelus and The Gaslamp Killer, Brainfeeder returns with an album two years in the making – Ardour by visual artiﬆ and beatsmith Mtendere Mandowa (better known as Teebs). Mandowa created his own gorgeous artwork for this record and at one ﬆage shared an apartment block in Los Angeles with Flying Lotus and Samiyam. All the Brainfeeder elements are there – psychedelica, experimentation and eclect icism all wrapped in a headbobbing hip hop framework. But there is something about this album that’s all of its own. Ardour is defined as “great intensity and warmth” which goes someway in describing the beauty of this album. From the opening track You’ve Changed there is a depth and lushness to the atmospheres on Ardour that are perhaps more subtle yet juﬆ as intense as some of its label mates. Repeated liﬆening reveals juﬆ how much is truly going on these tracks. The almoﬆ ambient vibe of Burner contains layers of what sounds like bells and hammers being dragged on concrete. Even a seemingly ﬆ raightforward beat like Why Like This? contains intricate synth washes and samples of loose change. Long Diﬆance features bird-like sounds and a ﬆ icky beat built around the genuinely affect ing vocals of Gaby Hernandez. One of the real highlights on the album is the simply titled Moments. The track oozes with textures falling almoﬆ like rain over a side-chained R&B beat that turns on a simple drum fi ll. Mandowa’s greateﬆ trick is making such lush and beautiful music so intense and challenging by virtue of the traditional elements of sampling and chopping. A truly unique album. BRAD SWOB

He wears a hefty fabric mouse head onﬆage and no one knows if he wears the same outfit when alone in the ﬆ udio. Deadmau5 – the mouse-man musician – has made part of his reputation based on his fascination with furry rodents. Now that the superﬆar DJ has made a slight comeback, the Toronto producer born Joel Zimmerman nicely ﬆ raddles the superﬆar and commercial line, even if he prefers to keep a low profi le. For Lack Of A Better Name was Zimmerman’s 2009 big, and surprise, hit. 4x4=12, his third album, was touted as his fi rﬆ “proper” artiﬆ album and was supposed to signify transparency for the man behind the mouse persona. Inﬆead of transparency, 4x4=12 is Zimmerman simply going through the motions with scarcely a nod

KID CUDI Man On The Moon II: The Legend Of Mr Rager (Universal Motown/Universal)

Juﬆ as Cee Lo Green sings “This is a journey into the horizon, you can see paﬆ, if it’s real to you, we can meet on the other side”on Scott Mescudi Vs The World, this new album is a ride into Kid Cudi’s hazy mind. Th is “self-deﬆ ruct ive version” of its predecessor, The End Of The Day, explores a darker place or personality which Cudi has defined as the Rager. The tracks are transpositions of wordy themes (ﬆ ill relatable to all the lonely ﬆoners out there) over “scene forming” noise. The Mood uses eerie echo effects, an evil laughter sample and space and time arrangements to create an animated trip. He introduces us in third person to his new found personality in the verses Mr Rager, where in the chorus he fi rﬆ

to creating anything pioneering. It ﬆarts off promising with the inventive Some Chords and Sofi Needs a Ladder – the latter featuring an odd vocal performance from Sofia Toufa. Raise Your Weapons is without doubt the pick of the pack with it lurching from ambient, vocal-led house to something more akin to dubﬆep. The eight-minute epic Right This Second is nothing more than a typically 80s-ish collision of house beats, build-ups and synths. City In Florida and Cthulhu Sleeps are measured and traditional Deadmau5 efforts that are ﬆandard club fodder, while Animal Rights is really an electro record that’s trying to hard to become contemporary. Given the hyﬆeria that follows the mouseman, 4x4=12 is disappointing. Although Zimmerman’s reputation has been made to create something from little, this effort displays his limitations. STUART EVANS

speaks to him and then answers as him. These Worries feat Mary J Blige is another track he seems to have written to himself fi rﬆ expressing his mind ﬆate, then talking himself out of it – and all this over celeﬆ ial key riffs. There are a few lighter moments to take a breath. Erase Me feat Kanye Weﬆ is a catchy rock tune while Marijuana is a self explanatory ode with a cosmic Bone Thugs sound and The End is purely an old school hip hop track. Cudi has maintained his unique appeal with Man On The Moon Ii: The Legend Of Mr Rager. Whether you underﬆand his secret inner world or not, the neurotic ride is definitely an intereﬆ ing one. JANN ANGARA

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ONE TRACK MIND SHONKY Les Shonkettes (Contexterrior)

Summer’s finally here, and French house favourite Shonky’s music is officially in its element. It’d be criminal to play this indoors: everything about it juﬆ oozes sunshine and happy vibes. The old school bass and 909 percussion give it a 90s feel, while the spacious dub chords and lush synth ﬆabs cause involuntary smiling and fiﬆ pumping.

SPIRITCHASER 1440 (Guess Records)

With so much dance music at the moment taking cues from the paﬆ, you could easily be forgiven for thinking of Mark Bamford and Richard Earnshaw’s debut album as a homage to early 00s progressive house. Yet the UK pair known as Spiritchaser (not to be confused with the Belgian house duo Spirit Catcher) are not so much playing revivaliﬆs as simply pushing the same old ﬆ yle of prog-inﬂected deep house they’ve been producing since the sound was in vogue. Whilﬆ their catalogue of 12-inch releases over the paﬆ decade on labels like Niche Blue and Guess Records have ultimately aimed to get bodies moving on dance ﬂoors, 1440 inﬆead owes as much to vagabond daydreaming as it does to arse-shaking; a calculated journey into ambient textures and downbeat chillout

through to ﬆ raight up, sun-drenched Ibicencan house. Abundant in sparkling melodies, soulful piano chords, earneﬆ female vocals and spoken word pieces, 1440 sounds as though it was recorded with old Café Del Mar and the more house inclined Global Underground compilations in mind. So much in fact that it rarely ever feels diﬆ inct ly its own. It may be very polished and possess that cohesiveness that’s missing in a lot of dance albums, but underneath all the glitz belies a tried, teﬆed and rather tired formula that often ﬆ ruggles to tickle the neurotransmitters. In an age when every man and his laptop are making music – where ﬆanding out from the pack is of utmoﬆ importance – it seems odd to be content in turning out the sounds of yeﬆerday without putting your own ﬆamp on things. HENRY JOHNSTONE

GEORGE FITZGERALD Don’t You (SCB Edit) (Hot Flush Recordings)

Hot Flush continues to cement its place at the top of the dubﬆep/techno crossover food chain with every release and label owner Scuba’s (under his SCB alias) edit of Don’t You is quite possibly its beﬆ release to date. Tough, mechanical beats punch through mesmerising, pitched-down vocal chants, atonal ﬆ ring plucks, hypnotic chords and a rugged bassline.

SKEPTICAL Another World (Exit Records)

Fans of dark, minimal drum‘n’bass beﬆ get their hands on this ASAP. Needing only a deep, heavy kick, reverbed snare and metallic hits plus a seriously ﬁ lthy bassline to grab your attention, this is perfect for crowds who are willing to follow the DJ through some obscure detours. ANDREW WOWK

3DPLAYLIST 3D TREY SONGZ Passion, Pain & Pleasure (Warner)

If you’re not a fan of the slow jam you may think that all typical R&B albums mind-numbingly sound the same. You might think that they’re cheesy inﬆead of romantic, or creepy inﬆead of sexy – juﬆ like a bad pick-up line. Passion, Pain & Pleasure is one of those typical albums. It features baby-makin’ tunes over crisp mid beats with a few club tracks thrown in and an undeniable vocal talent (you know those ones that can sing so faﬆ they’re pretty much rapping with a tune and can sing one word up and down 20 or so notes). If Love Faces or Massage doesn’t set the mood (even juﬆ from their title) then “baby kiss me til’ your lipﬆick’s gone” (Red Lipﬆick) should get things rolling. Trey takes it from the bedroom to his heart with the soulful keys and

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the dramatic echo harmonies of Made To Be Together and the heartfelt power vocals of Please Return My Call. You Juﬆ Need Me ﬆ rays from conventional R&B with its clap beat, elect ro samples and dance sound. The dominant beat, catchy hook and gangﬆer ﬆep element of the token club track Bottoms Up feat Nicki Minaj will deﬁnitely get people to the ﬂoor. It’s reminiscent of much loved club tracks from 112, Jagged Edge or B2K. So while the R&B album may be a little boring at times, at leaﬆ they’re occasionally good for winding down to a sieﬆa. And it may juﬆ be that soothing quality that gives Passion, Pain & Pleasure its appeal. JANN ANGARA

1. The Time (Dirty Bit) BLACK EYED PEAS 2. Fabric 55 SHACKLETON 3. U Know JET PROJECT 4. Six Books PROPHET RAYZA 5. Get Some (Mike D Remix) LYKKE LI 6. New York, I Love You But You’re Bringing Me Down LCD SOUNDSYSTEM 7. Empty Spaces PINK FLOYD 8. Percofonik ROBERT BABICZ 9. Calliﬆo (Joris Voorn Remix) STEPHAN BODZIN & MARC ROMBOY 10. Claps (Little Fritter Remix) DEEPCHILD

FANS OF THE LOUD DRUM’N’BASS OF NICHOLAS DOUWMA - AKA SUB FOCUS - WILL BE SURPRISED TO HEAR THE MAN IS BRANCHING OUT IN A BIG WAY. ANGELA KING TALKS DIVERSITY AND THE INFLUENCE OF SOME KINDRED SPIRITS WITH DOUWMA BEFORE HIS UPCOMING AUSTRALIAN TOUR.

BLURRING THE BOUNDARIES

icholas Douwma’s ﬆ udio sits conveniently in the midﬆ of several others which housing producers ShyFX, Chase & Status, Nero and Breakage, who have all been a determining factor in shaping his recent product ion efforts. “It’s a really cool set-up; we are all quite good friends. Basically we’ll be working on our own for a little while then will go next door and play each other a track,” he explains. “It’s good to have people to bounce ideas off and work out what’s working and what’s not. “We’re all kind of encouraging each other to be as diverse as possible,” he says. “With the ﬆ uff we play and show each other, to the way we DJ as well. It’s a good environment to be in because it’s encouraged us to push things further.” After releasing his self titled debut album in 2009, Douwma spent a fair bit of 2010 on the road with Pendulum. “When I toured with Pendulum it was pretty chilled, pretty businesslike. It’s not particularly exciting really!” he confesses. It was a tour much unlike his regular deal, complete with tour bus – although as Douwma explains the bus didn’t come with any rock‘n’roll tales. “It was the fi rﬆ time I did a tour in a tour bus, like touring like a rock band. With DJ tours you arrive on the night and leave on the same night sort of thing so this was completely different,” he enthuses. “It was really good fun though, I get on well with the guys, I’ve been doing this for such a long time now so you get all the crazy partying out of your syﬆem early on. I used to tour with them

years ago and we used to work together a little bit – I’ve been in the ﬆ udio with Rob [Swire]before so we’ve known each other for a while so it was really good going on the road with them.” Like many other of his cohorts, Douwma is an eager tweeter and moﬆ recently he made mention he was working on “feﬆ ive dubﬆep”. “Haha, that was a bit of fun the other night,” Douwma explains himself with a giggle. “I’m writing a lot of music at the moment, I’m writing drum‘n’bass but also dubﬆep, house – all sorts of diﬀerent things,” he clariﬁes. “In the laﬆ few years things have become a lot more experimental and open minded in the type of product ion

I’ve been doing,” he adds. So in terms of pushing things further, will there be a forthcoming Chriﬆmas album to look forward to? “No, that was juﬆ a bit of fun,” Douwma laughs. “I juﬆ like to keep things varied really when it comes to product ion, I’ll try anything really. “For my laﬆ album I tried to work out what connected all the different ﬆ uff I make and like,” Douwma explains of his creative process, “and it’s really juﬆ anything with basslines, that’s the unifying thing of all the sort of different music that I’ll play. I like to keep as broad a mind as possible and try new things. I only feel good about a track when I feel like it’s a bit exciting and a little bit different from what I’ve heard before you know. It’s quite boring to hear, and to write generic tracks.” As he expands his product ion palette, the queﬆ ion muﬆ be asked: does Douwma feel an affinity with drum‘n’bass that is possibly betrayed by his genre broadening? “Not really,” he affi rms. “I think what a lot of producers experience is a feeling that they need to write a certain thing, because that’s what is expected of them. I’ve produced drum‘n’bass for quite a few years and I defiantly felt like I had to please people that were already into my music. I felt perhaps putting out house music and dubﬆep would be too much of a jump for them but I’ve really changed my opinion of that in the laﬆ few years. “I think a lot of older artiﬆs feel an allegiance to the genre [drum‘n’bass] but I think slightly newer people are a bit more open to experimentation,” he adds, reflect ing on the current climate of the ever-mutating elect ronic music scene. “It’s almoﬆ like what was happening in the early 90s in England where you go to a rave and they would be playing all kinds of different dance music. Those genres sort of splintered through the mid 90s and now it’s our version of that rave scene – it’s really refreshing.” WHO: Sub Focus WHERE & WHEN: Space Ibiza Feﬆ ival at EQ Moore Park (Sydney) Saturday 1 January, Garden Party at Chinese Laundry (Sydney) Sunday 2 January, Roxanne Parlour (Melbourne) Friday 7 January, Space Ibiza Feﬆ ival at EQ Moore Park Saturday 1 January, Garden Party at Chinese Laundry Sunday 2 January

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SHOOTING FOR SUCCESS HE PRODUCES FOR OTHERS, ON HIS OWN AS LANU AND PLAYS AS PART OF WASHINGTON’S TOURING BAND, BUT IT’S AS BAND LEADER FOR THE BAMBOOS THAT LANCE FERGUSON HAS MOST NOTABLY PLANTED HIS FLAG IN THE SAND. CYCLONE CATCHES UP WITH HIM TO DISCUSS HOW THE BAND TOOK THEIR DEEP FUNK TO THE WORLD.

he Bamboos may be tied to the ultra-serious deep funk scene, but band leader Lance Ferguson has a sense of mischief. Running late for this interview, the meeting spot a convenience ﬆore, the guitariﬆ texts, “Go buy a Blue Heaven Slurpee”. Following the Falls Feﬆ ival, the Melbourne ensemble will celebrate their 10th anniversary at the Prince of Wales. And the plan is for them to perform with old friends. Still, Ferguson doesn’t intend the night to be a mega-jam – expect a tight show. “Am I a control freak?” he asks himself, sipping, not a Blue Heaven Slurpee, but a latte in the Revolver-ish second floor of Richmond’s Boris Biﬆ ro Lounge. “No, not really. I juﬆ like everything to be well organised.” The Bamboos’ chilled-out founder is an improbable arch disciplinarian, although he also manages the group. “The cool thing about the people act ually in the band is, as clichéd as it always is, we are like a family after all these years. So it’s not like I’m dealing with these people who are out of control.” Remarkably, The Bamboos, aligned with the British ﬆable Tru Thoughts, have dropped four albums plus a live set since 2006. For many, Ferguson, who likewise DJs and records as Lanu, is the face of The Bamboos as much as soul diva Kylie Auldiﬆ. The Kiwi was originally ﬆ udying jazz at the VCA. It was through local DJs such as Ennio Styles and Kano that the hip hop head discovered the amorphous deep funk movement. The Bamboos, who early on played Fitzroy’s Night Cat, can accept credit for opening up Auﬆ ralian audiences to soul. Today Sharon Jones & The Dap-Kings sell out shows here. Ferguson, who has Tongan anceﬆ ry, admits that, on arriving in Auﬆ ralia, he was “shocked” that black music was less “prevalent” than in New Zealand. “There were definitely people here into it, but it was more on the fringes.” It’s not necessarily about colour, he ﬆ resses. “Sharon Jones has grown a lot bigger now, but initially she was big in the white college scene in America. I remember talking to Gabriel Roth about their rise to success. He said it’s all the white kids at colleges where they played, it wasn’t like they were embraced by the black American audience – which I thought was intereﬆ ing. In a way it’s a similar sort of culture here that has ﬆarted to embrace that music – and it’s juﬆ spread out.” Artiﬆs like Amy Winehouse, Duff y and Mark Ronson have ﬆ imulated the mainﬆ ream’s appreciation of soul – and Ferguson isn’t about to diss them. “Soul music is pop music, so I think it’s juﬆ as valid,” he says. “There was a Motown revival in the 80s – and it keeps cycling around.” The Bamboos premiered in 2001 with the single Eel Oil/Blackfoot and subsequently offered a second on Kay-Dee Records (co-run by Kenny Dope). After airing the inﬆ rumental LP Step It Up, Ferguson determined to cut “songs”, recruiting vocaliﬆs for Rawville – among them Auldiﬆ. A then unknown Megan Washington cameo-ed on the Northern soul Side-Stepper, singing a groovy cover of Kings Of Leon’s King Of The Rodeo. Th is year The Bamboos presented 4, their moﬆ successful outing yet (it’s sold in excess of 20,000). Lyrics Born, a Bamboos fan, gueﬆed but, in fact, 4 dipped into 60s psychedelia, Ferguson fascinated by how different ﬆ yles “collide”. He’s now preparing The Bamboos’ next album, which will further delve into garage psych’. The Bamboos are perpetually evolving, Ferguson disinclined to appease modish puriﬆs. “I think every

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album should be different, but it needs to be in a honeﬆ way. It can’t be juﬆ, ‘We’re gonna make a different album’, it needs to be genuine – and I feel like it has been for me. That’s mainly because I get bored with ﬆ uff really easily. I juﬆ love all sorts of different music – I mean, I don’t sit around liﬆening to funk and soul records all day, it’d bore the hell out of me! I liﬆen to everything from techno to folk music to whatever. It juﬆ so happens that I have this band and I try to sneak this ﬆ uff in there.” It was a coup for an Auﬆ ralian act to sign to Tru Thoughts (mind, Step It Up was issued Stateside by Ubiquity). Ferguson is gratified at Tru Thoughts’ promotional endeavours in spite of its indie budget. The Bamboos have successively toured

Europe – and they’ve gigged at London’s preﬆ igious Jazz Cafe. There’s talk of them playing 2011’s Glaﬆonbury. As with The Roots, The Bamboos have long backed other performers. Ferguson plays in Washington – and the lady herself features heavily on his upcoming Lanu album, Her 12 Faces. Ferguson seeks challenging projects. “I’m a bit over people coming to me juﬆ wanting this retro soul/funk sound.” Music has to be “progressive”, he feels. “None of The Bamboos’ records really sound like they’re from 1969 – we’ve always had MCs and ﬆ uﬀ. I’ve always tried to put something in it that makes it of the ‘now’, because I’m not into that time capsule mentality.” WHO: The Bamboos WHERE & WHEN:

Prince Bandroom Friday 14 January

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ELAINA MUSTO WHERE AND WHEN WAS YOUR FIRST SET? “Seven Nightclub on a Thursday night.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “Daso – Meine.” WHO ARE YOUR FAVOURITE DJS? “My mate Tom Evans who taught me how to DJ and Shane Copal is also fabulous. Luciano would have to be one of my all-time favourites.” FAVOURITE CLUB TO PLAY? “I like a lot of the clubs I’ve played at. I really enjoy Saturday nights at Boutique, Sunday mornings at Onesixsone and Mink Bar Sundays.” WHAT’S YOUR BEST ALL TIME GIG? “Recently I played at Stereosonic. It was my ﬁ rﬆ feﬆ ival and I had a great time!” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “Juﬆ general drunkeness from crowds, always highly entertaining.” WHAT’S THE WORST REQUEST

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YOU’VE GOT? “Recently a lady proceeded to ﬆack it in front of me while yelling all the songs that had played at her wedding. It was 7am and she wanted me to play them for her anniversary.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “My mum is really excited by what I do and thinks I should play the Jaws theme song at the beginning of every set. My dad thinks it’s cool but would like it if it was during the day and not early in the morning surrounded by booze.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “Less dickheads and more people wanting to drink with their mates and have a good time.” WHAT GIGS HAVE YOU GOT COMING UP? “Boutique Thursdays, Q Bar Thursdays, Boutique Saturdays, Mink Sundays, That Party NYD at Albert Park, Future Music Feﬆ ival at Flemington Racecourse Sunday 13 March.” PIC BY KANE HIBBERD

DJ STIFFY’S WIDE WORLD OF SHORTS LICK MY ASSANGE So, anyways, it has in fact become patently obvious, as described in one of my earlier columns, that Julian Asasnge basically does what he does to pull chicks, and there’s nothing wrong with that. I mean, moﬆ DJs would happily agree that the only reason they ﬆarted DJing was to get their dicks sucked by shitfaced (but nonetheless pretty) bogans with self-eﬆeem problems – and possibly have a conversation with a member of the opposite sex that laﬆed longer than 60 seconds. But what’s even more revealing is that there is clearly a relatively large proportion of the female population that is more than happy to fall for it. What does this say? It says that education might make you more qualified, but it doesn’t make you smarter. To wit: you might have an undergrad in political science and a maﬆers in international relations, but when it comes down to it, people are ﬆill suckers for former nerds with high profiles and big egos. In other words, the difference between a middle-class well-educated activiﬆ-groupie and a dick-sucking bogan is, precisely, nothing. MY DEADLINE MAKES THE NEXT COMMENT SUPERFLUOUS So, anyways, at the time of writing, Ricky Ponting, was, as usual, looking like a sad sack of shit, as he tends to when playing England and completely deserves to. Ponting is a little bit like the idiotic truﬆ fund kid who was handed the keys to the successful family business and completely fucked it up. I mean, taking the captaincy from Steve Waugh with Warne, McGrath, Gilchriﬆ and the reﬆ of that team was a little bit like taking Microsoft from Bill Gates at its peak. I mean, the team basically drove itself; all he needed to do was ﬆeer, and like some sort of beer-andamphetamine-addled Tasmanian hillbilly, he managed to ﬆeer it into a tree called England. Someone please, please sack him before he makes a Van Damme-ﬆ yle comeback. JAIL WATCH: DMX Oh my god. DMX is going to jail again. The real myﬆery about DMX is, however, that he somehow can’t translate jail ﬆ ints into record sales. It is possibly because rather than the rap-buying public associating his jail ﬆ ints with ‘bad-ass’, the associate them with ‘lack of competence’. JAIL WATCH II: WHERE IS JA? Hooray. Ja Rule is finally going to jail for two years. I assumed it was for generally being immensely shit and ‘‘Livin’ It Up’’. But it’s because his record sales aren’t as good as Lil Wayne’s, who could afford a better lawyer and only went to jail for eight months.

DANCE MUSIC HUB CHART 1. Kernkraft 400 ZOMBIE NATION 2. Get Fresh MOGUAI 3. Operation B 2010 ROYAL ARTISTS 4.Music Sounds Better (Extended Mix) DAVID MORRELL 5. Synaeﬆ hesia (Alex MORPH Remix) THE THRILLSEEKERS 6. Smash The Pressure DEEKLINE

7. Zombie 2K10 (Max K Remix) ANDREW SPENCER & THE VAMPROCKERZ 8. Timebomb (Gordon & Doyle Remix) KARL S FEAT MVL 9. Make You Scream DJ KINX 10. Wake Up Call STEVE AOKI AND SIDNEY SAMSON

YOUTUBE OF THE WEEK

KANYE WEST MONSTER PREVIEW A ﬆandout track oﬀ Kanye Weﬆ acclaimed album My Beautiful Dark Twiﬆed Fantasy – Monﬆer is six minutes of Thriller-inspired spooky sounds, snapping beats, and monﬆer verses from Weﬆ, Rick Ross, Nicki Minaj and Jay-Z. Weﬆ has given fans a sneak peak of what is sure to be an epic music video to accompany this wild tune. Th is preview certainly has us wanting more. Check it out at www.hiphopconnect ion.com.

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I DONT ASK, DON’T TELL NOW APPLIES TO ANYONE WHO WATCHES TWO AND A HALF MEN” CHANNEL V BLOGGER AND PRO TWEETER BRENDAN MACLEAN INTERPRETS CONTROVERSIAL US MILLITARY POLICY FOR THE PEOPLE. THANK YOU SIR.

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HOW DID YOU GET YOUR DJ NAME? “I was born with it. Muska is my surname and everyone calls me by it. Even when I was a kid everyone called me Muska. I love it. It’s juﬆ always been a little weird introducing yourself to people by your laﬆ name so if you meet me I’ll probably say Michael.”

DJBOOTH MUSKA

WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Don’t know? I don’t liﬆen to shit music. It won’t even make it paﬆ the ﬁ rﬆ bar. I havent liﬆen to the radio or even watched Video Hits in years.”

IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “Melodic, chunky minimal techno that is organic, outdoor, dirty, sexy and addict ively fun.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Here is one you probably don’t have; the artiﬆ is Biscuit Reality – Lack Of Cactus is the track, really cool ﬆ uﬀ. Rare record for you all.” WHAT MADE YOU START DJING? “Nothing made me want to do it, I juﬆ wanted to do it. To play music in a way that makes people

“It’s funny you would think with the amount of parties I have put on over the years I would have one ﬆory that juﬆ ﬆ icks in my mind but there isn’t. There is always lots of weird people and things going on in nightclubs but nothing that I remember.”

lose their shit and want to do crazy things is juﬆ the beﬆ. Music has an unbelievable power and I know how it feels when music takes a hold of me on the danceﬂoor and I would like to think that all my knowledge of music comes from experiencing it so I would like to share that experience with others.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB?

THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “‘Do you have some track from commercial radio I have never heard of?’ followed by, ‘oh my god you don’t know that song everyone knows it?’ Followed by the person ﬆarting to sing to me.”

WHERE & WHEN: Brown Alley weekly, Lounge every Friday

KISS FM CHART 1. Rabbits In A Hurry (It’s A Fine Line In The Hole Extended Mix) SUPERPITCHER 2. Silver Surfer, Ghoﬆ Rider Go!!! (Trentemøller Mix) TRENTEMØLLER 3. Stay The Same THE SHOES 4. Change STEVE HART 5. For Your Luv (Lateﬆ Craze Mix) MICHAEL WATFORD 6. Mr Spock JUSTIN MARTIN & ARDALAN 7. The Diﬆortion MIDNITE SLEAZE 8. Hey Ya (David Amo & Julio Navas Fresco Barcelona Rework) BASS KLEPH 9. Taﬆ y DADA & MASTIKSOUL 10. Need Your Love FROMAGE DISCO

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INDUSTRY WATCH CAN’T STOP BOXING DAY AT WAH WAH LOUNGE THE IDEA BEHIND OUR NIGHT IS… “It’s the beﬆ way to let loose after all the Xmas act ivities!” WE’LL BE PIMPING THE SOUNDS OF… “Melbourne’s beﬆ underground tech and elect ro DJs.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “T-Rek, Chardy, Nick Coleman, Kalus, Damon Walsh, Genetix vs Shameless, Samual James, Rach E, Yoshi vs Zac York, Van-G, Silversix, Johnny Twitch, Joel Fletcher, Juce.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Drinking cocktails out of a noodle box and the sexieﬆ door men in Melbourne.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Good music and a hot crowd.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Dancing under our famous bubble light wall that covers the entire danceﬂoor roof.” WHERE & WHEN: Can’t Stop Boxing Day at Wah Wah Lounge Sunday 26 December

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S US HI SNAPS 1 Abode 2 Khokolat Koated @ Khokolat Bar 3 Pretty Please 4 Rhythm-Al-Ism @ Fusion

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GUESTLIST

PING PONG DJS

WEDNESDAY

CO. DJ Petar Tolich. 9:30pm. Free before 11pm. LOUNGE PCP and Matty Radovitch. 9pm. Free. MISS LIBERTINE FRONT ROOM Elements: MzRizk, Sizzle, Ayna & Rampage. 8pm. Free. MISS LIBERTINE BACK ROOM Jester Crew VS The High Society. 9pm. $5. PALACE THEATRE New Edition’s Bobby Brown, Johnny Gill & Ralph Tresvant. REVOLVER Lost & Found: DJ Whitt, Adalita, DJ Spidey. 10pm. Free. LADY NOIR

THE ESPY GERSHWIN ROOM British India, Dollsquad, Demon Parade. 8pm. $20 + bf. THE ESPY LOUNGE Oh Mercy, The Hello Morning, The Thod, Rusty from Electric Mary. 6pm. FUSION Sounds of Fusion: Phil Ross and Danny Merx. 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 Das Kabinette: DJ Kiti, DJ Lady Noir, DJ Duckman.9pm. LOUNGE A ‘Naughty’ Night before Christmas: Muska, Tahl, JD, Kodiak Kid, Citizen.com. 9pm. LUCKY COQ House Party: Matt Rad, Mr George, Tom Meagher, Phato A Mano. 9pm. Free. MISS LIBERTINE Purple Sneakers: Death Disco DJs, Lukewarm, Badhorse, Shaky Memorial. 9pm. $12. NEW GUERNICA Pantha Du Prince. 10pm. NORTHCOTE SOCIAL CLUB Mick Thomas & The Sure Th ing, Van Walker, The Idle Hoes. 8pm. $22/$25. PRETTY PLEASE Mic Newman. TRAK White Wonderland Christmas Party: Bright White feat. G-Money, Jody McLeod (Nova 100). 8:30pm. $20 general, $15 guest list.

SATURDAY

THURSDAY 3D 3D Xmas Party. $18/$14 Guestlist. BILLBOARD Billboard Thursdays: Matty Grant, Matt Dean. 8pm. CO. Funhouse: Finlo White. 9.30. Free. THE ESPY BASEMENT Cloudmouth, Clowns, Latonas, Daydream Pioneers. 9pm. THE ESPY LOUNGE Lan Party, A Lonely Crowd, Ungus Ungus Ungus, Karen Heath. 9pm. FUSION Rhythm-al-ism: Damion De Silva, Funkmaster Rob, A-Style, K Dee, Simon Sez. 9pm. LOOP Mood: DJs Tuan Besar and Johan ELG. 9pm. Free. LOUNGE Agent 86, Citizen.com, Smile on Impact. 9pm. Free. LUCKY COQ Free Range Funk: Who?, Agent 86, Lewis Cancut. 9pm. Free. MISS LIBERTINE FRONT ROOM Knee Deep: Louis McCoy, Luke Bruin, & Toby Josef with guests Craig McWhinney, Matt Radovich and Sam McEwan. 8pm. Free. MISS LIBERTINE BACK ROOM Lucid Sun, Inedia and Zyncarla. 9pm. $5. NORTHCOTE SOCIAL CLUB Otouto, Geoﬀ rey O’Connor, Oscar & Martin. 8pm. $12/$16. REVOLVER Sheriﬀ, The Close, Death Valley Mustangs, Alex Anonymous & Heaven The Axe. 8pm. $12. REVOLVER 3181 Thursdays. 6pm. Free. TRAK Rudy.

FRIDAY CO. Papparazzi: DJ’s Nikkos, Joe Sofo & Kitty Kat. THE CROFT INSTITUTE Wax Museum Records Jam. THE ESPY BASEMENT Kingswood and guests. 9pm.

BIMBO DELUXE The Bimbo Hot Step: Adam Askew. CO. Envy: Finlo White, Joe Sofo, Matty G, Dozza. 9:30pm. $15. CORNER HOTEL Karavan! Gypsy Music Festival 201: Gipsy.cz (Prague), Harem’de, Yasar Akpence (Istanbul), Vulgargrad, Lolo Lovina, Arte Kanela, Babaganoush, DJ Delay (Berlin), Systa BB. THE ESPY LOUNGE Cuban Brothers, Phil Para. 6pm. Free. EUROTRASH Eurotrash House Party: 1928, Tranter, Sleeves, Supremes, Mu-gen, D.Ceed and Superhanz. 9pm. FUSION Replay: Ping Pong DJs, Tate Strauss, Dean T, Johnny M, DJ Nova. 9:30. $15. KHOKOLAT BAR Khokolat Koated: Damion De Silva, K Dee, Jay Sin. 9:30pm. $5 before 10pm/$15 after. PANTHA DU PRINCE

LA DI DA Poison Apple: Tom Piper, Chardy, Chango Phat, Ross Horkings, Bianca White, Clint Morgan, Nick Kennedy. LOUNGE Technoir #6: Simon Slieker, Tronikrlrsh, Ranjit Nijjer, Mish’Chief and Q’uale. 9pm. THE LOFT The Loft Saturdays: Scotty Erdos, Phil Ross, Nick James, On Time. LUCKY COQ Textile: Pacman, Jean Paul, Sam McEwin, Tahl, Kodiak Kid, Moonshine, Ash-Lee, DJ Volta. 9pm. PRETTY PLEASE Good Manners: Christmas for Bad Kids. PRINCE BANDROOM Angela Pandelis. 9pm. $25 + bf TRAK Strut Saturdays: Jason Heerah, Mark Pellegrini, Jason Sirini, Andreas, Nick Van Wilder, Michael T, Mas, Danny Merx, Henrique. 9pm.

SUNDAY BILLBOARD Hard Kandy: Bio Weapon, Marlo, Scott Alert, Josh Lang, Ben Jackson, Rhys Gibson, Calvinator. 8pm. $25-$40 + bf. CORNER HOTEL Boxing Day Blues: Geoﬀ Achison and Chris Wilson. 7:30pm. $22 + bf. EUREKA TOWER Crazy P, Jim Baron, Chris Todd. 8pm. $40/$50. LOOP Unstable Sounds. 10pm. Free. LOUNGE Mr Moonshine, Matty Radovich, DJ Who. 9pm. LUCKY COQ Sth Side Hustle: Askew, Booshank, Paz, Miss Butt, Jumbo, Junji, Disco Harry, Pete Baker, Jake Judd, Nikki Saraﬁan. 7pm. MISS LIBERTINE Kenny Ken, Deepers MC, Cubist, C:1, Fenton, Youthful Implants , Yenks, Citizen.com, Deviant, Lickweed, Monkee. 5pm. $10 before 9pm/$15 after. NEW GUERNICA Spike, Faux Real. 8pm. Free. PRETTY PLEASE Brennan Green (NYC), Andee Frost, Dublin Aunts, DJ Prequel, Micka 5K + CC:Disco! REVOLVER Revolver Boxing Day - Post Xmas Session: Boogs, Spacey Space, T-Rek, Luke McD, Heath Renata, John Doe, Mike Metro, Azmac vs Robyn Gold, Stevie Mink, Dwayne Thompson, Oliver James, Daniel Tardrew, Damon Walsh, Silversix, Nick Jones, Da Silva and Lucca Tan. THE TOFF Oz Soul Sundays Boxing Day Special: Ella Thompson, Abel, Runforyourlife, Lotek, Rucl, Nadee, Sure Shot Hunters, Zulu Flow, Lia Avene, Julez, Nai Palm, Clare Whitcombe, Mimi V, The Inner Section, DJ Billy Hoyle, Lotus, Raph, DJ MizRizk. $10. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.

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BEFORE THE LEAK WAS PLUGGED

Melburnians Hugh Farrant and Giordano Nanni uploaded Episode 4 of Rap News to YouTube in July 2010 – a funny overview of Wikileaks and the issues it raised. Their witty editing earned an invitation to meet Julian Assange, resulting in his cameo appearance in Episode 5 (27 October), nobody yet aware of the political chaos that would unfold a month later. 3D World’s Jean Poole recently spoke to Nanni about their brush with notoriety. HOW DIFFICULT WAS IT TO CO-ORDINATE SHOOTING A VIDEO WITH “THE WORLD’S MOST WANTED MAN”? “He managed to fit us in to an extremely hectic schedule. We were pretty sure he’d only have a couple of hours to spare, but at the end of the day’s shoot he told us he’d be happy to come back the next day and re-shoot some of it. Messing around in front of the camera definitely helped get his mind off more serious things for a few hours. He’s a great guy with a wicked sense of humour and the calmeﬆ demeanour of any person we’ve ever seen.” DID YOU GLEAN ANY INSIGHTS ABOUT WIKILEAKS FROM THE CONTACT? “We got to see the project as it was about to enter this current WikiTrickle phase. We could tell that they were building up and unleashing progressively larger and more impact ing data, but we have to admit that we were blind-sided by this ‘Cable-gate’ phenomenon. I mean, this is a real game-changer. It’s gigantic, and it’s juﬆ not ﬆopping.” GIVEN YOU’VE TALLIED HALF A MILLION YOUTUBE VIEWS, WHY REFUSE THEIR OFFERS OF REVENUE SHARING FROM ADS? “We loathe advertising so passionately that the loss of a potential revenue ﬆ ream is a small price to pay to keep the channel free of marketing. We have a donations syﬆem for people to visit, and since Episode 5 dropped, plenty of people have been expressing their support with some cash. Donations keep Rap News going and let us pay for ever more elaborate wigs and make-up.” WHAT DO YOU THINK OF AUTO-TUNE THE NEWS? “Seriously talented musicians, extremely funny, and Hugo has something of a man-crush on Michael Gregory. That guy’s got a lot of soul.” WHAT OTHER MEDIA INSPIRES WITH A BLEND OF POLITICS AND ENTERTAINMENT? We both enjoyed Starship Troopers – hilarious and kick-arse sci-fi act ion movie, with some excellent calls about humanity’s interplanetary relations. We love South Park, and Team America is a high point of culture. Koyaanisqtasi by Godfrey Reggio and [scored by] Philip Glass is a fi lm which really inspires and opens one’s eyes to the world we live in. Videos of comedians Bill Hicks and George Carlin definitely taught

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us a few things. The greateﬆ example of combining entertainment and politics is Jonathan Swift’s maﬆerwork Gulliver’s Travels.” GOOD NEWS – HAVE WE HAD ANY LATELY? “There’s never been a better time in hiﬆory to be creative with access to a global audience. Wikileaks is excellent news. It was about time things got shaken up a bit. Evo Morales is excellent news for South America. Local band [Me] juﬆ signed a UK record deal. Also, Tool are visiting in January. Very good news indeed.” FUTURE MUSICAL PROJECTS FOR HUGO? “One day - some form of live Rap News format, initially within solo shows and build up from there – a full live touring Rap News musical extravaganza would be amazing. Keep your eyes out for new Branksome film clips, and the sci-fi farcical epic film clip We Are The Humans.” FUTURE WRITING / JOURNALIST PROJECTS FOR GIORDANO? “Finishing touches to a book I’ve juﬆ completed, and embarking on a theatrical project – Coranderrk – in collaboration with Ilbijerri Aboriginal Theatre. And of course, future episodes of Rap News. Robert Foﬆer’s could become an important voice. Stay tuned.”

UNDER SIDE

KEEP IT CLEAN There’s no room in life for regret, but it’s worth remembering that the sleazy ﬆ uﬀ you do in your younger days has a way of catching up with you. To put it bluntly, do what you want, but don’t get yourself addicted to pornography and don’t ever pay for sex. Speaking as a conservative middle class guy, I can tell you that your porn obsession and your secret trips to brothels will come back to haunt you later on. It all goes on your permanent record. It may seem private to you and it probably seems like an excellent idea at the time. But one day you’ll meet someone special, fall in love and you’ll want to tell each other everything. And then when you leaﬆ expect it, she’ll ask – “Have you ever been to a brothel?” And even if you deny it, the look on your red face will give you away. Some things are never in fashion. Billy Joel music. Bald men with ponytails. And guys who visit brothels. Fonzie never did it and neither should you. You might agree with me on the brothel thing but ﬆ ill defend your pornography collect ion as juﬆ a bit of harmless fun. But the porno thing can get out of control very quickly. My house is totally porno free and has been for years. Pornos are like cigarettes: one is too many, a thousand is never enough. It’s better if you juﬆ never ﬆart. I’ve never even been into an adult bookshop. There’s one around the corner from my house and I can’t imagine what goes on in there. They have a sign out the front that says “We Sell: XXX DVDs, XXX Magazines and Novelties”. I’ve often tried to fathom what would conﬆ itute a “Novelty” in a shop like that and I think if you’re the sort of guy who spends his time riﬂ ing around in adult bookshops buying pornography, a novelty would probably be... an act ual woman. I might sound like a prude, but think of it like this – if you want someone to share your bed, you keep your bedroom clean. So if you want someone to share your life, you should keep that clean as well. No one expects you to be a saint, but keep your nose clean for God’s sake. DAVE JORY

AUSTRALIAN TOURISM THE BEST AND WORST PAUL HOGAN – COME AND SAY G’DAY (1984) During the early 1980s, there was no better man to promote Auﬆ ralia to the world than Paul Hogan. The ﬆar of Crocodile Dundee fi lmed a series of ads encrouaging Americans to take a “fair dinkum holiday”. An ad featuring the phrase “shrimp on the barbie” which aired from 1984 was particularly successful. ELLE MACPHERSON – SOME PLACES HAVE ALL THE LUCK (1987) In 1987, at the height of her career, golden girl Elle Macpherson lent her sparkling smile to an ad campaign for Sydney tourism, marveling at the city’s affordable seaside dining. The supermodel later produced a series of highly successful commercials for Weﬆern Auﬆ ralia which positioned the ﬆate as world’s beﬆ nature-based deﬆ ination. JOHN FARNHAM – NEVER BEEN A BETTER TIME (1990) Sporting a fetching mane and radiant tan, a young(ish) John Farnham sits in a deck chair in the shallow water of a pool when a floating device delivers him a cordless phone. “Ring Now! Free Call!” scrolls along the bottom of the screen as Farnsey encourages viewers to book a holiday down under ‘cause there’s “never been a better time to have a good time”. LARA BINGLE – WHERE THE BLOODY HELL ARE YOU? (2006) Auﬆ ralia’s moﬆ controversial ad campaign coﬆ ing $180 million dollars made headlines worldwide for its use of the word “bloody”. While Tourism Auﬆ ralia had hoped to lure visitors from Japan, Germany, the United Kingdom and United States, it was discovered much too late that the word “bloody” was offensive rather than alluring. BAZ LURHMAN – COME WALK ABOUT (2008) After doing such a great job of glamourisng Auﬆ ralia’s dark hiﬆory in his epic blockbuﬆer Auﬆ ralia, Baz Lurhman signed on to create a commercial

for Tourism Auﬆ ralia featuring the Aboriginal child ﬆar of the ﬁ lm – Brandon Walters. Walters lights up the screen once again, although the commercial did have its fair share of critics – including Paul Hogan. OPRAH - NOTHING LIKE IT (2010) Taking the caking and eating it all, this year’s ‘‘Nothing Like It’’ campaign raised the bar by inviting super amazing chat show queen Oprah Winfrey down under to spruik the many wonders of our country. While it coﬆ us about $3.5 million, the campaign has been touted as the moﬆ successful ever for Tourism Auﬆ ralia who are expect ing aﬆ ronomical returns. Thank you Oprah.

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HOW DID YOU CHOOSE YOUR MC NAME? “It was originally Urban Monk, I had a dream this was my name so I ran with it! But I’ve since changed it to my ‘real’ name, Dyl Thomas. No gimmicks, juﬆ plain me!”

good venues and good times.”

MCBOOTH BOOTH DYL THOMAS

FAVOURITE COMEBACK LINE? “Juﬆ like my ﬁ rﬆ time.”

HOW LONG HAVE YOU BEEN RAPPING? “Since 1999, 11 years.”

WHAT’S YOUR DREAM COLLABORATION? “David Bowie or The Temper Trap feat Dyl Thomas. That would be so amazing, gotta love Bowie.”

ARE YOU AFFILIATED WITH ANY CREW? “Yes, I’m one half of Polo Club.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “I remember there wasn’t a person in the room, awesome!” EVER EXCRETED ANY UNUSUAL FLUIDS

WHAT’S THAT ON YOUR SHIRT THERE? “Well it’s not act ually a shirt, it’s a vintage knitted sweater.”

BEFORE ROCKING A SHOW? “I don’t wanna talk about it, ha ha.” YOUR BEST SHOW AND WHY? “All the shows on our laﬆ Polo Club national tour. It was an amazing experience, good crew,

WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “People are ﬆarting to venture out within their ﬆ yles, the local scene is changing and I think for the better, inﬂuences are coming from all areas of music, not juﬆ rap!”

WHERE & WHEN: Polo Club at Evelyn Hotel Thursday 27 January

GIVEAWAY LOGITECH GIVEAWAY

Calling for an end to the boring black mouse, Logitech have unveiled a limited edition range of patterned computer mice which feature brilliant colours and eye-catching designs inspired by trends in fashion and pop culture from around the world. Features include an ergonomic design, economic battery life, and optimal cursor control. Each mouse comes complete with a cordless, USB nanoreceiver, which is always ready for use. With Chriﬆmas juﬆ around the corner this juﬆ may be a very trendy ﬆocking ﬁ ller! 3D World have three limited edition Logitech mice to giveaway, simply email your name and address to giveaways@3dworld.com. au with MOUSE in the subject line for your chance to win. Entries close Wednesday 22 December.

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CLUB CLASSICS ANDY HART

WHERE & WHEN: Revolver every Friday, The Thing at Onesixone every Saturday, Blow Your Own Way Boat Party Saturday 1 January, Summadayze Saturday 1 January INNERZONE ORCHESTRA FEAT. PAUL RANDOLPH PEOPLE MAKE THE WORLD GO ROUND KDJ REMIX (Planet E), 2000. “It’s a real record. Starts oﬀ slow and sleazy and gets serious juﬆ before the end. Moodymann seems to know what he’s doing.” TORNADO WALLACE PADDLIN’ (Delusions Of Grandeur), 2010. “The track or the thing don’t need any introduct ion do they? It’s juﬆ a ripping peak time deep house number... he’s done good he has.” KERRI CHANDLER TRACK 1, ATMOSPHERE EP (Shelter Records, 1993) “Th is is probably one of the moﬆ timeless records i own. came out in 1993 and the sax hook is ﬆ ill doing damage where ever it’s played.”

BLOG STANDARD

THIS IS WHY YOU ARE FAT Overview: If you can deep fry it, roll it in cheese, coat it in chocolate, ﬆ uff it with over processed meats and deep fry it again, it’ll be in this blog. Readers are encouraged to submit their own “creations”, some of which include Pop Tart Sushi, Heart-A-Mac and Cheese Deep-fried Reese’s Cups Wrapped in Bacon. Highlights of the website have also included the “30,000 Calorie Sandwich” made of minced beef, bacon, corn dogs, ham, paﬆ rami, roaﬆ beef, bratwurﬆ, Braunschweiger, turkey and fried mushrooms with onion rings and five varieties of cheese, served on white bread. As the tag line says, this is “Where dreams become heart attacks”. Design: You will be too mesmerised by these over-indulgent culinary creations to notice the tacky background and less than impressive font. Recent Poﬆs: BBQ Pulled Pork Donut Sandwich. “A BBQ pulled pork sandwich with two homemade glazed donuts for the bun, peach guacamole, roaﬆed tomato salsa, and Chipotle Cheddar Cheese Wiz.” Quality of content: Nutritional value: zero. Novelty factor: off the charts. Viewers will find themselves hypnotised by the pages and pages of what some have referred to as “food porn”. Frequency of updates: Every four-five days. Downloads/Streaming: None. Audience: Hungry people? People who want to feel healthy? Fatties who need cooking inspiration? The possibilities are endless. WWW: www.thisiswhyyourefat.com

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GORILLAZ ROD LAVER ARENA: 11.12.10 It’s safe to say this is one of, it not the moﬆ anticipated gig of 2010 – and a packed crowd at Rod Laver Arena witness Damon Albarn’s genre-dodging Gorillaz morph from the animated superﬆars that had fronted the band since the release of their self-titled album in 2001 into their living, breathing, human PHOTO BY KANE HIBBERED

embodiments for a hugely entertaining performance of music, dance and art. The premise, as revealed by one of the many brilliantly animated skits shown on the huge screen above the ﬆage, is that 2D, Murdoc,

Noodle, Russel and the reﬆ of British cartooniﬆ Jamie Hewlett’s amazing creations had been hoodwinked by a ‘‘tribute band’’ (Albarn et al), who had locked them in their dressing room and ﬆolen the limelight. Proceedings are kicked oﬀ by Sinfonia ViVA, the classical chamber orcheﬆ ra behind the same introduct ion on the Plaﬆic Beach album and juﬆ one of the many gueﬆ performers that

make up the visual and aural spectacle of this mind-boggling show. Next, a huge Snoop Dogg appears on screen; his sly, silky tones fi lling the room for Welcome To The World Of The Plaﬆic Beach accompanied by the excellent horn sect ion, the Hypnotic Brass Ensemble. Damon is on exceptional form; leaping around the ﬆage, feeding off the other artiﬆs and the crowd and throwing water over the obliging front rows. The set liﬆ and main gueﬆ performers change on each of the 36 shows of this, the band’s fi rﬆ world tour. Tonight we are treated to the De La Soul boys who bound around the ﬆage belting out crowd favourite Feel Good Inc, Bobby Womack performing his piece on the retro elect ro track Stylo and Little Dragon for Empire Ants. It’s a ﬆellar performance from an ensemble who continue to be one the moﬆ intereﬆ ing and engaging in the world. RICHIE MELDRUM

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3D WORLD’S A-TO-Z OF DANCE MUSIC GENRES THIS WEEK: PROGRESSIVE HOUSE

Progressive house, or “prog”, was the dominant dance genre from the mid-90s on. The poﬆrave era music emerged in the UK as house and trance converged and was championed by future DJ superﬆars Sasha and Digweed. Renaissance was the fi rﬆ prog nightclub (and brand), opening in central England in 1992. While progressive is perceived as a rupture from house’s disco (and black) roots, it did have antecedents in Italo disco. The early, and more underground, progressive is inﬆ rumental, the music defined by dubby, rolling basslines, synth riffs and layered percussion – and the tracks are extended. Progressive is trippy, deep and often dark, countering the euphoria of trance. The progressive DJs’ mixing ﬆ yle was also diﬆ inct from that of American house and techno pioneers, with the newcomers favouring seamless mixing as opposed to a choppier or funkier approach. Th is seamlessness was achieved through harmonic (or key) mixing. It’s suggeﬆed that Mixmag’s Dom

DEEP DISH

SASHA & DIGWEED

Phillips coined the term “progressive house” in 1994, no doubt in reference to prog rock. Many of the 90s’ crossover elect ronica live acts had a progressive sound, from Underworld

to Leftﬁeld (who released their seminal debut Leftism in 1995) to Faithless. Underworld’s Born Slippy .NUXX is a prog classic. Auﬆ ralia spawned a prog super-DJ in Anthony Pappa, who moved to the UK to further his career. Progressive would be divisive. Techno puriﬆs hated it. In fact, the US house and techno contingent looked on prog with contempt – and Danny Tenaglia was criticised for converting. He wasn’t alone: Deep Dish went prog, too. Prog’s critics dismissed it as “trance”, by now a dirty word. Yet progressive was always diﬆ inct from trance, being subtler – although, with songs like Faithless’ Insomnia, some of the music did become more epic (hence epic house). Still, Simon Reynolds is as disdainful of the “dubious” prog in his book Generation Ecﬆasy as he is of

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CLIPSE PRINCE BANDROOM: 09.12.10 Eight years on from the release of their classic debut album, Lord Willin’, Virginia’s favourite charlie-slanging MCs Clipse roll into town. The duo’s love of rack, sometimes avant-garde production and designer gear, particularly Bathing Ape, has always endeared them to hipﬆers as much as hip hop heads and the crowd is a mix of both, oft-separated animals allowed to mix freely in the darkened Prince Of Wales. The warm-up comes courtesy of a two man DJ crew who zre so transﬁ xed by their Mac they almoﬆ forget about the crowd – none of your Mixmaﬆ er Mike ‘‘battle’’ game faces for these two, playing lots of trendy, bassy new school hip hop alongside a few 90s classics. Then at 11pm Pusha T and Malice bound onto the ﬆ age like a sonic coke rush, ripping into a couple of lesser known yet well received tracks before blaﬆ ing through several of their Neptunes-produced bangers like Cot Damn, Keys Opens Doors (assiﬆed by the gargantuan Ab-Liva) and the unmiﬆ akable drums of Grindin’. While the crowd is enjoying the show they’re ﬆ rangely subdued – maybe this was down to said hipﬆers’ moodiness infect ing the crowd. At one point De La Soul’s Pos is ﬆanding next to us taking in proceedings when he’s nearly bowled over by a big drunken one and nearly forced to get very un-‘daisy age’-like with him. Yet back on ﬆage the Clipse energy levels never dip as they up more recent material like Mr Me Too, I’m Good and ﬁnally Popular Demand (Popeyes). Though the crowd aren’t as amped as they could’ve been, and the show only laﬆs an hour, Clipse deliver moﬆ of their big tracks and bucketloads of energy in what is an entertaining evening of lessons in shipping, cooking and diﬆ ribution. DARREN COLLINS

Detroit techno and other “intelligent” genres, all of which he considers elitiﬆ. “Terms like ‘progressive’ or ‘intelligent’ trigger alarm bells; when an underground scene ﬆarts talking this talk, it’s usually a sign that it’s gearing up to play the media game as a prequel to buying into the traditional music induﬆ ry ﬆ ruct ure of auteur-ﬆars, concept albums, and long-term careers. Above all, it’s a sign of impending music debility, creeping self-importance, and the haemorrhaging away of fun.” There was a prog backlash in the late 90s with even Sasha repudiating any association – but the music endures. Steve Lawler brought a tribal element to progressive. Ironically, a peace was brokered between techno and prog crusaders through minimal – with James Holden among the ﬁ rﬆ to ﬆ raddle both.

SLINGING IN SINGAPORE WHEN SINGAPORE’S ZOUKOUT FESTIVAL CELEBRATED ITS TENTH ANNIVERSARY EARLIER THIS MONTH, KRIS SWALES WAS THERE TO SURVEY THE SCENE OF AN EVENT WHICH CAPTURED THE ELUSIVE SPIRIT AND FEELING OF THE ALL NIGHT RAVES OF YESTERYEAR. PHOTOS BY DAVE DRI. FRIDAY 10 DECEMBER – IN THE CLUB Well before ZoukOut, there was Zouk. Ranked #10 in DJ Mag’s 2010 liﬆ of the world’s beﬆ clubs, it’s spoken about in hushed tones by all who have played there (whether for business or pleasure) since founder Lincoln Cheng returned from a trip to Ibiza during the late 80s/early 90s Balearic boom with a vision to bring the music he heard there back to his people. Located innocuously down a back ﬆ reet behind a high rise apartment tower right next to the Singapore River, the club (which opened its doors in 1991) doesn’t betray its origins as a warehouse. 3D World is whisked in through the servant’s entrance ﬆ raight onto the Member’s balcony. The dancefloor below – though more sparsely populated than usual with moﬆ regulars saving themselves for the big one tomorrow – is rocking in fine ﬆ yle with a big room elect ro sound not completely unfamiliar to anyone who spends any time in the main rooms of Auﬆ ralian clubland. The interior looks like it could have been torn ﬆ raight from a Spanish Villa with its predominately white, rounded edges (infamous Spanish architect Gaudi was reportedly an influence when Cheng fit out the room), but a mammoth lighting rig covers the tiered dancefloor and a compressor/ limiter free sound syﬆem pumps with ample volume and cryﬆal clear precision – you can not only hear yourself think, but refreshingly also hear others speak. One of Zouk’s iconic figures, known only as The Doctor, has been a fi xture in Zouk’s main room for as long as anyone can remember and is in fine form on the dancefloor below. Clad in sunglasses, dark jacket and gloves (one black, one white), The Doctor sets up camp on one of the main floor’s podiums and is a pict ure of underﬆatement no matter how big the drop, but whatever zone he’s in is respected by punters at leaﬆ a third his age watching on from nearby. Beyond the main room, the Zouk catacombs also house the lush Velvet Underground (pitched at older clientele with upcoming DJs

DAVID GUETTA & ALDRRIN

including Osunlade, Tiefschwarz and Dimitri From Paris) and Phuture (a long rectangular room which tonight is ramjammed with people getting their funk on to commercial R&B sounds), while the Wine Bar outside caters for those for whom too much humidity is never enough – even well paﬆ midnight, ﬆeamy is an underﬆatement. After we briefly bask in the awesome of the main room and try to pict ure what upcoming sets from Roger Sanchez, Luciano and Ferry Corﬆen might feel like, we’re whisked through a doorway tucked behind an ornate tiled fountain which doubles as a unisex hand basin and through the Zouk offices, where even at 3am an army of ﬆaffers continue laﬆ minute preparations for the one day of the year that Zouk is taken out of the club into the great outdoors. SATURDAY 11 DECEMBER – ON THE BEACH The Amara Sanct uary

Resort, situated on the island of Sentosa juﬆ south of Singapore City, is the epicentre of act ivity as ZoukOut officially kicks off at 8pm. Artiﬆs are fed and watered before the logiﬆ ical nightmare of ferrying them to and from the Siloso Beach location juﬆ ten minutes way begins – and with only one road onto the island from the mainland and to the feﬆ ival site, the traffic jams have become as legendary as ZoukOut itself. 3D World shares a car with Dennis Ferrer, a Singapore veteran but clearly excited ZoukOut debutant handed the unenviable task of keeping the dancefloor pumping from 6am til closing time two hours later. A golf buggy ride from the feﬆ ival perimeter to the main ﬆage later and we’ve entered feﬆ ival nirvana. The sound is immaculate as Zouk veteran djB keeps things relatively deep for an already impressive main ﬆage crowd – in fact Marketing Manager Mari Muramoto

says the feﬆ ival has never been so full at such an early hour and smashing the 2009 record attendance of 27,000 seems a formality. The three ﬆages are positioned on the edge of the beach facing the ocean waters south, spread out side by side along an area roughly a third of the length of Bondi Beach. The humidity is ﬆill oppressive but the occasional lick of sea breeze helps, while the organisers’ requeﬆs for people to turn up in their beach wear are heeded for practicality as much as titillation. It’s a friendly, courteous crowd who seem to be mindful that there’s not only a long night ahead but that they’ll be sharing it with 30,000 new friends, so the unbridled looseness and boorish behaviour which have come to characterise the worﬆ parts of Auﬆralian feﬆival culture are noticeably lacking. After local hip hop big band Sixx have delighted a small pocket of their fans with an energetic display, the Midnight Juggernauts take the ﬆage for what is their final international performance of 2010. There are a handful of the already converted joyously singing every word of Auﬆralian feﬆival ﬆaples like Into The Galaxy ﬆraight back at Vincent Vendetta, while Andrew Szekeres taking the vocoder for Tombﬆone is also a highlight – until the band’s roadie Dale takes the ﬆage sax in hand to help the band blaﬆ through Gerry Rafferty’s Baker Street, then Daniel Stricker ﬆeps out from behind the kit to collapse on Szekeres’ drum module in a delay drenched finale. Back at the main ﬆage Afrojack is bringing the rave in a big way, slamming down remixes of the Black Eyed Peas and Benny Benassi’s Satisfaction with fiﬆ pumps at every drop which are mirrored by the throbbing mass of humanity before him. Meanwhile Lindﬆ røm is loﬆ in his own world back at Arena B, but everyone has a ticket for his spaceship – if they can only find the control bay doors. “I wish I had more hands so I could do more,” reads his bio in the ZoukOut 2010 programme, but the Norwegian disco aﬆ ronaut ﬆ ill works his

BOOKA SHADE

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control panel like a demon. Grand Ideas from the spectacular Where You Go I Go Too album pulses away before off-kilter toms tumble out of hyperspace, then a pair of 303s duel for supremacy over unquantised yet propulsive rhythms, Lindﬆ røm all the while ducking and weaving with each tweak of his iPad. He gets one tap on the shoulder from the ﬆage manager and then another, waving him away so he can get the final bed of tech house ﬆabs juﬆ right before taking a bow to an audience not quite sure in what solar syﬆem they’re disembarking. Tonight marks the second ZoukOut appearance for Booka Shade, and with the biggeﬆ crowd to gather in front of the Arena B ﬆage for the entire event, it’s clear they made some friends laﬆ time. Walter Merziger and Arno Kammermeier launch ﬆ raight into a highly energised version of the classic Darko and the hit parade continues from here – Charlotte and Body Language neﬆ ling snugly beside new bombs Teenage Spaceman and Regenerate. The marathon set really takes off with fresh takes on In White Rooms and Mandarin Girl, before O Superman provides a blissed-out finale for a dancefloor happy to have been cooled by a downpour mid-set. The main arena is rammed as an enthusiaﬆ ic Laidback Luke delivers a set of elect ro ﬆ raight out of the big room handbook, complete with an unexpectedly slamming dirty dubﬆep sect ion and then a fi reworks display seemingly leaping from the ocean itself right on 2:30am – Luke is so excited he leaps on the mic and declares his love for everyone involved with Zouk. It’s a sentiment many seem to share. Next comes Tiëﬆo. There’s a reason he’s one of the biggeﬆ DJs in the world – he’s a crowd pleaser who knows how to deliver. Opening with an epic ambient take on Kaleidoscope, his set traverses elect ro and trance in equal

MIDNIGHT JUGGERNAUTS

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measures, the beneﬁts of a dedicated light and visual show clear as a female vocaliﬆ appears to give an onscreen voice to one of this tracks while each build and drop is given added impetus by his lighting guy. And as expected Tiëﬆo’s remix of Delirium’s Silence is a moment, hands aloft everywhere as pyrotechnics cover the front of the ﬆage. By now the feﬆ ival has broken its banks, the temporary fencing separating the crowd from the water swept aside in some areas as many get respite by sitting at the water’s edge, watched on by a small line of security guards never at risk of a large scale throng swimming en masse into the diﬆance. Local hip hoppers Andrew Chow, Eclipse and Ghetto are dishing up the classics (Ice Ice Baby is universal it seems) at Arena C while Vincent and Dale from the Juggernauts have discovered a wave pool which

Dale unsuccessfully navigates several times before 3D World wishes him well and returns to Arena B – at which Dubﬁ re is slamming out the same one-note white noise techno he has been since 2007. And at 5am after a hard night’s work nothing could sound better, with even the Radio Slave remix of his own Grindhouse lifting the spirits despite being rinsed and repeated a million times over since 2008. “I don’t want to be credible…” David Guetta says on billboards around Singapore. “I want to be incredible.” And few of the 20,000 punters crammed into the space in front of him at the main ﬆage are here to argue as he unleashes an onslaught of mainﬆ ream bangers, including a brace from the Black Eyed Peas (The Time (Dirty Bit) and their collaborative I’ve Gotta Feeling in a rousing ﬁnale) and

his Rihanna-fronted Who’s That Chick. When it’s all over Guetta shares a brief but touching word with Zouk patriarch Lincoln side of ﬆage before being whisked oﬀ surrounded by Popelike security as ZoukOut veteran Aldrin takes his familiar sunrise closing slot – and opens big with Madonna’s Hung Up into the Dirty South remix of Evermore’s It’s Too Late. But the real party is happening down at Arena B with Dennis Ferrer and everybody ﬆ ill ﬆanding is invited. The sun is up and the heat is on, especially on the danceﬂoor with Ferrer throwing down the funkieﬆ of jacking house like his life depends on it (“I’m soaked!” a beaming Ferrer tells 3D World afterwards). Guetta and his minder have turned up side of ﬆage and are grooving happily along with a smattering of crew to the set of the feﬆ ival, while Seth Troxler dances in a horse mask in between regaling anyone who’ll liﬆen with ﬆories perhaps too fantaﬆ ical for print (Guy Gerber, P Diddy and music made for K-Holes do get a mention). The 8am curfew comes and goes and Ferrer looks like he’s juﬆ getting ﬆarted, but somewhere around 8:40am the plug is pulled and the journey down that long, hard road back to reality begins. For Singaporeans it’s a 12 month wait until the dance music feﬆ ival world lands on their doorﬆep. For any Auﬆ ralians looking to capture the essence of the all-nighters they’ve attended or been regaled about by people who were front-and-centre “back in the day”, it’s 12 months you’d beﬆ spend planning how you’re going to get yourself and your crew to a magical night under the ﬆars on Siloso Beach. 3D World would like to thank Zouk Management for their kindness and hospitality at ZoukOut 2010. Stay tuned to www.zoukout.com for information on the 2011 inﬆalment.

A TUBETIME CHRISTMAS

FILMREVIEWS

The incredible world of television with 5SPROCKET

And so it is Chriﬆmas, that special time of the year when you sit with your loved ones and share hilarious conversations about how you “can’t believe it is Chriﬆmas already!” So it is time to turn on the television and celebrate the day as it should be celebrated – in awkward silence. Nothing quite captures The Spirit Of Chriﬆmas like “The Carols”, which is certainly the television event of the three hours it is on. Th is year, Channel Seven presents Carols In The Domain. All the ﬆars will be out – Troy Cassar-Daley! Stan Walker! Juﬆ ice Crew! Don Bradman’s grand-daughter! Between songs about snowmen in an Auﬆ ralia summer, there is usually an appearance by crowd favourites The Wiggles (so rich they own a dinosaur) and, if we scream loud enough, David Koch dressed as Santa. There will be a cutaway to a three-year-old in the crowd falling asleep on his mother’s shoulder, his hair being gently singed by the candlelight. That three-year-old is Grant Denyer. On Chriﬆmas Eve, Channel 9 does their take with Carols By Candlelight. Hoﬆs Karl Stefanovic and Lisa Wilkinson will be flexing their considerable botox grins, praying that their eyes don’t bubble under the spotlight crossfi re. After a year of early morning ﬆarts and providing us with up-to-the-minute information about Jeff Goldblum’s lateﬆ death, it seems only fitting that they do a soulful and feﬆ ive rendition of Smack My Bitch Up in this special time. How could we miss MaﬆerChef winner Julie Goodwin’s singing debut on national television? Chriﬆmas carols aren’t quite the same without the ghoﬆs of Ray Martin, paﬆ, present and future. It’s all so much effort to put on a show to wish happy birthday to a magical baby that was born in a barn. It is time that we look to the ﬆars and wonder what is in ﬆore for 2011. Will Auﬆ ralia act ually Get Talent? Who will be placed fi rﬆ in 20 To 1? Will the woman that hoﬆs Weekend Today find a way to uncross her eyes? If you put a roofie in Santa’s milk you will get all the other children’s presents. And then you get Santa. Have a tolerable Chriﬆ mas. Love, 5sprocket.

ANOTHER YEAR

If you’re gonna make the same ﬁ lm repeatedly, make it a good one. Ozu knew it, Woody Allen once knew it, and Mike Leigh knows it too, provided you’re not of the mind that he condescends to his characters and/ or lets his actors veer into caricature. Another Year is Leigh’s lateﬆ slice of working class life, and as the title suggeﬆs, it’s as slice-of-life-ish as ever. It’s also one of his beﬆ and moﬆ emotionally panoramic ﬁ lms. Seasonal chapters may seem like a hoary device, but they’re perfect ly apt here. As usual for Leigh, character interact ion dictates the plot, with longmarried couple Gerri (Ruth Sheen) and Tom (Jim Broadbent) providing a loose centre of which other characters orbit around. Among them are their son Joe (Oliver Maltman), Tom’s lifelong friend Ken (Peter Wight), and moﬆ memorably, twice-divorced, self-proclaimed free spirit Mary (Lesley Manville), a work colleage and frequent visitor of Gerri’s. As with Secrets And Lies’ Brenda Blethyn and Happy-Go-Lucky’s Sally Hawkins, Manville’s high-ﬆ rung turn is sure to be one of those polarising performances/characters, that’ll rivet some viewers and ﬆ rike others as an actor’s workshop experiment gone berserk, but either way, she’s impossible to forget. It’s perhaps easy to ascribe a certain conversatism to the contraﬆ between Mary’s loneliness and Tom and Gerri’s relatively blissful marriage. But an early scene featuring Imelda Staunton as the world’s moﬆ miserable housewife looms over the proceedings as if to refute such a thesis. As such, Another Year is ultimately a catalogue of moods and behaviour more than a Message Movie. WHERE & WHEN: Screening in cinemas in the new year IAN BARR

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GAMEON With SCOTT FITZSIMONS

GRAN TURISMO 5

(PS3) (Polyphony Digital/Sony) Five years since Gran Turismo 4 – not including half-arsed “we’re ﬆ ill here” games and PSP releases – the fifth inﬆalment in the pioneering motorsport simulation series had to be great. In reality, it’s good. In its downtime there have been a range of racing games – internet and console based, hardcore and comical – that have taken away GT’s mantle – Forza, GTR2 and iRacing for example. And while Gran Turismo 5 is certainly polished enough, its funct ionality juﬆ isn’t that brilliant. Always a big point of sales and discussion, but really never the moﬆ important feature in this genre, the graphics are near flawless. Even on the menu screens the backdrops are about as breathtaking as you can expect from virtually rendered scenes, especially on a good TV. What it does mean is that each part takes a small age to load, be it a race, online lobby, settings or menu screens. Once you do get into the racing it’s definitely enjoyable, with physics and sounds that you’d hope for from this length of development. The classic gameplay model is in place, earn a license through some easy teﬆs and then work your way through races, accumulating

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money and buying/ winning better cars as you level up to higher races. The B-spec model has been expanded to its own separate game as well, somewhat needlessly. You play as a pit crew manager – presumably – and inﬆ ruct your driver to speed up, slow down and pass. It would be fantaﬆ ic for a competent endurance racing model (you know, motorsport with ﬆ rategy) but it takes so long to unlock those races that it’s hardly worth the boredom. And honeﬆ ly, 12 entrants do not make a proper race around the NürburgringNordschleife or Le Mans, no matter how beautiful the tracks are rendered. While there are enough elements to ensure long intereﬆ (the ﬆandard A-spec traditional gameplay, introduct ion of the Top Gear circuit, go karts, decent online play) the quantity of irrelevant content and “features” could have been positioned far more eﬀect ively. That would have made a truly amazing racing simulator. Th is is juﬆ a good one.

ASSASSIN’S CREED: BROTHERHOOD

(XBOX 360) (Ubisoft Montreal/Ubisoft) Following on direct ly from Assassin’s Creed II, itself a triumph in modern gaming, Brotherhood does rely somewhat on the player’s knowledge of the previous game. Given that so much of the appeal lies in the narrative and the allure of exploring renaissance Italy, there’s an assumed familiarity of the game and its layout. On the upside for those who haven’t, perhaps foolishly, played the previous Assassin’s titles, Brotherhood doesn’t add too much to the game – especially in the single player “ﬆory” mode – so it’s not unthinkable to go back and pick up on what you’ve missed. Few queﬆ ions are left answered for Ezio Auditore – the character whose persona you take up back in time again – from the end of II and a siege of his home city early in the game leaves it in tatters, undoing one’s work from the previous title and wiping the slate clean for the next adventure. Again the ﬆoryline pitch is fantaﬆ ic as literal hiﬆory weaves in an out, missing gaps in records we know ﬁct ionalised by assassinations and banishments in this ﬆory. The detail here is also in the cities and maps themselves – not the biggeﬆ we’ve ever seen in a game but considering the way you move above and below the ﬆ reets perhaps the moﬆ complex. The physics and controls that allow you do to this tweaked and improved ever so slightly to make movement even smoother. The multiplayer mode is Brotherhood ’s big selling point and like Red Dead Redemption is fulﬁ lling should you be surrounded by serious players – otherwise it’s a bit messy. The whole modern-day alternate ﬆoryline ﬆ ill isn’t being sold properly (it’s left open for part four) but when you play to its ﬆ rong points, boy is this game good. And only getting better.

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AY WHAT?! IT’S CHRISTMAS TIME ALREADY? And you still haven’t dedicated any time towards making thoughtful purchases for your loved ones, friends and co-workers? Well never fear, we have stumbled across a collection of charming stocking fi llers courtesy of the quirky minds at Kidrobot. Founded in 2002 by designer Paul Budnitz, Kidrobot is the world’s premier creator of limited edition art toys and apparel. A blend of sculpture and popular art, designed by the world’s most talented artists and designers, Kidrobot’s exclusive toys are extremely rare collector items – The Museum of Modern Art (MoMA) in New York City even acquired 13 iconic Kidrobot toys in late 2007. Artists often create a series of only a few hundred to a few thousand pieces, so once a toy is sold out, it’s sold out forever. Kidrobot toys retail anywhere from $5 to $25,000, and many appreciate in value over time. (So basically you are purchasing a toy that can be traded in for a car down the track). The brand also produces an exclusive apparel line of caps and t-shirts that mirror the company’s unique pop art aesthetic. While Kidrobot stores are located in New York City, San Francisco, Los Angeles, Miami and London you don’t need to travel halfway across the world to acquire these collectables – Laced.com stock a huge range of super cute critters (among many other fabulous things) including the super limited Dunny 2 Tone line. Now imagine the look of sheer joy on granny’s face when she unwraps her very own Dunny 2 Tone Kid Robot instead of that Micheal Boltan CD she was expecting! Pure Christmas magic. www.kidrobot.com ~ www.laced.com.au

Mor Soap Opera gift set ~ $39.95. www.morcosmetics.com

All Abo internation gets two v tanks, wee dresses incl a modern da is a girl She wear festiva

Luna Sailor Stripe Tee ~ $59.95 02 9690 0218

Arnette Blow Out sunglasses ~ $149.95. www.arnette.com

Nat Sui Braided re

Giorgio Armani Rouge dâ&#x20AC;&#x2122;Armani Gold Rush coral red lipstick ~ $30. www.giorgioarmanibeauty.com

Fossil steel ring ~ $99. www.fossilaustralia.com.au

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LureBriefs

ChristmasEve

out Eve offers wardrobe staples and bold prints with wearable designs. Inspired by nal street culture and vintage treasures, the label’s second summer collection for 2010 very enthusiastic thumbs-up for the holiday season. The range includes commando ekend shorts, beach pants, crop tops and, of course, a delicious selection of summer luding this particularly sexy Primitive dress featuring a fun, bold print reminiscent of ay Pocahontas. So the big question remains – just who is Eve? Well, apparently Eve who is comfortable with whom she is and loves to mix and match her wardrobe. rs her threads with strength and confidence finding inspiration through music, art, als and vintage avenues. Be sure to visit www.allabouteveclothing.com and treat yourself to a Christmas shopping spree.

Kim

Angelina Jolie

Total Tron

Sci-fi thriller, Tron: Legacy, the 3D sequel to the 1982 cult favorite, Tron, has dominated the box office and now diehard fans can geek out with Hurley’s limited edition Tron: Legacy fashion line unveiled this month by pro skater Bob Burnquist at the X-Games. Hurley has partnered with Disney to create a range with futuristic themes, dark finishes and colour blocking. The collection includes a selection of tees, board shorts and caps and is now available now from select retailers. Prices start from $45.99. For nearest stockists call 1300 139 719.

Punk’d

ed watersnake sandal ~ $229. www.nat-sui.com.au

Yves Saint Laurent Parisienne A L’Extreme 50ml ~ $150. www.ysl.com

Following in the footsteps of Selena Gomez and Miley Cyrus, punk singer Avril Lavinge is intent on making her mark on the fashion world. Two years ago the pop princess launched a tween line called Abbey Dawn now the brand has been re-launched internationally via AbbeyDawn.com. The expanded collection will include sportswear, denim, dresses, loungewear and swimwear. The line will be stocked at highly inﬂuential stores such as Trash and Vaudeville in New York and the Blue Banana chain in the United Kingdom. Farewell Skater Girl!

O Yeah

Billionaire talk show Oprah payed tribute to the talent of our local designers during her trip down under, wearing a number of show stopping Australian creations. Most notable was a vibrant electric green kaftan by Camilla Franks, worn to her lavish welcome dinner at the Botanical Gardens, and a fuchsia silk top with a column-style gold satin long skirt by Collette Dinagan worn at a twilight taping of show at the Opera House.

Epic

Ice queen Angelina Jolie looking particularly amazing in a jeweled Versace gown with ﬂowing black velvet at the premier of her new ﬁlm The Tourist in Madrid last week.

Fail

Wanna get laid? Send products and info to lure@3dworld.com.au

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The entire Kardashian family dressed up in a variety of expensive gowns for a very extravagant (and very air brushed) family portrait style Christmas card sent out friends and relatives. The overall eﬀect being very spooky.

THE FINAL CHRISTMAS WRAPPING THE WAITRESSES

SIZE MATTERS? It’s on 12”.

FEATURES?

This 1983 US new wave cut has a jingle bell intro, quickly gives way to a very non-Xmasy angular guitar and deadpan chick vocals. Plus, the lyric: “Merry Christmas, Merry Christmas but I think I will miss this one this year.”

PROS?

It’s from hip NY ZE label (once home to Suicide, Material and Kid Creole) and there’s the A Christmas Record comp that this also appeared alongside all the label’s top acts.

CONS?

If you try to download it, don’t accidentally grab Spice Girls’ inferior cover.

COST? $1.69.

FROM? ITunes.

CHA CHA HEELS EARTHA KITT & BRONSKI BEAT

SIZE MATTERS?

The Bronksi boys and Ms Kitt were always fond of a good 12 inches.

FEATURES?

The 1989 hi-NRG disco burner has the line: “Are you ready heels? Start stomping!”

PROS?

It was inspired by John Waters’ 1974 fi lm Female Trouble where drag queen Divine trashes a family Xmas tree when she doesn’t get the cha cha heels she wanted from Santa.

CONS?

The song was written for Divine but he died before even the demo was recorded.

COST?

Depends if you are the type to steal a car or not, otherwise anywhere between $1 and $20.

FROM?

The interwebs or your local second-hand vinyl dealer.

AIN’T NO CHIMNEYS SHARON JONES & THE DAP-KINGS

SIZE MATTERS?

At 2.40, it’s all about how you use it.

FEATURES?

Sharon Jones’ voice and The Dap-Kings’ soul stylings and brass.

PROS?

Jones singing: “When I was child I used to wonder how Santa put my toys under the tree/I said ‘Momma can you tell me how this can be when there ain’t no chimneys in the Projects?’.”

CONS?

Tracking down the original 7” vinyl released in 2009 takes some effort.

COST? $19.95.

FROM?

Buy the latest Mojo and this is included on their special Xmas-themed CD mount.

62 3DWORLD

EMPLOYMENT

DRUMS

ENTERTAINMENT

Drums 4 sale Pearl forum,good condtn $500 call 0439649331 iFlogID: 9791

Australia’s leading online employment and news website dedicated to backstage. The website is free to search and join with out any hassles of membership fees. www. backstagejobs.com.au iFlogID: 9953 LOCK & LOAD MELBOURNE: NOW HIRING! We service the entertainment & events industry. We need crew for the Xmas/ New Year period. Award rates paid weekly. Hurry! Don’t miss your chance to be part of this dynamic industry! Website applications: lockandload. com.au iFlogID: 10170

FOR SALE AMPS Fender Super Reverb. 1969 Vintage 4 x 12” combo. Minor cosmetic damage. Great amp. $2895 or near offer. Call Frank 0434 686 755 or 02 9740 8333. iFlogID: 9809 Line 6 Flextone 2 combo. 2 x 12” speakers. Good condition with full pedal board. sell $795 or near offer. Call Frank on 0434 686 755 or 02 9740 8333. iFlogID: 9805 Markbass Studio Pre500 amp. Top of the line unit, used on 3 sessions, still under Warranty. Retail $4395... Sell $2500 o.n.o. Call Frank 0434 686 755 or 02 9740 8333 iFlogID: 9803 P.A AMP. 1800 watt split mono “CARVER” USA made with BOSE controller.rack mount style in case.will run 2 by 4 “W” bins.very powerfull.VGC.cost over $2500 sell $750. Ph.0428744963 Cooroy. iFlogID: 10225

Roland TD-12 V-Drum Kit. Includes Tama Iron Cobra double kick pedals, HiHat stand and drum throne. Also, Roland PM-3 Sub and Amp box with 2 rack-mounted satellite speakers. All in excellent working condition. $5000 ono. 0404 084 854 iFlogID: 10263 Win a Pearl Forum drum kit with cymbals. Drummers Paradise are celebrating their 21st birthday by giving away a Pearl Black Forum 5 piece kit with cymbals. Just go to www.drummersparadise.com. au to enter. Prize is Drawn Dec 21st a noon. iFlogID: 9939

KEYBOARDS NOT AVAILABLE FOR FREE ADS. CL Akai-Miniak V.A-Synthesizer just bought in-Canada.Brandnew. In-box with wrappings-manualsetc. 37 semi-weighted-key-synth with 40-band Vocoder, Drummachine on-board, THREE MODwheels, from Akai-Pro/Alesis. Has N.American plug-adapter, so-I’m throwing in a brand-new Stepdown transformer ($60 value) $575. Way-way below Aus-retail. Pickup/cheap delivery within Sydney, iFlogID: 9996

MIXERS Mackie Onyx 1620 analog mixer w/ SKB Mighty Gig Rig on wheels (Complete mobile PA / recording system can be racked in this rig). 8 preamps w/ direct recording out. iFlogID: 9850

PEAVEY BANDIT 11 80 watt 12” combo guitar amp.USA made.2 channel footswitchable.reverb,saturation etc. great fat tones.VGC.$350 Ph. 0428744963. cooroy. iFlogID: 9913

Sell Control Surface Digidesign Control 24 (Focusrite) in excellent condition, $5000. Selling because moving overseas. Please don’t hesitate to contact me if you have any questions and in order to discuss the price. iFlogID: 9736

BASS

OTHER

Warwick Streamer II 5 String Bass Guitar. As made famous by Dirk Lance of Incubus. As new condition. iFlogID: 9774

Hyosung 2007 GV250 Motorbike, Learner Legal, 5600km. rego until march. Serviced at 5000k and running perfectly. Tyres are good, Clutch is good, brakes good, everything on this bike is in great condition. ph: 0430422902 iFlogID: 10097

CD / DVD DJ’S COLLECTION: CDS AND VINYL House(deep,funky,tribal,afro), Hip-Hop(instumental jazz),Afrobeat,Latin, Disco,Funk,Breaks Modern Electro Jazz,Dub,World,Lounge Beats. Over 1000 CDs and Hundreds of Compilations,EPs and 12”s. Labels:TruThoughts,Compost, Ib idan,Schema,BBE,SoulJazz,Fre estyle, Ubiquity,Nuphonic,Grand Central,ESL,F:Com,etc. Listening Posts available Cash/Card. Phone/Text:0407150173 to book a viewing that suits you. Email:dj@ teneriffe-chiro.com for info. iFlogID: 9872

DJ EQUIPMENT DJ & Midi Gear for Sale Tonium Pace maker dj mp3 & mixer $500, Novation Launchpad $160, Novation Nocturn $150, Icon I-control $79, Korg MicroKorg $400. Newtown ph: 0430 422 902 iFlogID: 10095

Quested F11.. 2 way active near field monitors. Pro grade quality. Good Condition. $1395 or near offer. Call Frank 0434 686 755 or 02 9740 833. iFlogID: 9813

MUSIC SERVICES BAND MERCHANDISE NOT AVAILABLE FOR FREE ADS. CL - PRO QUALITY BACKING TRACKS! - MIDI or MP3 - Any song you want - Send me the song today, Get the MIDI file the next day! - $25 for MIDI / $35 for mp3 - EMAIL: vangelis2133@yahoo.com PHONE: 0449672435 iFlogID: 9706

BOOKING AGENTS Gig Launch is Australia’s first online

booking agency. Gig on a Japanese Boat for 6 months at AU$3000 per month, Submit your music to feature films, Play at any of the Scorcherfest festivals and Apollo Bay! Just head to www.giglaunch. com.au iFlogID: 10004

minstrelmanagement.com iFlogID: 9681

MASTERING THE BUTLER MASTERING

PRINTING

DUPLICATION/ MASTERING Deluxe Mastering: Melbourne’s premier mastering specialists for CD, vinyl and online release. Service-focused, relaxed atmosphere, decades of experience in all genres, custom analogue signal path. No-obligation quotes & mix evaluations. See website for credits. w: www.deluxemastering.com. au e: adam@deluxemastering.com iFlogID: 9854

EP RELEASE EVERY SONG - RADIO READY! SPECIAL PRICE avail for singer/songwriters until end of January 2011... Have 5 songs produced, mixed & mastered for ONLY $499 per track!!! Email info@nathaneshman. com for more details as conditions apply. Visit www.nathaneshman. com for audio examples iFlogID: 9963

HIRE SERVICES For as low as $100, you get a professional PA system with a sound mixer with operator. Suitable for weddings, pub/club band gigs, private parties etc. infovision@ yayabings.com.au Contact Chris 0419 272 196 iFlogID: 9834 INTERNATIONALLY RECOGNISED PRODUCER! Credits include: Marcia Hines, Candice Alley, ExToto frontman Fergie Frederikson. Have every song produced at radio standard...under every budget. Visit www.nathaneshman.com, email info@nathaneshman.com or call 0403 498 103 for package prices...from demos, to singles and full albums. iFlogID: 9965

BAND & DJ SIGNAGE!!

We have been working in our new room for some of the most talented around the globe and we’re getting some amazing results. // Drop us a line to hear your music in a world class listening environment, or send us some files to hear a sample of our results. We are as passionate about your music as you are, and guarantee our work for a reason. // PRICING IS FIXED... EP $320 / ALBUM $600 // This is a complete package cost and does include attended sessions, which we encourage. // Check us out at... www.the-butler.com ... or drop me a line on 0403 435 686. // Paul Butler Tayar // THE BUTLER MASTERING iFlogID: 10140

OTHER DRUM SKIN GRAPHICS, GUITAR & AMP PERSONALIZATION, CUSTOMISED DJ GEAR, BANNERS & MORE! an independent design and graphics service aiming to create a unique & personal magic to performing artists, musicians, venues and events coordinators for reasonable cost. SEARCH 102designs ON FACEBOOK! iFlogID: 10047

FROM $49/DAY CREATIVE SUPPORT

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: 9978

MANAGEMENT MINSTREL MANAGEMENT Need help with your music career? We provide the best in Recording, Mastering, Tours, Promotion, Publicity, Solicitation, Merchandise, Music Video’s, Photography, International Licensing, Direct to fan Marketing campaigns. WANT TO TAKE YOUR ACT TO THE NEXT LEVEL? www.

STAND OUT FROM THE CROWD! Whether it be drumskin decals, logo design, or a portable stage backdrop, allow Brainchild Project Management take your gig to the next level. You sound great, now look great - dont be just another Band/DJ at just another venue... let your fans know who you are, and advertise your name at the same time! iFlogID: 9852

RECORDING STUDIOS Eternal Post Production iFlogID: 9698 SINGER/SONGWRITERS have a home studio and require a producer to help polish your tracks? High-end recording studio with the convenience and universal application of the Internet.World class session musicians work with you every step of the way- more information www.rockethouseproductions.com iFlogID: 9842 Studio Recording and musician services. iFlogID: 9862

LEGAL / ACCOUNTING DETAX GOT ME A GREAT REFUND!

what live music is all about....... Artists have included Guns’N’Roses, PINK, Beyonce, Foo Fighters etc. Affordable hourly rate for local artists. For further information please contact Sarah at...... Email: smtxposure@yahoo.com iFlogID: 10033

www.wigile.com. “360 degree” participation: Artist Management. Business Support. Production Support. Multimedia Design & Management. Customer Care. Web / IT. Software Development. Get the Business Advantage and Go the Next Step. info@wigile.com Office: +61 2 8011 3144 iFlogID: 10166 Heavy Metal Community iFlogID: 9594 Heavy Metal Music Community. Upload And Promote Your Metal Music Online Free. Create your own band page. Heavy Metal, Black, Thrash, Death Metal, Hardcore, Gothic, Grindcore and many more. Australian owned. Join now! www. onlyheavymetal.com iFlogID: 10031 www.ozjam.com.au is free to join, and with over 4500 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 9941

PHOTOGRAPHY SMT Media is all about capturing

SYDNEY RECORDING ARTISTS Professional recording studios with state of art equipment & Producers at a affordable price. Turn your music into gold with our BEST RATE package. We also Market, Manage & Distribute. www.sydneyrecordingartists.com Call 0415 807 137 iFlogID: 9743

REPAIRS ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADESREPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 tara@rockinrepairs. com www.rockinrepairs.com iFlogID: 9342

TUITION Australia’s Apple Certified Logic Pro 9 Trainer and Apple Master Pro User,is now available for Logic Pro 9 tuition.20 years exp.Best tuition,best rates.Courses start from $299.00.Call Song Surgery on 02-8212-4522.I guarantee you will learn. iFlogID: 10155 Guitar & Bass Tuition. Electric & Acoustic. Private one on one lessons, all age groups catered. Beginner thru intermediate. Theory, Rock, Blues, Slide, Finger Picking & Improvisation techniques. Phone Terry 0402 993 268. Sutherland Shire. iFlogID: 10020

GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Rock, pop, jazz, theory, etc.etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 email oa@olesart.com iFlogID: 10153 GUITAR LESSONS! Luke has been at the forefront of the Australian Music Industry for the past 10 years. Signing to 4 record labels, sharing management with Matchbox 20, playing National arena’s, and writing songs with Eskimo Joe. Call: 0400077901 iFlogID: 9679 SAX TUITION--------------Easy way to learn saxophone for students of different ages (from kids to adults) and different levels (from beginners to advanced). $35/hour Lorenzo 0410041979 iFlogID: 9911 SINGING LESSONS Certified Speech Level Singing (SLS) Instructor. Learn the Technique of over 120 Grammy award winners. Extend your Range. No more Breaks/Flips. Develop Strength. All Styles. Eastern Suburbs. www.myspace.com / mazvocalstudio - Contact Maz: maz@mazmazak.com iFlogID: 9795 VOX MUSIC ACADEMY FOR GUITAR • VOCAL • BASS • DRUM TUITION Get the very best out of your music career. BOOK NOW! Vacancies at Dandenong, Bayswater & Brunswick. Contact Us info@voxmusic. com.au or PH (03) 8772 2605 iFlogID: 9907

VIDEO / PRODUCTION MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with over 20 artists and strives to offer quality creative Music Videos at an affordable price. Visit www.immersionimagery.com or email info@immersionimagery.com iFlogID: 10054

MUSICIANS AVAILABLE BASS PLAYER NOT AVAILABLE FOR FREE ADS. CL looking for keen and creative drummer to start playing live and wanting to make it big. Must want to make originals and be dedicated. Please get in contact if interested, Sam, 0431953894 iFlogID: 10252

DRUMMER Pro level drummer with good vocal ability available for gigs, sessions, tours etc. Good gear, good attitude, own transport. Can play many styles, specialising in Rock and Funk. Based on the Sunshine Coast. Call Paolo on 0404054743 iFlogID: 10012

GUITARIST Pro guitarist / singer available iFlogID: 10022 Credits: Marcia Hines, Candice Alley & Fergie Frederikson (ex-Toto)... Nathan Eshman is available for online guitar sessions. Email him your guide tracks & you’ll receive tracks recorded in a pro studio without leaving home. Contact info@ nathaneshman.com or visit www. nathaneshman.com ANY BUDGET! iFlogID: 9967

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

VIC