3D World - Melbourne Issue #1057 by TheMusic.com.au

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MELBOURNE

( Issue 1057 ~ WEDNESDAY 20 APRIL 2011 )

DEADMAU5: DROPPING F-BOMBS LIVE TWEETING 101 SAMPOLOGY ’S NEW SCREAMPLAY WHY THE ROYAL WEDDING MATTERS

DOUBLE ISSUE

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CREDITS PUBLISHER Street Press Auﬆ ralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse 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 , Mitch Knox, 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

THISWEEK GO

Only five years ago Desyn Masiello was juﬆ about the hotteﬆ property in dance music on the back of his inﬆant classic Balance 008 compilation. The purveyor of funky prog par excellence freely admits he went off the rails as the temptations of fame took their toll, but recent DJ sets that have surfaced online indicate he’s back in some semblance of form – so be sure to catch him this weekend at Darkbeat’s Eighth Birthday in Melbourne on Saturday, Sydney’s Soho for five hours of power on Sunday and Brisbane’s Barsoma on Monday…

PHOTOGRAPHERS Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Koﬆas Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT sales@3dworld.com.au NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS www.iﬂog.com.au ART DEPT artwork@3dworld.com.au Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT accounts@3dworld.com.au

WEAR

Yeah yeah, Th readless is soooo 2005, but you know what? They ﬆ ill fucking rule. And if you’ve been a long time visitor to threadless.com, the old favourite “Mozart: Decomposing Since 1791” has juﬆ been reprinted – for both the men and ladies. Our exchange rate with the $USD ﬆ ill wins, so ﬆock up for the winter now…

READ

PRINTING Rural Press DISTRIBUTION diﬆ ro@3dworld.com.au SUBSCRIPTIONS www.isubscribe.com.au Subscriptions are $2.20 per week (Minimum of 12 weeks). HEAD OFFICE 2-4 Bond St, Abbotsford, VIC 3067 (03) 9421 4499 Sydney: (02) 9331 7077 Brisbane: (07) 3252 9666 HEAD OFFICE info@3dworld.com.au

Kind of like The Onion without the bells and whiﬆ les, the McSweeney’s web portal oﬀers up quality writing dripping with cynicism (a trait close to the heart of the 3D World team). While Short Imagined Monologues (sample topic: I’m Comic Sans, Asshole) are worth the price of admission alone (it’s free), Lynsey G’s series on The Conﬂicted Exiﬆence Of A Female Porn Writer is the real eye-opener…

XX 3DWORLD

NAT

THINGS TO DO THIS WEEK

EAT

While this coming weekend is all about honouring fallen religious icons and soldiers (who you should definitely take some time to pause and reflect for), you can’t deny that it’s been over-run by the commercial forces of the planet’s chocolate manufact urers. If you muﬆ succumb to consumer culture, our hot tip is to ask your friendly local Eaﬆer Bunny for some peanut butter fi lled Reese’s Eaﬆer Eggs – or at the very leaﬆ get your friend in the USA to ship some over…

Twitter has thrown up some unlikely superﬆars in its short but decorated hiﬆory, none more unlikely than Sockington. Why does a guy poﬆ ing 140 word updates in the guise of his cat have juﬆ shy of 1.5 million followers? Sidle up to twitter.com/ sockington to ﬁnd out, and try not to get caught up in the paradox of a creature which eats birds as a hobby ‘tweeting’…

ENTER

The Auﬆralian Stencil Art Prize is back in 2011, and if you think you’ve got the skills to at leaﬆ match laﬆ year’s pict ured winner (ELK with his portrait of American hip hop poet Saul Williams) it’s time to get involved. Aspiring Banksys can get the lowdown at www.auﬆralianﬆencilartprize.com – deadline for entry is Monday 1 Auguﬆ…

WATCH

How awesome are the Beaﬆ ie Boys? Firﬆ they announced that they’d be releasing the sequel to their forthcoming album before the original (but with the original’s trackliﬆ ing), then they fooled everyone by leaking a fake track and now comes the piece de resiﬆance – a half hour promo ﬁ lm for Fight For Your Right (Revisited) featuring Beaﬆ ie Boys paﬆ (Will Ferrell, John C Reilly and Jack Black) facing oﬀ againﬆ Beaﬆ ie Boys present (Elijah Wood, Danny McBride and Seth Rogen). We think. Anyway, keep an eye out for the front cover of our siﬆer mags Inpress and Drum Media (sorry Brisbane peeps!) next week – they’ll have a QR code which your phone can scan which may be the gateway to all sorts of prizes if you’re lucky...

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BRIEFS

ANNOUNCEMENTS A DESIGN FOR LIFE DJ/Production duo Designer Drugs are reading for a series of shows throughout Auﬆralia in May. The DESIGNER DRUGS group, comprised of Patrick and Theodore Paul Nelson, have delivered over 50 remixes for artiﬆs including Mariah Carey and recently released their debut album Hardcore/Softcore. Their lateﬆ eﬀort has a dark, throbbing and induﬆrial tone. They play OneFiveOne (Wollongong) Thursday 5 May, Never Land Bar (Gold Coaﬆ) Friday 6, Fake Club (Sydney) Saturday 7, Roxanne Parlour (Melbourne) Friday 13 and Monaﬆery (Brisbane) Saturday 14.

SIMPLY SPLENDID

Splendour In The Grass have made their ﬁ rﬆ line-up announcement for the 2011 event. Running from Friday 29 July to Sunday 31 July, the event will be the second time the feﬆ ival will be held at Woodfordia north of Brisbane. Headlining acts are Coldplay and Kanye Weﬆ, in exclusive shows to Splendour. Legacy rockers Jane’s Addict ion will hit the ﬆage, along with The Hives, Britpop kings Pulp and Aussie punkers The Living End. Regina Spektor and Mogwai will play exclusive shows, while The Mars Volta, Bliss N Eso, Pnau, DJ Shadow, Glasvegas, The Grates, Devendra Banhart and the Grogs, Modeﬆ Mouse, The Middle Eaﬆ , James Blake and Kaiser Chiefs take to the ﬆage. The massive announcement continues with Elbow, The Vines, Eskimo Joe, Warpaint, Drapht, Kimbra, Children Collide, Architect ure in Helsinki and The Panics performing, among many others. Further acts will be announced in the coming weeks. Tickets are $390 for the event, $120 more with camping. Tickets for the high-demand event go on sale Thursday 5 May at 9am sharp through Moshtix.

ALAN MCGEE

KANYE WEST

SOUNDS GOOD

Bigsound celebrated its ten year anniversary with the ﬁ rﬆ announcement for it’s 2011 event. The event is a celebration of Auﬆ ralia’s fresheﬆ artiﬆs and networking, and is a point where artiﬆs, media and induﬆ ry converge. Th is year’s event, to be held September 7 to 9 in Brisbane’s Fortitude Valley will have presentations by Alan McGee (founder of Creation Records), ie:music’s David Enthoven & Tim Clark (behind Robbie Williams, Jimmy Page and Ladyhawke), Matador Records’ Natalie Judge (Cat Power, Sonic Youth) among many other signiﬁcant induﬆ ry heavyweights. Artiﬆs are encouraged to apply for a showcase position at the event by visiting bigsound.org.au.

SIZEABLE SHOWS

Hip hop ﬆar Big Boi is heading out for a series of solo shows. As half of Grammy winning duo OutKaﬆ he has sold over 25 million albums and brought the world’s attention to Southern Rap. His debut solo release, BIG BOI 2010’s Sir Lucious Left Foot: The Son of Chico Duﬆy was one of the year’s biggeﬆ releases, charting high internationally and on critic’s end of year liﬆs (including coming in at #6 in 3D World ’s 2010 Album Of The Year poll). Big Boi plays The Tivoli (Brisbane) Friday 26 Auguﬆ, The Enmore (Sydney) Saturday 27 and The Palace (Melbourne) Friday 2 September. Tickets on sale through Ticketek.

STARTING SOMETHING Sydney based label Stop Start have announced their lateﬆ signing, Pluto Jonze. The performer PLUTO JONZE is set to launch his selftitled debut EP Friday 6 May and will support it with a national tour. He plays Laﬆ Night at The Gaelic (Sydney) Friday 29 April, Rats (Melbourne) Saturday 21 May, Lambda Lambda Lambda at Alhambra (Brisbane) Thursday 26, Oxford Art Factory (Sydney) Sat 28, Beach Road Hotel (Sydney) Wednesday 1 June and FBi Social at Kings Cross Hotel (Sydney) Saturday 4. IN THEIR WAKE Funeral Party have announced their fi rﬆ Auﬆ ralian headline tour. The full-throttle LA FUNERAL five-piece were touted as PARTY one of the hotteﬆ bands of 2010 by NME and have been featured in Q Magazine. Their debut album, Golden Age O Knowledge, is a collect ion of dance-punk, vocal bravado and pumping beats. Funeral Party play The Metro (Sydney) Friday 5 Auguﬆ, The Hi-Fi (Melbourne) Saturday 6 and The Hi-Fi (Brisbane) Tuesday 9. Tickets on sale through Ticketmaﬆer, Ticketek and thehifi.com.au. POWER UP The RAW compilation series is set to launch its 2011 inﬆalment, with Chris Fraser manning the controls on disc one, with CHRIS FRASER the second disc featuring the biggeﬆ tracks of the laﬆ year. Fraser is the music director of Raw FM, had residencies and appearances at the nation’s biggeﬆ clubs and dance feﬆivals, and he’ll be touring in support of the album, playing Vanity Nightclub (Gold Coaﬆ) Friday 13 May, Chinese Laundry (Sydney) Saturday 14, Fanny’s (Newcaﬆle) Saturday 21, Academy (Canberra) Saturday 4 June and Monaﬆery (Brisbane) Saturday 11 June.

CHANNEL V WILL screen the Beaﬆ ie Boys 30 minute short ﬁ lm, Fight For Your Right Revisited, at the same time as audiences around the world. It features Will Ferrell, Jack Black, John C Reilly, Danny McBride and Seth Rogen, in a ﬆarpacked ensemble. It screens Thursday 21 April at 2pm... LOCAL MC VENTS is set to release his lateﬆ album, Marked for Death on Friday 13 May. The hip hop artiﬆ has toured with Hilltop Hoops, and the album is said to be an introspect ive and cynical take on the crazy world we live in... DUE TO THE recent ﬆ ring of tragic disaﬆers in Japan, the Red Bull Music Academy 2011 will no longer be held in Tokyo. The location has changed to Matadero in Madrid, Spain, with the application deadline extending to Tuesday 26 April because of the laﬆ minute change... UNDERGROUND HIP HOP legend and Ice Cube’s cousin Del The Funky Homosapien is set to make a return with his new album, Golden Era. The 34-track opus will showcase the old school rapper’s maﬆerful funkinfused beats and slacker Californian vibes... ATTN ASPIRING FILMMAKERS. The Oasis Short Film Competition has recently launched, and is looking for high school ﬆ udents to make short ﬁ lms dealing with the issue of homelessness. Cate Blanchett is a supporter of the event, which has $25,000 going to the schools of the winning entrants...

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ARE YOU BEING SERVED?

RELUCTANT POP STAR MARTIN SOLVEIG DIDN’T KNOW HE HAD ANOTHER ALBUM IN HIM AFTER HIS LAST DROPPED IN 2008, BUT ON THE BACK OF TENNIS-THEMED VIRAL VIDEO SUCCESS, HE TELLS CYCLONE THAT THE FORTHCOMING SMASH WAS HIS SIMPLEST PROJECT YET.

artin Solveig is the hotteﬆ name in French house – once again. Hello, a reunion with Canada’s Dragonette, has been his biggeﬆ crossover record yet, eﬆablishing him as a cool alternative to David Guetta. He’s following it with Ready 2 Go, featuring Bloc Party’s Kele Okereke. And there’s an album in the pipeline – Solveig’s fi rﬆ since 2008’s C’eﬆ La Vie – entitled Smash. Solveig – real name Martin Picandet – has occasionally appeared a reluctant pop ﬆar. He moves in and out of the spotlight. The Paris DJ-cum-producer relished a huge ‘pop’ hit back in 2003 with the funky Rocking Music and fi rﬆ toured Auﬆ ralia behind it, but he didn’t capitalise on that momentum long-term. Still, Picandet, a Chevalier de l’Ordre des Arts et des Lettres (Order Of France for his significant contribution to the arts), denies that he’s uncomfortable with celebrity. “No, I don’t think so. I juﬆ don’t naturally consider myself a pop ﬆar ‘cause ‘pop ﬆar’ is for real pop ﬆars. It’s not really my concern when I make music. I make music basically to have the possibility to exchange this with a crowd – whether it’s more of a live crowd or a DJ crowd – but it’s a lot about having fun.” Lately Picandet has harnessed YouTube to air zany video clips. Indeed, Hello has attracted over 20 million views, the video shot at the French Open, with Picandet’s friend Bob Sinclar cameo-ing. He returned with Initials SHE. The Ready 2 Go clip continues the theme. And, Picandet reveals, another Smash episode, for his next single Turn Up The Radio, will be shot during his upcoming Creamfields tour. He’s even bringing the “fake manager”, Lafaille, from his videos (portrayed by DJ Gregory, famed for the classic Elle!). “I’m flying over with a team. I think we’re gonna have really a lot of fun.” The 30-something is feeling creatively reinvigorated. “Smash is my fourth solo album [and] it was by far the easieﬆ one to do, and I was very surprised, act ually, because at the end of C’eﬆ La Vie, I didn’t even know if I was going to go on with doing albums and work like that. I really ﬆ arted with Hello and did this video and things went very well. I had in mind this sort of project to work on videos and music at the same time. The success of Hello told me that it was probably an intereﬆ ing thing to do and so I kept on doing this and there are now many other episodes and many other tracks coming, and the Smash album is going to be released in June.” In fact, Picandet’s intereﬆ in visual media isn’t new: fi lm is a “passion”. (His alias is a tribute to Wings Of Desire act ress Solveig Dommartin, who died suddenly in 2007.) Picandet was never a part of the 90s’ fi ltered disco revolution, let alone ‘French Touch’. As with DJ Gregory, he mined American deep house. Picandet expressed a greater affinity with Dimitri From Paris than Daft Punk. But he’s no traditionaliﬆ. Picandet was a musical kid – he sang in a choir – and became a pop fan. His parents gave him turntables as a Chriﬆmas present. The teen began as a mobile jock, then landed a job in a record ﬆore and which led to his securing a residency at Le Palace in Paris. Picandet also dabbled in product ion and launched a label, Mixture Stereophonic. His earlieﬆ key record? The cult Heart Of Africa of 1999. In the meantime, he ﬆ udied marketing at university. In 2002 Picandet, aligned with Universal, presented his debut, Sur La Terre, which he’d subsequently describe as “a bit naive” in its product ion values. He’d proffer a remix compilation, Suite, taking in Rocking Music. Picandet felt disgruntled that Universal Auﬆ ralia didn’t do more with a second album, 2005’s Hedoniﬆ, picked up by Defected in the UK. It garnered him another hit in the bluesy Everybody. Picandet explored his pop sensibilities on the eccentric Hedoniﬆ – he covered Serge Gainsbourg’s Requiem Pour Un Con (Requiem For A Jerk). Along the way, Picandet (and Gregory) lent credibility to Sinclar’s now defunct Africanism vehicle, co-producing Edony.

“I JUST DON’T NATURALLY CONSIDER MYSELF A POP STAR ‘CAUSE‘POP STAR’ IS FOR REAL POP STARS. IT’S NOT REALLY MYCONCERN WHEN I MAKE MUSIC. I MAKE MUSIC BASICALLY TO HAVE THE POSSIBILITY TO EXCHANGE THIS WITH ACROWD…” Smash will be a different album again for Picandet. “I wanted to be a bit more ‘dance’,” he says. “Many of the tracks are good for a DJ to play ﬆ raight on the dancefloor and that’s one thing I tried to do because, when I work on albums, I tend to do some more elect ronic pop which applies more to live [shows] and ﬆ uff like that, which is what I did on C’eﬆ La Vie, but this one is more of a DJ thing fi rﬆ. Then the vocal vibe of the album is very rock and very pop.” Picandet may be no pop wannabe, but he is a crowdpleaser. “The people like it when you play all your own material.” In the paﬆ Picandet has said that, at home, he liﬆens to R&B, not dance. With urban acts hiring dance producers such as Guetta, does he, too, plan to venture out? Picandet sounds doubtful. “Well, to me, it’s not really about the scene or the ﬆ yle of the artiﬆ I collaborate with, I love to collaborate with many artiﬆs from different genres. [But] urban artiﬆs are not exact ly my speciality, I would say, at the moment. I’m more easy with the rock guys, and with the pop guys, but, with the success of Hello, I got a couple of offers to produce tracks for big act s. I act ually chose to work more with newcomers, or with more indie kinda acts like Kele from Bloc Party, because I wanted to do proper collaborations. be able to hang out a little bit in the ﬆ udio [and have an] exchange. It’s a lot more difficult with big acts because they’re so busy with what they have to do and everything, so then you get to speak only to managers and it’s a bit fruﬆ rating. So, for the moment, I’m working with Dragonette and Kele and another young girl called Sunday Girl and a few others. I really get to speak to them over the phone and to meet them in the ﬆ udio and to record some tracks together.” Brit newcomer Sunday Girl, a Diplo affi liate, will also be accompanying Picandet to Auﬆ ralia, being the vocaliﬆ on Turn Up… Signed to Universal, she has aired bloggable singles like Four Floors and covered Laura Branigan’s 80s favourite Self Control. Plus she’s a fashion ‘It’ girl (and Isabel Lucas doppelganger). Picandet didn’t avoid the ﬆ udio poﬆ-C’eﬆ La Vie. He maﬆerminded a fluke smash with Dragonette, Boys & Girls, which Jean Paul Gaultier used to promote his scent, Ma Dame: Rose ‘N’ Roll. Picandet speaks warmly of the iconic couturier. “He’s a very accessible person. My ﬆ udio is close to his ﬆ udio place and we bump into each other quite a few times in the year. Of course, he’s a bit of a legend here, but he’s ﬆ ill very easy and natural. Also he’s really a music person – he’s so intereﬆed in music, he knows a lot. Every time we got to have lunch or discuss [things] I was always amazed by the number of new bands and acts he knows, and so we discuss music a lot. It was a great experience and to have the opportunity to collaborate on the video process of Boys & Girls was really very intereﬆ ing.” Not that Picandet is into fashion, he laughs, shattering a French ﬆereotype. “I’m not too much of a fashioniﬆa – obviously, if you see me.” The dapper Dimitri has programmed runway shows for the likes of Chanel, but Picandet admires from afar. “I enjoy some of the shows and some of the brands and some of the designers. The clothing thing is an intereﬆ ing aspect of creativity in the modern world and so I’m intereﬆed.”

WHO: Martin Solveig WHAT: Ready 2 Go (Hussle/Universal) WHERE & WHEN: Creamﬁelds at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May

FASHIONABLY GREAT

Js and fashion – it’s a potent mix. Martin Solveig isn’t the fi rﬆ DJ to cross over into fashion. That self-described “French ambassador of ﬆ ylish club sounds” Dimitri From Paris may be beﬆ known for his Playboy Mansion CDs (and his classic debut, Sacrebleu), but he’s programmed runway music for Chanel, Hermès and Yves Saint Laurent. Oh, and Gaultier. In the 80s Jeremy Healy was in the wonky pop outfit Haysi Fantayzee – they had hits like John Wayne Is Big Leggy – and then, like Boy George, reinvented himself as a super-DJ. But Healy has also worked closely with the fashion world. He bonded with (now disgraced) couturier John Galliano. Galliano lauded Healy’s “essential” input into his shows in December’s V Magazine. “You can’t have a show without music – and you moﬆ certainly can’t have a Galliano show without Jeronimo,” the Dior designer said of his pal. “I like to break the rules and Jeronimo does that in music… Jeronimo’s ear for music is similar to my eye for fashion, and I think we juﬆ click.” What’s more, Healy has served as music director for the annual Victoria’s Secret lingerie spectacular. Another client? Gwen Stefani’s LAMB. Of course, DJing being so cool, a few fashion types are jumping on the bandwagon. New Weekly’s website recently featured a gallery of ‘chick DJs’ – DJs, it turns out, with loads of fashion nous but limited club cred, like Alexa Chung. Leigh Lezark, from the New York DJ crew The Misshapes, is often spotted at fashion shows – and she models. She’s appeared in a DKNY Jeans campaign, although Donna Karan isn’t exact ly on the hipﬆers’ radar. Some DJs have entered the fashion biz. While not a DJ, dance ﬆar Deadmau5 is big on wearable merch – you can snaffle up his T-shirts from US mall rat chain Hot Topic. Roger Sanchez act ually tried to get a fashion line off the ground. Alas, the 2Gether producer encountered problems with his inveﬆors. Then there are the designers who are wannabe DJs. Many a designer has expressed a passion for music. Karl Lagerfeld presented a compilation – 2006’s Les Musiques Que J’aime – and Gucci’s Frida Giannini has been photographed with her admittedly impressive vinyl collect ion. Closer to home, Ksubi co-founder Dan Single ﬆ ill DJs regularly as Dangerous Dan. He’s on the bill for Splendour In The Grass.

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CAUGHT IN A MAU5TRAP DIVISIVE, CONTROVERSIAL AND EVER QUOTABLE, JOEL ZIMMERMAN RALLIES AGAINST LUKE MCKINNON ON THE TOPIC OF ON-STAGE BAZOOKAS, THE RELEVANCE OF DJS TO DANCE MUSIC CULTURE AND OTHER MATTERS OF IMPORTANCE IN THE WORLD OF DEADMAU5. n a matter of juﬆ a few years, Joel Zimmerman, the enfant terrible of dance culture, has gone from basement dwelling producer to dance music phenomenon. The Toronto native, better known as Deadmau5, doesn’t like being labelled a DJ (he finds the description as a “hopelessly outdated way of describing what he does”) and has been explicitly outspoken about his perception of DJs, exact ly what they do and how they go about doing it (more on that later). Over the paﬆ three years – thanks to a ﬆ ring of hits on download site Beatport – Zimmerman has effortlessly traversed the musical landscape, leapfrogged the crossroad and arrived promptly at the commercial mainﬆ ream. Where he was once a cult underground hero, he is a now a playable character on defunct computer game DJ Hero. Trying to define Zimmerman’s music is like trying to squeeze a 12-inch record into a CD player. His sonic lacks borders and bounds from elect ronica to progressive house to neo-trance to IDM and everything in between. His diversity and scope has lead to his volcanic rise in popularity, but also to his detractors atteﬆ ing that his lack of definition has rendered his music bland, inoffensive and populiﬆ. In short, Deadmau5’s music divides like no other – with the online audience in particular. Zimmerman, who it exceptionally act ive online (perhaps to his detriment), has simultaneously become the pip-up boy and the piñata of the online dance community. So, on the eve of his headlining shows at Creamfields, 3D World caught up with the frank 30-year-old and found out juﬆ why he thought his music was so divisive. “I swear, World War Th ree will be ﬆarted on my Facebook page,” Zimmerman says, “but you know what? I don’t know why.” Before 3D World can get the next queﬆ ion out however, Zimmerman, after short consideration, has come up with the answer. “Act ually, I have a pretty good theory for right here and right now and this is juﬆ totally interpretative, it could be bullshit, but I believe it to be the truth. “I think that people want something unique in their lives and the more people that hop on board with a certain direct ion that I go, the more it no longer becomes unique to them because they have all these peers and other people that they don’t know biting on to it. I mean, I have my own unique things that are special to me that I’m glad a million other people aren’t in to, so sometimes when I do these genre jumping tracks, I really ruffle a lot of feathers because I’m touching something that feels like it belongs to someone else. “For me it’s about experimentation and doing as much as you can and trying to branch out. A lot of artiﬆ s have been careful with their careers to try and dominate and have a ﬆ ronghold built around a single identity, whereas I juﬆ really want to do it all. And because I want to do it all, sooner or later you’re going to end up pissing on someone’s sneakers because you touched that unique thing about them and that upsets people.” Zimmerman is no ﬆ ranger to upsetting people. Like, for inﬆance, his largeﬆ consumer base. In 2008, he went on an unprecedented rant in the Irish Times, evangelising againﬆ his dislike for DJs who played other people’s records. “It puts me to fucking sleep,” he said. “I don’t really see

the technical merit in playing two songs at the same speed together and it bores me to fucking tears and hopefully, with all due respect to the DJ type that will fucking go the way of the dinosaur, I’d like them to dis-a-fucking-pear! It’s so middle man, they’re like fucking lawyers! You need them, but they’re fucking cunts.” Right. So Zimmerman, for all intents and purposes, hates the very people that allow him to make a living from his music. And as 3D World found out when quizzing the forthright musician about his comments, it is ﬆ ill a touchy subject. “Fucking hell,” Zimmerman bellows down the phone. “That’s the fourth fucking interview I’ve done in a row where someone’s brought that fucking ﬆ upid thing up. Is it that bad?” After due consideration, 3D World decides that it’s not so much bad, as ironic, given he recently accepted the International Dance Music Award for beﬆ DJ. “Whatever, I mean, so have a fucking laugh,” he concedes. And we do, both of us. Zimmerman’s comments are teﬆ ament to how seriously he takes both the creation of his music and the performance element of his shows. He is notoriously meticulous, incorporating and utilising a range of audio and visual technology when he performs that transforms his shows from simply playing music into live performance. It is this increased level of showmanship that Zimmerman sees as the major fact or in the increased acceptance and popularity of dance music in the mainﬆ ream media. “I think a lot of talented artiﬆs are ﬆepping up the DJ game and doing bigger shows with better product ion and that’s giving rise to dance music’s popularity. For whatever reason and for however long, DJ culture and elect ronic music, which kind of went hand-in-hand, juﬆ completely left [ﬆage] product ion out of their shows, but slowly people have been getting more involved in creating a show for a hard ticket sell, as opposed to juﬆ an arena full of kids, a loud syﬆem and a DJ. It’s like Kiss, they’ve been putting on amazing shows since the 80s and they sound like shit live, but I would go and see a Kiss show again because it is a cool fucking show and it’s worth the price of

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my ticket. If I wanted that [a picnic table set-up arena show] I could go home and buy a Dance Mega Mix 95 and appreciate it in the comfort of my own home for a significantly less coﬆ than a day out.” Zimmerman made a name for himself through his music, yet has become increasingly renowned for his live performance, so how does his tread that fine line between ﬆaying true to his sound and not spilling over into pure spectacle? “Well you don’t necessarily need to a lot of the time,” he explains. “Like I said with Kiss, their albums sound great, but live, forget it. But their show is what ﬆ icks in your mind. So I would go for the theatrics of it all, I mean a guy pulls a bazooka out half way through the middle of the show and blows off a piece of the lighting rig and it’s fucking hilarious, it’s awesome. Now, I’m not saying we should go all smoke and mirrors and create live act ion theatre up on the ﬆage it’s juﬆ a complementary part of the music. I mean, if you’re going to ﬆart a career doing what Deadmau5 does, I would fi rﬆ and foremoﬆ eﬆablish a good sound beforehand that’s what’s going to sell this whole thing, that’s what’s going to pay for it all.” It is an intereﬆ ing notion that North America’s favourite dance music exponent is act ually a Canadian. Zimmerman has significantly booﬆed the profi le of elect ronic music into the mainﬆ ream United States market and subsequently, the reﬆ of world, giving rise to a large and vocal audience. Yet, this is a concept that – despite Zimmerman’s significant ego – doesn’t sit well with him. “I guess it’s weird. I don’t think that it’s all me, I think that it’s a whole kind of cumulative effort of a lot of talented producers and the mainﬆ ream market is now ﬆarting to look over dance music and we were all juﬆ in the right place and the right time making things happen. So I never really buy anyone saying ‘well you’re the conduit’, no, no way, never.” WHO: Deadmau5 WHAT: 4x4=12 (EMI) WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May

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TYPE NO POSITIVE OPINIONATED? NET SAVVY? CYNICAL AND CONCISE? LIVE TWEETING COULD BE FOR YOU – PROVIDED YOU’RE NOT INVITED TO THE LOGIES. OUR RESIDENT EXPERT 5SPROCKET DISSECTS THE PHENOMENON. eﬆ led in front of the television screen with a bowl of Fruit Loops, select Twitter users are leading a revolution in communication. Delivering minute-by-minute comments poﬆed on Twitter – a ‘Live Tweet’ – people are uniting over a hashtag to deliver hilarious and snarky comments about whatever they’re watching. Imagine the Internet as a cross between Johnny Mnemonic and Virtuosity, where billions of ones and zeros fly across a neon blue universe, going ‘bip bop bip’. Th is is the back end of Twitter, where human thoughts that have been ‘input’ are transformed into microscopic computer creatures, something like Autobot sperm, swimming through digital canals for microseconds until they penetrate the womb of the famous ‘Twitter Whale’. The mythic sea-beaﬆ then lays a digital ‘info-egg’, and moments later, a 140-character pearl of wisdom is born unto the Twitter-verse: “Sushi is good.” ‘Live Tweets’ document an experience through a succession of tweets. When you live tweet, you are relaying your thoughts and opinions in short and snappy phrases, that ultimately document ‘what you juﬆ did’. For example, you could live tweet a lengthy wait for service at your local dermatologiﬆs (“Skin flake peeling. Muﬆ not eat”); you could live tweet a masked hold up at your local bank (“Masked man with gun not keen on Dollarmites”); or you could give minute-by-minute updates on the lateﬆ episode of Dog Squad (“Needs more dogs”). TV shows are usually dynamite for live tweets. Foodies grouped around Maﬆerchef (#maﬆerchef), making week-nightly jokes about Croquembouche, Foie Gras and Matt Preﬆon, finding them all as funny as a cat wearing roller blades. Equally, there are groups of people that find joy in dissect ing world events and political currents on The 7:30 Report (#730) and Lateline (#lateline), snacking on the lateﬆ heavy hitting ﬆories and spitting out their opinion in a snappy sentence. Of course, it is more difficult to compose rich and nuanced analysis of events in a couple of sentences; it’s far simpler, and crafty, to throw out “Gaddafi eats dick ROFL #730” to the information superhighway. For the big wigs that run the media world, Twitter is something ‘new’ and ‘fresh’ and ‘hip’. Not only does it show that the kids love talking about Juﬆ in Bieber, but it seems innovative in a way that could only impress a person that owns a Bluetooth earpiece. During this year’s Academy Awards there were over 1.2 million tweets during the ceremony, and hoﬆ James Franco was getting in on act ion in-between tokes. It is this spirit of vitriol that dominates the weekly Twitter feed of the ABC’s Q And A. Under the hashtag #qanda, thousands of politically tuned arseholes log on to their accounts, roll up their sleeves and wank off to their opinions. The program, which features a gueﬆ panel of politicians, social advocates and media figures, embraces audience participation to the point where ‘choice tweets’ from the #qanda feed are coughed up on the television screen like bits of chunky phlegm. It is difficult to follow the feed online, a torrent of ranting abuse with hundreds of new messages poﬆed to the feed each minute. It doesn’t take long before Disagreeable Gueﬆ #3 is virtually dragged to the floor of the ﬆ udio and mauled alive by hundreds of web-savvy hyenas. A collect ive madness sweeps over the viewers, each screaming at the top of their caps lock to get their incoherent rant heard. Live tweeting is like being at the back of the bus, yelling insults at the people who won’t respond. It’s moﬆ ly because of this aspect of live tweeting that has led the TV

Week Logie Awards to “ban” Twitter at its upcoming 2011 ceremony. Unlike the Oscars and Grammys, who act ively encouraged Twitter use in order to booﬆ ratings, the Logies have gone the other route, looking to reﬆ rict the use of the service in order to “keep the spirit of the night”. The Logie Awards have worked tirelessly to ensure that each year it appears shiny and important, like a freshly spray-tanned Getaway hoﬆ. For the home viewers that are removed from this champagne and cocaine fuelled “spirit of the night”, the Logies can seem like a pitiful circle jerk featuring Auﬆ ralia’s moﬆ beloved/unknown ‘ﬆars’. The brains at Logies HQ had a bolt of elect rical cabling shoved up their sphincter in 2009, when live tweets of the Logies lacerated the avowedly mediocre event. It was prime roaﬆ ing material, with hoﬆ Gretel Killeen donning angel wings and ﬆ umbling through her ‘comeback’. Wil Anderson, Dave Hughes and members of The Chaser all live tweeted from the event, taking photos of a cheese platter and saying “it’s ﬆ ill less than what’s on ﬆage”. The Logies have always been a like watching an out of control bus skid over a family of ducks, but they have become relevant again as the target of collect ive ridicule. Following the 2010 Logie awards, comedian Catherine Deveny was sacked as a columniﬆ for The Age after poﬆ ing a series of controversial tweets. Her comments ranged from Bindi Irwin getting laid to Rove McManus’ dead ex-wife. Again, Wil Anderson joked about getting herpes from a nearby John Mayer, and typed “Matt Preﬆon won #logie deep fried it in batter and ate it”. Dannii Minogue even made a Twitter ﬆ uff up, by congratulating Alf from Home And Away on his win, ruining the illusion that the event was a ‘live’ broadcaﬆ in the fi rﬆ place. It’s damage control for Logies 2011, as they try hold on to what little remains of their dignity. Celebrities are a prized commodity and Auﬆ ralian ﬆars are the beﬆ target around for the clever urchins of Twitter. The smart arse commentary has moved from the pub to cyberspace, where thousands of people are flexing their creative muscles in short, sharp tweets, moﬆ ly because it’s a whole lot more fun than watching the crap that’s on TV.

TIPS FOR SUCCESSFUL LIVE TWEETING

Be as creative, insightful and dynamic with your vitriol as possible. You should be tweeting at leaﬆ once a minute, until the point where Twitter says “You have exceeded your tweet limit”. Swear words are more important than spelling.

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HOUSE OF PAIN ARE BACK, AND DANIEL O’CONNOR (AKA DANNY BOY) TAKES TIME OUT BETWEEN BITES ON HIS BURGER TO TALK RIP NICHOLSON THROUGH THEIR CAREER AND REUNION – OLDER, WISER AND DECIDEDLY MORE SOBER.

HURTS SO GOOD t’s a 20 year anniversary of sorts for the Irish-Americans who laﬆ brought their shamrocks and shenanigans to our shores in a massive tour featuring Naughty By Nature and Coolio back in 1996. And this was their only time here, as Daniel O’Connor expresses between bites of a burger at Long Island, New York’s White Caﬆ le. House Of Pain’s upcoming shows will be less of a brawl with blunt weaponry and executed in a more concise and refined manner. “The major difference is it’s not as drunken and angﬆfueled. It’s more mature,” O’Connor explains. “It’s definitely sharper than before. Before it was like a dull dagger that we ﬆabbed people in the neck with.” The He Who Breaks The Law tour celebrates the inception of the band’s coming together back in 1991. Erik “Everlaﬆ” Schrody and O’Connor met at William Howard Taft High School – the same white suburban school in the San Fernando Valley of Los Angeles that gave us act resses Lisa Kudrow (Friends), Dana Plato (Diff ’rent Strokes), Marcia, Marcia, Marcia (Brady Bunch) and weﬆ coaﬆ hip hop legends Eazy-E and Ice Cube. It was here that NWA were founded, and where Schrody and O’Connor fi rﬆ conceived House Of Pain. “Yeah, we all know each other from Taft, but I didn’t attend the school so much. In other words, I was always ditching class,” O’Connor admits reflect ing back to school days in one of Hollywood’s moﬆ vibrant high schools. “We were all in the same circle, it was weird. Divine Styler [who later gave Schrody a spot inside the Rhyme Syndicate rap posse headed by Ice-T] came there for summer school. There was a lot of hip hop ﬆ uff going on in there. Th is guy Brett Mazur [Crazy Town] was there, who was producing Bel Biv Devoe and a lot of hip hop shit back then. It’s crazy that such a white suburban high school had that much hip hop talent come out of it.” There has always been a ﬆrong rock prevalence in the make up of House Of Pain’s sound. Off the Judgment Night soundtrack they sized up againﬆ Helmet for Juﬆ Another Victim, and since the anthemic heavy rock Who’s The Man? from the Who’s The Man? soundtrack, House Of Pain have

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been synonymous with rap-rock fusion. In growing up, O’Connor explains they had rock music ﬁrﬆ, then when rap music spread through to the weﬆ coaﬆ they deﬁantly adopted it and made it their own. “We all grew up liﬆening to AC/DC and Led Zeppelin and Rush. Being a normal white kid in [the] 70s that’s what you’re liﬆening to – there was no hip hop at the time. When I hear Black In Black with the drums I hear a hip hop beat, when I liﬆen to Led Zep I hear a rhyming pattern,” says O’Connor, who broke down the cultural clash he and Schrody had to overcome to express their love of hip hop. “Between rap and rock music there was a huge cultural clash. Punk rockers hated jocks, they hated rockers. Then when hip hop came around, especially white guys in hip hop – yeah it

was a clash at ﬁ rﬆ, but that’s why we put our foot down. ‘We’re Irish, you don’t like us doing hip hop? Fuck you, blow me’.” When it came their time to ﬆep to the bar and get a drink out of hip hop, House Of Pain, now including Leor “DJ Lethal” Dimant, signed a recording contract with Tommy Boy Music and in 1992 their debut album had everyone sculling back a settled Guinness and head-butting the baﬆard beside them as two drunken Irish MCs and a Latvian-born DJ kicked some shit like Put Your Head Out, Top O’ The Morning To Ya and one of the moﬆ celebrated hip hop tracks of all-time, the DJ Muggs produced worldwide smash hit Jump Around. Coming at arguably one of the moﬆ exciting time in hip hop’s 30-something year hiﬆory, their debut LP became a multi-platinum success. By 1996 House Of Pain had dropped two more LPs (‘94’s Same As It Ever Was going gold in the US) and had worked alongside Cypress Hill on projects and jumped in on tracks with Gang Starr’s Guru. The group had reached the heights of success in both hip hop and the music induﬆ ry for their merciless attack of Irish-bred rap. But before a legacy could begin, each member limped away from House Of Pain to pursue other intereﬆs. Schrody became Whitey Ford singing the blues – a highly acclaimed solo career away from rap music. Lethal became the skeleton suit DJ/producer for rock outﬁt Limp Bizkit and Danny Boy honed his talents away from music as a graphic designer before ﬆepping back in for the La Coka Noﬆ ra collective hip hop movement. Still, the House Of Pain ﬆood abandoned until 2010’s widely recognised reunion show at KROQ’s Epicenter 2010. As 2011 rolls through, the group is looking back 20 years since they merged their shotgun-pumping raucous rants and beer-fuelled raps over Irish jigs, bagpipes and kilts. “It’s the twentieth since the inception. We have grown apart and grown back together, and come back in full circle. It juﬆ felt like the right time to do it, and we didn’t want to miss that 20 year window either,” O’Connor continues. “It juﬆ feels like a combination of all the years, the blood, sweat and tears. And this time everybody got new skill sets sharpened from the 90s obviously. The experience and ﬆ rength is way bigger.” WHO: House Of Pain WHERE & WHEN: Prince Bandroom (Melbourne) Friday 29 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, The Hi-Fi (Brisbane) Monday 2 May, Manning Bar (Sydney) Friday 6 May, Groovin The Moo at Maitland Showground Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May

NO ACID CASUALTY CHOCOLATE CONNOISSEUR ROBERT BABICZ TALKS CYCLONE THROUGH HIS SLOW AND STEADY CAREER EVOLUTION, WITH DETOURS THROUGH SELF-ABSORBED MUSIC LEGENDS AND COMMUNIST POLAND ALONG THE WAY. erious techno artiﬆe he might be, but Germany’s Robert Babicz has a sense of humour. Returning to Auﬆ ralia this Eaﬆer with his improvised live show, he’s musing over an idea that will fluﬆer promoters. “Hmmm, I think I should buy, like, 100 Eaﬆer eggs and throw them on the people.” Babicz even fancies boiling some ‘real’ eggs, as is European cuﬆom – although diﬆ ributing them could be very messy. He’s joking, obviously. Still, Babicz is a chocolate connoisseur, albeit an eccentric one. “Laﬆ week I played in Mexico and I was eating chocolate sauce on chicken, act ually – and it was so extremely taﬆ y,” he laughs. “I never thought it would work.” Few recognise Babicz as a veteran. It was only after nearly two decades in the elect ronic scene that he toured Auﬆ ralia four years ago. He’s now a regular visitor. “It’s almoﬆ like coming home,” Babicz says fondly. “I even thought about moving to Auﬆ ralia because it’s so nice and the people are so friendly there, but I decided againﬆ it – it’s too far away. It’s a great country, great people, but it’s too far away!” Based in Cologne, and going by ‘Rob Acid’, Babicz broke out with the UK hit Happy Answer in the early 90s. He cut it on borrowed gear and submitted a demo on cassette to the small label Inject ion. Happy Answer was picked up by London Records – and boom. Babicz went on to disseminate more sophiﬆ icated, and experimental, music under numerous handles. He ventured into ambient with an LP on Mille Plateaux. Babicz’s 2007 ‘artiﬆ ’ album A Cheerful Temper on Marc Romboy’s Syﬆematic Recordings saw him abandoning the disguises. Laﬆ year he unveiled Immortal Changes. He also launched the label BabiczStyle primarily for his own music. And, in 2011, Babicz is enjoying unprecedented acclaim and attention. The German’s career resurgence is partly due to the popularity of minimal in later years – though his music defies such categorisation, being that he identifies more with the amorphous ‘techno’. Ideally, Babicz doesn’t think of his music in terms of any genre. “I don’t care at all about all these ﬆ yle police,” he says blithely. “I really don’t care. I juﬆ do whatever I want. I think... [you should] believe in your own emotions.” Babicz’s profi le was afforded yet another booﬆ with him presenting his fi rﬆ Essential Mix on BBC Radio 1 laﬆ month (it’s on his SoundCloud). “It was a great honour to be on this show,” he says genuinely. Babicz has been amazed at the number of tweets about his ‘mix’. “It was going on for weeks. All the people were like, ‘Oh, liﬆen to this, liﬆen to this, liﬆen to this...’ I think I got a lot of new people who never heard me before, so it’s good... Everyone who ﬆarts liﬆening to my lovely music is welcome!” What makes it an even greater coup is the fact that, again, Babicz broadcaﬆ a live set. He’s never DJed. “The thing is there’s a thin line between DJs and live acts these days. It’s almoﬆ impossible to see if someone is playing juﬆ as a DJ or as a live act – like all these guys having juﬆ a laptop and some controllers and they are doing something with their computers, but you don’t know what’s really going on. Many

people ﬆ ill call me a DJ – it’s ﬆ range.” An amused Babicz tells of punters who ask him repetitively for details of the tracks he’s playing, gradually realising they’re all his live. In Cologne, Babicz lived close to the late Karlheinz Stockhausen, but found the elect ronic pioneer dismissive of contemporary music when they spoke. He recalls Stockhausen as an archetypal genius – and inevitably self-absorbed. “He really loved himself a lot – and it’s not bad, it’s okay, because he could concentrate on his own thing. He was really not intereﬆed in what’s going on. I met him a few times – and he was really not intereﬆed in what other people are doing. He was only, ‘Do you want to talk to me, do you want to talk about my music?’ That’s all.” Babicz himself is open-minded – and progressive. In 1980, and at ﬁveyears-old, he arrived in Germany from his native Poland, his parents escaping the Communiﬆ regime. Paul van Dyk, an Eaﬆ German, has expressed dismay that the former secret police have never been inveﬆ igated for human rights abuses. But Babicz is about the present. “I would hope that we juﬆ move on and try to make [things] better for the next generation. It makes no sense talking about the paﬆ and what has been done – I mean, it’s long ago. I was growing up in a very poor environment, a very basic life, and I was able to do what I’m doing right now, so it’s Okay... The life was not easy for everyone – we know that.” Inﬆead Babicz revels in his freedom – and travelling. Following Auﬆ ralia, he’s oﬀ to China, then Poland. Babicz isn’t about to slow down. He’s juﬆ issued the compilation Robert Babicz, Volume 001. “[It] was a compilation of some older tracks that never came out in digital formats and some new tracks and moﬆ ly playable music for DJs. It’s this club thing – it was like Volume 1 of [my label] BabiczStyle.” Then there are releases on Carl Cox’s Intec and, of all imprints, the uber-prog Bedrock. And a new album is in its early ﬆages. “Right now I’m ﬆarting to experiment again,” Babicz reveals. “Marc Romboy told me I have one year left ‘til [when] the next album should come out on Syﬆematic, so I think I will ﬆart working again now. I’m already thinking about what type of music I should go for – playing around... I have no plan, but that’s good, like always.” WHO: Robert Babicz WHAT: Robert Babicz, Volume 001 (BabiczStyle) WHERE & WHEN: The Likes Of You at La Di Da (Melbourne) Thursday 21 April, Auditree On The River (Brisbane) Friday 22 April, Chinese Laundry (Sydney) Saturday 23 April

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RAVE DIGGER STUART EVANS LEARNS THE UNLIKELY ORIGINS OF MARCUS LAMBKIN’S SHIT ROBOT ALIAS – AND HOW IT CAN BE PROBLEMATIC WHEN IT COMES TO HOTEL CHECK-IN TIME. laying the game of where Marcus Lambkin is – or who he is – is much like playing Where’s Wally: you know he’s out there but finding him can be difficult. Lambkin’s been in the music biz for nearly two decades but there’s not much information about him on the world wide web. “I have no idea why there’s little information about me. There’s the usual ﬆ uff about how I lived in Germany and New York. Perhaps I’m juﬆ not that exciting,” Lambkin laughs. Of course Lambkin is better know as the brilliantly monikered Shit Robot, the name having it origins in mateship. “My beﬆ mate is James Murphy [of LCD Soundsyﬆem fame]. James said he was going to put the name Shit Robot amongﬆ others onto a promotional poﬆer and I had to make a decision as to what I was going to be called. So Shit Robot it was. When a mate puts a challenge to you, you can’t back out. And anyway, I didn’t want to be known purely as DJ Marcus Lambkin,” he explains. The moniker, however, does raise eyebrows during certain occasions. “Sometime when I check into a hotel it’s not always under the name of Mr Lambkin. So I have to tell the ﬆaff that the reservation is under the name of Mr Robot, which can be a bit embarrassing as I’m a 40-year-old going under the name of Mr Shit Robot. The other funny thing is when I arrive in my hotel room and look at the in-house TV screen it sometimes says ‘welcome Mr Shit’,” he laughs. Lambkin, who hails from Dublin, Ireland, lets his music do the talking. Although that can be difficult when his music is inﬆ rumental. “Well, some of my music is inﬆ rumental. A lot of the

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music on my album has a vocal somewhere,” he tells. As Shit Robot, Lambkin has released numerous well-received singles – Wrong Galaxy, Chasm and Simple Things (Work It Out) all rate a mention. However the breakthrough, and subsequent appreciation, arrived when he released the cleverly titled album From The Cradle To The Rave in 2010. “I’m very proud of the record and surprised by the positive reviews as it could have been slated. I think a lot of people underﬆood the music and where I was coming from,” he says.

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SOMETIME WHEN I CHECK INTO A HOTEL IT’S NOT ALWAYS UNDER THE NAME OF MR LAMBKIN... WHICH CAN BE A BIT EMBARRASSING AS I’M A 40-YEAR-OLD GOING UNDER THE NAME OF MR SHIT ROBOT. THE OTHER FUNNY THING IS WHEN I ARRIVE IN MY HOTEL ROOM AND LOOK AT THE IN-HOUSE TV SCREEN IT SOMETIMES SAYS ‘WELCOME MR SHIT’...” The majority of reviews for From The Cradle To The Rave have, indeed, been positive. The album features contributions from Hot Chip’s Alexis Taylor and LCD’s James Murphy. From renowned Brit mag NME to internet forums, remarks have been on a par with Murphy’s lateﬆ offering. “I can’t escape what influences me. I grew up with acid house, punk and early techno and those combinations are present. It’s Chicago house meets a few other things. I didn’t want to make an album of entirely inﬆrumental dance music, particularly as that’s what I’ve been known for,” he elaborates. The album took over two years to produce, but Lambkin says it’s not juﬆ album making that takes time but the responsibilities that come with being a musician, a process backed-up by touring, media, live shows and marketing. Lambkin’s been described as adoring analogue and 80s synth ﬆabs, something all too common in modern day elect ronica. “It’s more being influenced by that particular sound. There’s a certain vibe about that ﬆ yle of music and what I’m trying to capture is a particular ﬆ yle and make it relevant in today’s music,” he says. As for the next album, Lambkin’s not even contemplating it, for now. “I’ve got no idea what it will sound like or when it will be,” he ﬆates. WHO: Shit Robot WHAT: From The Cradle To The Rave (DFA) WHERE & WHEN: New Guernica (Melbourne) Thursday 21 April, Alloneword (Brisbane) Saturday 23 April, Circoloco at Greenwood Hotel (Sydney) Sunday 24 April

DIRTY TRANCING IF “UPLIFTING” TRANCE IS WHAT GETS YOU REACHING FOR THE LASERS, PERHAPS BART CLAESSEN ISN’T THE DJ FOR YOU, AS MATT O’NEILL DISCOVERS.

art Claessen has had something of an unpredictable career. Originally operating under the alias Barthezz, Claessen’s initial attempts at music product ion inadvertently rocketed him into the charts – with 2001 singles On The Move and Infected immediately breaking through to mainﬆ ream success throughout Europe upon release. Since that point, however, Claessen has largely shied away from product ion in favour of honing his skills as a DJ.

The paﬆ ten years, for example, have only seen the release of approximately 15 of Claessen’s original product ions – little over an album’s worth of material for what is essentially a decade’s worth of work. By contraﬆ, Claessen’s schedule as a DJ over the same period encompassed performances in Japan, Russia, Lebanon, Auﬆ ralia, Spain, Poland and Canada at feﬆ ivals like Trance Energy and Innercity – particularly bizarre given the producer didn’t even learn how to DJ until 2002. “When I ﬆarted, I was about 20 years old,” Claessen reflects of his origins. “I was really surprised with that fi rﬆ track. I really didn’t know what to expect. My only goal was to get into the Dutch club charts and then it got into the singles charts, and then licensed to all these huge labels all around the world. I think it ended up getting into the singles charts in something like 14 or 15 countries or something like that. “Until a bit over a year ago, I felt I needed at leaﬆ two weeks to produce a track. It went very slowly,” the producer considers. “I hear from a lot of other producers that producing music always feels like a bit of a ﬆ ruggle. With every product ion I’ve ever done, I’ve pretty much always needed to hit a brick wall at leaﬆ once and then, the next day, it’ll all ﬆart to flow. It’s always going from really happy to a bit down and from really ﬆ ressed out to totally relaxed.” The reﬆ of Claessen’s career is full of similarly ﬆ range developments. The greateﬆ example would perhaps be his relationship with trance. Th roughout his career, Claessen has perpetually associated with the ﬆ yle – from being invited to remix Tiëﬆo laﬆ year to having his product ions consiﬆently showcased by veterans like Ferry Corﬆen and Armin van Buuren – but, since dispensing of the Barthezz alias in 2004, has maintained only the moﬆ tenuous ﬆ yliﬆ ic links to the genre.

“I think you’ve got to attract people with some sort of ﬆ yle and if people need to do that with me than I suppose trance is okay,” the producer muses. “If you liﬆen to my radio shows, it’s all juﬆ a bit of a mixture of kind of trance, techno and elect ro. It’s all kind of in between those three. I think that moﬆ people juﬆ notice the melodies in my tracks, though, and if you juﬆ pay attention to the melodies than it can juﬆ look like trance. “If you’re talking about pure trance, though – like what moﬆ people consider to be pure trance tracks – I don’t really play those anymore,” he elaborates. “There’s always these big discussions as to what trance is and whether trance is ﬆ ill alive or ﬆ ill popular and I think all of those queﬆ ions kind of depend on what you consider

trance to be. There are defi nitely people who have done the same thing for six years and have not been evolving at all – moﬆ ly the uplifting ﬆ uff. “If you think that is trance, I’m definitely not intereﬆed in it,” Claessen laughs. “If you’re looking to people who are really evolving and taking it to other places, though, that’s what I’m trying to do. You know, these days all ﬆ yles are getting a little bit closer to each other. Trance is getting a bit more slow. House is getting faﬆer...” Still, there is a broad sense of continuity to Claessen’s work. Specifically, one can view the producer’s career as a gradual realisation of focus. It’s certainly a perspect ive borne out by Claessen’s recent output. Previously a slow worker with a broad ﬆ yliﬆ ic basis, recent years have

seen Claessen working at significantly greater pace and with a surprising amount of precision – gradually refining an idiosyncratic blend of trance, house, techno and elect ro in an ongoing series of singles releases. “It changed a lot. I don’t know what happened with me. At the end of 2009, there were some tracks that I wanted to release but it took too much time and some tours were cancelled,” the producer recalls. “I went to the ﬆ udio and ﬆarted to work and I juﬆ ended up releasing so many tracks over the paﬆ year. I did a B-side in 11 hours and I’ve never done that before in my life.” The ultimate demonﬆ ration of Claessen’s gradual acceleration comes in the form of his current act ivities – the producer is currently crafting his debut album. Unsurprisingly, he isn’t exact ly forthcoming with release dates or timelines but, to his credit, he’s already managed to produce two tracks for the record this year and is fully intent on delivering ten more within the near future. “I’ve only juﬆ ﬆarted. I’ve finished two tracks now so there’s ﬆ ill ten to go but I really hope to get it all done by the end of the year. I think, once I’ve done the fi rﬆ album, things will get a little easier. While that album’s being released and promoted, I can ﬆart on the next one...” the producer pauses slightly. “If there is a next one. You know, I’m not really sure about it all. I’ve only ever worked on singles. I juﬆ wanted to try making an album.” WHO: Bart Claessen WHERE & WHEN: Creamfields at Melbourne Showgrounds Monday 25 April, Showring & Hordern Pavilion (Sydney) Saturday 30 April, RNA Showgrounds (Brisbane) Sunday 1 May

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‘AVIN’ A LAUGH WHETHER HE’S SPINNING HOUSE, HIP HOP, RAVE, ELECTRO, DUBSTEP OR SOME COMBINATION OF THE ABOVE, AARON CLEVENGER’S MOST IMPORTANT ASSET AS AC SLATER IS HUMOUR, WRITES STUART EVANS. nspiration is everywhere according to danceﬂoor deﬆ royer and product ion wizard AC Slater. “I live in Brooklyn, New York, so inspiration is on every corner of the ﬆ reet. Music is everywhere in New York,” he says.

He declares another source of insight to sit within a country’s people. “When I’m DJing in the UK or Europe or even Auﬆ ralia, chances are I’ll hear something different. Even online things are different. I’m surrounded by creative people and it’s really like a musical cycle that keeps on going round and round.” Slater, real name Aaron Clevenger, has seen his ﬆock soar. His tracks and remixes have become certainties on a number of UK dance radio ﬆations and have found their way into the sets of Moby, Stanton Warriors and MSTRKRFT. However the American’s musical genesis was much more humble. In a petite Weﬆ Virginian town, a then 14 year-old Clevenger rummaged through his dad’s music collect ion, only to take it one ﬆep further by compiling a few mixtapes. The fledging Clevenger was bold: he maﬆered DJing and threw hip hop and rap into his mixes. Word spread around high school as he became known as King of the Decks. The Brooklyn local was raised on a ﬆaple diet of hip hop until he discovered old school rave – lay culpability at the Chemical Brothers for his love of elect ronic harmonies. “Man, I went to a Chemical Brothers gig and it changed my life. It was a big discovery as I hadn’t been exposed to that ﬆ yle of music. After that I went to my local record shop and bought as much elect ronic music as I could get my hands on,” he laughs. From there he’s taken the old breakbeat influence and applied them onto his own ideas and innovations. Clevenger’s a hard cat to describe. His live sets have been known to bang, so piercingly that speakers blow. Musicality is equally as nuts: his ﬆ yle is a crossbreed of house, hip hop, rave, elect ro and dubﬆep, all with the addition of fun and funky house. The American doesn’t rely on being typecaﬆ as anything other than bringing a dash of humour into music. “Humour’s so important. People go out to have a good time and to have a laugh and a joke so it’s juﬆ as important that people hear that in music. Humour works well,” he says. Laughter is ingrained into Clevenger’s psyche. Before music his aim was to write comedy. Liﬆen carefully and comedic undertones are apparent in his music. His dubﬆep record, Calm Down, featured witty and meaningless renditions like “why you take my sandwich on my birthday? You know I’m on a diet.” Clevenger’s response is to laugh. “It’s really juﬆ joking around. Some fans of the track come up to me and ﬆart to quote the lyrics.” There is, of course, a caveat: humour works well providing it’s done right. Clevenger agrees. “Take the Duck Sauce guys and that Barbara Streisand track. It makes no sense at all. The track works though as it is funny and clever.” Hard work has made Clevenger a success, and that hard graft ethic continues to pay off. Clevenger founded the Party Like Us record label and is part of the Trouble and Bass crew, too. The latter collaboration gave

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him creditability and, juﬆ as importantly, a springboard for additional projects. Take his working relationship with Drop The Lime, an alliance that’s produced the 2010 smash Creepin. Breakbeat, electro and digital club label Party Like Us has become synonymous with fresh up-and- omers like B Rich and Kry Wolf. “Running a label is certainly hard work. It requires a good work ethic and a lot of coffee. I don’t sleep,” he laughs. But his hip hop curiosity is ﬆill apparent, freshly evident via his partnership with rapper Dell Harris (previously known as o8o) which resulted in the recently released album Right Now. Musical prowess aside, running a record label requires shrewd business sense and a fair amount of nous. Flagrant online piracy has become rife and artiﬆs have seen a novel idea deﬆ royed in minutes thanks to the access of the internet. Nowadays things move quickly. “A lot of music is inﬆantly disposable and people are looking for the next big thing. When something’s new or when something becomes popular, chances are it won’t be new for long,” Clevenger tells. “Running a label is certainly difficult. It’s difficult to remain fresh and requires a lot of energy. Getting a record out there in the public domain can work to your advantage as it creates hype. But juﬆ because you generate hype on the internet doesn’t always mean that you’ll get success in the real world,” he says. Clevenger’s remixes and original product ions have made him. Remix wise he now has an envious back catalogue. Boys Noize, Crookers, Steve Angello and Laidback Luke have all received the rework treatment. “I really juﬆ try to make records that I like and believe in. It’s always nice and challenging to get into a different territory of music. It could be pop or elect ro or rap. Part of the fun is taking what I know about elect ronic music and applying it to other genres.” WHO: AC Slater WHERE & WHEN: Roxanne Parlour (Melbourne) Friday 29 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, Groovin The Moo at Maitland Showground Saturday 7 May, Chinese Laundry (Sydney) Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May, Onefiveon (Wollongong) Thursday 19 May, Platinum Nightclub (Gold Coaﬆ) Friday 20 May, Monaﬆery (Brisbane) Saturday 21 May

WITH THE BRITISH ROYAL WEDDING JUST AROUND THE CORNER, FERN STEFANIE DISCUSSES WHY AUSTRALIAN SLAPPERS NEED A GOOD ROGERING FROM WILLS.

THE KING AND I (AND THE WHOLE WORLD) et’s face it – the average Auﬆ ralian female is uncouth. Precocious, she packs away her weight in booze, drops the ‘c-bomb’, is no ﬆ ranger to the odd box flash whilﬆ passed out in a cab and a dolled up night on the town inevitably leads to a spew or piss in a public alley. And when she’s ﬆ ill ‘ﬆanding’, teetering on six-inch heels with vodka martini in hand, she’s verbally abusing a mate/bouncer/boyfriend in regards to the Zinger burger said mate/bouncer/boyfriend didn’t buy her during a ciggie mission. Bless her. In 2000, set againﬆ a backdrop of sweating athletes, Princess Mary of Denmark, formally known as Mezza from the Isle of Inbred, met her prince-to-be at the Slip Inn pub in Sydney during the Olympics. Little did she know infamous playboy Prince Frederik had his eye set on slipping in on her. Faﬆ forward one year, and vows were exchanged, babies brewing and old Mez was transformed overnight Cinderella-ﬆ yle from boring bogan to refined royal. Females across the great southern land clung to a brand new sense of hope. If dull as bat shit Mary could rope in a prince, surely they had the situation nailed. It wasn’t too far down the track that the notion took to the screen, and there’s no other greater showcase of the Auﬆ ralian slapper than the Aussie version of 2009’s UK series Ladette To Lady. These chicks were the crappeﬆ of the crop. Tattooed, pierced, dribbling drunken messes, their peroxide hair glowed like beacons in the night as they ditched the ﬆ ripper pole in hope of climbing a more refi ned and, ahem, well polished regal pole. The ultimate prize should the snot nosed Dukes and Earls of Wankerville ﬆomach the Ladette for the duration of high tea or alternatively until her boobs made a gueﬆ appearance is a notch up in rank – no pun intended. So when Prince William graced the country more recently, visiting regional townships ﬆ ill swimming in debris from the newsworthy flood water, who could forget the image plaﬆered across ninemsn and countless other online news sites. You’d be forgiven for initially assuming it was an ad campaign for the next Farmer Wants A Wife series as a grubby looking plump female twenty-something waded through sludgy paddocks in gumboots and virginal white (wedding) dress holding a bouquet of flowers watching ever so dreamingly (desperately) towards the horizon for the arrival of Wills. No more backyard bonfi res with the boys from down the road, no more embarrassing mornings waking up in the hay shed – this girl had bigger fish to fry. There’s nothing particularly outﬆanding about Wills. He’s going bald, looks like his old man Charles, has fairly ordinary dress sense for someone who owns squillions and walks permanently with a large ﬆ ick lodged up his arse. But rifle through pics of his smoking hot ex-roots and you’ll see this guys a catch. Don’t undereﬆ imate the Wills. One kiss from those lush lips and one ﬆ roke through his thinning locks and reﬆ assure you’ll be saved from those hidden promiscuous paﬆ times and slutty sins for good. Not so dissimilar to rubbing Buddha’s belly for good luck. The touch, nay the near sight of Wills’ balding head would be enough to cleanse any slapper’s sins for good. That’s what it’s about after all. The fascination with the royal family

doesn’t ﬆop at trying to get a leg up into their ridiculous fortune. It’s also about feeding off their virtues, sucking dry their apparent morals and hoping to God a small piece of it will rub off on you. Auﬆ ralia has until recently ﬆood in the shadows of its pommy older sibling. Combine this with the fact that there’s a well documented man drought (especially in Melbourne) and it’s a lamington/spotted dick match made in heaven. As the big day draws near, tens of thousands of Aussie women of all ages, creed and calibre will flock together around the television like Sex And The City on crack. Starry-eyed, they will romanticise about being Kate, marrying Wills and walking the royal corgies as all the while the reality of their life will snigger at them like a fat kid with the laﬆ Mars Bar. When all is done and duﬆed it’s back to the metrosexual fucktards with the fluro v-neck tees and the outer suburban sleazoids with the jumped up cars. Rohypnol doesn’t look so bad after all.

ROYAL RECEPTION

3D WORLD GETS THE LOWDOWN ON WHAT SOME OF AUSTRALIA’S FINEST WOULD SPIN IF THEY WERE IN THE BOOTH AT THE RECEPTION FOR THE WEDDING OF THE MILLENNIUM. DANNY CLAYTON (THE RIFF,CHANNEL [V]) “Let’s face it, this is a party you would have to ease into like a hot bath because those Royals would be about as tense as a frozen trout. You would have to warm up with some 40s jazz tunes with a beat like some Nat King Cole. I’d then work up to some cheesy 80s remixes to get the Queen dancing (the old tart is sick for Madonna), move into pop territory with some remixes of Rihanna, Katy Perry, Lady Gaga, then blast the fuck out of the room with some dirty electro thumpers like Swedish House Mafia, Tiësto , Deadmau5.” HELENA “I’d open with the Sex Pistols God Save The Queen into Anarchy In the UK followed by Marilyn Manson The Beautiful People and Lady Gaga Bad Romance, finishing up with Dolly Parton DIVORCE.” TENZIN “I would just chuck on a lounge jazz compilation and try fi nd myself a princess.”

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SOME KIND OF MONSTER FRESH BACK ON HOME TURF FROM DOMINATING SXSW, BRISBANE TURNTABLIST SAM POGGIOLI TALKS DAVE DRI THROUGH THE HIP HOP MEETS HALLOWEEN THEME OF HIS LATEST AUDIOVISUAL SPECTACULAR AS SAMPOLOGY.

uﬆ ralia has had no shortage of breakout hip hop ﬆars in recent years and ﬆ raight out of Brisbane comes one of the more unassuming, yet one of the more creative, of the bunch. The aptly titled Sampology, real name Sam Poggioli, has been pushing at the limits of the audience expectations of hip hop since shoelaces were fat. Or, at leaﬆ, since the early 2000s, living every teenage turntabliﬆ ’s dream hook-up with bands including Vinyl Slingers and Soma Rasa.

These early band experiences saw Sampology on tour across the Big Day Out circuit and making trips to the US to lay down the scratches and samples that soon saw him become a go-to guy for album cuts. Left to his own devices, Sampology has been busy gathering new coconspirators, and developing his “Super Visual” performances, incorporating his hip hop skills and a truckload of eye-popping photon explosions by way of an audiovisual set driven entirely from his turntables, visual plundering sessions and more than a little skill. The kind that came in handy at this year’s South By Southweﬆ feﬆ ival. “It was crazy, absolutely crazy,” Poggioli admits. “Straight up it was a real honour, and such a cool thing to go over and do. It was absolutely crazy, the whole town literally is juﬆ all showcases from 10 o’clock in the morning to 2 o’clock that night. It was literally juﬆ thousands of venues. I had no expectations of becoming an overnight success or huge or anything like that. It was more juﬆ going over to build intereﬆ for international bookings and that kind of ﬆ uff. We had some really good results, and there’s a lot of intereﬆ coming through.” The underﬆatement is typical of the mophaired DJ, returning to Auﬆ ralia with a bag of new records, a mad case of jetlag and a US-portion sized serving of praise from the taﬆemakers that flooded the South By Southweﬆ parties in their hunt to be the fi rﬆ to tweet about emerging talent. Acts like

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Samplogy and his lateﬆ audiovisual set, themed and dressed up as the Super Visual Monﬆer Mash. It’s got beats, monﬆers and visuals, but what is it? “It’s not like a set in ﬆone kind of performance,” he explains. “A lot of people look at it like it’s a DJ performance and it’s juﬆ like a little extra bonus thing, but it’s a lot more complicated with a lot more work that goes into it. It’s not juﬆ a traditional three piece or four piece band, or a typically DJ set, but I really enjoy it.” The set in full fl ight looks effortless, a mix of video scratching and beats that can seem confusing as to juﬆ how it all comes together which adds that hip hop flair to what audiences might expect in this current musical climate as a pre-recorded performance. Something Poggioli is careful to set ﬆ raight. “I always

ﬆart each set on the mic, and juﬆ explain the concept as simply and eﬀect ively as I can. Juﬆ explaining the turntable is controlling both the visual and the audio, at the same time and in sync. It’s good to ﬆart from that point – it’s always been about providing something that people can dance and party to, but also they can check it out with their eyes at the same time. I’ve never intended the show to be a super arty, chinﬆ roking thing at all. It’s always riding that balance point between providing something really cool, unique and completely diﬀerent from what a lot of people have seen before, but at the same time you can have a few beers and party as well.” Apart from the late nights hard at work ripping monﬆer movie footage, YouTube clips and working them into routines, Poggioli has been making

moves on his own product ions, releasing the lead single Piggy Bank from an upcoming five-track EP. The track has worked its way into rotation on the party circuit, boaﬆ ing a solid dancehall influence underneath the lyrical pitch of collaborators Spoek Mathambo and Gnucci Banana, adding a South African and Croatian-Swedish flavour to the expectant mix of samples, flavours and secretsauces. Th is is perhaps Sampology in one lesson – taking various beats and pieces from the eclect ic range of the globalised hip hop community and cutting it up into new and unique ways. “I’m really proud of how the EP has gone and I can’t wait until the full five-track comes out. It goes from dancehall and Caribbean aspect, what I’m digging at the moment, but there is some more reggae, dubﬆep influence, but coming from a reggae point of view.” As to how these diverse sounds and collaborations come about? “Basically, the internet,” he explains. “I mean, this EP’s been really cool because the ideas and inﬆ rumentals have been floating around, and I juﬆ made the effort to put this out there, send it to people that I really want to work with. It was a lot easier than I thought, juﬆ reaching out to people, and I’m definitely going to be hitting up a lot more people for upcoming collaborations. “I’ve always done heaps of different ﬆ uff, whether it’s been producing or the visuals ﬆ uff, DJ’ing or collaborating with people like Tom Thumb, but it’s cool. It’s always a challenge. Keeping your mind in different head spaces. If it’s not a challenge, it’s not always exciting for me.” WHO: Sampology WHERE & WHEN: Eaﬆ Brunswick Club Saturday 30 April, Groovin’ The Moo at Prince Of Wales Showgrounds (Bendigo) Saturday 30 April

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SUNSHINE WHERE AND WHEN WAS YOUR FIRST SET? “In 2000 at a RSL in Port Melbourne.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “That’s such a hard queﬆ ion. I have too many favuorite tracks. But one of my favorite 12” would have to be Sylveﬆer – Do Ya Wanna Funk.” WHO ARE YOUR FAVOURITE DJS? “Derrick Carter, Boogs, Andee Froﬆ, Katie Drover.” FAVOURITE CLUB TO PLAY? “All my residences.” WHAT’S YOUR BEST ALL TIME GIG?

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“Warming up for Digitalism in January and Stereosonic laﬆ year was a blaﬆ.”

WHAT DOES THE LOCAL CLUB SCENE NEED MOST?

WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS?

“More punters who are happy to dance and rock out the whole night to tracks they haven’t heard.”

“A guy dancing naked. You could juﬆ feel the freedom!”

UPCOMING GIGS?

WHAT DO YOUR PARENTS THINK OF WHAT YOU DO?

“Saturday Mornings at Revolver every Sunday, Superdisco at Prince every Saturday, Bimbo Deluxe Friday 22 April, Lady Luck at Circus Friday 22 April, Revolver Monday 24 April, Creamﬁelds at Melbourne Showgrounds Monday 25 April, Deep Impressions at Pretty Please Friday 29 April.”

“They love it. My mum always has one of my mix CDs playing in her car.”

PHOTO BY JAMES MORGAN AT THE ORIENT EXPRESS CAFÉ

WHAT’S THE WORST REQUEST YOU’VE GOT? “Can you ﬆop the music so I can sing happy birthday to my friend?”

EPIC&FAIL

ANNOUNCEMENTS ON THE SHELF

Carbon, Auﬆ ralia’s ﬁ rﬆ forum dedicated to ﬆ reet culture and design, is gearing up for its inaugural event. Speaking at the event is Futura, one of the world’s moﬆ renowned ﬆ reet artiﬆs; Noah Callahan-Bever, editor in chief of Complex Magazine; Bobby Hundreds, founder of Mishka label; along with Greg Rivera, Chooee Hwang, Matt Thomas, Frank Liew and Anthony Liﬆer. It’s happening at Federation Square on Saturday 30 April and Sunday 1 May. A single day pass is $120, two day pass $195 from Moshtix.

RED SKY MINING

Red Sky have announced a massive line-up of some of the moﬆ cutting edge dance music with a headlining performance by Germany’s Kollektiv Turmﬆ rasse. The innovative and experimental DJs are pushing the plimits of house and techno sounds, proliﬁcally touring the world with their unique beats. They are supported by Spoonbill, Antix and Andras Fox. It happens at Brown Alley, Friday 13 May from 7pm. Tickets $25 through Moshtix.

STUDIO TAN?

GRACE JONES

EPIC

AMAZING...

Grace Jones made up for ﬆarting 45 minutes late at the Palais laﬆ week with a ﬆ unning ﬆaging of her 2008 album Hurricane. What other 62-year-old nana looks like a Disney villainess one minute and ﬂashes her arse the next?

CALIFORNIA STREAMING

It was splendour on your arse this weekend as US feﬆ Coachella ﬆ reamed online: Death From Above 1979, Big Audio Dynamite and the amazing Gayngs were among those broadcaﬆ live ON THREE CHANNELS. Who said the web was only good for porn?

FISH LIPS

Chicken Lips’ She Fish ﬁnally gets a release and ﬁnds the UK lads ahead of the pack as they explore the deeply funky proto-disco sounds of John Kongos and the later soul funk of Hot Chocolate. Read their lips.

FAIL

THE PUPPET MASTERS RETURNS

Forget Scre4m, the lateﬆ horror sequel is in local politics. Seen how the energy companies are pressuring Gillard to axe the carbon tax? Similar plot to the ﬁ rﬆ inﬆalment when the mining induﬆ ry circled Rudd. Will it have the same ending too?

MARKET LOSS

Melbz’ gay clubbing icon The Market is set for a name change and will no longer be exclusively gay. Flying the rainbow club ﬂag for over a decade, it hoﬆed the likes of Frankie Knuckles and Nicky Siano and will forever be a blurry memory for those who ﬆ umbled out into Sunday shoppers.

Tetris Studios in Brunswick is slashing prices of its Pro Audio equipment in a massive clearance sale. Brands including Akai, Alesis, Numark, Samson and Focusrite have radically discounted items, for the DIY producer that is looking to beef up their machines. Live and Pad Controllers are reduced, along with samplers, controller keyboards, portable turntables and headphones. Save yourself a bundle and check out what’s on oﬀer, sale ends Sunday 30 April.

OMAR’S NOT COMING

KOLLEKTIV TURMSTRASSE

TRIPLE THE FUN

Omar S has regretfully announced that he will be poﬆ poning his Auﬆ ralian tour due to personal commitments. The Eaﬆer slot has been ﬁ lled by Spherix, who joins Robert Babicz performing his splendid live show alongside Hotﬂush Recordings maeﬆ ro Scuba. Babicz is known for his authentic musicianship and remarkable live shows loaded with blissed atmospherics and analogue bass. The international artiﬆs are sure to play an explosive set when they hit The Likes Of You at La Di Da, Thursday 21 April from 9pm.

Celebrate your favourite cruciﬁ xion-based public holiday with Tom & Alex’s Triple J Breakfaﬆ , live on Good Az Friday. The show will be broadcaﬆ from the Capitol Theatre, and feature live ﬆ and-up and musical performances by Megan Washington, Sam Simmons, Dave Callan, Francesca Martinez, Marc Maron, David O’Doherty, Greg Proops, New Art Club and Mark Watson, among others. The event is free and all ages, happening Friday 22 April.

BANG THE DRUM

BEFORE THE BUNNY

King of the drums Rashid is going to launch the new Mapex Black Panther Concept Kits. A self-taught musician, Rashid began playing the drums at age three and has toured with artiﬆs including John Legend, N*E*R*D and Jill Scott. He will be bringing his ﬆ yle and precision drumming to Revolver, Wednesday 27 April from 7pm to showcase the ﬆate of the art kit. Tickets $20 from Revolver Drums, Chapel St or limited tix on the door.

Revolver is set to hoﬆ a massive Eaﬆer party on Thursday 21 April, with an all-ﬆar line-up of super spectacular bands and DJs. We:Are:Fans will bring their Italo disco grooves, following recent ﬆints at summer feﬆivals including Parklife and Good Vibrations. They will be supported by Cullen, the one man musical force, and I, A Man, a buzzing-band with layered harmonies and complex rhythms. It kicks oﬀ at from 8:30pm, entry is $15 on the door.

MONSTER SHOW

Following a highly successful DJ tour with the Big Day Out and ﬆateside jaunt for SxSW, Sampology is embarking on a national tour to showcase his dynamic live mash-up set. Sampology’s Super Visual Monﬆer Mash is the third inﬆalment in his infamous AVDJ series, mashing TV showsand ﬁ lm clips. He is supported by Tom Thum, Mat Cant and Jesse I. 3D World presents Sampology playing Eaﬆ Brunswick Club Saturday 30 April. Tickets $20 through Moshtix. TOM THUM

THANK GOD IT’S...

Okay, this whole Rebecca Black thing has gone too far when even a US Chriﬆ ian group has redone the vid as Sunday, with the “partying” refrain replaced by “worshipping, worshipping, yeah!” Or is it a very elaborate ironic gag? If not, it proves the devil does get the good tunes.

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3DPRESENTS

ALEX KIDD

THE KIDD IS ALRIGHT

Kiddfect ious is going to make Eaﬆer Monday explode with a massive party night, headlined by Alex Kidd. The DJ, known for his crowd pleasing and high energy sets, will drop all the hits he is famous for along with some of the beﬆ dance ﬂoor anthems around. He is supported by Kiddkaos, Xdream, Scott Alert vs Trent McDermott, Dr Willis vs LCK, Josh Lang and MC Kennendo. It’s happening Monday 25 April at Billboard from 10pm. Tickets available through Moshtix and Ticketek.

ROCKING tHE CBD

Favela Rock is back for its April inﬆalment, with a line up of ace DJs and party deﬆ royers. Headlining the night are beat machines MAFIA, Opulent, Micka5k, Tranter, Mat Cant, DC and Chopﬆ ixxx, who will bring the lateﬆ party jams and classic hits. There will be limited edition ‘Favela Rockers’ ﬆ ickers available on the night, along with drink specials. With its reputation booming, the laﬆ four Favela Rock nights have hit capacity by midnight. Entry is $10 at the door.

BLOWING UP

One of the biggeﬆ rappers of the paﬆ 30 years, Kurtis Blow, is set to head our way. The legendary hip hop artiﬆ is celebrating the 30th anniversary of his classic album, The Breaks, which was one of the ﬁ rﬆ rap songs released by a major label. The original album sold over half a million copies on its original release, with this classic old school hip hop and funk sounding as fresh and vital as ever. Kurtis Blow plays The Espy front bar, Saturday 28 May. Free entry.

SKOOL OF DOUBLE DROPS

Join DJ Lady Erica at the closing night of the Nu Skool Venetian Maﬆers Photo Exhibition. Not only boaﬆ ing quality art works of ﬆ reet art and graﬃti, there will be a performance by DJ AC23, with nearby comedy gigs by Ian Bagg, Ava Vidal and Henning When at the comedy feﬆ ival. It happens at Chapel Oﬀ Chapel, on Little Chapel St in Prahran, on Saturday 23 April from 8pm.

NO SILLY LOVE SONGS

Chunky Move is looking for dancers intereﬆed in being involved in the Next Move product ion, It Sounds Silly, a new work to be created by choreographer Adam Wheeler. There will be public auditions held for 13 to 20-year-olds in its Melbourne ﬆ udios on Sunday 1 May. The completed show will be presented in partnership with City of Melbourne’s SIGNAL, with performances on Friday 20 and Saturday 21 Auguﬆ. If you’re keen on getting involved, see chunkymove. com.au for more info.

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DEX, NO FX

Melbourne’s acclaimed DJ Dexter is headlining an upcoming free gig. The producer is widely recognised as one of the greateﬆ turntabliﬆs to come from Auﬆ ralia, with a career spanning two decades. He was a member of The Avalanches, collaborator with his group Grilla Step and one of the victors at the DMC World Championships. Th is is a rare opportunity to see the artiﬆ take it back to his roots in an intimate gig full of epic beats. He is supported by Kuya, Flagrant, M-Phazes, Eddie Mac and Huw Joseph. It happens at Sweat at The George, Saturday 14 May from 9pm.

DEXTER

DOC ROCKIN’ BEATS

Blow Up Cinema is excited to present a series of classic music documentaries. It kicks oﬀ Thursday 5 May with DIG!, following with the Maysles Brothers’ infamous Gimme Shelter. Thursday 19 tells the ﬆory of the American civil rights movement through music in Soundtrack For A Revolution, while Thursday 26 May shows Grant Gee’s Joy Division. It happens at the Espy’s lush Gershwin Room from 7pm. Tickets $17 through blowup.com.

ARCHITECTURE IN HELSINKI

MARCH MOUNT KIMBIE – Wednesday 10, GoodGod Small Club APRIL BEST OF BOTH SIDES FESTIVAL: THANKYOU CITY, TIGERFUNK, JAMIE STEVENS, SUNSHINE, LEWIS CANCUT, SPACEY SPACE AND MORE – Tuesday 19 – Monday 25, Bimbo Deluxe BEST OF BOTH SIDES FESTIVAL: INVERTO, CUMBIA COSMONAUTS, THE PSYDE PROJECTS, CHRISTIAN VANCE, JACKET OFF ASKEW AND MORE – Tuesday 19 – Monday 25, Lucky Coq TIN CAN RADIO – Thursday 21, Revolt TIN CAN RADIO – Saturday 23, Evelyn Hotel UNKLE – Friday 29, Billboard HOUSE OF PAIN – Friday 29, Prince Of Wales GROOVIN’ THE MOO: UNKLE, AC SLATER, ARCHITECTURE IN HELSINKI, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO AND MORE – Saturday 30, Bendigo’s Prince Of Wales Showground SAMPOLOGY’S SUPER VISUAL MONSTER MASH – Saturday 30, East Brunswick Club MAY PEGZ – Friday 13, The Westernport Hotel (Phillip Island) GYPSY AND THE CAT – Friday 13, The Palace PEGZ – Saturday 14, Karova Lounge PEGZ – Thursday 19, Kay St PEGZ – Friday 20, The Hi-Fi TIKI – Saturday 28, Corner Hotel JUNE MIAMI HORROR – Wednesday 29, Karova Lounge JULY ART VS SCIENCE – Saturday 2, The Forum MIAMI HORROR – Saturday 9, The Forum

SHARE HOUSE

Big House Party is the coming together of Melbourne music brains from dance and rock backgrounds, to create a dynamic new addition to Melbourne’s nightlife. Happening Eaﬆer Sunday 24 April, the event boaﬆs John Course, Joel Alpha, Dom Dolla, Vedran, Ed Myer, Jad Hamzi, Jesse Young, James Steeth, Press Play DJs, Jordy 183, Sam McKeon, Jack Ebert and more. It happens at a secret warehouse location in South Yarra, entry $20.

GYPSY & THE CAT

OGFLAVAS Urban news with CYCLONE

CASSIE

John Legend has been linked romantically to his ‘protege’ Eﬆelle, but he’s act ually dated model Chriﬆ ine Teigen for four years. Singers going out with models? Yeah, it’s a cliche. Legend has a bit of a rep as a modeliser – and even a lovely, ﬆ ylish and Ivy League-educated guy like him cops flak for it. The irony is that today moﬆ pop ﬆars – urban or not – are de facto models themselves. (Legend has appeared in a Lexus SUV ad!) With the music induﬆ ry downturn, artiﬆs need to diversify to make a buck and so they brand themselves. Beyonce is the Queen of Endorsements – plus she has her own fashion empire and perfume. Rihanna, too, owes much of her fame to the fashion world. She has developed an ever-changing edgy image – and is conﬆantly featured in glossy magazines. RiRi’s universal ‘It’ girl ﬆatus now is such that she can perform at the Academy Of Country Music Awards (albeit dressed demurely). Rihanna is following the savvy Mary J Blige, who largely popularised the ‘ghetto fabulous’ look globally. Mags that won’t review Blige’s hip hop soul albums will publish a piccie of her. No wonder, then, that Ciara is trying so hard to emulate RiRi’s ‘crossover’ ﬆ rategy. Of course, Lady GaGa has raised the ﬆakes with her flamboyant coﬆ uming – and everyone from Nicki Minaj to Jessie J is watching. Diddy’s Bad Boy signing Cassie, aka Casandra Ventura, hasn’t put out an album in yonks, but that hasn’t ﬆopped her from scooping an impressive campaign as one of the new ‘faces’ of CK One – uber-waif Kate Moss being the fi rﬆ in the 90s – along with Sky Ferreira and others. Indeed, Calvin Klein has launched a fashion line to go with the unisex scent. Ventura, with her undercut, is (s)punky. She was already modelling at 12, obviously prior to her music career, in catalogues. She moved from Connect icut to New York, connected with up-and-coming producer Ryan Leslie and, through him (and her manager Tommy Mottola), aligned herself with Bad Boy. Ventura has long mentioned a second album of urban-dance entitled Elect ro Love. Several singles – including 2008’s Lil Wayne-featuring Official Girl – have ﬆ iffed, prompting its delay. That Diddy’s own elect ro-disco Laﬆ Train To Paris bombed can’t have helped. Anyway, with her CK One triumph, a canny Ventura is now talking up her new single, Bougie Shit...

TO BE CONTINUED hankyou City may ﬆ ill be an unfamiliar name to Melbourne’s techno massive, but they themselves are no newcomers. In fact , Thankyou City is a reincarnation of Continuum, the project ﬆarted by brothers Brent and Scott Mirams, circa 2006. The name change, a mischievous Scott reveals, followed “a big fuck-up”. They were threatened with legal act ion if they didn’t drop the moniker. “There’s a band in Brisbane that act ually own the trademark for the name – like a local RSL band or some shit like that, I dunno.” The irony? “There was another group in Melbourne about ten years ago, an elect ronica band or something like that, also named Continuum – there’s three. There would have to be 500 around the world, though...” Scott himself has described their new Thankyou City handle as “wonky”. “We really don’t take ourselves too seriously!” With Thankyou City, the Mirams boys wanted to give props to their hometown. Indeed, when asked to ID his techno heroes, Scott cites “friends” like Steve Ward. Thankyou City have avoided becoming embroiled in local scene politics, he posits, because they’re a production (and live) outfit. “We don’t get caught up in a lot of that big DJ ego-type thing.” The Mirams are thoroughly nice guys. Even the concept of sibling rivalry is alien to Scott, who enthuses about his “special connect ion” with Brent, less than two years younger. “We’re really good mates. We can be completely honeﬆ with each other and not worry about what the other person has said – it doesn’t bother us too much. I think that’s important, especially when we’re sharing a creative idea. But, yeah, we’re juﬆ good buddies – and it works well. We’re pretty easygoing dudes.” As Thankyou City, the pair have already recently issued the Barrington Tops EP (with Oblique Induﬆ ries, aka Ryan Schofield) on Subsonic Records. They’ll have another on local imprint Chameleon Recordings this month. In the meantime, Thankyou City continue to gig live, having enliﬆed for the Beﬆ Of Both Sides alt-feﬆ ival. They’re forever tweaking their show, Scott says. “A lot of it when we’re playing live is ﬆ ill experimentation, really – and (laughs) sometimes it works, sometimes it doesn’t work so well!” Above all, Scott, who’s DJed for a decade, loves the thrill of performing – he also has a traditional music background, playing drums, guitar and flute. Thankyou City had intended to carry on sonically as before with Continuum, but their rebranding has freed them to, if not switch direct ion, then to ﬆep things up. Scott now feels that some of Continuum’s older music betrays their lack of experience. “I think our music has evolved quite a lot in the laﬆ year-and-a-half, anyway – or

even juﬆ a year – so it was a really good opportunity to get away from all that older ﬆ uff we’ve done under Continuum and have a new fresh approach with a bit more of a professional ﬆ andard and a bit of a different approach to the ﬆandard techno and minimal ﬆ uff.” And they’re plotting an album – a techno rarity in 2011. “We’re looking at doing an album probably within the next year. We wanna make it really good, we don’t wanna juﬆ get anything out there, so we wanna focus on getting our product ion to a level where we’re really happy with it – happy enough to act ually release our debut album. We’re not putting too much pressure on ourselves at the moment in that regard, but it’s defi nitely something that’s on the cards.” CYCLONE

WHO: Thankyou City WHERE & WHEN: iBimbo at Bimbo Deluxe Monday 25 April

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LONG DISTANCE RUNAROUND n good news for nice guys worried about ﬁnishing laﬆ, Sydney’s Light Year (a couple of very likeable lads in Michael Melas and Jordan Feller) have seen their quirky, sample heavy house product ions garner props across the globe. Soulwax, Surkin, Tiga, and Mr Oizo are juﬆ some of the acts that have given support to Melas and Feller’s Light Year project.

Veterans of Sydney’s club scene from the other side of the booth, Feller was a promoter who played hoﬆ to internationals such as The Rapture, Boys Noize, Steve Aoki and Jesse Rose. “We had heaps of mutual friends and we hung out in the same social circle,” Feller opens up. “I used to throw a party in Sydney that Mikey and his mates would come too. When Mikey told me he had ﬆarted DJing I gave him a gig and he killed it.” In those same circles were the likes of the Bang Gang and the Bag Raiders, so there was ample inspiration for the two to ﬆart producing. Having DJed together at Feller’s parties, the two kindred musical spirits hit the ﬆ udio. “I ﬆarted messing around with elect ronic music a little before Mikey, but I don’t think it sounded anything like Light Year,” Feller says. “As soon as we ﬆarted making music together we had an idea of what we wanted to do. Although, the further we have gone in the induﬆ ry the more that initial idea has evolved and changed.” The boys ﬆarted with reference points such as Chicken Lips, Soulwax, DJ T, Lifelike and Kris Menace, however by the time their ﬁ rﬆ original EP was released in early 2010 they had evolved somewhat. The blog fave Night Vision EP spanned elect ro and disco driven house, and a year on and the lads have matured further. “We have been getting right into the deeper side of house and techno. There are a lot of intereﬆ ing things going on in the kooky elect ronic disco scene too. Dudes like Seth Troxler and Art Department are real cool

doing that Visionqueﬆ deep house vibe. Always been fans of LCD Soundsyﬆem. Still love Soulwax too.” In developing their sound along this path, Melas and Feller have made a conscious effort to lessen their trademark use of samples in both their remixes and their product ions. The new direct ion paid dividends during their recent tour of Europe. “Mikey and I had such a crazy time”, Feller shared excitedly. “At the blink of an eye you’re in a different city, speaking a different language than the city you juﬆ came from. The difference in club culture was extraordinary too. We played a party on a Tuesday night in Rome, which had the beﬆ vibe. We played for three hours and could play whatever we wanted. Can’t wait to go back and do it all again.” Coming from a promoter background, Feller watched on in awe as they played packed club after packed club, midweek and weekends, throughout Europe. And he ﬆ ill looks back on his promoting paﬆ with a twinkle in his eye. “Dude, there were some great times. Aoki crowd surfi ng at Home, Gus from Bang Gang getting half naked and playing an empty vodka bottle like a cowbell was a highlight. Often these sorts of things would happen in the wee hours of the morning, so our memory is a little hazy.” RUSS MACUMBER

WHO: Light Year WHERE & WHEN: Chinese Whispers at Miss Libertine Sunday 24 April

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MENTAL COMBAT Hip Hop With BLAZE

AFRO-DIZZI-ACT

Considering that it’s ﬆill Record Store Day week, I forgot to mention that Rhymesayers dropped a limited edition ten track compilation of their lateﬆ roﬆer and it’s limited to 10,000 copies. As is Blueprint’s double vinyl picture disc for his lateﬆ effort ‘Adventures in Counter Culture’. The Truth & Soul label surprises me with an inﬆrumental version of Lee Fields’ 2009 release My World. The North Carolinan has also worked with the Daptone and Stones Throw labels and evokes sweaty references to James Brown in his manner, but this release lets us enjoy the musical backbone unadulterated. Marc Mac and Visioneers have also recorded versions of two classic b-boy tunes. The BBE label go limited with Apache/Shaft In Africa. I’m a fan. Numero Uno Group unleashed the impressive Syl Johnson six LP box set but are now readying a 5x45 box set as well. And rumour is that he will be touring these shores soon. I haven’t liﬆened to nor seen the new music sampling documentary Copyright Criminals, but I juﬆ spotted a taﬆ y looking package. It comes with two DVDs, a 12” record, a poﬆer, 25 trading cards and even some download links. Holy moley! On closer inspect ion I see that the vinyl is in fact a collect ion of beats from Clyde Stubblefield. It’s a tad pricey, but compelling enough to inveﬆ igate. It’s also intereﬆ ing to see soundtracks appearing on vinyl. Sure Daft Punk’s TRON was not that much of a surprise, but the clear vinyl for Inception was nice. As for local releases there’s the third output from Hope Street Recordings with a blinding new 7-inch from the ten piece school band The Cact us Channel from inner-city Melbourne. The two tracks are act ually quite cracking with their hard funk attitude and while one might be a cover of a Porgy Jones New Orleans classic (The Dap) the other is an original (Pepper Snake). Good to see some kids eschewing the laptops and getting down with some real physical kit. From the Queensland label Mighty Highness comes two new records – one from long-time Brissy funk act Afro-Dizzi-Act Remixed (300 copies) and the other from Melbourne’s Ethiopian influenced The Black Jesus Experience with their three track 12-inch Arada. Go for the inﬆ rumental of the latter and there are only 350 copies available.

BLOOD BROTHER yﬆ ique is all the rage in today’s dance music underground, with acts galore adopting aliases and minimising any fact ual guff in their bios. In this way, Melbourne’s Tigerfunk, aka Ezra Harvey, has something in common with anyone from Alan Braxe to Holy Ghoﬆ! to Pond. Yet Harvey delivers when it matters: he can rock a party. So who is Tigerfunk, then? “‘Tigerfunk’ was a DJ from Byron Bay who got really bored with DJing, so he decided to get people to come and play with him – and so it’s kinda like a tribe now,” Harvey responds whimsically. “I do solo sets but, for more adventurous occasions, I get sax and drums and vocaliﬆs and ﬆ uff and do ‘sonic graffiti’.” Byron Bay is a favourite deﬆ ination for many hedoniﬆs, but Harvey felt compelled to leave. “I can’t live off DJing in Byron Bay, it’s too small, but in Melbourne I can juﬆ DJ locally. That’s juﬆ all I do: music, 24/7.” Newly arrived DJs in Melbourne often find the scene cliquey, but that hasn’t been Harvey’s experience. “I think I’m really lucky in a sense where I’ve fallen into good residencies and people are juﬆ very willing to support me – without much promo (laughs guiltily).” That said, in the eight years he’s lived here, Harvey has noticed changes. While Melbourne’s underground was once divided into “militant” musical “tribes”, that’s no longer the case – which is juﬆ as well for him. “My sets are almoﬆ like a reject ion of that itself, where I juﬆ play any ﬆ yle, regardless.” Harvey believes that, generally, punters are now exposed to greater musical diversity via the Internet – and they’re more open-minded. Even the diﬆ inct ion between ‘live’ and ‘DJ’ set has blurred. Harvey is known to play house, elect ro, techno, psy-trance, breakbeat, drum‘n’bass, dubﬆep and miscellaneous IDM – “from deep to freak.” And, increasingly, he enjoys challenging the crowd to dance to music other than four-to-the-floor. “For the laﬆ three years I’ve been on a bit of a hunt to find the happieﬆ music on the planet, which I found in Dixie swing and Balkan – which has entered the house scene heavily. [But] then I am slowly going to the dark side at the moment with the dubﬆep scene – [it’s] kinda like who can create the moﬆ vomit-worthy music on the planet!” “Vomit-worthy” as in dizzying, that is. Harvey is dabbling in music-making. “I’m juﬆ a baby at the producing, though – ﬆ ill learning the ropes, I guess... ﬆ ill going to uni,” he says metaphorically. He doesn’t envisage his music coming out for a spell. “I’m not ultra-confident in my own shit yet.” He does have decent sound

boards. “When I get to that point where my mother and my daughter both go nuts to it, then I’ll be happy and go, ‘Right, sweet – it’s not too unappealing’.” As proof of his ﬆatus as an honorary Melburnian, Harvey is playing the Beﬆ Of Both Sides alterno feﬆ, being a regular DJ at both Bimbo Deluxe and Lucky Coq. He’s likely to be accompanied by his own “tribe” – those vocaliﬆs, inﬆ rumentaliﬆs and performers. “When I go out to a club, I want something a bit more than juﬆ a DJ. I want a bit of a performance or something in there – something a little bit askew, some outﬁts, some crazy dancers...” Outﬁts? “I have a big penchant for wearing frocks and masks – I’ve got a whole bag of masks,” Harvey half teases. CYCLONE

WHO: Tigerfunk WHERE & WHEN: Sundae Shake at Bimbo Deluxe Sunday 24 April, Monday

Night Live at Lucky Coq Monday 25 April

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ONE LETTER GREAT AND SMALL epending on who you are, the double A can bring to mind many things. Alcoholics Anonymous, American Airlines, batteries, or the New York based band Aa soon to travel to our shores for the inaugural Sugar Mountain feﬆ ival. As a feﬆ ival designed to celebrate the diversity in music and art and how they meet, Aa’s somewhat unusual DIY maximialism sound won’t go aﬆ ray on what is expected to be a crowd appreciative of another ﬁ rﬆ – the group making their maiden voyage to Auﬆ ralia. John Atkinson, one of the Big A Little A crew says that they aren’t really sure what to expect from their crowd down under. It’s a long way from Brooklyn after all, and it would appear Oprah’s educational tour of our country didn’t reach that far. “I’m so ready to be surprised,” he says of their upcoming trip. “I have no fucking idea what it will be like. I have friends in bands who have played in Auﬆ ralia before and have said it’s super fun so I’m expect ing that. I’m expect ing to eat some real weird shit like kangaroos and koalas, some weird marsupial. I am more curious to see what the Auﬆ ralians are expect ing of us. “Th is is the fartheﬆ we’re ever done,” he continues in reference to the journey. “We’ve done Europe, and we’ve done across America, which is a decent sized country, but we don’t tour that much, so it’ll be... I feel like we’ll end up traveling more on this tour than we ever have.” Playing a bigger scale event will also be a relatively new experience for the group, something Atkinson says is both good and bad. “It’s pretty novel for us,” he considers. “Th rough our Europe tour we played one or two smaller feﬆ ivals, and we’ve played a few smaller feﬆ ivals in New York, but we haven’t really done the feﬆ ival circuit so I have no idea what to expect. “It’s not outside is it?” he asks. “I do hate big outdoor feﬆ ival things. I fucking hate seeing music outside in the daytime. There are certain types of music you will only liﬆen to in the daytime and I saw this dark band at like two in the afternoon, and I was like, ‘fuck these guys’.” Regardless of whether Atkinson thinks Aa’s music is the kind that deserves daytime liﬆ ening, it is a sound that is very diﬀ erent to a lot

of what’s on the market today – a deliberate choice.

“When we ﬆarted playing, the goal like any band was to make music that you love and it’s hard work,” he recalls. “Being in New York, in Brooklyn especially there are so many bands, so many shows, it makes it hard. I mean, I think we’re really like... discerning isn’t the right word. Maybe we’re fucking haters. But with so many bands, you know what you’re going to see within the ﬁ rﬆ ﬁve minutes of the show. I go to shows like that, I see the bands, it’s for a few drinks, to pick up girls, but it’s really competitive and we all juﬆ like weird music. So it’s a challenge for us.” JANE STABLER

WHO: Aa WHERE & WHEN: Sugar Mountain Feﬆ ival at Forum Theatre Saturday 30 April

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DJBOOTH EDO WHAT INSPIRED YOUR DJ NAME? “I lived in Tokyo, Japanese people couldn’t say Adrian, so they shortened it to Edo.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “The moﬆ bangin moombahton and club shit in the universe, ever.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Dillon Francis – Maﬆa Blaﬆa.” WHAT MADE YOU START DJING? “My mum made me join the school DJ team in Year 9.” WHAT’S THE

GIVEAWAY

WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “A dude break his arm while breakdancing. WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Tambourine Dream (Yacht Club DJs’ Mashup Mix).” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “One time a Scottish dude came to the booth and asked if I had any eighties, but cause of his accent, I thought he said got any e’s” WHERE & WHEN: Favela Rock at Miss Libertines Saturday 30 April

ERIC B & RAKIM PAID IN FULL THE COLDCUT ‘SEVEN MINUTES OF MADNESS’ REMIX (4th & Broadway), 1987. “Moﬆ cherished record I own. I love playing it out and it hasn’t left my record bag for over six years. Truly ground breaking hip hop.” ROOTS MANUVA WITNESS 1 HOPE (Big Dada), 2001. “Damn! What a baseline hey? Another example of great hip hop.”

TOM THUM

HOW LONG HAVE YOU BEEN BEATBOXING? “About 8 years now but taking it more seriously since 2005.”

PETER BAKER

Coqs 5th Birthday Monday 25 April, The Beﬆ of Both Sides Feﬆival at Lucky Coq & Bimbo Deluxe Tuesday 19 – Tuesday 26 April, Workshop every second Wednesday, Bimbo Deluxe laﬆ Saturday of every month, The Late Show at Revolver and Sth Side Huﬆle at Lucky Coq every second Sunday.

MCBOOTH HOW DID YOU CHOOSE YOUR STAGE NAME? “I didn’t really it was more imposed upon me cause I was a short ass breakdancer with a minute personality.”

CLUB CLASSICS WHERE & WHEN: 3Ball Rodeo & Lucky

SHIT ROBOT GIVEAWAY Th is Eaﬆer Thursday 21 April New Guernica are getting ready to through a smashing party with one of the Big Apples fineﬆ, Shit Robot, set to getting up behind the battered old organ. After being a fi xture on New Yorks club scene for at leaﬆ a decade of deﬆ ruct ion Shit Robot emerged with his debut Long Player From The Cradle to the Rave in 2010. With support on the evening from locals Poﬆ-Percy, Otologoic, Andee this will be an epic way to kick off your Eaﬆer break. For your chance to win a double pass to the event email your name and contact details to giveaways@3dworld.com.au with SHIT in the subject box. Entries close Wednesday 20 April.

APHEX TWIN ISOPROPHLEX (R&S Records), 1992. “This track, and the EP it featured on forged my long laﬆing love aﬀair with electronic and techno music. The rawness of this track gets me every time. Aphex is a true pioneer.”

ARE YOU AFFILIATED WITH ANY CREW? “Way too many to name!” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “I was so shithouse and nervous and kind of got pressured into it, before that I was juﬆ a party trick, and then by some twiﬆ of fate I became an unpaid council feﬆ ival slut.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW? “Had a spew in a bin side of ﬆage once, that was brutal.” YOUR BEST SHOW AND WHY? “Probably the World Champs 2005, not so much my beﬆ performance but def the beﬆ thing I have done!” WHAT’S THAT ON YOUR SHIRT THERE? “Limited edition trem handﬆ yle from the omega man release.” FAVOURITE COMEBACK LINE? “Bbkbbbkbbkbbbkt.” WHAT’S YOUR DREAM COLLABORATION? “I’d really like to do something with Nina Simone, but that might be a bit hard.” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “Everyone is so friendly on the internet.” WHERE & WHEN: Sampology’s Super Visual Monster Mash at East Brunswick Club Saturday 30 April.

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THE CALLING Local Flow with LUKE MCKINNON

TRIALS

South Auﬆ ralian MC, Koolta has taken out the 2011 Hilltop Hoods Initiative. The 22-year-old MC/producer, whose real name is Kultar Ahluwalia, hails from Adelaide and has garnered a reputation for his unique versatility as a hip hop artiﬆ. Handling all his own product ion, writing, recording and mixing, Koolta has already shared the ﬆage with the likes of Urthboy, Drapht, Funkoars and Foreign Beggars. Presented by both Hilltop Hoods and APRA, the initiative gives emerging hip hop artiﬆs or groups the chance to win a unique opportunity to booﬆ their career, winning ten thousand dollars towards an album release and promotion, legal advice and a DC Shoes Prize Pack. MC Suﬀa of Hilltop Hoods said “We’d like to thank APRA, Blue Max Music, DC Clothing and Media Arts Lawyers for making the grant possible, and we’d also like to thank

our judges Hau, Ran-Dee, Raph and Nish for their invaluable input into this year’s initiative. Finally, we’d like to give a big shoutout to everyone that entered, the judges were amazed at the ﬆandard of the entries this year”. As mentioned a few weeks ago, Trials (Funkoars) has been a very busy boy. Having handled the majority of product ion for Drapht’s recently released, The Life of Riley, he’s back with his other side project – a collaboration with DJ Adfu – Theory Of Face and their debut EP, Demz Sqidz. Locked and loaded with five songs in the clip and one intro in the chamber, Demz Sqidz is the prelude to a full length album that will feature myriad of gueﬆs and a “whole lot more badness”. With both members behind the boards, the vocals were handled by Trials with Adfu, an unassuming menace of the scratch game, smashing up the turntables. Both seasoned veterans in product ion, Theory Of Face used six ﬆ ring guitars, homemade guitar pedals, two turntables and a microphone to create the musical madness that is Demz Sqidz. Finally, Joeliﬆ ics has released the firﬆ single off his upcoming solo debut, entitled Days. Blending his laidback ﬆ yle with his adept, clever, earneﬆ and insightful lyricism, Days is sonically joyous, and serves as the TZU frontman’s uplifting poﬆ-travel opus. It’s a cracker, so do yourself a favour, jump onto the Elefant Traks website and download the track via their pay-what-you-want syﬆem. And don’t be a tight-arse.

INDUSTRY WATCH

SAMPOLOGY’S SUPER VISUAL MONSTER MASH AT EAST BRUNSWICK CLUB THE IDEA BEHIND OUR NIGHT IS… “Like turning a live music venue into a cinema for the night and dancing your butt oﬀ to your favourite movies, tv shows and music clips of all time. All delivered by an internationally renowned turntable technician.”

TOM THUM

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WE’LL BE PIMPING THE SOUNDS OF… “Sampology, Kanye Weﬆ, Adele, Top Billin, Michael Jackson, Sly & The Family Stone, Jamie XX, Scattermusic, Chant Down Sound, Hudson Mohawk, Miss Dynamite, Spoek Mathambo featuring cameo appearances by Charlie Sheen, Kenny

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THE PEGZ ‘BOMBS AWAY’ TOUR After breaking the self imposed recording hiatus with the release of his collaborative Gully Platoon project, Auﬆ ralian hip hop MC and CEO Pegz returns to the solo live scene with his ﬁ rﬆ national tour in three years. Celebrating the release of his new album, Drama, Pegz will hit the road this May for a 15-date trek that will see him hit capital cities and regional towns across the country. Dialect rix will be supporting on all dates promoting his recent release Audio Projectile . The Bombs Awary tour hits The HiFi Friday 20 May with special support acts Bingethinkers and Simplex. For your chance to score a double pass to this highly anticipated show email your name and contact details to giveaways@3dworld.com. au. Entries close Friday 3 May.

Powers, ET, Freddy Kruger, and Hulk Hogan scarier than you’ve ever seen him.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Tom Thum the world’s moﬆ versatile voicebox, Mat Cant from Scattermusic and Jesse I from Chant Down Sound.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Sampology going apeshit on turntables, his drum machine and Kaos pads, Tom Thum delivering a world class performance using his vocal chords, a mic, samplers and eﬀects pedals, Mat Cant trying to break the Guinness World Record for scarieﬆ level of beer consumption and Jesse I throwing down an amazing reggae and hip hop inﬂuenced dancehall set.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Dressing up as something really f**kin scary, horror movies, dancing and watching performances that you’ve never seen before. Believe us, you will never forget this night!” WHERE & WHEN: Sampology’s Super Visual Monﬆer Mash at Eaﬆ Brunswick Club Saturday 30 April 30.

PERSONALITY TEST ANRI

HOW WOULD YOUR MUM DESCRIBE YOU? “Independent and Intelligent.” WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “Maybe, never liﬆened.” WHO INSPIRES YOU MUSICALLY? “Many artiﬆs I am surrounded by at the moment are really inspiring me including; Satoshi Tomiie, Nils Nuenberg, Florian Kruse, Aki Bergen and not to mention techno wonderboy Steve Ward.” NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “Simon Weiss – Whats New in Tokyo City (Steve Ward Remix), Kev Obrien, Karol XVII & MB Valence – Sway Away (Karol XVII & MB Valence Loco Remix), Pezzner, Aki Bergen –Tarareando feat Terry Grant (Vocal Mix).” TELL US ABOUT A CLASSIC CLUBBING MOMENT. “I was DJing and someone slipped on a drink,

INDUSTRY WATCH FOR THE KIDS GOOD FRIDAY APPEAL FUNDRAISER AT WAH WAH LOUGE

THE IDEA BEHIND OUR NIGHT IS… “Raising as much money as we can for the Good Friday Appeal (Royal Childrens Hospital). Every cent of proﬁt from both the door and bar will be donated.” WE’LL BE PIMPING THE SOUNDS OF… “Melbourne’s beﬆ DJs – all donating 100% of their fee toward the appeal.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “T-Rek, Spacey, chardy. Nick Coleman, Damon Walsh, Stevie Mink, Mike Metro, Kizzam, Nick Jones, Jack Talbot, Stretchy and Will Sparks.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “A midget handing our Eaﬆer eggs!” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Having a massive night to some banging tunes and getting some good karma at the same time.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Having an excuse to drink as much as you like – because you’re donating to charity!” WHERE & WHEN: For the Kids Fundraiser at Wah Wah Lounge Friday 22 April

fell and then grabbed my friends top, ripping it oﬀ and exposing her boobs. She was so blind that she didn’t care and partied the reﬆ of the night, but it turned out that she was a he and she got breaﬆ implants.” WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “Bad Japa Pop.” WHERE & WHEN: Beﬆ Of Both Sides Feﬆ ival at Bimbo Deluxe Monday 25 April

DANCE MUSIC HUB CHART

1. That’s Why I Put My Hands Up (Original Mix) ERIC CHASE 2. I Want You (Bigroom Mix) LE ROCK & ROXS 3. Get Up STANTON WARRIORS 4. EddyFi KOSHEEN DJS 5. Blow Up (Hook N Sling & Goodwill Remix) HARD ROCK SOFA & ST.BROTHERS 6. Born Th is Way (Way & Beyond Remix) OTHER EGO 7. Fall Silently (Progressive Mix) CHRISTOPH MAITLAND, TOBY EMERSON, VEELA 8. Get Together (Tomcraft Remix) SPEKTRE 9. Beautiful People (Club Mix C) CHRIS BROWN FEATBENNY BENASSI 10. Gangﬆer Trippin 2011 (Lazy Rich Edit) FATBOY SLIM FEAT LAZY RICH

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EAT&DRINK

LUCKY COQ

For those unfamiliar with how the name of this fine Windsor eﬆablishment is spelled, hearing about it for the fi rﬆ time can be a bit confronting. If a friend says, over the phone, “Meet me at the Lucky Cock!”, one can be forgiven for feeling slightly taken aback. No doubt many a fi rﬆ-time visitor to the Coq has been relieved to discover that the bar is named after an innocent chicken rather than a very confident sex club. Once you get over the name, the Lucky Coq ﬆ ill offers a few more surprises. For example, they have a very casual dress code – and they enforce it! Don’t head ﬆ raight over after work wearing your shirt and tie if you’re not prepared to remove them. Drinks-wise, there’s a sizeable range. The multitude of flavoured vodkas is particularly impressive, as is the willingness of the bar ﬆaff to concoct a suitable mixer when asked. (Lychee vodka plus lemonade plus a dash of cranberry juice equals tantalisingly alcoholic candy water.) However, there are three little words that immediately come to mind whenever someone mentions Lucky Coq (as with its northside siﬆer bar, Bimbo Deluxe) – three words that flabbergaﬆ out-of-towners, attract the ﬆ udents and keep people coming back, and back, and back. Those words? “Four dollar pizzas.” At $7 to $10, Lucky Coq’s pizzas aren’t exact ly exorbitantly priced to begin with. However, during select hours (Sunday to Thursday 7pm-11pm, weekdays 12pm-4pm and Saturday 7pm-9pm) they are four dollars. That’s right: for twenty cents more than a full-fare 2-hour public transport ticket, you can get a meal. Don’t think that there are corners being cut here, either. The four dollar pizzas are exact ly the same as the variety you get when you purchase them during “normal-priced” hours. We were not disappointed. As a rule, the beﬆ of Lucky Coq’s pizza offerings are also the simpleﬆ. This is a four dollar pizza, people. It comes unsliced, you get your own cutlery, and if it promises fancy gourmet ingredients, they’re probably going to be a little on the budget side. As a result, the Organica, the “healthy” option with pumpkin and soy cheese, was a little lacking in terms of taﬆe and texture. However, the Calabrese, a fancy version of pepperoni with mozarella and salami, was right on the (very small amount of) money. It’s no sex club (at leaﬆ, not that we could find), but The Lucky Coq delivers one of the cheapeﬆ, taﬆ ieﬆ feeds in Melbourne. ALEKSIA BARRON WHAT: Lucky Coq WHERE: 179 Chapel Street, Prahran/Windsor WHEN: Monday-Sunday 12pm-3am

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PIZZA

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

5 Poison Apple Saturdays @ Ladida

3 Faktory @ Khokolar Bar

6 Rhythm-Al-Ism @ Fusion

4 Khokolat Koated @ Khokolat Bar

8 Sweat Saturdays @ The George

7 Seven Saturdays

6 8

QLD

GUESTLIST WEDNESDAY 20 BAR OPEN Mr Sterile Assembly, Simon ODwyer, Dead Ants. 9pm. Free. BIMBO DELUXE Best of Both Sides Festival: Soul Army: Vince Peach, DJ Prequel, Andras Fox, Ben Telford. CHASERS Alex Kidd. 5pm. $25. CO. Stand & Deliver, Petar Tolich. 9:30pm. Free. THE CORNER Bluesfest Presents: Irma Thomas. 8pm. $18 +bf (pre-sale). ESPY LOUNGE BAR Gasoline Inc, College Fall, Igoya, Lars Wallin. 9pm. LUCKY COQ Best of Both Sides Festival: Coq Roq: Mt Thom, Joybot, Plast Her Ov Paris, Agent 86, Kiti. 8pm. MISS LIBERTINE No Era: Sizzle, Nam, DJ Aﬃks, High Society, Kujo Kings. Free. MISS LIBERTINE For Walls Gallery: I Dream In Celluloid. NORTHCOTE SOCIAL CLUB Fantine. 7:30pm. $10. NEW GUERNICA Fromage Disco. 7pm. Free. THURSDAY 21 BIMBO DELUXE Best of Both Sides Festival: MISK: Misk 2nd Birthday: Raf Korman, My Friend Samuel, Danni B, Anri, Dave Pham. 8:30pm. CO. Funhouse DJs. 9:30pm. Free. THE CORNER Bluesfest Presents: Trombone Shorty, Fishbone. 8pm. THE EVELYN Radio Star, The Belligerents, Tomaki Jets, Indigo Kids. 8:30pm, $10. EUREKA John Course. 9pm. LA DI DA The Likes Of You: Robert Babicz, Spherix, Scuba. LOOP Mood: Johan ELG. 9pm. Free. LUCKY COQ Best of Both Sides Festival: Jumbo, The Psyde Projects, Moonshine, DJ Who. 8pm. MISS LIBERTINE Text Book Music: Jon Beta & Daris Bassiray launch. MISS LIBERTINE Backbackforwardpunch, Junk, Killbot Kindergarten, K-Von and Castro. 9pm. $5. THE MOTEL Hook N Sling. NEW GUERNICA Shit Robot, Ontologic, Andee Frost, Post Percy, Mike Hunt. REVOLVER UPSTAIRS We Are Fans, Blac Mail DJs. 8:30pm. $15. REVOLVER UPSTAIRS Michael Delaney’s Bad Friday: Lewie Day, Ontology, Mic Newman and more. 12am. $20. REVOLT Tin Can Radio. 8pm. SOUTHPAW Kuya’s Hippity Hoppity Party. THE WORKSHOP 8pm. Red Rack’em (Hot MARK FARINA

WAH WAH’S Adam Bartas.

Brain, Jimmie James Fresh Sesh. ROD LAVER ARENA Chris Brown, 8pm, $99$299. REVOLVER UPSTAIRS BBS Crew, Reason, Infinite, Scarlet City. 9pm. $15. SEVEN Playground: RnB, ATL, Pop, Ol-Skool, Hip Hop. 10pm. THE TOFF My Disco, Jeff O’Connor. 8pm. $18 +bf (pre-sale). TRAK Strut: Mark Pellegrini, Jason Serini, Andrea and more. 10pm. $15-$20.

FRIDAY 22

SUNDAY 24

3D Nomad, 9pm, $25. BILLBOARD Drapht, Mantra, The Tongue. 10pm, $25. BIMBO DELUXE Best of Both Sides Festival: [good] Fridays: Sunshine Silversix, Hey Sam, Jacob Nolan, Matty Russ, Zac Depetro. 7pm. BROWN ALLEY Meat Katie (UK), Janet Slack (UK). CO. Papparazzi: DJ Nikkos, Joe Sofo, Kitty Kat. 9:30pm. Free. THE ESPY Bone Thugs-N-Harmony, 7pm, $45+bf. FUSION Sounds of Fusion: Phil Ross. 9:30pm. $10 (guestlist) - $15 (general). LA DI DA Trinity: Phil K, Aaron Smiles, Punkzonjunk, Gavin Keitel, Ozzie LA, Little Miss DJ and more. 12pm. $25 +bf (pre-sale). LUCKY COQ Best of Both Sides Festival: Panorama: Matt Rad, Phato A Mano, Tom Meagher, Mr George. 8pm. MISS LIBERTINE Can’t Say, Crack Cat, Swick, Black Olives. MYNT LOUNGE Anna Lunoe. NEW GUERNICA Post Percy, Thomas Pollard, Pingu, Simon TK. 8pm. Free. REVOLVER UPSTAIRS The Mercy Kills, Suzie Stapleton, Fiona Maynard. 7pm. $15. PRINCE BANDROOM Louis La Roche, Cassian. 9:30pm. THE TOFF Poprocks: Dr Phil Smith. TRAK Rogue Dance Party. 9pm. WAH WAH’S Good Friday Fundraiser Appeal: T-Rex, Chardy, Nick Coleman, Steve Mink, Nick Jones and more.

BIMBO DELUXE Best of Both Sides Festival: Sundae Shake: Tigerfunk (live), Freya, Moonshine, Shane Copal, Phatoamano, Agent 86, Spacey Space, Katie Drover.

Coins UK), Francis Inferno Orchestra, Fromage Disco, Lopan and more. Free. THE TOFF Love Story: 1928, Tranter Co, Sleeves, Megawuoti.

SATURDAY 23 ABODE Pretty Garbage: DJs Triplix, Brother Nature. 11pm. BIMBO DELUXE Best of Both Sides Festival: Hot Step MM Crew: Muska, Tavish, Dantrxx, Volta, Tey Astro, Cookie, AGRen, Jimi Danger, Tahl, Dre, Kodiak Kid. BROWN ALLEY Darkbeat 8th Birthday: Desyn Masiello, Satoshi Tomiie, Anthony Pappa, Audiojack CO. LOVE 11: The Potbelleez, Finlo White, Joe Sofo, Samrai, DJ Helena and more. 9:30pm. $25-$30. THE EVELYN Tin Can Radio, 9pm. $10 +bf. FUSION Love 11: The Potbelleez, DJ Samrai, DJ Helena and more. 9:30pm. $25 (guestlist) - $30 (general). THE GEORGE Sweat Saturdays: Flagrant, Kuya, MJ, Huw Jospeh, Agent 86. LA DI DA Poison Apple Saturdays: Ross Horkings, Bianca White, Nick Kennedy, Taylor Stanton, Mike Metro, Matthew Grisold. LUCKY COQ DOWNSTAIRS Best of Both Sides Festival: Jean Paul, Greyskull, Pakman, Ash Lee. 9pm. LUCKY COQ UPSTAIRS Best of Both Sides Festival: Mike Callender, Christian Vance, Craig Mcwhinny. 9pm. MERCAT BASEMENT Too Much!: Ikonika. 10pm. $20+bf. MISS LIBERTINE Booty Tang. Mr Obliveus, Sir

BROWN ALLEY All City Bass: Foreign Beggars, Skism, Trolley Snatcha, Qbik. 8pm. ESPY GERSWHIN ROOM The Ferg, Naysayer, Gilsun, Mary Tyler Moore, Indian Summer and more. 8pm. ESPY LOUNGE BAR The Black Sorrows, Headspace, Dale Ryder Band, Bad Boys Batucada. 5pm. LOOP Prog vs. Tech: Jason D’Costa, Jamie Coyle, Mark Santa and more. 10pm. LUCKY COQ Best of Both Sides Festival: South Side Hustle vs Congo Tardis #1: Cumbia Cosmonauts, South Side Hustle, Disco Harry, Askew, Booshank, Peter Baker, Congo Tardis #1. Pazz, Miss Butt, Lewis Cancut.7pm. MISS LIBERTINE Chinese Whispers: Light Year, Jazon! Pixoff!, Ajax, Rob Pix, Yasumo, James Fava, Ross Horkings, J Heasy, Wtrs, Play, Luke Wellsteed, 4th World and Howdy Doody, Yasumo. 8pm. NUMBER 5 Marques Houston, 4pm. $40+bf. PALACE THEATRE Toots and the Maytals, Luciano, The Jah Messenger Band, 7:30pm, $91.50. PRETTY PLEASE Mark Farina, aNyO, James Belias, Oliver James, Jacob Malmo and more. 8pm. $29-$39 +bf (pre-sale). ROXANNE PARLOUR SIGNAL: Chris Clarke, Harmonic 313, Robin Fox, 9pm. SORRY GRANDMA Timmy Trumpet, 9pm. $20+bf. MONDAY 25 3D Master Kaos, 7pm. BILLBOARD Kiddfectious: Alex Kidd, KiddKaos, XDream (Syd) and more. 10pm. $39 - $59 +bf (presale). BIMBO DELUXE Best of Both Sides Festival: iBimbo: Thankyou City, Jamie Stevens, Steve Ward, Ky Snyder, With Visuals. Steve Ward, Lance Harrison, Anri. DOCK 9, CENTRAL PIER Blow Your Own Way Boat Party: Mark E, Tornado Wallace, Francis Inferno Orchestra and more. 1pm. $40 +bf (pre-sale). ESPY LOUNGE BAR Vasco Era, Money For Rope, Royston Vasie, The Pretty Littles. 9pm. LUCKY COQ Best of Both Sides Festival: Monday Night Live: Tiger Funk, Jacket Oﬀ, CB Field. 8pm. MELBOURNE SHOWGROUNDS Creamﬁelds: Deadmau5, Martin Solveig, Skrillex, Chuckie, Simon Patterson, Gabriel and Dresden, Wynter Gordon and more. 12pm. $99.95 (1st release) - $199.95 (3rd release). NEW GUERNICA James Kane and Friends. 8pm. Free. THE TOFF Seekae. 8pm. $15 +bf (pre-sale). TUESDAY 26 NEW GUERNICA Post Percy and more. 8pm. Free. WEDNESDAY 27 CO. Stand and Deliver: Petar Tolich. 9:30pm. Free before 11pm. MISS LIBERTINE No Era. Glitch-fest. Shikung. Project Puzzles, DJ Sizzle. Free.

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REVOLVER UPSTAIRS Rashid Williams, 8pm. THURSDAY 28 CO. Funhouse: Kitty Kat, Finlo White. 9:30pm. Free before 11pm. THE CORNER The Drums. 8pm. $49.50 +bf (pre-sale). LOOP Mood: Johan ELG. 9pm. Free. MISS LIBERTINE Textbook Music: Nikko, Lister Cooray, Jon Beta. Free. ORMOND HALL Washington. 6:30pm. $25 $32. PRINCE BANDROOM Skrillex. 8pm. $39.20. FRIDAY 29 ABODE The Conservatory: Steampunk: DJs Omega, Josh. 10pm. BILLBOARD UNKLE. 8pm. $68.30. CO. Papparazzi: DJs Nikkos, Jo Sofo, Kitty Kat. 9:30pm. Free before 11pm. THE CORNER The Drums. 8pm. $49.50 +bf (pre-sale). FEDERATION SQUARE ATRIUM Carbon: Futura, Noah Callahan-Bever, Bobby Hundreds, 2pm, $125-$202. THE FORUM Washington. 8pm. $32. FUSION Sounds of Fusion: Dean T, Phil Ross, Chris Mac, Johnny M, DJ Atomik. 9:30pm. $10 (guestlist) - $15 (general). LOOP Cosmosolgy: North Pollard, Cosmo K, Jay Porte and more. 10pm. Free. PRINCE BANDROOM House of Pain. 8pm. $49.50. ROXANNE PARLOUR AC Slater. 10pm. SATURDAY 30 ABODE SINthetic: Lady J, SmuDJ, Syme Tollins. 11:30pm. BENDIGO’S PRINCE OF WALES SHOWGROUND Groovin The Moo: Unkle, AC Slater, Art vs Science, The Astn Shuffle, Bliss n Eso, Cut Copy and more. 10.30am. CO. Envy: House of GaGa: Matty G, Dean T. 9:30pm. $12 (guestlist) - $15 (general). THE CORNER Trinity Roots. 8:30pm. $49 +bf (pre-sale). FEDERATION SQUARE ATRIUM Carbon: Futura, Noah Callahan-Bever, Bobby Hundreds. FUSION Lady Lauryn. 9:30pm. $15 before 10:30pm. EAST BRUNSWICK CLUB Sampology’s Super Visual Monster Mash. 8pm. $20 - $25. THE GEORGE Sweat Saturdays: Flagrant, Kuya, MJ, Huw Jospeh Agent 86. THE HI FI Hungry Kids of Hungary. 7:30pm. $18 +bf (pre-sale). LA DI DA Poison Apple Saturdays @ Ladida: Ross Horkings, Stevie Mink, Bianca White, Nick Kennedy, Luke Montgomery, Luke Wellsteed. LOOP Unstable Sounds: Ben Evans, Bobby Raver, Danni B and more. 10pm. Free. MISS LIBERTINE Favela Rock: Mafia, Opulent, Micka5k, Tranter, Mat Cant, DC, Chopstixxx. $8-$10. SEVEN Frat Party. 10pm. SUNDAY 1 FEDERATION SQUARE ATRIUM Carbon: Futura, Noah Callahan-Bever, Bobby Hundreds. MONDAY 2 ROD LAVER ARENA Justin Bieber. 7pm. $65 $285. NEW GUERNICA James Kane & Friends, 8pm, Free. TUESDAY 3 NEW GUERNICA Post Percy & Friends, 8pm, Free. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.

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CALENDAR APRIL FANTINE – Wednesday 20, Northcote Social Club IRMA THOMAS – Wednesday 20, Corner Hotel ALEX KIDD – Wednesday 20, Chasers SHIT ROBOT – Thursday 21, New Guernica TIN CAN RADIO – Thursday 21, Revolt RED RACK’EM – Thursday 21, Workshop Bar HOOK N SLING – Thursday 21, The Motel KUYA’S HIPPITY HOPPITY PARTY – Thursday 21, Southpaw THE BELLIGERENTS – Thursday 21, The Evelyn JOHN COURSE – Thursday 21, Eureka THE LIKES OF YOU: ROBERT BABICZ, SPHERIX, SCUBA – Thursday 21, La Di Da MEAT KATIE – Friday 22, Brown Alley BONE THUGS-N-HARMONY – Friday 22, The Espy ANNA LUNOE – Friday 22, Mynt Lounge DRAPHT – Friday 22, Billboard EMERY – Friday 22, Corner Hotel NOMAD – Friday 22, 3D TRINITY: SEA SHEPHERD CHARITY FUNDRAISER – Friday 22, La Di Da BBS CREW – Saturday 23, Revolver Upstairs CASSIAN – Saturday 23, Super Disco THE AGGROLITES – Saturday 23, Corner Hotel CHRIS BROWN – Saturday 23, Rod Laver Arena TIN CAN RADIO – Saturday 23, The Evelyn DARKBEAT EIGHTH BIRTHDAY: DESYN MASIELLO, SATOSHI TOMIIE, ANTHONY PAPPA, AUDIOJACK AND MORE – Saturday 23, Brown Alley TOO MUCH!: IKONIKA – Saturday 23, Mercat Basement TOOTS AND THE MAYTALS, LUCIANO, THE JAH MESSENGER BAND – Sunday 24, Palace Theatre TIMMY TRUMPET – Sunday 24, Sorry Grandma CLARK – Sunday 24, Roxanne Parlour MARK FARINA – Sunday 24, Pretty Please MARQUES HOUSTON – Sunday 24, Number 5 CHINESE WHISPERS: LIGHT YEAR, PIXONN! JAXOFF! AND MORE – Sunday 24, Miss Libertine CREAMFIELDS: DEADMAU5, MARTIN SOLVEIG, SKRILLEX, CHUCKIE, SIMON PATTERSON, GABRIEL AND DRESDEN, WYNTER GORDON AND MORE – Monday 25, Melbourne Showgrounds ACE VENTURA – Monday 25, Royal Melbourne Hotel SEEKAE – Monday 25, The Toff ALEX KIDD, XDREAM – Monday 25, Billboard MASTER KAOS – Monday 25, 3D ELI PAPERBOY REED – Wednesday 27, East Brunswick Club RASHID WILLIAMS – Wednesday 27, Revolver Upstairs SKRILLEX – Thursday 28, Prince Bandroom HUNGRY KIDS OF HUNGARY – Thursday 28, Karova Lounge THE DRUMS – Thursday 28, Corner Hotel

KYLIE

WASHINGTON – Thursday 28, Ormond Hall UNKLE – Friday 29, Billboard THE DRUMS – Friday 29. Corner Hotel HOUSE OF PAIN – Friday 29, Prince Bandroom AC SLATER – Friday 29, Miss Libertine WASHINGTON – Friday 29, The Forum CARBON: FUTURA, NOAH CALLAHANBEVER, BOBBY HUNDREDS – Friday 29, Federation Square’s Atrium SUGAR MOUNTAIN FESTIVAL: AA, VIRGO FOUR, YELLOWFEVER, CANYONS, QUA, COLLARBONES – Saturday 30, Forum Theatre, No Vacancy Gallery and The Atrium GROOVIN’ THE MOO: UNKLE, AC SLATER, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO, CUT COPY AND MORE – Saturday 30, Bendigo’s Prince Of Wales Showground HUNGRY KIDS OF HUNGARY – Saturday 30, The Hi-Fi TRINITYROOTS – Saturday 30, Corner Hotel NATURALLY 7 – Saturday 30, Melbourne Recital Hall SAMPOLOGY’S SUPER VISUAL MONSTER MASH – Saturday 30, East Brunswick Club MAY JUSTIN BIEBER – Monday 2, Rod Laver Arena CUT COPY – Thursday 5, Palace Theatre STEVE LAW, LINAS, DJ DEVIOUS – Friday 6, Mercat Basement THE CAT EMPIRE – Friday 6, The Palace JEBEDIAH – Friday 6, Corner Hotel STRANGE TALK – Friday 6, Northcote Social Club THE CAT EMPIRE – Saturday 7, Corner Hotel Hotel THE CAT EMPIRE – Sunday 8, Prince Bandroom THE GO! TEAM – Tuesday 10, Corner Hotel BEN SHERMAN BIG BRITISH SOUND: STRANGE TALK, BALL PARK MUSIC, BOY IN A BOX, OWL EYES – Wednesday 11, Corner Hotel DATAROCK – Thursday 12, East Brunswick Club GANGA GIRI – Friday 13, Corner Hotel

GARY NUMAN SYNTH PIONEER,1977-PRESENT

NIC TOUPEE GOES ONE ON ONE WITH SYNTH PIONEER GARY NUMAN, THE IMMINENT AUSTRALIAN TOURIST RESPONSIBLE FOR SOME OF THE MOST COVERED AND SAMPLED, MOST REMIXED AND MOST REFERENCED SONGS IN ELECTRONIC MUSIC. AND HE CONFESSES HE WAS A SYNTH NOVICE WHEN HE CRAFTED HIS SEMINAL LONGPLAYER THE PLEASURE PRINCIPLE.

s the anger of punk dissolved into the pop leanings of poﬆ-punk and new wave in the second half of the 1970s, Gary Numan burﬆ through the Blondies and Buzzcocks with an icy clinicism, presenting a confrontingly dehumanised yet irresiﬆibly infectious new sound. His third album, The Pleasure Principle, contains three of Numan’s moﬆ loved and covered tracks – Cars, Metal and ME – which apparently inspired US hip hop artiﬆ Afrika Baambaata (as did German synthesiﬆs Kraftwerk) to develop an electro-breaks sound which would form the roots of modern hip hop. On the eve of his Auﬆralian tour, in which he will play The Pleasure Principle album live in its entirety here for the ﬁrﬆ time, Numan reveals the chaos and serendipity that went into creating this legendary, award-winning album. WHY DID YOU DECIDE TO BEGIN USING SYNTHS IN YOUR MUSIC? “I didn’t own my own synth until after The Pleasure Principle. I went into the ﬆ udio in early ‘78, I was 19 or 20, to make my ﬁ rﬆ album for the record company. They signed me as three-piece punk band and I had written a whole collect ion of punk songs – this was going to be a punk album. I get to the ﬆ udio and in the corner was a Minimoog. It didn’t belong to the ﬆ udio but a hire company who should have had it collected but they forgot. The ﬆ udio let me use it all day. I didn’t know how to set it up or get a sound out of it, so I juﬆ sat there and twiddled knobs until something good came out. I was blown away with the sound of it. So I was able to use the Minimoog in the ﬆ udio to add a layer of elect ronic noises and replace some of the guitars that should have been on the album. We went back to the company with that album: inﬆead of punk they got an elect ropunk album. The label were not happy, it wasn’t what they wanted at all.” SO YOU LEARNED HOW TO PROGRAM SYNTHS AS YOU WENT ALONG? “The way I got sounds was not through

knowledge at all, it was by pressing every button and every dial, trying to learn what happens. Sometimes it doesn’t do anything at all! Figuring out what else you have to press to make another part work… by doing that I slowly ﬆarted to learn how synths worked.” BY THE TIME YOU WROTE THE PLEASURE PRINCIPLE YOU WERE ALREADY SEEN AS BRITAIN’S POP-SYNTH WHIZ KID – WERE YOU BY THEN? “After writing Telekon, we quickly went back into the ﬆ udio with no money. All I wanted for equipment was a Minimoog for a day and a Polymoog for a day – I ﬆ ill didn’t own one, and ﬆ ill wasn’t at home with synths, the only time I had a synth in front of me was in the ﬆ udio and only for a few hours. I had two number one albums and hit elect ro singles and I ﬆ ill didn’t own a synthesiser myself!” WAS THAT SOMETHING YOU KEPT QUIET? OR WERE YOU QUITE OPEN ABOUT IT ALL BEING A BIG RANDOM EXPERIMENT? “I was doing interviews with tech magazines, answering highly technical queﬆ ions and didn’t have a clue about it all! I was supposed to be the number one international artiﬆ expert in elect ronic music and I did not have a clue – they’d ask me queﬆ ions about ﬁ lter envelopes and it was like they were speaking a foreign language! It was act ually quite embarrassing for a long time: I couldn’t admit that I didn’t know about it. I had this reputation as a ‘keyboard expert’ so I tried to blag it. Eventually I did learn a bit about it but initially it was a nightmare.” SO WHEN DID YOU FINALLY OWN YOUR OWN SYNTH? “At the end of the three albums I toured and bought a load of synths then, to play live. That was the ﬁ rﬆ time I owned one myself.” WHEN YOU FIRST PLAYED THAT MINIMOOG IN THE STUDIO, WHAT WAS IT THAT ATTRACTED YOU, AND BY DOING SO FINISHED YOUR PUNK

ASPIRATIONS AND BEGAN YOUR LONG CAREER AS AN ELECTRONIC ARTIST? “The thing abut elect ronic music is… that the notes you play and the way you play them can have exact ly the same passion as acouﬆ ic inﬆ ruments, but there’s an added level. You don’t juﬆ play notes, but create the sound itself – there’s no other inﬆ rument that does that! That makes it amazing for me – it’s such a fundamental part of electronic music, creating sounds, or it should be because it bloody well isn’t for many people. I find it shocking sometimes to liﬆen to people make music using sounds I was using in 1980! We’ve already heard that, don’t use it again! Electronic music is the only music there is where you don’t ever have to repeat a sound! I get excited even now about making a good new sound – I’ll grab my wife and say, ‘Liﬆen to this sound I made!’ I’m like a little boy in a sweet shop with my enthusiasm for it.” YOU’D JUST MADE REPLICAS AND, AS A FOLLOW-UP, THE PLEASURE PRINCIPLE CAME PRETTY HOT ON ITS HEELS. WHAT DID YOU USE AS INSPIRATION TO CHURN OUT NEW SONGS SO QUICKLY? “I was reading a lot of science fict ion at the time, and it shows in songs like Metal and ME. ME is about what would happen if you were the laﬆ person on Earth after the holocauﬆ. I wondered what would happen if the laﬆ living person was a machine, but that robots were advanced to such a degree that they were thinking machines, so I wrote ME. ME is the thought of the laﬆ living machine in the world. I thought that idea was really fab , what a machine is thinking when everything is gone. A lot of what I was writing at the time came from my love in general of science fict ion.” WHO: Gary Numan WHERE & WHEN: The Tivoli (Brisbane) Thursday 12 May, Enmore Theatre (Sydney) Friday 13 May, Forum Theatre (Melbourne) Saturday 14 May

21ST CENTURY BOY S

ince the turn of the 21ﬆ century, Gary Numan’s popularity has seen a well deserved surge. Certainly assiﬆed by the elect ro-pop wave which ﬆruck early in the century, spawning new bands like Ladytron and Goldfrapp and reviving the ﬂagging fortunes of many of synthpop’s great names such as The Human League and OMD, Numan also had a bite of the cherry due to the patronage of poﬆ-induﬆrial poﬆer boy Trent Reznor. On his recent albums Numan has been assiﬆed by techno wunderkind Ade Fenton, who acts as both producer and mentor. Numan admits they have an unorthodox – but successful – partnership. “Ade is fantaﬆic – I don’t think I could get through a day without him! He’s in the band, produces my albums and is my beﬆ friend, and has been for some time.” HOW’S YOUR WORKING RELATIONSHIP? “We rub up againﬆ each other from time to time as you would expect, but he is very encompassing and we work together very, very well and his contributions have been phenomenal.”

HOW DOES YOUR COLLABORATION WORK? “I record a track at home and give it to Ade, who gets rid of things and puts his ideas on it and gives it back to me. I then put all of my ideas back in that he took off in the fi rﬆ place and send it back to him and together eventually we come up with something. He says my ears are rubbish and he should mix all of my songs and I say then there’s the rubbish you did and… but it works very well. If he does something I don’t like I can juﬆ say, ‘That didn’t work for me, take it somewhere else,’ and he’s very cool with that. He’s very supportive of me and what I’m doing. I ﬆ ruggle with confidence quite a lot act ually: I love a track in the morning and in the afternoon I think it’s a big pile of poo and have to ﬆart again. He’s really good at ﬆopping me from erasing ﬆ uff – God knows how many songs I’ve erased thinking they’re no good but I don’t do that any more, now I have this other ear that I value.”

DJ STIFFY’S

WIDE WORLD OF SHORTS SOME IDIOT TAKES GHB AND NOW WE HAVE TO HAVE A DEBATE ON DRUGS So, anyways, some idiot decided to get high on GHB, he ended up in the back of a car on account of the fact that his friends were high and paranoid, and somehow thought that their version of fi rﬆ aid (which I’m assuming was along the lines of a cup of Lipton and a piece of vegemite toaﬆ) would be better than the St John’s version, and now suddenly we’re having a debate on legalising drugs. Not wanting to sound like an arsehole, but people generally take drugs with a certain level of expectation, ie you knock back a pinger and you expect to be hugging everyone in the room and letting those ﬆrings wash over you; you smoke some meth and you expect to be counting pieces of dirt in the carpet; you take GHB and you expect to have your heart slow down and possibly die. At which point, there needs to be a general underﬆanding among the pro-legalisation camp and the Fred Niles of the world – sadly, being an idiot is already legal. The beﬆ you’re going to manage is to do the same as you do with cars. Taking a few pingers and a couple of joints is a little like driving at 100 in a 100 zone. Breaking the speed limit on the other hand is something like a four-day meth binge. And a car crash waiting to happen? Well, that speaks for itself. TANK TANKS I know all y’all in Sydney are getting all sentimental about Tank closing, and I’m sure all those meaningful conversations in front of the bathroom mirror were so significant that they changed the world (juﬆ as dance music was going to end global confl ict), and I do feel for you, but the fact is that you people brought it on yourselves by voting in Clover Moore, who, if you hadn’t noticed, seems to hate everything in the world other than Clover Moore. Precisely how a woman with the personality of a Jacaranda caravan got elected to become mayor of a city known for anal sex and surfing is beyond everyone. What happened? Did you think you were in Melbourne?

(NO GOOD) STOP THE DANCE

Recent research indicates that the average age of Auﬆ ralian ecﬆasy users is increasing. Th is obviously isn’t because a large pocket of seniors have suddenly decided to ﬆart experimenting with ecﬆasy. What’s act ually happening is that the people who were enjoying ecﬆasy 20 years ago are ﬆ ill enjoying it today. The ‘ravers’ of the 80s and 90s are kicking and screaming in to their 30s and 40s and they’re ﬆ ill partying like it’s 1999. People who took ecﬆasy way back in the old days are very annoying. They love to corner younger people at parties and blather on about how much better the pills were back when they were coming up. According to the ‘original ravers’, the only similarity between old ecﬆasy and new ecﬆasy is the shape. But young people are smart. They liﬆen to this and see the truth: it’s not that the ecﬆasy was better, it’s that these old people were younger. Besides if the ecﬆasy back in the day was so much better, then why would these leathery old pervs ﬆ ill be ﬆooping to buy the new, crappier pills? The real queﬆ ion is, how will this affect the image of ecﬆasy as a sexy party drug? The answer is: negatively. It’s hard for anything to remain ‘hip’ when the average user has an artificial hip. And a club full of people grinding their false teeth is never going to attract the next generation of cuﬆomers. I don’t want to sound ageiﬆ here, but it’s unseemly and kind of creepy to watch someone in their 50s cartwheeling around a dancefloor high on E – and this might act ually be the edge the Government needs to win the war on drugs. Maybe a few duﬆ y old politicians need to ﬆart publicising their own experiences with the so-called ‘disco biscuits’. Young people are genetically hardwired to rebel againﬆ the things older people enjoy. If the kids ﬆart noticing that the clubs are fi lled with ageing, sweaty politicians high on ecﬆasy, then ecﬆasy will be about as popular with the kids as adult diapers. If these trends continue and people continue taking ecﬆasy into their old age then I wouldn’t want to inveﬆ in the ecﬆasy induﬆ ry. If we ﬆart seeing meth lab explosions at retirement villages and drug related killings at Early Bird buffets, the kids will quickly find something else to do. DAVE JORY

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INSANE IN THE MEMBRANE

STARS

AQUARIUS (20 JAN TO 18 FEB) You need to ﬆop reading on the toilet as the two act ivities are now so ﬆ rongly associated that you can’t read anything without shitting your pants. PISCES (19 FEB TO 20 MAR) Flushing pets down the toilet is a great way to ensure mutant animals will be living in the sewers for generations to come. So get flushing. ARIES (21 MAR TO 20 APR) Your cat is now officially in a higher tax bracket than you. Th is is deeply embarrassing as your cat is bitching about you to her friends. TAURUS (21 APR TO 20 MAY) By selling your housemate’s computer you’ll solve two problems. You’ll have the money to buy her a birthday present and you’ll know exact ly what she needs. GEMINI (21 MAY TO 20 JUN) Try to survive on a diet of chewing gum, ice blocks and gravel. You’ll find you have more energy and your skin will glow. CANCER (21 JUN TO 21 JUL)

The world has watched in horrified fascination as Libyan dictator Muammar Gaddafi spouts more and more insane ramblings about himself and his regime in the face of uprisings in Libya. But as Gaddafi has so excellently displayed, being completely deluded is not as simple as getting up in the morning, looking in the mirror and saying “Today I’m going to be a deluded baﬆard, juﬆ like every other day in my life”. No, being deluded is much more complicated than that, because as some ﬆ udies have recently shown, the brain act ually doesn’t know it’s lying to itself, even if it has all the evidence it front of it. Living in denial is more like a full-time job – and recent ﬆ udies suggeﬆ that not only will people lie, but they can also delude themselves that they didn’t lie in the firﬆ place. In a ﬆ udy done by Harvard Business School, a group of ﬆ udents were asked to take a maths teﬆ. Half of the ﬆ udents had papers where some of the answers were ‘accidentally’ on the paper they received, which made it possible for them to cheat, which they did. As a result, their teﬆ scores were very high. When these same ﬆ udents were then asked to predict how they thought they would go on the next teﬆ that they did, they not only assumed that they would do as well as they had done on the fi rﬆ teﬆ, they also eﬆ imated that they would do even better. But were they juﬆ saying this, whilﬆ knowing that they had cheated? Well, they were then told that they could earn $20 if they correct ly predicted their next score. Despite the fact that they could make money if they were honeﬆ , the subjects ﬆ ill kept claiming they would keep

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getting high scores, and as a result they earned less money when their next teﬆs had no answers printed on them. So even when there was an act ual reward at ﬆake, they ﬆ ill failed to correct for their deception, as though they didn’t know that they were lying. Sound familiar? Yes it does. When a BBC reporter asked Muammar Gaddafi if he had noticed the 13,000-ﬆrong proteﬆers and rebel forces demanding his resignation, he declared “they are cheering for me”. Incorrect, Gaddafi. He definitely wouldn’t have walked away with $20 dollars from Harvard’s ﬆudies – and at the moment, he’ll probably be lucky to walk away with his legs. HOLLY HUTCHINSON

Sometimes a good night’s sleep is the moﬆ important thing. But this week, it’s more important to have a rape whiﬆ le and a bulletproof veﬆ. LEO (22 JUL TO 21 AUG) After another week of being bullied at work, you may find you reach your breaking point this week. Good. Give in to your anger. VIRGO (22 AUG TO 21 SEP) The short film you’ve been making for eight years is act ually so short it is ineligible for even the shorteﬆ of short film feﬆivals. LIBRA (22 SEP TO 22 OCT) When life tells everyone that it slept with you and you juﬆ lay there like a wet fish, it’s time to move to a new country and change your name. SCORPIO (23 OCT TO 21 NOV) It’ll be juﬆ like the Gwyneth Paltrow fi lm Seven this week. If you’ve never seen it, she ends up dead at the end, with her head cut off. SAGITTARIUS (22 NOV TO 20 DEC) How much do you really know about the guy who writes your horoscopes? Would you let me watch you while you were sleeping? CAPRICORN (21 DEC TO 19 JAN) You’ve been churning out the work of late. Now it’s time to put some of these projects to bed and ﬆart pimping out your male relatives.

THE WEEK ALBUMOF

BIBIO Mind Bokeh (Warp/Inertia)

TRAVIS BARKER Give The Drummer Some (Interscope/Universal) We already knew about Travis Barker’s long love aﬀair with hip hop. His Souljah Boy Crank That remix had rock drummers worldwide featuring hip hop beats as their set solos. And with the hiﬆory of hip hop having its foundation in beats and rap being the combo of beats and words, the concept of his solo record featuring gueﬆ MCs galore act ually seems logical.

Ambivalence Avenue, Bibio’s 2009 Warp Records debut, represented a significant artiﬆ ic mileﬆone for Stephen Wilkinson. Incorporating aspects of future beat and glitchhop into his elect ro-acouﬆ ic folk melanges, the British leftfield producer brought a much appreciated sense of ﬆ ruct ure to his previously meandering soundscapes and elevated his work considerably in the process. Mind Bokeh, Wilkinson’s follow-up record (2010 remix album The Apple And The Tooth aside), finds the producer re-introducing that sense of messy spontaneity and aimlessness to his work. While ﬆ ill clearly enamored of off-kilter rhythms and ﬆ uttering elect ronics, the producer has shied away from the more auﬆere songwriting of Ambivalence Avenue in favour of more spontaneous, less predictable arrangements and

more densely layered soundscapes. More often than not, it act ually works a treat. The noisy chiptune breakdown conclusion of opener Excuses is gloriously fun-fi lled, the washed-out world music loops and densely packed synthesiser textures of Wake Up! are thoroughly immersive. Wilkinson’s talents as a singer-songwriter are not entirely suited to his ﬆ yle of product ion. His voice works beﬆ with minimal backdrops and tends to flounder somewhat when forced to overpower a more kinetic backdrop (as on Anything New). His songwriting, meanwhile, is simply not ﬆ rong enough when placed in a completely conventional background (as on the indie-rock of Take Off Your Shirt). Th is is not to suggeﬆ the record is deeply flawed or bad. It’s juﬆ a case of a few blemishes on an otherwise pleasant album. It’s ﬆ ill very much worthy of attention. MATT O’NEILL

Give The Drummer Some is oozing with radness. It ﬆarts off ﬆrong with Can A Drummer Get Some where Barker takes a ﬆep back by following Swizz Beats’ rock loop and letting the heavy ﬆ yle of MC’s Rick Ross, Lil’ Wayne and The Game shine. Similarly in Carry It, RZA and Raekwon’s grimy raps and Tom Morello’s riffs overshadow Barker’s loop. If You Want To is clearly more of a live drummer show, the horns sample and freeﬆ yle nature of the drumming matching the more alternative ﬆ yles of Lupe and Pharrell. Knockin’ featuring Snoop, Luda, E-40 and Dev really shows Barker’s skills with its intricate 808 type beat with all the trimmings including claps and cymbals. Jump Down also showcases this skill but this time with some help from technology to get that beat-fresh Cool Kids sound. Saturday Night featuring associated punk/ rap band Transplants has a lowrider feel with Slash’s Santana ﬆ yle guitar adding to the theme. Once again Barker takes a ﬆep back by keeping the beat rather than flaunting it. Perhaps that’s part of the point of this collaborative debut, not juﬆ to be the drummer show but to show his different ﬆ yles. Can a Drummer Get Some is a creative experience with each track taking you on a different trip. JANN ANGARA

TIM & JEAN Like What (Universal) Like What, the debut album of up-and-coming indie elect ro-poppers Tim & Jean, will have you smiling from ﬆart to ﬁnish – it is a perfect ly assembled collect ion of catchy pop songs that have a very honeﬆ, youthful feel to them. On top of this, the songs are infect ious. And they make you want to party. The album’s synth-driven sound is eﬆablished from the outset with opener and title track, Like What. It’s a ﬆ range choice as an opener, more underﬆated than what’s to come but ﬆ ill serving as a good introduct ion to the duo’s sound. The next two tracks, Veronika and I Can Show You, are the ﬆandouts. With diﬆ inct elect ro-pop beats and impressive vocal hooks, these are the tracks that will ﬆ ick with you. There is, admittedly, a certain indulgent

repetitiveness to the album after this point, with a few very similar sounding songs and a noticeable lack of ﬆ yliﬆ ic variation. The album comes to a ﬆeady, suﬆained finish with the very poppy Souls followed by the MGMT-esque Huﬆle, which provides an upbeat finish to the record that will leave you feeling good. As a whole, Like What feels like an introductory journey of sorts through the musical talents of these two young men, with each track a new display of their surprisingly eﬆablished sound. The product ion on the album is outﬆanding and the lyrics on each track are slotted together flawlessly, attributing a sophiﬆ ication to the duo that is well beyond their years. Although there may not be a huge amount of musical diversity displayed in the album, you’ll find yourself singing the choruses to yourself on the bus for days, and that’s pretty impressive – especially for a debut album. LUCIA OSBORNE-CROWLEY

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ONE TRACK MIND PAUL WOOLFORD Bareback (Phonica)

VARIOUS/LEFTO & SIMBAD Worldwide Family Volume 1 (Brownswood/Inertia) When a DJ as incredible as Gilles Peterson passes the torch you can bet your house the recipients will be pretty handy themselves. After over ten years of his Worldwide radio shows, live shows and compilation CDs, Peterson has ﬆarted a new line, Worldwide Family, asking a couple of his crate digging protégés in Belgian DJ/producer Lefto and French DJ/producer Simbad to take the reins in showcasing the music they have uncovered in recent months. Lefto’s select ion is the more considered and better of the two. He begins with the tinkling late night soul of Belgium’s Up High Collect ive, spacey dubby analogue hip hop from Meeting Point, Exile and grooveman Spot and Dela & The Headlesshunters cover of Light Of The

MIND OVER MATTER Juﬆ Like Fireworks (I Forget, Sorry!/Other Tongues) Mind Over Matter’s debut album Keepin’ It Breezy kept their name blowing in the winds, however their second is setting the night sky ablaze with techni-colour boom bap and rockinﬆ rumental hip hop designed to bounce, rock and blaze one to. A ﬆep above, both in subject matter and musicality. Firﬆ single Rappers In Wonderland and equally show-oﬀ track This Wonderful Life let you know right away that the duo have returned to the record race of 2011 – legit contenders for the title. Smiles Again and Willows have grown and travelled abroad to South-Eaﬆ Asia with Bliss N Eso and in the very poignant track Hollow Eyes the pair comment ﬁ rﬆ-hand on the sleazy side of King’s Cross and Thailand’s sex tourism induﬆ ry. Such dark tales paint a more serious

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World’s London Town. The undoubted highlight is UK band Brassroots’ live, horny and very Hot 8 cover of Inner City’s house classic Good Life. Later, Onra donates a disco cut-up that harks back to the glory days of nineties French house. Simbad’s mix is a little more ‘diﬃcult’, warming up with Airhead’s glitchy folk, Illum Sphere’s trippy dedication to Dimlite alongside slo-mo elect ro funk, spacey dub and jazzy almoﬆ-d‘n’b before peaking with the atmospheric breaks of Ave Blaﬆ’s Glow In The Dark and the techsoul of Kemeticjuﬆ. Th ings get really naﬆ y on the way out with drums and more drums hammering, twiﬆ ing, mutating and then deﬆ roying everything in sight with Seiji and Ku Bo. Though not for the faint-hearted Worldwide Family Volume 1 demonﬆ rates the future of Gilles Peterson’s Worldwide concept has been inveﬆed wisely in Lefto and Simbad. DARREN COLLINS

overtone in contraﬆ to their paﬆ releases. The title track rolls over a famed-piano chop as MOM celebrate the enriched and rewarding life as recording artiﬆs and the groove continues seamlessly into Harder with Vida’s vocals layering a reggae-smoked emotion over the top of elect ric battle axes all aiding in connect ing with the every man and the hard times of the working life. The guitars keep alive on tracks Off The Chain, and the 80s aerobic track Famous featuring Sam Mcniell on the hook. The fi reworks of such a rock-anthemic album speeding down the hip hop lane matures in full bloom above the reﬆ. Juﬆ Like Fireworks shows and proves that the ﬆandards of Auﬆ ralian hip hop have increased ten old and garners a solid three fingers, with an extra ﬆar for ﬆacking an 8-track EP from the I Forget, Sorry! collect ive on top of 17 tracks, RIP NICHOLSON

A dope nine minute trip through hypnotic vocal chants and echoed washes, funky acid ﬆabs and jittery, freeform drums. Possibly the moﬆ experimental Paul Woolford has dared to make his music, and the risk really pays oﬀ.

OM UNIT The Timps (Civil Music) It’s thoroughly refreshing to see a track categorised as elect ro and act ually sound like real elect ro. Th is has dark, grimy warehouse back in the 80s written all over it. Simple, mechanical, percussive beats and repetitive, siniﬆer synth ﬆabs that would make even Drexciya proud propel the tune, and really, that’s all it needs.

DAMIEN SCHNEIDER Future Two (Apologue) The beats and bassline have that familiar raw “Berghain” sound, but then absolutely beautiful dub chords and atmospherics soften the edges and make this into a lovely hypnotic groove. ANDREW WOWK

3DPLAYLIST 3D 1. I Mix Therefore I Am SOMA RASA 2. Straight Outta Compton NWA 3. Fabric 57 VARIOUS/AGORIA 4. Space Is Only Noise NICOLAS JAAR 5. Will Do (XXXChange Dancehall Mix) TV ON THE RADIO 6. Ready To Drop KATALYST FEAT KWEEN G 7. Tambourine TEETH & TONGUE 8. Diﬆance D-NOX & BECKERS 9. Absence SNOWMAN 10. Blues For The Red Sun KYUSS

TUBETIME

Remember this: Vanilla Ice was the man. Not only had he escaped from the underground laboratory where he was created, he had a hit single on his hands with Ice Ice Baby. Donning pants that are pretty fly for a white guy, and an angular hair-cut that says “I’m really fucking cool”, Vanilla Ice took the world by its horns, and was then horribly gouged by them. Two decades on, he hoﬆs The Vanilla Ice Project (DIY Channel), a home renovations program where the world’s whiteﬆ hip hop artiﬆ of 1991 shows viewers how to get great resale value on a cheaply bought house. The show is Backyard Blitz meets Cribs, with a posse of former music induﬆry heavies who have turned to home renovation to make a cruﬆ. Vanilla Ice is now 43. He ﬆ ill has the jivin’ ﬆ reet talk, dropping words like “wikid!” and “next!” and “see ya!”. Stories of tough ﬆ reet life, of guns and huﬆ lers, have no useful application when you’re varnishing a wooden ﬆairwell. ‘Rob’ wears a baseball cap and his tattoos immortalise ‘the hard knock life’, but these days he is genuinely excited in choosing earthy colours for bedroom walls and applying vapour resiﬆant ceiling moulds. Vanilla finds himself in an odd predicament, riding the coat tails of his former celebrity ﬆatus to hoﬆ a cheap home-renovation show, all while insiﬆ ing that he is now ‘Rob’ and ‘Vanilla Ice’ only exiﬆs in the nightmares of 1991. “I’m Vanilla Ice, and this is my project! Bam!” STOP – renovate and liﬆen. One hand on the ﬆeering wheel, and Vanilla Ice nodding along to inaudible music. You can imagine the brilliance of a show called Pimp My House, but there aren’t enough XBoxes and lime-green speed ﬆ ripes for it to be a millionaire’s trashy mansion, but Van Winkle earneﬆ ly tries to win us over with his passion for fi x-er-uppers. “We can’t inﬆall this if the moiﬆ ure level is too high,” he frets, while his children are in the adjacent bedroom readying the walls for a prime coat. The Vanilla Ice Project proves that Rob Van Winkle could survive a nuclear holocauﬆ and ﬆ ill be useless to humanity. 5SPROCKET

FILM

SCRE4M

It’s been 15 years since the white and privileged teens of Woodsborough were fi rﬆ sliced and diced by the ‘Ghoﬆ face Killer’, and two sequels and a decade later, the Scream franchise is looking for another shot in the arm. In the lateﬆ addition, Sidney Prescott (Neve Campbell) returns to her old ﬆomping ground to push sales on her lateﬆ book, a novelisation of the movie Scream 4 (how meta). Moments later, a mangled body is discovered in the trunk of a car. “That body represents originality,” says David Arquette, whose character has now been promoted to bumbling Sheriff. Surgically thin Courtney Cox ﬆ ruts on, the skin on her face ﬆ retched so tight it’s a trampoline for head lice. The teenagers of the town celebrate the anniversary of the murders by prank calling each other and holding marathon screening of the Stab fi lms. Hayden Panettiere, Emma Roberts and Rory Culkin head a pack of Horror

2.0 youngﬆers. They’re like the ones in the 90s, except this time they drop the word ‘Facebook’ like they’re in The Social Network. Raised in an era of remakes, reboots and re-imaginings, they know that “breaking the rules is the new rule”. Many deaths follow, and many of them have Ghoﬆ face falling down ﬆairs or running in to a door. If you are a fan of the Scream series, you will be surprised by the quality of this belated inﬆallment. Directed once again by horror movie icon Wes Craven (Nightmare On Elm St) and penned by Kevin Williamson (Dawson’s Creek), it seems like the fi lmmakers set out to make the moﬆ ‘meta’ movie ever, something so self-reflexive that it’s like being trapped in Bruce Lee’s mirror fight. Scre4m is light, fresh and alive; it’s The Godfather: Part II of comedy/ horror/slasher/poﬆ modern franchise fi lms. 5SPROCKET WHERE & WHEN: Screening in cinemas now

FILM

PAUL

Fat British science fict ion nerds Clive (Nick Froﬆ) and Graeme (Simon Pegg) are on a onein-a-lifetime road trip through the USA. They are in their late 30s but pretend they are goingon 19, living through ﬆories of aliens with three tits and trolleys of fried snacks. They’re in an RV, trekking from San Diego Comic Con to Area 51, gleefully drinking alien-themed milkshakes and buying novelty bumper ﬆ ickers. It all becomes very real when they ﬆ umble upon Paul, a three-foot high, chain smoking alien that happens to sound like Seth Rogen. Paul is on the run from military forces, likely because he’s a jerk ﬆoner from outer-space. A parody of the messianic ET, Paul can turn invisible at will and resurrect the dead, as well as come back with snappy zingers that would fit comfortably in re-runs of ALF. The trio of misfits band themselves with a one-eyed religious nut (Kriﬆen Wiig) and 70-minutes of predictable zaniness follows.

The Shaun Of The Dead and Hot Fuzz ﬆars are looking to bring their cult geek shtick to the Hollywood mainﬆ ream, and their screenplay for Paul has a declared Spielbergian flavour. Much of the fi lm is fi ltered through slacker homages to Close Encounters Of The Third Kind, ET and The Sugarland Express. Ably directed by Greg Mottola (Superbad, Adventureland), it lacks the visual dynamism of Froﬆ and Pegg’s work with Edgar Wright and feels overwhelmingly ‘safe’. For all its faults, however, it is a surprisingly charming fi lm. The CG character of Paul is a surprisingly well-rounded character, and deftly takes control of the fi lm. Boaﬆ ing an ensemble caﬆ of US comic character actors (Bill Hader, Jason Bateman, Jeff rey Tambour), some clever set-pieces and frequent out-loud laughs, it will feed the soul of your inner fanboy for 90 easy minutes. 5SPROCKET WHERE & WHEN: Screening in cinemas now

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GAME

TECHNO SCAPE

VJ NEWS ROUND-UP Seems there’s a bit of momentum picking up in live-pixel land. Lots of feﬆ ivals, ideas and software developments.

MOTORSTORM APOCALYPSE (Evolution/Sony) (Playﬆation 3) Set in a poﬆ-apocalyptic world, so much so that the game was and has been delayed in New Zealand and Japan for fear of making light of dire situations, MotorStorm’s premise is around band of outlaws (or equivalent in a land without laws) who get their kicks by racing through cities. A light-hearted racer that’s all colour, sound and high frame-rate, it’s good for a bash even if there’s not a whole lot of ﬆaying power. Races in the ‘festival’ or main game mode are tied together by a cartoon storyline, short snippets of a throwaway backstory that’s all too easy to skip. If you do take the minute to watch the grabs, you’ll find that none of the 2 dimensional characters are endearing or complex. You can say the same for the the racing. A pretty ﬆ andard racer, it’s a case of flooring the accelerator and pointing the thing you’re controlling in the direct ion you want it to go. There’s been a bit of thought in that concept as well. As you launch off the top of a building and ﬆ raight into the window of a long-abandoned but ﬆ ill fully-formed office block, papers, tables, bits of wall and probably bullets from that helicopter hovering juﬆ over

your shoulder fly all over the place and obscure the view quite spect acularly. Because it’s so pickup-and-play, both the tracks, perhaps better described as maps or levels, and the different vehicles, primarily bikes, cars and trucks keep things intereﬆ ing by being modelled on a Dakar Rally premise of different makes in a wideopen rally. It’s good clean fun (despite the unfortunate apocalypse reference) and worth a bash if a mate’s got it. Staying power’s definitely queﬆ ionable though. TOM BRABHAM

MODUL8 & MAPPING FESTIVAL, GENEVA As well as a thematic focus on video project ions mapped onto non-screen surfaces and shapes, this year’s feﬆ ival will see the official release of MadMapper, a new video mapping software created by GarageCUBE (Modul8) and 1024_architect ure. Feﬆ ival bonus points – Melbourne’s Kit Webﬆer was chosen as one of the few selected from International applicants to show an inﬆallation. See more at www. kitwebﬆer. com.au. VDMX BETA 8 + LPM, ROME Meanwhile, another gaggle of pixel-heads converge in Rome for the annual Live Performer’s meeting. Notable this year will be the rare fleshy appearance of the VDMX coders from vidvox.net, crawling out of their bunkers briefly to describe some of the benefits of their new BETA 8 (such as built in Syphon support, and a whole range of underlying improvements). AUDIOVISUAL MAX FOR LIVE Melbourne audiovisualiﬆ, Zealousy(.com) has been developing a series of intereﬆ ing looking Max For Live patches, which he has called Vizzable VJ Plugins, and he recently joined forces with Fabrizio Poce who makes the V-Module suite, and they’ve merged their projects “to provide a comprehensive suite of video, effects and real-time graphics tools for Live.” BUT WHAT DOES IT ALL MEAN? Berlin’s clubtransmediale.de held a symposium in February, with a spotlight on the pract ice of media-based audiovisual live performance considering what ‘liveness’ entails in the age of media technology. A nice liﬆ of people, ideas, links, transcripts and videos has been generously compiled by someone in attendance – the UK’s Toby *spark, who is currently framing his Phd on the topic. TEEMING VOID Also well worth a read is the lateﬆ piece by Mitchell Whitelaw (resident Canberra theoriﬆ and pract itioner in generative art, data visualisation, physical computing and digital materiality), which explores our fascination with glowing rectangles in today’s media ecology and how processes and techniques such as project ion mapping have been offering some ways to explore digital art beyond the screen. @JEAN_POOLE

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MENS JACKETS

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CONTROVERSIAL RELIGIOUS MOVIES THE OMEN

SIZE MATTERS? 111 minutes.

RELEASED? 1976.

STARS?

Gregory Peck, Lee Remick, David Warner and a child that looks evil.

PLOT?

An ambassador and his wife adopt a child who happens to be the Antichrist.

TAGLINE?

“Attila The Hun. Ivan The Terrible. Al Capone. They were all seven once.”

PROS?

Heavy, droning Latin chants serve as the fi lm’s soundtrack. Lactus! Dominus!

CONS?

Once you’ve seen it, all children will look like potential killers.

LAST TEMPTATION OF CHRIST

SIZE MATTERS? 163 minutes.

RELEASED? 1988.

STARS?

Willem Dafoe as Jesus, Harvey Keitel as Judas, David Bowie as Pontius Pilate.

PLOT?

Jesus, the son of God, is torn between earthly impulses and listening to his father’s advice.

TAGLINE?

“Oh No He Din’nt!”

PROS?

Alternate reality sequence where Jesus marries Mary Magdalene, tells dad jokes and runs an antique shop.

CONS?

It’s not real.

PASSIONOF THE CHRIST

SIZE MATTERS? 225 minutes.

RELEASED? 2004.

STARS?

Jim Caviezel, Monica Bellucci.

PLOT?

Jesus is brutally tortured and humiliated in public, then dies.

TAGLINE?

“Based on the New York Times #1 Bestseller.”

QUOTE?

Something in the dead language, Aramaic.

PROS?

It doesn’t have Mel Gibson in it.

CONS?

It kick-started the torture porn genre.

THE FINAL

EMPLOYMENT EDUCATION & TRAINING Music Cavern has a Vacany for a Brass and Woodwind tutor and a vocal tutor. Both Urgently Needed. For more info email brian@musiccavern.com.au iFlogID: 12262

SALES & MARKETING I need people to send eMails to Libraries around Australia offering a new music Book for sale. Applicants need their own computer - payment is commission based via Paypal. Contact Bill on (02) 9807-3137 or eMail: nadipa1@ yahoo.com.au iFlogID: 12394 PASSIONATE & ETHICAL CHARITY FUNDRAISERS! Do you love animals, people, the environment? Help the worlds best charites by becoming a face to face fundraiser. We offer: Great Base, Super, Bonus & Incentives. Fun teams, no weekends, trips away & more! email: luke.szabo@waysfundraising.com iFlogID: 12288

FOR SALE AMPS PEAVEY BANDIT 80watt 12”speaker Guitar combo. 2 channel.footswitchable.great fat tone.reverb/saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy iFlogID: 12737 Fore Sale,, Bogner Shiva Guitar Head iFlogID: 12369 Laney GH120 Guitar Head. 120 watt.2 channel.footswitchable. reverb.direct out.very punchy.great tone.VGC.$400. Ph.0428744963. Cooroy. iFlogID: 12741 Peavey Windsor 400watt 4/12 slant cab. supreme XL speakers.16ohm. HUGE bottom end tone.AS NEW cond.$450. Ph.0428744963. Cooroy iFlogID: 12745 VASE Valve/tube amp with 2 2/12 matching cabs.’Trendsetter 60’. genuine 1960’s.HUGE sound.perfect original working cond. $1200 ono.Ph.0428744963.Cooroy iFlogID: 12747

KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with sturdy keyboard stand and damper (sustain) pedal. Worth over $7,000 sell for $4,295 including delivery to any mainland state. Currently in Perth. Phone 0439 301 165 late evening Email: THE001Music@ hotmail.com iFlogID: 12220

OTHER Attention Musicians, Record Collectors, Universities, Libraries - new Book available (print/cdROM/direct download) compiling 100 years of popular music. GO TO www.plattersaurus.com for free web-site and information on how to buy. Enquiries: (02) 9807-3137 eMail: nadipa1@yahoo.com.au iFlogID: 12392

NOT AVAILABLE FOR FREE ADS. CL Tenor Saxophone for sale used

Temby Custom Pro Silverplated 5yo $1500 good cond. Call Mike 0420435760 Sydney. iFlogID: 12310

PA EQUIPMENT CARVER 1800watt P.A HEAD Price: $850.00 Rack mount.split mono. with Bose controller/pre-amp.8 speaker outputs.Very loud! in case.cost over $2500 sell $850. Ph.0428744963.Cooroy. iFlogID: 12733

PA / AUDIO / ENGINEERING PA SOUND SET UP FOR CLUBS,PUBS AND SPECIAL FUNCTIONS.RELIABLE ,COURTEOUS OPERATOR.GOOD GEAR ,REASONABLE RATES PHONE JOHN ON 041 8221680 OR 80040439 iFlogID: 12800

TECHNICAL SUPPORT @ BIG MUSIC

MUSIC SERVICES BOOKING AGENTS Artists and bands needed to play Caloundra Music Festival 2011. Applications being taken now. Head over to www.caloundramusicfestival.com.au and click Get Involved, then Artist Applications to find out more. iFlogID: 12349

EP RELEASE BANDS are you looking for an Album/ CD Release Venue in Sydney’s CBD? If so then we could be the place for you! The Manhattan Lounge in Martin Place wants to hold your next Launch- call Denise 02 9223 5585 iFlogID: 12308

HIRE SERVICES PA, Lighting, Stages, Drum Risers - We deliver - We Setup - We Operate - OR DRY HIRE from as low as $99 a PA system CALL, EMAIL MATT TODAY - www.musiccavern. com.au iFlogID: 12270 The ultimate party equippment used in clubs, festivals and house partys. Wireless headphones in hot pink and cool black and a transmitter allows you play two dj’s on 1 dance floor, from only $5 a headphone. www.silentdiscoking.com. au for more info. iFlogID: 12373

MANAGEMENT Open Muzic Records is a new London based record label that is focused on talent, whether it’s Rock or R&B, Pop or Metal, we feel we have the ears to spot a star! Applications being taken. www. giglaunch.com.au iFlogID: 12353

Big Music Technical Services offers the Sydney Music community the best in Audio & Hi-Tech support, DAW design, DAW setup & integration, studio consolidation solutions, software and hardware troubleshooting. Both in house or on-site visits. Break free from technical hitches and frustration. Get your studio sorted, and get back to making music. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@ bigmusic.com.au iFlogID: 12206

PHOTOGRAPHY Cardboard Box Studios www. danebeesley.com T: 0402 327 153 iFlogID: 12345

REPAIRS ROCKIN REPAIRS - GUITAR TECH RESTRINGS-SETUPS-UPGRADESREPAIRS Do you live to play? Whether you’ve bought a new guitar or a favourite is feeling faded, we’ll rejuvenate it! We work hard to give you the feel/sound you want! 0405253417 tara@rockinrepairs. com www.rockinrepairs.com iFlogID: 9350

TUITION AUDIO TRAINING @ BIG MUSIC

Register Today its FREE www. ozmusiccentral.com.au be part of something bigger iFlogID: 12326 Songwriter available. I write catchy, positive, marketable and popular songs with broad appeal. APRA Full Member. To hear samples of my work go to www.custard.net.au/ raoulmclay. 0434 300 959. iFlogID: 12225 www.ozjam.com.au is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 12759

DUCE A NEW SONG EACH WEEK... FOR THE NEXT 6 MONTHS? youtube.com/helmutuhlmann - Well i’m trying to do it whilst keeping them original, unique and experimenting around with different genres! youtube.com/ helmutuhlmann iFlogID: 12102

SINGING LESSONS for all ages and levels. Very experienced and understanding female teacher. Audition preparation. Lessons taught at studio in Botany. Affordable rates start from $30 half hour, $40 full hour. Unleash your inner voice! Contact: alteregoprom@ gmail.com or call 0403.869.364 iFlogID: 12695

MUSICIANS WANTED

Studio Skills for Singers & Rappers. Do you want to do a recording, but have no studio experience? Do you get into the studio and feel uncomfortable, can’t seem to get a good performance? 1 hour weekly sessions. cityofninegates.com/studioskills cityofninegates@gmail.com iFlogID: 12320

VIDEO / PRODUCTION D7 STUDIO MUSIC VID FROM $250 We produce your music video from $250 (4 hour shoot,4 edit cycles). Live gig edits, multiple angles, from $150 or 1 live track from $80. All shot in full HD. d7studio@iinet.net. au ph:0404716770 iFlogID: 12170 Kontrol Productions is a highly professional production company that specializes in the production of music video’s. We employ a range of industry professionals to insure that our products are of the highest industry standards. www.kontrolproductions.com iFlogID: 12198 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 www.immersionimagery.com or email info@immersionimagery. com iFlogID: 12701

MUSICIANS AVAILABLE DJ DJ Available for private parties and venues. Specialising in French House, Neu Disco, and Lounge. Reasonable rates and fabulous tunes. Email jac@bijougroup. com.au iFlogID: 12814

OTHER For as low as $100, you get a professional sound/pa mixer system with an operator for the evening. Suitable for weddings, pub/clubs band gigs, private parties etc. Infovision@yayabings.com.au. Contact Chris 0419272196 iFlogID: 12826

GUITAR LESSONS with experienced and qualified tutor. Who has 20 years of studio and live performance. Rock, pop, jazz, theory, etc. etc. Beginners to advanced. In the convenience of your own home. Good results guaranteed. Phone Oles on 0407413143 email: oa@ olesart.com iFlogID: 12304

OTHER Big Music & Multimedia in Crows Nest now offer audio enthusiasts the chance experience audio training in a real studio environment. Receive software training on Protools, Cubase, Garage band and more. Sessions are customised to your needs. Don’t waste time learning the things you don’t need. Hone your skills, and enhance your productions. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@bigmusic. com.au iFlogID: 12200 Drummer and Drum Lessons Drum Lessons avaliable in Gladesville. Teach all levels, ages and experience. I have played for 16 years. I studied at Billy Hydes Drumcraft and Obtained a Diploma In Drumming Mob: 0402 663 469, Michael iFlogID: 12739

Acoustic duo available! Covers and/or originals. Harmonising Male/female duo mixing it up between guitars + keyboard. We have a great PA: 2x Mackie SRM450V2 speakers, 2x Shure Beta 58 Microphones, 1x Yamaha MG-166CX Mixer + leads, stands etc. myspace.com/aprilskyproductions 0433 946 982. iFlogID: 12100

NOT AVAILABLE FOR FREE ADS. CL Professional sax / flute player available. Can read and improvise. Jazz/ funk/rock/pop/afrobeat/reggae/dj etc. Call Mike 0420435760. iFlogID: 12312

SONG WRITER CAN I WRITE, RECORD AND PRO-

KEYBOARD COVERSBAND REQUIRE A KEYBOARDIST Busy Sydney covers band playing current pop/rock/funk. We are a Agent backed band, all paid gigs, 4-6 gigs a month. Aged between 18-35, with own gear and transport. Please send details to brotherbooth@gmail.com iFlogID: 12715 Well established Sydney based Pop / Rock covers band requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to brotherbooth@gmail.com iFlogID: 12251 Well established Sydney based Pop / Rock COVERS BAND requires experienced keyboardist. Paid gigs, agent backed band. Must have own transport, and be between the ages 18-35. Please send bio to brotherbooth@gmail.com iFlogID: 12253

OTHER 26yo Bassplayer/singer/songwriter seeking guitarists, keyboards, drummer for restructuring of band “Structures Fall”.Male and female welcome. Lots of songs written and also looking to collaborate... gigs waiting! Based in eastern suburbs. Indie/folk/rock/pop. Contact Roo 0401 497 917 or andrew@ guardianproductions.com iFlogID: 12341 Gig Launch, Australia’s first online music booking agency, needs a radio ad! Applications now being taken. Prizes awarded to winning advertisement. Head over to Gig Launch - www.giglaunch.com.au - to find out more. iFlogID: 12351 Register Today its FREE www. ozmusiccentral.com.au be part of something bigger iFlogID: 12328 Young unsigned bands wanted for new venue in Woolloomooloo/ Kings Cross. we want to help YOU get a start in the industry. Email dave.downunderbistro@gmail. com or drop into 218 William st, speak to Dave. iFlogID: 12402

SINGER A Talented, Reasonably experienced singer is needed for Sydney based alternative metal band. Age 20-35. Check us out at www.myspace. com/gentleenemies We rehearse in Marrickville. We’re friendly but serious musicians. Please send us a sample of your vocal work to gentleenemies@gmail.com iFlogID: 12781 Australian Katy Perry Tribute, Require a lead vocalist. Agent backed, gigs booked and waiting. Please email bio to rob4004@ gmail.com iFlogID: 12408 Male or female rocker needed for northen beaches rock/metal band. Influences include Alice in Chains, Skid Row, Iron Maiden, Entombed, Katatonia, The Devin Townsend

Project and many more. Txt 0410 455 562 for more info and demo. iFlogID: 12779

SINGER WANTED - ASAP Experienced Progressive Heavy Groove Band seeks, Strong Heavy/ Melodic Vocalist. Think Sevendust, Tool, Karnivool etc. READY TO PLAY!!! Call Simon - 0413210550 iFlogID: 12818

SERVICES GRAPHIC DESIGN Band Posters Want professional looking band posters? Contact 1200design and get great posters and/or cd covers for prices aimed at musicians. E-mail: nicole.a.reece@gmail.com iFlogID: 12406

OTHER Man & Van available for small loads, removals etc. For rough quote phone Ken 97590970 iFlogID: 12324

TUITION BASS GUITAR TUITION....FOR BEGINNERS...ONLY $30/hour iFlogID: 12784 DJ Turntable workshops. Are u prepared for the new MP3 Laws? The DJ Bootcamps Turntable workshops will help u get a plan B together. No laptops. No software. Just skills. Register at www.djbootcamp.com.au for June workshops iFlogID: 12216 DRAGONSCALES GUITAR LESSONS Cheap Guitar lessons on the gold coast From an experienced teacher for all ages. Free introductory lesson!! Call James on 0437261479 or email dragonscalesguitar@gmail.com iFlogID: 12706

SALSA! SWING! TANGO! CHA CHA! EL PASO LATIN AMERICAN DANCE STUDIO is a premier full time studio specialising in all styles of Latin American Dance & Ballroom. Located in Annandale, EL PASO has a warm and inviting atmosphere, catering for all ages and levels from absolute beginners to performance level. With over 30 years experience as a professional dance teacher and performer, Maestro Carlos and his lovely side kick Carla would love to welcome you into their ornate and fully equipped dance studio. Casual $20. First lesson FREE with purchase of 6 week course $100. Private lessons/ Wedding Couples/ Choreography/ Performance also available by appointment. carlos@ elpaso.net.au OR carla@elpaso. net.au www.elpaso.net.au 02 9560 8540 iFlogID: 12284

SHARE ACCOMMODATION AVAILABLE share accomodation with married couple. croydon park. $150 week... for serious single male or female.. iFlogID: 12685

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