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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 PHOTOGRAPHERS Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Kostas Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS ART DEPT Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT PRINTING Rural Press DISTRIBUTION dist


To complete this week’s cat trifecta, we’ve found something for the real fur ball in your life – The Purr-fect Place In Tipi. We can’t hype this any better than the accompanying promo guff, so we’ll leave them to it: “Const ruct the VIP venue for your pet’s next ‘staycation’ weekend, complete with themed accessories to personalize each pet palace.” No, really…


If you haven’t subjected yourself to Non-Stop Nyan Cat as yet, you really should do yourself a favour. If you’ve been there, done that and lived to tell the story, you really should do something to commemorate the occasion – like get yourself one of these t-shirts, which features everyone’s favourite poptart-bodied feline adventurer running its way into the cosmos…


Free music is the new black it seems, and Melbourne’s Public Opinion Afro Orchest ra are getting on the train. They recorded their performance at the Byron Bluesfest for posterity, with the set now available for free download in its entirety. Head over to www. to get your free fi x…

SUBSCRIPTIONS 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





So this one is technically split over two weeks, but Joris Voorn’s latest Aust ralian jaunt kicks off this weekend and it’s worth getting excited about. Talk of Voorn losing the plot musically is off the mark as far as we’re concerned – the man knows how to jack a dancefloor with tech house goodies better than most. Catch him on the Spice Afloat Midnight Cruise in Sydney this Saturday 14 May, Prince Bandroom (Melbourne) Friday 20 May or Barsoma (Brisbane) Saturday 21 May in an Auditree/Kana tag-team event presented by 3D World…


Will Nicki Minaj ever produce any tuneage as vital as her album highlight verse on Monst er from Kanye West ’s My Beautiful Dark Twisted Fantasy? Hopefully yes, though we’re not sure if anything off Pink Friday even comes close. The latest video offering from that longplayer is Super Bass, featuring Nicki and a team of lookalikes grinding about, Nicki fl irting with a shirtless gentleman, and Nicki pouring a myst erious pink liquid over her heaving bosom. Riiiiight…



You thought Britney Spears dropping dubstep breakdowns into her tunes was bizarro? Well shit has hit a new level of weird with witch house trio Salem transforming her anthemic Till The Wold Ends into a funereal dirge which sounds like it’s being sung by a demon partying as the apocalypse begins. And the clip featuring semi-clad dancers and night vision war footage just adds to the awesome…


If you saw our Memes cover story earlier this year, you’ll know we’ve got a thing for Business Cats. And so do the team over at The Oatmeal, whose new st rip The Bobcats follows the adventures of a couple of wacky cats named (you guessed it) Bob as they make their way through their daily office routine and get up to all sorts of hijinks along the way…


ANNOUNCEMENTS GOT PROG? UK trance superstars Above & Beyond are heading our way for a series of elect rifying sets. The ABOVE & group are known for their BEYOND uplifting trance product ions and their collaborations with renowned vocalists. In 2010, DJ Mag placed them as the #5 international DJs in their annual poll. They play the Hordern Pavillion (Sydney) Saturday 10 September, Family (Brisbane) Friday 16 and Fest ival Hall (Melbourne) Saturday 17. More details about ticketing to be announced soon.



The Cure have been secured to play a three hour set at the Sydney Opera House as part of Vivid Live. The group will appear onstage with a uniquely evolving line-up of band members past and present, performing their fi rst three albums live in their entirety. The show will kick off with the off beat and punchy tunes of Three Imaginary Boys, before moving into the shadowy and quixotic Seventeen Seconds, then concluding with the melancholic album Faith. The night is a rare opportunity to experience the origins of one of pop music’s greatest stories. The Cure’s Robert Smith says “We have played a lot of memorable shows in Aust ralia – but it will be our fi rst time onstage in the Sydney Opera House, and we want to do something unique to mark the occasion.” The Cure ‘Reflect ions’ happens on Tuesday 31 May and Wednesday 1 June, tickets from $109 through



Indie synth-pop sensation Owl City is returning to Aust ralia for a series of headline shows this August. The anticipated All Things Bright And Beautiful Tour will play three dates on the east coast. Owl City is the work of singer, songerwriter and multiinst rumentalist Adam Young, who has gained popularity with his laid back infect ious pop songs and experimental beats. In 2009, Owl City’s debut LP, Ocean Eyes, reached gold in nine countries, with his hit single Fireflies entrancing crowds with its whimsical musings. His latest album is set for release Friday 17 June and promises to show a new side of the artist’s musical gifts. Owl City plays The Tivoli (Brisbane) Monday 15 August, The Metro (Sydney) Tuesday 16, and Billboard (Melbourne) on Wednesday 17 and Thursday 18.



After immersing themselves in Brooklyn culture for two years, The Grates are returning with the album Secret Rituals. Tough in intent and infect ious in delivery, the group’s third LP, due for release Friday 17 June, holds the promise of drawing an army of new fans to their dynamic sound. They will be supporting the album with a national tour in June. The Grates’ live performances are legendary, with lead singer Patience expected to unleash her frenetic dance moves. They will be supported by Guineafowl and Big Scary on all dates. They play Oxford Art Factory (Sydney) Friday 24 June, The Corner (Melbourne) Saturday 25, and The Hi-Fi (Brisbane) Friday 1 July. Tickets available through Moshtix and venues.

IN YOUR BASS Beat maker Bass Kleph is off to a rocking year, with his track I’ll Be Ok having already reached the #1 spot on Beatport BASS KLEPH and his remix of Whine Ya Waistline claiming the top of the ARIA dance chart for four weeks. Following this, the artist has announced Bass Kelph: Presents, featuring a collect ion of the original tracks and remixes that have made him one of the country’s dance superstars. He will be playing Chinese Laundry (Sydney) on Saturday 21 May, One Five One (Wollongong) Saturday 28, Academy (Canberra) Friday 3 June, Platinum (Gold Coast) Saturday 11, Alhambra (Brisbane) Sunday 12 and Superdisco at Prince Bandroom (Melbourne) Saturday 18. LA SHAKERS Barely into their 20s, Clasixx have crafted a new sound for the Los Angeles elect ronic music CLASSIXX scene, with their pillowy synths cushioning the ears of music fans and artists alike. Their original tracks I’ll Get You and Into The Valley are full of smooth tones and the occasional sexy sax, with their DJ sets always set to impress. Be sure to see them when they play Happy Endings at Bowler Bar (Brisbane) Saturday 4 June, Happy Endings at Elsewhere (Gold Coast) Friday 10, After Dark Social Club at Roxanne Parlour (Melbourne) Saturday 11 and Adult Disco at Oxford Arts Factory (Sydney) on Sunday 12. CREEPING TOM Harry Potter star Tom Felton is going to spellbind crowds when he appears at upcoming pop cultre event, Supanova. His appearance TOM FELTON coincides with the release of the concluding Harry Potter fi lm, And The Deathly Hallows Part 2. He joins Buff y’s James Marsters, the original cast of I Dream of Jeannie, Morena Baccarin, Julie White, and Sean Maher as a major guest of the event. It’s happening at The Dome, Olympic Park (Sydney) Saturday 18 to Sunday 19 June.

LIFE AFFIRMING ELECTRONIC music duo Lamb are set to release their new album, 5, after an eight year hiatus. The LP will see the artists deliver 12 genre defying tunes, boast ing sampled wine glasses and ethereal flavours. CURATED COMPILATION LABEL Late Night Tales will see Trentemøller choose the tunes for an upcoming release. The atmospheric king of elect ronica has lined up tracks from The Velvet Underground, Low, and cuts from The Proposition fi lm score... TRIPLE J ARE once again looking for high school talent to be featured in their Unearthed competition. Songwriters, bands, producers and MCs are all able to enter the contest, with the winner having their track professionally cut and played on the air... EVERYONE’S FAVOURITE RHYMING charity event, Dry July, is back to wave the flag for sobriety and raise funds for cancer research. Radio personality Adam Spencer has vowed to not have a sip, alongside Danny Clayton... THE UPCOMING NATIONAL Poetry In Film Fest ival is looking for entries for its upcoming event. The fest ival aims to raise awareness and appreciation of poetry in popular culture. PIFF tours nationally through October... BROOKLYNITES NO SURRENDER are set to release their anticipated album, Medicine Babies. It is released 17 June...





ANNY MCBRIDE is an unlikely movie star. Currently one of the funniest men working in Hollywood, he has carved out a niche for himself playing misguided, ordinary folk who are as optimist ic as they are st upid. His latest starring role is in Your Highness, a delirious riff on fantasy fi lms of the 80s. “I grew up watching those sword and sorcery movies like Beastmaster, Dragonslayer, Krull, all those sort of crazy fantasy fi lms,” McBride begins. “And when I got to fi lm school, that’s where I met [Your Highness collaborator] David Green, we were next door neighbours my freshman year of college and he also had a passion for those fi lms too. It was a genre that I think we were always kinda interested in tryin’ to figure in, and how to make one of those, so as we got older and got to a place where we could act ually make movies, we tried to figure out a way to have a crack it.”

STONE FREE ANTI-HERO EVERYMAN DANNY MCBRIDE ADDS ANOTHER LOVABLE ROGUE TO HIS CV IN YOUR HIGHNESS, BUT HE’S QUICK TO POINT OUT TO JOSH WHEATLEY THAT THE FILM IS MUCH MORE THAN JUST A HIGH-CONCEPT STONER COMEDY. In Your Highness, Danny McBride plays Prince Thadeous, the lazy-ass stoner brother of the infinitely more charming Prince Fabious (James Franco). After an evil wizard (Just in Theroux) kidnaps Fabious’s bride to be (Zooey Deschanel), the brothers embark on a quest to reclaim her before “the fuckening” can commence. Their journey becomes entangled with the hard-talking Isabel (Natalie Portman), who is out to reclaim vengeance. Dropping creative F-bombs in a Ye Olde accent and throwing the narrative out of whack because of his piggish arrogance, Thadeous is the out-ofplace element in a story that seems familiar to anyone who grew up on fairy tales or Warwick Davis movies. Working on the script alongside The Foot Fist Way co-writer Ben Best, McBride thought the fi lm, which features a scene with a Dark Crystal-esque puppet being mast urbated, would be a hard pitch to deliver to the st udio. Universal was surprisingly receptive to the fi lm, he says, especially its approach as an act ion-adventure fi lm instead of a ‘spoof ’

movie. Cast ing James Franco and Natalie Portman in the fi lm also cemented the eccentric movie’s fortunes. “I think without them you couldn’t make this movie,” McBride admits. “If it were just cast with your typical comedians I think the whole movie is just perceived as a joke then and I think the fact that you have actors like that in it, it helps give it that air of legitimacy, because we really wanted to cast the movie as if it was just a fantasy movie and these

were the type of actors that would appear in Lord Of The Rings or something like that. To us, the more serious we took the fi lm, the funnier the fi lm became.” McBride laboured on the script for Your Highness for over two years, working on drafts in his trailer while fi lming roles in Eastbound And Down and Land Of The Lost. A passion project for the star, the fi lm’s initially limitless scope has been reworked over time. “The fi rst version of the script probably cost around $200 million to make, it was ridiculous. And so we were just writing to our imagination. Then when it act ually looked like it might become a reality and we could act ually make it, David and I really sat down to think, ‘Well, what do we want this movie to be?’ And for us, we really wanted the movie to feel like it was a giant movie, but being able to take the risks with it of pushing the comedy and keeping it crazy, and in order to do that we needed to fi nd a budget that would be responsible to do that with, so we were constantly sort of juggling this – ‘What’s gonna give us the scope

but st ill allow us to be fi lthy and nast y?’” Your Highness is the third major collaboration between McBride and fi lm director David Gordon Green. After producing a run of introspect ive, challenging indie fi lms such as the Killer Of Sheep inscribed comingof-age tale George Washington, and the southern gothic Undertow, the fi lmmaker cast rising comedy star McBride in his stoners-onthe-run comedy Pineapple Express.

“I’M NOT SAYING YOU WON’T ENJOY THE MOVIE IF YOU’RE STONED, BUT AT THE END OF THE DAY WE’RE WORKING MUCH HARDER THAN THAT, AND WE WANTED TO MAKE SOMETHING THAT COULD RESONATE WITH PEOPLE EVEN IF THEY WEREN’T ON A BATCHLOAD OF POT BROWNIES.” With a bumbling, overweight, obnoxious weedsmoking protagonist, Your Highness could be viewed as a high-concept stoner comedy, but McBride thinks it’s more than that. “I think there’s definitely a st igma with that term, because I think a stoner movie just kinda insinuates that you will only enjoy the movie if you’re stoned and, for us, we never wanted to make a movie like that. I’m not saying you won’t enjoy the movie if you’re stoned, but at the end of the day we’re working much harder than that, and we wanted to make something that could resonate with people even if they weren’t on a batchload of pot brownies.” For his role in the act ion fantasy fi lm, McBride was encouraged to do his own st unt work for any scenes that required the heroic swordwielding and bounding dynamism of your typical A-list act ion star. “Because my character is terrible at all these things, he really wants me to do them,” he laughs. “Because he doesn’t want a polished st unt man to come in and make it look good, he wants the st uff that I’m doing

to look sloppy and bad. You know, so there’s definitely preparation involved in that just so nobody gets killed, but [for] the most part he really tried to keep me away from formal training so I would look as bad as possible whenever I tried to swordfight or any of that kind of st uff. Which is good for me ‘cause I’m lazy as shit and I wouldn’t want to go to any of that training anyway.” Much like his characters in The Foot Fist Way and

Eastbound And Down, his character, Prince Thadeous, is an “everyman”. Right now, ‘white trash heroes’ seem to be the kind of roles that the performer is currently drawn to. “Taking on these roles that these characters that have moral compasses that are slightly askew, and they don’t really possess all the qualities of your typical leading man,” says McBride. “To me, that’s where the roles are exciting, to try and figure out a way to get the audience behind someone that they would normally just dismiss and think is a fuckhead.” McBride doesn’t look down at his ‘white trash’ characters but sees them as flawed and admirable. He shares time between living in Los Angeles and his hometown in Southern Carolina, and prefers to work with his fi lm school colleagues in order to stay “grounded”. It was his performance as thick-headed martial arts inst ructor Fred Simmons in The Foot Fist Way that saw the actor turn heads. Along with co-writing the fi lm, it was McBride’s starring role as a tortured everyman who beats up his st udents, that boasted an impressive balance

of the grotesque and the endearing. “You look around and the average person is not a hero, you know, the average person is not this larger than life person that always makes the right choices and always makes the right decisions. In these flawed characters it’s almost easier to see a little bit of the everyman.” WHAT: Your Highness WHERE & WHEN:

Screening in cinemas from Thursday 11 May



t’s been McBride’s role on HBO’s Eastbound And Down as washed-up baseballer Kenny Powers that has seen him turn into a comedy superstar – and he is genuinely surprised by the show’s success. “ We made that, it was such a small endeavour. I mean, the first season was only six episodes and we were making it in North Carolina and it was once again crewed mainly by buddies and friends that we’d gone to fi lm school with. We felt like we were making something that appealed to us, but we weren’t really sure if we’d find any audience in that. And as the time goes on, and you meet more and more people who see it, it always surprises me how many people are in to it and how wide the audience is. I mean, I’ve met a grandmother who likes it, everything down to like teenage kids. It’s shocking to me how many people like that fi lthy man.” Do women have different responses to Kenny Powers than men? “They do, and I’ve met women who are oddly into the love story there, and I’ve even met…” he breaks, chuckling, “I remember I was in a bar in North Carolina and this drunk redneck girl came up to me and was like [grizzly drunk voice] ‘You know when you tell that girl that, you know, I’m gonna fuck you up with some truth? I want a man to talk to me like that.’ Yeah, you just go talk to a shrink.” He’s currently working on new episodes of Eastbound And Down, which may conclude with its upcoming season. Says McBride, “We always imagined that if we got the opportunity to do what we wanted to do, we would keep the show small and tight so never had a chance to get old, and we had an idea of where we wanted the story to end so, you know, we’re in our third season, and we sort of saw each season as an act, and this is the third and final act. So we’re approaching this season that way, but to tell ya the truth, we have such a good time makin that show, who knows what’s gonna happen.” WHAT: Eastbound And Down WHERE & WHEN: Season Two screens on Showtime in June



FREE AGENT IN 2008, TIKI TAANE DELIVERED WHAT WOULD BECOME THE MOST SUCCESSFUL SINGLE IN NEW ZEALAND’S HISTORY. MATT O’NEILL SPOKE TO THE FORMER SALMONELLA DUB VOCALIST ABOUT HIS NEW ALBUM IN THE WORLD OF LIGHT – AND WHY IT SOUNDS NOTHING LIKE IT. hen Tiki Taane walked away from Salmonella Dub in 2007, the vocalist had one specific object ive: consolidation. Having essentially spat out the silver spoon of charttopping success and major label support in favour of independence and freedom, Taane immediately began developing a self-sustaining empire. He gathered family and friends, established music product ion company TikiDub and record label DirtyDub and promptly began work on debut solo album Past, Present, Future. “Salmonella Dub was awesome. I’ve always given them props. I’ve always thought of them as a huge part of what I am now,” Taane reflects of his most famous association. “I’ll never say anything against them. I’m just 34 now and I’ve definitely got a different outlook on life. You know, I have a two-year-old son now. My partying st yle has become a little bit more responsible. I’m st ill rock‘n’roll but, you know, I’m a different kind of person these days. “I don’t have any real ambition to be a world-conqueror or anything like that. I’m happy just staying here in New Zealand making music and art with my mates – maybe pop over to Europe and Aust ralia every now and then for a tour,” the vocalist explains calmly. “I’ve got my family, I’ve set up my product ion company, I have a lot of product ion work coming in and I’ve got my music. If I get money together, I buy some more land and build some more st uff. That’s really all I’m into these days.” To his credit, he pulled it off too. Within less than two years of leaving one of New Zealand’s most celebrated acts, Taane had released a critically and commercially acclaimed solo album and, in the form of acoust ic hit Always On My Mind, the most successful single in New Zealand’s history. All of this in addition to act ing as the resident sound engineer for New Zealand live drum‘n’bass titans Shapeshifter and managing his various interests as a producer and label owner. “I’m definitely surprised at how it’s unfolded,” Taane muses. “It’s been a slow-burner, though. I’ve been around for 20 years, so it’s not like it’s an overnight thing. It’s definitely been 20 years of solid groundwork and building up that fan base. At the end of the day, I’m mainly surprised I’m st ill around. You know, I’ve got a lot of trust and a lot of fans out there who know I’m always going to try and do something with a lot of integrity and passion – and that’s the nice thing.” These days, though, one can sense a shift in Taane’s priorities. Whereas Taane initially seemed intent on consolidating his work and ensuring his security as an artist, the vocalist now seems to be pursuing a different object ive: diversification. With a comfortable position secured within his indust ry, Taane is now intent on making sure that same comfortable position does not become a rest ing place. “It’s way easier these days. I kind of view myself as the pointy end of the knife. There’s no one else in front of me and I can do what I like,” the vocalist laughs. “The cool thing is I’ve got a great team around me. They can give me advice about my various goals – whether they’re achievable or not – but, at the end of the day, I can ensure the fi nal artist ic product is exact ly what I want it to be. There are no producers or labels or anyone like that standing over my shoulder.” Nowhere is this more evident than on In The World Of Light. Taane’s recently released second album completely disregards logic and


commercial sensibility in st ubborn pursuit of artist ic integrity. Whereas one would expect Taane to capitalise on the success of Always On My Mind with similar material, the vocalist’s blistering second album is wrought entirely from drum‘n’bass and its related offshoots. Reassuringly, it st ill somehow managed to top the charts. “It’s been cool, man. It went to number one, people are loving it. Considering I thought a lot of people would have thought it was too heavy and too dark, it’s been a really nice response,” Taane reflects with a laugh – seemingly somewhat perplexed by his own success. “I kind of wanted to be a bit more progressive with this one. I wanted to take a few risks. A lot of people jumped on board with me with Always

On My Mind, but I didn’t want to go down that road just yet.” The coming months, meanwhile, will only see the vocalist diversify further. His live performances have already been split into three categories – MC & DJ sets, acoustic performances and ten-piece band festival onslaughts. Having already produced the debut solo album of Shihad’s Jon Toogood, Taane is working on an acoustic album to be released later this year. Quite frankly, the only thing with even a hope of stopping him is his recent arrest. “Oh yeah, I’m st ill rock‘n’roll. You know, I was arrested for singing Fuck Tha Police at a gig,” Taane reveals – the vocalist expect ing to face court later this month (having already cheekily manufact ured a line of ‘Love The Police’ t-shirts, with the intention of donating proceeds to charity). “I’ve been charged with Disorderly Behaviour Likely to Incite Violence. I’m pleading not guilty, of course. As far as I know, there’s no law against singing a song. “I’m just running with it, though. You know, it’s before the courts, but Michael Franti just came and stayed at my house and we recorded a song about it called Freedom To Sing,” the vocalist laughs. “I’ve act ually got a lot of energy out of it all!” WHO: Tiki Taane WHAT: In The World Of Light (StopStart/EMI) WHERE & WHEN: Great Northern (Byron Bay) Thurday 19 May, Coolangatta Hotel (Coolangatta) Friday 20 May, The Hi-Fi (Brisbane) Saturday 21 May, Panthers (Sydney) Thursday 26 May, Selina’s Coogee Bay (Sydney) Friday 27 May, Corner Hotel (Melbourne) Saturday 28 May





ARMED WITH A HYBRID MIX OF ELECTRO, HOUSE AND DUBSTEP, PERTH DUO BOMBS AWAY HIT IT BIG ONLINE WITH CELEBRATORY PARTY BANGERS, BIG BOOTY BITCHES AND SWAGGER. NOW THE WORLD IS BANGING ON THEIR DOOR. HOWEVER AS CYCLONE DISCOVERS, MEMBERS COLEMAN AND THOMAS HART ARE IN NO RUSH TO LEAVE HOME. he buzzworthy Perth combo Bombs Away have the kind of name that could inadvertently land them in trouble when in transit. But, even after a solid US tour earlier this year with their st ickered fl ight case, they’re st ill spreading peaceful party vibes. Did they ever wonder if ‘Bombs Away’ might be misconst rued by scary official types? “We act ually considered that a few times,” Matt “Sketch” Coleman laughs of the cheeky hip hop handle. “We were initially a little bit hesitant about the name, but it never even came up. We found that Americans were a lot more grounded than our media gives them credit for! They clearly knew it was just a bit of a pun and rolled with it.” Bombs Away – comprised of DJ/MC/musos Coleman and Thomas Hart – play a very ‘now’ hybrid of elect ro, house and dubstep. “Our closest relation music-wise would be LMFAO on the elect ro side of things. We throw a lot of dubstep in there as well. I guess it’s almost just like party elect ro – but it’s really a tough call because we play a lot of dubstep.” They are more of “a live PA act” than conventional DJs, he says. Bombs Away fi rst unleashed the celebratory single Big Booty Bitches. “That one went crazy internationally, mainly based on the internet.” However, it’s been Swagger that has taken off at home, even attract ing Nova airplay, Coleman


reasoning that it’s “more radio-friendly.” Bombs Away have just mixed a disk for Wild Nights 2011 together with Punk Ninja (aka DJ Archie). Their mix spans blistering tracks (bombs!) by Skrillex (the Noisia remix of Scary Monsters And Nice Sprites), Wynter Gordon (Laidback’s stamp on Dirty Talk), and Martin Solveig’s Hello, not to mention Swagger. The boys decided not to MC on the mix – wisely. “People would get a little bit sick of it repeating in their cars with us yelling the same thing.” Bombs Away have more original music coming. Heads have bugged them on Facebook for their next track,

Supersoaker. “Every day people keep asking where they can get it from and so eventually it’s gonna leak on the internet and then it’ll go everywhere but, until then, we’re trying to keep it pretty close!” The biggest coup of Bombs Away’s career remains that run of US dates, planned around Miami’s Ultra Music Fest ival. They received gig offers after the viral Big Booty Bitches. Bombs Away couldn’t forfeit such opportunities. “It was basically off the back of our fi rst single – it seemed to translate really well to the States. We just capitalised on that and got over there and that was probably one of the best things we’ve ever done.” Bombs Away have made new alliances in the US. (A collab with Oh Snap!! and Clinton Sparks is in the pipeline – and Bombs Away are working with LMFAO’s management.) Fans should catch Bombs Away while they can. Come August, they’re returning to the US for what Coleman reveals will be a “bigger” tour again. Will Bombs Away abandon Perth? Coleman concedes that it’s been discussed. Nevertheless, they promote events in Perth. “We’re pretty well established here.” And they’re loyal. “A lot of people traditionally from Perth who make it big end up leaving as one of the first things they do, so we wanna try to avoid doing that,” Coleman posits. “Almost anyone I can think of has done that – like Pendulum... And it’s no fault of their own, it is sometimes hard to fly around from Perth. Any gig is at least a six-hour fl ight – that’s a bit of a pain!” WHO: Bombs Away WHAT: Wild Nights 2011 ( Central Station Records) WHERE & WHEN: Shooters (Gold Coast) Friday 13 May, Elect ric

Playground (Brisbane) Saturday 14 May, Favella (Sydney), Friday 20 May, Splash Nightclub (Wollongong) Saturday 21 May, Gilligan’s (Cairns) Saturday 28 May, King Street Hotel (Newcast le) Friday 10 June, Home House (Geelong) Sunday 12 June, Heritage (Rockhampton), Saturday 18 June, Unity Night Club (Ipswich) Friday 22 July.





YOUNG TALENT TIME eyonce Knowles may fear the Katy Perrys and Lady GaGas, but her real new competition is closer to home. Alexis Jordan, like Rihanna, is Jay-Z’s protege, but she also has Norwegian superproducers StarGate behind her. In fact, the Columbia, South Carolina native is the flagship act for StarRoc, StarGate’s joint venture with Roc Nation. It is, Jordan herself extols, “the best of both worlds”. Breaking out with the summer smash Happiness, which samples Deadmau5, Jordan was recently in Oz to promote her eponymous debut, performing alongside Calvin Harris at Rihanna’s concerts and the Mardi Gras. The singer, who’s just turned 19, is as poised and vivacious as she is cute and funny. But, then, Jordan is no overnight sensation. At 14 she was a contestant on the first season of America’s Got Talent, st unning with her rendition of Whitney Houston’s I Have Nothing. Alas, Jordan was booted out in the semi-finals. (Only a couple of years prior she sang at a Stevie Wonder tribute, the man himself present, together with Smokey Robinson.) Undeterred, Jordan harnessed YouTube, uploading covers of songs like Knowles’ Halo – and it was through this that StarGate discovered her. Jordan, currently based in Atlanta, is now “happy” that she didn’t win AGT back in 2006. “I feel like if I had won, I wouldn’t have been able to have such a control over what I’m doing now,” she reasons, citing her video concepts, song selection, and wardrobe picks. “I don’t think any of that would have been happening. It would have been someone else doing that job. As I’ve grown up, I’ve kind of grown into an artist to know what I want.” Jordan’s album has its share of urban dance jams (Shout Shout fl ips Tears For Fears’ New Wave angst-pop – she didn’t know the original, her Mom did). However, Jordan desires credibility, and longevity, and so in Say That she’s recorded a country ballad that Taylor Swift might covet. Plus there’s a RiRitype reggae song, Love Mist. Jordan sought to “experiment” with her voice st ylist ically. “I hate being put in boxes – or ‘She’s a pop artist...’,” she admits. “I just wanted to kinda do everything.” Her favourite album cut is the vindication anthem How You Like Me Now. Jordan has other dreams. She has a cameo in the dance fl ick Honey 2 – and act ing interests her. She’s also considering college st udies online. Jordan is too gracious to spill all the career advice Hova has given her. Nevertheless,



he did apparently warn her about the demands of show business. “I’ll tell you that he said it doesn’t ever stop – ‘once you start, it won’t stop... They’re gonna want you when you’re on vacation’. So you have to learn that this is not just today or tomorrow, it’s for your life.” Much has been said of Jordan’s relatable teen image: she’s sexy yet ‘classy’ – wholesome. “I think girls should realise it’s really great to be mysterious – that’s what guys love,” she says conspiratorially. Girls don’t need to st rip. Of course, Lady GaGa has raised the stakes for all pop artists with her outlandish cost umes, but is the image eclipsing the music? “I feel like that’s GaGa,” Jordan suggests. “I just heard she wants to top herself... That’s what I like about her, because that’s what I would love to do, too – I love to top my music... That’s what you’re doing. I don’t think it’s just the image, she’s just trying to express herself and people take that the wrong way. Let her express herself. That’s what artists do, right? So maybe people are thinking it’s the image, but it’s really her artist ry – she’s expressing herself.” WHO: Alexis Jordan WHAT: Alexis Jordan (Sony)




ince joining the ubiquitous Hospital Records stable back in 2003, Dan Gresham (aka Nu:Tone) has come to define the sound of the drum‘n’bass label via his product ions and DJing. His relentless schedule has seen him release his third artist album and a mix CD already this year amongst tireless gigging. 3D World manages to catch up with Gresham over the phone from his hometown of Cambridge, England to reflect on what he describes as “a hect ic few months”. At the eye of the Nu:Tone storm has been his third full-length record Words And Pictures, which features vocalists on all but one of the tracks. Gresham had worked with some of the vocalists like Natalie Williams before but as he explains, he was keen for some fresh blood. “It’s very easy to just kind of sit there and stay with your previous network of friends, vocalists and st uff like that. For this I knew that I was going to need a lot of people onboard and I wanted to really diversify in terms of the vocalists I was collaborating with. I just st retched the net out as wide as possible really.” Having so many people involved in the project, it was always going to be hard logist ically to nail down st udio time with everyone. “That was easily the hardest part to be honest,” Gresham says. “Once you start working with vocalists in the st udio its great fun and time fl ies so I have no problem with that. The organising of the whole project was really hard this time I think.” Fans of his work as Nu:Tone will not be surprised to learn that he has a very rich musical background and education having played the piano from seven-years-old, singing in a choir and st udying music composition at university. “It gives me a greater ability to put down ideas in my head immediately on a keyboard or something,” he reflects on his formal music training. “There isn’t so much of that trial and error if you don’t have that training. But the trial and error and random aspects of that can give you slightly more off



the wall results. It’s interest ing when I work with my brother [fellow Hospital producer Logist ics] because he doesn’t have any of the classical training that I have and some of the ideas that he has for things are really interest ing. I would never have come out with them because it’s not a musical idea that I would create in my head. He comes about them by happy accident and the end results are fantast ic but at the same time he gets rest ricted because I can think of an idea and within seconds I’ve played it. It’s swings and roundabouts you know – there are pros and cons to both approaches.” Having managed to navigate the recording process and release the album, Gresham seems pleased with the finished product. “Often with my previous albums I’ve gone into it with not much of a concept behind it,” he explains. “My approach to making music is to just make what I want to hear and music that other people aren’t making. But with this obviously I had a more kind of conceptual approach to it with the vocals and so it was quite different in terms of st yles and more detailed elements of the content. I was fairly open-minded about what I wanted to do. In terms of the end result, it was really close to anything I had in my mind beforehand.” Gresham also has no delusions when it comes to certain fans responding to vocals on a drum‘n’bass record. “Its always going to be tricky with a fully vocal album because some people just don’t like vocals full stop. So it’s a bit of a gamble on that front. But I’m known for that kind of work, its always been a big part of what I do and I think that as many people as you put off by incorporating a lot of vocals you attract people from outside the drum‘n’bass scene or [people who haven’t] connected with it on that level before. So I’m really happy. Its one of the reasons I put out the inst rumentals version of the album as well because there are people who like the tracks but find the vocals too full on so hopefully there is something for everyone.” Hot off the heels of the new album, Gresham was asked to mix one of the CDs for Hospital’s Drum & Bass Club Anthems 2011 release with Aust ralian DJ Royalston mixing the other. Mixing up a bunch of tracks in a club is one thing, but releasing a recorded mix with such an audacious title that’s captured for all time is entirely another. “I guess if you think about it too hard then yes,” he replies. “But I don’t tend to do that. I really enjoy DJing both in a club and in the st udio. It’s a very different process for the st udio mix because you have so much more time to think about it but you don’t have the crowd to feedback from so it’s a very different mindset in that I don’t tend to play for myself in the club. I try and read the crowd, see what is going down well and take them in different directions. “With the st udio mix it’s more about showcasing the music and letting it speak for itself. It’s a constant juggling act between getting the music you want, then from the music that you act ually have getting the balance, getting the flow right, making sure that things blend together nicely. It’s tricky.” WHO: Nu:Tone WHAT: Drum & Bass Club Anthems 2011 (Central Station/Universal) out Friday 20 May / Words And Pictures (Hospital/Inertia) WHERE & WHEN: The Espy (Melbourne) Saturday 14 May, Chinese Laundry (Sydney) Friday 27 May

IT’S ALL KILLER IN MANILA IN MARK HARTLEY’S FIRST FILM NOT QUITE HOLLYWOOD THE DIRECTOR TOOK A LOOK BACK AT THE GLORIOUS OZPLOITATION ERA. NOW, WITH MACHETE MAIDENS UNLEASHED! HE DOCUMENTS THE CRAZY WORLD OF FILIPINO FILM. HE TALKS TO GUY DAVIS. ack in a magical era known as the 70s, little things like occupational health and safety, political correct ness, and good taste were frequently cast aside by producers and directors of movies that were deemed ‘exploitation’ by some and ‘fucking awesome’ by others. Chock full of what drive-in guru Joe Bob Briggs eloquently described as “the three Bs: blood, breasts and beasts”, these movies often turned a profit because they attracted punters a-plenty despite being made on the cheap. And if fi lmmakers had the chance to cut costs even further by shooting in countries where you could get a st unt performer willing to risk life and limb for $5 a day and the ruler of the nation was more than happy to supply the product ion with honest-to-goodness tanks, helicopters, and soldiers that would add extra authenticity to the act ion scenes, then that’s where they went. In short, they went to the Philippines. Machete Maidens Unleashed!, the new documentary by Not Quite Hollywood director Mark Hartley, looks at the exploitative heyday of the Filipino film industry, taking into account both the homegrown horror movies by local filmmakers Gerry de Leon and Eddie Romero and the international productions bankrolled by Roger Corman’s New World Pict ures. As well as displaying plenty of juicy footage from movies with titles like The Hot Box, TNT Jackson (“She’ll put you in traction!”), and Black Mama, White Mama and getting the dirt on the making of these films from the people involved, Machete Maidens Unleashed! also offers a fascinating history lesson about the Philippines, a nation under a harsh martial-law dictatorship controlled by military-strongman president Ferdinand Marcos. Hartley came to the project late in its development – in its original form, it focused more on the Filipino industry, taking a special interest in Weng Weng, the 83cm star of the unforgettable action movie For Y’ur Height Only.






But when the ABC decided to move in a different direction, they asked Hartley if he’d be interested in taking a crack at it. (Don’t worry, aficionados of small-statured butt-kickers: Weng Weng has a segment of the film all to himself. And you’ll never be the same after seeing him in action.) “I knew nothing about the Filipino indust ry,” admits Hartley. “I knew that Corman had made some women-in-prison movies there but that was it. So I thought I should do some research so I at least appeared informed when I told them I wasn’t interested. I came to realise there was an interest ing story there, with the whole country being under martial law and the local fi lm indust ry facing st rict censorship while these crazy fi lms about revolutionaries overthrowing st rict dictatorships were being made by Corman’s company. And the making of these fi lms was aided and abetted by Marcos himself. It seemed like the better story to be telling.” It also gave Hartley the chance to meet and interview some of his cinematic idols, such as Corman (described as “thoughtful and reserved” by Hartley), Gremlins director Joe Dante and Rock’n’Roll High School director Allan Arkush (who worked on New World’s lurid and sometimes misleading marketing campaigns) and John Landis, who provides funny, lively commentary about the excesses of the exploitation indust ry. In addition, he tracked down cast and crew members of some of these films, many of whom were stoked to share their recollections. “No one had ever act ually spoken to these people about these films,” says Hartley with a laugh. “I think that’s why so many people say yes! If someone was asking them about their more famous cult films, they maybe wouldn’t be as responsive. Take [Big Doll House and Big Bird Cage director] Jack Hill, for instance – people don’t usually ask him about his women-in-prison movies; they ask about his blaxploitation movies. So I think that was part of the appeal.” Something Hartley discovered in the making of Machete Maidens Unleashed! was an appreciation for the “assured” quality of these sometimes poorly-regarded movies. “They’re not necessarily great but they’re nowhere near as bad as a lot of the B-movies coming out of America at the same time,” he said. What’s more, he says, they display a go-for-broke attitude not dissimilar to the Oz-ploitation epics examined in his previous documentary. “Not Quite Hollywood tried to prove there was great energy to those Australian exploitation films because of the gung-ho approach, because there were no rules,” he says. “And there were definitely no rules in the Philippines! When I was making Not Quite Hollywood, I thought the stuff we were getting away with was incredible. But we were choirboys compared to what they were doing in the Philippines. I mean, as we point out, they didn’t have toffee glass. They just threw people through glass windows! They’re made with a Third World sensibility but they’re competing with First World productions. And their chutzpah and can-do energy more than compensates.” WHAT: Machete Maidens Unleashed! WHERE & WHEN: Screening on ABC1 Thursday 12 May, 9:30pm



WORLDLY REFLECTIONS oel Ma – aka Joelist ics – is a troubadour in the truest sense of the word. A wandering minst rel, he travels the world, sharing his stories through rhyme and verse. Vividly engaging, the TZU front man possesses the rare ability to captivate an audience with just his words and a microphone, priding himself on the ability to take the listener on journey and leaving them better informed by the end of their travels.


Having toured extensively off the back of their 2008 record, Computer Love, TZU decided to take a break from the band; some members started families, others began working on solo projects, but for Ma it provided him with the perfect opportunity to pack his bag and travel the globe. For the better part of eighteen months Ma lived in and explored everything the world had to offer, from the pollution of Beijing to the Mountains of Mongolia, he become a devoted global citizen. Never intending to create a record on his travels, Ma instead focussed his attention on writing that would act ually subsidise his travel and help pay the rent – journalism. Yet, as he explained to 3D World, the relentless st ruggle having to meet deadlines meant that Ma yearned for a creative dist ract ion that wasn’t deadline dependent. “I left Aust ralia not intending to write a record” says Ma from a roadhouse in Alice Springs that bills itself as the ‘The Centre for UFOs in Aust ralia’. “But I was doing a lot of journalism work while I was in China and then Paris and to try and dist ract myself from deadlines I would write music, just for fun, which was awesome. Although I think I was being quite influenced by everything that was around me and a lot of it [the music] started out a lot weirder and a lot more elect ronic than it ended up. You know, having those fourteen


minute, crazy glitch jams just wasn’t conducive to write lyrics to.” What started out as a dist ract ion for Ma soon became an all encompassing musical pursuit. “I was just travelling with my laptop and some headphones and a lot of programs on which to make music. So all the beats, all the music was written whilst I was overseas and a few of the songs lyrically came together there, but the majority of it was written when I got back, upon reflect ion.” There is an interest ing dichotomy between the sonic and the lyricism that plays throughout the entire album. Sonically, Voyager is an album of overwhelmingly uplifting music that bubbles with light, playful effervescence at every corner. Ma however, has underpinned his music with lyricism that is dark,

subversive, at times controversial, but always socially and politically ast ute. In a sense he tricks the audience into having a good time whilst hitting them with sharp, thought provoking material. But was this always his intention? “Fuck yeah; I tried to take some chances with this record, I’m all about that shit – smuggle a couple of weird ideas into something that feels good, states an audibly forthright, Ma. “I wasn’t thinking about and audience and I definitely wasn’t trying to write pop songs. I think the record is not as easily understood on fi rst listen as a TZU record would be, but for me, it was like, if people get this [the album] they’ll really get it, it’s for the travellers out there. “Also, I’m not a young man anymore. I’m in my 30s and I was reflect ing on

devoting my life to hip hop and to music and to trying to tell stories and it’s not exact ly the most lucrative lifest yle to choose. So there was just a lot of me needing to go through some of that and shed it. And I guess the other side of it was I didn’t want to make a pop album, I wanted to write something that had a resonance for me in 20 years time, so I could look back and go ‘oh yeah, I remember writing that track when I was in Mongolia’.” Voyager is a deeply personal album, but its honest y is what stands it out in an increasingly overcrowded hip hop market and one gets the feeling that its creation was a cathartic process for Ma. Given however, that the album is so informed by the act and experience of travelling, the record has a surprisingly localised feel to it and 3D World wondered how it act ually got to that point? “I guess we carry the framework of wherever we are from and whoever we are, wherever we go in the world and that informed everything I saw. There was a lot of angry, ranting writing that I did and had to purge because living in China is a truly frust rating and amazing and curious experience, but I didn’t want to be so globalised and large that it was outside of me; it st ill needed to be attached to me and my experience and emotions.” WHO: Joelist ics WHAT: Voyager (Elefant Traks) out Friday 20


WHERE & WHEN: Harp Hotel (Wollongong)

Wednesday 11 May, Transit Bar (Canberra) Thursday 12 May, Annandale Hotel (Sydney) Friday 13 May, The Corner Hotel (Melbourne) Saturday 21 May, Sol Bar (Maroochydore) Thursday 2 June, Coolangatta Hotel Friday 3 June, The Zoo (Brisbane) Saturday 4 June

STREET TALK WHERE BETTER THAN MELBOURNE TO HOST THE FIRST EVER CARBON FESTIVAL, CELEBRATING THE CULTURAL IMPACT OF CONTEMPORARY MUSIC, ART AND DESIGN. AVA NIRUI WAS ON THE FLOOR FOR TWO OF THE WEEKEND’S STREETWEAR FORUMS. he resurgence of the iconic 90s hip hop cultural landscape in Aust ralian youth societies can be seen in the eminent pseudo-gangster neohipster fashion craze as well as the popularity of gritty ghetto rap acts such as Odd Future and Wiz Khalifa. The st reets of Melbourne are saturated in this urban sensibility, with alley-ways swathed with stencils and graffiti tags, breakdancing adolescents blast ing hip hop beats on main roads and the prominence of local and international st reet labels such as The Hundreds, Mishka, Grand Scheme and Highs and Lows. The fi rst ever Carbon Fest ival, running from Friday 29 April to Sunday 1 May, embodies all aspects of this creative lifest yle – celebrating and embracing contemporary music, art and design. The amalgamation of various thriving 90s social scenes including skate, surf, hip hop, hardcore and punk cultures have experienced a major revival and are key influences on the designers and artists who are featured at Carbon. Every solitary aspect of the fest ival, whether it is live painting, graphic exhibitions, speaker forums or nightlife, can be aligned with the timeless pervasiveness of st reet culture, which is embedded within a modern, collect ive youth psyche. The festival is organised into a series of four distinct forums: Beyond The Brand, The Art Of Creating A T-shirt Label, Craftsmanship And Imagination and The Art Of Hype. Each forum allows the culturally perceptive audience to listen key players in a wide scope of creative industries share their wisdom, advice, artistic perspective and experiences. The forums, as well as a series of side events including live paintings, graphic exhibitions and concerts truly capture the lifest yle celebrated by the festival. Hordes of well-dressed scenesters, artists and


designers decked out in in graphic Ts and Nike dunks and new era caps flock into the Aust ralian Centre Of The Moving Image on the opening morning, eagerly awaiting the doors of the forum theatre to fly open. Confident keynote speaker Bobby Hundreds of successful skate label The Hundreds opens Beyond The Brand with an engaging, perceptive and effect ive breakdown of the elements that cultivate a ‘dope’ clothing label. Accompanied by a thorough visual presentation, vivid graphics and a clear purpose, it becomes increasingly obvious how The Hundreds was pioneered into such a progressive and well branded label in the space of 8 years. He divides a discourse on branding into four main spheres – personality, meaning and substance, authenticity and consistency, linking

each branch to his personal experiences with The Hundreds . In spite of this systematic approach, Hundreds continuously st resses that there is no “real” or absolute process to attaining such success, stating that if passion and spark towards the craft is imminent, the rest comes naturally. “We are passionate about st reet wear and with everything we do,” Hundreds remarked, “we put out personalities into it… that’s how we managed to build our brand, because people saw that we were authentic.” Like Bobby, other speakers including the assertive Matt Noffs of Gideon Shoes, the timid Matt Thomas of Highs And Lows and the comedic Jonny Goldcoast and Dan Preston of Asuza, also passionately share their creative visions both captivating and challenging audiences to quest ion their craft. Forum II, Building A T-Shirt Label, features co-founder of skate-goth graphic brand Mishka NYC Greg Rivera, who wist fully and wittily captures the ‘gnarly’ connect ion between fashion and music, with artists such as Neon Indian, Health and Das Racist starring in his campaigns. Rivera highlights the significance of iconography and logoing in the visual aest hetic of Mishka, providing explanations of the four prime symbols used in his label. Jimmy Bliggs of independent local label Grand Scheme follows shortly after Rivera who, like Bobby Hundreds, st resses that ‘passion’ is the key ingredient in leading a design company. “If you don’t have a st rong foundation for business and everything that evolves around it, you should re-consider starting a label because there’s more to just putting graphics to a tee,” Bliggs bluntly states. Forum II was also joined by Carri Munden of Cassette Playa and Tristan Ceddia, senior graphic designer at Ksubi who, although being cloudy in their approach,

also manage to underline the key elements which attribute to being creatively successful. Aside from the technicalities of the forum, Carbon also embraces the showcasing of tangible artworkwith French artist Mega displaying his captivating, minimalist, graphic art pieces that evening in the ACMI Atrium. The night is fi lled with the perfect combination of booze and art – the numerous glasses of champagne making Mega’s innovative graphics appear even more captivating. The weekend’s fest ivities just show that the st reetology is st ill a thriving philosophy. Carbon was inspiring for ambitious designers as well as being an aest hetic utopia for any art enthusiast, placing much needed emphasis on Aust ralia’s creative indust ries.



THOUGH SHUNNING THE “TERRIBLE” NIGHT BUS GENRE HE’S BEEN TAGGED WITH, JAMIE WOON IS ON QUITE A RIDE ON THE BACK OF HIS SLOW BURNING DEBUT ALBUM MIRRORWRITING. CYCLONE SNAPS UP A DAY PASS. ames Blake may be garnering all the media attention, but Jamie Woon and Katy B are also reconfiguring dubstep into wonky pop. Blake living up to his enigma and eluding interviewers, it’s now time for his extrovert mate Woon to enjoy the spotlight with a soulful debut, Mirrorwriting. Happily, the Gilles Peterson-endorsed Brit has banished those weird comparisons to Jamiroquai’s Jay Kay (and the spect re of Craig David). Woon and Blake have both been identified with the night bus genre – a post-The xx (and Mount Kimbie) R&B equivalent to Drake’s illwave or, as NME puts it, “bass-spawned noct urnal balladeering”. A goodhumoured Woon laughs off the “terrible” music tag. “I don’t think it should ever be called a vehicle!” Still, Woon’s music is more song-oriented than Blake’s. In fact, Woon, the son of Celtic folkie Mae McKenna, started as a conventional singer/ songwriter. He’s a seasoned live performer. Woon even ran an (eclectic) music night, One Taste, with Dannii Evans. Oh, and before that, he attended the famous BRIT School with Amy Winehouse among its alumni. Currently based in East London, Woon generated a buzz back in 2006 with his version of the spiritual Wayfaring Stranger – remixed by Burial into a cult dubstep hit. Yet Woon didn’t immediately capitalise on its success. He continued to gig – and air underground music, collaborating with the likes of Subeena on Solidify. The hype machine cranked up again last year when Woon released the daytime radio hit Night Air (with that sublime line, “I’ve acquired a taste for silence”), on this occasion remixed by Ramadanman. He was a contender in the BBC Sound Of 2011 Poll along with Blake (Jessie J won). Woon deliberately bided his time after Wayfaring Stranger. “Making a record is something I definitely wanted to do, but I didn’t have enough songs that I thought were good enough, and I didn’t know how I wanted to go about making a record.” Woon did receive earlier offers – but he was wary. The last thing he wanted was to sign a deal and then be “coerced” into recording generic chart fare or teaming with random producers. “It took me a bit longer than I thought, but I’m glad I did it now because I got to make the record on my own terms.” And, in teaching himself to produce, Woon has developed a futurist ic and avant-garde soul defined as much by its spaciness as its sub-bass. Woon’s music has retained its folky essence, however. “I don’t really see what I’m doing as that different – I mean, sonically it’s different, but the songs and the sentiment and the things I like to sing about are exact ly the same.” He composed Mirrorwriting on guitar. Woon cites everyone from JJ Cale to Neil Young to Stevie Wonder as formative. He’s likewise partial to 90s R&B (and Boyz II Men!) – and Brit neo-soulster Lewis Taylor. If anything, Woon perceives himself as a blues artist, if an abst ract one. A key influence was Burial, aka Will Bevan. Woon was familiar with Bevan prior to the Wayfaring Stranger remix – it’d been his idea. (“I was just knocked out by his fi rst record,” he says.) Woon, enamoured of Radiohead, was seeking a way to “frame” his songs elect ronically. Bevan’s remix was an epiphany. “I’d never heard my voice in that context



before and he was really encouraging and really helpful in guiding me towards the new sounds.” At one stage, Bevan was to produce Woon – they had a session – but, by then, he was more confident of his direct ion. Nevertheless, the singer played the dubstep don his songs. Bevan is credited on not only Night Air, but also its poptast ic follow-up Lady Luck. Like Blake, Woon has a parent in music – but while few realise that Blake’s father is rocker James Litherland, Woon freely acknowledges his mother. Woon hasn’t cultivated the same myst ique. But artist ic parents are not always so helpful. Woon’s mother has st ruggled, even ignominiously earning her bread as a sessionist for Stock Aitken Waterman. Did she ever discourage Woon? “She never tried to make me do music at all, but she never discouraged me from it, either. I didn’t really get into music until I was maybe 15 or 16 when I took up a guitar – I was really into the Brit-pop that was going on then. Around the same time, she was making an album. She made a sort of crossover Celtic bluegrass album in Nashville called Shore To Shore – and I went with her. That was just when I’d gotten into making music and I was really taken by the whole process of that and the community and the idea of chipping away at a piece of work. “From then on I just got really into music and went to music college. She was always really supportive. She has said since that she wouldn’t have encouraged me if she’d thought I didn’t have something, but she’s been super-encouraging. She wouldn’t really have a leg to stand on if she was gonna try to discourage me (laughs). She definitely didn’t act ively try to discourage me. I think she feels that music has been very good to her in her life. She’s been able to do all sorts of things and support me from singing and she’s quite grateful for that – and so am I!” Woon rarely talks about his absent Malaysian-Chinese father, a professional sportsman who lives in Malaysia. “The tone of my voice is similar to my Dad’s, speakingwise and singing-wise.” The soul boy has a dist inct ly modern show that utilises live inst rumentation (including guitar), effects and laptop. Is there any prospect of an Aust ralian tour? “I heard that it’s a possibility – I think people might be working away on that,” Woon enthuses. “That would be amazing. I’ve been to Perth once before to visit a friend’s family, but I’d love to see Aust ralia.” WHO: Jamie Woon WHAT: Mirrorwriting (Universal)












“Absolutely no idea, I can’t remember. Joey Bananas comes from Joe Bonano, one time boss of the Bonano family. I have always had a fascination with reading about the Sicilian and Italian-American families.”

“First gig I act ually remember would have been New Year’s Eve at the Laundry in 2002. Main thing I remember is that being on stage seemed to increase your attract iveness to certain girls tenfold which was a bonus.”



“Since around ‘99 or so but only took it seriously from about ‘03 I reckon.” ARE YOU AFFILIATED WITH ANY CREW? “Yep, I’m a member of Nine High which is myself, Scotty Hinds and Byron as well as Smash Brothers which is myself, Scotty Hinds, Diem and Murky Depths. Diem and Murky have been down with Broken Tooth since its inception and we’re all good friends.”




“Our Nine High album launch at Miss Libs in ’09, half the crowd on stage with us going nuts with doughnut icing flying through the air. Shows on the M-Phazes Good Gracious tour last year and playing alongside Doctor P at Heavy Innit. The recent New Zealand shows I did playing with Dizzee were a definite highlight too.” WHAT’S THAT ON YOUR SHIRT THERE? “A member of the bourgeoisie playing ye olde

game of polo atop a jet black steed.” FAVOURITE COMEBACK LINE? “Your mums got athlete’s foot on her neck.” WHAT’S YOUR DREAM COLLABORATION? “Skinnyman and Durrty Goodz on mic, Dot Rotten on the beat and we’ll st ick local girl Candice Monique on a hook, that’d be big.” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “Best thing locally would be the st uff coming out the BTE and CC camps from Melbourne and That’s Them and the Serchaz st uff out of Sydney.” UPCOMING GIGS? “Wobble 10 Years of DJ Cubist at The Night Owl Saturday 21 May.” PHOTO BY KANE HIBBERD



Billboard The Venue has just announced some ace events to add to your calendar. I Love The 90s happening Friday 22 July, with one of the biggest successes in German pop music Sash! taking to the stage. With breakout hits including Ecuador, Stay, La Primavera, Mysterious Times, and Move Mania, the night will be a tribute to the Golden era of times past. Tickets available through Moshtix.





Euro post-porn groovers In Flagranti have unleashed their Worse For Wear album. They take their adult disco in a variety of direct ions, from psychedelic sounds to barfly beats but st ill find time for a quick bj in the club toilets for old time’s sake.


In the vein of Disney-sampling Pogo, comes US breakbeater Dainumo... And his Dick Dick Dick Dick cut up of Reservoir Dogs is ultra cool without being too gimmicky. It follows up his YouTube hits Luke (Star Wars) and Batbomb (Dark Knight).


As Tonite Only notch up a seventh week atop the ARIA Club Chart (2011’s longest run so far) with We Run The Nite, DJ-turned-hitmaker Havana Brown makes the week’s highest debut in the Singles Chart (at seven) with We Run The Night. Now we’re gonna lose sleep figuring out who really runs the night/nite.



Fox 5 News in the US scooped last week’s biggest story when they announced, “President Obama is, in fact, dead.” Richard Wilkins, eat you heart out...


Straight up, Jodie Foster direct ing a fi lm called The Beaver seemed like a punchline-in-waiting. To make matters more snigger-worthy it stars Mel Gibson with his fist permanently jammed in a beaver puppet. And the joke? He’s getting rave reviews. So it seems both Foster and Gibson are good with Beaver.


Detroit beat king Marcellus Pittman is one of the biggest names on the scene, collaborating with Theo Parrish early last decade. He is unapologetically soulful and observant of the Chicago house tradition but unusually st ripped, raw and minimal. His Midwestern Advocates EP Part One is part of the house canon, and he has deservedly built a reputation as a skillful master of sound. See him when he plays Mercat Cross Basement on Friday 10 June.

Four of Melbourne’s finest female vocalists will come together to sing in support of racial harmony for She Sings For Reconciliation. To celebrate National Reconciliation Week, this one-off musical event with showcase the diverse talents of vocalists including Emma Donovan, Lady Lash, Candisce Monique and the Optics, Vida Sunshyne and Mista Savona. It’s happening at The Toff on Sunday 29 May, from 7:30pm. Tickets $10 on the door.


South African producer Protoculture, better known as Nate Raubenheimer, is one of the biggest DJs in his hometown. His fi rst album, Refractions, boosted his reputation as a melodic and euphoric tune maker. He’s recently collaborated with prog veteran Max Graham, and is pushing himself to work beyond the regular borders of genres, all while integrating his signature sound. He is heading our way to host a two hour sonic trance journey. Supported by Rubal, Mish’Chief, Herc Kass, Suntribe and Sirius. It’s happening at the Royal Melbourne Hotel on Friday 20 May, from 11pm. Tickets $35 through Moshtix.


Revolver Upstairs has just announced an Iron Curtis headlining event. The artist intertwines deep house with soulful techno and intergalact ic disco in a surprising and enchanting manner. His sound is reduced, but never minimal, with flashes of kitsch brightening up his dark sonic universe. This is his only Melbourne show, and will be hosted in Revolver’s infamous back room. Supported by Deepcast’s Andy Hart and Myles Mac. It’s happening on Friday 27 May.



Local producer Dream Kit is set to launch his debut EP, Future Tense. Also known as Declan Kelly, the project draws on his background as a DJ, sound designer and broadcaster to journey through a universe of complex and wonky melodies, loaded with bass, techno and the machine soul of the Detroit sound. Dream Kit plays RAOBGAB on Friday 13 May, supported by Super Melody, AOI, Wooshie and DJ Rambl.


Canberra based stencil artist ELK, who won the 2010 Aust ralian Stencil Art prize, will host his fi rst Melbourne solo exhibition, Look What You Made Me Do, at the Brunswick Street Gallery. As an emerging stencil artist on the international scene, E.L.K has exhibited alongside Blek Le Rat (known as the ‘Godfather of Stencil Art’). Check it out between Friday 13 and Thursday 26 May.


Much hyped hip hop collect ive Odd Future Wolf Gang Kill Them All (OFWGKTA) are heading our way to storm the stage. After a much lauded set at SXSW, and top billing on the VIVID Sydney lineup, the group have announced additional Aust ralian shows. Also touring are Belgian mash-up masters, 2manydjs. Tickets go on sale Wednesday 11 May, expect them to move faster than Superman covered in vaseline. 2Manydjs plays Prince Bandroom on Thursday 2 June, OFWGKTA plays Prince Bandroom on Friday 3. Tickets through Ticketmaster.


Remember when Friendster went hand-inpocket with skinny jeans? Well, the godfather of social networking is retiring on May 31. So now might be a good time to move all your profi le details across to MySpace, hey? OFWGKTA





It doesn’t get much bigger than Armada Night, the dance party extravaganza. Happening Friday 13 May, the night boasts Sean Tyas, W&W, Emma Hewitt, Trent McDermott, Aaron Camz, Gaz Kampster Live. The night continues its massive line-up with DJ Kat, Scott Altert, Ahmet Atasever, DJ Joey, Jed, Little Johnny, Alii, Peter Ang, Darren Bond and many more. It’s happening this Friday at Trak Bar, more info at


Calling all NES-Heads, B-Boys/Girls, Junglists, Graffers and Game Freaks! Kill Screen: Old Skool Game Comp is heading to Revolver Upstairs for a night where gamers can battle it out for prizes on the old school Nineteno, or check out DJs and live artists. Be the king of the 8-bit, and receive all the glory that comes with it! DJs on the night include Cubist, Dopebeat, Descent and Cliffery. It’s happening Saturday 4 June, tickets $10 through Moshtix.


Due to popular demand, old-school rockers Belfast 16 are set to ignite the Queens Birthday Long Weekend. Belfast is where Richie Rich, one of Melbourne’s innovators of the techno and rave scene, plays an epic seven hour long set of classic tunes from the hey-day of the rave era. Belfast provides a history lesson for old and new revellers, with the classic tunes that changed lives. With the best garage, Chicago and acid house, make sure you’re there at Prince Bandroom on Friday 10 June to journey back to the future. Tix $26 through Moshtix.


New Guernica is set to host special international guest, James Curd. The artist hails from the home of Chicago house, and has smashed tunes at clubs including Fabric, along with major sets at global music fest ivals. Also working as a producer under the guise Greenskeepers, Curd has established himself as a major force in current house beats. Supported by Fromage Disco, Mike G, Mike Hunt and Tom, Be at New Guernica on Saturday 28 May to feel the bass.


With tickets quickly selling out for his fi rst Melbourne gig, Brian McKnight has announced a second show. It’s the artist’s fi rst Aust ralian tour in a decade, and he’s bringing along current sensation Dwele with him.The American singer songwriter is famous for his rich R&B tunes, and has even hosted his own talk show. Tickets for the Friday 24 June have sold out, but you can purchase tix to Tuesday 28 at Trak Bar through ticketek.



Melbourne’s famous hip hop party, Wax Museum Records Jam, returns after a month off the dance floors, bouncing back with a killer line up and a crew ready to rock out in st yle. Heading the night is 2 Kool Tony from the Heavy Creates crew out of the UK, along with beat master Dizz1 returning to his roots to drop an exclusive set. No Name Nathan will also be heating up the upstairs dance space. Presented by 3D World, the Wax Museum Records Jam happens at The Croft Inst itute, Friday 20 May from 9pm. Entry $5.



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 WAX MUSEUM RECORDS JAM: 2 KOOL TONY, DIZZ1, SHERIFF ROSCO, THE FOOT CLAN, NO NAME NATHAN – Friday 20, Croft Institute PIGEON JOHN – Saturday 21, East Brunswick Club TIKI – Saturday 28, Corner Hotel JUNE PHATCHANCE & COPTIC SOLDIER – Saturday 25, Empress Hotel MIAMI HORROR – Wednesday 29, Karova Lounge JULY ART VS SCIENCE – Saturday 2, The Forum MIAMI HORROR – Saturday 9, The Forum


Respect Is Burning is gearing up for its 2011 party. With a reputation for high-octane beats and pulsing rhythms, the legendary party will host the finest house, elect ro pop and funk music in town. A throwback to the infamous New Year’s Day parties, Respect Is Burning will deliver a night full of rarities and timeless beauties. The full line-up is announced midMay, but you can grab early tickets through Moshtix. It happens at the Prince Bandroom on Sunday 12 June, from 9pm.


Th is Friday Josh Lang heads a massive list of Melbourne’s finest dance acts, including DJ Hellraiser, Soul-T, JFX, X-Statik and Skeata. Lang will be delivering his trademark sound that’s a fusion of thumping hardst yle infused basslines, with euphoric melodies and breakdowns. Be at the CBD on Friday 13 May.


OGFLAVAS Urban news with CYCLONE


Brit soulst ress Adele continues to triumph with her album 21 finally hitting #1 here after 14 weeks. It’s now platinum here. Adele fever is such that her debut, 19, has re-entered the charts. There could yet be another spike in sales of 19. According to the UK’s Daily Star (tabloid alert!), the new Duke and Duchess of Cambridge chose Adele’s cover of Bob Dylan’s Make You Feel My Love for the fi rst dance at their evening wedding reception. Adele was invited to perform the song but, alas, had prior engagements. In fact, Tinie Tempah’s homegal Ellie Goulding was the bash’s sole live act, the sometime folkie having made over Sir Elton John’s Your Song, a favourite of the late Princess Diana. Regardless, Duff y must be wondering where she went wrong with her unfortunate flop Endlessly. The Welsh soulst ress is now sulkily taking a hiatus amid reports of her quitting music permanently. In the meantime, we have Rumer, whose smash UK debut Seasons Of My Soul is out locally at last. Rumer (real name Sarah Joyce) has a colourful, albeit poignant, biography, being the product of her English mum’s affair with a Pakistani cook. (Dad was working in the Middle East as an engineer.) Joyce has been widely compared to Karen Carpenter, but songs like Come To Me High, Slow and Aretha are redolent of Sade. Am I Forgiven has the smooth vintage aest hetic of Burt Bacharach’s soul-pop compositions for Dionne Warwick and Dust y Springfield – an aest hetic that Isaac Hayes developed opulently with his version of Walk On By. Joyce created her material on guitar – and there’s a latent folkiness on Seasons... Healer is very Carole King. On My Way Home has a country twang. Ironically, some of the best new British soul is emanating from the nu-folk movement, itself the equivalent of 90s neo-soul. (Check out Noah And The Whale’s sublimely Marvin-ish The First Days Of Spring.) Above all, Joyce is reviving quiet storm, her music a contrast to Adele’s blues. Adele hired the veteran Rick Rubin for 21, and Duff y teamed with Albert Hammond, but Joyce has Bacharach in her corner. She’s even recorded his Alfie as a Seasons bonus (Joss Stone last notably covered it). Yet it wasn’t Bacharach but TV composer Steve Brown (the band leader in the Alan Partridge telly show Knowing Me, Knowing You) who oversaw Seasons – and superbly.

DIY DREAMING eclan Kelly is no st ranger to the music indust ry. While only recently releasing his debut EP as Dream Kit (Future Tense) through Two Bright Lakes, the producer and DJ has act ually been act ive throughout the Melbourne musical community for the better part of the past decade. As a DJ, Kelly has supported artists such as Tom Middleton, Prefuse 73 and Caribou while his work as a sound designer and composer has bolstered numerous successful theatre product ions over the years. “I really like working in a lot of different areas. I’ve act ually just finished broadcast ing on Triple RRR after being on there for five years,” the producer reveals. “I just wanted to make more time for Dream Kit and my other work. I do a lot of theatre work and I try to squeeze sound design work in whenever and wherever I can. For the moment though, I think I’m really focused on Dream Kit and more elect ronic forms of music.” Bearing in mind, this is in addition to growing up within a profoundly musical family. Eldest son of Aust ralia’s arguably greatest living songwriter Paul Kelly (and cousin to leftfield troubadour Dan Kelly), Declan has been exposed to music and its related indust ries for his entire life. While his warped, bass-heavy leftfield jams share very few commonalities with the song-oriented work of his relatives, the producer’s work has nevertheless always been supported by his family. “I’ve got no problems being associated with that legacy,” Kelly laughs. “I love what my dad does, obviously. It’s a huge part of my life and it is a big influence. Yeah, I’m doing something different, but my family and what my family do has obviously played a significant role into what I’m interested in and what I do. I don’t disown it or anything like that. Making that kind of song-st ruct ure music isn’t even something I’d rule out – I’d like to check it out further down the line, maybe.” That said – Dream Kit st ill represents a significant step forward for Kelly. The producer may have been involved with the music indust ry for over a decade and exposed to it for what is essentially a lifetime but he’s never released any of his solo product ions. The closest he’s come has been an obscure release on Soul Jazz Records credited to Tempo Perdido (a oneoff collaborative project featuring Richard Campbell and Architect ure in Helsinki’s James Cecil). “Oh, I don’t know. I wasn’t really apprehensive about making my own st uff,” Kelly muses. “I think what we all find hard sometimes is act ually just finishing st uff. That thing is always difficult – going ‘yes, this is finished, this is done’ – and I’ve set lots of personal deadlines that I pretty much ignored for a long time. It was always the intention, though,


to make my own product ions. I always knew that I would do it eventually. It was just a case of finishing it. “I mean, I probably st arted producing idly maybe fi ve years ago. These tracks began around eighteen months ago. I had a baby a couple of years ago and that kind of complicated things a bit as well,” the producer laughs. “I sort of st arted the initial work on the tracks and then fi nishing them was just about fi nding time to work on them in bits and pieces. It took a while but, you know, I got there eventually.” “I’m quite determined to make this the focus now, though,” Kelly affi rms. “I’ve got some remixes to work on and I’m act ually hoping to have the next EP out by the end of the year.” MATT O’NEILL

WHO: Dream Kit WHAT: Future Tense EP (Two Bright Lakes/Remote Control) WHERE & WHEN: RAOBGAB Friday 13 May


WALKING THE LINE n Victoria, one out of every three households speaks a language other than English as their primary dialect. Th is is a fact that may surprise many, but for Diafrix’s Khaled Abdulwahab, it is a detail that he is acutely aware of. Having arrived in Aust ralia as a refugee earlier this century, the African born MC grew up in a community where, at times, the only universal language spoken was that of music. Ultimately it has been music that has come to define Abdulwahab as a person, as an Aust ralian citizen and as a role model. Diafrix’s debut album, Concrete Jungle, was an unrest rained insight into the everyday st ruggles and accomplishments of their fellow refugees, a veritable melting pot of raw hip hop product ion, traditional African music and rap. Critically acclaimed, Concrete Jungle served as Diafrix’s introduct ion to the Aust ralian music community and as their passport onto fest ival stages and as the go-to support act for touring hip hop luminaries alike. Yet, despite the album’s critical reception, Concrete Jungle never received the pick-up from radio that many were expect ing. Another fact the Abdulwahab is acutely aware of: “That was really hard, man,” says Abdulwahab from his home in Melbourne, “and it’s the reason it took so long to release something new. As a group we’ve been really st ruggling to try and get our music to be more accommodating


for that radio sound, but at the same time we didn’t want to sell-out to commercial radio all together, so it was just trying to figure out how to walk that thin line between the two, which is what I think we did on Simple Man [the group’s latest single] as best as possible.” One listen to Simple Man elicits fair grounds for assumption that the group have finally cracked the radio formula. Simple Man is an upbeat dalliance between pop and hip hop with a chorus sung by fellow Melbournian and international crooner, Daniel Merriweather. It has the unequivocal Diafrix undertones heard on Concrete Jungle, but is a dist inct ively different sound for the group. 3D World therefore wondered if that transition from gritty, do-it-yourself hip hop to their new popheavy st yle of music had been difficult? “Yes, definitely, it definitely was”, says Abdulwahab. “As an artist it’s really hard, because at the end of the day when you decide to make changes you are always going to have to take out some of the things that you really want to keep in your music. But at the same time, having the pressure of being in a band that needs to perform in a market that’s so competitive is also hard. So I guess you have to have a lot of selfconfidence that making changes is the right thing to do. And we did.” Part of the group’s confidence to make changes came after a conversation they shared with Lupe Fiasco who they’d supported on his Aust ralian tour. “We’d been really lucky to spend a bit of time with Lupe,” explains Abdulwahab, “and we ended up having a discussion with him about underground hip hop verses commercial hip hop and how to best try and walk that thin line between the two. Now at the time, Lupe was having a lot of creative troubles with his label, but he told us that no matter what, ‘he’d rather be getting paid to rap than doing whatever he wanted to do and going nowhere’ and that was such good advice for us. Because at the end of the day we are just entertainers and we really just have to give the crowd what they are asking for.” LUKE MCKINNON

WHO: Diafrix WHAT: Single Man (Illusive) WHERE & WHEN: ANU Bar, (Canberra) Thursday 12 May, Waves (Wollongong) Friday 13 May, Newcast le Panthers Saturday 14 May, Bellingen Town Hall Sunday 15 May, Beach Hotel (Byron Bay) Thursday 19 May, The Forum, (Melbourne)Friday 20 May, Coolangatta Hotel Saturday 21 May, Kings Beach Tavern (Sunshine Coast) Sunday 22 May, The Tivoli (Brisbane) Friday 3 June, The Metro (Sydney) Saturday 4 June.




Had computer troubles at home so couldn’t review music at home. Instead I had to resort to using the work computer to write the last few week’s columns. Staff might raise an eyebrow when they hear me st reaming dub-techno mixes over my tinny Verbatim speakers, but the boom-bap rap shit makes the co-workers glide their chairs out from behind their cubicles to forward a glance of disapproval. So vocal-less beats seem to go over a treat and so it was pleasing that this next Aust ralian album had several positive remarks and nods of approval from within the vicinity. Blue Mountains wonderment arrived in the mail a few weeks ago. It’s yet another spin-off from the st ill performing Thundamentals crew. Th is time it’s from one of the DJs, Tommy Fiasko, who adopts the unspoken moniker of The Silent Titan for his album For The Rest Of My Days. I’ve always enjoyed the inst rumental tracks from the Blue Mountains hip hop coterie such as Down Under Beats, Thunda and of course Hermitude, so I’m thankful that Tommy has crafted almost two-thirds as such. In fact it’s also devoid of any Aust ralian voices, though Brooklyn born Jace Excell does reside in the mountains. He lays his vocals down with soulful elegance for two tracks, with one of those tracks Easy Fix featuring none other than Oh No. The Stones Th row connect don’t drift that far when we also hear MED on Last Laugh. If Peanut Butter Wolf had any sense he’d release this on his own label or invest igate some future collaborations. The mere fact that Prince Po also appears on a tune should solidify any doubts about the talents of Senor Fiasko. That track So Exquisite is the vocal standout performance, but then including any member of Organised Konfusion is a stamp of approval for me. I love the detail in his beats, but they really come alive when they are left to their own devices. The gorgeous summery aspect of Shout Bravo, the skipping shuffle of the Chineseinfused, jazz-horned You Dream Because, the angelic st rings of the tranquil Acid Dimes, the soulful voice that wafts through a meadow bathed in sunlight on Love and the esoteric wanderings of Higher And Flyer all send pure delight down the ears of listeners who appreciate well crafted music.

RELUCTANT SUPERSTAR ans of celebrated New Zealand hip hop outfit Fast Crew would never have guessed there was a connect ion between the latter’s urban rap music and the pop rock anthem that took over their radio waves in the early part of 2009. They probably never even suspected the baby faced rapper with the long hair and over sized t-shirts was the man behind the catchy guitar based ballads that were taking over the top 20, the top 10 and the top 5 of the New Zealand charts. And who could blame them, Dane Rumble has had one hell of a makeover. “I think for me, how the transition came about was I’d done two albums with Fast Crew and a lot of people were saying ‘dude go on your own, do your own solo thing, you can write a great pop record blah blah blah’ and I act ually tried. I tried to write a solo hip hop album, but during this process I got sick of hip hop. I got sick of the vibe, I got sick of the macho thing that goes with it, I got sick of talking about how great I am and how shit the other MC is.” Rumble states that he “fell out of love with hip hop” but couldn’t find his footing anywhere else. Th inking he’d done his musical dash, he resigned himself to the idea of moving on to something different, and during this break, found himself playing the guitar. “I const ructed chord progressions, which is something that I hadn’t really done before and then all of a sudden these songs just started flowing.” When a member of Fast Crew, Rumble was one of the main writers and he continues to work in this way. “Yeah I write everything and produce everything. It was a very hard thing to do putting this record together because I’m not the world’s greatest musician and I do everything by ear so it’s pretty much just me hammering away at a keyboard and guitar until I found the sound that I wanted and the kind of vibe that I wanted so yeah it was a huge learning curb for me but I loved it, I loved the process.” The album is fittingly called The Experiment and was released early last year (August in Australia) for a speedy trip to the number one spot on the New Zealand Album’s chart. “It was supposed to be written after Always Be There came out... I put that single out for a bit of a laugh you know, have people see me in this other light and I thought people would be like ‘who’s this guy? What’s he up to now? What’s going on?’ and the single did really well


so after that happened there was this huge pressure to get more material together and people were trying to book me for shows and I’d only written like two songs. I don’t think I’ve ever worked that hard in my entire life.” As all that chart topping shows - the hard work has paid off, and he’s recently signed deals in the UK, US and Germany where he’s likely to become a screaming-younggirl-attract ing-pop star. “I don’t think there’s such a thing here in New Zealand, the album went number one, I’ve sold 80,000 singles and platinum records but in New Zealand no one really cares,” he says with a chuckle sounding as though he doesn’t really care either. LIZ GALINOVIC

WHO: Dane Rumble WHAT: The Experiment (Universal)



The John Curtin Hotel is one of those really ‘pubby’ pubs, located at the arse end of Lygon Street across the road from Trades Hall. It routinely draws the muso crowds through its doors to check out what’s going on in the band room. As for the main bar area, it’s very much a st udent joint, and doesn’t sweat the small st uff – a few red light bulbs take a stab at “decor”, counter meals are picked up from the galley when cued by a flashing buzzer and the music select ion is chosen at the whim of the bar staff. And the toilet graffiti is some of the best in Aust ralia. It’s brilliant. Wednesday night boasts what is surely one of the most appealing steak specials in Melbourne: $12 for a 250g grain-fed Black Angus porterhouse, topped with a choice of sauces (red wine, mushroom or peppercorn), and served with salad and chips or mash. Unlike the places that bulk-buy inferior product for their weekly “specials”, the John Curtin’s Wednesday porterhouse is the same as what’s available every other night of the week. And what a porterhouse it is. Juicy, beautifully seasoned and cooked to medium rare perfect ion. All three sauces elicited fronts of approval from their respect ive diners, with the peppercorn sauce getting bonus points for packing a mouth-tingling kick. The chips were fresh and crisp, the mash smooth and tast y. Sure, there may be better steaks out there in Melbourne, but not for a measly 12 smackers. Th is is a top deal. Of course, it’s hard to have a bad meal in a nice environment. Points must be awarded to the staff, who are even lovelier than the food. The two lads behind the bar were terrific fun – congenial and spirited. If you’re really lucky, they’ll even give you a free bottle of nailpolish remover! (Apparently they’d been using it for cleaning and had no further need for it for six months. One man’s trash is another woman’s reason not to swing by the chemist on the way home!) In a town full of perfect fi rst date venues, the John Curtin Hotel symbolises the comfort that we can find in the familiar, a bit further down the track. Great value for money, friendly staff and a fun come-as-you-are vibe left us without a doubt that we’ll be returning next time we crave some Wednesday night porterhouse perfect ion – or perhaps to try the $10 parma and pot on Thursdays. ALEKSIA BARRON WHAT: John Curtin Hotel WHERE: 29 Lygon Street, Carlton WHEN: Monday-Friday 12pm-2:30pm,

5:30pm-9pm, Saturday 6pm-9pm





WHERE & WHEN: East Brunswick Club

WHAT INSPIRED YOUR DJ NAME? “DJ NRG inspired me to think of a better name. Plus I’m sure that was taken by somebody more rad than me.”

Saturday 21 May

JAMIE LIDELL MULTIPLY (Warp Records), 2005.

IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Music that other DJs like to whinge about, and music that the general public enjoy.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Jamie Woon – Night Air.” WHAT MADE YOU START DJING? “My job as a conducter on puffing billy fell through, then Andee Frost got too wasted at Th ird Class one night and I had to step up and be heard. Also I just wanna be like Skrillex, and pick up heaps of gothic sluts.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “Dan Watt, riding the ast rial plane.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD?

“Anything by The Twelves, and anything that uses Smells Like Teen Spirit” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “I usually have it all coverd in my sets ‘play something I can dance to’ is a gooden.” WHERE & WHEN New Guernica every Tuesday, Thursday and Friday, Highlander every Friday, Superdisco at Prince Bandroom every Saturday



Even if you’ve only had a fleeting interest in Aust ralian hip hop music in the past decade, chances are you have come across the name Hunter. As a member of the preeminent Syllabolix Crew, the Western Aust ralian MC is synonymous with the local hip hop community and has done much to champion its cause. In 2009 however, Hunter was diagnosed with terminal cancer and has since lived a daily existence of uncertainty. Hunter’s stature within the Aust ralian hip hop ranks was bought to the fore earlier this year, when big name artists and fans rallied together for the fundraising auct ion, Heat For Huntz, which raised thousands of dollars for Hunter and his young family. To support Hunter’s ongoing battle with cancer, a group of fi lmmakers and friends have come together to document Hunter’s story via Hunter The Documentary. To view part of Hunter’s

ongoing journey or to show your support, visit But did I mention that Hunter hasn’t slowed down musically one bit? Despite overwhelming odds and during a period of utter medical defiance, Hunter has found the time and energy to focus concurrently on four separate albums and last week released a brand new record, Fear And Loathing, with fellow SBX member, Mortar. What is it they used to say? “Support Aus hip hop” – now’s your chance. It’s been a massive few months for the good folk at Elefant Traks with the release of the fi lm clip to The Herd’s latest single, The Sum Of It All, the groundswell around Joelist ics’ debut solo album Voyager and the persistent rumours that the label are going to make another announcement regarding a new non-hip hop signing. Not to be outdone, the precocious Horrorshow have just released a new track, Public Consumption, which can be downloaded for free from the boy’s website. Golden Era signee Vents has been hard at work putting the finishing touches on his new record, Marked For Death, which drops this Friday. Vents has once again enlisted label mate and producer de jour, Trials (Funkoars) to handle the majority of the album’s product ion, which also sees guest appearances from the Hilltop Hoods and Sesta and DJ ADFU on the decks. To mark the release of the album Vents and his many collaborators will be releasing a series of three exclusive webisodes this week that will give viewers an insight into both the inspiration and creation of the record. For further information check out: @vents1.

“There are only so many artists that can pull off the old-school soul thing, and Jamie does it with new-school elect ronic flair.” NEIL YOUNG HARVEST (Reprise Records), 1972. “After ten songs of the same drum-beat, I st ill want more. Neil never let inst rumentation get in the way of his penmanship, as shown on this classic record.” WALLS RCADIA (Shitkatapult), 2007. “Gentle sidechaining with a lush backdrop of sonic design gives you an inimitable uplifting feeling of convict ion. If you ever get to drive a luxurious car, put this on.”


HOOCHIE MAMA AT ALIA BAR EVERY THURSDAY THE IDEA BEHIND OUR NIGHT IS… “A killer night for ladies who love ladies and all their mates to get loose to only the finest hip hop, R&B and party jams all for free. It’s essentially a girls only night but we do allow the odd fella or two in, so bring some ladies with you and you’ll be sweet!” WE’LL BE PIMPING THE SOUNDS OF… “Everyone from Jay-Z to Michael Jackson, Missy Elliott to Bell Biv Devoe. As long as you can dance to it and get your drank on while mackin all at the same time, we’ll play it!” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES…



PIGEON JOHN PRIZE PACK After touring the US eight times over and appearing on stage alongside some of hip hop’s finest (think Kurupt, Jurassic 5 and The Pharcyde), acclaimed American rapper Pigeon John is about to embark on his tour of Aust ralia. Performing at East Brunswick Club Saturday 21 May, Pigeon John is a man you want to see live. Fresh from his 2010 album Dragon Slayer, John will be performing gems off his seven critically acclaimed records and blowing the roof off Aust ralia’s East Coast. 3D World have three double passes to giveaway as well as a Dragon Slayer CD for each winner. Simply enter below for your chance to win! Email your name and contact details to au with PIGEON in the subject line for your chance to win. Entries close Friday 20 May.

“It’s myself M.A.F.I.A. and one of my all time fave people Miss Beats. We’ve been mates for a long minute and decided to join forces to bring the party back to the ladies in a massive way. We call ourselves the M.A.D. crew it’s either Miss Beats And Dickhead or M.A.F.I.A and Dickhead. We’ve slowly implemented monthly guests – international and national talent, so watch out.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Loads of wet pussy shots and microphone ciphers! Beware of us on that mic! And air horns by the bucketload. “ CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Ladies!” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “The flyest tunes in town all for free plus did I mention ladies.” WHERE & WHEN: Hoochie Mama at Alia Bar every Thursday


CLAMPDOWN! Alt.indie.pop with DCR


A friend had been raving about a band, Th is Will Dest roy You, for quite some time. Texas locals, they produce an epic, euphoric inst rumental post-rock that recalls Mono and Godspeed You! Black Emperor; atmosphere builds over the course of minutes that feel like hours, crescendoing towards apexes that consume whole galaxies, and send your body into spasms, possessing your very soul. Never has there been such an apt band name. No other word comes close to describing the feeling of coming down from a TWDY album than ‘dest royed’. The cover art of their self-titled debut album (2008) on vinyl is a wonder to behold: a wolf howls to the heavens, a cougar glares into the distance and an eagle calmly keeps watch, apparitions above a snow-covered forest, lightning crashing in the twilight. THIS WILL DESTROY YOU, it exclaims, and dest roy you it does. (Incidentally, etched

on the vinyl itself is a quote from the HBO television series Deadwood, that declares, “I may have fucked my life up flatter than hammered shit, but I stand before you today beholden to no human cocksucker.”) The title of their second album, Tunnel Blanket – out now on vinyl – perfect ly encapsulates the experience; their music consumes you, covering you in a blanket of noise and emotion, guiding you by a solitary light. It’s spiritual, it’s metaphysical, it’s closer to Godspeed than anything they’ve done – particularly on the album’s closing track, Powdered Hand, which includes what sounds like an old radio recording of an impassioned speech. You can order Tunnel Blanket, the vinyl edition consist ing of two 12-inches in gatefold packaging, a poster, and – what’s not mentioned on the website – the album on double cassette, housed in a neat book-like case. It’s pure nostalgia for the days of analogue, but don’t fret... it also comes with a digital copy of the album so you can experience that euphoria on the bus, too. Pick it up from Suicide Squeeze. In brief, Radiohead have recorded The King Of Limbs in its entirety at The Basement (UK) for release mid-year. Th is is the same location as the live recording of In Rainbows, which is available for download on iTunes. The BBC have signed a deal to broadcast the concert, shot without audience or presenter/ host, to be broadcast in July. Hopefully an Aust ralian broadcaster (oh hai, ABC) signs up quickly.


RUSS MCFADDEN (MATCH BAR) Aperol Spritz “Brutally simple and delicious to boot. Serve over ice in a goblet. 50ml Aperol, top with Prosecco and a dash of soda.” Russian Spring Punch “Said have been born at a London house party in the mid 90s when a well known bartender was looking for something to do with a left over bottle of Crème d’ Cassis and some cheap bubbles. 30ml Vodka, 15ml Cassis, 10ml sugar syrup, 25ml fresh lemon. Shake, st rain over ice and top with fizz.” Vodka Espresso “Commonly miscalled an Espresso Martini and born from the same hand as the Russian Spring Punch back in 1984 when a patron asked for a drink to ‘wake me up and fuck me up’. Tastes equally immense with tequila, bourbon or dark rum. Tast ier and more kick than a Vodka-Bull. 40ml Vodka, 10ml Tia Maria, 10ml Kahlua, 25ml fresh (but cold) espresso. Shake hard then st rain into a cocktail glass.” WHERE & WHEN: Match Bar every week Tuesdays to Saturday








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Abode After Dark Social Club Be @ Co. Eurotrash Faktory @ Khokolat Bar

6 Khokolat Koated @ Khokolat Bar 7 Pretty Garbage 8 Rhythm-Al-Ism @ Fusion 9 Seven Saturdays 10 Sneaker Freaker Swap Meet @ Carbon Feival

8 6

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GUESTLIST WEDNESDAY CO. Stand and Deliver: Petar Tolich. 9.30pm. Free. CORNER HOTEL Ben Sherman Big British Sound: Owl Eyes, Strange Talk, Body in a Box, Ball Park Music. 7.30pm. $10. ESPY LOUNGE BAR Jenny Biddle, Hopwood, The Moon Project, Joe Kings. 9pm. LUCKY COQ Coq Roq. 9pm. Free. MISS LIBERTINE No Era Live and Direct: DJs Sheriff Rosco, Affiks, DJ Sizzle, Men Imitating Machines. Free. MISS LIBERTINE For Walls Gallery: Drip: Megan Dell, Nicole Tattersall. 12pm. NEW GUERNICA The Birthday Party: Lopan and guests. 8pm. Free. THE TOFF The Mango Ballooon, Umlaut. 7.30pm. $12.

THURSDAY ALIA BAR Hoochie Mama: Miss Beats, M.A.F.I.A. 10pm. CO. Funhouse. Finlo White and host Kitty Kat. 9.30pm. Free. EAST BRUNSWICK CLUB Datarock. 8pm. ESPY GERSHWIN ROOM Gimme Shelter screening. 8pm. $17 +bf (pre-sale). ESPY LOUNGE BAR Punkosilla. 9pm. ESPY BASEMENT Clowns, Stiletto Assassins, Vaudeville Saints, Arcane Saints. 9pm. FUSION Rhythmalism: Residents. 9.30pm. $12 (guestlist) – $15 (general). LUCKY COQ Free Range Funk. 9pm. Free. MATCH BAR Bad Party: Solid Light, Bronson. 8.30pm. Free. MISS LIBERTINE Textbook Music: Alam (Definition), Paul Beynon, Jon Beta. MISS LIBERTINE For Walls Gallery: Drip: Megan Dell, Nicole Tattersall. 12pm. NEW GUERNICA Post Percy, J Collins, Ando. 8pm. Free, REVOLVER UPSTAIRS Designer Market, Blac Mail. 8pm. THE TOFF Georgia Fields. 8pm. $12 +bf (pre-sale). WEST WATERS Sam Clarke. 6pm.

FRIDAY 3D Josh Lang, Tranquil. 8pm. $16 (guestlist) – $20 (general). ABODE Neo Grind: Death of Art. 10pm. BAY HOTEL John Course. 8pm. BROWN ALLEY Red Sky 3: Kollektiv Turmstrasse, Spoonbill, Antix, Andras Frost. $27 +bf (pre-sale). BRUNSWICK STREET GALLERY ELK ‘Look What You Made Me Do’ Opening. 6pm. CO. Papparazzi: DJs: Nikkos, Joe Sofo & Kitty Kat.


9.30pm. Free. THE CORNER Ganga Girl. 8.30pm. $15 +bf (pre-sale). THE CORNISH ARMS HOTEL Grouse Party: Map Of Tasmania launch. 9pm. $10. CROFT INSTSITUTE Disco Valencia - M Division Records Showcase. Nhj, Julien Love, Hysteric, Inkswel. EAST BRUNSWICK HOTEL Pikelet. 8.30pm. $12 – $15. ESPY GERSHWIN ROOM Segression, Dreadnaught, Contrive, Eye of the Enemy. 8pm. $15 +bf (pre-sale). ESPY LOUNGE BAR Earl, Scarecrows, Better Than Wizards, The Morning After, Rusty From Electric Mary. 6pm. ESPY BASEMENT Don Fernando, Harmonic Generator, Tommy and the Tanks, Bombing Angels. 9pm. FUSION Sounds of Fusion: 9.30pm. $10 (guestlist) – $15 (general) KHOKOLAT BAR Faktory Fridays: Damion de Silva, Ken Walker, Durmy and more. 9.30pm. $12 (guestlist) – $15 (general). LUCKY COQ Panorama. 9pm. Free. MATCH BAR Discotheque: Greg Sara, Scott Thompson. 7pm. Free. MISS LIBERTINE Can’t Say: Tortoiseshell (Sydney). Swick and Airwolf. $10 (password) – $15 (general). MISS LIBERTINE For Walls Gallery: Drip: Megan Dell, Nicole Tattersall. 12pm. REVOLVER UPSTAIRS Holliava. 8pm. ROXANNE PARLOUR Designer Drugs. 10pm. $25 – $35. WEST WATERS Unlimited. 8pm.

SATURDAY ABODE Secret Room: DJs Montes, Syme Tollens. 11pm. BROWN ALLEY All City Bass: F3TCH, Pop The Hatch, Kurk Kokane, KillaFoe & J Nitrous. CO. Be: Damion de Silva, Ken Walker, Lightning and more. 9.30pm. $5 before 10pm, $12 guestlist, $15 general. THE ESPY Hospital Records present: Drum and Bass Anthems 2011 Tour. 8pm. ESPY LOUNGE BAR Nu:Tone, Lowqui, Phil Para. 6pm. ESPY BASEMENT Muzzle, Vinal Riot, Ebony Stryder, Smoke Cheetah. 9pm. THE FORUM Gary Numan. 8pm. $89.90. FUSION Replay: 9.30pm. $15 (guestlist before 10.30pm) THE GEORGE DJ Dexter. 8pm. Free. KHOKOLAT BAR Khokolat Koated: Damion de Silva, Jay Sin, K Dee. 9.30pm. $5 before 10pm, $12 guestlist, $15 general. LA DI DA Poison Apple Saturdays: Hey Now, Ross Horkings, Stevie Mink, Bianca White, Nick Kennedy, Taylor Stanton. LUCKY COQ Textile. 9pm. Free. MATCH BAR Yarraville Jockey Club: Golden Fleece plus guests from Melbourne’s thoroughbred DJ studbook. 8pm. MISS LIBERTINE Twisted Audio: Brookes Brothers, Lickweed, Monkee Meltdown, Myst and Focus vs Outakilta. Host: MC Harzee Visuals: Dougstep 10pm. $12 (presale) – $20 (at door). NEW GUERNICA North Pollard, Mu–Gen, Cheapdate and more. 9pm. $10 – $15.


PRINCES GARDENS Converse Block Party. Free. REVOLVER UPSTAIRS Kids Without Bikes. 8pm. REVOLVER The Late Show Launch Party. 8pm. SEVEN Playground: DJ Bobby Love. 10pm. THE TOFF Drag Ball Deux: Andee Frost. 12am. Free. THE TOFF Jane Badler with Sir. 7.30pm. $18 +bf (pre-sale). WAH WAH Wah Wah Saturdays: T–Rek, Chardy, Stevie Mink and more. $15 (guestlist) – $20 (general). WEST WATERS Scott Darlow. 8pm.

SUNDAY BILLBOARD Suicidal Tendencies. 8pm. $67.30. ESPY GERSHWIN ROOM Gunn Music Band Comp. 2pm. $12. ESPY LOUNGE BAR Headspace, Dale Ryder Band, Bad Boys Batucada. 5pm. LOUNGE Mixed Grill:, MJ, Obliveus and more. 1pm. Free. LUCKY COQ South Side Hustle. 9pm. Free. MATCH BAR Yarraville Jockey Club: Golden Fleece. 8pm. Free. MISS LIBERTINE Roda de Samba. 5pm. $10 (presale) – $15 (at door). MISS LIBERTINE For Walls Gallery: Drip. 12pm. NEW GUERNICA Bar Night. 8pm. Free. ROBARTA Nortorious: Miss Beats, M.A.F.I.A. 10pm. THE TOFF Sunday Set: DJs Andy Black, Haggis. 4pm. Free. THE TOFF Single Twin. 7.30pm. $12 +bf (pre-sale). MONDAY ESPY LOUNGE BAR Zoophyte. 9pm. LUCKY COQ Monday Night Live. 9pm. Free. MISS LIBERTINE For Walls Gallery: Drip. 12pm. NEW GUERNICA Bar Night. 8pm. Free. THE TOFF Swing Patrol: Johnny T, Ramona Staffeld. 8pm. TUESDAY ESPY LOUNGE BAR Since We Kissed, Rosey, Black Galaxy Experience, Sarah and the King Bees, Lizzie Sims. 9pm. MATCH BAR Space Hopper: Hey Sam, BYO Disko. 7.30pm. Free. MISS LIBERTINE For Walls Gallery: Drip. 12pm. NEW GUERNICA Post Percy and guests. 10pm. Free. NORTH MLBOURNE COMMUNITY CENTRE Hip Hop Sistas. 4.30pm. Free. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO MELBOURNE@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.


CALENDAR MAY BEN SHERMAN BIG BRITISH SOUND: STRANGE TALK, BALL PARK MUSIC, BOY IN A BOX, OWL EYES – Wednesday 11, Corner Hotel THE MANGO BALLOON AND UMLAUT – Wednesday 11, The Toff DATAROCK – Thursday 12, East Brunswick Club GEORGIA FIELDS – Thursday 12, The Toff GANGA GIRI – Friday 13, Corner Hotel PIKELET – Friday 13, East Brunswick Club DESIGNER DRUGS – Friday 13, Roxanne Parlour JOHN COURSE – Friday 13, Bay Hotel GROUSE PARTY: MAP OF TASMANIA REMIX LAUNCH – Friday 13, The Cornish Arms ELK LOOK WHAT YOU MADE ME DO EXHIBITION – Friday 13 – Thursday 26, Brunswick Street Gallery GARY NUMAN – Saturday 14, The Forum DRAG BALL DUEX – Saturday 14, The Toff JANE BADLER WITH SIR – Saturday 14, The Toff NU:TONE – Saturday 14, The Espy DJ DEXTER – Saturday 14, The George CONVERSE BLOCK PARTY – Saturday 14, Prahran THE LATE SHOW COMPILATION AND LAUNCH PARTY – Saturday 14, Revolver Upstairs SUICIDAL TENDENCIES – Sunday 15, Billboard THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 15, The Toff SINGLE TWIN – Sunday 15, The Toff SWING PATROL WITH JOHNNY T AND RAMONA STAFFELD – Monday 16, The Toff HIP HOP SISTAS – Tuesday 17, North Melbourne Community Centre CLAIRY BROWNE AND THE BANGIN’ ROCKETTES – Tuesday 17, The Toff JOHN GRANT – Wednesday 18, The Toff PEZ, MAYA JUPITER, 360 – Thursday 19, The Bended Elbow JOHN GRANT – Thursday 19, The Toff DIRT NASTY – Friday 20, The Espy RED INK – Friday 20, Corner Hotel AMITY AFFLICTION & I KILLED THE PROM QUEEN – Friday 20, Billboard JAMES ZABIELA, ROBERT HOOD, MIDLAND, TOM BUDDEN – Friday 20, Brown Alley




AMITY AFFLICTION & I KILLED THE PROM QUEEN – Saturday 21, Billboard PEZ, MAYA JUPITER, 360 – Saturday 21, The Hi–Fi LOWRIDER, JOELISTICS – Saturday 21, Corner Hotel WOBBLE: 10 YEARS OF DJ CUBIST – Saturday 21, The Night Owl N–TYPE – Saturday 21, Mercat Cross Basement MICK HARVEY – Saturday 21, The Toff PLUTO JONZE – Saturday 21, Rats PIGEON JOHN – Saturday 21, East Brunswick Club THE SWISS SWISSCO DISCO – Saturday 21, Prince Bandroom THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 22, The Toff AMITY AFFLICTION & I KILLED THE PROM QUEEN – Sunday 22, Billboard SWING PATROL WITH JOHNNY T AND RAMONA STAFFELD – Monday 23, The Toff HIP HOP SISTAS – Tuesday 24, North Melbourne Community Centre CLAIRY BROWNE AND THE BANGIN’ ROCKETTES – Tuesday 24, The Toff LEAGUES – Wednesday 25, The Toff BOY & BEAR – Wednesday 25, Corner Hotel BOY & BEAR – Thursday 26, Corner Hotel ROSCOE JAMES IRWIN – Thursday 26, The Toff BOY & BEAR – Friday 27, Corner Hotel AZARI & III – Saturday 28, Prince Bandroom JAMES CURD – Saturday 28, New Guernica TIKI – Saturday 28, Corner Hotel THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 29, The Toff EMMA DONOVAN, LADY LASH, CANDICE MONIQUE, VIDA SUNSHINE – Sunday 29, The Toff SWING PATROL WITH JOHNNY T AND RAMONA STAFFELD – Monday 30, The Toff HIP HOP SISTAS – Tuesday 31, North Melbourne Community Centre CLAIRY BROWNE AND THE BANGIN’ ROCKETTES – Tuesday 31, The Toff JUNE 2MANYDJS – Thursday 2, Prince Bandroom CLASSIC KANDY: LUCA ANTOLINI – Friday 3, The Venue ODD FUTURE WOLF GANG KILL THEM ALL – Friday 3, Prince Bandroom THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 5, The Toff BLISS N ESO – Saturday 4, Melbourne Festival Hall I, A MAN – Saturday 4, The Toff AFROJACK – Saturday 4, Prince Bandroom TRIPOD – Sunday 5, The Toff HIP HOP SISTAS – Tuesday 7, North Melbourne Community Centre MADDY HAY – Wednesday 8, The Toff BELFAST 16 – Friday 10, Prince Bandroom NEVERMORE – Friday 10, Billboard THE GETUP KIDS – Friday 10, Billboard BAGRAIDERS – Saturday 11, Prince Bandroom THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 12, The Toff

RESPECT IS BURNING – Saturday 12, Prince Bandroom TRIPOD – Sunday 12, The Toff KYLIE MINOGUE – Tuesday 14, Rod Laver Arena HIP HOP SISTAS – Tuesday 14, North Melbourne Community Centre JOHN CLIFFFORTH & FRIENDS – Wednesday 15, The Toff KYLIE MINOGUE – Wednesday 15, Rod Laver Arena KYLIE MINOGUE – Thursday 16, Rod Laver Arena VAN DYKE PARKS & KINKY FRIEDMAN – Thursday 16, The Toff LYRICS BORN – Friday 17, Billboard VAN DYKE PARKS & KINKY FRIEDMAN – Saturday 18, The Toff TRIPOD – Sunday 19, The Toff THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 19, The Toff RAW 2011: CHRIS FRASER – Saturday 18, Goulburn Valley Hotel HIP HOP SISTAS – Tuesday 21, North Melbourne Community Centre THE HIDING – Wednesday 22, The Toff THE SUNDAY SET: DJS ANDY BLACK, HAGGIS– Sunday 25, The Toff TRIPOD – Sunday 26, The Toff HIP HOP SISTAS – Tuesday 28, North Melbourne Community Centre JULY KATCHAFIRE – Friday 1, Prince Bandroom SPLENDOUR IN THE GRASS: KANYE WEST, COLDPLAY, JANE’S ADDICTION, THE HIVES, PULP, THE LIVING END, PNAU AND MORE – Friday 29–Sunday 31, Woodfordia (Queensland) AUGUST FUNERAL PARTY – Saturday 6, The Hi–Fi SEPTEMBER BIGSOUND: ALAN MCGEE, TONY HARLOW, DAVID ENTHOVEN, TIM CLARK, NATALIE JUDGE, KEVIN FRENCH, DAMIAN TROTTER AND MORE. – Wednesday 7 – Friday 9, Fortitude Valley Live Music Precinct (Queensland) ABOVE & BEYOND Saturday 17, Festival Hall





evered Heads were to the Aust ralian music underground of the 1980s what Cabaret Voltaire were to the UK: a mixture of cut-up tape loop experiments and dark funk, extended grooves mixed with an unorthdox menace. Tom Ellard – while not a founding member, certainly the creative epicentre of the group by the mid 80s – developed in an erratic path towards the 90s, curating techno-influenced sounds heard in albums Rotund For Success and Cuisine. In 1994 he had what would be Severed Heads’ greatest commercial success with the st ill-popular Dead Eyes Opened single, which de-boned and re-formed an earlier track as a commercial hit. Since the middle of the last decade, Ellard’s interest in the standard ‘band’ format – which was never particularly great – decreased dramatically and he wound up Severed Heads to pursue more cerebral interests. But the show isn’t over until the fat synth sings… and Ellard has brought Severed Heads back for one more slice of public pie. GIVEN THAT YOU DECLARED SEVERED HEADS OVER IN 2009, WHAT MADE YOU DECIDE TO REFORM FOR THIS TOUR? “We closed the door on Severed Heads in 2009, and the fi rst thing people did was start pounding on it! The funny thing is that as soon as we said we’re not doing any more shows, the pounding on the door got louder. The people who asked us to play live recently weren’t even alive when we started. If someone ancient came along and asked us to play I would have said no but the appeal was: ‘We’ve only just found out about this and we feel like we’ve missed out and we’d like to find out more about it, we’re young and enthusiast ic.’ That’s what brought us back to do shows. We’re act ually really happy do this tour – bringing a bit of happiness to people is noble in its own way and doing this thing with Numan to say goodbye will make people happy. What’s wrong with that?” GIVEN THAT THERE’S STILL DEMAND FOR YOUR MUSIC, WHY END THE BAND? “It’s been 30 years, man! I think 30 years in a band is pretty good. It’s not 1979 any more. I think it’s a crime for people to be making albums when there are already so many for people to hear. Ours is a world that has changed from scarcity to overabundance: now people are trying to fi lter out art and music to hear what it is they first wanted. And the idea of a band… it’s like something you should put in a zoo. I think there’s a lot of conservative artists out there now. We were progressive: we started

with the idea of progressing, moving things on, pushing things forwards and the music we had done was about that. We were told by people at various pubs to shut down or they’d beat us up, which is good st uff – it means you’re offending people. But playing that music now doesn’t excite or offend, it just reminds, and I’m not here to remind people of the first time they got laid or whatever. We wanted to push forward so we should still push forwards, not give up and roll over and become a museum.” HOW WILL YOU APPROACH THE SHOWS YOU’RE ABOUT TO DO, TO AVOID THEM BEING ‘A MUSEUM’? “Every time we play live we redo everything. We rebuild and redefine it: this comes from watching Kraftwerk play live – after they stopped making new music, they ended up doing the same thing over and over and we didn’t want to do that. Each time we play, we rebuild the videos as well: preparing for this show has taken three months where we’ve made new versions of our tracks and new visuals. In basis, the songs are our old songs, based around familiar elements, but we’ve continued to rebuild them over the years. Not everyone agrees with that approach. Some of our fans want things to stay the same forever and ever. But at least it shows we’re aware of what is going on around us. The set sounds like it was written in 2011.” WHEN DID YOU BECOME INTERESTED IN THE VISUAL ART SIDE OF THINGS? “We were into visuals from the very beginning, but there was no way of doing it back then. Remember PONG? There was a home PONG machine available and my brother and I saved up 100 bucks to get one. But you get sick of playing PONG after a while and I realised that if you got inside the machine and mucked around you could create wild video signals and started experimenting with that. But not in a ‘Wow we’re discovering the future, I’m a space man’ kind of way, but hey, it was a way of putting something on your TV screen that was not a western. That, to my mind, is the heart of what we’ve been trying to do since then, just with more complex computers.” EARLY SEVERED HEADS WAS PRETTY EXPERIMENTAL – WHO WERE YOUR INFLUENCES? “I thought Kraftwerk were pretty good, and I was also interested in psychedelic space rock like Chrome and The Residents… the indust rial was st uff was hit and miss but I liked the attitude. I liked so called ‘Krautrock’

– Cluster and Neu! – who were working with normal guitars but not following the rules about how to use them. These guys really kicked things along. There were really good things going on in that psych period at the end of the 60s and the elect ronic bands coming out of that. We were recording st uff at the same time as indust rial bands like Th robbing Grist le but were only 13 or 14 years old. The fi rst time I had a record pressed, Ear Bitten, which we put out in 1980 when I was 16, I had to have a parent sign the contract! We weren’t really a part of any movement, we were just doing st uff because it feels good to do it.” WOULD YOU SAY THE SAME ABOUT YOUR MORE COMMERCIAL POP PERIOD IN THE 90S? “We would try many things and see what happened. Let’s call it an experimental approach – it’s pretentious but accurate. We were asked, ‘Why don’t you do a pop single and see if you can get into the top 20?’ We thought, ‘That’s an interest ing experiment, let’s do it!’ We don’t have a political way of doing things, we don’t say, ‘That’s not right, we’d never do that!’ Sometimes experiments don’t work: I think of our commercial st uff more as experimental music that didn’t work well. We had our biggest top 20 single in 1994 and it sounds… all right, but it sounds very 1994. I think the st uff we were doing before was a little more timeless.” WHO: Severed Heads WHERE & WHEN: The Tivoli (Brisbane) Thursday 12 May, Enmore Theatre (Sydney) Friday 13 May, Forum Theatre (Melbourne) Saturday 14 May


I always liked The Human League, they were just blokes. Numan had a funny haircut and sat in a pyramid. The Human League looked like a bunch of guys that worked in the IT department of a banking fi rm. But that worked against them so they broke up and hired some dolly birds. Quite a lot of that 80s st uff was just 60s music rehashed. Two of the defining characterist ics of the 80s were bubblegum pop and northern soul, just with keyboards. A lot of it comes from Bowie, too. Bowie had gone through a lot of this st uff in ‘77/’78, in Berlin with Eno. His albums from that time are alienated and elect ronic and I think by 1979 all of that had already been explored. Everything you want to know about the 80s you can get listening to Bowie’s Low. “Numan will be playing one of his fi rst albums in its entirety, the poor bastard. I try and avoid doing things like that as much as humanly possible. So I will, but reserve the right to, change things. People will say it doesn’t sound anything like the original, but every artist hates going around in circles. Europe is bad for that – we went there and everyone wants you to play the same st uff you were doing 100 years ago.”



WIDE WORLD OF SHORTS SLOW NEWS WEEK So, anyways, given the fact that basically nothing happened over the past two weeks, ie there was a royal wedding, and the fact that Osama bin Laden was shot, which act ually makes me wonder whether Osama was act ually watching a replay of the royal wedding on Al-Jazeera when that group of hot, handsome US soldiers penetrated his tunnel and blew their loads in his face ... VIN DIESEL RELEASES SECOND ALBUM Film star Vin Diesel announced that his second album, Coq au Vin, would be released in the US this weekend. The album’s predecessor, Diesel: Loco Motives, was subject to considerable controversy upon its release when hip hop high priest Lil Wayne called for the album to be banned. ‘I mean, people think that niggers shooting each other gives rap a bad name; this is what gives rap a bad fucking name,’ Lil Wayne is reported to have said.

At the recent the South by Southwest conference in March, new media guru Clay Shirky shared some interest ing insights on contemporary communication. At the core was an observation that “we systematically overest imate the value of access to information and underest imate the value of access to each other”. Indeed, as 140 character statements become a typical means of communicating and our online communities proliferate via blogs, Twitter and Facebook, IRL meetings are becoming more of a ‘novelty’. And this

in effect often leads to us feeling even more alone than ever. Essentially interact ing with thousands online will, in most instances, never be quite as fulfi lling as having a laugh with your closest mates over a few beers at the pub. The New York Times’ David Hochman recently invest igated the growth of shared office spaces amongst new media professionals seeking to establish real life communities to compliment the ones they have virtually. Studiomates is a group of 26 writers, web designers, illust rators and social media figures who share an office space in Brooklyn, New York. Collect ively the group have around half a million followers on Twitter plus more on personal blogs, Foursquare accounts and Facebook pages. Members each pay $500 a month for a desk and are most ly engaged in independent projects in unrelated fields. The rules as outlined by Tony Bacigalupo, a founder of the space, are simple - show up, bring some work to do and don’t be a jerk. Easy. The real benefit for these professionals is the organic free flow of ideas and information that occurs in this environment that could only emerge via offl ine interact ion. As Studiomates member Tina Roth Eisenberg explained: “Sure, we could all be home doing what we do, but

why would we? I just like being around nerdy creative people all day long. It helps make sense of all the information coming at us.” As Rachel Botsman, the author of What’s Mine Is Yours: The Rise of Collaborative Consumption, comments “People are looking to express their individualism but want to do it in a more social way.” So perhaps we have done the full circle here? Talking with others in real life is hip again! A big thanks to all the trendy social media experts for reminding us. AMBER MCCORMICK

SEVEN SHARES CLIMB ON NEW REALITY COOKING SHOW REALITY SHOW ANNOUNCEMENT Channel Seven shares defied market expectations yesterday after an announcement by the Aust ralian broadcaster that it would launch ‘My Apprentice MasterChef ’s Got Talent Rules’ for the Spring Ratings Period. The show pits aspiring television executives to launch a ratings-winning cooking show that will compete direct ly against the show they are contestants in. MAROON 5 LAUNCHES FRANCHISE VENTURE Adam Levine, lead singer of Maroon 5, used his Aust ralian tour to launch ‘Chartreuse 6’, a franchise arrangement that gives aspiring new bands a ‘shortcut’ to fame and s3x with teenagers. The new venture is a franchise, in which new acts pay Adam Levine an extortionate sum to use names similar to Maroon 5, and give them full rights to push out very similar, bland AOR music.





You need to stop telling people that the ugly sore on your lower lip is the result of “Bieber-Fever”. Bieber don’t have herpes. He’s 10-years-old. PISCES (19 FEB TO 20 MAR) Marrying for love is one thing, but marrying out of pure spite is something else entirely. Are you ready for that kind of commitment? ARIES (21 MAR TO 20 APR) The responsibility of owning a pet can be overwhelming. Especially when the pet is a wild or feral animal. Choose wisely. TAURUS (21 APR TO 20 MAY) The stars are all lined up this week for you. And having a st raight line of stars is a great thing. Enjoy them in moderation. GEMINI (21 MAY TO 20 JUN) The police will come looking for you this week in relation to the disappearance of all your relations. Deny everything. CANCER (21 JUN TO 21 JUL) When a mail order groom is delivered to your house by mistake this week you will have a decision to make. LEO (22 JUL TO 21 AUG) I was going to adopt a puppy from the animal shelter, but I’ve decided to try IVF instead. I guess, as a man, I’ve always wanted to know what it feels like to carry a puppy inside me and then give birth to it nine months later (or however long a puppy takes to gestate). My friends think I’m crazy. I could see it in their eyes when they visited me here at the mental inst itution. I can’t wait to see the look on their faces when the judge concludes that I was act ually sane at the time I killed all those people. I’m not some drooling lunatic. I’m always in control. People make assumptions about me because I grew up in Adelaide. I moved to Sydney 11 years ago to pursue my dream of working in a call centre. Since then I’ve suffered constant prejudice because of where I was raised. When I fi rst moved up to Sydney I went on a date with a girl. We were having dinner and I told her “I’m from Adelaide originally” and she made a face and said “Oh Adelaide. Isn’t that where all those weird murders happen?” I didn’t like what she was saying about my home town so I said “No. The weird murders all stopped, when I moved to Sydney.” When my call centre career failed to materialise, largely due to my Tourrette’s Syndrome and the fact that I don’t know how to operate a phone, I guess I retreated in to my shell. A diet of pornographic magazines and dry toast left me severely malnourished and my skin broke out in a rash that looked


like someone had st apled barnacles to my chin and covered them in cottage cheese. The impact this had on my social life was palpable. But I don’t plan on being locked up for long. I’m planning to escape from the asylum by chipping a hole through the wall of my cell. I’m covering up the hole with a poster, just like Tim Robbins did in the movie The Shawshank Redemption. Unfortunately the only poster I could find was one for ‘The Shawshank Redemption’, which seems to be making the guards suspicious. But with a little luck, I can make it out. And then I can get that puppy I told you about. DAVE JORY

A torrid night of passion with super power America will give you the confidence to learn the piano. Then you will lose both your hands in an accident. VIRGO (22 AUG TO 21 SEP) Your dream of being humiliated on a TV talent show will come horribly true this week. Be careful what you wish for. LIBRA (22 SEP TO 22 OCT) Your escalating drug problem will take a nast y turn this week when you are arrested, at a bus stop, in possession of Panadeine Forte. SCORPIO (23 OCT TO 21 NOV) You can be anything you want to be. You can do anything you want to do. SAGITTARIUS (22 NOV TO 20 DEC) How much do you really know about the guy who writes your horoscopes? CAPRICORN (21 DEC TO 19 JAN) Become a money making machine! Stuff it away under your mattress. Then leave your house unlocked and go on a bush walk.




asketball is back in a big way both here and abroad, so it seems only appropriate that the classic NBA Jam console game has been dusted off and rebirthed for the iPhone/iPad generation – quite literally, with the comic two-on-two dunkathon now available on Apple’s touchscreen platforms. Is it worth the hours of effort to unlock legends like Dominique Wilkins and Spud Webb? Find out inside…


BEASTIE BOYS Hot Sauce Committee Part 2 (Capitol/EMI)

AFRICA HITECH 93 Million Miles (Warp/Inertia) Mark Pritchard and Steve Spacek – the duo behind Africa Hitech – have for the past few years teased us with a number of separate projects and it has not been until the past ten months or so that we’ve been able to hear the duo work that has been developing somewhere in a bunker in Surry Hills. Their debut EP Blen was a grimy rude bwoy stepper backed with a deep garage mix that killed clubs. Follow Up EP Hitecherous was even more inventive, pairing Spacek’s magnificent voice with Acid Techno. Elsewhere on the EP we’d get an introduct ion to the sounds that make the foundations of 93 Million Miles; footwork, which is a mixture of dubstep and juke, and the fi rst five tracks of the LP come out of the gates at breakneck speed, incorporating a lot of said rhythm. A lot of computer-altered voices and samples (such as Ini Kamoze and Sun Ra) may have listeners wondering when they’ll be blessed with Spacek’s dulcet tones but this LP is a lot more about showcasing his prowess behind the boards – so pop on your headphones and enjoy the human voices that are hidden in the mix, like in the sublime Our Luv. Africa Hitech have always been about future music’s relationship to Africa and there are a number of horn sounds and folkloric inst ruments in the mix to satisfy this modus operandi. Spirit even goes so far as to let a few wild animals in to the st udio over a frenetic samba beat. The second half of the album is a lot more listenable than the first. It’s the shade in what is at fi rst, a very challenging listen. Like the aforementioned Sun Ra, the music of Mark Pricthard usually polarises listeners like jazz does. If you persevere through the hard stuff, you are rewarded with some incredibly forward-thinking music. HUWSTON

Though the legendary Beastie Boys have given some typically confusing and fanciful explanations why their first album proper since 2004, Hot Sauce Committee Part 1, did not appear as scheduled over a year ago, it more than likely came down to MCA’s battle with throat cancer and maybe partly the lukewarm react ion to last year’s middling (yet Grammy nominated) comeback single Too Many Rappers with Nas. Hot Sauce Committee Part 2 looks back to the dirty sounds of Check Your Head while attempting to throw a couple of late curve balls at fans. Latest single Make Some Noise is classic Beasties, those notorious triple trouble rhymes over a raw, funky, skull-snappin’ beat while Too Many Rappers re-appears in remixed form, the odd pairing of Beastie simplicity and Nas’s

MAGNUS Signal Strength (Joof Recordings) Like many of the harder genres of elect ronic music, power is one thing psy-trance often seems to value above all else. In recent years, this has has seen many producers begin to neglect melody too. Signal Strength, the debut album from Magnus, aka Michael Lee, goes a long way towards remedying this. The Seattlebased producer approaches the genre from a st raight trance background, bringing a lighter, more melodic touch that fans of Protoculture, Nick Sentience or even John O’Callaghan should appreciate. In the narrative sense, it would be erroneous to call this an album. More fairly put, it’s one with a narrow focus, containing 12 tracks made of much the same st uff. That st uff, however, is exceptional, and free from

multisyllabic science assaulted with a murky, grinding big-beat. And this is where much of the album lives, distorted vocals, guitars and analogue synths partially disguising the fact that the threesome are vocally serving up the same playful, Sugarhill/early Run-DMC-inspired thing they have been doing for the past 15 years. Musically, though, the trio do push themselves; the bugged Tadlock’s Glasses is as trippy as they have been since Paul’s Boutique while Don’t Play No Game I Cant Win, with a hook from Santigold, swims into dub reggae waters. There’s something for Sabotage fans (the catchy Lee Majors Come Again), several skits/interludes and an inst rumental track making for a samesame but different experience that has its moments of glory yet fails to reach the heights the band has previously scaled. DARREN COLLINS

the trite const ruct ions which characterise much contemporary trance. Th ird track Into the Light, for example, shows how lengthy breakdowns can be achieved without minutes and minutes of heart-tugging, saccharine synths. After dropping almost to complete silence shortly after two minutes in, Lee winds the things up dramatically with cascades of tribalist ic drums and fluttering melody, sans hands-in-the-air ridiculousness. Elsewhere, more driving tracks are well represented, with previously released First Born opening the proceedings, and heartracers The Chase and Autobahn impressing later on. Importantly though, Lee’s command of melody ensures these outings never degenerate into simple displays of muscle. Th is is music with balls and brains. Unlike many of his contemporaries. Even this early, it’s a safe bet to call this one of the best trance albums of 2011. NICK CONNELLAN



PEGZ Drama (Obese) When Pegz and co dropped the Gully Platoon LP he declared that he would retire from solo work. Well, consider new album Drama to be his Jordan-45 return from hiatus – and Pegz shows he’s still nice on the mic while he schools the new jacks of hip hop on some industry dos and don’ts. The OG drops knowledge on the smoothlydone One Day beat by Chasm and is laid out before the melodic Syrene sprinkles over the hook alongside Ginger, who adds to the Jaseproduced Go To Your Head. Th is very reverent soulful belter uses Merry Clayton’s Southern Man to back Pegz “Don’t let the bullshit go to your head” lesson. And further advice is administered on Priceless as Pegz and the Gully Platoon give reminders to MCs over a head-banging M-Phazes beat.

M-Phazes also lends to Crime In The City another track done over a TV mystery theme, where he and Jace Excel wrap up the case in no time. Bombs Away is the fi rst single, produced by Simplex who gives it a Brazilian tan but by the end of the LP it’s not as stand out as the lyrical lashings from Dialect rix, Joe New and 2Buck on Mad Bastards or Pegz doing a beatjackers spit with Plutonic Lab on Don’t Look Down or closing with Bobby Bland’s classic Blind Man sample. Pegz’s delivery st ill st rikes like an uppercut from a Tyson. Musically, Drama retains the services of most producers from previous releases and gives this one the same mood as Burn City or The Great Divide. So as expected for Pegz’s fourth album, Drama is as dope as the last LP. RIP NICHOLSON

Nobody comes close to Peter Van Hoesen when it comes to dark, throbbing techno that is equal parts cerebral and dancefloor friendly. His incredibly polished, sonically clean product ion skills are taken to new heights in Dock, while Donato Dozzy’s influence in the collaboration is easy to notice with rugged, mechanical glitches and spacey thuds.

FLATWOUND Our Love Will Last (Late Nite Version) (One World Music) Disco meets house meets early Recycled Loops vibes, albeit minus the hect ic “bang bang” factor. There’s something infect iously enjoyable about this, but I can’t decide whether it’s the funky 70s porn music slap bass groove, the oldschool disco st rings or the cheeky sample from the refrain of the original thrown in towards the end.

VOICES OF BLACK Take Back Soho (Tanner Ross Remix) (Double Standard) The whole sub-120bpm house thing has almost reached saturation point, but Voices of Black inject a certain melancholic soul to a sound otherwise heavily reliant on nods to 70s funk and disco. Mournful chants, emotive st rings and analogue bass stabs in this gem that injects life into an otherwise flaccid sound. ANDREW WOWK

THE ASTON SHUFFLE Seventeen Past Midnight (Downright) So the Canberra boys’ debut album has arrived. And to show they’re not afraid of a challenge, they’ve st uck with the current elephant in the room, or “elect ro” as it’s known, to prove a point. Although the genre has continued to take a trouncing, The Aston Shuffle’s tried to inject quality and bearing with its take on the maligned segment by introducing a degree of dance-pop and inject ing more of a transient feel. The Shuffle, known as Mikah Freeman and Vance Musgrove, waste little time as the opening clubby and jackin’ bars on I Wanna See You set the tone. The Surface follows a similar conduit before Your Love, the latest popular and commercial darling to feature distorted vocals, cranks it up a notch. If Do


You Want More? is repetitive (not helped that it was released well over a year ago), Drop – with its big build up and equally impressive drop – is bang on form. Although a large proportion of Amaze is recycled from minimal and edgy French house, it st ill manages to sound energised. The Shuffle display their songwriting, product ion and opportunist ic talents throughout, none more so than Where Are Your Teeth, which pays surprising homage to retro, funk and disco and Streets Of Your Town, which is the most bubblegum pop sounding record on the entire collect ion. Seventeen Past Midnight is far from flawless, however the nitpicking is really reserved for a bit of over-product ion and too many synths, stabs and background noises. Yet the brilliant sampling of the Go-Betweens’ Streets Of Your Town on Round ‘n’ Round will make most pay attention to the obvious talents on display. STUART EVANS

3DPLAYLIST 3D 1. Late Night Tales VARIOUS/TRENTEMØLLER 2. Dest royed MOBY 3. Near & Far (Pezzner remix) TRINITY & BEYOND 4. On A Mission KATY B 5. Drawn And Quartered DEADBEAT 6. Tunnel Blanket THIS WILL DESTROY YOU 7. Glabella NIL BY MOUTH 8. Everyday (Netsky Remix) RUSKO 9. Gloss Drop BATTLES 10. Beauty And The Beat THE GO GO’S


Swamp People (History Channel) opens with a disclaimer: “The way of life depicted in this program dates back 300 years. Hunting, especially alligator hunting, lies at its core. Some images may be dist urbing. Viewer discretion is advised.” It’s alligator huntin’ season down Louisiana way, and the locals are doin’ what they do’ best in the way it’s always been done. The narrator speaks in an Southern drawl, like ye’ Granpappy did back when he fought the Yankees. The events in this show are real, and performed by white trash lunatics. Billie Edwards, toothless and going on 19, wants to be the captain of his own ship. It’s his fi rst day in charge of the tinnie, and he’s taking it down the Bayou with his pa’s friend to see if he can catch ten gators. Anxious to fi ll his father’s quota, Willie hurls his arms into the water and battles the sucker with his bare hands. “A big gator’s tail is as sharp as a saw and as powerful as a runaway pickup,” says the narrator. Like watching an idiot throw matches at a lion, 150Lb toothless Willie heaves a 750Lb gator out of the swamp and puts a bullet in his head. “He got a headache now,” the subtitles translate. RJ and son Jay Paul are lookin’ for the gators that bring in the big money, but a poacher’s been cuttin’ their trappin’ lines and at this time of year they need every gator they can get. “Living off the land is hard, and a stolen gator is like stolen money, you know,” says RJ, who is bald apart from the two foot long rats tail protruding from his neck. At the same time across the Bayou, 70-year-old brothers Joe and Willie prepare to get themselves a meal. Globs of spit drip down their generations long beards, as their fi ngers pick through dirt for earthworms. Now, they spend the rest of the day waiting for the mythic garfi sh to take the bait. “I ain’t picky with food,” says Joe. “Some of my favourite foods are squirrels.” 5SPROCKET



Jake Gyllenhaal is aboard a train that will explode in eight minutes. An army captain sent back in to the residue of time against his will, he hurriedly races to find the bomber, stop the girl and fall in love with a st ranger. He’s pushed along on this absurd mission by military chick with a heart of gold, Vera Farmiga, and a limp footed project manager, Jeff rey Wright. They report to him from the ‘real world’, while he is st uck in a st range science-fict ion excuse named ‘Source Code’, a time-travelling alternate reality device that is powered by quantum mechanics and parabolic calculus. Gyllenhaal is a tremendous eye actor, widening his lids and raising his brow like few other movie stars today. Source Code sees the facial hair endowed star of Donnie Darko and Brokeback Mountain elbow his way onto the turf of act ion movie stars. Denzel has had his turn in this movie with Deja Vu, an “explosive

thriller” that thuds philosophical music around a giant slow motion explosion, shot on multiple cameras. Tom Cruise gave it a good run with Minority Report, a Philip K Dick romp where everything was flushed with light and an incomprehensible urgency. Each time Donnie Darko’s face is digitised and glitchy sounds wash over the surround sound speakers, you know you’re set for a retread of the sequence you have just seen, with a narrative spin as inventive as the CSI repeat you watched last night. Source Code is directed by Duncan Jones, the same Zowie Bowie responsible for the minor sci-fi classic Moon. Th is is not as good as that movie, and Source Code’s moronic plot holes attempt to impress that it is act ually an intelligent movie. Like Jake Gyllenhaal with a beard, its st upid, inexplicable and most ly a waste of time. WHERE & WHEN: Screening in cinemas now 5SPROCKET



Babies was made with a very clear audience in mind, and it certainly isn’t me. A slice of life documentary, the fi lm follows the development of four infants. Following a child in Tokyo, the US, Mongolia and Africa, prepare yourself for a wide-eyed, unpredictable rollercoaster ride that encompasses not only giberrish, but screaming, poo, shit and the occasional giggle. Shot over a year, you can see the pint-sized miracles develop and learn the things they will find useful in their later years, like how to microwave popcorn without burning it and the rules of poker. The title indicates that there would be babies in this documentary, but it’s upsetting when you realise that there is absolutely nothing else. As a man that has not yet given birth, I found it difficult to see these children as something beyond ‘freeloaders’ who do not pay rent, taxes

or their fair share of the internet bill. There is no narration, most dialogue is inaudible. All you see are shots of babies doing things in their bumbling baby way. Babies sitting. Babies being washed. Babies sucking on a bottle. Babies sitting on a chair. In a pram now! Babies looking at the rattling thing. Babies squealing. Babies pissing towards the sky. Babies playing with Grandma. Babies eating fingers. Babies being weighed etc. One of the definite high points is when mothers have a session together, wonderfully soundtracked by a chorus of irrational screaming infants. The only good thing about Babies is that these babies are not yours. WHERE & WHEN: Screening in cinemas now 5SPROCKET




CORAL SEX Th is week’s menage a trois: coral reefs, technology and underwater art.


(Valve Corporation) (PS3) Strapped to your arm is a ‘Portal’ gun. Shoot it on certain surfaces and you can zip from one portal to another, like Jeff Goldblum in The Fly but without the grotesque disfigurement. Your challenge is to break into a labyrinthine scientific test ing facility, armed only with your portals and problem solving skills. Overseeing your escape is robotic villainess GLaDOS, who sounds like auto-tuned Rebecca Black but spouts vitriol like HAL 9000 after a night on the town. Occasionally you will be accompanied by a mechanoid sphere named Wheatley (voiced by Stephen Merchant). These characters help the game st rike a balance between riotous laughter and pure menace in a delicately terrifying universe. Portal 2 is a puzzle game, with advanced forms

of ‘pull the lever to walk through the door’ tests. Some later levels are as agonising as getting your privates slammed in a car door, but once you’ve maneuvered your way through a network of elast ic blobs, hard-light bridges and homicidal robots it’s hard not to feel smarter than the douche bag from Big Bang Theory. As a sequel, Portal 2 builds on the st rengths of its predecessor, while expanding the game’s universe with complex and menacing characters and delivering mind-bending multi-dimensional problems with innovation and wit. The game design is complex and fully developed, teaching you the new pieces of information you need to complete future challenges, all while you jump through mental hoops trying to figure out how to get a laser through a door. Portal 2 is a video-game that demonst rates the power of the medium as an art form. 5SPROCKET


NBA JAM (EA Sports) (iPad) EA Sports have brought back NBA Jam in all its retro glory. The basic nature of NBA Jam’s gameplay and graphics has meant that the 2010 incarnation (it was released for consoles last year) has easily ported to iOS devices. The controls are easy – there’s also a quick run-through that takes no time to master – with a virtual D-pad on the left and three buttons on the right, for shoot, block, jump, etc. Shaking your iPad causes your man to twist and commentators to shout and is useful for dodging attempted steals. The game modes are simple, too: you can play single matches (chose your team to play against), a campaign where you run through an entire season, and multiplayer, offering the chance to play locally against


friends via Wi-Fi, or online against randoms who’ve probably played the game way more than you have and, as a result, kick your arse. The challenges are a nice addition; you’re rewarded for smashing the backboard, scoring the most points in a game, making a certain amount of blocks in a row etc, and make for some tense moments. You’ll likely want to throw your iPad across the room when you miss that gamewinning three-pointer in the dying seconds. For fans of the original NBA Jam, the purchase is a no-brainer. It’s incredibly fun and easy, but not so easy that you become bored quickly. For those new to the title, don’t be expect ing anything remotely like current console basketball titles, which aren’t fun to play on iOS devices anyway. Th is is the perfect way to kill ten minutes or so... but it’s also easy to find yourself glued to your seat for hours. DCR

REEF BEEFS While coral reefs have existed for over 200 million years, humans playing with technology have been causing them some grief in the last wee while. Coral is made by millions of tiny carnivorous animals called polyps that live together in colonies, and while coral reefs can sometimes take a battering from nature, it’s our use of fossil fuels that is their greatest threat – recent reports predict that due to coral bleaching caused by increased temperatures, up to 95 percent of the Great Barrier Reef could be lost by 2050. Under the waves, a few artists are taking up the fight... THE HYPERBOLIC CROCHET CORAL REEF Hoping to draw attention to the plight of coral reefs, the LA based Aust ralian artist and scientist combo of Christ ine Wertheim and Margaret Wertheim decided to crochet some as a “woolly celebration of the intersect ion of higher geometry and feminine handicraft, and a test imony to the disappearing wonders of the marine world”. Apparently helpful things to have in order to crochet a coral reef: “Knowledge of non-euclidean geometry*, Interest in embodied forms of reasoning, and a global sewing bee of serious science communication”. (*More at Believer magazine.) JASON DECAIES TAYLOR’S UNDERWATERSCULPTURE.COM Hoping to draw attention to the plight of coral reefs, and act ually make some in the process, Jason has made an amazing (incredible!) series of concrete sculptures for the ocean floor. By themselves the statues are great but forgettable, but when viewed half covered in coral, with fish swimming past and starting to age with the ocean, they transform into enchanting otherworldly creatures. In other, otherwordly news – did you hear the lost city of Atlantis may have been found?! The legendary metropolis believed swamped by a tsunami thousands of years ago might’ve been found in mud flats of Southern Spain according to Reuters. CORAL WORK Artists at Aphids have begun creative development for a planned underwater concert created and performed on the Great Barrier Reef. Recent fi lming tests utilised the 62,000 litre tank the Artrage complex has in downtown Perth. @JEAN_POOLE











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Have special powers which enable you to recreate the windmill dunk which Jordan unleashed like a can of whoop-ass on Dominique Wilkins.

ERA? 1985 to now.

PROS? Designed for and endorsed by former NBA basketball superstar Michael Jordan.

CONS? They’re more expensive than Christmas and a birthday put together.

SUCCESS? Lasted decades longer than Jordan’s baseball career.



KEY FEATURE? Each shoe has a wheel embedded in the sole, enabling the wearer to walk, run and roll at their leisure.

ERA? A few weeks in 2003.

PROS? Blow minds by sliding in and out of situations without moving your legs!

CONS? They seem like a good idea until you need to go down stairs.

SUCCESS? In 2007, the Yeovil Town Council in the UK banned their use.




The heel of the shoe flashes red LEDs as you walk.

ERA? 1992-2000.

PROS? None of your friends have them, which gives you street cred. Also, you feel like you’re a robot.

CONS? If you wear them in your 30s you’ll raise suspicion.

SUCCESS? If you consider attracting children to bright flashy things a success, then yes.







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KEYBOARDS KORG TRITON Extreme88 synthesizer in new condition with keyboard stand and damper pedal. Worth over $7,000 sell for $4,295 including delivery. Currently in Perth. Phone 0439301165Email: iFlogID: 13084



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Nissan Pintara Wagon 1990 model. 2 Litre 4 cylinder. 4 Speed Auto.A/C. Great for carrying PA, drums, instruments. Registered until 19/08/2011. 260,645 km. $1700.00. Greg 0419541089. Menai, NSW. iFlogID: 12993

1960 original Fender musicmaster in original used condition not used for over 20 years any offers ??? iFlogID: 13045 GODIN MIDI GUITAR ACS SA Nylon string semi-solid body with piezo and 13-pin MIDI output plus the Terratec Axon AX100 Synth controller & AX101 MIDI pickup. $2,400 including delivery. THE001Music@ iFlogID: 13086

engineer your event. Contact Astrid today at B!G Music on 86226555 or email au. iFlogID: 12922


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. iFlogID: 12934 Want to learn an instrument? Or learn to read music? Drum, Bass, Guitar and Music Theory lessons for beginners. Based in Sydney. First lesson free!! For more information: 0435556985 iFlogID: 13215 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: 12986

SINGER Attractive Female Backing Vocalist Required for pop/rock Band/Show with Album on iTunes. Paid performances booked. Genuine singer, melodic, harmonic voice and professional experience. Mosman area. Phone Geoff on: 9969 1179. iFlogID: 13067


GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www. for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088



Session Drummer Available! Proficient in Rock, Blues, Country, Pop, R & B, Hip Hop, Funk. Own transport. Variety of gear. First session FREE (for producers and recording engineers only). Competitive prices for bands. Call scott on 0423 630 176. iFlogID: 12973


SINGER Female singer looking to start/join band with influences similar to crue, g n r, maiden etc etc. Email iFlogID: 12990

MUSICIANS WANTED BASS PLAYER Indie/rock covers band looking for bass player to join gig-ready trio in Surry Hills to play David Bowie, Killers, Radiohead, Arctic Monkeys, Bloc Party, Dandy Warhols etc. iFlogID: 13177 Western Sydney Rock Band seeks

BAND MERCH..... For excellent quality band merch at affordable prices. No minimum quantities. Fast turn around. email inquiries to, call (02) 9667 0688 or visit www. iFlogID: 13168

OTHER GIG AND BAND PHOTOGRAPHY Gig photography, tour photography, band publicity & portrait shots. Reasonable rates & friendly service. iFlogID: 13011

WANTED OTHER play more chinese music - love, tenzenmen. iFlogID: 13077


3D World - Melbourne Issue #1059  

Time Off is Australia’s longest-running street press publication, and has positioned itself as an iconic Queensland brand. For past 18 years...