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FREE CALVIN HARRIS: Weekend Warrior RAZZIE AWARDS Predictions DEEPCHILD: Straight Outta Berlin MUSIC & GAMING: A Eulogy?



















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, Alanna Bishop, Aleksia Barron, 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, Djengel, DJ Stiff y, Fern Greig-Moore, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwston, Jake Sun, Jane Stabler, Jann Angara, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Maria Lee, Matt O’Neill, Matt Unicomb, Melissa West, Monica Connors, Nick Connellan, NHJ, Nic Toupee, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Russ Macumber, Sasha Perera, Scott Henderson, Stuart Evans, Tim Finney, Tom Brabham, Tristan Burke


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SUSHI SNAPS 2 Eurotrash

4 Playground Saturdays @ Seven

3 Khokolat Koated @ Khokolat Bar

6 Rhythm-Al-Ism @ Fusion

1 After Dark Social Club

5 Poison Apple @ La Di Da


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Hard on the spiky heels of their Zonoscope album debuting top three here and top 50 in the US, Cut Copy celebrated with a party on Saturday night to launch Delta Nile’s All This on their Cutters label. Disco us now.


Rumours of Oscar organisers banning nominee Banksy are untrue. Now, if the ‘drunk Mickey & Minnie’ billboard that appeared last week in LA was a Banksy, it would seem he’s in town. Sooooo, a reason to watch the Oscars?


America’s funniest talk show is hosted by Scotsman Craig Ferguson (he was the boss on Drew Carey’s show). And, finally after years of Letterman, Fallon and Leno’s lesser ‘late shows’, Late Late Show has landed on Eleven. May we suggest Ben Elton watch and learn?


Memo to Ricky Nixon – when denying underage sex allegations, avoid the phrase “I go harder”.


So ahhh... Lady Gaga told US ABC News that she spent three days in the ‘egg’ she arrived in at the Grammys. Seems for that whole time her iPod was playing Madonna’s Express Yourself on repeat.


Ex-Bond lass Rosamund Pike’s inability to read her script, followed by an inept attempt at improvising and then trying to name the winner before nominations were read, left her BAFTA co-presenter Dominic Cooper asking, “Can I get off the stage?” Yes you may, and take her career with you, please.

EVERYTHING’S IN IT’S right place for the surprise release of Radiohead’s latest LP The King Of Limbs. Their first release since 2007’s In Rainbows, not much info about it has been released. Gammy eyed genius Thom Yorke and his pals will continue to experiment with release platforms, with Limbs available for digital download (from last Saturday) as well as ‘newspaper album’ later in the year... THE CHARACTER ACTOR who brought Seinfeld’s Uncle Leo to life, Len Lesser, has passed away aged 88. As an obnoxious and manipulative senior citizen, Lesser beautifuly captured the way senior citizens can be stains on society. He played the character in just 15 episodes, but left an indelible imprint that will forever make us associate all the relatives that piss us off with Uncle Leo... MAN OF MANY wonders David Hasselhoff has just signed up to a reality TV show that will see him trade places with another man cursed with the name David Hassehodd, who just happens to be a power technician from Texas. This may be the successor to Paris and Nicole’s The Simple Life we didn’t know we needed... THE NEW COLLABORATION between Melbourne’s Consequence and Kiwi Joe Seven as They Live is set to be released late March. Cancel Standard will be a showcase of atmospheric textures and soundscapes. The album will offer listeners “detachment from their immediate surroundings and escapism into an alternate reality.” There is no spoon...



One of the few DJs on the planet that completely owns his own st yle, Danny Howells is on his way to blitz Aust ralia with again his eclect ric driving beats. With over 20 years on the decks, Howells has positioned himself as one of the most hardworking and passionate movers in the field, having held residencies at places like Arc, Minist ry of Sound and Renaissance. As a remixer he has worked with artists as diverse as Madonna, Marco Bailey, Bent and Robbie Williams. His latest album series Dig Deeper – Phase One sees him wildly mix musical genres and go far beyond the safety zone of house and techno. With a slew of compilations, product ion credits and remixes under his belt, Howells’ Dig Deeper tour will blast minds with his infect ious personality and unique beats. The tour commences at Brown Alley (Melboune) Friday 8 April (where Howells will play all night long, 10pm to 7am), before moving to an afternoon Garden Party at Chinese Laundry (Sydney) then up to Barsoma (Brisbane) for Auditree’s fi rst anniversary on Saturday 9 April. He wraps with another all nighter at Canberra’s Trinity Bar Friday 15.


To celebrate their 20th anniversary House of Pain are embarking on a reunion tour that is going to “bring it”. The backwards cap wearing 40-yearolds are heading our way to party like it’s 1993. The legendary HOUSE OF PAIN Irish-American hip hop group, famous for their 1992 hit Jump Around, are ready to raise the roof, put their hands in the air and run though all those boombox hits that made the guys feel cooler and the girls never call them back. Since disbanding in 1996 front man Everlast won a Grammy for working with Santana, while second emcee Danny Boy made a documentary about sneakers. Appearing nationally at Groovin’ The Moo, House of Pain are also playing at Prince of Wales (Melbourne) Friday 29 April, The Hi-Fi (Brisbane) Monday 2 May, Coolangatta Hotel (Gold Coast) Thursday 5 and Manning Bar (Sydney) Friday 6. Presented by Street Press Aust ralia, tickets on sale now. SAMPOLOGY


Sampology is set to slam vinyl, obliterate videos and mess some minds with his completely one of a kind Super Visual Monster Mash. The show is the third instalment in his AVDJ series, following successful tours of Aust ralia, New Zealand, UK and Germany last year. Drawing inspiration from horror movie ghouls, this is a party for the children of YouTube – a mad scientist ’s experiment with visual and sonic form, this is the best Monster Mash since the Transylvanian Twist. The AVDJ is set to st un audiences at South By Southwest in March, so this is your best chance to see him before he gets spun into an international sensation. Sampology is donating 100 percent of the ticket sales and all bar profits from his launch show at Lightspace (Brisbane) on Thursday 3 March to the QLD Premier’s Disaster relief – Surecut Kids, Jaydos and Cutloose are just some of a weighty support bill. Along with the Groovin’ The Moo tour, he also plays East Brunswick Club (Melbourne) Saturday 30 April, Oxford Art Factory (Sydney) Friday 6 May and The Zoo (Brisbane) Saturday 21 (all with Tom Thum). Tickets via Moshtix.






Bone Thugs-N-Harmony are heading our way again, after selling out 11 of their shows last time down under. Th is time though the hip hop stars have a vision – not only are they going to power through their classic beats, they’re also putting on an All Ages gig in Sydney in conjunct ion with an under privileged youth organisation, as well as running an open-age talent search in Sydney to find the best talent and sign them to the band’s new label. The group’s national tour, presented by 3D World, kicks off Friday 15 April at Fitzy’s (Brisbane) before heading to Shooters Nightclub (Gold Coast) Tuesday 19, The Espy (Melbourne) Friday 22, Sydney’s Blacktown Olympic Park Saturday 23 and Oxford Arts Factory Sunday 24, along with other regional venues. Tickets on sale now through Moshtix. For more info about the talent contest check out CUT COPY


Disco trippers Cut Copy have st ruck back with their latest album Zonoscope, which fuses bouncy pop sensibilities with dizzying psychedelic textures. The Melburnians continue to push the limits of their sound, mixing spacy loops with world music and 80s pop st yles. The Cutters will be spreading their good vibes with a tour in May, spilling their energetic sonic grooves like beer on a jumping cast le. The foursome will be appearing at Groovin’ The Moo throughout April/May, along with gigs at Palace Theatre (Melbourne) on Thursday 5 May, Enmore Theatre (Sydney) Thursday 12 and The Tivoli (Brisbane) Thursday 19. Tickets go on sale Friday 25 February through Ticketek and Moshtix.


Another handful of headliners has been added to the line-up of Supafest 2011, the one-day Fest ival that is doing the rounds in April. Featuring all the biggest and most available names in contemporary R&B, mega star Timbaland (Promiscusous Girl is now st uck in your head) is heading our way, along with T-Pain, Busta Rhymes and Ciara. The performers join club favourites CIARA Snoop Dogg, Nelly and Bow Wow for one of the biggest days in the urban music calendar. Round up your hos, chuck on your bling and polish those white sneakers – because these acts are gonna be pimpin’, figuratively speaking. Supafest starts at ANZ Stadium (Sydney) on Saturday 9 April, before heading to RNA Showgrounds (Brisbane) on Saturday 16 and Melbourne Showgrounds Sunday 17. Tickets and info available from Ticketek. MITZI


Local alt-indie pop band Mitzi have been going from st rength to st rength, like a bodybuilder that uses other bodybuilders as weights. The group have recently had their track All I Heard added to the Triple J playlist, with their EP of the same name available on vinyl and as digital download. The group have played at fest ivals including Parklife and Stereosonic, along with supporting acts such as Metronomy, Neon Indian and The Swiss. Influenced by Fleetwood Mac and the Talking Heads, the group’s elect ronic pop beats find a second life in the party verve of disco with Sydney label Future Classic backing them as their 50th release. The indie kids start their tour at Ding Dong (Melbourne) on Thursday 10 March, moving to UNSW and Adult Disco at Civic (both Sydney) Wednesday 16 and Saturday 19, then to Bowler Bar (Brisbane) Friday 8 April.


UK BREAKS PIONEERS Stanton Warriors are set to release their latest album The Warriors. The duo’s latest work promises to mix up frenzied hypnotic beats with seismic bass and old school electro. It’s released Friday 18 March via Central Station... AT THIS POINT has made it clear he’s willing to sacrifice cred for cash. After a number of disputes over plagarised beats lifted from the likes of Deadmau5 and Adam Freeland, the Black Eyed Peas front man has now come under fire for “borrowing” beats from German Boys Noize who took to Twitter to state that material was “used without permission”. Will is having the time of his life making other people dirty... BIZZARO FILM AUTEUR David Lynch has decided to become a musician, the latest feather in a cap that includes fi lmmaking, daily weather reports, a brand of coffee and a transcendental meditation organisation. A remix competition of his latest single, Good Day Today, has some great prizes up for grabs. Backwards dialogue and dancing midgets are recommended. Head to TEXAN FOLKROCKERS Midlake are one of the most unique acts in rock, telling tales of bandits and oxen with Fleetwood Mac panache. They’ve now curated a collect ion of their favourite tracks by others for the Late Night Tales series. With tracks by Bread Love & Dreams and Beach House, the album will be like whiskey after a long day harvest ing...


GENERAL OUTLOOK I do wonder how seriously you take your future if you are reading a horoscope printed in a free magazine. Get your life together goddammit. AQUARIUS (20 JAN TO 18 FEB) An unrequited love from your past will reemerge after a series of botched sex change operations. Love will finally blossom. PISCES (19 FEB TO 20 MAR) Police will finally get around to quest ioning you about a series of unsolved murders which you were responsible for in your early teens. ARIES (21 MAR TO 20 APR) A fashion photographer will “discover” you in a bookshop this week. Unfortunately the photographer mainly takes the photos on cigarette packets. TAURUS (21 APR TO 20 MAY) Try to remain centred this week. Meditation morning and night could help you to combat your inner demons. Also, do you know where I could score some cheap meth? GEMINI (21 MAY TO 20 JUN) Just because you think you can draw “pretty well”, doesn’t mean that you should start counterfeiting money by hand. Your $3 bills are very unconvincing. CANCER (21 JUN TO 21 JUL) The list of Aust ralia’s Wealthiest People is out this week and once again, you can’t even afford to buy the magazine the list is printed in. LEO (22 JUL TO 21 AUG) You will pass out drunk on Wednesday and wake up, confused, on the set of a game show. Naturally you will not win any prizes. VIRGO (22 AUG TO 21 SEP) Your dest iny is in the hands of a Gemini this week. Find this person, tie them to a chair and demand that they do what you want. LIBRA (22 SEP TO 22 OCT) Traces of blood in your car will see you linked to a spate of shootings in your local area. I’d sell the car if I was you. SCORPIO (23 OCT TO 21 NOV) You should probably hire a publicist this week, because a smear campaign on the walls of a bowling alley men’s room could ruin your reputation. SAGITTARIUS (22 NOV TO 20 DEC) Healthy debate about your sex life will only embarrass you when the discussion goes global. Now everyone will know you have no genitals. CAPRICORN (21 DEC TO 19 JAN) Make healthy nutritional choices and st ick to a financial budget. Your life is sitting on the rim of a toilet this week, so try not to fall in.


CALENDAR FEBRUARY OH NO – Friday 25, Roxanne Parlour DJ TONY MONTANA – Friday 25, Sand Bar KEVIN GRIFFITHS – Friday 25, Tramp MICKEY AVALON – Friday 25, The Espy HARD KANDY: DARK BY DESIGN, SHOCK FORCE, XDREAM, SCOTT ALERT AND MORE – February 25, Billboard ALPINE, BOY IN A BOX, BUCHANNAN – Friday 25, Corner Hotel STONEFACE & TERMINAL – Friday 25, Room 680 LARRY TEE – Saturday 26, Roxanne Parlour FAVELA ROCK: OPULENT SOUND, MAFIA, MICKA5K, MAT CANT, DC – Saturday 26, Miss Libertine SUPERDISCO: CALVIN HARRIS – Saturday 26, Prince Bandroom AXXONN – Sunday 27, Yah Yah’s KRUSE & NUERNBERG – Sunday 27, Match Bar TRUS’ME – Sunday 27, Croft Institute MARCH COPYWRITE, PLANET ASIA – Tuesday 1, Corner Hotel THE PSYDE PROJECTS – Thursday 3, Workers Club NORMAN JAY – Friday 4, Billboard EVIL EDDIE – Friday 4, East Brunswick Club MOUNT KIMBIE – Saturday 5, Roxanne Parlour OMAR SOULEYMAN – Sunday 6, Northcote Social Club RIHANNA, CALVIN HARRIS, FAR EAST MOVEMENT – Monday 7, Rod Laver Arena MGMT – Tuesday 8, The Palace RIHANNA, CALVIN HARRIS, FAR EAST MOVEMENT – Tuesday 8, Rod Laver Arena KE$HA – Wednesday 9, Festival Hall THE CHEMICAL BROTHERS, ART VS SCIENCE, ZANE LOWE, DJ JAMES HOLROYD – Wednesday 9, Rod Laver Arena. MARK RONSON & THE BUSINESS INTL, ZOWIE – Wednesday 9, Palace Theatre MITZI – Thursday 10, Ding Dong DEAD PREZ – Friday 11, The Espy JACKPOT: MOSCA– Friday 11, Mercat Cross JAMIE LIDDELL – Saturday 12, East Brunswick Club OZI BATLA – Saturday 12, Workers Club PUSHOVER FESTIVAL: CHILDREN COLLIDE, METALS, ILLY – Sunday 13, Abbotsford Convent FUTURE MUSIC FESTIVAL: THE CHEMICAL BROTHERS, PENDULUM, DIZZEE RASCAL, MARK RONSON & THE BUSINESS INTL, LEFTFIELD, KE$HA AND MORE – Sunday 13, Flemington Racecourse AXXONN

CONTINUING THEIR JOURNEY through jungles of sonic panther awesomeness we see DJ Bad Ezzy collaborating with MC Kween G to drop The Airwaves mixtape. The KillaQueez/ Hoops members are unloading a selection of their latest mixes, which you can download from kween-g-bad-ezzy... AFTER SEVEN ROMANTIC days in the Shane Warne house of love, Elizabeth Hurley has returned home to the UK. We wonder if Hurley’s Valentine’s Day tweet was a sign the fl ing had lost its fizzle? “Remember, love is like a rollercoaster ride - sometimes it’s exhilarating but sometimes u feel sick and want to get off.” Props Warney, it was fun while it lasted... LIKE A LONELY Dad with Chatroulette, Red Bull Bedroom Jam is trawling the internet for Aussie teens aged 14-19. No, not like that – they’re looking to give two of the best young Aussie bands the chance to record in either the US or UK, as well as playing on some big event stages. Compe details and info at www. redbullbedroomjam. STAR OF FILMS including 127 Hours, Spiderman and Milk, James Franco showcased his singing talents at the Cynthia Rowley fashion show recently with models strutting down the runway to his new song I Love You – the first single release of an unfinished EP created with his pal Kalup Linzy. There were more than a few murmurs that Franco should stick to his day job...



The Red Bull Music Academy back again, this time taking place in Tokyo, Japan. The RBMA is series of international workshops that invites some of the finest purveyors of rhythm and sound to workshop with up and coming talent. If you are a producer, inst rumentalist, vocalist or DJ, you can apply to be part of the Academy for a fortnight-long term. In addition to this, Peanut Butter Wolf and James Pants will be touring Aust ralia for a series of performances and lect ures in Melbourne, with PBW host ing an info session at Revolver Tuesday 22 March and both acts playing The Espy Friday 25. RBMA is presented in association with Street Press Aust ralia. Find more info at


Local acts Papa Smurf vs Steve Strangis, Andy Murphy and Kasey Taylor and many more have joined the line-up for Future Music Fest ival. They join The Chemical Brothers, Dizzee Rascal, Pendulum, MGMT, Mark Ronson and Ke$ha for the day-long event, which hits the Flemington Racecourse on Sunday 13 March (Long Weekend). Tickets on sale now through Ticketmaster. Additional act info available from www. futureentertainment.


Favela Rock owns February, and they’re keen to give you a dose of hip hop and dancefloor medicine. With a potent inject ion of dance jams and hip hop grinds and $5 shots on offer you can finally stop skulling bottles of Demazin. Th is Favela Rock sees Opulent Sound honouring the great

Gucci Mane and all southern slangers, with MAFIA, Micka5k, Mat Cant and DC also slinging tunes.It is on at Miss Libertine, Saturday 26 February. Tickets $10 at the door.


Due to popular demand, rap’s favourite supervillain DOOM is putting on a second Melbourne show. The masked avenger of hip hop will lay the smack down with his superpowers, which include genius level intellect and multisyllable rhyming. Along with his own releases, DOOM has also collaborated with artists including Danger Mouse, Ghost face Killah and the Gorillaz. Doom plays his second show at The Espy Saturday 2 April. Tickets on sale from www.espy. and Oztix.


Hip hop acts MURS & 9 th Wonder and RA the Rugged Man have lasted the sands of time. While other acts have eroded and turned into pebbles

on the beach of life, these influential mavericks continue to push themselves to the limits of musical st yles. Eccentric, challenging and utterly one of a kind, these acts are surely going to sear themselves into your memory for a long, long time. After a last minute cancellation last year, they’ll play The Espy on Saturday 7 May . Tickets via Oztix.


Spinifex, the Aust ralian techno lovechild of duo Pavlov and Tomek, are finally taking to the st reets. Intent on creating pumping minimal techno, Spinifex’s show will combine laidback Aust ralian st yle with a dash of rad and a pinch of awesome. Spinifex brings the same quality product ion as their sister project Djumba, but is all about new ideas, inst ruments and only the messiest of beats. They play at Loop Saturday 26 February from 8 til 10pm.






If backseat romance had a sound that wasn’t just groaning and dripping beads of sweat it would be Elect ric Empire, a soul band that sounds like sex having sex. With sultry vocals and a smooth Mowtown funk they’re the kind of band that gets people laid – and really, that’s exact ly what the world needs. With their self-titled album recently released and their Saxophone laden single Baby Your Lovin’ romancing funksters in the know, now is the right time claim them as your own find. Electric Empire are playing the Evelyn Hotel on Friday 1 April, tickets available through Moshtix.


Now in its fourth year, Sidetracked combines the heady adrenaline of fast cars with the explosive sounds of fast tracked hits! A music fest ival that runs concurrent with the Formula 1 Grand Prix, Saturday 26 & Sunday 27 March, it does to music fest ivals what really fast cars do to bogans – makes them fucking awesome. Headliners Little Red make this an essential pit stop for anyone particularly interested in seeing them. Along with Birds of Tokyo, Yacht Club DJs, Children Collide and Andy Murphy you might as well pop the champagne and cover yourself in its sweet, st icky nutrients. Tickets and infor available from www.grandprix.


The RELEASE crew are bringing the third installment in a series of underground parties dedicated to the soul, spirit and rhythm of house music. The evening features DJ Chris NG, MG (Latest Craze) plus a


performance from the Melbourne House Dancers. For a rippin’ night of house without the dresscode (may need pants), head on over to the Mercat Basement Friday 25 February. Tickets available $20 at the door.


The 8th annual Fair Play! kicks off for 2011 on Saturday 12 March. The event sees 16 soccer teams competing for victory, a slab of Coopers and the unwavering respect of every person in the city. The event helps to raise funds for Happy Football Cambodia Aust ralia, who provide disadvantaged children in Cambodia with sports equipment and training, along opportunity to compete in the Homeless World Cup. Fair Play is a family day of fun, with supporters rooting for the 16 mixed teams while enjoying the music, drinks, food and kids act ivities.


Touring in March are Audiofly, famed international tech

housers whose reputations precede them. Audiofly produce a powerful, experimental and unique sound that has been well received on the underground dance scene internationally. It’s been four years since the duo have toured our shores, so this is an opportune time to see the team slam it down. See Audiofly at Brown Alley on Friday 18 March alongside Paul Kalkbrenner for The Likes Of You.


Are you interested in fashion, accessory and jewellery design? Then let us make your day. From Here To There is a showcase of the best emerging talent from Western Aust ralia. The Shed4 Docklands will be transformed into the cavernous lung of Aust ralian Fashion, featuring photo shoots, installations, fi lm that demonst rate the freshest and most interest ing st uff in the field. The event is open to fashionistas, retailers and stockists. The event runs Friday 11 – 18 March at Shed 4, Docklands.

FRENCH HOUSE PRODUCER turned electropop star Martin Solveig caught the world’s attention last year with Hello, an infectious single featuring vocals from Dragonette that has absolutely nothing to do with the Lionel Richie song of the same name. Rad prizes are up for grabs with the Hello remix contest. For rules and info visit beatportal. com/remix... TEEN POP IDOL Just in Bieber has shown he is more than a one dimensional piece of pop fluff. In a recent interview with Rolling Stone, the Baby singer described Americans as evil and spoke of his disdain for the country’s mediocre healthcare system. If only his young fans weren’t such morons... ADELAIDE HIP HOP artist and Terra Firma member Simplex has released his debut solo album Audio Biography. The long awaited album is the hard hitting, thought provoking next chapter of the Adelaide sound, summarising Simplex’s life within and outside hip hop. It comes in advance of a national tour, watch this space and do yourself a favour... WE KNEW IT was only a matter of time before Brian McFadden went totally bonkers – Mr Delta Goodrem was arrested last week following an outburst on a Virgin Airlines fl ight from Los Angeles. He has also been blowing off steam on Twitter of late: “To all those dicks who think they are entitled to quest ion my integrity! In the nicest way … GET FUCKED”. Un-Aust ralian behaviour...

CALENDAR HORACE ANDY & DUB ASANTE – Tuesday 15, Prince Of Wales AFRO CELT SOUND SYSTEM – Wednesday 16, Hi-Fi Bar ILL BILL, DJ ECLIPSE, MC SABAC RED – Thursday 17, Corner Hotel LEFTFIELD, INFUSION, KASEY TAYLOR – Friday 18, Palace Theatre THE LIKES OF YOU: PAUL KALKBRENNER, AUDIOFLY – Friday 18, Brown Alley USHER, TREY SONGZ – Saturday 19, Rod Laver Arena USHER, TREY SONGZ – Sunday 20, Rod Laver Arena GADI MIZRAHI – Sunday 20, Royal Melbourne Hotel ILLY – Sunday 20, The Corner Hotel RED BULL MUSIC ACADEMY INFO SESSION: PEANUT BUTTER WOLF– Tuesday 22, Revolver DOOM – Thursday 24, The Espy RED BULL MUSIC ACADEMY: PEANUT BUTTER WOLF, JAMES PANTS – Friday 25, The Espy LANEOUS & THE FAMILY YAH – Friday 25, Evelyn Hotel CITY OF LOST CHILDREN: BASSNECTAR, DIGITAL MYSTIKZ– Saturday 26, Brown Alley DEREB THE AMBASSADOR, DJ JUMPS – Thursday 31, Northcote Social Club APRIL USHER, THE POTBELLEEZ, TREY SONGZ – Friday 1, Rod Laver Arena THE HERD – Friday 1, The Corner ELECTRIC EMPIRE – Friday 1, Evelyn Hotel DOOM – Saturday 2, The Espy USHER, THE POTBELLEEZ, TREY SONGZ – Saturday 2, Rod Laver Arena THE JEZABELS AND ERNEST ELLIS– Thursday 7, Corner Hotel DANNY HOWELLS – Friday 8, Brown Alley USHER – Friday 11, Rod Laver Arena GRACE JONES – Thursday 14, Palais Theatre KATY PERRY – Thursday 14, Rod Laver Arena SUPAFEST 201: T-PAIN, BUSTA RHYMES, CIARA, SNOOP DOGG, NELLY, BOW WOW – Sunday 17, Melbourne Showgrounds BONE THUGS-N-HARMONY – Friday 22, The Espy CHRIS BROWN – Saturday 23, Rod Laver Arena TOO MUCH!: IKONIKA – Saturday 23, Mercat Cross CREAMFIELDS: DEADMAU5, MARTIN SOLVEIG, SKRILLEX, CHUCKIE, SIMON PATTERSON, GABRIEL AND DRESDEN, WYNTER GORDON AND MORE – Monday 25, Melbourne Showgrounds WYNTER GORDON




HE HAS ADELE’S SOUL DIVA VOICE, GOBBINESS, AND BLUECOLLAR CONVICTION. SHE ALSO HAS THE URBAN SMARTS OF BEYONCE KNOWLES AND RIHANNA. AND SHE’S AS POPTASTIC AS KATY PERRY. BUT JESSIE J, AKA JESSICA CORNISH THE J IS A MERE ACCESSORY, IS HER OWN WOMAN. The Brit divette is tipped to be one of 2011’s breakout artists. Cornish has scooped two prest igious awards, the BRIT Critics’ Choice and BBC Sound Of 2011, pipping other credible contenders like Jamie Blake. Now she’s dropping her debut, Who You Are. Don’t imagine that Cornish is complacent, though. “I’m just making sure that I’m never presuming, I never expect – I always work hard,” she assures. “I love what I do and I hope that people see that. The pressure is on, but I think that’s a good thing. It’s good to feel uncomfortable.” Even before the hoopla, Cornish was penning hits – akin to Timbaland’s ally Keri Hilson. She co-wrote Party In The USA, a multi-platinum smash for Miley Cyrus. Cornish has no regrets about giving it away. “I kinda felt like it was cool, but it was too safe for me at the time,” she divulges. Cornish has never spoken to Cyrus, but maintains that it’s she who should be grateful. “I owe her a ‘thank you’.” Cornish is of humble stock. She’s the youngest of three daughters born to a social worker dad and nursery school teacher mum and grew up in the much disparaged Essex. Nevertheless, Cornish is no stereotypical Chavette. As a little girl, she had a big voice, and big dreams. Cornish was booted out of a school choir – her powerful vocals were such that the other kids fretted. It was a different matter in the West End. At 11, Cornish made her foray into music theatre with a part in Andrew Lloyd Webber’s Whistle Down The Wind. She later attended the BRIT School, among its celebrated alumni Amy Winehouse. At one stage she was in a


girl group. Cornish signed a solo deal with the UK indie Gut but, prior to her album release, it folded. There were more serious trials. Already diagnosed with an arrhythmia, Cornish suffered a minor st roke. Today she’s super health-conscious. “It’s funny ‘cause I’ve been like ‘Clean-living Jessie J!’ and so many titles… Just ‘cause I don’t do drugs and I don’t smoke and don’t drink doesn’t mean I’m not wild or I don’t have fun or parties are boring for me. My drug is life.” Cornish briefly considered quitting music. However, she gigged solidly – and successfully harnessed YouTube to promote herself. The most symbolic of her bookings? Cyndi Lauper in 2008. Lauper had Cornish duet with her on Girls Just Want To Have Fun. Cornish’s growing fanbase sustained her – as did those who abandoned her. “I did it for all the people who never believed in me, all the people who let me down – I carried on for them and carried on to prove to myself that I’m a fighter. I don’t give up. I’m a go-getter.” After performing showcases in the US, Cornish finally landed a major deal. On a writing excursion to Los Angeles, she bonded with Dr Luke – and came up with Party… Late last year Cornish premiered with the wonky elect ro-bop Do It Like A Dude (remixed by Labrinth). She’s lately followed with the BoB-featuring Price Tag. Who You Are has its share of epic ballads like Nobody’s Perfect in addition to those club cuts. The most st irring song is Big White Room – about her time in hospital. “I’ve always said that it’s a very emotional, therapeutic pop album that just represents me in a very true, honest form in my last six years of life.” An idealist, she holds that the LP is “inspirational”. “I hope that people can listen to it and feel like they can take over the world after they’ve heard it.” Who You Are is diverse musically – traversing hip hop, rock and reggae. Cornish has worked with producers from the US (Dr Luke) as well as the UK (The Invisible Men) – and even German expat Toby Gad (Knowles’

If I Were A Boy). She idolises Whitney Houston and Mariah Carey and, as with R&B acts everywhere, is swayed massively by American influences. Yet Cornish is no Leona Lewis – and is more aware of the UK st reets. Cleverly, she had grime rapper Devlin (also from Essex) lace a Price Tag rework. “I feel like my voice is the thing that people can relate to in the US – that kind of big powerful voice – but I think that I’ll always have that British edge in my lyrics and my melodies and st uff.” Cornish is baffled when people approach Jessie J as a persona. She’s not about pretending. “I’m probably the most open, talkative, non-private artist that there is. But people feel uncomfortable with the fact that I’m so comfortable with who I am, that I don’t have to look the same or have the same songs and do the same thing every day. People think that I’m trying to hide something. I talk about pretty much everything!” Cornish has a st riking post-Gaga image – with her sleek black bob, she could be Kiki Dee channelling Aeon Flux. Cornish, who st yles herself, describes the look as “ghetto chic”, but it’s more urban goth, especially on her album cover. Still, for all her braggadocio, Cornish, who turns 23 next month, frequently betrays her insecurities. She worries about overexposure and admits to feeling “hurt” by the “spiteful” (and anonymous) comments that trail any celebrity online. Cornish’s rise hasn’t been controversy-free. Her feminist Do It Like A Dude – a song she contemplated pitching to Rihanna – has provoked and, to an extent, she wanted it to. Swedish elect ro maverick Robyn has openly declared herself a feminist, but it’s a rarity for even the most progressive of female pop stars. Cornish is cautious. Do It… is not necessarily feminist, or intellect ual, she says. “It’s not about me hating men. Obviously, as a woman, you wanna feel empowered and you wanna feel confident and proud to be a woman, and I very much am. [But] I wanted that song to be just [about] experiences that I’ve had in my life with some male egos where you feel like they don’t think that you’re equal to them… It’s nothing to do with women being better than men; I don’t act ually say that once in the song. It’s very funny how a lot of the react ion that I had, and a lot of remixes that were done, the men would attack the women and kinda go, ‘You can’t do it like us, we do it better than you…’ I never said that guys don’t do it better than girls or vice-versa. It’s just me saying, ‘I can do it like you, don’t try to intimidate me and make me feel uncomfortable.’” For others, Do It… isn’t feminist enough, being more Girl Power than Riot Grrrl. Lewis Bowman, lead singer of indie band Chapel Club, laid into Cornish in NME. “She’s a lesbian, she’s from Essex and she co-wrote the biggest-selling single in the US last year – she sounded so interest ing, but then I listened to her song. I was reading The Guardian and they were saying Do It… is part of a conversation about feminism… Th is isn’t part of the conversation, this is part of a general trend in pop lately of girls trying to do something they see as mildly ironic or subversive that’s act ually just totally what everyone expects… People like Simone de Beauvoir, you’re doing them down.” Ironically, Cornish’s chief object ion to this is Bowman’s eff rontery in labelling her a “lesbian”. “People are always trying to put you in a box – people will wanna call me a ‘pop artist ’, she’s this, she’s that, she’s copying Nicki Minaj, she’s copying Gaga, she’s a lesbian… I’ve never put a label on my sexuality. I’ve been very comfortable to be open [about the fact] that I’ve dated men and I’ve dated women. I’m 22, I’ve not been in a failed relationship, but I love who I love – I fall in love with a person. I think my generation is more accepting of that. I’m happy to not deny it because it is what it is. I’m all about being honest.”




Londoner Katy B (Kathleen Brien) was a contemporary of Jessie J’s at the famous BRIT school. Now she’s the First Lady of Dubstep. Brien established herself by singing over tracks at the then pirate Rinse FM and was soon in demand across the scene. Recently, she sang on Magnetic Man’s Perfect Stranger. Brien’s Benga-helmed single Katy On A Mission crossed over bigtime in the UK and is included on her upcoming debut On A Mission – an album that will span grime, garage and dubstep (and maybe funky!). Hopefully, Brien won’t be totally upstaged by the night-bussing Jamie Blake.


Like La Roux, New York’s MNDR is a duo with one member the spotlight-shy st udio type. MNDR’s ‘face’ is talented singer/ songwriter Amanda Warner (Peter Wade is the dude). You may know her as the vocalist on Mark Ronson’s Bang Bang Bang – she’s the chick fl ipping snippets of the old French nursery rhyme Alouette and totally upstaging Q-Tip. Warner is also renowned for her technical prowess. She designed the on-road synth rig for indie faves the Yeah Yeah Yeahs and has played with them. She was also once a minimal techno DJ – and into her Detroit. Following the unreal Caligula, MNDR’s debut could yet sound like Madonna hanging with her Detroit “homies” Drexciya back in the day – especially if reports of a ‘decay’ theme pan out.


Denmark has given us Trentemøller. Now comes a Danish femme singer/producer in Oh Land (Nanna Øland Fabricius), among the less hyped new names for 2011. Coming from an artist ic family, with an opera-singing mother and organist father, Fabricius was herself a ballerina until injury intervened. She issued an album, Fauna, at home in 2008. She’s since moved to New York. Fabricius sang on Trentemøller’s Into The Great Wide Yonder. Her second (eponymous) album is due next month amid reports of her working with The Neptunes. If you like Goldfrapp, Annie, Solange Knowles and, of course, Björk, then seek and fi nd. The White Swan?

WHO: Jessie J WHAT: Who You Are (Universal) out Friday 4 March







t had 64k RAM and it was ready. The humble 8-bit computer that was to be known as “the breadbox” due to a stocky beige design eventually earned the title of the highest selling personal computer in history. How many were sold no one knows for sure, but in excess of 12 million were produced and shipped for sale. Th is tide of technology washed into bedrooms, offices and an eventual home in dust y cupboards and attics the world over. In an era of leapfrogging innovations in home computing and entertainment, the Commodore 64 was an overengineered offering that was so ahead of its time that the decision to build was made before the components were even remotely economical to source and assemble. It was a revolution, sure – but why? The C64 debuted in January 1982, not only significantly cheaper than the early offerings from Apple and IBM’s PC range but with a feature set that appealed to a market switching on to the idea that computers weren’t only a great way to calculate the monthly sales report or hack The Pentagon, but a lot of fun to be had playing games and sharing ASCII pr0n. The relaxing blue hues of the startup screen and the patient blinking cursor would shape a generation. Not only was it an easy system to program, with games and application source code available as tear-out sheets in magazines, but the expansion possibilities of tape and floppy disk drives sped up the dist ribution of software – legal or otherwise. Immeasurable hours were spent staring at the psychedelic flashes of the loading screens – bearable at the time yet unimaginable torment in today’s terms – but the end result was thrilling. The games were worth the wait, ranging from the immersive text adventures of Zork, through to nail-biting act ion romps including the suitably titled Impossible Mission. And if the games were good, the soundtracks were even better. It’s hard to imagine, but the C64’s success had a lot to do with clever vertical integration, a buzzword covering the fact that Commodore had its hand in all stages of manufact ure. The result was a legend of 400 percent mark-ups amid cutthroat pricing and a machete approach to cost control. Some corners escaped the brutal rush to market, including the legendary SID chip. To this very day, fanatical raiders roam the eBay wastelands, mercilessly harvest ing vintage C64’s for their audio engine. The SID chip was a modest yet fully featured synthesizer. Created on the fly, it st ill managed to offer three oscillators of audio and has even found its way into modern st udio gear by way of the Sweden’s Elektron and their end-of-an-era SIDstation synthesiser pilfering the last remaining chips. The desire for the SID sound might contain an element of childhood reminiscing, but such can be excused as this was an era where computer game sound designers like Rob Hubbard became rock stars in their own right. Others, such as David Whittaker and his platform romp Lazy Jones, would spawn future stadium techno hits such as Zombie Nation’s Kernkraft 400. That the Commodore company collapsed amid the kind of boardroom bickering and market madness that underpins all legendary tales of boom and bust serves only to underpin the iconic status of this humble grey box. That it lives on in the frantic eBay searches of eternal fans, 20 3DWORLD

or on the iPhones of reminiscent 30-something retro-gamers, is only to be expected. In retrospect, all the hours spent watching load screens, pirating software cassette tapes, and hacking floppy disks were simply the price to pay to be a part of history. 64k. Ready.


For most it’s simply the soundtrack to a school disco or an annoying chant at a sporting stadium, but Zombie Nation’s Kernkraft 400 begin its life as the soundtrack to a simple platform game. David Whittaker’s popular Lazy Jones featured a simple yet addict ive melody, and one that Zombie Nation’s Florian Senfter would jack in what became a warning shot across the bow of gaming copyright holders worldwide. For his efforts, Florian complained of bitter licensing disputes and bootlegging, but he in turn had crafted his hit based on the original SID soundtrack fi le, initially traded by gaming enthusiasts but since a stock source of melody jacking.


In a humble apartment in the leafy Brisbane suburb of New Farm, a band of gaming geeks reached the status of triple J radio champions with an infect ious and catchy tracked titled Knucklebusters. A slice of early 2000s nu-skool breaks, this dancefloor favourite sampled Rob Hubbard’s Impossible Mission – with the gaming legend’s approval no less. Superfluid went on to release the landmark 8 Bit Crunch on Creative Vibes, signalling a rush of sample scrutiny before the complicated mass of publishers realised that a Brisbane breaks act was unlikely to be rolling in mountains of dollar bills. Not before earning Superfluid a killer story for the media.


In January of 2007, a Scooby Doo-inspired farce began to play out, with hip hop producer Timbaland playing the role of unrepentant villain complete with an “if it wasn’t for you kids, I’d have gotten away with it” response to evidence of sample theft. Not just theft, but the wholesale use of an entire SID chip soundtrack composed by Finnish enthusiast Janne Suni. The offending use? The backing track for Nelly Furtado’s song Do It, from her 2006 album Loose. Universal Music may have smashed the legal proceedings, but that pesky internet unmasked the villain once and for all.






ith second album Ready For The Weekend st ill riding high in fans’ minds, Calvin Harris pulled the plug on further live performances in late 2010. It was a bold move, especially considering less than 12 months prior he had blown apart the Big Day Out’s Boiler Room with stand-out performances across the whole tour. Harris has enjoyed a career marked with plenty of controversy thus far, so, perhaps, it was exact ly the right time to go out. “Initially I’d said I’d given up forever, I probably will st ick to that,” Harris explains whilst in London. “[Performing live is] not my most favourite thing in the world. The moment DJing took over is when I realised there was only so far I could take the live show, in terms of quality and how everything sounded and my vocal performances. There was only a certain level it could reach, I think I’d reached as good as it was going to get. It was less the physical exertion and more the vocal performance and everything that surrounds doing something with a band is a lot more involved and I think there was a lot of time going on that, that I would have preferred to spend producing.” In a sense, DJing renewed his zeal for music. “It’s given me a new lease of life,” Harris ventures. “I get to do a lot more shows in places that we could have never gone to with the band.” The switch has also paid dividends for his own product ion, as Harris has taken into account the important feedback loop that comes with touring the world and test ing out one’s product ions on different dancefloors. “It’s learning what goes off in clubs and it’s learning how people produce certain things,” Harris explains. “Th ings that sound good when they’re played really loud, you want to find out how. It’s definitely improved my product ion loads. As long as you don’t lose sight of having a good

tune as well, and don’t get too swallowed up in getting the perfect hi-hat sound. It’s easy to get lost in that producer world of tweaking something forever and then you kind of miss the point of making music.” Presently Harris is touring Aust ralia to kill a number of metaphorical birds with several stones. Opening the batting is the Rihanna tour, where Harris will hone his warm-up skills, at fi rst drop will be the Mardi Gras after-party which Harris headlines and rounding off the middle and lower order is the new Onelove compilation, of which Harris mixes one of the discs. “The CD came first, they asked me to do that, I’ve never done a mix CD before,” Harris states. “I was very up for it. I knew the guys for a while so I knew that they’re good people and they’re good at what they do. I don’t know how the Rihnna thing came about. She’s one of the top singers in the world at the moment. She’s everywhere. It’s very exciting for me to be going on tour with her, seeing the show and being part of the evening.” It’s with some degree of irony then that Harris is touring with Rhianna not long after tweeting about the st riking similarities Chris Brown’s song Yeah 3x shares with Harris’ 2009 I’m Not Alone. For the record, Harris wrote: “Choked on my cornflakes when I heard new Chris Brown single this morning.” The inst rumental behind Brown’s song is eerily similar to I’m Not Alone, leading to accusations of musical theft. Harris never pursued any act ion against Brown, and curiously the people who seemed to have the most indignation were Chris Brown’s fans, mounting some very personal (and very illiterate) attacks on Harris. “For me, there’s always a lighthearted elements to most things I talk about on Twitter, so it’s not a problem,” Harris says. As for the two tracks, “there’s a few things that sound like a few things… it’s just another one of those things,” observes Harris. “I’m not losing any sleep over it. It’s nice to have got there fi rst… Well, fi rst for a while! I do like Chris Brown’s tracks though – he’s a great singer.” Whilst performing live may have been given the cold shoulder, fans will be delighted that Harris has no plans to shelve his main love: product ion. “If I stopped doing that, I’d stop doing everything,” he says. “It’s the fi rst thing that I enjoy doing, is making songs. If I didn’t have a record deal, I’d st ill make them like I made them long before anything came out. It’s just something I’d like to do because it’s fun.” An album then, is naturally to follow, but at an unknown date. “There’ll be singles out this year and probably an album out next year sometime,” st ates Harris. “I’m not in a rush, I want everything that comes out to be good, and then by the time the album comes out, I’ll have a lot of good tracks, hopefully really good tracks. One single at a time, see how it

goes, more fun that way anyway!” WHO: Calvin Harris WHAT: Sonic Boom Box (Onelove/Sony) WHERE & WHEN: Brisbane

Entertainment Centre Friday 25 February, Family (Brisbane) Friday 25 February, Superdisco at Prince Bandroom (Melbourne) Saturday 26 February, Not Myself at Greenwood Hotel (Sydney) Sunday 27 February, Newcast le Entertainment Centre Monday 28 February, Acer Arena (Sydney) Friday 4 March, Acer Arena (Sydney) Saturday 5 March, Mardi Gras Party at Hordern Pavilion (Sydney) Saturday 5 March, Rod Laver Arena (Melbourne) Monday 7 March, Rod Laver Arena (Melbourne) Tuesday 8 March, Superdisco at Prince Bandroom (Melbourne) Sunday 13 March






s soon as Sander van Doorn’s instantly recognisable and very friendly Dutch accent rings down the phone (you might know it from his Identity radio show), it’s like being witness to one of his high-energy DJ sets. He projects the same down-to-earth enthusiasm that fi rst pricked our attention in 2006 when he dropped his seminal tech-trance reworking of Armin van Buuren’s Control Freak. Moving on to become one of the leaders of the “nu-trance” sound, as he hit A-league status his sound evolved into something more eclect ic and sophist icated st ill, blurring the boundaries between house, techno and trance until they were barely dist inguishable. He’s remained relentlessly creative and inspiring in his approach ever since. Forefront in his mind at the moment is his Dusk Til Doorn brand, which fittingly is a lot more rest rained than the fl ashiness of the Armin Only or Elements Of Life parties of his trance brethren. “I’ve been doing the concept for about a year now,” he says. “It st arted out with small club shows, and I expanded from there to last year’s compilation album... It’s a concept that’s for the longterm, I’m planning on doing this for the next couple of years. Th is year kind of feels like I’m entering phase two, as I’ve also been working with a product ion company to add a lot of different visuals.” By default, when van Doorn ruminates on Dusk Til Doorn he’s also thinking about his upcoming tour of Aust ralia with Future Music Fest ival, as he’ll be curating a branded stage across all five cities, with extended sets from both himself and Cosmic Gate. It’s clearly an exciting prospect for the smiling Dutchman. “It’s a platform to showcase myself as I want to be, to explore different sounds as I’ve always been a little between genres. It’s also a platform for playing longer sets, instead of the normal one-hour fest ival set I’ll be playing for three hours, which offers a lot of possibility to play as diverse as I possibly can. So I’m really looking forward to it, it’s looking really good.” Van Doorn’s own eclect ic bag of self-produced tunes are a big part of his DJ sets, and he’ll be working in the st udio non-stop in-between gigs until his arrival in March. His most recent single Love Is Darkness is an atmospheric tech trancer featuring the unusual vocal talents of Carol Lee and it’s a good indication of the direct ion he’s heading in for 2011, with the release of his second artist album on the cards. “We’re not really setting a date for it just yet, but I’m already in the process of beginning a lot of the projects,” he says. “Th is year I’ll be working a lot with vocalists, and it’s certainly a different way of producing, because from start to finish it’s a very long process. I’ve always been very critical of vocal tracks, and I don’t like to see a vocal added to a track after it’s fi nished in order to make it more commercial. For me a vocal needs to be there from the beginning... With that ornament it all of a sudden becomes a lot more challenging because you have to change the product ion towards the vocal, or change the vocal towards the product ion. “At certain points you come to this place that is part vocal and part musical, and it kind of connects… At the moment I’m working on around for or five different tracks. It’s a big process, but it’s created such an interest ing sound.” In his early days van Doorn was known as a trance DJ/producer who took a heavy influence from belting, loopy techno, and as one of the figureheads who helped revolutionise the scene. While the trance sound is nothing he’s ever shied away from, his fans have since come to underst and


him as someone a lot more eclect ic than that. He’s kept his BPMs in constant motion, slowing it right down at times; witness his reworking of Sia’s The Girl You Lost To Cocaine, and remixes of acts as diverse as The Killers, Robbie Williams and Swedish House Mafia. What’s more, he’s pulled it off artfully, pissing off very few of the diehards in the process – a giant feat in itself. “It was a very longterm process,” Doorn says. “I’ve never alienated myself from the trance sound, because I absolutely love trance music, but I’ve always had a different approach where I’ve said OK, if I am a trance DJ I’m a DJ who has a different approach towards trance. In doing that I’ve produced across different kinds of genres as well, and all of a sudden I got picked up by more house and progressive DJs too. It’s a really good position to be in. I’ve got a fanbase that knows what I’m all about so I can explore different genres, and I can really get away with it,” he chuckles. Looking to the wider dance scene, something that’s increasingly crossed over into trance territory has been the Dirty Dutch sound, heralded by the likes of Laidback Luke and Afrojack. House music itself has become increasingly besotted with the melodies of trance – witness Armin van Buuren’s choice of Swedish House Mafia’s One as the track when Melbourne crossed over to the New Year at Armin Only. “Likewise, with trance the BPM is lowering a little, which is great because it gives more opportunity for the track to be listened to

properly, and more room for your melody when you don’t play it that fast. You can st ill create speedier tracks using different groove elements in your rhythms, so it doesn’t necessarily need to slow down; but it does create more possibilities to work with. It’s interest ing to see what the future will look like. Trance is changing just as much as any other sound, and I’m happy to be part of that.” WHO: Sander van



Future Music Fest ival at Doomben Racecourse (Brisbane) Saturday 5 March, Randwick Racecourse (Sydney) Saturday 12 March, Flemington Racecourse (Melbourne) Sunday 13 March




t’s that special time of year again, where the world looks to celebrate its finest achievements in the cinematic arts. Stars queue up for their latest inject ion in face freezing technology and have a team of monkeys blow out and chemically petrify their hair, before st rutting the red carpet with their soon to be divorced partner. Hollywood’s “Night Of Nights” is the Academy Awards, where Jack Nicholson grins behind shades, Disney musical numbers disrupt the crack sessions in the bathroom and Award winners “Thank the lord messiah” while staring down their loser competitors, who obviously didn’t praise the lord enough. Keepin’ it real for 31 years, the RAZZIE awards cuts through the orgy of ego to celebrate the “worst of the worst” that the Hollywood passes through its system. The victorious offenders receive the Golden Raspberry, a $4.98 statue that is essentially a golfball spray painted gold. The event has previously crowned crap classics like Showgirls, Battlefield Earth and the ouvre of Uwe Boll. Like a drunken smartass at a wedding, the RAZZIES deify the true stars of cinema – John Travolta, Mike Myers and other bile inducing turd monsters.

WORST PICTURE In the running is The Bounty Hunter, where Jennifer Aniston does her best impersonation of a trout and Gerard Butler mumbles under his breath “I coulda been a contender”. M Night Shyamalan’s The Last Airbender, a fi lm written by a guinea pig that has nothing to do with surfing. The much anticipated sequel Sex And The City 2, which is about as much fun as getting a tampon st uck in your eye. Twilight: Eclipse, the third part in an on-going softcore porn series for teenaged Christ ian girls that believe abst inence is a sensible option. The last contender is Vampires Suck, a spoof fi lm that has aided dictatorships around the world. Predict ion: Sex And The City 2 for being a $100 million movie about spoilt white bitches released in the middle of a recession. WORST ACTOR Gerard Butler is nominated for The Bounty Hunter, where he groaned his way through scenes he shared with Jennifer Aniston, mankind’s fi rst successful fusion of cheese grater and person. Ashton Kutcher’s effort in


Killers will possibly be the fi lm that leads the Dude, Where’s My Car thespian to throw it all in and sell used cars for a living. Twilight: Eclipse stars Taylor Lautner and Robert Pattinson have been nominated for being moody shirtless demons that like underage girl meat. Final nominee is Jack Black (Gulliver’s Travels) who is, basically, idiot scum. Predict ion: Robert Pattinson because he looks seriously ill and someone will want to cheer him up. WORST ACTRESS In contention are Jennifer Aniston (The Bounty Hunter), Miley Cyrus (The Last Song), Megan Fox ( Jonah Hex) and Kristen Stewart (Twilight: Eclipse). Also in the running are the zombie creatures from Sex And The City 2, not only for their ongoing battle with the decomposition process but for professionally accommodating the desert sands of the Middle East that have fi lled their many bodily holes. Predict ion: The women from Sex And The City 2 for groundbreaking achievements in plast ic surgery. WORST SUPPORTING ACTRESS The old guard has a st rong contingent this year with Barbara Streisand up for Little Fockers, a fi lm that rivals amputation in the fun stakes. Cher was pulled out of the ocean like a Cthulu creature to appear in Burlesque, a glitter laden fi lm that advanced global warming by a decade. Similarly barnacled is Liza Minelli, who tried to hoodwink audiences in Sex And The City 2 by saying she wasn’t a sea-weathered canoe. Jessica Alba is nominated for The Killer Inside Me, but she’s hot so leave her alone. Predict ion: Cher, because there’s nothing quite as satisfying as watching the career-comeback that never arrives. WORST SUPPORTING ACTOR Billy Ray Cyrus and George Lopez are nominated for their efforts in The Spy Next Door, a movie where Jackie Chan has to housesit three unpredictable children and learns things along the way. Slumdog boy Dev Patel is up for The Last Airbender for his racist villain. Alleged “comedian” Rob Schneider also deserves a kick in the balls for Grown Ups, along with his misguided insistence that he act ually has talent. Predict ion: Billy Ray Cyrus – but who knows, maybe it could finally be Rob Schneider’s year. WORST EYE-GOUGING MIS-USE OF 3-D In a new category, the RAZZIES look to award special fi lms whose level of crapness transcends a dimensional plane. Pet espionage caper Cats & Dogs 2: The Revenge Of Kitty Galore could have a bone thrown its way, while Clash Of The Titans would be lauded for its rare achievement of making a packed cinema start bleeding from the brain. The late convesion of The Last Airbender to a 3D fi lm made for some graphics of truly ‘Tazo’ proportions, while Saw 3D (aka Saw VII) made Grandma wee herself. But she always does that. Predict ion: The Last Airbender. In three dimensions there is nowhere to run. WORST DIRECTOR It is hard to be a fi lm director, the one that gets mauled by velociraptors upon a movie’s failure – but it is fun to see. David Slade lent a competent hand to Twilight: Eclipse, but was unable to make it into something that wasn’t Twilight. Sylvester Stallone once again stepped behind the camera for The Expendables, a nickname for that fi lm’s product ion team. Michael Patrick King, whose defence for that fi lm is likely “some of my best friends are racists!”, could RAZZIE up for Sex And The City 2. But it is poor M Night Shyamalan who continues to dig his own grave, shit in it, put his hands in the air and exclaim “Look what I did! Aren’t you proud?” Predict ion: M Night Shyamalan missed out on collect ing gongs for his masterwork The Happening. It is his time to rank with the greats. WHERE & WHEN: The 2011 RAZZIE Awards at Barnsdall Gallery Theatre (Hollywood) Saturday 26 February





n the eve of the release of their debut album The Experiment, the three young men who make up Sydney elect ro-synthpop-rock outfit Art vs Science revealed there is a correlation between the album’s title and the band’s modus operandi. When it comes to the history of Art vs Science and the writing process of Jim Finn, Dan Williams and Dan McNamee, the whole thing has been an experiment, albeit with very pleasing results. However, friends since high school and music buddies throughout several experiments, it was a step away from the rock bands they had played in together and a one closer to the elect ronic music that saw them reap rewards. “It’s a reference to many things I guess,” singing drummer Williams explains. “The whole band is an experiment. It’s sort of started on a whim and we weren’t sure if it was going to work and then it did.” “Whether or not it worked didn’t really come into it cause we’d just come out of a band which didn’t work,” McNamee jokes of the band’s previous rock forays. “We just wanted something fresh,” Williams says. “We’d been doing it for a while and around us was all this amazing music from Aust ralia and overseas that we were listening to, that we loved and it wasn’t necessarily rock music anymore.” But as McNamee points out, it wasn’t as though the music they went on to create as Art vs Science was that great a leap from the rock of before. “At the same time we’d also been moving towards further back in rock. That point where it sort of crosses over a bit, like disco and rock... It comes down to the beat and the groove. So from that point it wasn’t a huge step to jump on the synth pop-Kraftwerk- PhilharMagic Orchest ra kind of vibe.” The trio went on to win the Triple J Unearthed competition in 2008 before Flippers and Hollywood – dirty guitar laden dance anthems – were finding themselves on radio playlists with Flippers creeping onto the Triple J Hottest 100. The boys continued to woo the country in 2009 with their hit single Parlez Vous Francais? cementing the name Art vs Science on the local scene while beginning to tap on significant international shoulders. While every DJ and producer carts a laptop, when it comes to Art vs Science there are no samples and the only thing they use the computers for is sending emails. As McNamee jokes – “we send each other emails during a gig to say ‘how do you think it’s going?’, ‘yeah pretty about that really drunk guy in the front row?’. “Keyboards, effects, pedals, big dirty guitar amps and live drums,” Finn rattles off the necessary tools for and AvS track and live show. “I’ll show you a pict ure of my current... I don’t know what you’d call it,” McNamee buzzes excitedly over a pict ure of what looks to be something that fell out of space but is in fact a pedal board. “Dan could launch a satellite from his...from his...platform!” Finn laughs. “He’s got about 30 effects pedals.” As the boys point out there are drums, four keyboards and three sets of vocals used to create many layers which rarely all play at once. Except, that is, for the ending of the new album’s fi rst single Magic Fountain. “The end of Magic Fountain is so intense and hect ic that you can only


last for ten seconds before you have to stop,” Finn says. “We act ually have a government rest rict ion on that,” McNamee adds, “we’re only allowed to play it for like 15 seconds.” When it comes to the writing process, Finn, Williams and McNamee are known for their experiments; the tracks are created and built upon during jam sessions while the influences that inspire each individual can vary so much so, the trio becomes cheekily evasive when it comes to describing their music and what their debut album sounds like. JF: “You can expect to get scared at some times and comforted at others.” DW: “It’s like a journey through that weird backstage at fest ivals. You know how they have that weird stage where there’s like clowns and old movies and st uff ? It’s like that.” JF: “They also have that place where you

have to walk for a kilometre off into the forest to find a tepee village...” DW: “You start with the party thing and then you go ‘okay, I’m going to go to that weird place’ and then you’ve gotta go through the forest and then you think ‘ok this is pretty weird’...” JF: “Then you get to this weird forest and there’s all these weird people and you get a bit scared and you go ‘ok that’s it, I’m going back to the normal area’.” DM: “And you fall down a trap door.” JF: “A trap door?” DM: “Yeah you fall down a trap door and you’re st uck underground with a big indust rial machine thing making noise.” JF: “And then someone rescues you and they fly you on the back of a ... wing.” DM: “An eagle.” JF: A horse. DW: “And then you become friends with that thing and you agree to go to their house for Christ mas dinner and then they drop you back off at the party.” WHO: Sander van Doorn WHAT: The Experiment (Green/MGM) out Friday 25 February WHERE & WHEN: Brisbane Riverstage Friday 4 March, Future Music Fest ival at Doomben Racecourse (Brisbane) Saturday 5 March, Rod Laver Arena (Melbourne) Wednesday 9 March, Sydney Entertainment Centre Thursday 10 March Randwick Racecourse (Sydney) Saturday 12 March, Flemington Racecourse (Melbourne) Sunday 13 March, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Murray Sports Complex (Townsville) Sunday 1 May, Maitland Showground Saturday 7 May, University Of Canberra Sunday 8 May



ith so many massive names billed for the Future Music Fest ival – The Chemical Brothers, MGMT and Mark Ronson & The Business Intl – it’d be easy to overlook Belgian elect ro band The Subs. But they plan to soon issue their second album through Minist ry of Sound and so 2011 should be big for them. The Subs’ frontman and producer Jeroen de Pessemier (aka Papillon) is looking forward to the tour himself. “I have not seen the line-up yet, I should check – I’m really not an agenda person,” he confesses. “Who is playing there? I want to see everything!” He diligently scribbles down Gypsy & The Cat as a tip. De Pessemier has a fondness for another Aussie act – Kylie Minogue. “I think I just jerked off to her,” he laughs with typical European directness, rather than impudence. The Subs were formed in Ghent by de Pessemier plus DJs Wiebe Loccufier (aka Tonic of Starski & Tonic) and Stefan Bracke (also involved in the band Foxylane). Today they’re are joined by another DJ, HighBloo. The group broke out with 2007’s playful punk trance Kiss My Trance. KMT was supposedly a pisstake, yet Tiësto supported it. De Pessemier denies being a trance hater – or baiter. “I don’t care what you listen to – I’m not a ‘genre’ guy, even,” he says. “Why people like and hate and love [different genres of] music, I don’t know. I don’t do that. If you have a certain st yle that’s

good for you, [and] it works for you, I’m not judgmental about music at all. I’m very open. It’s just all music for me.” The Subs’ debut album, aptly called Subculture, followed the year after KMT via the indie Lektroluv. Since then they’re enjoyed a huge hit with Mitsubitchi. De Pessemier and co have themselves remixed everyone from Belgian synth heroes Telex to La Roux and even Australia’s Acid Jacks. The Subs’ next album will be entitled De const ructed – the lead single The Face

Of The Planet, just out. “We think it’s a better record, but obviously you have to have that feeling, otherwise you wouldn’t make it!” de Pessemier kids. He touts it as “more open” and “more human” and “much richer” than Subculture. They focused on writing decent music – and “took the product ion to the next level.” On Subculture, de Pessemier deployed analog synths, but this time he’s used real inst ruments – fed into a sampler. Will there be hits? He doesn’t know because they “don’t think commercially”. But The Subs will be happy if anything crosses over. The Subs’ live set-up is no laptop charade. “I think, for an elect ronic band, we are very live. We really play a lot of live things, but without losing the punch of a DJ set – and that’s really because playing elect ronic music live is always a big challenge for everybody, you can’t really play everything live. But I think we are quite unique for that kind of music – which is very close to DJ music, in fact. We play a lot of live things – or we have a lot of original inst ruments to do that. “And it’s more like a band with a frontman, which is also a bit unique in elect ronic music, because often it’s just people behind a laptop and st uff – not that I have anything against it, but that’s not what we do. We really want that live band feel – of a punk band in elect ronic music.” WHO: The Subs WHERE & WHEN: Future Music Fest ival at Doomben Racecourse (Brisbane) Saturday 5 March, Randwick Racecourse (Sydney) Saturday 12 March, Flemington Racecourse (Melbourne) Sunday 13 March







o one could accuse Ross Noble of being idle. The Geordie comedian works tirelessly and the past couple of years have been some of his biggest ever, performing in the round to thousands at packed stadium shows in Aust ralia. In the background all this time was the arrival of his fi rst-born daughter – and also the tragic loss of his Aust ralian home to the Black Saturday bushfires. That’s something that would have broken lesser men, but Noble soldiered on, bringing laughter to the masses in the face of his own personal adversity. Hearing him talk about his approach to standup comedy, though, it’s not hard to see why he’s almost literally addicted to the mic.

“It’s brilliant, stand-up – it’s the most free you can be,” he says. “It’s instant gratification, too. At the moment I’ve taken a year off, and I’m not doing a massive tour this year. I have had a bit of a break since Christmas and I did this show the other night, and the first big laugh that came off the audience, I was like ‘Oh, yeaaaah’. It is like a drug. It must be like alcoholics who go ‘I’ll just take it easy now, I’ll just have one’ and then they’re away. After that show I was desperately looking around for latenight clubs I could go to and get on stage.” Lately when Noble’s not been onstage he’s been getting into his other passion – epic motorbike trips. You may have seen his Aust ralian Trip DVD where he biked all over this wide brown land. Lately he’s been on another motorbike adventure with fellow adventurer and good friend Charley Boorman, fi lling Ewan McGregor’s habitual spot on Charley’s wing for an epic ride through Africa. No TV cameras were there – just a few mates out for a ride. “We had a great time, it was awesome,” Noble says. “We had a few bizarre incidents along the way. I almost punched an elephant. “I’d camped alone and I heard this rust ling outside my tent and then this bush being pulled, and I thought it was Charley and our mate Billy dicking around with the tree. So I


threw the tent flap open and jumped out, ready to start laying into them, and there was this giant African elephant right outside.” That was just the fi rst incident on a weekslong trip which saw elephants invade the riders’ campsites on an almost daily basis. “When you first see the elephant it’s this amazing, life-changing experience,” Noble says. “After a day or two it’s like ‘Oh god, not these bloody vermin’.” Luckily, the local guide who ran their campsite claimed to know a few methods for getting rid of the huge grey pests. “The bloke said they didn’t like the sound of a two-st roke engine. He had this chainsaw, he said ‘You just rev that and that gets them out of the camp’. He also said you can bang a ladle on a frying pan. So Charley and Billy decided to rid the camp of elephants and they approached this elephant revving a chainsaw and banging a pan. The elephant turns as

if to go ‘Don’t threaten me with a pan and a chainsaw’. I’m stood there going ‘You’re idiots, you’re going to die’. “Of course the next thing you know – bang, bang, bang, rerr, rerr, rerr – this elephant takes one look at Texas Chainsaw Massacre and Gordon Ramsay approaching and it rears up on its back legs, its ears go up and it trumpets and starts charging them. I’ve never seen two people move so fast. They nearly cut each other’s legs off – that would have been a hell of a story for the National Geographic. ‘One man has no legs left, another man is crushed to death fighting an elephant with a ladle’.”

used to be – and I’ll see how I go with that before I do the proper Dakar. The problem is, people do a little bit of off-road riding and then go ‘OK, I’ll do the Dakar’ and you go ‘You’re an idiot, you’ll die’. You have to be prepared.” By way of working himself up to the

THAT WOULD HAVE BEEN A HELL OF A STORY FOR THE NATIONAL GEOGRAPHIC. ‘ONE MAN HAS NO LEGS LEFT, ANOTHER MAN IS CRUSHED TO DEATH FIGHTING AN ELEPHANT WITH A LADLE’.” Noble says he can’t wait for Charley Boorman to decide to return to Africa to make his next TV show. He says he’d give anything to see Boorman’s reunion with that elephant. “They say elephants never forget,” Noble says. “If you piss about with an elephant and try and hit it with a ladle, it remembers you. I love the idea that Charley’s making a TV show and suddenly for no reason at all, this elephant goes over and just batters the living shit out of him,” he says, descending into chuckles. Noble says that taking time off from comedy has allowed him to plan a lot more riding in 2011. Later this year, he says, he’ll be shooting a TV show with motorcycle manufact urer Triumph around the UK. Before that, though, he’s off on another epic adventure. “Th is year I’m going to ride the old Dakar route – because it’s moved to South America now – but I’m going to ride the Paris to Dakar old route. They have a race called the Heroes’ Legend there, this recreation of what the Dakar

Heroes’ Legend race, Noble says he’s signed up for the Red Bull Romaniacs event. “It’s in Romania, as you can imagine, and it’s an extreme dirt bike race,” he says. “One year they had everyone riding up the stairs inside this house, and out the window, round some scaffolding, and over the top of the house! I’m in training for that at the moment.” WHAT: Ross Noble: Things on DVD (Shock)



The DJ Skae’s A-List project on Sub Concious was undertaken by the Sydneysider of the same name and we knew DJ Skae had it in him. A few years back he dropped the CD mix DJ Skae’s Guest List which featured most ly unreleased tracks from acts such as Dirt Box Kings, That’s Them, Brass, Last Credit, 2.L.O.C.O, Sandro, and more. Now he’s leaving the mixtape st yle behind to go with the more workable compilation route. It’s apparent that there is a mix of very professionally recorded and mixed tracks with some more bedroom developed types. The top of the list would have to be Sereck’s brilliant signature production for his joint Wait No More, which features Grand Puba on vocals. Torcha & B-Don featuring Illy and Surreal hit the point for their dramatic Road Rage Remix of last year, while D’Opus & Roshambo prove that they can represent Canberra just as well as Koolism for their Come Find Out. Brissy’s Tommy Illfigga and DJ Butcher aka Crate Creeps provide the bouncy title tune A-List, while Perth’s Hunter gets inebriated with DJ Vame’s decidedly infect ious beat on Give Me A Carton. Victorian lad Fluent Form brings his gutteral attitude for the masterful Bright Lights Dark Shadows, Mdusu gets his for No Second Takes, Social Change bumps hard for their Black Text, while Sceptic & Dseeva rep the KWITS crew for a more friendly My Heads Up. Rivals and LC Beats get to show off some beatbox skills for their short interludes, while DJ Myme gets in on the fun for the bizarre Talk Is Cheap from Tha Centalinkaz. A Japanese MC, occasional acoust ic guitar and a verse from Disco Rosco all add to the madness. Skae himself serves up a distorting drum break with some very odd demonic vocals and some occasional swirling needlework on his Dooms Day, DJ Butcher gets more conventional with his Hitchcockian Just One Second whilst DJ Morgs of Thundamentals gets an extended song length inst rumental scratch-athon for his Afternoon Beat. Ending the album is an experimental headphone fuck with Invincible Armour’s skyward turntablist venture Pan Am Attack re-edit. Overall it’s a welcome addition to the absence of local compilations and is available for purchase via or to be invest igated at



’m not going to lie, the atmosphere definitely helps me work and I really love California. Out on the West Coast I can just vibe out, go to the st udio, see some beautiful women, see some sunshine, go back to the st udio, smoke some real great weed, it’s just a great lifest yle for a rapper.” Copywrite (known to his mother as Peter William Nelson) is a walking rap cliché. He embodies everything that popular culture has assimilated into its understanding of what hip hop is. He wears double st udded diamond earrings, loves beautiful women, cut his teeth on the battle circuit, and even posseses the requisite “rap beef ” – an ongoing feud with fellow MC Asher Roth. The difference between Nelson however and those we see satirised is that his hip hop shtick is not a put on. Nelson lives and breathes hip hop and everything the culture encompasses, so when he mentions that “there are a lot of clowns in hip hop, but sometimes there are certain ones that you need to shut down”, you know he is speaking from the heart, like his livelihood depended on it – and it quite literally does. “When I was a kid I lived, breathed and ate hip hop, it’s all I gave a fuck about and it’s why I dropped out of school,” Nelson says. “I took a big risk, so luckily this shit worked out and I’m able to make a real comfortable living out of it, but yeah, I take this shit seriously because I love hip hop. Now that may sound real clichéd and corny, but this is real shit and it’s the thing that I’m the best at, so it’s the thing that I do.” Raised in Columbus, Ohio, Nelson rose to prominence in the underground rap scene in 1998 with his group MHz. He released his fi rst solo record The High Exalted in 2002 to limited critical acclaim, before dropping the Cruise Control Mixtape: Volume 1 – an offering that featured product ion from J Dilla and Jake One and greatly increased his prominence as a rapper. He was a founding member of The Weatherman, a supergroup consist ing of Aesop Rock, Tame One, Cage, Yak Ballz, El-P, and Breeze Brewin, but he left in acrimonious circumstances, purportedly after intense feuding with fellow rapper Cage. “I just had personality differences with certain people and I’ll just leave it at that,” Nelson offers. “When I walked away from Weathermen, it was because

that shit didn’t feel like a family anymore and there was some foul shit going on.” Most recently, Nelson has released The Life And Times Of Peter Nelson, his fi rst full length album in over a decade. It’s a fiery album that sees Nelson diverge from his usual overconfident, punch-line driven lyricism and focus on the narrative of his life, which in recent years has been characterised by personal and professional turmoil. “[Writing the album] took me about six months, a lot longer than normal, because I guess it was me really getting my emotions out. There is a whole lot of difference between my early albums and The Life And Times of Peter Nelson, because when I was doing those early releases I was just trying to show people that I could rhyme. But since then I’ve definitely progressed a lot as a writer and an MC and this album is the result of everything I’ve experienced and learnt over the past ten years.”

WHO: Copywrite WHERE & WHEN: Step Inn (Brisbane) Thursday 24 February, Tone (Sydney)

Sunday 27 February, Corner Hotel (Melbourne) Tuesday 1 March



Ethiopium, was inspired by and sampled from, rare 60s and 70s Ethiopian funk records.



ideo games were always hip hop producer Oh No’s passion, yet, his family lineage suggested that he was dest ined to forge a musical path whether he liked it or not. Born Michael Jackson, the son of famed singer Otis Jackson and the nephew of trumpet virtuoso Jon Faddis, he had the musical pedigree and upbringing that would see him either rebel from music altogether or become a precocious musical wunderkind. Then there’s the fact that Jackson’s older brother is Madlib, who – along with J Dilla – is one of hip hop’s most storied, revered and prolific producers. Nevertheless, with so much talent and expectation around him, was there ever a chance that Jackson wouldn’t join the family business? “Nah, I had to do music,” Jackson says, “it’s in the blood. I’ve been doing music ever since we had a Casio keyboard along with Madlib and my big sis Staci.” Whilst a career in music may have been inevitable, a career in hip hop, particularly hip hop production, was not. Madlib casts a very large shadow when you are a young producer making your way in the world. Whilst he may also have been able to open doors, unavoidable comparisons would always be made and conversations started with “so you’re Madlib’s little brother”. Yet Jackson sees the whole situation very differently. “Having Madlib as brother I couldn’t have asked for more. I’d sit in the lab for countless hours waiting for my turn to hit the SP. If he never introduced hip hop to me where would I be? Probably working as a computer game programmer!” Jackson has forged a career making interesting, non-traditional hip hop music, garnering a reputation for innovation in both his sample choice and beat construction. His 2006 release Exodus Into Unheard Rhythms sampled exclusively from the music of Galt MacDermot, who’s best known as the creator of late-60s smash musical Hair, whilst his latest release, Dr No’s

So what is it that inspires Jackson to the obscure? “Look, Galt is a funky cat. All his music’s got ill rhythms, melodic vibes, yet are st ill funky and hard at the same time,” Jackson elucidates. “And the same goes for Ethiopian music – it’s funky. I need that; it’s like they are the soundtrack for my life in those particular moments.” The art of creating st rict ly inst rumental releases has been lost in recent years, in part due to the commercial realities of releasing music in the digital age and in part due to the rise of the ‘celebrity producer’. People are less interested in creating a body of work and more interested in getting on the latest A-List rapper’s album. Yet, whilst Jackson has produced for the likes of Mos Def, Aloe Blacc and Talib Kweli, he has always remained a fertile source of inst rumental releases. “I just get so tired of rappers saying the same thing or abusing the beats,” Jackson says. “So I’ve started doing more inst rumentals and left it at that. Producing an MC means finding the right beat, going back to mixes multiple times, and then you gotta deal with the rapper’s ego. Inst rumentals are all me; one person in the room, one captain, one ship, one direct ion. Finish.”

WHO: Oh No WHERE & WHEN: Tone (Sydney) Thursday 24 February, Roxanne Parlour

(Melbourne) Friday 25 February, X & Y Bar (Brisbane) Sunday 27 February




Suspicion surrounds actors who release music projects. Who’s to blame? J-Lo. Jennifer Lopez’s career is one big franchise operation. Similarly, Jamie Foxx (born Eric Bishop) is a comedian, actor and muso. Indeed, he’s described as “a triple threat” in his bio. To be fair, Foxx, who was granted a piano scholarship to college, dropped an album long before he won an Oscar for Ray. Peep This came out ignominiously back in 1994 (it’s not mentioned in his bio). His fi rst post-Oscar album was 2005’s Unpredictable on J Records – and it wasn’t an obvious vanity project (the album surpassed platinum sales). Foxx is no game changer, but he does contemporary R&B well. Best Night Of My Life is the follow-up to 2008’s Intuition, which spawned the Grammywinning Blame It. However, for the fi rst time, music sounds like Foxx’s hobby. Some of the beats here are dated and formulaic. Foxx offers an occasionally confusing blend of autotuned urban-pop, club bangers, and ballads. There are loads of cameos (no doubt called-in favours from pals). Foxx’s persona is that of a Hollywood super-playa. His music is devoid of personality. Still, when he concentrates, Foxx has a good ear. The album’s st unner is the plaintive Fall For Your Type with Drake and the illwaver’s producer Noah “40” Shebib. It’s cutting-edge Teutonic soul. Also notable, though not original, is the eerie Living Better Now, a skeletal track based around a Notorious BIG sample – Foxx is joined by Rick Ross. Danja’s Freak is dope 80s elect ro (not elect ro-hop) with new wave synths. Foxx is enamoured of Auto-Tune – just like every other mutha. Even the ol’ skool barbershop-inspired intro, This Will Be, is autotuned. Gone is the Ray Charles-evoking gruffness of Foxx on Gold Digger. Many songs are just generic. Minimal club joints like Yep Dat’s Me with Ludacris (and Soulja Boy) are passe. Last year’s single Winner – produced by Just in Timberlake (also an “actor” now) and his crew The Y’s – could be a Timbaland outtake. Foxx’s older listeners will appreciate the 90s R&B throwbacks. Gorgeous is a bling-themed slo’ jam (Hey, Foxxy, can you buy us a Gucci handbag, too?). 15 Minutes is wannabe R Kelly with MOR guitar (amplified on the semifalsetto Rejoice). But Sleeping Pill, an Ambienlaced Quiet Stormer, is potentially creepy on so many levels, we don’t know where to begin!



It’s far too hot in my humble abode to think about music st raight so I’ll just twist some verbs and wacky syllables about a few tings that have landed in my Inbox and are on the horizon. First things last, how dope is it going to be to witness the man who brought quite possibly THE album of 2010 to our ears? Yeah, I’m talking bout Mark Ronson. Though I’ve gotten plenty sick of hearing Boy George again, nobody can knock the sheer radness (yeah, I said sheer) of Record Collection for its foray into just about anything remotely cool. It’s the album that can do no wrong and I’m plenty hyped to see what the live element brings to our shores. Speaking of live elements, The Penny Black is host ing some top talent for the Sydney Road Music Fest ival on Sunday 6 March. Not only will the likes of the Bowers, Deserters and Wolfy & The Batcubs be tearing it apart inside all day, but the Black Caesar DJs will be flaying the beer garden all day and night with the funkay beats. One fest ival not to miss and one venue you’ll be lucky to make entry to, so get there early. Now I have to admit I’ve been slow to the whole glitch hop/step scene, but my man Mark Baker aka A Baker’s Dozen has dropped an absolute nugget of slimey, bass bizness with his latest EP, Loc Don. It’s basically hip hop for dubstep freaks with beats that don’t trip you up or bust your groove. My money is definitely on Double Half for all your needs and fans of Too Much and Wobble should definitely get on board, because this boy has got himself a bright future, if his growing body of remix work for the likes of Afrobeta and AFP is anything to go by. Get onto his Soundcloud page or website quick like for a plethora of free downloads you’ll be blast ing for the rest of 2011. While you’re there, make sure to stop by Hansi’s page for a couple of new edits that I cannot stop playing. The best is an absolute monster of a jam of the Harry J AllStars classic, Liquidator, that no self-respecting hip hop reggae head should be without, so stop what you’re doing before it reaches the download limit. That’s all I got folks, so stay cool, fresh and clean, and send the good word to obliveus@




eparately, proud Hamburg natives Florian Kruse and Nils Nuernberg have achieved notoriety for their impact on the global deep house scene. Florian’s deep melodic groover Love Hurts was a massive record for Om Records in the northern Summer of ‘08, whereas Nils Nuernberg’s solo product ion output spans a number of respected labels such as 8bit and Dieb Audio. However it’s together as Kruse & Nuernberg that the two have really hit their st raps. The pair debuted as a duo with 2006’s Blunder EP, which continued their affi nity with all things deep. In this age of email collaborations, where artist s never meet let alone st ep inside the st udio together, it’s refreshing to hear of a musical partnership borne of friendship.

“We both grew up close to each other in the rural areas of Hamburg, figured out that we have the same interests in terms of elect ronic music, had a bit of a tech talk between boys on one or two parties, met up for one of our very fi rst session in early 2002. We are best friends and we do love the same music.” The lifelong compadres are quick to talk up the city they’ve both been born and raised in as a solid alternative to Berlin. “You can go out on a Thursday night and come home on a Monday afternoon! In and around Hamburg is a really lively fest ival scene that offers really cool events in summer – like the Melt-Fest ival, SonneMond-und-Sterne, Fusion, and a bunch of smaller events that pop up here and there whenever the weather is ok.” While ever the upbeat and gracious interviewees, Kruse does have a bit to say about the hype surrounding their nation’s capital. “We like Berlin a lot – it does indeed have a very special vibe! Th is might sound weird to people out there as there is such a hype going on about Berlin for a couple of years now but in our opinion it is all slightly overrated. We think the hype reached climax a few years ago where it was cool and st ylish to be part of a movement in a city that is developing and evolving, where the rents are low, and Richie Hawtin might turn up in a cafe around the corner to have a coffee with Magda.” According to the duo that edge is now gone, with the vibe much more of a commercial nature. Timo Maas shared the same thoughts a few years back when he stated that the (now defunct) Love Parade was “ridiculous”

and the excesses of success had completely altered the iconic fest ival to be unrecognisable from the event in its hey-day. The deep housers echoed these thoughts with regard to Berlin, although in a much more diplomatic fashion. “Berlin cannot escape capitalism – with the floods of tourists the huge amounts of people that want to move there, rents increase, things get commercialised... you know the deal. It is st ill a good place to live and to go out and have a great night with your friends but at the same time there are other cities in Germany where it is good to live as well – especially Hamburg.” From a creative standpoint, Nuernberg is of the opinion that producing in Berlin holds no advantages. “It is more about yourself and what you make out of it. Sometimes you get the feeling that almost everyone who has something to do with elect ronic music lives in Berlin now – no offense – it is packed, but quantity isn’t necessarily quality!”

WHO: Kruse & Nuernberg WHERE & WHEN: Shrug at Civic Underground (Sydney) Friday 25

February, Match Bar (Melbourne) Sunday 27 February



ranks of the hardto-defines, including Amon Tobin, a fan from their very fi rst slab of vinyl. In recent times, Amon has championed the act as part of his monthly website features.



roken Note might have a difficult sound to describe, but the rapid rise of dubstep has given a visibility to the underground bass culture that isn’t lost on the London duo. “The visibility of dubstep has certainly given people that otherwise would not have ever been exposed to this music an opportunity to do so,” Tommy BrokenNote (not his real name) muses. “It has provided an open door to other music st yles that are generally considered to be less accessible.” If the ongoing world tour is anything to go by the duo have kicked down the door with their unrelenting take on aggressive beats and an influence drawn from Sino-Rastafarian sounds and heavy bass. 2010 saw Broken Note kick up their tour schedule across Europe and the USA, taking a sound inspired by the urban decay of their London st udio set-up to a diverse range of venues and crowds. The change of scenery hasn’t changed the core intensity of their music, according to Tommy. “The audiences vary,” Tommy admits, but offers that even in an era of underground bass culture fueled by the internet, “some music that could be considered underground in one county can be considered overground in another.” And it’s not just the audiences that can differ while touring, but their own creative inspirations. “Definitely, touring has a paradoxical effect on the music writing process,” Tommy says. “On one hand, it can be a massive inspiration and on the other it can inspire a lack of inspiration. But either way, urban decay is alive and well, whether it be in a sunny café or in an abandon[ed] warehouse.” Whatever the inspiration, the duo’s prolific release schedule has found fans in high places, including taste-makers Rob Booth and the ex-BBC presenting Mary-Anne Hobbes, often credited for breaking the dubstep sound to the masses. Fellow fans include other eclect ic producers in the

As to how they came to the Brazilian DJ’s attention, Tommy jokes of a “long session of oral sex in the back of his Range Rover”, before revealing that “there are some collaborative plans in the pipeline, which should surface over the next year”. In the meantime, the duo continue their relentless touring of an intense live show that features a collect ion of computers and controllers revolving around their longtime use of Ableton. If the fragile mix of elect ronics and grinding beats is of any concern, Tommy laughs off the worry. “I’ve been fairly lucky with live performances, but there have been a few times computers have crashed live or the bass from the system makes the needle jump on the hard drives, not to mention the occasional munter spilling drugs, beer, or a combination of the two on the gear.” As for the final word on what to expect during a Broken Note show? “If you have not experienced temporary deafness before, here is your chance,” Tommy suggests. “Complimentary hearing aids provided at the end of the set.”

WHO: Broken Note WHERE & WHEN: Heavy Innit!! at Brown Alley (Melbourne) Friday 25

February, Sub-Vival at Jubilee Hotel (Brisbane) Saturday 5 March




Some exciting news this week for Melbourne club kids with the excellent people at Too Much announcing that inst rumental dubstep gal Ikonika will be flying in from the UK to help them celebrate their second anniversary in April. With releases on Hyperdub and Planet Mu as well as her debut album – 2010’s Contact, Love, Want, Have – Ikonika’s melodic, scatty approach to dubstep won’t be to everyone’s taste but don’t let that put you off. Her music contains dist inct ive and unusual sounds that, depending on your state of mind, could resemble cowbells, sandpaper, laser guns or a Nintendo in a blender. Stick on one of her records, shut your eyes and see what you can pick out! On an international tip, the painfully good Julio Bashmore releases a new EP on Dutchman Martyn’s 3024 label called Batty Knee Dance. Who knows what that name means but the three tracks are sounding pretty tast y with the Bristol producer again showing his ability to merge Chicago house, UK funky and UK garage. The standout track here is undoubtedly Ribble To Amazon, a soft, dreamy, pulsating little number that is just made for listening to while watching the sunrise after a massive night out. Bliss. Fish and chips, Sonny and Cher, Italian rulers and underage girls – some things just seem to go together, but who would have ever imagined pairing Digital Myst ikz with the brilliant Icelandic fruitcake that is Björk? UK based producer Product ion Unit (also a member of the talented Marcia Blaine School for Girls – check them out when you can) has taken the Mala produced LP Return II Space and put Björk’s a cappellas over the top. Entitled Digital Björkmykz Return II Iceland, this surprisingly enjoyable series of bootlegs comes on the back of Product ion Unit’s previous effort that combines Aaliyah with The xx, also to great effect. They Live (Consequence and Joe Seven) drop their fi rst album on Exit records next month. Cancel Standard sees the boys pooling their individual talents once again and offering listeners escapism from their normal surroundings with the layered, textured and deep drum‘n’bass they’re known and loved for. Finally, a bon voyage and good luck to Melbourne DJ Dust who is heading to the US to take a bite out of the big apple.



FENECH-SOLER Fenech-Soler (B-Unique/Shock)

LANU Her 12 Faces (Tru Thoughts/Inertia) Lance Ferguson enjoys a freedom that is given to few. Seldom are musicians allowed to change their st yle so markedly, whether that be by their label, fanbase or own ability. Melbourne singer/songwriter/ musician/producer Lance Ferguson can. As leader of legendary Melbourne act The Bamboos he lays down a world-class deep funk sound yet solo he explores quite different territories. His second album as Lanu, following on from 2007’s This Is My Home, has now arrived and Her 12 Faces sees Ferguson heavy on the retro-soul-pop-folk-lounge tip. If there is such a tip. Almost half of Her 12 Faces is graced with the voice of Melbourne singer Megan Washington – lead track Beautiful Trash sees her all sassy and folksy over a st rong yet kitschy 60s back beat, Hold Me Down is cute and Frenchy with its sweet st rings, Wire’s wicked bassline gives it a UK soul feel while Fall veers into indie-lite territory, amazingly escaping unscathed. Then there’s the quirky, handclapped Roosevelt Blues which is just plain odd. Over several inst rumental tracks Ferguson tries his hand at a clutch of different st yles, so Portrait In 50hz juxtaposes blissful Air-like inst rumentation with a devastating synth b-line, 1988 sports an enormous rolling drum break reminiscent of the hip hop of that era while The Coral Route transports us to a Tiki bar on some undiscovered Pacific Island. Continuing to switch it up the title track veers into Hôtel Costes jazz while vocalist Ced Le Meludo delivers a sleazy French language version of Roxy Music’s More Than This. A fabulous and varied piece of work, Lance Ferguson’s second album is a swim-up bar for the soul. DARREN COLLINS

With their debut album, British electropoppers Fenech-Soler reach once again towards international spotlight with a ten-track smattering of house infused, indie-centric musings taking aim needlepoint North. Setting sail from their last port of call, lead singer Ben Duff y brings with him the same elevating electricity that reignited the waning Groove Armada flame and shot single Paper Romance up 2010 charts. Now Duff y-plusthree, Fenech-Soler presents as a sensible while generously packed lunch. Kick-starting the occasion, Battlefields offers a welcoming choral appetiser, before ambushing the serenity amongst a muster of genre-jarring synth hits and techno slaps. Perfect ly assist ing in the band’s commitment to meeting disco throwback with power pop glitz, the album

BLUNT INSTRUMENT Twice Baked EP (Simplify)

Brisbane-based glitch hop duo Blunt Inst rument have been rocking clubs and fest ivals in and around Brisbane for quite some time now. Incorporating samplers and turntablism, their sound borrows from the likes of Tipper and the new wave of glitch producers from the west coast of America. Having released the odd track last year on SoundCloud, An-ten-ae’s Acid Crunk series and local label Ender’s free Christmas compilation, the Blunt Inst rument boys finally unveil their debut EP Twice Baked. Hands Free wastes no time in laying down a tough hip hop beat augmented with that signature squelching bass. There are shadows of Dig Your Own Hole-era Chemical Brothers and an obvious nod to turn-of-thecentury breaks in the product ion. Olympus Egg is a playful beat seemingly designed for a sunny fest ival setting, as is the ragga-tinged Slightly More with its manipulated horn samples and neck-snapping snares. There is nothing particularly esoteric about this music – but that’s not the point. These tunes are conceived, designed and executed specifically to go off in a club and in that regard, this EP kills it. BRAD SWOB

launch pad is a brassy and heated elect ro shot. As the record progresses, the intensity behind much of the tracking takes a surprisingly steep and immediate decline. While surely intended as a reprieve from the fiery takeoff, the pacing mechanism jettisons the bulk of both curiousity and momentum previously established. Over 17 minutes, the dynamic Soler-powered sound diminishes to a mere list less rumble. It’s not until we reach the journey’s latter stages that st imulation revives the palate. Across a platter of renewed colour and vigour, LA Love and Stonebridge put forward a tantalising spray of sonic meanderings, each featuring their own network of unexpected ends. In modest finale, Fenech-Soler wraps amidst the tranquil wails of Walk Alone – a lust y churn of simple, prodding ambience. While it’s a satisfying curtain-call, one does depart with a degree of apathy toward the product as a whole. CARLIN BEATTIE

SAINT SURLY LoFi Emporium (Independent)

The latest release from veteran Brisbane inst rumental hip hop artist Saint Surly, LoFi Emporium is a 16 minute beat tape comprised of a series of undeveloped ideas placed end on end the producer has released via free download. Individually, the product ions are impressive without being particularly original – Surly’s shuffl ing hip hop rhythms and panoramic sample-heavy arrangements sounding altogether too much like a grittier and more urbane re-iteration of fellow Brisbane producer Tigermoth’s cinematic formula. Taken as a whole, however, LoFi Emporium is act ually quite an enjoyable piece of work. The collagist const ruct ion of the piece – complete with spontaneous transitions and unpredictable leftfield developments – allows it to breathe and unfold in a pleasantly exciting and undeniably compelling fashion. If nothing else, Surly knows how to work a groove and, while LoFi Emporium is not mixed in the DJ sense of the word, it does flow spectacularly well (especially for what is effect ively a demo tape). There are definitely areas where the producer could stand to improve but, for a free download, Saint Surly’s LoFi Emporium is more than satisfactory. MATT O’NEILL




James Blake’s meteoric rise to fame culminates in the release of his debut album, finding an unlikely home on a major label, although it’s not entirely unsurprising given the success of underground British artists on the UK charts right now and dubstep’s st ranglehold on popular culture. The album completely eschews the sounds that propelled him to such lofty heights in 2010 – there are little-to-no shrill chopped R&B vocal samples (ala CMYK) or minimal techno (ala Klavierwerke) to be found on this self-titled debut. Instead, melancholic vocals have effects gradually added to them to the point of claust rophobia and subtle product ion techniques that sometimes come off as silence make this one a real headphone or superior sound system required listen. 1. UNLUCK A Rhodes-st yle keyboard with a haunting, yet mesmerising minor-key melody overlays a sparse kick drum and elast ic-tight snare which opens up to a high-hat pattern akin to a spray-can rattle when Blake’s vocals kick in. It’s anything but conventional as the heavily EQed vocals, keys and busy drum patterns all fight for prominence. 2. THE WILHELM SCREAM A lovelorn ballad that has Blake musing about his dreams with one of the albums more understandable lines – “all that I know is, I’m falling, falling falling, might as well fall ”. 3. I NEVER LEARNT TO SHARE “My brother and my sister don’t speak to me, but I don’t blame them” Blake opens. Beautiful as it may be, this is on some “music to break up to” type steez and when he’s repeated the line for the hundredth time and the synths have well-and-truly taken over around the 3:20 mark, you’re given a glimpse of what made CMYK so special. 4. LINDESFARNE I After the particularly oppressive preceding track, Blake finally offers listeners something of a breather here. 5. LINDESFARNE II The same song as before, but kicking in with a beat and an almost Tunnglike folky feel thanks to its acoust ic guitar and almost choral backing vocals. 6. LIMIT TO YOUR LOVE There’s not really been a “song” in the dubstep genre that has hinted so strongly that the genre could implement classic songwriting st ruct ures. It would be easy to not even call it a dubstep joint if it weren’t for the T-Rexstomp ripples you get on the meter of a mixer when that bass drum drops.


ONE TRACK MIND 7. GIVE ME MY MOUTH Blake sounds like he’s in an old dust y room on a similar condition piano singing to himself while being captured by an incognito room mic. There’s a sort of playful naivety to this one in that you can hear the background noise of the room. 8. TO CARE (LIKE YOU) A nod once again to Blake’s CMYK st ylings, with a repeated phrase being chopped and pitch-shifted over a snappy 808 80select ro beat. Th is will be too-little-too-late for some people hoping for this to be that album. 9. WHY DON’T YOU CALL ME The final short piano and voice number. It’s so forlorn at this stage that Blake can be forgiven for disguising his voice throughout, abandoning any association to the themes on it as the following, almost alien-sounding track will demonst rate. 10. I MIND An intriguing, shuffling drum pattern builds around a vocal loop and hissing sequences that sort of wander off in to the distance. We’re approaching the end of our journey. 11. MEASUREMENTS A Gospel-inspired folky song with what has become Blake’s trademark clavi-bass sound finishes the album, either hinting at what could have been or at what is to come. If this album is like a break-up, Measurements is the redeeming point where you know you’ve made the right decision. HUWSTON

FLAVIO ETCHETO Solaz (Franco Cinelli Mix) (Kumquat)

Deep, spacy goodness that could easily be slotted into minimal, house or techno sets thanks to its fluid, hypnotic nature and its impossibility to pigeon-hole into any particular genre. The beats are st ripped-back but crunchy, and there’s plenty of metallic atmospherics to give it a mechanical edge, though washed-out chords and pads keep it heady and melodic.

TANTRUMS Anomie (TANTRUMS Remix) (New Weird Aust ralia)

An amazing piece of ambient, experimental music that gives a big nod to Just in Broadrick’s Final alias. Simple, repetitive piano stabs and guitar drones are interwoven with heavily bit-crushed, distorted beats that are spaced so far apart that they almost blend into the atmospheric textures of the guitars and pianos rather than propel the track along. Stunning.

ALEXIS TYREL Burn Out Or Fade Away (lessismorerecordings)

Alexis Tyrel serves up some warm, melodic tech house for both the soul and the feet. Dripping with funk and melody, this one is all about an upbeat bassline, staccato dub chord riffs and the occasional “close your eyes and smile” breakdown. ANDREW WOWK

3DPLAYLIST 3D 1. +Dome SEEKAE 2. Mark Hollis MARK HOLLIS 3. James Blake JAMES BLAKE 4. Tomorrow WAGON CHRIST 5. Human Traffic Soundtrack VARIOUS/PETE TONG 6. Inkstains (Acoust ic) PHATCHANCE 7. Walk Like An Egyptian (Bassnectar’s 2003 Remix) THE BANGLES 8. Glow (In The Dark Dub) CIREZ D 9. Climbing Up The Walls MARCUS INTALEX FEAT LYNX AND DANNY FIERCE 10. Dusted VARIOUS/KATALYST



nown for being both leftfield and a respected techno producer, Aust ralia’s own Rick Bull (aka Deepchild) now calls Berlin home but is back on our shores for a few highly anticipated shows – and to illust rate exact ly what kind of influence those crazy Germans are having on him. Chilling out in Maroubra as he speaks about the truly international life he leads, Bull says being back in Sydney is great, but makes him realise that maybe Berlin is act ually where his heart, and now his colouring, is. “I’m definitely the whitest person on the whole beach now!” he laughs of his European-esque pale skin. “I look like a Pom. I’ve been out of the country almost a year and I’m just here for a month then back [to Berlin] again indefi nitely I guess.” As anyone who has been to Berlin can attest, there is a lot to both love and despise about the place. In Bull’s case, he accepts and even enjoys both sides, saying it all works together to create the perfect place for him to base himself for the foreseeable future. “I love the sense of community in Berlin,” he begins, clearly about to embark on a love-affair type tale of the city. “It’s a very poor state so it’s pretty heavily subsidised by the rest of Germany but the plus side is it’s a really cheap place to live and it’s really supportive of non mainst ream ventures, whether that’s music or arts. The st rength of the place is its community feel and that means there’s a lot of room for people like me. In the sense as artists we’re journeying together. Most of my paid work comes from the rest of Europe and the USA, and I do play some shows in Berlin but it’s not exact ly a cash cow!” But home is where the heart is, and Berlin has definitely captured Bull’s – due to both its support of his craft and the craziness the city is infamous for.

“I think of it pretty much as the closest I’ve had to a sense of home,” he admits. “The hardest thing about being there is being away from some friends and family, but as a base it feels like home. It’s an extended love affair I think and now after a year of living there it feels likes it’s just the beginning. I’ve been visiting Berlin for 6 years so I have a bit of a feel for the temperament [of the locals]. I find that Germans are a bit more reserved and it takes a bit of time to get to know locals, but once you do I feel a real sense of trust. I really like that, but for some people the fi rst time they’re here, it can come across as a bit cold. And it’s got its fair share of pretty loose casualties. “I guess it’s funny – I play a club like the Berghain and there’s a level there that’s known for its urine shower nights or faeces eating nights, and then you walk ten minutes down the same st reet and there’s mothers in full burqas waking in the st reet.” Even despite these types of occupational hazards, Bull seems to be having a dream run as far as achieving his own goals go. In a city he adores, making music he loves, the DJ and producer admits that it’s difficult to consider what he does in the same way others regard their day to day existence, but he is st ill realist ic about how long he can maintain his current pace. “I’ve never really felt that I what I do is a job as such,” he considers. “I’ve been making music professionally for almost 15 years and it’s got its ups and downs, but one of the things that makes it sustainable is the feeling that it’s a day to day adventure. I definitely work hard, but I kind of take the approach that I’m standing outside myself looking in and it’s an adventure and as a career, that’s as rewarding as it could ever be. I think if I suddenly feel like I’m operating as an island or in a way that doesn’t serve what’s important to me I need to reassess

if it’s a good choice. “There’s heaps of important things we can do, but what has drawn me into music is this amazing sense of friends and family that I have all around the world and that’s the primary drive for me. I’ve defi nitely noticed the toll [of what I do] on my fatigue levels and hearing, that’s a pragmatic approach, but when I was younger I didn’t really enjoy performing but now I really love playing in clubs. I should have had this rampant techno fascination in my twenties!” Funnily enough though, it’s the twentysomethings who are some of Bull’s biggest fans back on his Aust ralian home turf. Playing so regularly in Europe where clubs are known for attract ing an older crowd, Bull says working and performing across the two continents makes the age gaps evident in each of the scenes very apparent. “I think it is quite different in Europe,” he considers. “You look at a lot of the big name producers and they’re all well into their forties, and in Berlin there’s such a history of clubbing that I’d be the average or younger age at the places I’m playing. People go out well into their forties and fifties, and a lot of clubs act ively discourage people in their twenties going out. It’s only in the last year I’ve seen people in their twenties at the clubs I’ve played. It’s an importing part of surviving the cold and it’s part of the culture – it’s not so much of a meat market as it is here. But I still have gigs where people will come up and request a random mainst ream commercial track or I’ll play a classic piece of techno and younger people will come up and say ‘what’s this shit?’ but I like the fact Berlin is for all types.” WHO: Deepchild WHERE & WHEN: Bimbo Deluxe (Melbourne) Friday 25 March, Loosekaboose at Inner City Warehouse (Sydney) Saturday 5 March







1/6 HOW DID YOU CHOOSE YOUR MC NAME? “It’s a play on the saying ‘one in a million’, and at the time when I came up with the name there was exact ly a billion people on the planet so instead of one in a million, I felt like I was one in a billion. I might have to change it in a few years, but if it ain’t broken why fi x it?” HOW LONG HAVE YOU BEEN RAPPING? “Five years.” ARE YOU AFFILIATED WITH ANY CREW? “Pang Product ions, Illzilla, Public Opinion Afro Orchest ra, Black Jesus Experience, Intergalact ic Spokesmen, Simmer.” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “I got the worst stage fright and as my spot on the track was coming up I went blank and forgot my verse. I couldn’t freest yle for dust back then – still can’t – and just rambled nonsense for a good 30 seconds before someone in the crowd threw a can of beer at me.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “Let’s just say that karma’s a bitch and I will probably be reincarnated as a pot plant.” YOUR BEST SHOW AND WHY? “Falls Fest ival at the end of 2008 with Illzilla. We played at midnight and the buzz in the tent was ridiculous.” WHAT’S THAT ON YOUR SHIRT THERE? “It’s not blood... I hope.” FAVOURITE COMEBACK LINE? “Yeah? So the fuck what?” WHAT’S YOUR DREAM COLLABORATION? “Jehst, Mos Def, Blu, Black Thought over an ill Pete Rock beat...” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “Everyone’s really starting to craft their own sound and solidifying their position in this vast galaxy of music. Plus everyone’s really passionate about the culture itself so that’s always gonna help a movement get large!” WHAT GIGS DO YOU HAVE COMING UP? “The Workers Club Thursday 3 March.” PHOTO BY PENNY LANE AT THE ORDER OF MELBOURNE



DJ STIFFY’S WIDE WORLD OF SHORTS AWARDS WATCH: THE BRITS So, anyways, I’m sitting there wanking over The xx’s album, which genuinely gives me a massive erect ion despite the fact that the male lead singer looks like the guy from Depeche Mode and the female lead singer looks like she made it through to the semifinals of Aust ralian Idol, and, so, anyways, it was at this point that I act ually realised that they might win something other than the Mercury Music Prize for said album on the Brit Awards, only to discover that Take That act ually won an award for something. There were two unusual things about this. First, it made me stop wanking, which generally not even three police officers and a jail cell can make me do. Second, it made me stop wanking, get up and check my wall calendar and make sure it wasn’t fucking 1988. Anyways, all this serves as a wonderful reminder that the United Kingdom is one immensely fucked-up place. I mean, how can a country produce a sitcom which is basically about underage sex, ie Skins, and st ill make high-quality European pornography generally illegal, and at the same time, permit daily newspapers to have full-page pict ures of women with their tits hanging out on the front page? If that wasn’t enough, how can they have someone like The Orb reach number one in their singles chart, only to have Jason Donovan there one fucking week later. I mean, what the fuck is this? AWARDS WATCH: GRAMMYS Which, would act ually warrant just two words: who cares? People generally get completely amped about the Grammys as though it’s something really meaningful, and that if you have won a Grammy, somehow you’ve contributed significantly to the intellect ual and artist ic wellbeing of Western society (a similar mistake would be to think that someone who wins an ARIA might act ually find themselves in a state of complete financial security for the rest of their lives, and that they’d basically be sitting around swimming pools having their dicks sucked all day by 19-year-old aspiring act resses, at which point I would suggest that they go and ask the members of Future Sound Of Melbourne and Bachelor Girl what they get up to on a typical Saturday afternoon, and the most likely scenario is that it’s think about having their dicks sucked by a 19-year old aspiring act ress), but my point is that everyone should remember that Will Smith owns the fi rst “rap” Grammy for Parents Just Don’t Understand, which took the award out over both LL’s Going Back To Cali and Kool Moe Dee’s Wild Wild West, at which point you also need to remember that Sheryl Crow won a Grammy. And, I mean, if she never made another record would anyone be genuinely heartbroken?

DANCE MUSIC HUB CHART 1. C’Mon (Catch ‘Em By Surprise) TIËSTO V DIPLO FEAT BUSTA RHYMES 2. Everybody Surrender (Club Mix) ERIC CHASE 3. Praumba (House Mix) DARK SOCIETY 4. Everybody Wants To Rule The World

(Rauhofer vs Ozborne Remix) STEVEN LEE & GRANITE

5. Anomaly (Save The Robot Remix) JAMES VEVERS 6. Hey Cutie (Nino Live & Rowan P Remix) LOWKISS & MORGAN BELBRUNO 7. The Time (Dirty Bit)

(Extended Mix) PI 8. Tear Goes Up ODED ADAM & MATAN VERED 9. A Boy A Girl (Sven Kuhlmann Dub Mix) DALORIAN & PIXIE ROSE 10. Say My Name PORTER ROBINSON


KARL STEFANOVIC’S “LONG STABBY THINGS” The Today show’s Karl Stefanovic decided to push boundaries last week by inst igating a very awkward conversation on the topic of “long stabby things” he keeps by his bed to protect himself from intruders. The two minute conversation saw co-host Lisa Wilkinson refer to her husband as “useless” and reporter Ben Fordham comment “I’d want to be standing back and whacking them off from a distance” before Stefanovic makes a dramatic exit from the set in embarrassment. No doubt nanas around the country would have choked on their tea. So very scandalous for breakfast TV.






THE IDEA BEHIND OUR NIGHT IS… “To provide the best Aust ralia has to offer in R&B and hip hop across six rooms in fun surrounds. We host a number of international artists and local talent.” WE’LL BE PIMPING THE SOUNDS OF… “R&B, hip hop, soul, Ol Skool, disco house.”

HOW DID YOU GET YOUR DJ NAME? “Well, we run Opulent and we’re quite lazy when it comes to names.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “Anything with SWAG. Dirty south rap? Th at’s swag. Moombahton? Th at’s swag. UK bass jams? Swag.” WHAT TRACK TURNS YOU ON RIGHT NOW?


“Goblin by Tyler The Creator is pretty amazing, although we haven’t dropped it in a club…yet! Wolf! Gang! Golf Wang!” WHAT MADE YOU START DJING? “Partly the need to fill the odd slot at Favela Rock, partly the need for attention and mostly to drop music we don’t usually get to hear in a club.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “Raspberry cordial and beer. Sup with that?” WHAT’S THE WORST BOOTLEG

YOU’VE EVER HEARD? “There’s a few hip hop/90s alt-rock mash-ups that should never have gotten past the ‘Hey, you know what would be hilarious?’ stage.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “Before the night had act ually started: ‘Are you the DJ? Can you play some Black Eyed Peas? My kids really love that’.”

WHERE & WHEN: Favela Rock at Miss Libertine Saturday 26 February

KISS FM CHART 1. What You Can’t Face CHRIS MEEHAN 2. Big Jet Plane (Kultrun Mix) ANGUS & JULIA STONE 3. Whateverrr (Paul Loraine Mix) JOSH T 4. Blur the Line NATHAN G 5. Digital Rain (Kenny Summit Mix) JASON JOLLINS 6. AUS Stylin BINGE THINKERS 7. Summertime Feelin’ (Hip Hop Mix) SHERLOK & DJ RUBZ 8. Kulcha (Tribal Mix) OKA 9. Bondi Sunday NICK KNOWLEDGE 10. Island Life (Radio Edit) TAYLOR SQUARE


THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Hosted parties for JT, Nick Cage, The Gorillaz, Xzibit. We also had shows from the likes of Sean Kingston, Montell Jordan and Just Blaze.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “We have some other great tours this year. We are looking to take Playground on the road to the rest of Oz!” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “To keep it Gangstarr (or likes to try anyway) – you better be pimpin’ some fresh kicks and some good denim flows.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Happy faces, influenced by little else than good tunes and good drinks.” WHERE & WHEN: Playground at Seven Nightclub every Saturday






1 Be. @ Co

2 Faktory @ Khokolat Bar 3 Mama Said @ Circus 4 Pretty Garbage @ Abode 2
















4 1





BIMBO DELUXE Varsity: Obliveus, Manchild, Moonshine, Tahl, Matt Radovich, Lindsay Marchment. 8pm. Free. CO. Stand and Deliver: DJ Petar Tolich. 9:30pm, Free before 11pm. EAST BRUNSWICK CLUB The Freaks, The Showgirl. 7.30pm. $20 - $26. THE ESPLANADE HOTEL The Hidden Venture Changing Falls, Samuel Cole, The Mornings, Tea for Francis. 9pm. THE HI-FI Bobby Brown, Johnny Gill, Ralph Tresvant. 8pm. $80 +bf (pre-sale). LUCKY COQ Coq Roq: Lady Noir, Agent 86, Kiti, Mr Thom, Joybot. 8pm. Free. MISS LIBERTINE Elements: Ayna, Duchesz, TakaCo, Able, Manix, Sizzle, Julez, Elf Tranzporter, MzRizk, 1/6. Free entry.

THURSDAY BILLBOARD Ross Horkings, Jamie Vlahos, Matt Dean. 8pm. Free. BIMBO DELUXE Misk: Uone, Dave Pham, Tigerfunk. 8pm. Free. CO. Funhouse: Finlo White. 9pm. Free entry before 11pm. THE ESPLANADE HOTEL Fuzz Phantoms. 9pm. FIRST FLOOR Ring The Alarm: Jesse I, DJ Major Krazy. 9pm. Free. FUSION Damion De Silva, Funkmaster Rob, A-Style, K Dee, Simon Sez. 9:30pm. LOOP Mood: DJs Tuan Besar and Johan ELG. 9pm. Free. LUCKY COQ Free Range Funk: Who?, Agent 86, Lewis CanCut. 9pm. Free. NEW GUERNICA Negative Magick. 8pm. Free. MISS LIBERTINE Knee Deep: Sam McEwen, Mr. Pyz. Luke Bruin, Louis McCoy, Toby Josef. 8pm. Free Entry MISS LIBERTINE BACK ROOM Ghostsoul Ep Launch Broken Symmetry: Able and Manix, DJ Sizzle, DJ Pauly Fatlace, Ghetto Arts crew. 8p. $5/$10 with a copy of the EP. PONY Little Foot, The Rant, Yeah Boys, Scarecrow Blond. 9pm. Free. RED BENNIES Grab My Junk 6.30pm. $18 presale. $20 at door. THE TOFF Love Story: 1928, Tranter Co, Sleeves, Megawuoti, The Supremes, TDAH. 11:30pm. Free. COOLY G

FRIDAY 161 DJ Tony Montana. 8pm. 3D Master Kaos, Open Decks St, Luke, M-Experience, X-Statik, De-Gen, Side-FX and more. 8pm. $14 (guestlist) - $18 (general). ABODE LEVEL ONE The Conservatory DJ Josh, DJ Omega. 10pm. BILLBOARD Dark by Design, Shock Force, XDream, Dr Willis, Scott Alert, Lonskii, Ben Jackson. 10pm. $28.65-$50.40. BROWN ALLEY Heavy Innit!!: DZ, Roska, Cooly G, Broken Note, Son Of Kick, Consequence, Harmonic313, Filth Collins, Dizz1, Affi ks & A13. 10pm. $35 +bf (pre-sale). THE CORNER HOTEL Alpine, Body in a Box, Buchanan. 8.30pm. $12 +bf (pre-sale). CO. Paparazzi Fridays present DJ’s Nikkos, Joe Sofo & Kitty Kat. 9:30pm. Free before 11pm. EAST BRUNSWICK CLUB Old Man River, Passenger, Daniel Lee Kendall. 8pm. $17 +bf (presale) - $22 (at door). EUROTRASH BAR Mu-Gen, NXR. 5pm. Free. THE ESPLANADE HOTEL Mickey Avalon. 8pm. $45 +bf (pre-sale). FUSION Sounds Of Fusion: Phil Ross, Dean T, DJ Atomik, Johnny M, 9:30pm, $10 Guest List / $15 on the door. KHOKOLAT BAR Factory: Damion De Silva, Ken Walker, Durmy, K Dee, Simon Sez, Yaths & Jacqui Dusk. LUCKY COQ Panorama: Matt Rad, Mr George, Tom Meagher, Phato A Mano. 9pm. Free. LOOP Cosmology: Myles Mac and Andy Hart, Cosmo K, Jay Porte, Lopan, Ed White, Butch & Sundance. 10pm. LOOP Unstable Sounds: Loki, Steve Ward, Uone, Danni B, Freya & Henk.d. 10pm. Free. MISS LIBERTINE Purple Sneakers: Radio Star, DJs Wildlife DJS, Black Olives, Mary Tyler More, James Kane, JJ. $12. 9pm. NEW GUERNICA Beni, Niles Delta. PRINCE BANDROOM Paddy Casey. 8pm. $35 +bf (pre-sale). PONY 101 Proof Pantera Tribute, Primus Tribute, BLS Eye Black Label Society Tribute. 9pm. Free. RED BENNIES From Dusk Til Dawn Party: Frankie Valentine, Miss Nic, Vesper White, The Exotics. 9pm. $20 presale. $25 at door. REVOLT The Pineapple Lounge: Flood Aid. 6pm. $20 +bf (pre-sale). REVOLVER UPSTAIRS BANDROOM Melbourne Fresh Presents King George, Wallowan Lights, Callum & Gregir Friday, The Knights. 8.30pm. $15 (at door). ROXANNE PARLOUR Oh No. 8.30pm. $28.30. ROOM 680 Stoneface & Terminal. 8pm. SAND BAR DJ Tony Montana. THE TOFF Pop Rocks: Dr Phil Smith. TRAMP Kevin Griffiths.

SATURDAY ABODE SINthetic: Catatonic, Lady J, SmuDJ, SYme Tollens. 11.30pm. BILLBOARD Billboard Saturdays: Mike Metro. BROWN ALLEY Digital Reloaded: M-Experience, Miss Platinum & Dicey, Kardiac Arrest, Josh Lang, Karpe DM, Scott Alert, DJ EM, JFX. 8pm. CO. Emily Williams. 9:30pm. $12 Guestlist. $15 on the door. EAST BRUNSWICK CLUB Gold Fields, Bleeding Knees Club, Kristina Miltadou, King Kssr. 8pm. $10 +bf (pre-sale) - $12 (at door). EUROTRASH House Party: 1928, Tranter Co,

Sleeves, Mu-Gen, Megawuoti, DCeed. 8pm. $5–$10. THE ESPLANADE HOTEL QLD Flood Relief: The Australian Doors Show, Exile, Shred Zeppelin. 8pm. $20 +bf (pre-sale). FORUM THEATRE Amanda Palmer, Mikelangelo & The Tin Star, Saint Clare, The Jane Austen Argument, Jason Webley. 8pm. $57.90 +bf (pre-sale). FUSION Replay: DJs Tate Strauss, Marcus Knight, Johnny M & DJ Nova. 9:30pm. $15 Guestlist before 11pm. KHOKOLAT BAR Damion De Silva, K Dee, Jay Sin. 9:30pm. $5 guest list before 10pm. $12 guest list after 10pm. $15 general. LA DI DA Poison Apple: Ross Horkings, Clint Morgan, Death by Disco, Bianca White, Mathew Grisold, Luke Wellsteed & more. 8pm. LOOP Spinifex. 8pm. Free. LUCKY COQ Textile: Moonshine, Pacman, Ash Lee, Tahl, Kodiak Kid, Jean Paul, Sam McEwin. 9pm. Free. MISS LIBERTINE Favela Rock Febrrrrruary!: Opulent Sound, Mafia, The Disco Don, Micka5K, Club King, Mat Cant, Caz, DC. $10. THE ORDER OF MELBOURNE Divine Decadence. 8pm. $20. PRINCE Calvin Harris. 9.30. $35 +bf (pre-sale). RED BENNIES SummerGinge ‘11: DJ Machuk, MZ Diversity Crew. 5pm. $20. ROXANNE PARLOUR Larry Tee. 9pm. $23.70. THE TOFF The House Defrost: Andee Frost. Midnight. Free.

SUNDAY BIMBO DELUXE The Sundae Shake: Phato Armano, Tigerfunk, Agent 86. 6pm. CIRCUS BAR Circus Sundays: Chardy, Luke McD, Nick Young, DJ Aaron Trotman, Tom Evans, aNyO, Rowie, Katt Niall. 8pm. Free. CO. Damion De Silva, Jay J, Ken Walker, Lighting, Hoesty. 9pm. $5 guest list before 10pm. $12 guest list after 10pm. $15 general. CROFT INSTITUTE Trust’Me. 10pm. $10. LUCKY COQ Southside Hustle: Askew, Peter Baker, Booshank, Paz, Miss Butt, Junji, DJ Disco Harry. 9pm. Free. ONESIXONE Morning Glory: Dwayne Thompson, Derek K, Sam Gudge, Joel Alpha, Tom Evans, James Fava & Rob Pix, Rowie, Jad Hamzi, D-Manual. REVOLVER Revolver Sundays: DJs: Boogs, Spacey Space, Radiator,T-Rek. 8am. $15. THE TOFF Oz Soul Sundays: Ella Thompson, Abel, Killbot Kindergarten. $8 guest list. $10 at door. THE ROXY Supa Fly Sundayz: Duchesz, Ayna. 8pm. Free. YAH YAH’S Axxonn. 8pm. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION





There is something about suicide bombing that really gets to the west – something about this particular mode of combat that doesn’t seem to translate in western minds as merely another mode of combat. It can’t just be that suicide bombing is more gruesome than any other st yle of bombing because all bombing is gruesome if it hits life; whether the bomb fell from a plane, was launched by hand or carried on the body of a person who waltzed right into a cafe or market place. Nor could it have to do with the fact that in more recent times, as opposed to the Japanese kamikaze fighters of WWII, suicide bombing more often than not tends to target civilian populated areas like cafes and market places rather than military bases – particularly in the Middle East. But even the so-called conventional modes of warfare take out civilians. So it must be the seemingly ungentlemanly nature of the act of suicide bombing that makes us see it more as breaking the rules, not playing fair and totally insane. An “uncivilised” man’s mode of war. The weapon of a bunch of crazy God touting looney tunes bust ing to get what’s theirs in heaven once they’ve taken out a few of their enemies by sacrificing themselves in the process. Simplifying the act of suicide bombing in this way is also an unfair mode of war because of the many variables to be taken into account – the fact that many are educated and from the middle classes, that many already have suicidal tendencies; because many feel a deep sense of hopelessness, and powerless when it comes to being able to shape, have a say in or any control over some kind of optimist ic future; many are easily manipulated because of this; and many fight for causes and organisations with insufficient or complete lack of access to the more “gentlemanly” modes of warfare. So, really, suicide bombing is a very effect ive and improvisational poor man’s weapon. A weapon for people who don’t have a US funded military and air force that allows them to “play fair”. You have to hand it to them really, it’s genius. You walk right through enemy lines “Hey soldiers! Just heading in to see my Aunt... no need for your anti-aircraft missile here man, I’m on the ground.” And boom! Take that morale; put some psychological damage in your civilian population, we’ll see who gets elected next. LIZ GALINOVIC



DUMB THEN DUMBER I don’t care if Charlie Sheen wants to smoke crack, but the number of people willing to publicly admit that they act ually like Two and a Half Men makes me weep for the future of this planet. It’s not really surprising (there was a time when Baywatch was the most watched show on Earth) but the ratings suggest that the same people who immediately) identified the new Ben Elton show as faecal matter have failed to do the same with Two and a Half Men. I used to think that the clearest evidence of human st upidity is the way we conduct ourselves when trying to stop an elevator leaving without us. Consider this: An elevator is a large metal box which drops through the floor. They are prone to mechanical failure. Yet when the doors are sliding shut on an elevator, people don’t think twice about st icking their arm inside to stop it. We live with some blind confidence that elevator doors have “sensors”. Even ancient, rattling pre-WW2 elevators in st range buildings are assumed to have been fitted with this psychic technology. We’ll happily risk a limb by inserting it in to the jaws of this lethal, clunky piece of shit as it prepares to drop through the floor. What’s the alternative? Wait for the next one? The new yardst ick for human devolution comes via those people who are publicly expressing their grief that Charlie Sheen’s drug problems have caused product ion to temporarily cease on Two and a Half Men. Put simply: who gives a shit? Do you really need fresh episodes of that crap coming off the assembly line every week? There must be 100,000 episodes of Two and a Half Men. Can’t you just watch one that was prepared earlier? It’s not like you can even tell the episodes apart. The ingredients for an instalment of Two and a Half Men are as consistent as those in a Big Mac. You don’t get that popular by messing with the recipe. The number of people wishing Sheen a speedy recovery just so the toothless old crack head can resume work on his shonky sitcom is a major concern. Intelligent people should not be demanding new episodes of that show. We are getting dumber. Expect to see people inserting their heads in between elevator doors very soon. DAVE JORY



3D WORLD’S A-TO-Z OF DANCE MUSIC GENRES THIS WEEK: VOCAL HOUSE Vocal house is house with vocals – it seems self-explanatory, but there’s more to it than that. Vocals were always a part of house – house formed out of the discarded disco, after all. As the genre’s “godfather”, Frankie Knuckles’ early product ions remain vocal house classics – one of them Jamie Principle’s mid-80s Your Love. Nevertheless, house’s rebellious lil’ cousin techno dispensed with (“sung”) vocals. The Detroit contingent believed that the music could tell the story. Vocals were to be used for texture only – in the tradition of Kraftwerk. Th is also differentiated techno from anything broaching “pop”. Still, Kevin Saunderson assembled Inner City with Paris Grey and they crossed over with Big Fun. By the 90s, there was a quantity of inst rumental music originating from progressive housers. Vocals were deemed “cheesy”. Yet vocals stayed popular in the wider dance music with garage coming into its own. Many house vocalists were from gospel backgrounds – and so their delivery dominated a track. The record’s arrangements had to be sympathetic – though the piano break was a trope. House producers like Masters At Work needed to understand vocal dynamics in order to remix pop hits (check their amazing mix of The Boss by The Braxtons). Some house singers became stars in their own right: Robert Owens, Ultra Nate, Inaya Day... A few were part-time R&B singers (CeCe Peninston). In 1998 even that arch anti-traditionalist Armand van Helden reconfigured NY classic garage with the Duane Harden-sung You Don’t Know Me. MIGUEL MIGS


Deep house enjoyed unprecedented popularity in the latter 90s with the West Coast movement and Naked Music’s Miguel “Migs”. The Brits, too, were involved in vocal house – most famously, Basement Jaxx took it to the mainst ream with Remedy. Aust ralia’s Madison Avenue spawned a global hit in Don’t Call Me Baby – Cheyne Coates less diva than kittenish. Over the past decade vocal house has been marginalised. Veterans like Knuckles, now fostering gospel house, decry the lack of song-based dance records. He’s attributed this to the fact that many producers now work solo in bedrooms on laptops and are less inclined to hire vocalists.The irony is that vocals exist in David Guetta’s elect ro house bangers, even if increasingly his work mimics Euro-trance. Aussie DJs John Course and Dean Cherny both cite Kings Of Tomorrow’s Finally (featuring Julie McKnight) as their all-time favourite vocal house record. (Few realise that it’s about dying.) Roger Sanchez predicts the imminent return of vocal house. Still, some are suss on revival talk. Says Acid Jacks (Antonio Celest ino), who lately mixed a OneLove CD, “Since all the kids who were fist-pumping to elect ro bangers three years ago got sore shoulders and discovered AZARI & III, everyone is saying vocal house is back. I didn’t know it ever left!”





CARIBOU, FOUR TET THE HI-FI: 16.02.11 The weather outside The Hi-Fi may be ghast ly but the music inside can only be described as glorious. With both the early and the additional late gig completely sold out and a number of hopeful punters scrambling for last minute tickets, the visit of elect ronic maverick Four Tet and Canada’s serene beat master Caribou is clearly much anticipated. Up first, Four Tet aka Londoner Kieran Hebden appears a little distant. So immersed is he in his performance that those he’s supposed to be performing to seem to be the last thing on his mind and there’s an air of disengagement to the whole performance. The beautiful Angel Echoes gets a good response as does Burial collab Moth, but the highlights are few and matters aren’t helped by the poor sound quality. Opening with the echoed synth riffs of Kaili, Dan Snaith and his comrades in Caribou (including the awesome Brad Weber on drums) seem to st ruggle early, the crucial cohesion between the four somewhat lacking. They quickly correct the disparity, taking us through an impressive performance of a number of tracks from acclaimed 2010 release Swim (including Jamelia and Odessa) as well as Melody Day and a couple of the more 60s sounding efforts from earlier album Andorra. As well as Snaith’s vocal contribution, he also CARIBOU - PHOTO BY LOU LOU


picks up a number of inst ruments, looking equally content st rumming riffs on the guitar, hitting the skins (albeit no where near as well as the guy sitting across from him) or playing the bongos. However, Caribou’s unique sound shines brightest with the addition of the immense and uplifting elect ronic sounds that steer and manipulate the live performance. Returning to the stage to finish with an awesome interpretation of Sun, Snaith frantically twists and turns knobs and buttons, demonst rating this organic/mechanic combination in its finest form. RICHIE MELDRUM


EVIL EDDIE TICKETS After blitzing the crowds at the Peats Ridge and Woodford Fest ivals at the end of 2010 in what was his live solo debut, exButterfingers front man Evil Eddie is set to hit the road again in February and March for a run of East Coast shows. Since the release of his fi rst single Queensland at the end of last year, Eddie has been making a name for himself around the country. The track has racked up over 55,000+ views on Youtube and also reached the #1 position on Triple J’s Super Request. Eddie brings with him on the tour an all-star Brisbane-based backing band which boasts members of Butterfingers, Laneous and the Family Yah and Spitfi reliar when he hits East Brunswick Club Friday 4 March. For your chance to win one of five double passes, email your name and contact details to with EVIL in the subject line. Entries close Friday 25 February. Don’t miss out.


FOTOFONE GIVEWAY Fotofone is a unique new product that enables anybody to create their own personalised mobile phone cover in less than two minutes. You can put anything your heart desires on the cover in full colour – your best mate, favourite person, your children, your grandchildren even The Bieb. You may even want to go creatively nuts and design your own personalised cover if you feel so inclined. 3D World have five Fotofone mobile phone covers to be won valued at $29.95 each. For your chance to win email with FOTOFONE in the subject line. Entries close Friday 25 February.

HOW DID YOU CHOOSE YOUR MC NAME? “I was always a fan of wacky races growing up as a kid with Muttley being my favourite character, but the name was given to me by my best mate Geoff aka Redfox (RIP).”


HOW LONG HAVE YOU BEEN RAPPING? “Wrote my fi rst ever rap in 2002, a track called Starting Out which as the title st ates was about st arting out writing music, Geoff wrote a verse as well and we recordered it full bedroom st yles with a dodgy as computer mic in a mate’s st udy at his mum’s place.”

Johnston in Fitzroy supporting Motley and Mantra. Me and K-Dell went to go get a feed... unsure whether it was nerves or just a dodgy feed or a combination of both but a few steps across the road and K-Dell starts power spewing in front of oncoming traffic... with time pressing we both ran and spewed all the way back to The Johnston.” YOUR BEST SHOW AND WHY? “Best show would be at Swindlers up at Mt Hotham were we supported the almighty Funkoars and Ash Grunwald. We have a good following up at the snow and Hotham is where we all ride so we had great support from our mates and the locals.”

ARE YOU AFFILIATED WITH ANY CREW? “City Wide Krew which consist s of four MCs – Fusion, Sammy Rockswell, K-Dell, Muttley and DJ/Producer Pyrex.”

WHAT’S THAT ON YOUR SHIRT THERE? “City Wide Krew on the front and Th ird Chapter on the back - mates clothing label that has got behind us from day one.”

WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “My fi rst gig was with City Wide Krew although two of the Krew were overseas so we had to shuffl e things around so it was just Fusion and I on the mic and Pyrex on the wheels of st eel. At that point in time we only had one track recorded On Th e Push... and were blown away when peeps rushed the front and were singing the hook word for word with us and a few knew our verses too.”

FAVOURITE COMEBACK LINE? “Excuses are just like arseholes, everyone’s got one and they all fucking st ink!” WHAT’S YOUR DREAM COLLABORATION? “Seeing as you said dream I’ll have to say Souls of Mischief, Q-Tip and City Wide Krew.” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “Gigs at The Nash in Geelong, the relativity of the lyrics and the affordable ticket prices.”


WHERE & WHEN: City Wide Krew at The Johnston Friday 25 February,

The Sporting Globe (Geelong) Saturday 5 March




Overview: A blog established to educate the average party person on the correct way of interact ing with “real” DJs. “Th is blog is here to help you learn how to deal with and interact with DJs. Most DJs are highly trained, experienced, talented people who know how to do their jobs well. So please, just let them do what they do. Learn the ‘what-not-to-dos’ from this blog, and Trust the DJ.” Design: Pretty basic but extra points for scribble cartoons which offer a visual representation of each post – just in case you didn’t get the message first time round. Recent Posts: 16 February – Promoters: “The perfect occupation for a 21 year-old douche with a modest trust fund who’s only discernible skill is ‘likes to party’. They all talk a big game about how hot their parties are and how deep their email list is and how they can get people out every night of the week. There is no real loss to the club (since they usually pay a percentage of door/ring) so they say ‘sure, go for it’. The promoters have to keep costs down, so they try to lowball the good DJs. Or just hire shitty ones who’ll work for drink tickets. They also need the DJ to have tons of Twitter or facebook ‘friends’.” Quality of content: While the opinions expressed are contentious and condescending the approach is amusing nonetheless. Chuckleworthy cartoons really save the day. Frequency of updates: 3-4 posts per month. Downloads/Streaming: None. Audience: “Highly trained, experienced, talented” DJs.



THE BREAKIN’ COLLECTION GIVEAWAY The Breakin’ Collection is all your breakdancing cult fi lms rolled into one DVD package. It includes Beat Street (considered one of the most influential hip hop movies of all time), the story of rapper-DJ Kenny (Guy Davis) who meets cultured Jazz artist Tracy (Rae Dawn Chong) and is so inspired by her dedication that he vows to use his talents to escape the ghetto. Breakin’ meanwhile follows breakdancers Ozone and Turbo as they compete for the affect ion of the lovely jazz dancer Kelly, while Breakin’ 2 follows on from the fi rst fi lm with the original and new characters fighting to save their community dance centre from the threat of developers dest roying the venue. 3D World have three copies of The Breakin’ Collection to giveaway – for your chance to win email with BREAKIN in the subject line. Entries close Friday 25 February.


TUBETIME The incredible world of television with 5SPROCKET

Canned laughter is back, and being consumed in the factory load with the new sitcom Mike And Molly (Channel 9). A mindless half-hour programme about a morbidly obese police officer (Mike) in romantic pursuit of a morbidly obese teacher (Molly), the show has the ability to stun you into starvation. With a cast of supporting characters than can barely carry the load, the show follows the struggles of its Titanic titular subjects doing things that other people wouldn’t find particularly hard or interesting – like walking, catching a bus and not eating triple fried chicken in a public library. With Mike And Molly, each character is essentially two-and-a-half men in one overstressed skeleton, “larger than life” characters that truly are bigger than existence. The Frankenstein behind this monster is Chuck Lorre, one of the hardest lunching men in Los Angeles. Responsible for “hits” Two and a Half Men and The Big Bang Theory, Lorre has managed to successfully discover the lightning-in-a-bottle formula for massive ratings in Dumpsville, USA: Food. With the USA being the fattest nation in the Western world, it only seems fitting that the network pants are st retched to accommodate. It is a coup for the companies that advertise during the programme, as nothing makes you want a Big Mac more than watching a whale-sized person st ruggle with dieting. You could be an idiot and defend the show as something that validates bigger folk as decent, ordinary people. To do this you would need to completely disregard the show’s frequent jokes about fat people doing fat things in a fat way because they are fat. It becomes part of a cycle of social marginalisation that reaffi rms the worth of “the heavy set” on one hand while cast ing them off with the other. With a romantic thread that is as genuinely inspirational as a parent saying to a child, “No, Muff y isn’t dead”, the processed cheese of its concept smears over widest of all screens. The show wants to make you believe that underneath layers of pre-liposucted fat, Mike and Molly are sweet skinny people that just want to love. Mike has aspirations of “breakin’ some beds” with Molly, while she is just looking for a life companion that doesn’t dry wretch on sight. If the show proves a hit it will be easy to see these sad and lonely heavies remaining obese for a long, long time.



Aron Ralston is a douchebag. The twentysomething doesn’t shave, he doesn’t return his mother’s phone calls and he likes to rock climb. Living a self-absorbed life of recklessness, he act ively casts away all the people that love him, preferring to escape the realities of life by journeying into the desolate plains of Utah. After fl irting with two, like, totally random college girls and running across cliff faces, Ralston finds himself in a tricky situation. Tumbling into the guts of a canyon in the middle of nowhere, he finds himself in the “hilarious” situation of having his hand caught under an immobile piece of rock. It isn’t difficult to see the where 127 Hours is heading – to hardcore Bear Grylls territory with more piss drinking, torchlight wearing and direct-to-camera monologues than you could single-handedly throw a st ick at. Director Danny Boyle (Sunshine, Slumdog Millionaire) throws you into Ralston’s cramped and primal existence, employing his hyperkinetic fi lmmaking st yle to position you sqaurely inside his decomposing mindset. Ants crawling over his eyelids, fingers melting into a dead blue, it becomes an ordeal to be with a character that couldn’t give you a wave even if he wanted to. The fi lm’s hype gives away its obvious conclusion, which is possibly the nast iest hand job ever put to celluloid. If extreme close ups of nerves being severed to a high pitching indust rial soundtrack are your thing, then get the biggest tub of popcorn you can wrap your skull around. For everyone else, especially people that think rock climbers are complete fucking morons, 127 Hours is an intensely exhaust ing experience that rivals nuclear apocalypse in the fun stakes. Obviously he survives, because he managed to write a book out of it. With his good hand. As it is essentially an account of one man’s st ruggle to survive, it is James Franco who completely steals the fi lm. Acutely negotiating the territory between a rock climbing arsehole and a fear st ricken normal person, Franco manages to transform Ralston into a complex and engaging rock climbing arsehole. A driving AR Rahman score vomits a frenzied energy over scenes where nothing happens, and then Dido plays over the credits. 127 Hours is a very good fi lm, but it’s about as much fun as watching a puppy get hit by a freight train. To find out that the puppy survives leaves you feeling slightly relieved, but the experience of seeing a puppy

go through the most terrifying experience in its life will make you st ressed and cry. Sure, you can chuck some Sigur Rós over it and it instantly becomes life-affi rming, but with Boyle relishing the discomfort of his protagonist this hand-sawing fable is less fun than you’d think. The fi lm has been nominated for six Academy Awards, including Best Pict ure, Director, Writing, and Music. It does not have the same crowd pleasing optimism of Boyle’s previous fi lm, the Best Pict ure winning Slumdog Millionaire, but it does have a ring of gung-ho “we can do it” optimism that Americans love so deeply. That said, 127 Hours does make you feel a lot better about having the ability to clap. WHERE & WHEN:

Screening in cinemas now 5SPROCKET




ONCE THE WORLD’S MOST SUCCESSFUL MUSIC VIDEO GAME FRANCHISE, GUITAR HERO’S STILLSMOULDERING CORPSE NOW LIES SPAT ON AND ABANDONED BY CONSUMERS AND DEVELOPERS ALIKE. MITCH KNOX TRIES TO CLARIFY WHERE THINGS WENT SO HORRIBLY WRONG. It’s a balmy summer’s evening in late 2008. Four friends are in any suburban living room in any respectably-sized town. Th ree stand, one sits. All have miniature and frankly ridiculous plast ic and rubber inst ruments in front of them but they don’t care. In this moment, they are rock gods. They are awesome. Their proud silence is deafening; their thoughts uniform: “Suck it, At The Drive-In. We just Experted the shit out of One Armed Scissor. You’ve got nothing.” That was then. Now, all current and future developments for the Guitar Hero series have been cancelled by Act ivision, the game’s dist ributor, and those inst ruments are collect ing dust in storage cupboards under staircases. Th is is not to say the entire music/rhythm-based game genre is at death’s door. The platform has simply shifted from cumbersome console-based experiences to more affordable, portable ones, as shown by the continuously growing popularity of mobile apps such as the iPhone’s Tap Tap Revenge. But back then, Guitar Hero: World Tour – the fourth instalment of the wildly and unexpectedly successful franchise – was the new hotness, while its predecessor Guitar Hero III: Legends of Rock (2007) was quickly on its way to becoming the fi rst game in history to achieve $1 billion in sales. World Tour, however, differed from the fi rst three games in the series by adding drums and vocals to the previously purely guitar-based mix – a response to the Rock Band franchise of games that spawned following original GH developer Harmonix’s oust ing from – and Neversoft’s ushering in to – the series after the release of the second title. Rock Band (2007) was successful in its own right but suffered in Aust ralia from limited availability, as did its two sequels. Ironically, World Tour turned out to not just be a clever name, as it really was the peak of the whole Guitar Hero experience. From that point the series’ standing and career eerily mirrored those of the bands for whom Neversoft was seemingly endlessly churning out tailor-made specials: Aerosmith in 2008, the next year Van Halen and Metallica; it was all clutching at fading glory. By the time Guitar Hero 5 arrived in late 2009, the developers’ desperation was well apparent. Band Hero appealed to the teen pop market while GH5 did its best to be as overbearingly diverse as possible and appeal to everyone. Then, the next month, came DJ Hero. DJ Hero was the turning point. Yes, GH5 took a month to sell 500,000 copies – a figure World Tour reached in 7 days – and its successor Warriors of Rock (2010) managed a crappy 86,000 in its first week, but DJ Hero stands out not just for slow and pitiful sales but as being the only game in the entire expanded franchise where you cannot fail. Th is means the developers removed the only obstacle to success from a game const ruct where the only pre-requisites to play are hand/eye co-ordination and not being colour-blind. In Warriors of Rock, the ill-advised addition of special abilities meant players could blitz through songs with unsettling ease at high difficulties. In both cases, the replay value of the games was inherently scuttled, and with it all sense of enjoyment and novelty; by the time DJ Hero 2 was released late last year, it was frankly just too laborious to care about it. The demise of Guitar Hero is sad, but it is in no way surprising: they came, they saw, they milked it to death. Alas.


3 GENRE CROSSOVERS THAT (MAYBE) COULD HAVE SAVED GUITAR HERO 1. FANTASY LEAGUE Okay, so, you take all the fun of pretending to be a rock star in Guitar Hero and you mix it with all the fun of pretending to be a band manager to produce a hyper-realist ic and mega-st ressful most ly text-based adventure that lets you live the music dream from the side stage. Admittedly, it sounds only marginally better than having to do it in real life, and that’s purely because of the fact you wouldn’t have to leave your couch for it. 2. FIRST PERSON SHOOTER Aerosmith act ually already did this once back in, like, 1994 with a spectacularly terrible arcade game called Revolution X, which revolved around you saving the world by shooting CDs at an army of guys dressed in the same yellow jumpsuit. Public Enemy were due to get a similar game but Aerosmith’s sucked so hard it never happened. Admittedly, FPS have come a long way since that virtual nightmare, although it’s st ill hard to believe shooting CDs or hurling MP3 players at guys trying to stop you from partying down would be any more engaging just because TVs are HD now. 3. MMORPG People are happy to sink hours – nay, days – of their week into farming supplies for whatever the raid du jour in World Of Warcraft is these days. So who’s to say that people wouldn’t be happy to roam massive virtual landscapes engaging in wicked guitar solo duels that end only when the other character’s face melts off and you get to loot their rocked-out corpse of all its valuables? Plenty of folks, probably...




Ingredients: Bangkok, a city of 10 million with equator-side climate and biodiversity. A dystopian bio-tech novel set in this city after oil has run out. Add Dental Tourism into the mix and st ir lightly. THAT NOVEL What you get is The Wind Up Girl by Paolo Bacigalupi, and it’s quite an engaging ride, vividly portraying what a Thai metropolis would look like through a Mad Max filter. Street ingenuity and cultural traditions mix and match in uniquely Thai ways to deal with the problems of a post peak oil city suffering from bio-tech plagues. The problems are many, including heat (Bangkok is the world’s hottest city according to the World Meteorological Organisation), the threat of floods (from monsoons, rising ocean levels, and because the city is built on slowly sinking swamp land) and the need to feed (the novel offers a bleak future where bio-tech diseases have wiped out most of our biodiversity and provide a small number of disease resistant options to keep us from starving. Most of the book’s conflict centres around battles for control of the city’s food). A cheery read then, when en route to Bangkok to have a dentist poke around in your mouth... THOSE TEETH True stories: dentists and surgeons in Bangkok have managed to cultivate a reputation and niche for medical tourism, offering high quality service at super competitive prices. It’s probably owing in part to the popularity of gender switching in Bangkok, where billboards show cowboy hat wearing doctors offering their sex change surgical specialties. A taxi driver claims the high degree of microsurgery specialty is from the toughness of Thai women, with severed organs having to be re-st itched onto cheating husbands. Whatever the reasons for the abundance of affordable medical infrast ruct ure in Bangkok, the fact remains – its dentist ry is cheap. A mangled mouth in Melbourne, could find it half as expensive to get teeth fi xed in Bangkok, the price of airfare included. According to, a return trip from Melbourne to Bangkok (16,005ks) produces 1.58 tonnes of CO2, and the burden of this can be lifted by paying carbonneutral $24.81 to offset that CO2 in one of their renewable energy projects. Or just buy 20 toothbrushes and floss and give them to your friends. @JEAN_POOLE


HOW AND WHEN DID SPINIFEX COME TOGETHER, AND WHAT SORT OF TWISTS AND TURNS HAS YOUR SOUND TAKEN ALONG THE WAY? Pavel: “I’d been dabbling in product ion for several years. About 18 months ago I met Thom who was a keen DJ, and as it became apparent we shared the same taste in music and tended to frequent the same parties, we started chatting about working together. So I’m more focused on the product ion, whereas Thom likes to rock out on the decks, mixing the music and creating an awesome party environment.” Tomek: “For me, being part of something like Spinifex had always been a bit of a pipe dream. I had always romanticised the idea of mixing at big parties, but had always kept it in the garage. Pavel and I met in late 2009, and as we got know each other, it became obvious that we wanted to try and do big things music-wise. Before I knew it, Pavel was pushing me some great music, and we started to run around parties playing it.” HOW DOES THE MUSIC YOU CREATE AS DJUMBA DIFFER FROM SPINIFEX? Pavel: “Djumba and Spinifex are both elect ronic music projects. Djumba is a world music elect ronic project which emphasises live inst ruments, whereas Spinifex is weighted much more to the elect ronic side. ” Tomek: “I’ve always thought of Djumba as

relatively hairy and highly intoxicated, a distant uncle perhaps? Larger than life and constantly shouting, it’s all about the energy and encouraging people to jump around. Spinifex on the other hand is far more serious. It’s a German professor, standing over a microscope, wearing whites and tweaking wavelengths. It seems far more precise.” TRUMPETS AREN’T NORMALLY THE SORT OF THING YOU ASSOCIATE WITH LIVE PROGRESSIVE/TECHNO ACTS – HOW DO YOU MAKE IT WORK? Pavel: “Live inst ruments are not used much in elect ronic music. But there’s no reason why they shouldn’t be. With fi lters and effects you can transform the sound of a trumpet into something really elect ronic sounding, something that can be played together with deep techno.” WHAT ELSE DOES YOUR LIVE RIG CONSIST OF, AND HOW DO YOU USE IT TO BRING YOUR STUDIO IDEAS TO LIFE ON STAGE? Tomek: “I have the mentality that more is more. More keyboards, more control surfaces, more Ableton, more effects… the whole kit and caboodle. I figure if you have everything at your disposal you should get somewhere near where you want to be. However, I guess it does make set-up a bugger.” SOUNDS LIKE THERE’S AN EP WORTH OF MATERIAL ON YOUR MYSPACE – ARE YOU WORKING TOWARDS A RELEASE OF SOME SORT? Tomek: “I suppose that was our aim with the tracks on Myspace. We really wanted to show our audience what Spinifex is capable of. There’s some really quite dark tech, some quite alternative prog, and some semi-commercial house music. At some stage an EP would be amazing, but at the moment we’re emphasising the live side of things. It’s about getting out and getting heard, trying new ideas and new ways of performing. I think it’s really important to tailor your performance and craft something that really engages the audience.” SOUNDS LIKE YOU’RE JUST STARTING TO TAKE SPINIFEX OUT INTO THE WORLD – WHAT’S THE GAMEPLAN FOR 2011? Pavel: “It might sound a bit clichéd, but it’s st ill always about the love of the music, and creating sounds. Apart from that, we’re planning to play quite a few gigs in Melbourne, and it looks like we’ll play a few gigs in Europe in July. We’re also hoping to hit the fest ival season next Aust ralian summer.” Tomek: “Push, push, push! We’re really focusing on developing our st yle, and how we bring it to our audience. Trying to get tract ion with the local scene, fest ivals and so on. The love for the music is always going to be key, and hopefully this year will treat us well.” WHO: Spinifex WHERE & WHEN: Loop Saturday 26 February




IKE A HIGH-FASHION CULTURAL EXCHANGE PROGRAM, OPENING CEREMONY IS A UNIQUE FASHION RETAILER FEATURING FASHION FROM A DIFFERENT COUNTRY EACH YEAR. CO-FOUNDERS HUMBERTO LEON AND CAROL LIM, WHO LAUNCHED THEIR FIRST STORE IN NEW YORK IN 2002, LIVE EVERY FASHIONISTA’S DREAM, TRAVELLING THE GLOBE SCOURING FOR THE CRÈME DE LE CRÈME OF FOREIGN FASHION TO BE DISTRIBUTED THROUGH THEIR BRAND. Collaborative design is also a key element of Opening Ceremony’s retail philosophy and over the past two years the store has collaborated with actress and style icon Chloë Sevigny. Inspired by nostalgia for her early days in New York, high school thrift store finds, and music by Depeche Mode and the Slits, Sevigny’s clothing lines have featured body-conscious gingham check skirts, mesh jersey party dresses, and floral prints. The actress recently teamed up with Opening Ceremony for a third time to create a dramatic assortment of high heel clogs with natural wood soles complemented by a special line of boots and shoes created in partnership with one of Sevigny’s favourite brands of the 1980s and 1990s, NaNa. Don’t sleep on this classic range – view full line at: &



Stephanie Simek Gold-LinedQuail Egg Necklace ~ $175.

ZU Poppy beige lace up ~ $100.

Evil Twin Young Bloods Tri-Colour Shirt ~ $89.95. Evil Twin Young Bloods Nothing Else Matters Leather Pant ~ $289.95.

Meow Girl Black Skull flower hair accessory ~ $35.

Keds Champion Hi Fold Over White Perfed Leather ~ $149.95.


8-bit watch ~ 69.99.

Lure Briefs Angels Please The world’s sexiest lingerie brand made famous by angels Miranda Kerr, Heidi Klum and Giselle Buchen, Victoria’s Secret is set to hit our shores with Sydney-based Speciality Fashion Group in talks with Victoria’s Secret’s parent company, Limited Brands, to make this retail dream a reality. Bring on the cheeky fashion parades, sexy catalogues and ensuing credit card debt!

Superdry Tokyo Laundry Tin Tab Tee ~ $59.95. 1800 132 780

Babes In Blue The Adidas Originals Blue Collection – aka Blue Label – will no doubt be a line of desire for peeps who already dig this iconic brand. Expanding from their sportswear base, Adidas denim threads may not be any better than jeans you already have on but one look at their kick-ass marketing campaign featuring a smorgasbord of sexy, scantily clad hipster types dancing around to dope beats will have you frothing to look just half as rad.

Unconditional Cropped Carrot Jeans ~ $200.

Meow Girl White bone necklace ~ $54.

Real Lovin’ Flamboyant designer Betsey Johnson stunned attendees at her New York Fashion Week show last week by allowing “real” people to walk the runway. Models were shunned backstage as staff from Johnson’s retail stores were let loose showcasing a colourful collection called He Loves Me … He Loves Me Not. The eccentric designer ended the show by dancing down the runway with stylist Patricia Field. Check out this kooky range at

EPIC Super fly hip hop diva Nicki Minaj showing some love to Aussie label Ksubi by stepping out in their I Beleaf Knit Dress for a pre-Grammys party hosted by her label Cash Money Records.

FAIL Sultry singer Eliza Doolittle in a Manhattan Portage Big Apple Backpack ~ $99.95.


multicoloured, 90s-style, lip-print minidress at the Elle Style Awards in Central London.




Living in a suburban 80s household and having zany new adventures each week, such as selling make-up, befriending an immigrant or doing a magic show.


“Once we add sound, colour and stick Eddie Murphy in there somewhere, it’ll be a smash.”


Always has a witty comeback. Likes to eat cats.


Is an obnoxious git. Co-stars described woking with the puppet as pure hell, taking up to 30 hours to fi lm a 20-minute episode. Has also been caught saying the ‘N’ word repeatedly.

FROM? Melmac.



3’ 9”, bigger when erect.


Being kidnapped by a young boy and wanting to get his parents to come and take him home. In a giant spaceship, of course.

QUOTABLE QUOTE? “ET phone home.”


Has magical powers, can also make bikes fly. May be the second coming of Christ.


Conversation is limited. He also has frequent shadowy government figures chasing him. Doesn’t have a job.

FROM? Brodo Asogi.




Terrorising mining crews by spewing green acidic blood, eating crew members alive and generally being a difficult guest.




Gets Sigourney Weaver to run around in her underpants.


It will jump on to your face, lay eggs inside your body and burst through your chest. And that’s when it’s a baby.


Asteroid in Deep Space.


EMPLOYMENT ADMINISTRATION Female Vocalist Wanted for Working and Established Band CountDown Explosion. Performing Retro covers in a Show Format to the Corpoate and Club Market.Experience Essential see ph Trevor 0411323700 or Email iFlogID: 11238

ENTERTAINMENT 3D Animator needed to collaborate with musician/sound designer on experimental audio/visual project. An interest in music or a musical background preferred. If successful, our content will be seen at large scale live events such as festivals, concerts, etc. Email: iFlogID: 11267 Theatre,Backstage,Lighting,Sound ,Crewing jobs online now at join our facebook page search backstagejobs. and press like or join the fun on twitter/bsjaustralia its free to join and search iFlogID: 11112

PROMOTER MUSIC ARTIST MANAGER REQUIRED. I require a special person who has the drive and business acumen to become a successful and well-paid International Music Artist Manager working with a fast-emerging Australian talent. You will need past Music Industry and Media experience, energy and enthusiasm. Together we will conquer the world of music entertainment. Phone Geoff NOW at Extraordinary Entertainment* on tel: 9969 1179. Mosman area. Please note, this position will commence on a commission-only basis, then reviewed to include a retainer. Based in Sydney. iFlogID: 11460 Promoters wanted for a nightclub in kings cross easy money Get paid to party Duties will include Hosting/ organising birthdays/ flyering for more details jarrad@therouge. iFlogID: 10887

RETAIL & CONSUMER PRODUCTS Art Gallery Promotions: Refer students to this art course and make $30 commission on each sign-up. Email Immediate start, no set up costs. Fun and informative art lessons. Ph 0421356410 iFlogID: 11197

FOR SALE AMPS 80 watt 12”combo with reverb,saturation and more.2 channel footswitchable.USA made. great fat tone.VGC.$350. Cooroy. Ph.0428744963 iFlogID: 11486 Fender Super Reverb guitar amp (circa 1969 - 71) 4 x 10” original Fender speakers, top right speaker needs re-coning otherwise unit sounds great. Needs cleaning. Speaker repair cost is approx $200 in Sydney. Will deliver anywhere in Sydney...Sell $1895 iFlogID: 11075

Markbass Studio Pre-500 bass amp. Top of the line unit...Three stage distortion... 2 x valve stages + solid state... Compression onboard....EQ.... 9 months old still under warranty. Retails for $4395. SELL $1950 ...Perfect condition. Will deliver anywhere in Sydney. iFlogID: 11077 ORIGINAL 1973 VOX AC30 Amp! Get the original from the year Brian May made it famouse!It’s now a head & cab as head was taken out and given new casing to preserve it’s condition. pics avail on request. 0403-498-103 iFlogID: 11000 Vase All Valve Guitar Amp. 1960’s Trendsetter 60 with vibrato. with 2 2/12 matching cabs.very loud,great tone.australian made. Perfect Original Working Condition. suit collector/enthusiast. $1200. Cooroy Qld. Ph.0428744963 iFlogID: 11336

DJ EQUIPMENT DJ Equipment for sale. Two Pioneer CDJS 800mk2, pioneer DJM700, RCF booth monitor with stand. Equipment come with stand and desk. PLUS giving cd wallets, record bag and brand new recording microphone for free. Price - $2,000! iFlogID: 10916


iFlogID: 11167

CARVER 1800W PA. rack mount. split mono.with Bose controller/pre amp.8 speaker outputs.very loud. in case.VGC.cost over $2500.sell $850.Ph.0428744963.Cooroy. iFlogID: 11482




Create your own merch! Screenprinting workshop at Monstrosity Gallery, inner Sydney $95 full day. Arrive with ideas, leave wearing your band’s merch. Fun and creative. We also print Custom Tees from $15 each. 0421356410 iFlogID: 11194

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 iFlogID: 9346


--------SYNTH SERVICE MELBOURNE--------Specialising in sales and repairs of pre 90’s analogue synths. Complete recalibration/tuning, sliders and keys refurbish only $130. Visit: www. Call or Text Luke: 0424 420 605 iFlogID: 10928

BOOKING AGENTS Gig Launch are looking for artists to receive free radio play in and around Australia. Lots of genres, lots of time slots. Submissions are free, we just need quality songs! To submit, head to www.giglaunch. iFlogID: 10930 Gig Launch is Australia’s first online booking agency, connecting artists and promoters all over the world. Opportunities local and globally, we need quality artists for our gigs! Head to to submit. iFlogID: 11207


Looking for more DJ gigs in the city? Hawthonre Touring is a booking agency who helps DJs become known in the scene. If you are interested in having a manager, please email me at or visit the website iFlogID: 11102

Korg Mr-1000 1-bit professional mobile recorder.Includes Korg’s exclusive AudioGate software and carry bag. As new condition. Original packaging. RRP $2500. Will sell for $1200 O.N.O. Call Shaun on 0408 993 889 or e-mail billop93@ View online ad for more details. iFlogID: 10769 Lexicon MX 220 Dual Reverb Effects Processor. A pristine, never used unit, ideal for small studios. iFlogID: 11124 Male Siberian Husky 8 month Puppy Great Affectionate Nature Pedigree Papers Chipped and Vaccinated All accessories with sale $500 negotiable call matt 0425 820 547 Sydney iFlogID: 11502

PA EQUIPMENT Australian Monitor, Inter-M, dbx and more. The Princess Theatre is selling a number of PA components including amps, foldback wedges, rack cabinets, and crossovers. Check out the list and prices at Contact Jeremy 0400 404 919.

“The Jam Room” in Parramatta is now open for band rehearsals from 8pm-12am Mon-Sun. Would suit regular rehearsing bands. $30/ hr. Option to record live rehearsals for demo’s. 0407125837 - www. - info@jamroom. iFlogID: 11429

Mastering by Wayne Lotek (UK), award winning producer of Roots Manuva and Speech Debelle. From $50 per track, online service available or come into the Melbourne studio. All styles catered for, reggae, hip hop specialist. Email: Phone: 0394170760 iFlogID: 11132

Gig Launch is Australia’s first online booking agency, connecting artists to promoters. We’re currently taking submissions on a large amount of opportunities and gigs, so head over to www.giglaunch. to submit your songs and information! Go Aussie, go Gig Launch! iFlogID: 10938

Going to Byron Bay Bluesfest? unfortunatly i had to cancel my trip. Selling 2 tickets flying Rex Airlines Sydney Ballina return. Depart Sydney 22/4/11 8.10am arrive Ballina 9.50am depart Ballina 27/4/11 10.10am arrive Sydney 11.55am Total price $730 phone 0405088122 iFlogID: 10984



Yamaha O3D 16ch Digital Mixing Console. Good condition. All functions fully working except two I/O on the back panel (monitor out, 2 track in). Mic pres are very good. manual included. Inspection welcome $850 negotiable 0425358190 Martin, Marsfield. iFlogID: 11419

Excellent studio monitors, Yorkville YSM1P. Sparsely used and in great condition. iFlogID: 11126

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 iFlogID: 11100

Daniel is now giving guitar lessons phone 0432 614 066 iFlogID: 11253 Man and van available for small removals etc. Affordable rates for quotes phone Ken 0403357019 or 97590970 iFlogID: 11083 Valleyarm Records are looking for bands for our A&R Showcase Series live gigs at the Prince of Wales Hotel in St Kilda. All bands selected get a 3yr distribution deal automatically. Contact if you are interested. iFlogID: 10936

PA / AUDIO / ENGINEERING Hire a vocal rig with or without foldback or hire larger system with operator. 2200 watt Front Of House with subs + 600 watt foldback. Reasonable rates. Delivery and set up possible where operator not supplied. Gigs, weddings, functions, etc. iFlogID: 11108


OzSong International is now accepting submissions! Choice of prize is yours: fly to Nashville to record or fly to Sydney to record. Runner-up prizes include studio equipment. Head to to get submitting! iFlogID: 10932

PROFESSIONAL AND AFFORDABLE band promo photography at competitive rates in the Sydney and Newcastle region. Let us help you or your band get the right look. Call Ben for more info: 0400 808 025 or iFlogID: 10841



NOT AVAILABLE FOR FREE ADS. CL 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@ Contact Chris 0419 272 196 iFlogID: 10926


TUITION Guitar and Drum tuition with qualified and experienced music teacher (B/Mus, B/Ed. Dip. contemporary music). tuition in all aspects of music from someone used to working with different age groups. Can possibly come to you in south or east. iFlogID: 11110 Private singing and acting lessons with an full time working and interanational award winning performer. Brake new boundries and let go of your inhibitions, develope flawless techniques & have lots of fun. In Sydney inner city. $50/hr. 0412206675 iFlogID: 11269 PRO TOOLS TUITION. From the basics to advanced mixing/mastering using ProTools8. Take home a session template on disc. Based in Ivanhoe or i can come to you. $50 p/h. PH: 0438812399 Email: iFlogID: 11392 SPEECH LEVEL 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. /slsvocalinstructor - Contact Maz: maz@ iFlogID: 11184

Come and record with Award winning UK Producer Wayne Lotek in his Melbourne studio. Purpose built space with sound proof recording booth, analogue and digital tracking available. From $350 per day. More info: Email or call 0394170760 iFlogID: 11134

Studio 88’s now filling vacancies for private music tuition in Albion Park! Studio 88 provides tuition in piano, voice, saxophone and musicianship in a quiet, relaxed environment. All ages welcome. Call Blake to organise your free trial lesson e:studio88music@live. m:0431007910 iFlogID: 10896

Have you got a hit song, but no production skills to match??? Get world class production without blowing your budget. Radio quality - EVERY TIME! Don’t sing? We’ll provide session vocalists and any musos needed. or call 0403 498-103 iFlogID: 11053

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. or PH (03) 8772 2605 iFlogID: 11365

We’re proud to introduce our new recording studio, utilising state of the art technology, at affordable community rates. The studio is available for hire both for production and as a rehearsal space. Located at Liverpool PCYC. Facebook Us!! 02 96086999 iFlogID: 11234

VIDEO / PRODUCTION MUSIC VIDEOS offer a great way to gain exposure. Immersion Imagery has worked with a variety or atrists and strives to offer quality creative Music Videos at an affordable price.

Visit or email iFlogID: 11423 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 or email iFlogID: 10885


MUSICIANS WANTED DRUMMER ###FREE iPHONE APP### Sydney underground Fusion Virtuosos, The Three Wise Monkeys, Down load their 3WM iPhone App for FREE for a short time only at: www. Access every 3WM track, video, upcoming shows and social media. The Ultimate 3WM portal! iFlogID: 11455 Drummer wanted for experimental rock band. Originals. Influences Primus, QotSA, Cake, Beck, Tool, Zappa. Intending to gig. Fast learner preferred (by ear). Hawthorne. Adam 0431629306 For a listen go to http:// iFlogID: 11297 Drummer wanted for LIBERATION FRONT Well established Sydney/ Newcastle based Rock/Alternate/ Punk/Hardcore band. Influences include: Green Day, Bad Religion, Against Me!, Rise Against and AntiFlag. To listen check out myspace. com/liberationfrontau Contact: and Call Tim: 0416128852 iFlogID: 11051 Drummer wanted for up and coming original,covers rock blues band, require committed and experience drummer, influences free hendrix Deep purple Eric clapton to play with motivated Guitarist no band hoppers rehearse between central coast and newcastle 0449536661 iFlogID: 10924


As a new-wave, indie-electro duo, our live shows have mainly consisted of loops & sequencers + live keyboards, guitar and vocals. with our new album coming out in the next few months we need a drummer to help rock out the songs and take them live for promo shows. We have management support, and the teaser track from the album has already garnered radioplay and rage airtime. or braden on 0438 363 600. iFlogID: 11515

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3D World - Melbourne Issue #1049  

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