TIKI TAANE’S BRAVE NEW WORLD MARK HARTLEY’S FILIPINOFREAK FEST BOMBS AWAY: THE RAID BEGINS CARBON FESTIVAL REVIEWED FREE
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 firstname.lastname@example.org NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS www.iﬂog.com.au ART DEPT email@example.com Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT firstname.lastname@example.org PRINTING Rural Press DISTRIBUTION diﬆ email@example.com
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. thepublicopinion.net to get your free ﬁ x…
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THINGS TO DO THIS WEEK
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.
CURE FOR DANCER
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 sydneyoperahouse.com.
EYES WIDE OPEN
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
FUCKIN’ OUT, FUCKIN’ IN
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
SPARKS WILL FLY
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.
ALEXIS JORDAN TELLS CYCLONE SHE’S THANKFUL AMERICA’S GOT TALENT SUCCESS PASSED HER BY – BESIDES, LIFE IS MUCH ROSIER NOW WITH NONE OTHER THAN JAY-Z IN HER CORNER.
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,
[JAY-Z] 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.”
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)
BRAD SWOB CATCHES UP WITH BRIT DRUM‘N’BASSER DAN GRESHAN IN THE MIDST OF A MASSIVE CREATIVE OUTBURST WHICH HAS SEEN BOTH AN ARTIST ALBUM AND DJ MIX COMPILATION BEAR THE NU:TONE NAME WITH 2011 NOT EVEN HALFWAY GONE.
SHOCK OF THE NU
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.
THE TWILIGHT PEOPLE (1973)
WENG WENG IN FOR Y’UR HEIGHT ONLY
BEAST OF BLOOD (1971)
PAT WOODELL IN THE BIG DOLL HOUSE
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
THE HIATUS OF TZU PROVIDED FRONT MAN JOEL MA AKA JOELISTICS AN OPPORTUNITY TO EXPLORE THE WORLD. THE NEED FOR A CREATIVE DISTRACTION WHILE WORKING AS A GLOBE TROTTING JOURNALIST INSITIGATED THE PRODUCTION OF HIS LATEST MUSICAL OFFERING – VOYAGER. THE MC CHATS TO LUKE MCKINNON.
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 di��� 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)
VILLAGE SOUNDS AND SECRET SERVICE PRESENT THE 11TH ANNUAL ARTS & MUSIC FESTIVAL
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FRAKSHA HOW DID YOU CHOOSE YOUR MC NAME?
WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG?
“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.”
HOW LONG HAVE YOU BEEN RAPPING?
YOUR BEST SHOW AND WHY?
“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.”
AKA JOEY BANANAS
“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
ANNOUNCEMENTS EPIC APPLES
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.
WEAR IT OUT
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).
NIGHT FIGHT/NITE FITE
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 FARCE 5
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...
MEL MAKES A FIST OF BEAVER
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.
D-TOWN TO M-TOWN
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.
KIT YOURSELF UP
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.
EL TO THE K
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.
THE FUTURE IS COMING
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.
FRIENDSTER FOR LIFE
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
THEY ARE SAILING
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 armadamusic.com.
GAME ON MOLLS
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.
BELFAST CHILD SINGS AGAIN
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.
FULL OF BENAS
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.
NOT JUST RELICS
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.
NOT JOSHING AROUND
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.
MENTAL COMBAT Hip Hop With BLAZE
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)
EAT&DRINK JOHN CURTIN HOTEL
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
DJBOOTH POST PERCY
CLUB CLASSICS YEO
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
THE CALLING Local Flow with LUKE MCKINNON
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 www.hunterthedocumentary.com.au. 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 email@example.com. 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
THIS WILL DESTROY YOU
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
SUSHI SNAPS 4
1 2 3 4 5
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 FeďŹ†ival
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: Citizen.com, 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
AUSTRALIAN ELECTRONICA FIGUREHEADS, 1979-2009/2010-PRESENT
NIC TOUPEE DISSECTS THE CAREER OF SEVERED HEADS WITH MAIN MAN TOM ELLARD, LEARNING THE IMPACT OF PONG ON THEIR WORK AND THAT HE REGARDS THEIR MOST COMMERCIALLY SUCCESSFUL PERIOD AS AN EXPERIMENT GONE WRONG.
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
RED HEADS EIGHTIES ENOUGH - ELLARD, SYNTH-POP & CYNICISM
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.”
IT’S HIP TO BE REAL
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.
IVF PUPPY LOVE
AQUARIUS (20 JAN TO 18 FEB)
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.
REVIEW NBA JAM B
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…
THE WEEK ALBUMOF
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
ONE TRACK MIND PETER VAN HOESEN & DONATO DOZZY Dock (Time To Express)
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
MODERN ART TEA TOWEL BY CRAIG DAMRAUER ~ $40. www.thirddrawerdown.com
UP SHIT CREEK TEA TOWEL BY JON CAMPBELL ~ $40. www.thirddrawerdown.com
ICONIC ARCH TEA TOWEL ~ $27. www.makemeiconic.com
WINTER LANDSCAPE TEA TOWEL BY SARAJO FRIEDEN ~ $40. www.thirddrawerdown.com
ICONIC MANOEUVRE TEA TOWEL ~ $27. www.makemeiconic.com
AUTO PORTRAIT TEA TOWEL BY MARTIN PARR ~ $40. www.thirddrawerdown.com
ROBERTO CAVALLI EYEWEAR “RC593S_56F” ~ $590. Stockists 1800 030 077. www.robertocavalli.com
JOHN GALLIANO EYEWEAR “JG38_33J” ~ $550. johngalliano.com
TOM FORD EYEWEAR “CATHERINE” ~ $590. Stockists 1800 030 077. www.tomford.com
TOM FORD EYEWEAR “CAMPBELL” ~ $550. Stockists 1800 030 077. www.tomford.com
JOHN GALLIANO EYEWEAR “JG0044_01B” ~ $590. johngalliano.com
TOM FORD EYEWEAR “MAXIMILLION” ~ $510. Stockists 1800030077. www.tomford.com
STUFF FOR YOUR DESK
IPHONE APP MAGNETS ~ $19. www.thirddrawerdown.com
GUN RULER ~ $23. www.thirddrawerdown.com
GET THE HINT LABELS ~ 8.50. www.thirddrawerdown.com
STYLOPHONE BEATBOX ~ $59.50. www.thirddrawerdown.com
SHOES AIR JORDAN
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.
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.
Drummer and Drum Lessons Drum Lessons avaliable in Gladesville Teach all Levels, ages, experience. Played for 16 years. Studied at Billy Hydes Drumcraft and Obtained a Dipolma in Drumming Mob: 0402 663 469 Michael iFlogID: 13042
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Microphone! Rodes Classic 2,Top of the line studio Valve Mic,Custom spec 1” dual diaphragm, multy patterns,Custom Jensen output Transformer,was $2500 never used,half price now $1000, Phil 0410500334 iFlogID: 13254
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SCHECTER OMEN-6 ELECTRIC GUITAR - - BRAND NEW-- small nick in veneer , $300ono, Craig -0449156490 iFlogID: 13128
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Skins needed for new dance/punk project. aggressive guitar based music with a big beat. wollongong/ sydney area. txt/call 0403508102 for details and demos. male/female, pref between 18-30. must be committed. iFlogID: 13171
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ADVERTISING / MEDIA “PHOTOGRAPHER (casual) needed for architectural magazine. Approximately $300-$500 per day. 10+ mega pixel Camera with fullframed sensor required to take high-quality photographs. Email: firstname.lastname@example.org iFlogID: 13224
ENTERTAINMENT Manager Required with music industry experience, drive and enthusiasm for fast-emerging Sydney-based Musician/Entertainer with pop-rock Album on iTunes and new Album coming soon. Great opportunity ! Phone Geoff now: 9969 1179. iFlogID: 13069
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DRUMS DRUM KIT WANTED or cymbals, snares etc. Also interested in anything vintage. Ph 0419760940 iFlogID: 13232 Zildjian Avedis cymbals for sale BRAND NEW! 16” CRASH, $250, 18” CRASH, $250, 14” Newbeat hihats, $275. All new in plastic bags. Bargain, ph 0419760940 iFlogID: 13236
GUITARS Fender Pink Paisley Strat. genuine 1980’s.all original.in case. great tone/action/condition.very rare.$2500 ono.Ph.0428744963. Cooroy iFlogID: 13027
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: THE001Music@hotmail.com iFlogID: 13084
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DUPLICATION/ MASTERING CD MANUFACTURING:Acme is Australias best price CD manufacturer. 500 CD package = $765.05: 1000 CD package = $1320.00 Short run also available. www.AcmeMusic.com.auKevinW@AcmeMusic.com.au iFlogID: 13117
HIRE SERVICES CHEAP PA HIRE @ BIG MUSIC
Big Music Technical Services offers the Sydney Music community the best in Audio & Hi-Tech support, DAW design, DAW setup & integration, studio consolidation solutions, software and hardware troubleshooting. Both in house or on-site visits. Break free from technical hitches and frustration. Get your studio sorted, and get back to making music. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@ bigmusic.com.au iFlogID: 12936
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MUSIC SERVICES BAND MERCHANDISE
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Big Music & Multimedia in Crows Nest now offer audio enthusiasts the chance experience audio training in a real studio environment. Receive software training on Protools, Cubase, Garage band and more. Sessions are customised to your needs. Don’t waste time learning the things you don’t need. Hone your skills, and enhance your productions. Contact Saul Muscardin on 8622 6555 or send an email to saul.muscardin@bigmusic. com.au iFlogID: 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 firstname.lastname@example.org iFlogID: 13215
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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
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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. www.smproductions.net iFlogID: 12973
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