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PHATCHANCE & COPTIC SOLDIER: Two MCs & No DJ WATER FOR ELEPHANTS: Inside R-Patz Mania STEVE-O: Obscene & Sober IRVINE WELSH: Back With The Train Gang


( Issue 1060 ~ WEDNESDAY 18 MAY 2011 )









CREDITS PUBLISHER Street Press Aust ralia Pty Ltd GROUP MANAGING EDITOR Andrew Mast EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alanna Bishop, Aleksia Barron, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAlister, Ben Kumar, Blaze, Brad Swob, Bryget Chrisfield, Carlin Beattie, Clare Dickins, Darren Collins, Dave Dri, Dave Jory, Djengel, DJ Stiff y, Fern Greig-Moore, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwston, Jake Sun, Jane Stabler, Jann Angara, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Maria Lee, Matt O’Neill, Matt Unicomb, Melissa West , Mitch Knox, Monica Connors, Nick Connellan, NHJ, Nic Toupee, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Russ Macumber, Sasha Perera, Scott Henderson, Stuart Evans, Tim Finney, Tom Brabham, Tristan Burke PHOTOGRAPHERS Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Kostas Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT NSW – Brett Dayman, Jason Spiller VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS ART DEPT Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT PRINTING Rural Press



Table Tennis – not a particularly sexy or st ylish sport, right? Incorrect, as this video featuring Korean table tennis champion, act ress and former model Sooyeon Lee shows. Shot in super slowmotion by director Matthew Donaldson, Lee plays against herself in a variety of free-flowing outfits from the likes of Christopher Kane, Mark Fast, Jil Sander and Versace. Hopefully the London Olympics competitors get some fashion tips…

Tired of playing cheesy flash games at work? At home? Play it online or download it st raight onto your hard drive, Then you should get on N: The Way Of The Ninja, a ninja simulation platformer that is difficult, rewarding and tirelessly entertaining. You can get it for PC, Mac or Xbox Live – unfortunately due to Sony’s recent hacking it is no longer available on the PS3’s PlayStation Network. And best of all, you can download it for free from http://www.


Stuntmen are the faceless heroes of the fi lm indust ry, but now legendary double Vic Armst rong has lifted the lid on the myst ique with his new book The True Adventures Of The World’s Greatest Stuntman: My Life As Indiana Jones, James Bond, Superman And Other Movie Heroes. Uber-geek portal io9. com has an excerpt from the book detailing Armst rong’s work as second unit director on Total Recall, with tales of a lazy prefame Sharon Stone, surprisingly subdued Dutch director Paul Verhoeven and unsurprisingly awesome big Arnie…

DISTRIBUTION dist SUBSCRIPTIONS Subscriptions are $2.20 per week (Minimum of 12 weeks). HEAD OFFICE 2-4 Bond St, Abbotsford, VIC 3067 (03) 9421 4499 Sydney: (02) 9331 7077 Brisbane: (07) 3252 9666 HEAD OFFICE





Former Salmonella Dub frontman and current Shapeshifter live sound engineer Tiki Taane has delivered one of the year’s finest long-players with In The World Of Light, with acoust ic beauty sitting alongside dubstep bangers and uplifting drum‘n’bass anthems – and all of it making perfect sense. New track Freedom To Sing has just surfaced in react ion to his recent arrest for performing NWA’s Fuck Tha Police for the local constabulary at a gig in NZ and it’ll be sure to get an airing when he kicks off his Aust ralian tour, presented by 3D World, this week. Catch him at Great Northern Hotel (Byron Bay) Thursday 19 May, Coolangatta Hotel Friday 20, The Hi-Fi (Brisbane) Saturday 21, Panthers (Penrith) Thursday 26 May, Selina’s (Coogee Bay) Friday 27 May or the Corner Hotel (Melbourne) Saturday 28 May…



In case you hadn’t noticed winter has begun to roll in, so keeping warm is all of a sudden a big priority. And what better way to keep the heat in and make a statement then this quite st unning Furry Wolf Hat with Paws from If only it made outlandish statements a la Courage Wolf it really would be the ultimate accessory…


Usually the words “dubstep remix” are enough to st rike fear into the hearts of the 3D World team, but we’ll make an exception for this clip featuring The Yip Yips from Sesame Street. Type “sesame st reet aliens discover dubstep” into the YouTube search engine and sit tight until the 1:50 mark when hilarity ensues…

No one quite does food that’s incredibly bad for you like the US of A and in the grand tradition of Warheads (which was act ually a Taiwanese invention) comes the ridiculously awesome Sour Patch. Th is st uff may change your life. Our tip is to st ick with the original Sour Patch Kids – they’re chewy, delicious and proper sour. If you’ve got a local supplier, give us the good word asap…





The search for Aust ralia and New Zealand’s ultimate female DJ continues, with EMI’s She Can DJ competition moving into the fi rst stage of its extensive judging process. Entries to the contest closed last week, and indust ry ambassadors who will be supporting the ascending talents have just been revealed. They include the Archery Club’s Dayna Young, DJ KC, SAE College’s Emma Hughes, Channel V personalities Grant Smillie and Jane Gazzo, artist manager Jane Slingo, DJ Jody McLeod, EMI heavyweight Mark Poston, musician Sarah McLeod and VP of A&R EMI Aust ralasia Scott Horscroft among many more. With an incredible wealth of pesonal experience and a diversity of backgrounds, the ambassadors for She Can DJ will illuminate the possibilities for aspiring female DJs. See more at


Local legends Regurgitator are set to embark on another national tour, showcasing their latest eccentric approaches to music as well as performing REGURGITATOR all their beloved hits. The group have been busy over the last year, providing a live score for Akira at the Sydney Opera House’s Graphic fest ival, soccer scores with a live performance at the A-League grand final in Brisbane. The group will be supported by NZ elect ropartiers Disasteradio. See Regurgitator when they play CBD Hotel (Newcast le) Thursday 11 August, Unibar (Wollongong) Friday 12, Manning Bar (Sydney) Saturday 13, ANU Bar (Canberra) Sunday 14, The Great Northern (Byron Bay) Thursday 18, Coolangatta Hotel (Gold CoasT) Friday 19, The Hifi (Brisbane) on Saturday 20, and The Hi-Fi (Melbourne) Friday 26 August. Tickets available at


Del The Funky Homosapien, a true innovator and legend in the world of underground hip hop, is returning to Aust ralian shores after a two decade DEL THE FUNKY HOMOSAPIEN absence. Breaking into the indust ry as a member of cousin Ice Cube’s backing band, Del found his feet as a solo artist, bringing a detached and humorous st yle to an otherwise gangsta-rap heavy Californian hip hop scene. His albums I Wish My Brother George Was Here and No Need For Alarm were critical hits and big sellers and he continued to develop creative st rengths with his crew, Hieroglyphics. Be there when Del plays The Espy (Melbourne) Thursday 21 July, The Hi-Fi (Brisbane) Friday 22 and Oxford Art Factory (Sydney) Sunday 24. Tickets on sale from

THIRD TIME LUCKY Azari & III will be delivering their fi rst Aust ralian AZARI & III performances in the coming weeks, with their self-titled album to be released by Modular on Friday 29 July. The album is set to become the sound of a dystopian summer, with the group melding sordid pop with broody beats. They have been signalled as an act to watch, selected to play alongside The Cure and Spiritualized at the upcoming Vivid fest ival. Make sure you see them when they hit the Opera House (Sydney) on Friday 27 May, Super Disco @at Prince Bandroom (Melbourne) on Saturday 28, Bowler Bar (Brisbane) Friday 3 June, Trinity Bar (Canberra) Saturday 4 and Opera House (Sydney) Sunday 5.

NOT GOING SOFT Home grown elect ronic pop pioneers PNAU are back on Aust ralian soil, PNAU gearing up to launch their latest album Soft Universe. Releasing on Universal in July, the group’s highly anticipated fourth album will be supported by a performance at Splendour In The Grass, along with a hand ul of East Coast dates. PNAU play Billboard (Melbourne) Tuesday 26 July, The Enmore (Sydney) Wednesday 27, Waves (Wollongong) Thursday 28 and Panthers (Newcast le) Friday 29. Tickets on sale now through Ticketek and Moshtix. RAMMING SPEED Octane & DLR are a product ion force to be reckoned with, each of the elect ronic OCTANE & DLR duo honing their skills for nine years before joining forces. Comprised of Chris “Octane” and J “Dirty Le Roi”, the artists have a mutual love of twisted bass textures, organic soundscapes and live recording. The Leeds based duo recently completed a large US tour, and word on the st reet is that they’re a hot ticket. They play Rukus at The Aviary (Brisbane) on Friday 1 July, Brown Alley (Melbourne) Saturday 2 and Tone (Sydney) Thursday 7. PROMPT RESPONSE Brisbane based postpunk/dance outfit Teleprompter are set TELEPROMPTER to release their selftitled EP with a supporting national tour in June and July. You can see the rising act when they play Cherry Bar (Melbourne) Saturday 4 June, GoodGod Small Club (Sydney) Thursday 9, The Great Northern (Newcast le) Friday 10, Elsewhere (Gold Coast) Sunday 26 and a warehouse show in Brisbane on Saturday 2 July.

FABRIC’S LATEST MIX Fabriclive 57 is set to be released Friday 27 May with Jackmaster at the helm... LOCAL DANCE MAKERS The Potbelleez are planning to cut up the dancefloor with second album, Destination Now, released Friday 27 May. Produced by Paul Mac and Shave, the album has already spawned hit singles in Hello and Shake It... IF YOU’RE LOOKING to become an online music reporter, have st rong writing skills and love music, you could be one of two writers selected to blog the hottest acts in the world for VIVID LIVE. You will attend headline gigs, parties, interview artists and be generally rad. Find out more at sydneyoperahouse. com/vividblogger... EB GAMES ARE set to host a video gaming expo, expected to be the largest gaming event in Aust ralian history. Happening at the Gold Coast on October 15 and 16, the event is attract ing international gaming talent and will give patrons exclusive access to future blockbuster games... SONIC YOUTH’S MAIN man Thurston Moore is set to release his fourth st udio album, Demolished Thoughts, this Friday. Produced by Beck, it continues the lighter touch found on his previous solo efforts... GRAMMY AND OSCAR winner Jennifer Hudson releases her second album I Remember Me on Friday before flying through Aust ralia on a promo tour..








pop, rock and hip hop (The Beatles through to the Red Hot Chili Peppers and NWA). Krumins was at high school when he first heard drum‘n’bass: a pal had come back from the UK with Adam F’s album Colours. Soon he had a bug in his bassbin and was collecting vinyl – and DJing. Krumins caught members of Roni Size’s Full Cycle crew on tour. He was further immersed in the music at Scu Bar’s Just Rite sessions. At the same time, Krumins maintained an interest in the classical side, pursuing his st udies in music performance at uni. In 2001 he

launched the monthly Audible Level events with DJ Fiascotec at a North Melbourne pub. He likewise hit the airwaves with his 3CR program Cubical Views – it’d later switch to Triple R. (Today Krumins is part of the Kiss FM family with The Drum ‘N’ Bass Session on Sunday evenings.) He fostered the local underground with yet another night, Local Lineup. Krumins’ musical act ivism was rewarded when in 2007 he was chosen to attend the prest igious Red Bull Music Academy in Toronto (ironically, the year prior, the RBMA landed in Melbourne). Krumins now reckons that he was then musically immature. “I was very into the whole big tune sound, like the st uff DJ Hazard was releasing at the time.” Yet the RBMA enabled him to look at the bigger pict ure – and appreciate the importance of individualism. “I’m starting to develop that more now than I was when I was younger and just into big tunes and club tunes and just bangers.” The teaching was “not in-your-face”, with the emphasis on personal development – or self-realisation. Initially, Krumins felt “disappointed” about the absence of drum‘n’bass lect urers but, on reflect ion, he believes this was “a good thing”. Instead he was inspired by guests Waajeed,

a founder of Slum Village alongside Dilla, and the deep house Theo Parrish. Krumins journeyed on to the UK, though he’d already explored the spiritual home of jungle and its many offshoots. “They were pretty generous with the airfares, Red Bull,” he laughs. “I just said, ‘Can you get me to the UK as well?’ They said, ‘Yeah, that’s no problem.’ So it’s thanks to Red Bull for that, too.” Here, he’d bond with Generation Dub – and the Newcast le pair behind Body Snatchers issued his debut (Live And Let Die/Quiet Star) on their Blueprint imprint.

As it happens, Krumins was encouraged to contact Generation Dub by DJ Sappo, then host ing a program on BBC Radio 1xtra. He and Sappo chatted online. “I had these tunes and he was into them and he suggested I send them to Generation Dub, which was quite nice of him in retrospect. He was a catalyst to get the ball rolling, anyway. He told me to send them my tunes and they were into ‘em. Then I ended up going and hooking up with them in the UK. It was just a learning experience. Those guys were – they st ill are – just so innovative in the scene. I learnt a lot from them.” Regardless, Krumins was pushing the envelope in 2007. He teamed with fellow music st udent (and singer) Kara Ciezki, aka K, for a “cabaret” show at the Melbourne Fringe. “It was sort of like a drum‘n’bass/dubstep thing with live inst ruments.” Krumins handled the beats. Following his travels, Krumins devised Wobble at The Night Owl in the CBD, utilising the now iconic Heartical Hi-Fi Soundsystem. He is joined there by MC Wasp and fellow resident DJs like AC23, another producer on the rise. Wobble has generated its own subculture. Krumins loves that the DJs can test their tracks. “We get quite a regular group of heads coming down to the party every month. Culturally for Melbourne that’s good because we get to play fresh music to the kids and they wanna keep coming back. They know what’s going on now musically, whereas at the start of the party [series] it was all fresh to them and new, the whole drum‘n’bass/dubstep culture, with the

MCs and the crowd interact ion and sound system… “But, musically, it’s good, too, because a lot of the dudes there, we all play our own music – AC23 is writing some really good dubstep at the moment, he’s getting some st uff signed, a couple of the other guys and myself, obviously… So, musically, it’s good to always have that outlet where we’ve got a big sound system, we’ve got a crowd, and we can just test our tunes on the crowd and have them stand up to a lot of the st uff from the UK and compare them.” Krumins has considered making Wobble weekly, but fears it’d be too epic an undertaking. After all, the crew begin setting up the sound system,

and arranging the decor, at noon on the day. “Doing it every week, I’d be going grey!” Krumins hasn’t let go of his product ion, either, with releases on the elite labels Zombie, Advisory and Allsorts. His music has been endorsed by veterans like Andy C, Grooverider and (his hero) DJ Die. Knowledge Magazine included Krumins in a Top 10 of Producers To Watch In 2010. He’s next preparing to introduce a label, Colours, with European dist ribution from ST Holdings. “My fi rst release is in product ion at the moment.” Indeed, Krumins is committed to offering vinyl (he himself buys, and spins, it) in addition to digital. In some respects, Krumins’ values haven’t altered, but his convict ions have st rengthened. “In a way, I haven’t changed at all. I guess when I get down to the essence of my music, it really has not changed at all. I mean, the product ion values have changed obviously as I’ve learnt more about product ion, but the essence of what I produce and the vibe of my music hasn’t changed at all. It’s the same thing that it’s always been, really.” Dubstep is on the brink of wider success in Aust ralia. The music’s popularity in the UK has brought “fresh energy” to the breakbeat movement, Krumins holds. “I think it’s a positive.” What’s more, dubstep at a drum‘n’bass night staves off monotony. Krumins admits to being unfamiliar with James Blake’s eponymous album, a hipster rave, but he’s happy if acts are crossing over (he’s fascinated with the emergence of

Skrillex, just here for Creamfields). He won’t even be baited into dissing the oftdivisive Pendulum with their metallic jungle mutation. “I just don’t understand how people can be so negative towards certain subgenres – I think it’s all great. I don’t hate on anything or diss anything. It’s all music… If you don’t like something, then just move on – find something you do like.” The genre Krumins wishes to blow up in Oz? Garage – UK garage. “Garage in Aust ralia is definitely an interest ing thing,” he ponders. “I often wonder why house and techno are so popular here but garage just really doesn’t have a following at all. But who knows what will happen?” He said it.

WHO: DJ Cubist WHERE & WHEN: Wobble at The Night Owl Saturday 21 May; Kill Screen: Old Skool Game Comp at Revolver Saturday 4 June




(V Recordings), 1999.

(Zombie Recordings), 2008.

(D-Style Recordings), 2008.

Slide Away

“Something about the effortless funk and flow. I told DJ Die it was one of my favourite tunes. He said he didn’t know what he was doing when he wrote it, just making noises with a Juno-6 synthesiser!”

Memory Lapse

“It’s my biggest selling 12’’. A highlight of my career is when DJ Die called me asking if he could use on his ATM magazine mix CD!”

King Of Africa

“Killa Bongos, sweet vocal, minimal beat and BIG BIG sub bass. Crew at Wobble must be sick of it by now. But it makes me smile every time I play it!”




EXCEPTION TO THE RULE igeon John, or John Dust, is on his own in hip hop – a maverick following in the sneaks of OutKast, Goodie Mob or, in their prime, The Pharcyde. The Californian MC lately dropped his most adventurous record yet in Dragon Slayer – a Triple J feature album. Th is month he’s returning to Aust ralia with his “party” DJ, Davey Rockit. And Dust is playful even as he awaits his interview calls. “I was just doing push-ups getting ready for you guys,” he quips.


The MC grew up negotiating a biracial identity, like Barack Obama. Though born in Omaha, Nebraska, he spent his childhood in Inglewood, then Hawthorne, California. Dust was already act ive as an MC on Los Angeles’ open-mic circuit in the early 90s. He performed at The Good Life Cafe, a legendary venue in South Central where everyone from The Pharcyde to Jurassic 5 to that ‘G’ Kurupt honed their skills. Dust was in the hip hop duo Brainwash Projects as well as a member of the LA Symphony, both apparently now on hiatus. He put out his solo debut, Pigeon John Is Clueless, in 2001. For 2006’s Pigeon John And The Summertime Pool Party, Dust, having impressed Lyrics Born, signed to Quannum Projects, the concern DJ Shadow helped launch. Is the San Fran stable st ill tight-knit? Yes, laughs Dust, but they’re all rivals, too. “When I fi rst got into the game, Lyrics Born said, ‘Man, we don’t even listen to [each other’s] records until they come out because we’re so secretive.’” He adds, “It’s a little competition goin’ on – and I like it.” Over successive solo albums Dust has found his niche. He’s transcended an early association with Christ ian rap. Anyone can enjoy his music. It brims with positivity, good humour and egalitarianism. Lyrically, Dragon Slayer is being touted as Dust’s “quarter life crisis” LP but, while personal, it’s relatable. (The MC has married and is a dad.) Dust collaborated with French expat keyboardist and producer Hervé Salters (aka General Elect riks). He was keen to avoid samples, instead creating beats from scratch with his cohort. “With this record, I wanted to sit back and write the words and music and get with a producer who can broaden the small ideas that I have. I’ve broadened a little bit by just not caring where it was gonna land or trying to fit in or trying to do anything that I had heard before. I was just comfortable. I’m just writing the songs as I heard ‘em – and then having a blast working with Hervé.” So why no beat-diggin’? “I wanted to write the record without using samples or loops – and I love doing it like that. The way MCs chop up samples and create an inst rument out of an old record is phenomenal as well. [But] I just wanted to write it on the piano and kinda put rules on myself in saying I can’t use any loops – it has to all come from me. I’ve always wanted to do it that way. I wanted to test myself to see if I can float my little ideas. I wanted to do it because I hadn’t done it before, and I wanted a record that sounded cohesive like the great records that I love – you know, Nashville Skyline

and the [Bob] Dylan records. I like it because he had one producer and the songs are simple, so it was a cohesive project. All the way from De La Soul working with Prince Paul – I love that idea, so I just chose to do it.” Dragon Slayer has a bonus Aust ralasian track that will raise eyebrows. Dust has covered The Beatles’ satirical Rocky Racoon, also recently made over by Brit folkie Johnny Flynn, himself a De La Soul fan. It’s not an obvious select ion for Dust, who nonetheless reveals that The White Album was the fi rst Beatles record he dug. Yet Rocky Racoon is st reet. “I said, Goddamn, this is a gangsta song!” Its redemptive theme was key. Indie hip hop acts st ruggle to attract airplay, but Dust’s joint The Bomb has been licensed for a Volkswagen Jetta commercial. Dust admits he was

“surprised” to be approached by Volkswagen – and “very happy”. Dust may be an ol’ skooler in spirit, but he doesn’t hate on contemporary rap. “I act ually enjoy it a lot – especially the younger [the acts], the more I like it, the kids right outta high school, the jerky little boys,” he states. “You can tell if they’re talking about girls and bubblegum st uff, it’s because they’re in high school. You really can’t get that deep. They’re just trying to get laid and they’re dancing. It reminds me of junior high hip hop, and how I got into hip hop – it was more dance orientated and almost comical.... I think that the younger hip hop dudes – The Ranger$, Odd Future – the spirit is the same, it’s extremely ‘hip hop’... I enjoy it, even down to the Drakes and the Nicki Minajs and even Kanye West doing mainst ream hip hop – and Jay-Z. I think that it’s grown to the point where it’s taken over the globe, so almost all aspects are really covered. For commercial radio, it has to be dance orientated – a case in point is Black Eyed Peas. But the thing is there’s no other group who sounds like The Black Eyed Peas – not one! They’re absolutely original, man. They just make pop music on purpose now. Now it’s become Afrika Bambaataa And The Soulsonic Force, like robotic dance music, but without the shame of ‘keeping it’ hip hop or ‘Hey, where’s the graffiti at and the breaking?...’ All that st uff is the foundation of hip hop, but the spirit of hip hop has to be punk-rock, it has to have no rules – whether that be in the mainst ream or underground. So I think it’s very healthy. It gets me excited!” WHO: Pigeon John WHAT: Dragon Slayer (Other Tongues) WHERE: Tone Nightclub (Sydney) Friday

May 20, East Brunswick Club (Melbourne) Saturday May 21 and X & Y Bar (Brisbane) Sunday 22 May




R-PATZ MANIA WHEN TEEN HEARTTHROB ROBERT PATTINSON AND NEWLY ANOINTED ‘COUGAR’ REESE WITHERSPOON WERE IN SYDNEY TO PROMOTE THEIR NEW FLICK WATER FOR ELEPHANTS, 3D WORLD’S INTREPID TWILIGHT OBSESSIVE CYCLONE BRAVED THE MEDIA SCRUM – AND EMERGED ALMOST UNSCATHED. he circus really does come to town when Robert Pattinson and Reese Witherspoon attend the muchpublicised Aust ralian premiere of Water For Elephants in Sydney, quizzical director Francis Lawrence (I Am Legend) in tow. The trio are winding up a gruelling international press tour. For Pattinson, The Twilight Saga’s iconic Edward Cullen, it’s his fi rst Aust ralian visit. WFE, redolent of The Notebook, is based on Sara Gruen’s bestselling novel. Set amid America’s Great Depression, Jacob Jankowski (Pattinson) abandons his veterinary st udies at an Ivy League uni after the sudden death of his debt-ridden parents and joins a travelling circus. He’s keeper of its menagerie – and new elephant, Rosie. Jankowski falls for performer Marlena (Witherspoon), who’s married to the domineering, volatile and sadist ic circus operator August Rosenbluth (Inglourious Basterds’ Christoph Waltz). The gorgeous movie has an old Hollywood charm but, beyond the romance, are darker themes. WFE tackles domest ic – and animal – abuse. Pattinson, in Oz for a matter of hours, can only accommodate TV interviews. However, he’ll do a press conference, plus journos can speak to him on the red carpet. The scramble begins... The conference is held Friday morning in Luna Park’s brasserie, The Deck, in utmost secrecy. Suited men with earpieces patrol the surrounds. School kids st roll by unknowingly. A petite Witherspoon, looking remarkably fresh, is in a black rollneck sweater, dark jeans and heels. Pattinson is tall, slender and, ever the English indie boy, artfully scruff y. He removes, then replaces, a blue jacket, sipping water nervously. Most of the assembled media, including


Dolly’s reps, are chicks – and, as Witherspoon, a gracious Southerner, surely discerns, they’re here to check out ‘The Pretty’, as Pattinson is known. The co-stars share an easy rapport. The photographers urge them to kiss to much mirth. And, predictably, snogging quest ions are on the agenda – Pattinson infamously suffered from a st reaming nose during fi lming. WFE’s second ‘heroine’ is the fortysomething pachyderm Tai. (“She’s a quite special elephant,” Pattinson quips. “She’s different to the other elephants I’ve met.”) Nevertheless, the animal that preoccupies the media today is figurative: it’s the cougar. Witherspoon, now 35, played Becky Sharp in Mira Nair’s 2004 version of Vanity Fair with

Pattinson, in his inaugural fi lm role, as her son. She was 27, he 17. Now Pattinson is playing her lover. Such fluidity might be const rued as evidence of Hollywood’s greater willingness to cast women in diverse parts. But nah – in pop culture, it’s st ill salacious st uff. Lawrence suggests that Marlena’s character being marginally older “felt a little more real”. Witherspoon, who herself st udied English Literature at Stanford, is a steel magnolia – amiable, witty and, yes, feist y. When a girlfriend reminded her that she’d played Mom to the then rising Twilight pin-up, Witherspoon was “horrified”. Yet, jokes aside, the Oscar-winner is irked at double-standards. Waltz is 20 years older, but no one mentions that. So what did Lawrence perceive in Pattinson? “I knew that I wanted to cast him when I sat down with him because I think that he himself is a lot like the character of Jacob Jankowski. There’s kind of a purity to his heart – and a warmth. Sometimes he pretends to be a little cynical, but he’s not. I knew that if we got some of that on screen, we’d be in good shape.” The “modern matinee idol”, as Elle recently described him, has just finished shooting the last Twilight instalments (Breaking Dawn Parts I and II). Pattinson is keen to venture out, but not necessarily st rategising. “I guess I can see my career being a gradual progression in a lot of ways – it’s just that no one saw my other movies before Twilight,” he laughs. Prevamp, Pattinson credibly portrayed Salvador Dali in the art house Little Ashes. He’s depict ing the sleazy (and dodgy) journalist in a forthcoming adaptation of Guy de Maupassant’s satirical Bel Ami. The red carpet that evening snakes 300m from the State Theatre along Pitt Street Mall. Fans (3000 are anticipated overall) have slept out, albeit with few conspicuous ‘Twihards’. Pattinson and Witherspoon show early to chat to the media and, importantly, onlookers. At one stage, the actors, invitees and public are walking down the carpet simultaneously, Noah’s Ark-st yle. Screaming is minimal: the girls hush for Pattinson. Scant conditions are placed on interviewers – just a late request that there be no ‘politics’ quest ions. Pattinson, in a grey-blue Prada suit, diligently stops for almost every fan. Someone conjures a birthday cake for the Brit, who’ll turn 25 in days, and nearly smears it all over his Prada. With his finely-tuned sense of the absurd, Pattinson loves it. “What do I want for my birthday?,” he shouts over the mayhem. “I don’t know. Nothing... Maybe a day off ? That’s about it.”




O, WHAT A FEELING GUMMERS, POO COCKTAILS, THE GOLDFISH – ALL NORMALITY FOR STEPHEN GLOVER, BETTER KNOWN AS STEVE-O. THE CRAZY STUNT SUPREMO DISCUSSES HIS CAREER AND HIS STAND-UP COMEDY WORK WITH JOSH WHEATLEY. teve Glover, aka Steve-O, is a man of experience – a “don’t try this at home” professional. Fresh from completing work on the latest Jackass fi lm he has turned his interests to stand-up comedy, retelling anecdotes of fi lm shoots and drug fuelled benders with California slacker charm. “In the show I talk about how the notoriety that Jackass afforded me sort of changed my life, and my love life in particular. How I sorta noticed women sort of going the extra mile to show me a good time. I could tell something was really different when I was hooking up with this girl and as soon as she got my wiener out she felt like she needed to tell me something serious. She said that she had been in a bad car accident and uh, I felt that this was a really awkward moment and that I’m sorry to hear that. And she said ‘get ready to have a really good time’. And she popped out her upper teeth and went down on me. As I was sitting there, just being blown away, I thought to myself ‘holy shit, this girl is not a hummer, this girl is giving me a gummer’. I swear to God man, it’s a true story.”


Most mature adults would write off Glover’s schtick as juvenile, and the 36-year-old performer is aware of the st upidity of his actions. Having shot from anonymity to notorious celebrity by taping his own obscenities, he has battled through a long period of heavy drug use and mental health problems while in the spotlight. Along with spinning raunchy yarns in his live show, Glover does a set of physical st unts and tricks, a mix of “st uff that I enjoy doing, then some other st uff that I really, really hate”. Well versed in the art of exhibition, previous performances have included urination, his skull engulfed in a ball of flames, and stapling his scrotum to his left. “There’s different sort of themes to the st unts and

tricks,” Glover says. “There’s clever and impressive, there’s scary and dangerous, there’s silly and painful, and then there’s just over the top ridiculous. I’m doing all these wild and crazy st unts six shows per weekend, and what started out as an exercise in preserving myself turned out to be something infinitely more abusive.” The performer notes that he’s “ten years older than ten years ago”, and having committed to sobriety for over three years, they are much more difficult to do. He is proud of being “clean and sober” while making Jackass 3D, starring in sequences like ‘Poo Cocktail Supreme’, where he is trapped inside a flying portaloo, being hit by waves of flying shit. “I really wanted to prove that sobriety hadn’t turned me into a boring lame pussy, you know. I

really had something to prove, and I was eager to participate in as much st uff as I could.” Is there a st unt that he would refuse to do? “One time I had Ryan Dunn st rangle me unconscious six times in a row, and each time he’d choke me unconscious and then drop me to the floor twitching and convulsing, and each time I woke up I took longer to wake up,” Glover says. “By the sixth time it was just an ugly scene.” The prospect of another Jackass fi lm? “I can’t rule it out as a possibility.” He turns introspect ive when asked why he does it. “I think I was born with what I would describe as an unreasonable hunger for attention. An unreasonable desire for attention. Ever since I was little kid I just needed to do outrageous things, and I was always tryin’ to win the approval of affect ion of my peers or my family or whatever. And it always kinda backfi red on me, you know. I was always tryin’ to impress people and it was always exact ly the opposite. I was always just trying so hard. And I was a part of Jackass because I could always be relied upon to get the kind of outrageous footage that we needed. But when the cameras weren’t rolling, nobody could stand me man. Seriously. They were like ‘alright dude, fuckin’ enough already. Mellow out’. I just never knew how to turn it off, you know! “What it boils down to is that I’m a whole lot easier to get along with today than I ever have been in the past. Sobriety has really made me a much more tolerable person.” When asked if he enjoys fame, he considers the question. “When Jackass was on television, especially ‘the goldfish’, I remember being like nobody knew who I was. The next day after ‘the goldfish’ thing aired, literally overnight, I noticed a difference. I remember being at this spring break spot about ten years ago. It was my first

time being swarmed by thousands of people and everyone wanting pictures and it was so overwhelming. I finally made my way into this little VIP section of a bar and I was sitting down next to this gigantic professional wrestler, and I said ‘man, one more picture, one more autograph man, I’m gonna snap I can’t take it anymore’. And this guy looked at me and shook his head and said, ‘think about another day when nobody ever wants a picture or autograph’. And I thought about it. That shit would suck. I so desperately wanted it, it’s what I always wanted. I guess the lesson that you learn is to be careful what you wish for.” WHO: Steve-O WHAT: Jackass 3 DVD (Paramount) WHERE & WHEN:

Enmore Theatre (Sydney) Saturday 21 May, The Tivoli (Brisbane) Tuesday 24 May


MYSTERY MAN FOR OVER 15 YEARS, AMON TOBIN HAS BEEN BAMBOOZLING AUDIENCES ACROSS THE GLOBE. IN CELEBRATION OF PERPLEXING NEW ALBUM ISAM, MATT O’NEILL TRIED TO GET INSIDE THE HEAD OF ONE OF ELECTRONIC MUSIC’S TRUE VISIONARIES. t’s difficult to think of a musician who is st ill capable of utterly confounding their fanbase. While many performers across the world can st ill inspire credulity, there are very left few whose capacity is such that even their most discerning fans cannot so much as guess how their music is const ructed. Amon Tobin, however, can most certainly be counted among their number. At this point, he’s arguably one of their chief representatives. Originally celebrated for his pioneering fusion of jazz and drum‘n’bass on early albums like 1997’s Bricolage and 1998’s Permutation, Tobin has gradually become more and more engrossed in the ambiguous arts of processed sound and inst rument design. 2002’s Out from Out Where saw the producer combining edited guitar licks with heavily processed Bollywood samples while 2007’s Foley Room was a concentrated leap into the worlds of field recording and sound design. “It feels good to be a bit out of your depth, I think. I’m not necessarily comfortable there but I feel I’m a lot more product ive when I’m not just blatantly rehashing shit,” Tobin muses. “I guess I’m just trying to learn and trying to grow – trying to apply what I know to things I don’t know and hopefully comes out with something that, fi rst and foremost, holds my interest and, last ly, connects with some people out there too.” As his career has progressed, Tobin’s techniques have become increasingly experimental. His celebrated elect ro-acoust ic score for 2005 videogame Tom Clancy’s Splinter Cell involved synchronising a multitude of minuscule themes with a player’s individual movements while the aforementioned Foley Room was comprised almost exclusively of processed and resequenced found sounds – everything from motorcycle noise to the sounds of plankton. “I think everything’s kind of in context,” Tobin considers of his discography. “You know, some things that I did were very interest ing at the time to me and that’s why I did them. Of course, you listen to some of that st uff ten years later; some of it holds up, some of it doesn’t. A lot of it has to do with the interest of hearing something you haven’t heard before, but that doesn’t mean it’s going to hold that appeal after dozens of people have done it in the following years. “I guess, wherever you get to, you kind of have to travel there. You don’t just appear there, right?” the producer muses. “You know, you can step here and there and move from one place to another, carry some of it with you, leave behind some st uff – but there’s always a line you can trace through your work. Really, everything I’ve done has always been based on curiosity – and love for music, as well. Trying to satisfy curiosity and create something I’ll hopefully enjoy.” Isam, meanwhile, is easily Tobin’s most confounding work to date. Released last month, Tobin’s seventh solo album is a sprawling opus of fract ured sound design that baffles conventional understandings of both inst rumentation and recorded music. The producer spent over a year crafting the record – six months devoted to devising new inst ruments and software, six months spent figuring out how to use it. “I had to go back to school quite a bit to get to a point where I could do some of the things I wanted to try,” Tobin admits. “I had to learn how to synthesise some of the things I’d recorded to build inst ruments that I could play without the rest rict ions you would have with sampling. There are a lot of limitations with sampling and a lot of great things about sampling but what I wanted to try and look into was a real marriage of



synthesised sound and sounds I’d recorded. “You know, there are also multi-sampled inst ruments on the record – inst ruments where different notes and different velocities correspond to different sounds – but, for me, the most exciting thing was really synthesising sounds I’d recorded and trying to make the synthesised work sound as close to organic sound as I could,” the producer elaborates. “Those inst ruments let me go a lot further than I could with samples or any of my other tricks.” The mysterious nature of the record is compounded by Tobin’s work in the years between its release and that of Foley Room. After releasing what was his most sophisticated work in 2007, Tobin retreated from his solo career for a number of years – exploring rawer and more spontaneous output with his Monthly Joint series and delving into hip hop product ion with Joe ‘Doubleclick’ Chapman under the Two Fingers alias (their second album due this year). “That project was really about a love for what Timbaland and The Neptunes were doing and trying to incorporate things that were more UK-centric – st uff like drum‘n’bass,” Tobin explains. “I’m happy to go off on two tangents. The way it’s been going over the past couple of records is I’ve used my solo st uff as a real personal exploration of sound whereas Two Fingers is more devoted to satisfying my dancefloor cravings – and I’m perfect ly happy with that split.” One suspects, however, that Tobin’s dancefloororiented outlet has awarded him greater licence for myst ique within his own solo work. His plans for the live presentation of

Isam, for example, are simply beyond comprehension. Collaborating with design company V Squared, Tobin has developed a three-dimensional, holographic multimedia product ion of such ludicrous complexity as to ensure the producer will never make a profit out of presenting it. “It’s been in the works for about six months. No-one involved in it is going to be making any money off of it. The only mission is to break even,” the producer admits – somewhat bemused. “We just needed to come up with a way to present the record, really. You can’t DJ it, you can’t play it with a band. Th is was the only way we could do it.” WHO: Amon Tobin WHAT: Isam (Ninja Tune/Inertia)



IT’S OH SO QUIET wo solo MCs from Sydney have hacked one step further into new fields of live Aust ralian rap by cutting their music back to an unplugged session – just one MC and a travelling band making moves into the untrodden woods of folk band hip hop. Both Chance Waters (Phatchance) and Luke Girgis (Coptic Soldier) were rostered to Nurcha Records until the ship when down in 2009. Waters was part of the 2003 outfit Natural Causes and with over 70 live shows under their belt and their highly-regarded 2007 release, The Incidental Noise Demo, became the flagship act of the label. That same year Girgis joined Nurcha and released his debut mixtape False Start and 2008’s Nobody Give Raph a Guest Spot EP with Phatchance as well as the independent solo EP The Past Three Years before joining Waters to headline the national tour behind Chance’s 2009 Instains LP released as part of the I Forget, Sorry! Collect ive. Then Girgis teamed up with Sydney songbird Miriam Waks and released his debut EP The Sound of Wings, the fourth release from I Forget, Sorry!. These jumped-up new jacks have thrown away the template on product ion – no chunking records onto MPC for one-button outputs and on-stage MC/DJ routines. On the eve of Mind Over Matter receiving top critique for their inst rumental approach to their 2011 Just Like Fireworks LP, two more from the forgetful lot are back to re-issue their work through the gift and guidance of John Reichardt, the same multi-talented musical influence who shaped the rock-energised MOM LP to produces. “John would have to be a huge blessing for us,” admits Girgis , who met the one-man band John Reichardt working at a youth refuge. “I had him work with me on The Sound Of Wings 1 EP and I felt that in one day he made that thing ten times better.


“As Mind Over Matter are leaning towards making a more elect ro-rock album, Chance and I are moving towards the acoust ic way and it just so happens that John can do anything,” Girgis laughs. “I haven’t done anything more enjoyable in music than working with John on the acoust ic album and it’s influenced the way I may do all my music.” “Both of us really like acoust ic music,” Waters says, opening up on how the seed was sowed on going the unplugged route to deliver their hip hop. “Luke had already dabbled in basic acoust ic st uff. He made a track with John Reichardt and I wanted to build on that idea and do a full EP. I had already played around with it and wasn’t happy with the results. So we sat down together and sorted out how to do the project properly and we brought in inst rumentalists,


started rigging it up and we approached it like we wanted to do it in a more complex way and nobody else had done the acoust ic thing before. “We can really mark new territory, no-one had really developed any recordings of an acoust ic rap so it really was new grounds for us,” Waters declares. “And the general approach to acoust ic hip hop, as far as I’ve heard, is to have a guitarist, a singer and play a song that’s been written from the start on the one kind of st ruct ure and there you have the classic MTV Live album. We really wanted to approach it like we’re making live music and given the emergence of the new age folk theme, I thought there was really a market for folk product ion and people responded well to it really well which is what we had hoped for. “We’ve all got a very st rong desire to show that we are worth people’s time,” Waters stamps affi rmatively about the I Forget, Sorry! Movement into these brave and unchallenged corners of genre fusion. “We’re not a traditional record label and we wanna prove that we are all interest ing artists of our own merit and we’re willing to go the extra yard to put on an entertaining show.” Th rough June and July the pair will take to the road with Reichardt and the acoust ic band to play Inkstains and The Sound Of Wings on four nights out – only this time it may feel like a cosy night in with two masterful lyricists who can turn the house lights down and serenade the audience unlike any MCs have done before on the boldly-named Hey, Where’s Your DJ? Tour. Th is was a change of environment and something these resilient MCs had to adapt to quickly as Waters explains. “It’s been a learning curve act ually. Performing acoustically is a whole different ballgame when it’s live,” Waters explains. “Coptic loves to jump around on-stage and we love to bring as much energy as we can but sometimes in the acoust ic tracks it’s better to let the band kinda ride out.” “We did a three night residency EP launch with Charlie Mayfair,” Girgis recalls of a lesson learned on the job. “The fi rst night we were jumping around – although the performance was different – we were st ill in the mind frame that we were performing at a hip hop show and I think by the third residency we found our groove and how we should be delivering the music with the band and we realised that we’re not necessarily Drapht anymore!” WHO: Phatchance & Coptic Soldier WHAT: Inkstains (Acoustic) / The Sound Of Wings 2 (I Forget, Sorry!) WHERE & WHEN: Byron Bay Brewery Saturday 4 June, X & Y Bar (Brisbane) Sunday 5 June, Empress Hotel (Melbourne) Saturday 25 June, Oxford Art Factory (Sydney) Saturday 2 July




frica Hitech is comprised of the product ion duo of Steve Spacek and Mark Pritchard who, separately, have been behind some of underground EDM’s biggest records of the past ten to 15 years. Spacek’s voice is often compared to a modern day Marvin Gaye whilst Pritchard has proved a deft hand at product ion in the ambient, techno, house, nu-jazz and beat scenes with projects like Troubleman, Global Communication and Harmonic 313. Together, the two are taking on their current big love: UK bass music. The debut album 93 Million Miles follows two EPs, the grimey-garage of Blen and the acid-soul of How Does It Make You Feel? (the lead track from the Hi-Techerous EP), yet the long-player follows a different path to its predecessors, allowing listeners in to the full spect rum of Africa Hitech’s influences. Most notably, the duo expose the ‘footwork’ genre early in on the album with the single Out In The Streets. “The sound came from booty music,” Pritchard explains. “It then turned in to juke and the juke st uff has different vibes, more of an elect roey rhythm. The claps and kicks are more in elect ro patterns but st ill with the heritage of Chicago house music, you know, with like snippet vocals,” he continues. “When it turned in to footwork – I’m not sure when, it might be the last couple of years – the rhythms switched and had a more African feel.” It’s the perfect fit for Pritchard, who as a DJ moves seamlessly through these sort of syncopated dance st yles. “It’s the rhythms (of footwork), that remind me of grime, drum‘n’bass and early rave music. When I heard that I was blown away,” he says. “It was



the most crazy sounding dance music genre I had heard in a long time. And that it has come out of America… you think of the roots of dance music in Chicago and Detroit, the drum patterns aren’t st raight up, parts of the rhythm are syncopated.” However, Pritchard is more enthused by the UK’s rendition of juke. “If you look through the last 20 years, the UK, for me, has had more of an influence past ‘93, apart from hip hop. I haven’t been as drawn to American dance music for the last 10-12 years but footwork is there and it fits in with what I play out, from dancehall or dubstep or whatever.” With the newest offspring of dance music since dubstep only now finding its feet, Pritchard finds himself fielding quest ions from journalists keen to know about the emerging st yle. Do overseas journalists have the scoop over Aust ralian journalists? “It’s pretty similar. I have found in Aust ralia that a lot of this music, the music I play out, is from the UK and people think the UK people are more on it. If you take dubstep that’s come out Croydon, at the time people weren’t paying much attention. In Aust ralia, the Garage Pressure guys that were doing their radio show since 2000, they were playing the tougher end of garage and a lot of the original dubstep guys have been sending them their music for ages, like when Kode9 came out here in 2003.” Pritchard goes back to 2004 when what he calls the fi rst wave of dubstep happened across the world. “I remember at that time, I was playing it and in London you would go to (Rinse FM promoted club night) FWD and it’s the only place that people are playing it, so I’d then go to Amsterdam and no one was playing dubstep,”

he says. “So, Aust ralia is as ‘on it’ as other places. I wondered how it was going to go down out here but it’s a similar thing in Europe. It took a while for people to get their heads around it but the energy of the music carried people.” In amongst the business of the footwork rhythms, the sampled vocals of Ini Kamoze and Sun Ra, there’s not much room for Steve Spacek’s vocals to shine through. Used sparingly, one could call it a wasted opportunity, however, there was a time during the course of recording the album that as tracks amassed, the decision to showcase Spacek’s product ion prowess over his voice became a more clear decision. “Subconsciously it’s led to that,” Spacek says at a rapid-fi re rate. “I have sung on so many things like Spacek, my own st uff (as Steve Spacek), Space Invadas and that’s kind of taken over, Steve Spacek the singer, you know? They speak about the project I’ve worked on and they speak about the other guy as the producer when nine times out of ten it’s my product ion, with the exception of Space Invadas which is not necessarily the kind of music I would make myself but the music I would definitely sing on.” Suggest ing that there’s a lot more to come, the two allude to a general balance that they st rived for in making a well-rounded album that could be listened to in clubs, in a car or at home. “They have their own life,” describes Steve of the process of making albums. “Singles are more geared to clubs, it’s why we included more listening tracks, to hopefully make it more interest ing for people.” WHO: Africa Hitech WHAT: 93 Million Miles (Warp/Inertia)

THE SURFACE OF THINGS HOT CHIP, THIS HEAT, SPIRITUALIZED AND A JAZZ LEGEND WALK INTO ABBEY ROAD. THEY STAY FOR A DAY TO RECORD 14 TRACKS. ABOUT GROUP DRUMMER CHARLES HAYWARD GIVES CARLIN BEATTIE THE PUNCH LINE. merging in 2009 as a so-called side project, About Group is the collaboration of Hot Chip frontman Alexis Taylor, Charles Hayward (drummer for 1970s experimental punk band Th is Heat), John Coxon (of Spring Heel Jack and Spiritualized) and veteran jazz musician Pat Thomas. Connect ing the past with the present, Charles Hayward takes a retrospect ive spin through time, explaining his relationship with the group’s upcoming second album, Start And Complete. “I’ve just been asked by a cassette company to release something. So this is what I’ve done,” Hayward opens. “I’ve gone back to something I made in the summer of 1975. I’ve been editing and cleaning it up and am just about to finish that off. It’s called Objects Of Desire. I didn’t have much technology then. I had a drum kit, a few cassette machines and a reel-toreel tape recorder to make about an hour’s worth of music. I made that over the period of about four weeks in my parents’ house while they were away on holidays. “The release is quite interest ing for me,” he continues. “I’m nearly 60 and when I made the music I was twenty-four – so it’s like an old guy’s talking to a younger guy, saying ‘you don’t want to put that out – but you can put that out’.” Immediately, a parallel is drawn between Hayward’s subconscious battle and his st udio relationship with Alexis Taylor. The musician laughs hysterically at the notion. “Yes, to a certain extent I suspect there are similarities there,” he manages to cry out. “But they’re not for me to talk about in quite the same way. I’m not the young man and the old man – I’m just the old one. Alexis is a very intelligent, very happening guy. He makes his own decisions about the world and I look at him and think, ‘Well, there’s an advantage to being younger’… You’re brought into the planet at a time when the world was more like it is now, so you can take what’s happening now much more easily than other people can. It’s an interest ing situation. I’m finding I’m learning a lot.” Now performing fest ivals and gallery exhibits, Hayward goes on to clarify his intent within the band. “We’ve act ually written into the deal that we don’t do the same songs the same way each time. That’s going to become quite an interest ing thing for an audience confronted with hearing the songs they know, but witnessing them come out sounding different.


They’ve been trained over past 50 years in the recording medium to expect to hear a record as what they hear in performance – and that’s not going to happen. In a way, a lot of the live mainst ream music is about st imulating the audience’s memory. I’m quite interested in st imulating the audience’s intelligence.” Having recorded the album in a single day at Abbey Road Studios, Hayward discusses the importance of the self-imposed rest rict ions the group put on themselves. “Improvisation is a big part of the whole process we use. I wanted to try and make it so that we came to each song as if it was just another part of improvisation. Alexis gave us copies of the songs, with him playing them on the piano and st uff, but to be quite honest, I didn’t listen to them until the night before we went into the st udio. I listened to them once and then I went to bed. That was quite deliberate. I wanted to let my mind, or my subconscious do the work. For me, you can rehearse for six months, four times a week for five hours a day, or you can do the opposite and not rehearse at all… The in between bits of rehearsing really just make the music normal.” So what is normal to Charles Hayward? “Normal for me is music that doesn’t act ually challenge in one way or another,” he responds. “It doesn’t move things along socially. What I like about this record we’ve just made is that it disrupts the surface of this mainst ream gloss. For example, we were on the radio the other day… [BBC] Radio 2 – it’s pretty st raight. It was like a Saturday afternoon and people would be out driving in their cars when the music comes on. They played some Mercury Rev and some Arct ic Monkeys maybe, then we came on and played improvised versions of our songs. As far as I could hear, this disrupted the surface. “I’m quite interested in disrupting the surface, because it’s so smooth that you don’t even notice it anymore. It’s just a continuum that washes past. If our music can start to make it come out a bit fragmented, then people are suddenly aware of the fact that they’re watching this thing that’s being pumped at them all the time. I want our thing to be a bit of a bumpy road.” While his ambition remains resolute, Hayward admits to feeling a degree of confl ict in releasing Start And Complete – and it goes back to the very beginning. “Th is project’s going to be quite interest ing,” he states. “I’ve done this sort of thing loads of times, recording Quiet Sun and working on Th is Heat, but never under the big umbrella of promotion and everything that this record’s got. I see ‘the surface’ as coming from power and money. It’s wanting to maintain an idea that everything’s fi ne; to keep on buying and keep on selling. It can make things too comfortable and is often not on the side of the truth. At the moment I’d call myself as being on the other side. I’m learning a lot from it… I’m not compromising the music, while doing it. Just learning a lot from it.” WHO: About Group WHAT: Start & Complete (Domino/EMI)


UNDER SIEGE? JOSEPH “VENTS” LARNDER IS STEPPING OUT OF THE SHADOW OF HIS ADELAIDE HIP HOP BRETHREN WITH SECOND ALBUM MARKED FOR DEATH. HE DISCUSSES HIS UNBREAKABLE TIES WITH PRODUCER TRIALS, HIS FIGHT AGAINST WORK AND ALIGNING THE NAMES OF HIS ALBUMS WITH STEVEN SEAGAL FLICKS WITH RIP NICHOLSON. was coming to the end of the first album and we didn’t have a title for it and you spent so long on this thing that anything you call it, won’t be good enough,” Joseph Larnder – better known as Trials – recalls. “I remember having Foxtel on and I was watching a Seagal fi lm and I thought, cool name. And same with this one, I thought I’ll call it Marked For Death after his next one. So the next one could be Out For Justice.” The second album from the Adelaide-based MC has been on the cards for several years. His fi rst exposure on Funkoars’ 2003 LP eventually led to Obese Records releasing his debut LP Hard To Kill in 2007, placing Larnder in high regards for his lyrical waxing of social politics over the certified beats of Funkoars’ Trials. Four years later and Marked For Death has roll edout, but Larnder believes his relevance across the scene has lapsed. “Well I’m starting to realise that I’m starting again with a blank slate. You’re only as good as your last album. I really should have had it out in ‘09 but due to whatever reasons it didn’t happen,” Larnder admits. “I just stay doing what I’m good at doing. How do you stay relevant? Marketing departments I guess, I just make tunes man.” Since the drop of Hard To Kill, Larnder had said in an interview that he didn’t even know if he’d st ill be a recording artist in five years time and it wasn’t a full-time aspiration for the on-off MC. “At the time I probably wasn’t gonna make another album you know? It just wasn’t a priority at all, for years, so I wasn’t lying. But I’ve come to realise, when you look around there are a lot of dudes that have been given the shot and are making a living, or at least not working and doing what I do but – forgive my arrogance – don’t have the talent that I do. I’ve got a really good deal on the table, and all I can think is, ‘What are you doing dude, what are you fucking around for? Just do it, you’re probably going to regret it one day if you don’t do it’.”



Larnder has a home for his recordings on the Golden Era roster and successfully avoided the 360 deal that record labels are pushing on artists, meaning he won’t forfeit a cut on live shows and merchandise. And for Larnder every cent counts when you’re staving off finding a 9-5 job. “I don’t mind working per se, I just don’t like work,” Larnder stresses. “So if the option is there, I’d much rather be doing work I enjoy doing for me, working with friends. There is nothing to say that any kind of creative or product ive work can’t be fulfi lling, it can come down to your relationship with the boss and those you work with. What makes us think that what we do is any more special than the bloke who cleans the toilet, makes a table or restores furniture, you know? We’re in a privileged position in that we are able to produce creatively and have some ownership or

connection to that. That’s why the artist is held in such a cherished position.” Under the mentorship of Trials and both of the biggest alpha acts to come out of Aust ralian hip hop Vents made the jump from Obese to Golden Era, simply by keeping in step with his benefactors from hometown Adelaide. Except for the change of letterheads on the paperwork, the Hilltop Hoods’ new record label keeps business local and hands-on from the raw ingredients to the finished product. “We’ve got an office which is just around the corner form the recording st udio and Debris lives two minutes away from me, I did my washing at his house last night. It’s more than just a change of letterheads. With the Obese [signing] I really went there because the Hoods and Funkoars were there. “When I met these guys there was no opportunity to have a real crack at this, so I’m really happy that they took me under their wing and now I’ve got my opportunity again through Golden Era [records]. I’m happy that we’ve finally got a base in hometown Adelaide. It just feels like a family you know. We’ve known each other for ten years so it’s only natural that we make music and we’re friends,” Larnder confides. But without the dynamo of Trials suiting up

the sounds of a Vents record, he admits that his tenure as an MC would come to a stop. “I credit [Trials] with getting me into writing. I don’t think I’d be doing it if I hadn’t met him. So it was more of a hang-out-have-fun and a laugh, Trials is hilarious to be around and his beats are so prolific – he doesn’t make a wack beat. I think if he bailed out tomorrow from this whole thing I think I’d probably do the same. I don’t really know how to make music with anyone else.” WHO: Vents WHAT: Marked For Death (Golden Age/ Universal)



SYRENEYISCREAMY WHERE AND WHEN WAS YOUR FIRST PERFORMANCE? “Unofficially – probably in a church, at a wedding or a funeral when I was a sprout. Officially – in Aust ralia, according to APRA’s LPR (ha) it was August 2003, at this divey little venue called 161 in Prahran (I think it st ill exists).” WHAT ARE YOUR ALL-TIME FAVOURITE SONGS? “Too hard. Anything by Digable Planets, Róisín Murphy, The Coasters, Camille, D’Angelo, Esperanza Spalding, Antony & The Johnsons, The Roots, Mariza. I’ll also just tell you, the tracks that get a floggin’ on my iPod are producer beats from my peers. Jsmith & the Dutch, ABLE, JPS & Fugitive, Mikekay, Damn Moroda among a crap load more of Aust ralian producers rockin’ my



world.” WHAT IS YOUR DREAM COLLABORATION? “Locally I’ve collaborated with nearly everyone I’ve wanted too. Abroad vocally, definitely wanna tick some Kiwi boxes with Mara TK from Elect ric Wire Hust le and Flight Of The Conchords. James Blake would be lovely too. Producer collabos 1000names, Quantic & The Roots.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “They st ill don’t know what I do.” WHAT DOES THE LOCAL MUSIC SCENE NEED MOST? “Indust ry development. Strategies to sustain artists. Venues, promoters and bookers can start by paying us more. Radio and TV can

start by playing more Aust ralian music, using their initiative to increase the content quota. Artists need to support each other more. More love, less hate.” FAVORITE VENUE TO PLAY? “For the sound, The Toff In Town.” WHAT’S YOUR BEST ALL TIME GIG? “For my best gigs, any of the Oz Soul Collect ive Showcases and any spontaneous st reet cyphers I have with my girls. For someone elses gigs, Janet Jackson’s Velvet Rope Tour and anything The Operatives put on.” WHAT GIGS HAVE YOU GOT COMING UP? “No Era at Miss Libertine Wednesday 1 June.” PHOTO BY KANE HIBBERD



Can MIA quell the hype backlash by re-entering the musical foray through a side door (where fancy fries aren’t sold)? Check her collab on SebastiAn’s Chill The Fuck Out on SoundCloud now. There’s a message in there, we think.


Angry Boys made ABC not-angry as it toppled all bar MasterChef last week. The not-happy boys were over at Nine where the Molloy/ McGuire boganfest Between The Lines fizzled. Shoulda got Stefanovic to host...


Malaysian electopoppet Ze! dropped Shampoo’s 90s pop classic Trouble during her Melbourne set on Saturday. Then somehow her tour partner Tomás Ford ended up being st raddled by a fan on the dancefloor mid-set. Uh oh!



The Herald Sun was finger-wagging the youth of today when teens were caught drunk hooning in the inner city on the weekend. Really, they should be thankful they weren’t planking and driving.


It was a lacklust re Eurovison this year with Jedward’s hair the most upstanding highlight of tack. But at least next year it’s to be hosted by a country folk st ruggle to find on a map... Where it belongs.


Freshly axed former Friends actor Matthew Perry went back into rehab, saying: “Enjoy making fun of me on the World Wide Web.” No Matthew, that’s an honour reserved for famous people.


Trance superstar DJ Shogun is set to deliver a massive four hour headline set featuring UK vocalist Emma Lock. Th is is set to be their fi rst live performance together, showcasing their chart topping tunes. Shogun was responsible for hit anthems Save Me, Imprisoned and Run To My Rescue, and recently played at the Acer Arena along side superst ars of trance Armin van Buuren and Menno de Jong. He plays Room 680 on Friday 27 May, from 10pm, supported by Steve May, Jodan De Graaf, Chrissie Ferrer and JVD. Tix $30 + bf on Moshtix.


Balance Music’s latest release (via John Digweed’s Bedrock) is Guy J’s latest album, 1000 Words. Celebrate the much anticipated release by heading to its launch party, with live performances by Guy J, Lister Cooray, Jon Beta, Rollin Connect ion, Nikko, Alam and Shane Cooray. It’s happening at Roxanne Parlour, Friday 10 June, from 10pm. Early bird tix $15 through Moshtix.


The House deFrost celebrates its third birthday in a few weeks time, and they’re keen to celebrate a legacy that boasts over 780 hours of music. Heading the night are disco boys Horse Meat Disco and cosmic pioneer Daniele Baldelli. It’s happening at The Toff on Saturday 4 June, from 11:30pm. Tickets $35 + bf through Moshtix.


GB3, the collaborative musical project from Underground Lovers’ Glenn Bennie, are set to launch their latest single How Do You Glow? with a performance at The East Brunswick Club. Th is will be second-ever Melbourne show by the current line up, which features The Church’s Steve Kilbey and Philippa Nihill on vocals. Bennie is working on a new Underground Lovers recording, and planning a national tour for later this year. The single launches Friday 10 June, tix $16 +bf from


Get ready for one of the long weekend’s biggest parties. Happening Sunday 12 June at Billboard, Winter Break! is headed by elect ro house DJ/producer duo the Stafford Brothers. Having recently starred in their own FOXTEL TV series, the group are sure to raise the roof. They are sub-headlined by ARIA chart topping beat maker Tom Piper. Supports include Andy Murphy, Chardy, Ross Horkings, Stevie Mink, Adam Bartas and Bianca White.



Fresh from touring with Santana and releasing their new EP, 1000% Guapo, Watussi are returning to Melbourne for one show only. The group’s distorted riffs and funked up percussive rhythms have made them one of the country’s most popular life bands. Watussi play The East Brunswick Club on Sunday 22 May, supported by Labjacd and Cumbia Cosmonauts. Tickets $12 +bf through the venue.


Iconic Gold Coast group Tijuana Cartel are heading back our way. Famous for multilayered grooves, slide and flamenco guitar, trumpet and funky Afro-Cuban percussian, all wrapped in a layer of hardened elect ronica, the Tijuana Cartel will give you back the bounce. They play The East Brunswick Club on Friday 15 July, at 8:30pm. Tickets on sale from


3things, an initiative of Oxfam Aust ralia, is back to bring some of the country’s best rappers, beat makers, VJs and graphic artists for a hip hop event with a social conscience. The Hip Hop Approach will feature Aust ralian acts talking about their opinions and solutions to global poverty and injust ice. Presented by Street Press Aust ralia, the Melbourne line-up includes The Tongue, Thundamentals, Joelist ics and DJ Wasabi. It’s happening at Prince Bandroom Thursday 7 July, entry $5 on the door with proceeds going to Oxfam. THE TONGUE


3DPRESENTS SHOCKING STUFF London Elektricity have returned to the scene with their latest album. Yikes! is brimming with beautiful vocals, intriguing inst rumentals and rich compositions. The album features the tender vocals of Sweden’s Elsa Esmerelda, with tracks bounding from soaring synths to downtempo experiments. London Elektricity mastermind Tony Colman is revered as one of the biggest names in d‘n’b and is one of the leaders in the UK scene – you can catch him in DJ mode at The Prince on Monday 31 October.



Former writers for The 7pm Project, Aleisha McCormack and Daniel Burt are gearing up to present live comedy show He Says/She Says. An hour of words delivered from mouths, the show covers everything from cryptic Christmas letters to repressed school memories. The two talented writers have performed in the Melbourne International Comedy Fest ival, and are soon to become household names. The show plays The Butterfly Club, Thursday 19 to Saturday 21 May, tickets through


Veteran producer Jamie Stevens has released his fi rst solo EP, after 15 years on the professional circuit. Stevens has thrown blood, sweat and tears into the long-awaited project, with the beatmaker focusing on writing originals after producing hundreds of outstanding remixes. The Fate Of The Modern Architect EP, out through local imprint Chameleon has received support from the likes of Hawtin, Bodzin and Catteneo. You’ll no doubt hear some of it when he plays his debut live solo set at Revolver Sunday 12 June.

stores Friday 10 June. The group will be touring in support of the album, playing a bass heavy show at Bar Open on Friday 8 July, supported by Voodoo Dred. Entry is free.


Mad Men star Bryan Batt is heading our way to perform his acclaimed cabaret show, Batt On A Hot Tin Roof. The show is a comic and moving musical journey that leads the audience through Batt’s eventful Louisiana childhood, dominated by his st rong willed ‘Southern Belle’ mouther. Musical numbers range from Cole Porter classics to modern comedy tunes, which are interwoven with hilarious and poignant monologues. It plays Palms at Crown on Saturday 25 June.


MAY PEGZ – Thursday 19, Kay St PEGZ – Friday 20, The Hi-Fi WAX MUSEUM RECORDS JAM: 2 KOOL TONY, DIZZ 1, 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 3THINGS’ HIP HOP APPROACH: KWEEN G, VJ SPOOK, THE TONGUE, THUNDAMENTALS, JOELISTICS (TZU), DJ WASABI – Thursday 7, Prince Bandroom MIAMI HORROR – Saturday 9, The Forum


Melbourne based group Mountain Static are set to release their new album, Research, out Friday 27 May. Fronted by Simon Gibbs, the project was born out of instrumental experimentation and a passion for melody. As Mountain Static Gibbs creates songs that are driven by emotion, and draws from folk art and sacred music. Mountain Static plays Community Church of St Mark, Clifton Hill, on Saturday 23 June. Support acts to be announced.


New Dub City Sound are set to release their debut album Home. The LP is a dynamic mash up of dub, reggae, hop hop and trip hop. Full of dub echoes and delays and a Joe Strummeresque vocal track, the album will be available in




Fresh off supporting Boy & Bear on their sold out national tour, crusaders of forest rock Jinja Safari are set to embark on their Mermaids & Other Sirens Tour. The Sydney group have quickly earned a reputation for explosive live shows, and received a SMAC award in 2010 for Best Live Band. The group will be supported by Melbourne four-piece Husky. See them when they play The Corner on Saturday 23 July, tix through the venue.


OGFLAVAS Urban news with CYCLONE


We don’t get it. Why is Wiz Khalifa, real name Cameron Thomaz, being hailed as Pittsburgh’s Snoop Dogg? Thomaz is the fi rst big rapper from the rust belt city, but he lacks the charisma (and gangsta menace) of Snoop – or at least young Snoop. The underdog Thomaz dropped an album, Show And Prove, independently in 2006. He signed to Warner and enjoyed a hit with Say Yeah, sampling the Eurodance group Alice Deejay. Yet Warner took so long to issue an album, he walked. Thomaz then released another indie LP... Now, in a st range twist, he’s back at Warner. As with Lil Wayne, Thomaz has devalued himself by endlessly disseminating mixtapes, although 2010’s Kush & Orange Juice reestablished his career. At any rate, following a US #1 single, Black And Yellow, he’s finally presented his major label debut, Rolling Papers. The marijuana-themed artwork (chronic kitsch?) resembles a Cypress Hill sleeve. Hmm... Helmed by Stargate, Black And Yellow, a novelty record Stateside because of its football reference, is, like Roll Up, atypical of Rolling Papers. Th is dude doesn’t really do anthems: he’s into tuneful stoner hip hop. In fact, Thomaz, who’s developed a laidback sing-rap st yle, is fi rmly on the illwave tip. But he’s a bit Chingy to Drake’s Nelly. And he ain’t as avant-garde as Kid Cudi. Rolling Papers is all a little tedious. Thomaz’s lyrics, too, are clichéd. Aside from Stargate, the other heavyweight sonic franchiser involved is the hyper-pop Benny Blanco (Katy Perry). It’s a pity that Thomaz didn’t work with Pittsburgh rebel Girl Talk! Sadly, the album’s better beats, from obscure producers, are wasted. The Race, courtesy of Pittsburgh’s E Dan & Big Jerm, is Balearic house, transcending even PM Dawn’s bliss-hop (Kanye West would dig it!). Rooftops sounds like William Orbit’s elevator-isation of Swan Lake. But Top Floor might be an outtake from Bone Thugs-N-Harmony’s E. 1999 Eternal of 1995. Towards the end, Thomaz pulls out the weird alt-rock jam Fly Solo. Th ink: Lupe Fiasco via Akon. By way of an insurance policy, Drake st uffed Thank Me Later with guests (and he’s reportedly roped in Florence Welch for his next), but Thomaz has kept these to a minimum – illadvisedly. Snoop was supposed to appear, but instead the flossiest cameo is Too $hort on the “buzz track” On My Level – ordinary Southern G-funk. Still, Thomaz seems content with everything: he’s dating Ye’s ex, Amber Rose.

A FORCE FOR CHANGE imon Shackleton is a difficult man to pigeonhole. Ostensibly, his various aliases (Elite Force and Zodiac Cartel being the most celebrated names) cover various aspects of breaks, elect ro, house and techno but the past ten years have seen matters become complicated further by Shackleton’s relationship with developing vocabularies like warehouse and tech-funk. “From my point of view, I just enjoy the unexpected. I just enjoy seeing people’s faces when they realise they’re dancing to something they usually wouldn’t,” the producer and DJ explains. “There aren’t that many aliases anymore. The only really act ive ones are Elite Force and Zodiac Cartel. Zodiac Cartel just allowed me to push some elect ro sounds I couldn’t really do with Elite Force.” Shackleton has act ually been at the heart of both movements. His Elite Force moniker was one of the three key names associated with the rise of tech-funk in the mid-to-late noughties (the others being Lee Coombs and Meat Katie) while, when British dance magazine iDJ coined the ‘warehouse’ term in 2009, Shackleton’s Zodiac Cartel project was one of the fi rst acts to start using it. “Tech-funk was only ever really a term of convenience. It wasn’t so much a production sound, it was more to do with our DJ sets. If anything, it was a way of communicating to audiences that we wouldn’t be doing just one thing,” Shackleton explains. “You know, we weren’t breaks DJs doing just breaks sets. It was about trying to distance ourselves from purists and purism. “Ultimately, it was just a name that was tagged onto what we were doing. It certainly wasn’t a movement,” the producer elaborates. “Warehouse is exact ly the same thing. It’s a catch-all term. It’s something that iDJ have been using to account for a pretty broad array of sounds. At the moment, it just seems to fit what I’m doing.” Elite Force’s 2010 album Re:Vamped, meanwhile, introduced a new term to the brawl. Highly successful (it saw Shackleton become the fi rst artist to occupy chart positions #1-#12 in Beatport’s history), the record’s collagist nature – comprised of various edits and composites of preexist ing material – act ually found Shackleton positioned as a mash-up DJ. “Yeah, that’s an interest ing one,” the DJ muses. “I can see why, st retching the definition a bit, you could attribute that to my work. There are a lot of re-works and edits and Re:Vamped was basically an album of mashups – but I think the term ‘mash-up’ has been defined by people just shoehorning tracks together that shouldn’t belong together. It’s not a


term I’d be that comfortable with.” The irony being that none of the titles even begin to cover the range of work Shackleton has been involved with – from working with Thom Yorke in his fi rst band and Prodigyst yle crossover work with Lunatic Calm to running his U&A label and scoring videogames like Motorstorm: Apocalypse with composer Klaus Badelt (the fruits of which will be released later this month as Shockland). “I think there’s probably something that does unite it all, though,” Shackleton muses of his various projects. “Even if it’s a very tech-sounding track, I’ll always try to give things a certain musicality.” MATT O’NEILL

WHO: Elite Force WHERE & WHEN: Chinese Laundry (Sydney) Friday 20 May,

Brown Alley (Melbourne) Friday 3 June


DIFFERENT DRUM oung folk today aren’t st ruck by the same limitations as the generations of DJs and producers before them. Not all that long ago a DJ wore their one genre of choice with honour, often sneering in disdain at other music st yles. Producers who enjoyed creating different genres of music would release them under different guises so as not to confuse their fans. Of the new breed, one came out of nowhere in 2010 with some cracking releases on Hessle Audio, Phonica and more. Leeds based Harry Agius, going by the patriotic moniker Midland, is not interested in creating music that fits neatly into a ‘techno’ or ‘house’ labeled box. Originally from a drum‘n’bass background, the newbie’s product ions span house, techno, dubstep, garage, glitch and more – often in the same EP, or even laced within the same track. “I think I just got a little bit tired of drum‘n’bass. Mainly because it exists quite far out on its own. There’s nothing next door to drum‘n’bass, tempo-wise,” Agius offers in his slow, deliberate midlands accent. “Whereas with house and techno, and all this new unidentifiable st uff that’s been emerging recently, it’s all very close. I know quite a lot of people that have the same type of feeling with it. I always wanted to play a bit of everything and you just don’t get that when you banging around with drum‘n’bass.”


Agius’ deep and warm DJ sets are renowned for being const ructed completely of his Midland original product ions, remixes and edits. Northern bass and future step are a couple of labels thrown his way, in large part due to the interest ing drum patterns he employs.

“The main thing is when I sit down and try to write a tune, especially when you start with the drums, there’s always that aim to try and inject something a little bit different. There’s an awful lot of, you know, there’s so many people producing music these days because of the digital age. You just find quite a lot of the st uff sounds similar. As a result you can get over other people making pumping tech house. I suppose it’s more about just trying to do something different, it might just be switching the kick pattern around. It doesn’t even have to be re-inventing the wheel, it’s just trying little tricks and st uff to make it more interest ing for the people that are playing and listening to it.” Rather than look to veterans of the scene for inspiration, Agius has looked to his contemporaries as his yardst ick. He counts the likes of Ramadanman, Pangaea and Ben UFO as close friends. “There’s a few producers recently whose drum programming have just been absolutely next level. Someone like Blawan who’s had a couple of releases out on Hessle and R&S Audio. Another Guy called Joe who’s on Hessle Audio. These guys are act ually drummers who produce dance music. You just listen to their drum programming and you just think ‘wow’. It makes you want to stop being so lazy and put in more effort.” The self-effacing Brit is as surprised as anyone with his early level of success. “I always find it a little bit surprising when people are asking me to play in their country. It’s a big honour and it takes a lot of organisation and financial investment. If you’d said to me last year about this time that within a year you’d be going to Aust ralia and playing gigs with James Zabiela, I probably would’ve laughed in your face.” RUSS MACUMBER

WHO: Midland WHERE & WHEN: Brown Alley (Melbourne) Friday 20 May, Chinese Laundry (Sydney) Saturday 21 May




Aaah, considering that the weather has descended quite rapidly it’s time to feed our bodies something appropriate. Hows about some hearty broth, DJ Soup st yled? After a lengthy hiatus the tall one has returned with his re-awoken label by his side – yes, Creative Vibes reborn with their signature signee for a new five track EP Ubersoup. Gone are the obligatory sampled breaks ‘n’ beats and in comes a more synthetic input. Though the keyboards might appear, Soup’s quirkiness will not let his record collect ion go untouched, so expect a few helpful and off the wall samples to propel the tracks. Soup doesn’t st ruggle to be anything but extraordinary and so too his music illust rates. Sydney soul/jazz singst ress Eveyln Duprai lends her vocals to a couple of tracks, with even Soup’s old mate MC Teop from the Fonkee Knowmaads drops a verse. Other vocalists include the slightly wacky Holly Aust in and one Damian Millar who sounds more like an American stage actor than anything else. Whatever is going on it all makes perfect sense, even the cover of Alison Moyet’s 80s tune Midnight. Not sure how well five-track CDs do these days, I just hope there’s a new full length in the works. It almost sounds like Architect ure In Helsinki fell in love with Pizzicato 5, but married Boca45 and then had an affair with the new RJD2... The Brooklyn based Wonderwheel Recordings artist and Turntables On The Hudson DJ Nickodemus drops a new 7-inch with Sadat X called New York Minute. It also features verses from Rabbi Darkside, Illspokinn and Real Live Talk – the latter also getting the fl ipside Gimme The Music all to himself. Nickodemus is probably more well known for creating beats that incorporate with influences from Africa, the Middle East, the Balkans and South America. Though he has worked with the trio Real Live Show he has act ually not created st raight-up hip hop quite like this. One of my all time favourite beatmakers is... er, Maker. And it’s with great delight to read that June signals the release of the spilt album Falcon By Design with Joe Beats on the other side. Limited edition red vinyl from Fieldwerk Recordings. I love the Maker’s music because he loves the sampled breaks and always comes dust y with his tracks, as does Joey...

ELECTRO EXPLORATIONS ydney raised Lachlan Nicolson is on the brink of bright but uncharted territory. The 25-year-old elect ro producer and singer, who recently unleashed his Pluto Jonze EP, is gearing up to take his exciting elixir of other-worldly pop on the road for an East Coast tour this month. Laced with samples, sequenced elect ronic lines and lush vocals, Nicolson’s music as Pluto Jonze has been described as “what the 60s would’ve sounded like on another planet”. Growing up in Redfern, Nicolson’s imagination was sparked from a young age by the big pop st ylings of Bowie, The Beatles and Beck. “I’ve been writing songs and producing as Pluto Jonze for about a year and a half but nothing happened in isolation,” he explains. “I’ve been playing music forever, writings songs and playing on the acoust ic guitar. “My dad is a former producer so he had his home recording st udio a few doors down from my room, so I was always mucking around in the st udio and I think that’s what got me hooked. I was a Beatles fanatic pretty much from about 10 or 11 and I don’t think I have really grown out of it... I’m st ill really into pop at heart.” Creating music that is unique and purposeful seems to be at the core of what motivates Nicolson artist ically. “The last album that really sort of blew me away was the Golden Silvers’ debut album,” he muses. “I think their aest hetic is really great, they are songs that are saying really something and painting a pict ure. Maybe it’s a bit of a sweeping statement but I think it’s something that is a bit lost in a lot of the music being produced today.” With his debut EP mixed by Tony Espie (Cut Copy, The Holidays, Midnight Juggernauts), Nicolson underwent a somewhat of an arduous process in finding the right producer to partner with before realising it a was role he would need to take on himself. “Getting it properly mixed it act ually took a really long time… We had shopped it around to bunch of other producers before deciding that basically I was the producer and what it needed was just some good drums for consistency and then just someone to mix it really well. Because they are such different songs it really needed a coherent vision...” While taking control of the production proved to be the way for his Pluto Jonze EP, Nicolson is keen to explore future collaborations. “I’m not


anti working with other people, I am probably down the line. I would like to collaborate with a producer who might be able to look at a song in a way that maybe I haven’t....Another perspective would be very welcome in the future.” The fi rst single released from his EP, Meet You Under Neon appears to have st ruck a chord on the local music scene with audiences recently flocking to indie music night Purple Sneakers for the EP launch party. “Probably the best comment I got after the EP launch was some guy who came up to me and said ‘I have never heard anything like that before’ – I was like hell yes... exact ly what I am going for.” AMBER MCCORMICK

WHO: Pluto Jonze WHAT: Pluto Jonze EP (Stop Start/EMI) WHERE & WHEN: Brown Alley (Melbourne) Saturday 21 May, Lambda, Lambda, Lambda at

Alhambra (Brisbane) Thursday 26 May, Oxford Art Factory (Sydney) Saturday 28 May, Beach Road Hotel (Sydney) Wednesday 1 June, FBi Social at Kings Cross Hotel (Sydney) Saturday 4 May



Match Bar & Grill is a large, semi-partitioned space with two distinct parts. The first is a buzzy cocktail bar with shmancy little menus and bar staff who pack sufficient booze knowledge that they understand the phrase “don’t bruise the gin”. The second is a luxe dining area which, while beautifully decked out, has one serious flaw: nobody is eating there. On a frostbitten Thursday night, we found ourselves sitting down to dinner in the dining area, not just as the only guests at 8:50pm, but in a room so st ill we wondering if anyone had crossed the threshold at any point that entire night. When the unsurprisingly attentive waiter announced that there were specials, we couldn’t help but wonder, “Why?” It’s a shame, really, because some painstaking effort has been made to provide a well above-par dining experience at Match. A complimentary bread basket appeared, with a pat of proper, creamy, unsalted butter, dusted with a few flakes of sea salt. It’s a gloriously far cry from the oversalted individually-wrapped portions and heralds a level of food knowledge and appreciation that counts for so much in this MasterChef age. An order of hand-cut chips were gloriously rust ic, although the garlic-laden aioli packed a bit too much bite (instead of the longed-for pleasant punch). The fish of the day – a sizeable kingfish fi llet – was presented as the centrepiece of a rather beautifully balanced plate, boast ing capers, chorizo, and roasted potatoes. It was a surprisingly inventive combination of flavours for a fish special. The steak menu is presented as a point of pride on the Match menu – they see themselves as the “real deal” when it comes to eating cow. (It is a truth universally acknowledged that the more seriously a restaurant takes their steak, the fewer accompaniments they serve with them – Match plates up a pleasing little watercress and lentil salad with their beef, but beyond that you’ll be forking out for side dishes.) It was a little disappointing, then, that the Waygu rump, at $34 for 250g, arrived at the table decidedly more medium than rare. Still, the steak had the advantage of being cooked on a proper charcoal grill, keeping the integrity of the flavour intact. There’s good technique in play at Match and definite ambition to make the food as popular as the bar. Until then, though, you’ll probably have the place to yourself. ALEKSIA BARRON WHAT: Match Bar & Grill WHERE: 249 Little Lonsdale Street, Melbourne WHEN: Monday-Thursday 4pm-1am, FridaySaturday 3pm-3am (Bar), Monday-Saturday 6pm-11pm (Restaurant)




THE IDEA BEHIND OUR NIGHT IS… “Californian’s Pigeon John, Quannum Projects’ hip hop luminary will be bringing his frenetic and infect ious live show to The East Brunswick Club, performing tracks from his latest album Dragon Slayer plus some of the classics that made him a legend. Th is is his only Melbourne show so don’t miss it.” WE’LL BE PIMPING THE SOUNDS OF… “Hip hop, indie, funk, soul and probably more.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES…

“Pigeon John will be teaming up with Brisbane’s Prince-meets-Ronson-meets-GFunk version of blue eyed funk, Yeo, as well as Melbourne hip hop and party band Casual Projects, who have been generating quite the buzz around the traps.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Masterful cuts from Pigeon John’s renowned turntablist Davey Rockit.” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Awesome music such as Mark Ronson, Andre 3000, Lyrics Born, Gnarls Barkley, Lupe Fiasco, Cee Lo Green, Blackalicious, Big Village crew, Thundermentals.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Pigeon John baby!” WHERE & WHEN: Pigeon John at East Brunswick Club on Saturday 21 May

BUSINESS MUSIC Invest ing In Club Music with PAZ


#BOSS Graham “On My Grizzly” Sinden, CEO of Grizzly Records, has a swag of st uff you can bank on. One cab off the rank is Distal coming out of Hot-lanta. The Boss Of The South Track rates as club tropical. Its got juke, jungle flares and Grizzly remixes. Grizzly is such a boss name. I now have Theodore Unit verses going through my head. In Melbourne the two boss reps confusing peeps are Bosstone and Bossman. Bosstone being the up start working on his swag for Scattermusic, Bossman being the label of locals Gilsun and Naysayer. A recent release from Dabo (France) is boss (we should bring that term back). Lots of local support for these guys. #MIXES Dis Magazine has a mix by NGUZUNGUZU. The group that are “not a spelling error” are on high rotation in the HTC Desire HD. One listener described

the compilation as ZOUKALYPTICO. They somehow blended sophist icated tribal atmospherics with layers of R&B (it sounds so shit when written like that). Th is mix is unlike anything in the universe so far – not recommended for the gym, more Monday morning commute to work. The “peddle to the metal” mix has been Seiji’s Enchufada mix and Canablaster’s Sky Scrapers Are The Mountains Of The City mix at Fool’s Gold. Web jaunt Loose Joints asked Mat Cant to drop some pod casts bi-monthly. The “Get Low” links can be found floating under a hash tag in Twitter, as Mat is to social media as what DJ Stiff y is to meth dealers. Complete international appeal, past shows featured Dubbel Dutch, Deacon Rose and most recently Gilsun of Bossman. #SWAPPS Northside Records swapped me Spoek Mathambo’s debut long player Mshini Wam for a gang of Mokum hardcore records. The self proclaimed Prince Of Township Tech has a black diamond, shiny and solid but its underground delivery will be overlooked. Wait two years. #SMOOTH Toro Y Moi – New Beat is some post boogie gold. Th is is what I expected of the term nu-disco and... Szjerdene – Lead The Way is also no spelling mistake as Plug Research release post Erykah Badu cool-out. #RUFF Dillion Francis – His name nor his association to luv-step, does not reflect the ferocious Westside! release. Part moombahton, complete upfront club music.



WHEN AND WHY DID YOU GUYS FORM A CREW? “Myself and Melodee became close friends in 2006 with a trip to New York. Lize was recruited in 2009 whilst we were in Perth for a jam. We felt we were already a crew because we spent all our time together and are close friends so we just gave it a name.” WHAT ARE YOU LOOKING TO ACHIEVE AS A CREW? “We hope to be able to build the b-girl scene, not only in Aust ralia but worldwide. To share our knowledge with others and create a platform for women in hip hop. We hope we can teach females to remain dedicated and motivated in such a male dominated scene.” WHAT WAS THE FIRST SHOW/ COMP YOU PERFORMED IN AND HOW DID IT GO? “We fi rst battled as a crew in a five-on-five as a three. Th is jam was in Brisbane as part of a fest ival, which was held in a public space under a bridge. We made the semi-finals.” WHAT’S BEEN YOUR BEST SHOW AND WHY?


HOW AND WHEN DID YOU FIRST START DEVELOPING CUT-ANDPASTE STYLE TRACKS? “One of the first tracks I ever made (back in 2007) was an edit of a Rick James track which I basically just cut up and re-arranged with a beat. I love the contrast between new and old recorded sounds.” HOW DO YOU GO ABOUT COLLECTING AND INCORPORATING UNDERGROUND SAMPLES INTO YOUR MUSIC? “I was given two boxes of old, unreleased disco singles and demos from the 70s and 80s a little while back in Newcastle after I helped a guy pack up his record store just before a flood hit. These, plus other sounds that friends have already recorded are my source of underground samples.” TELL US ABOUT THE WORK THAT HAS GONE INTO PRODUCING YOUR DEBUT ALBUM? “I’m trying to keep this album really clean and focused rather than just trying to fi ll up the tracks with sound for the sake of it. I’ve been doing some recording with talented mates and trying to organise as much ‘real’ audio as possible. I have a friend who is helping me mic up a drum kit in our spare room too.” WHAT ARE THE MESSAGES THAT YOU WANT TO CONVEY? “The album might be called Blank Canvas



“A battle at PCYC in Sydney. I entered with Lize in a four-vs-four battle but we entered as a two. It was one of the best battles because we were the only b-girls that day and the only crew with a ‘two man’ crew. We made it to the Top 8 which we thought was a big achievement.” WHAT ARE YOUR TOP 3 ULTIMATE BREAKING TUNES? Babe Ruth – The Mexican, James Brown – Give it Up, Turn it Loose and Sex Machine. WHERE & WHEN: B-Girl Workshops at United Styles every Friday in May which will represent the clean, home-recorded, semi-minimal sound I’m working to create. All of the tracks are really different and I’m really trying to focus on originality which I think is important. WHAT ARE THE PROS AND CONS OF WORKING OUT OF A HOME STUDIO? “It pays off being able to do the work when you feel like it, rather than rocking up to the st udio, not being in the mood and wast ing $750. Recording in a proper st udio brings a level of professionalism to everything though – I’ll definitely head in for some of the vocal parts.” WHERE & WHEN: Match Bar every Thursday



Psy-trance producer Magnus took a break from working at Microsoft to discuss his debut album on Joof Recordings, released digitally this month. The fi rst track – First Born – was act ually released some time ago, and refers to your young son? “Yes, he often sat on my lap while I made many of the songs on this album, so he was and continues to be a great source of inspiration for me and my music. While First Born had already been released, I knew I wanted it

WAX MUSEUM RECORDS CHART 1. Marcberg ROC MARCIANO 2. Those Shocking Days INDONESIAN HARD, PROGRESSIVE ROCK AND FUNK 3. Some Cold Rock Stuff J ROCC 4. Manifestation EP MONO POLY 5. Get To My Party INKSWEL 6. World Music PROTECT U 7. Ressurect ion VIRGO FOUR 8. Elect ric Surgery BARON ZEN AND TEKBLAZER 9. Analog Drift CHICO MANN 10. Don’t Tell Me FREEKWENCY

on the album, especially for those listeners unfamiliar with my music that may have missed it. It got more support and recognition than anything else I had ever written.” The album is titled Signal Strength, and has an elect ric-st yled cover. Can you talk about this theme? “I’m a technology guy, so I’ve been hearing the term ‘signal st rength’ for a long time and always liked it. As for the elect ric theme, I see voltage as a visual representation of the acid lines I often hear in my head, if that makes any sense. I use acid lines heavily in my product ions, so I felt it fitting to have elect ricity be part of the theme.” Do you think the process of making an album helped you develop as an artist? “Yes, very much. I felt I had to push myself to try new things and as a result, I learned a lot of new techniques in the process. I can never rest knowing there might be a better way to do something or a new tool that will aid in my work. I’m constantly reading magazines and blogs or watching producer videos to push myself. The learning process never stops.” Many artists feel that finishing an album is a great relief. Do you have plans to rest? “The way I am, I can never rest. I know how far I’ve come, but I also know how far I have to go when I compare myself to the guys that have inspired me the most. Knowing this, I press on in my neverending quest to get better. I’m already working on several new tracks. It never ends!”









After Dark Social Club Be @ Co. Faktory @ Khokolat Bar Khokolat Koated @ Khokolat Bar

5 Neo @ Abode

6 Rhythm-Al-Ism @ Fusion 7 Trak Fir Birthday 6 3














GUESTLIST WEDNESDAY CO. Stand and Deliver: Petar Tolich. 9.30pm. Free before 11pm, $5 guestlist, $10 general. ESPY LOUNGE BAR Jenny Biddle, Oceanic, The Dirty Love, Joe Kings. 9pm. LOUNGE Lounge Wednesdays: Matty Raovich, PCP, Amy Matilda. 9pm. Free. LUCKY COQ Coq Roq: Agent 86, Mr Thom. 9pm. Free. MISS LIBERTINE No Era Live: Kodiak Kid, JPS, DJ Sizzle, Dyslexic CM, Kujo Kings. 8pm. Free. NEW GUERNICA The Birthday Party: Lopan and guests. 8pm. Free. THE TOFF John Grant. 7:30pm. $30.


ALIA BAR Hoochie Mama: M.A.F.I.A. and Miss Beats. 10pm. THE BENDED ELBOW Pez, Maya Jupiter, 360. 7pm. $18. THE BUTTERFLY CLUB He Says/She Says. 7pm. $18 – $22. THE EAST BRUNSWICK CLUB Lotek. 7:30pm. $15. CO. Funhouse: Finlo White. 9.30pm. Free. ESPY GERSHWIN ROOM Soundtrack For A Revolution Screening. 8pm. $17 (+bf ). ESPY LOUNGE BAR The Resignators, Los Capitanes (ACT), Anarchist Duck (QLD), Manage–A Ska. 9pm. ESPY BASEMENT Clowns, Overdrive, Sparticus, Once Were Heartless. 9pm. FUSION Rhythmalism: Damiojn De Silva, Funkmaster Rob, A Style and more. 9.30pm. $12 (guestlist) – $15 (general). KAY ST Pegz. 8pm. $20 + bf (pre-sale). LOOP Mood. 9pm. Free. LOOP Photography Night Walks. 9pm. $15. LOUNGE, Code Luke, Silversix. 9pm. Free. LUCKY COQ Free Range Funk: DJ Who, Agent 86, Lewis Can Cut. 9pm. Free. MATCH BAR Bad Party: Solid Light, Bronson. 8.30pm. Free. MISS LIBERTINE Textbook Music: Darius Bassiray, Paul Bynon, Jon Beta, Lister Cooray. 9pm. MISS LIBERTINE Shit–Hot–Ripper–Bonanza: Jay Howie, Sundogs, Alana, RPG Radio and more. 8.30pm. NEW GUERNICA Post Percy, J Collins, Ando. 8pm. Free, THE TOFF John Grant. 7:30pm. $30.

FRIDAY ABODE NTI: DJ Jon Montes. 10pm. Jewelz, Soul–T and more. 8pm. $14 (guestlist) – $18 (general). BILLBOARD Amity Affliction, I Killed The Prom Queen 8pm. $48. BROWN ALLEY James Zabiela, Robin Hood, Midland, Tom Budden 10pm. $35. THE BUTTERFLY CLUB He Says/She Says. 7pm. $18 – $22. CO. Papparazzi: Jules Lund, DJs Nikkos, Jo Sofo, Kitty Kat. 9.30. Free. CROFT INSTITUTE Wax Museum Records Jam: 2 Kool Tony, Dizz1, Sheriff Rosco, The Foot Clan, No Name Nathan. 9pm – 3am. Free entry before 10pm or $10 after til close. THE CORNER HOTEL Red Ink 8:30pm. $18. THE EAST BRUNSWICK CLUB Gun Street Girls. Matt Sonic & The High Times 8:30pm. $18. ESPY GERSHWIN ROOM Dirt Nasty (US), Kid Mac. 8pm. $40 (+bf ). ESPY LOUNGE BAR Pretty N Fatboy, Back Back

Forward Punch, Rash of Satan, Dangerous, DJ Soul Glo, Rusty from Electric Mary. 6pm. ESPY BASEMENT Empra, The Optionals, The Statics, Silverlizard. 9pm. FUSION Sounds of Fusion: Phil Ross, Dean T, Chris Mac. 9.30pm. $10 (guestlist) – $15 (at door). THE HI–FI Pegz. KHOKOLAT BAR Faktory Fridays: The Kings of Bling. 9.30pm. $12 (guestlist) – $15 (general). LOUNGE Lounge Fridays: DJ Who, Muska, Tahl, Mr Moonshine, Snowie. 9pm. LOOP The Nice & Ego Show. 8pm. LUCKY COQ Panorama: Matt Rad, Mr George, Tom Meagher, Phato A Mano. 9pm. Free. MATCH BAR Discotheque: Scott Thompson, Greg Sara. 7pm. Free. MISS LIBERTINE Can’t Say: Trumpdisco, Generic, City Calm Down. $10 with password, $15 without. NEW GUERNICA Midnight Midnight. Free before 12am. REVOLVER Revolver Fridays: Mike Callander, Matt Radovich, Nick Jones, Katie Drover. 7pm. $8 before midnight, $15 after. THE TOFF Poprocks: Dr Phil Smith. 9pm. Free.

SATURDAY ABODE Secret Room: Syme Tollens. 11pm. BILLBOARD Amity Affliction, I Killed The Prom Queen 8pm. $42.90. BROWN ALLEY All City Bass: Dysphemic & Miss Eliza, Backyard Job, Distortion, Baron Von Rotton. THE BUTTERFLY CLUB He Says/She Says. 7pm. $18 – $22. BROWN ALLEY Dysphemic & Miss Eliza, Backyard Job, Distortion, Baron von Rotton. 8pm. CO. Envy. 9.30pm. $12 (guestlist) – $15 (general). THE CORNER HOTEL Lowrider, Joelistics. 8pm. $15 (+bf). THE EAST BRUNSWICK CLUB Pigeon John. 8pm $25. ESPY GERSHWIN ROOM & LOUNGE BAR Monster Sessions: X, Cosmic Pyschos, Fireballs, Bored, The Meanies, Splatterheads, Lime Spiders and more. 3pm. ESPY BASEMENT Phil Para, Rain Shadow, Rouge Fonce, Seri Vida, Romeo Knights. 9pm. FUSION Replay: DJs Tate Strauss, Marcus Knight, DJ Nova, Johnny M. 9.30pm. $15 guestlist before 10.30pm. GEORGE BAR Sweat Saturdays: Flagrant, Kuya, Agent 86, Eddie Mac, PQM, Huw Joseph. THE HIFI Pez, Maya Jupiter, 360 2pm. $20. KHOKOLAT BAR Khokolat Koated: Damion de Silva, K Dee, Jay Sin. 9.30pm. $12 (guestlist) – $15 (general), $5 before 10pm. LA DI DA Poison Apple Saturdays: Ross Horkings, Bianca White, Stevie Mink, Nick Kennedy, Luke Montgomery and more. 8pm. LOOP Architronica Records presents In2Deep. 8pm. LUCKY COQ Textile: Moonshine, Pac Mac, Ash–Lee, Kodiak Kid, Jean Paul, Sam McEwin, Tahl. 9pm. Free. MATCH BAR Yarraville Jockey Club: Golden Fleece. 8pm. Free. MERCAT CROSS BASEMENT N–Type. 10pm. $28.20. MISS LIBERTINE DVJ NYK: DJ R–Ya, Akzz, Sam K, Nelzi, Rush, Mana, Naz, MC 2Shye, MC Zanos. 9pm.


NEW GUERNICA North Pollard, Mu–Gen, Cheapdate and more. 9pm. $10 – $15. THE NIGHT OWL Wobble: 10 Years of DJ Cubist 10pm. $15. PRINCE BANDROOM The Swiss Swissco Disco. 9pm. $20. RATS Pluto Jonze. 9pm. $15. SEVEN Playground Saturdays: Biggie Bday Bash– CARGO B.I.G set. THE TOFF The House De Frost: Andee Frost. 12am. Free. THE TOFF Mick Harvey. 8pm. $22 (+bf). WAH WAH Wah Wah Saturdays: T–rek, Chardy, Stevie Mink and more. $15 (guestlist) – $20 (general).

SUNDAY BILLBOARD Amity Affliction, I Killed The Prom Queen 8pm. $48. CO. Be: Damion De Silva, Ken Walker, Lightening and more. 9.30pm. $12 (guestlist) – $15 (general), $5 before 10pm on guestlist. THE EAST BRUNSWICK CLUB Watussi, Labjacd, Cumbia Cosmonauts. 7pm. $12 (+bf ). ESPY GERSHWIN ROOM Gunn Music band comp. 2pm. $12. ESPY LOUNGE BAR Headspace, Dale Ryder Band, The Bad Boys Batucuda. 5pm. LUCKY COQ South Side Hustle: Adam Askew, DJ Booshank, Peter Baker, Paz, Miss Butt, Jumbo. 9pm. Free. MATCH BAR Yarraville Jockey Club. 8pm. Free. NEW GUERNICA Bar Night. 8pm. Free. REVOLVER UPSTAIRS Revolver Sundays. 6.30am. THE TOFF Sunday Set: DJs Andy Black, Haggis. 4pm. Free.


LUCKY COQ Monday Night Live. 9pm. Free. NEW GUERNICA Mondays Deep: Ant J Sheep, Luke Coleman, Faux Real, Alex Albrecht. 8pm. Free. THE TOFF Funk, Swing and Soul Night: DJ Jimmy U. 8.30pm. $6.




CALENDAR MAY 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 LOTEK – Thursday 19, The East Brunswick Club ANDY MURPHY – Thursday 19, The Toff GUN STREET GIRLS, MATT SONIC & THE HIGH TIMES – Friday 20, The East Brunswick Club 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 (U18) 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 MICK HARVEY – Saturday 21, The Toff N–TYPE – Saturday 21, Mercat Cross Basement MICK HARVEY – Saturday 21, The Toff PLUTO JONZE – Saturday 21, Rats PIGEON JOHN – Saturday 21, The East Brunswick Club THE SWISS SWISSCO DISCO – Saturday 21, Prince Bandroom WATUSSI – Sunday 22, The East Brunswick Club JK–RUFF – Sunday 22, The Toff 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 SLEEP DECADE – Wednesday 25, The Toff BOY & BEAR – Thursday 26, Corner Hotel ROSCOE JAMES IRWIN – Thursday 26, The Toff ROSCOE JAMES IRWIN – Thursday 26, The Toff BOY & BEAR – Friday 27, Corner Hotel ESKIMO JOE – Friday 27, The East Brunswick Club AZARI & III – Saturday 28, Prince Bandroom LITTLE JOHN – Saturday 28, The East Brunswick Club JAMES CURD – Saturday 28, New Guernica FEARLESS VAMPIRE KILLERS – Saturday 28, The Toff TIKI – Saturday 28, Corner Hotel FREDDIE WHITE – Sunday 29, The East Brunswick Club THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 29, The Toff




2MANYDJS – Thursday 2, Prince Bandroom THE HIDING – Thursday 2, The Toff CLASSIC KANDY: LUCA ANTOLINI – Friday 3, The Venue THE COINCIDENTS – Friday 3, The East Brunswick Club ODD FUTURE WOLF GANG KILL THEM ALL – Friday 3, Prince Bandroom BLISS N ESO – Saturday 4, Melbourne Festival Hall DANIELE BALDELLI, HORSE MEAT DISCO – Saturday 4, The Toff FALLOE – Saturday 4, The East Brunswick Club I,A MAN – Saturday 4, The Toff AFROJACK – Saturday 4, Prince Bandroom THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 5, The Toff TRIPOD – Sunday 5, The Toff HIP HOP SISTAS – Tuesday 7, North Melbourne Community Centre MADDY HAY – Wednesday 8, The Toff SONS OF RICO – Thursday 9, East Brunswick Club MIDLIFE MILK AND WOOL – Thursday 9, The Toff BELFAST 16 – Friday 10, Prince Bandroom GB3 – Friday 10, The East Brunswick Club NEVERMORE – Friday 10, The Venue THE GETUP KIDS – Friday 10, Billboard GUY J – Friday 10, Roxanne Parlour BAG RAIDERS – Saturday 11, Prince Bandroom TEETH & TONGUE – Saturday 11, The Toff THE SUNDAY SET: DJS ANDY BLACK, HAGGIS – Sunday 12, The Toff RESPECT IS BURNING – Saturday 12, Prince Bandroom TRIPOD – Sunday 12, The Toff MOJO FILTER – Sunday 12, The East Brunswick Club 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 BAD MANNERS – Thursday 16, The East Brunswick Club VAN DYKE PARKS & KINKY FRIEDMAN – Thursday 16, The Toff SYDONIA – Friday 17, The East Brunswick Club LYRICS BORN – Friday 17, Billboard VAN DYKE PARKS & KINKY FRIEDMAN – Saturday 18, The Toff BROTHERS GRIM – Saturday 14, The East


Brunswick Club 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 CARUS THOMPSON – Wednesday 22, The Toff TRACEY MILLER – Thursday 23, The Toff LUKE WATT – Saturday 25, The East Brunswick Club BRYAN BATT – Saturday 25, Palms At Crown ROYSON VASIE – Saturday 25, The Toff THE SUNDAY SET: DJS ANDY BLACK, HAGGIS– Sunday 26, The Toff TRIPOD – Sunday 26, The Toff HIP HOP SISTAS – Tuesday 28, North Melbourne Community Centre


KATCHAFIRE – Friday 1, Prince Bandroom FASTRACK – Friday 8, The East Brunswick Club NEW DUB CITY SOUND – Friday 8, Bar Open POISON CITY WINTER TOUR: A DEATH IN THE FAMILY, FORMER CELL MATES, THE SMITH STREET BAND – Saturday 9, The East Brunswick Club TIJUANA CARTEL – Friday 15, The East Brunswick Club DEL THE FUNKY HOMOSAPIEN – Thursday 21, The Espy 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)


FUNERAL PARTY – Saturday 6, The Hi–Fi


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 AND BEYOND Saturday 17, Festival Hall REGURGITATOR – Monday 26, The Hi-Fi REGURGITATOR – Tuesday 27, Bended Elbow


LONDON ELEKTRICITY – Monday 31, Prince Bandroom



THE IDEA IS BASICALLY DIALLING IT RIGHT BACK TO SEE WHERE YOUR ICONIC CHARACTERS – RENTON, SICK BOY, BEGBIE AND SPUD – STARTED OUT, ISN’T IT? “Yeah, when I first wrote Trainspotting I had about 300,000 words, which was far too long to submit, so I just chopped the middle of it

out, used that, and put this heist ending on to it. So I had 200,000 words left over – 100 at the front and 100 at the back. Over the years, I’ve wired the ‘back’ st uff into different books and stories [like Trainspotting sequel Porno] so that’s all gone now, but I have this original st uff that I’ve never used, you know? I’m paranoid that I get run over by a bus or drop down dead and somebody fi nds it. I want to get it the way I want it before that happens, like. That’s one part of it – I’ve act ually become more interested in them as characters. Before, I was more interested in the subculture; now I’m more interested in cause and effect, the country they were living in at the time, the community they came from, the families they lived in and what kind of pressures were on them, and their peer group.”

THAT DOES SOUND LIKE A REALLY DIFFERENT HEADSPACE FOR YOU TO HAVE TO DRIFT INTO FROM THE ONE YOU WERE IN WHEN YOU WERE WRITING TRAINSPOTTING OR PORNO. “Yeah, in a lot of ways it’s more thoughtful, but it has to be a prequel. It starts off like a traditional novel but as it starts to disintegrate it moves towards an episodic feel, more like Trainspotting has.” THAT’S ALMOST A SIGNATURE STYLE FOR YOU – TRAINSPOTTING, AT ITS HEART, WAS KIND OF A COLLECTION OF SHORT STORIES INVOLVING THE SAME CHARACTERS. IT’S GOT THAT NARRATIVE THROUGHLINE BUT IT USES DIFFERENT NARRATORS AT DIFFERENT POINTS, AND WRITING IN DIFFERENT VERNACULARS. “Yeah, I wanted to get that madness where you have a whole lot of voices clamouring for attention and everybody wants to get heard. That episodic feel seemed to kind of mirror the chaotic way they were living their lives. It just kind of fitted. I don’t think it would have fitted a traditional novel struct ure.” WHAT ABOUT YOUR LAST BOOK, REHEATED CABBAGE? “That was basically a series of stories I’d written in the 90s and early 2000s that I had placed in various magazines and anthologies. Some of them had gone out of print and I quite liked the idea of putting them all together. Also this novella, that came from a book, Glue, that I’d done, and I didn’t have any space for it. It’s hard to place a novella. So it was an excuse to get that into print as well.” IT CONTAINS A SCIENCE-FICTION STORY WITH ALIENS LANDING IN SCOTLAND, THE ROSEWELL INCIDENT. THAT IS KIND OF NEW GROUND FOR YOU, ISN’T IT? “Yeah it’s science-fiction, dealing with aliens. I’d done kind of fantasy and weird st uff in The Acid House and I suppose it kind of harks back to that time. I just liked the idea of a spacecraft landing in a Scottish housing scheme rather than the Hollywood Hills, conveniently placed for the st udios.” SO WHAT’S YOUR WRITING REGIME THESE DAYS? “I prefer to do it early morning but sometimes I get into a different mode where I’m working late at night. But every book I’ve done, it’s been different.” AND YOU MAKE YOUR OWN DEADLINES THESE DAYS, TOO? “Yeah, occasionally the publisher will say, ‘You can do two books over two years,’ and sometimes you can st retch that or sometimes you can do it on time. I have to be quite hard on myself and keep myself going and be conscious of the effort I need to put in to fi nish a book.” IT MUST BE A LIFESTYLE THAT LENDS ITSELF TO A CERTAIN AMOUNT OF FREEDOM? “Yeah, I’ve got so spoilt now I couldn’t do a proper job. I’m big, fat, spoilt… I do lead quite a nice life. So when I act ually have to do work I suppose I resent it a little bit.” YOU LIVE IN DUBLIN MOST OF THE TIME THESE DAYS, DON’T YOU? “I used to; I just act ually moved from Dublin to Chicago. I just bought a house and I’ll have a proper office again. The move has come at the worst possible time, but if you’re moving to a different country it makes sense that you plan your move within the tax year.” HOW HAS THIS ALL AFFECTED YOUR RELATIONSHIP WITH EDINBURGH? “I’ve st ill got a place there so I st ill go back fairly regularly. When I was in Dublin I could just jump across a couple of times a month on Ryanair. It never felt like it was that far away. But now, it’ll be harder to do that from Chicago so when I go I’ll st ay for blocks of about two months or so.” IS THERE ANY TRUTH TO THE RUMOUR THAT DANNY BOYLE WAS LOOKING AT MAKING A PORNO MOVIE? THERE’S BEEN SOME TALK THAT HE WAS JUST WAITING FOR THE CAST TO HIT THE RIGHT AGES. “I think, more importantly than that, no one has been able to get a screenplay together yet. [Trainspotting screenwriter] John Hodge and myself have been talking about doing it for a while and we have a fi rst draft we need to do more on. [Trainspotting producer] Andrew Macdonald and I have been talking about getting a script together for Danny, but we’ve just never been able to get together in the same place. I think we’re all a bit frightened to do it really. It’s almost better if it doesn’t get made because it’s going to be hard to make something as good.” YEAH, IN A WAY TRAINSPOTTING EXISTS IN THIS PERFECT BUBBLE WHERE IT KIND OF LAUNCHED DANNY BOYLE AFTER SHALLOW GRAVE, AND TO AN EXTENT LAUNCHED EWAN MCGREGOR AND ROBERT CARLYLE. “Yeah, it launched us all in a st range way. And Porno could quite easily bury us all if it ever gets made. It would need to be done really, really well. We do have the confidence that we could do a decent screenplay but we just need time. We need to get together and spend those three or four days in a locked room in an airport hotel.” WHEN YOU LOOK BACK AT YOUR WORK YOU TEND TO OBSESS OVER FLAWS YOU CAN SEE AFTER THE FACT. DOES THAT MAKE THIS THE BEST PART OF THE WRITING PROCESS FOR YOU? “Yeah, this is a good fun time for me. I’ll miss this part of the process when it’s gone. The older I get the more I enjoy the writing. The promotion of it and getting it out there, that’s something I don’t feel so comfortable with. It’s great going to fest ivals and meeting readers and other writers on the circuit but I seem to enjoy the writing more. Maybe that’s not a good thing; maybe you should enjoy getting out and seeing people rather than being st uck in a room on your own with people that don’t exist.”

ISN’T THAT KIND OF THE STEREOTYPE OF A WRITER? “Yeah, sad bastard, nae mates, hanging about with people they’ve made up. But the getting out and meeting people side of it is just something I struggle with now. In my defence I’m getting a lot of work done because all my st uff is packed up in a container on Baltimore docks right now heading for Chicago. It’s like The Wire, you can track it all on webcam. I think all that upheaval just makes you kind of want to shut the door.” YOU’RE WORKING ON THE TRAINSPOTTING PREQUEL NOVEL SKAGBOYS AT THE MOMENT, AREN’T YOU? “Yeah, I’m trying to get it finished now. I’ll be working on it over the [UK] summer to get it finished for October so it can go out next summer.”

NO PHANTOM MENACE YOU MUST BE FEELING A BIT OF NERVOUSNESS AND RESPONSIBILITY WHEN WRITING SKAGBOYS BECAUSE OBVIOUSLY THOSE CHARACTERS HAVE BECOME BELOVED. “Yeah, I want to do just ice to them and I want people to see the humanity in them as well, without making them out to be this saintly and sanitised crowd. It’s a difficult balance to get right but I’m enjoying going back to the characters again. It’s like going back to a fi rst love. And I’m enjoying the challenge of it.” IS IT SLIGHTLY SIMPLER TO WRITE THEM AT AN EARLIER TIME IN THEIR LIVES, WHEN THEIR DARKER SIDES AREN’T AS MIRED DOWN IN THE SUBCULTURE? “I’m more looking at how that subculture came about, what was happening in Scotland at the time. Unemployment was breaking down, all the certainties of the post-war era had gone and there was this new regime, new approach to life. Communities were breaking up and then you had this introduct ion of drugs. Going back is kind of interest ing. But this is something it’s easier to do badly.” IT SOUNDS LIKE IT’S GOING TO TURN OUT TO BE KIND OF A SCOTTISH HISTORICAL NOVEL. “It is in a way. It’s very big. It feels like an epic. But I’m trying to keep the act ion flowing and not be too preachy or anthropological or sociological about it and let the characters tell the story.” IT COULD OPEN YOU UP TO A NEW AUDIENCE. “Yeah, you can’t really think about who you’re writing for. Writing is a really selfish act. I don’t think about an audience until I’ve got the thing out there.”



WIDE WORLD OF SHORTS PLEASE TEAR MY EARDRUMS OUT, PLEASE Very occasionally, you hear news that makes you think that the world is a good place where justice is served upon those who deserve it, that although there is poverty there are people who attempt to overcome it, and that it is full of people who are, for the better part, good. Then you hear a track produced by David Guetta. Even worse, you hear a track produced by David Guetta for 50 Cent. Then, just when you think the world can’t be any more coldhearted and miserable, you hear that said song has sampled Meet Her At The Love Parade by Da Hool, the track that simultaneously defined and destroyed electronic music in one fell swoop. Then, just when you are about to take that 35th Xanax, you notice that the song contains some completely misguided homage to Biggie Smalls’ Party And Bullshit. At which point, even committing suicide seems like a superfluous act and you are somehow summoned out of your death bed, you fall to your knees, cry out and look at the sky shouting, “Lord, why hast thou forsaken me”. And that is how Jihadists and/or domest ic terrorists are made. Yes, blame the excesses of the West. Those excesses in this case being the excess of fucking time that Guetta and Fiddy had on their hands to decide that collaborating on anything other than a cooking show was act ually a good idea and that it might make the world a better place. At which point, those people who act ually pay attention to pop music might point out that Snoop did the same thing. To which I respond thusly: Snoop will do fucking anything for money. Which is what makes him Snoop, and therefore fucking great. What you see is what you get. I mean, the guy appeared on fucking Don’t Shoot Me; he made a porno; and, possibly the clearest money grab of all, he made The Wash as well as appearing in Starsky & Hutch. The difference here is that Snoop changes none of his behaviour for any of these things. Curtis Jackson, on the other hand will change everything for money.

Your ear is itchy, there is a slight draft and someone is breathing too heavily. It’s enough to make you scream and become exceedingly violent. Being occasionally irritated is one thing, but being consistently pissed off by the world may indicate you are a ‘terminally annoyed’ individual. Establishing a rigid definition of what makes something ‘annoying’ is problematic if not impossible. What is the recipe for annoyance? And what is the difference between things that are universally annoying (say fingers scratching a blackboard) and irritants that are particular to an individual (eg Adam

Sandler’s voice). Two American researchers Joe Palca and Flora Lichtman recently embarked upon a scientific quest to explore such quest ions, considering psychology, evolutionary biology, anthropology, and other disciplines to uncover the truth about being annoyed. Their findings have been published in a new book titled Annoying: The Science of What Bugs Us. Unsurprisingly the authors found annoyances (which they define as something unexpected and unpleasant over a period of time) most often impact those who try to manage the world around them – otherwise known as ‘control freaks’ [Doesn’t sound like me at all – Ed]. These persons are the complete opposite of, (and will generally clash with), those who are ‘laid back’ or ‘easy going’. Controlling their own life is the primary goal, while attempting to control other’s lives is simply a protect ive measure and by-product. If you fall into this category of person, some pract ical anger management st rategies may come in handy – make a list of things that annoy you in order to clearly identify ‘triggers’, use dist ract ions like listening to music or take some ‘time out’ and remove yourself from the irritating circumstance. If all that fails keep a loud whist le handy so that when something is really pissing you off you can just blow it and everyone will get the message. Keep in mind if you talk a lot about yourself,

interrupt people when they speak, invade the personal space of others and eat with your mouth open you, yourself may just be considered – annoying. While there may not be more annoyances today compared to centuries past there certainly seems to be a growing number of ‘terminally annoyed’ persons. Palca comments that the difference is that back in the old days, “If someone annoyed you, you could just kill them or beat them to a pulp”. “We can’t really do that today. So things build up... Which is, you know, really annoying.” AMBER MCCORMICK




You’re probably asking yourself: “If Arnie can’t make his marriage work, what hope do the rest of us have?” Good point. I wish I had an answer. AQUARIUS (20 JAN TO 18 FEB) Why do old couples only ever seem to have one mobile phone between them? And why is it never switched on? What the hell is their problem? PISCES (19 FEB TO 20 MAR) You can breathe a sigh of relief this week and finally start to enjoy yourself. Until you become the vict im of a violent home invasion. ARIES (21 MAR TO 20 APR) After being mugged at knife point by a man in a clown mask, you will develop an aversion to circus performers. And knives. TAURUS (21 APR TO 20 MAY) You may feel invincible and sexually potent, but the truth is that others see you as shrivelled, impotent and close to death. Raise your hand if you’ve never had a threesome. OK, now keep your hand up if you can honest ly say you’ve never fantasised about having a threesome. Well of course you have. Don’t be ashamed. The threesome is a sexual scenario that most normal people aspire to. And yet the threesome is suffering a PR problem. Somewhere along the way, the idea of climbing in to bed with two other people to have sex has become synonymous with something torrid, sleazy and depraved. Yes indeed a threesome may be many things, but one thing it isn’t is romantic. While many popular love stories hinge on a traditional, dramatic “love triangle”, ultimately it’s the couple who we remember. Giving Kate Winslet a villainous fiancée certainly upped the stakes in Titanic, but at the end of the day audiences only wanted to see Kate and Leo together. I doubt that fi lm would’ve been such a big hit with teenage girls if it had shown Leo, Kate AND the fiancée having sex in that car. She had to dump the fiancée or the romance simply wouldn’t have worked. It seems like you can have romance or you can have a threesome. But you can’t have both. There are no romantic comedies where Tom Hanks, Meg Ryan and Billy Crystal all end up together at the end. None of the world’s great love stories end in a three-way. In a society that is st ill wrest ling with the concept of gay marriage, maybe we just aren’t ready to embrace the romantic possibilities of a threesome. Sure, gay themes and gay characters are now common place on prime time TV, but if you’re part of a threesome, the only place you can see yourself represented is in hard core pornography. Imagine what that does to your psyche? Is it any wonder that people who have group sex feel st igmatized and ashamed? So why can’t you inject a little romance in to pulling a ménage-a-trois? Why can’t people enjoy group sex and then walk in to a restaurant on Valentine’s Day and say “Table for three please”? Is it simply asking for too much? Should those lucky few who get to enjoy crazy orgy sex just be grateful and see the absence of romance as a small price to pay for wild sexual freedom? Come to think of it, it’s probably a small price to pay. DAVE JORY


GEMINI (21 MAY TO 20 JUN) You will finally heal from your recent knee injury and while celebrating you will get run over by a herd of donkeys on horseback. CANCER (21 JUN TO 21 JUL) Telemarketing may be the thing for you, but you will definitely need to learn how to operate a phone fi rst. LEO (22 JUL TO 21 AUG) Hi Leo. You caught me in the middle of my weekly bath. Why don’t you climb in here with me? VIRGO (22 AUG TO 21 SEP) Telling your boss “You’re not the boss of me!” is a st upid thing to say. LIBRA (22 SEP TO 22 OCT) When a mortgage broker cuts you off in traffic this week, you’ll be glad you’ve been driving around with a sawn off shotgun. SCORPIO (23 OCT TO 21 NOV) You cut an impressive figure down at the gym. Sadly, the impressive figure you cut is your personal trainer. 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) Working 60 hours a week may seem difficult, but the truth is you are doing the work of a moron. Get over yourself.





offee tables are versatile pieces of equipment – they can not only hold any number of coffee cups depending on their size, they also allow you to demonstrate your hipness by displaying your collection of 3D World magazines and can also double as foot rests. In fact, coffee tables are so damn awesome that a whole strain of book publishing developed just to utilise their damn awesomeness. Step inside to see some of the finest‌


ATMOSPHERE The Family Sign (Rhymesayers/Shock)

KATY B On A Mission (Rinse/Sony) A wise man once said popstep is the new black. British singer-songwriter Kathleen “Katie” Brien, better known as Katy B, probably agrees. Brien makes a quirky st yle of house, dubstep and soul that’s already resonating with British audiences and is gradually gaining traction in other realms. Thus far her success has chiefly arrived on the back of Katy On A Mission and Lights On, songs that displayed an underlying warmness and independence. All have placed Brien nicely within electronica. Although nothing heard during On AMission, her debut album, trumps her already released singles, the album st ill displays clarity and readiness to embrace something new. Broken Record is dance pop at its best, even though it borrows, steals and rips off from early rave and breakbeat with particular subtle references to early UK garage and minor throwbacks to the days of Baby D and The Prodigy. There are, of course, influences and references to heaps of other genres, with even trip hop appearing via Disappear. The parallels to UK garage are scattered throughout the 12 tracks and Brien’s supple yet embracing vocal somehow adds another dimension, particularly on Witches’ Brew and the impressive Movement. Brien’s made an album that’s more mature and emotive than many would have imagined. Her love of clubbing shines through and her admiration of late-night fest ivities in London’s clubs are heard loud and clear. What Brien’s managed to achieve is to take the core underground feel of dubstep and remove the more broody and masculine elements, twist ing them to form a lighter, entertaining and happier sub-genre. Brien’s certainly onto something, the mystery is how long she can make it last. STUART EVANS

A return from Minneapolis outfit Atmosphere after their double EP last year – and fi rst LP in three years – sees the release of The Family Sign out to their loved ones, friends and fans. The eerie elect ric start to this album puts a Gravediggaz edge to the album. Sharp and dissect ing rhyme spits fall from the lips of Slug, not entirely unlike those of the Wu fraternity. A vivid scenery is painted through the album with the inst rumentals from touring musicians Nate “The Guitar Man” Collis and Erick Anderson on the keys. On The Last Say, the dark side of the domest ic front over a simple howling guitar sets the lyrics apart and puts this LP on a much more serious note. The beat is raised and tempo more flowing as the album goes in introducing a new wave

DENNIS COFFEY Dennis Coffey (Strut/Inertia) American guitarist Dennis Coffey’s contribution to black music history cannot be overstated. As a member of the famed ‘funk brothers’ he helped take Motown’s sound from its early soul/R&B sound into heavier, funkier territories; he played on records by The Temptations, Funkadelic and even glittery disco such as The Sylvers’ Boogie Fever. By himself he is responsible for one of the most famous b-boy/ hip hop breaks ever in the form of his 1971 record Scorpio. For his latest, self-titled album, Coffey has teamed up with a huge range of guest vocalists and musicians to create some new tracks alongside reworks of some of his most well known records. Of the remakes, Stones Th row’s Mayer Hawthorne lends his quirky blue-eyed

of distorted guitar inst rumentals and MPC drum patterns to the fabric of Ant’s ASR-born product ion behind the head-nodding hits Just For Show and She’s Enough which proves to be a real live showstopper. All in all this album has more of a live feel about it, a musicality too large and in charge to be contained within a CD. But this will make listeners buy a ticket to see how Atmosphere raise the humidity at a live show. RIP NICHOLSON

soul to Parliament’s All Your Goodies Are Gone, Funkadelic’s much-sampled I Bet You is revisited with the vocals of The Dirtbombs’ Mick Collins and Detroit Cobra’s Rachel Nagy, Orgone’s Fanny Franklin fronts a deep funk take on Wilson Pickett’s Don’t Knock My Love while Paolo Nutini sees proceedings venture into Deep Purple/Sabbath territory on the remake of Rodriguez’ Only Good For Conversation. This is not the only time the sound veers away from straight-up funk – Plutonic has a seventies prog-rock lean, Knockabout is rather psychedelic, 7th Galaxy looks back to the type of devastating, b-boyin breaks Bambaataa used to play in the parks of New York City while the album ends with a dark, dubby disco version of Don’t Knock My Love. For a white dude now over 70 years old Dennis Coffey could well be st retched out on his laurels; that he is st ill creating music is a testament to the man’s talent. DARREN COLLINS


ONE TRACK MIND NICKI MINAJ Super Bass (Cash Money/Universal)

PREFUSE 73 The Only She Chapters (Warp/Inertia) Over the past ten years, Prefuse 73 (also known as Guillermo Scott Herren), has set the indie music scene ablaze with his unique brand of avant rock and tripped out hip hop. His seventh album under the Prefuse 73 moniker, The Only She Chapters is a most ly compositional concept record, featuring some warped vocals from a slew of very talented female vocalists. Intro The Only Recollection Of Where Life Stopped features a cacophony of seemingly random noises, that somehow melt together perfect ly – which is really how the rest of the record plays out. Songs like The Only Valentine’s Day Failure and The Only Guitar To Die Alone shouldn’t work, but they do. They also serve to showcase Herren’s range as a producer, with the former featuring drums dying to lace any hip hop record.

Though the album runs for just under an hour, at times it can feel quite long and clunky. In some cases it feels like the tracks are going nowhere, and by the end st ill lack any real sense of crescendo. The best example of this is on The Only Repeat, which plays for seven minutes without the beat ever really changing or gaining momentum. Being one of the final tracks, it really weighs down the listening experience. The Only She Chapters is psychedelic and fresh. Herren explores new territory with his music and, for the most part, pulls it off brilliantly. For much of the album you want to break out in rhyme or do your best Erykah Badu impersonation. The only thing holding it back from experimental greatness is its lack of excitement, though Herren does a terrific job of making up for it with his creation of sounds you never thought you’d hear before. MATTHEW CANNINGS

With a few exceptions, dayglo rapper Nicki Minaj’s 2010 debut album was pretty disappointing, simultaneously over-earnest and cheesy. The outtakes, though, were generally amazing, and when even Taylor Swift started covering Nicki’s accented rhymes from Super Bass, her record company had to bow to the inevitable. Th is ecstatically trancy powderpuff is just too big and too fun not to love.

BETH DITTO EP (Sony) The Gossip’s singer’s EP surprises by sounding relatively rest rained vocally and also foregoing the synth-pop tendencies of the last Gossip album in favour of early Chicago house. The resulting sound, reminiscent of Azari & III, perfect ly backdrops Ditto’s glamorous diva tendencies, simultaneously chilly and flushed, st rident and poised.

AME & AMAMPONDO Ku Kanjani (Innervisions) With its impassioned vocals courtesy of South African group Amampondo and a shuffl ing handclap beat giving way to dramatic synth-driven tech-house, Ku Kanjani jacks Carl Craig’s swag pretty heavily. In the end, though, this team-up is pretty irresist ible. TIM FINNEY

VARIOUS/TIËSTO Club Life Volume One: Las Vegas (Pias) Dutch superstar Tiësto’s controversial transformation from trance to “trouse” (a tacky fusion of house and trance) is complete and he’s put the pedal to the metal and churned out the tracks and remixes that have seen him collaborating with everyone from Diplo to Katy Perry to Kanye West to Busta Rhymes. Like Paul Oakenfold before him, he’s been seduced by all the pomp and glamour of the US, or in the case of the launch of his Club Life series, Las Vegas. Don’t let any of this snobbery fool you though, because you get the sense that artist ically, Tiësto feels more at home than ever before – and this release is a great representation of how he’s nailed the approach. The big piano house riffs that open the mix show there’s plenty


of fun to be had, and it’s followed by heavy lashings of Swedish House Mafia st yle main room extravagance, with huge elect ro basslines and trance riffs aplenty. Th is is clever, well produced and vocal-heavy club music to fi ll the stadiums, while st ill steering well clear of lowest-common-denominator dance. It shows Tiësto is one step behind David Guetta – not prepared to sell himself out completely to pop music, he’s fusing house and trance in a concoct ion that’s suitable for mass consumption, while st ill grounded in dance culture. As a dance music everyman, Tiësto gets a big ‘thumbs’ up from this reviewer. Haters go home, cause Club Life Volume One is heaps of fun. ANGUS PATERSON

3DPLAYLIST 3D 1. Controlling Your Allegiance THE JAPANESE POPSTARS 2. Balance 019 VARIOUS/HENRY SAIZ 3. Goblin TYLER, THE CREATOR 4. On A Mission KATY B 5. I Done A Album BEARDYMAN 6. 6.15am YOKOO 7. Demolished Thoughts THURSTON MOORE 8. Central Standard THEY LIVE 9. Mirrorwriting JAMIE WOON 10. Negasonic Teenage Warhead MONSTER MAGNET


Red dust kicked up by hot rubber. A lizard looks up from a rock as fl ashing lights whip past. It’s daytime, and behind his reflect ive aviator sunglasses, Constable Lee Tomahawk stares at the road, which goes on until it ends. Out here, in the rough outback littered with domest ic violence, alcoholism and prost itution, you need a low jawed police force that is ready to take on a town. Welcome to the world of Kalgoorlie Cops (CI Channel), a reality series that is unafraid to caricature life in the titular outback mining town. Like the simplist ic and airplane friendly Bondi Rescue, the show captures ‘day in the life’ events of its dinky di Aussie subjects. There is a simple, generic formula: find a situation that is steeped in iconic Aust raliana (beaches, the outback), populate it with some ‘everyday heroes’ and ‘shit st irrers’ and before you know it your show is a success, with syndication sold to a digital channel in Slovakia. It must be exciting for a cop to suddenly be featured on a reality television show. After years of pushing pencils and dealing with dipshit taxpayers, finally they have the chance to act like the cops that starred on COPS. At any possible opportunity, they jump in front of the lens to deliver lengthy, well-rehearsed monologues about the difficulties of being on the force, along with ruminations on isolation, the human psyche and ‘dickheads’. The cops sell themselves through nuggets of wisdom like “You can’t reason with a drunk” and “Integral part of Kalgoorlie, the prost itutes. I mean, they’re providing the services for all the blokes in town.” The show does everything it can to create big moments that make for great 30 second commercial spots. Shots of a car chase, a late night punch-up, a face covered in blood. Close-up of a syringe. When ordinary people appear on screen you hear eerie sounds of drips and the cold slam of steel bars. However, the show is wrapped around the magnificent work of narrator Don Halbert. Speaking in a gruff, throaty voice, he weaves the dream of Kalgoorlie Cops “Kalgoorlie is a powder keg that’s guaranteed to go off.” Then it ends.

BEAUTIFUL TRASH NOTHING SCREAMS REALITY TV GOLD QUITE LIKE THE SLIGHTLY SURREAL EUROVISION SONG CONTEST. 5SPROCKET JOINED 140 MILLION OTHER WORLDWIDE VIEWERS TO GASP IN HORROR AND DELIGHT AS THE 2011 EDITION UNFOLDED. Eurovision is back with more dry ice and songs about apricot harvest ing than ever before, with 43 countries battling it out to be the champion of rubbish pop. The event is hosted by reigning champ Germany in Düsseldorf, a city most known for its rock climbing theme parks, miniature windmills and beloved collectable spoon museum. Over 40,000 flag waving maniacs packed the stadium, their cheers lubricated by Bratwurst and beers, while 140 million viewers around the globe wondered when ABBA were going to be on. The final 25 contenders were selected over two semi-final nights, with Belarus’ track I Love Belarus tragically not making the cut. The final kicks off in spectacular fashion with a tribute to last year’s winning track, Satellite. Covered in rockabilly st yle by goofy host Stefan Raab, who is clearly Deutschland’s Rove McManus, it features a big band, national flag dancers, two sparring drum kits and doe-eyed enchantress Lena. The crowd chants the reigning champ’s name, united in their love of overproduced pyrotechnics and piercingly repetitive melodies. First on stage is Finland with meandering folk tune Da Da Dam, which tells the story of a nine-year-old boy who has to save the world from global warming. “Peter is smart, he knows each European country by heart” are the opening words delivered by a gnome in clogs that wants us to recycle. Bosnia and Herzegovina’s entry is a foot thumping gypsy tune about the power of mathematics, supported by funky breakdancers. Denmark brings the anthemic stadium rock, performed by troll dolls in leather pants. Lithuania’s solo female vocalist delivers a song loaded with Disney sentimentality, on a platform of dry ice. The words are a muddle of second-hand English and phlegm, a timbre unsuited to human organs. Hungary’s Kati Wolf pumps up the volume with a Euro dance track that is reminiscent of your 1996 Contiki tour. Apparently the latest in haute couture is a blue smock accessorised by a ring the size of a puppy’s head. A favourite to win is Ireland’s Jedward, identical twin brothers who are the personification of Wizz Fizz. With spiked blonde hair and st udded red shoulder pads, they blow bubblegum kisses to each other while





INTERNATIONAL DAY OF CLONING Sunday 5 June, 2011 – let it be said now – would be as good a day for an audiovisualist to be in three places at once. IN SYDNEY Chris Cunningham brings his triple screen live audiovisual performance to Sydney Opera House as part of the Vivid LIVE fest ival. To what extent his performance is live has already been debated, but the lure of this director’s back catalogue and the teasers glimpsed online mean that expectations are like that ast ronaut suited guy in the hot air balloon at the edge of the atmosphere. Who knows? IN MONTREAL Already a fond pilgrimage for those wanting to worship at the altar of techno, drone, bass and glitch, this year’s Mutek fest ival promises a stellar collect ion of audiovisual related events: * Mexican ambient–techno producer Murcof – teamed with Anti-VJ – co– performing a ‘three dimensional cosmos’ across 3 screens. * Finland’s Mika Vanio (ex-Pan Sonic), debuting a new live audiovisual concert.

confetti shoots from cannons. The flashing lights st ir the leprechaun duo’s hyperact ivity to the point where they shot pure Red Bull from their eyes, before their skeletons jumped out of their bodies. Sweden’s Bieber then took to the stage with a song about the importance of popularity. He wears seatbelt buckles across his chest, presumably so he can st rap himself into the intensity of the song. Hitting a high note, a glass panel shatters. Meanwhile, all Estonia can muster is miniature buildings made of cardboard. Greece spice up a traditional tune with a Vanilla Ice aspirant. France are obviously auditioning for an upcoming product ion of Les Misérables, while Italy hijack a piano and waste everybody’s time. “Blue Is Back!” is something no one said after seeing the reunited UK boy band’s performance, their sleeveless shirt ensembles unsuited to their aging, leathery skin. A crew of zany Moldovans do a ska take on Rage Against The Machine while a fairy rides a unicycle around them. Germany’s Lena sings Danger Is A Risky Business, a song so naughty that you need to be personally spanked by Lena just for hearing it. Azerbaijan deliver an inoffensive pop song called Running Scared, which is either about the end of a relationship or a recent mugging. Product ion elements include wind machines set to Latham and a shower of golden sparkles that looks highly fl ammable. Ukraine’s songst ress has feathers growing out of her shoulders for reasons not explained by the sand painted backgrounds. Serbia’s Megan Washington delivers a 60s femme pop ballad about how great it is to have teeth, before Georgia’s hip hop-meets-Evanescence experiment ends the night in four minutes of forgettable trash. In the end Azerbaijan take home the main prize, with next year’s event sure to be bigger and bolder than ever, hosted in a city where cats are the primary mode of transport.


* UK’s Scuplture play their homemade zoetropic discs – “slabs of vinyl illust rated with otherworldly patterns that they play at various speeds and then fi lm to create simultaneous cycles of analogue sound and looping, mind–melting imagery.” * Women With Kitchen Appliances have a name that demands fest ival goers will at least wander in to check out what they might be doing. Oh and ‘just music’? Amon Tobin debuts his new “live performance featuring an enormous stage set-up that promises otherworldly experiences”. IN MELBOURNE Either these next few words will mean a lot to you, or they won’t, but the Sun Ra Arkest ra is playing in Melbourne. They’ve been kicking for six decades now, and although no longer fronted by Afro cosmonaut and renowned composer Sun Ra (who passed away in 1993), this performance represents the Aust ralian premiere and a chance to experience their unique and exhilarating, free-floating explorations of ‘tone-science’. At the Forum Theatre as part of the Jazz fest ival, Space is the place, ladies and gentlemen... @JEAN_POOLE





























SIZE MATTERS? Up to 12” long.


That scene in Home Alone where it eats Macaulay Culkin.

HABITAT? Some of them hide in trees, others in shrubs near your feet.

PROS? Will impress the kids at show and tell.

CONS? Could kill the kids at show and tell.

FEAR FACTOR? Seven Gary Buseys. Enough to scare the eyebrows off your face.



KNOWN FOR? Dressing up in lycra and saving the lives of good-looking New Yorkers.

HABITAT? The urban jungle.

PROS? Usually has a sharp-witted comeback.

CONS? Has sticky hands.


Two Gary Buseys. About as terrifying as the hosts of MasterChef.



KNOWN FOR? The Wonka-licious fusion of ice cream and soft drink.

HABITAT? Old Timey Milk Bars.

PROS? It’s the only drink that could be described as ‘zany’.

CONS? They just don’t make ‘em like they used to.

FEAR FACTOR? One Gary Busey. Mostly harmless.


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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

PROMOTER DAVIDOTTOMUSIC.COM is looking for 2 bright fun loving models to join our team in Brisbane. Promoting & playing in the band - NO EXPERIENCE REQUIRED! Email Kittie with recent iFlogID: 13166

SALES & MARKETING People needed to send eMails offering a new music Book for sale. Must have own computer - payment by commission via Paypal. Contact Bill on (02) 9807-3137 or eMail: iFlogID: 13289





tube amporiginal 1960’s.2 2/12 matched cabs.HUGE sound.perfect condition.Aussie made.$1200 ono. Ph.0428744963.Cooroy. iFlogID: 13025 Laney GH120 Guitar Head 120 watt.2 channel.f/ out.very punchy. great tone.UK made.VGC.$400. Ph.0428744963.Cooroy iFlogID: 13021 Peavey Bandit 80watt 12” guitar combo 2 channel.footswitchable.great fat tone.reverb/saturation etc.USA made.VGC.$350. Ph.0428744963. Cooroy iFlogID: 13019 Peavey Windsor series 400watt 4/12 slant cab. supreme XL speakers.HUGE bottom end grunt.AS NEW cond.$500.. iFlogID: 13023

CD / DVD Attention Musicians, Record Collectors, Universities, Libraries - new Book(print/cdROM/direct download) compiling 100 years of popular music. GO TO web-site on how to buy. Enquiries: (02) 9807-3137 eMail: iFlogID: 13287 IRON MAIDEN - The Wicker Man - Rare CD Single. Tracklisting 1.The Wicker Man 2.Futureal 3.Man on the Edge 4.The Wicker Man(enhanced video). $10 Ph:0449713338 iFlogID: 13312 Suicidal Tendencies S/T & Join the Army CDs Signed by Mike Muir. $29each ono Ph:0449713338 iFlogID: 13314

COMPUTERS Toshiba Satellite U400 GREAT DESIGN 13inch Windows7 4Gig 250HDD like new. $600 ono Call Dean on 0433 095 822 Pick up or delivery can be organised. See pics on iflog iFlogID: 13273

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

OTHER BEASTIE BOYS Paul’s Boutique Gatefold Vinyl LP. Sleeves and Records are brand new. $25 Ph0449713338 iFlogID: 13330 BUCK 65 Situation 2 x Vinyl LP . Sleeve and Record are Brand New. $25 Ph0449713338 iFlogID: 13322 cLOUDDEAD Self Titled, 3 x Vinyl, Triple LP. Sleeves and Records in excellent condition. $35 Ph0449713338 iFlogID: 13324 COLDCUT Sound Mirrors 2 x LP Vinyl. Sleeves and Records are brand new. $30 Ph0449713338 iFlogID: 13326 CRADLE OF FILTH Godspeed and the Devil’s Thunder Gatefold 2 x Vinyl LP. Sleeve and Record are brand new - Sealed! $25 Ph0449713338 iFlogID: 13340 DIMMU BORGIR In Sorte Diaboli Gatefold Vinyl LP + bonus 7”. Limited Edition No. 1424 of 2000. Sleeves and Records are brand

new - Sealed. $35 Ph0449713338 iFlogID: 13334

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

GHOSTFACE KILLAH The Big Doe Rehab 2 x LP Vinyl. Sleeves and Records are brand new. $20 Ph0449713338 iFlogID: 13328 JELLO BIAFRA with the MELVINS Never Breathe What You Can’t See Vinyl LP Signed by King Buzzo. Sleeves and Records are brand new. $35 Ph0449713338 iFlogID: 13338 KING CRIMSON Beat Vinyl LP Signed by Adrian Belew (guitars on Nine Inch Nails, David Bowie, Tori Amos albums). Sleeve and Record in excellent condition. $30 Ph0449713338 iFlogID: 13320 MURS 3:16 The 9th Edition Vinyl LP. Sleeve and Record in excellent condition. $20 Ph0449713338 iFlogID: 13318 NINE INCH NAILS Closer 12” Vinyl: further away (part one of a two record set), 1994. SEALED!!! VERY RARE! $90 ono Ph:0449713338 iFlogID: 13344


Drummer wanted for Sydney band. influences include Nirvana, the Beatles, Queen, Beach Boys, Pink Floyd, Slayer, The Hard-Ons. Call Nathan. 0431 317 613 iFlogID: 13400

Let Big Music cater a PA package for your event. We have top quality gear from QSC, DBX, Yamaha, Allen & Heath (and many more) at very competitive prices. We can provide delivery and highly experienced sound technicians to setup and engineer your event. Contact Astrid today at B!G Music on 86226555 or email au. iFlogID: 12922

D7 STUDIO MUSIC VID FROM $250 music vid $250. Live gig edits, multiple angles, from $150 or 1 live track from $80. All shot in full HD. ph:0404716770 iFlogID: 13368

SAMANTHA SCHINDLER - needs a central coast NSW bassist AND drummer for gigs. go to myspace. com/samschindler07 and see if its your thing,and leave a message.or iFlogID: 13310



TECHNICAL SUPPORT @ BIG MUSIC astrotheband iFlogID: 13296

NINE INCH NAILS Year Zero Triple Gatefold 2 x Vinyl LP. Special Edition Heavy Etched Vinyl w/16 page book! Sealed! $60 Ph:0449713338 iFlogID: 13346 Nissan Pintara Wagon 1990 model. 2 Litre 4 cylinder. 4 Speed Auto.A/C. Great for carrying PA, drums, instruments. Registered until 19/08/2011. 260,645 km. $1700.00. Greg 0419541089. Menai, NSW. iFlogID: 12993 OZZY OSBOURNE The Ultimate Sin Vinyl LP. Sleeve and Record in excellent condition! $15 Ph0449713338 iFlogID: 13316 PETE ROCK NY’s Finest 2 X Vinyl LP. Sleeves and Records are brand new. $25 Ph0449713338 iFlogID: 13332 SHELLAC 1000 Hurts Vinyl LP + CD. Steve Albini’s band! Record, Sleeve and CD in Excellent Condition. Outer box in good condition. $25 Ph0449713338 iFlogID: 13342 TYPE O NEGATIVE Dead Again Gatefold 2 x Green Vinyl LP. Sleeves and Records are brand new - Sealed. $25 Ph0449713338 iFlogID: 13336

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. iFlogID: 13117



SINGER Female singer looking to start/join band with influences similar to crue, g n r, maiden etc etc. Email iFlogID: 12990 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@ iFlogID: 12936


MUSICIANS WANTED BASS PLAYER Bassist wanted for Sydney band. influences include Nirvana, the Beatles, Queen, Beach Boys, Pink Floyd, Slayer, The Hard-Ons. iFlogID: 13402

INDIE/ROCK COVERS BAND looking for bass player to join gig-ready trio in Surry Hills to play David Bowie, Killers, Radiohead, Arctic Monkeys, Bloc Party, Dandy Warhols etc. iFlogID: 13177 New three piece needs a (fourth piece) BASS player who isn’t scared of solos and melodic work. Sounds like Tumbleweed, Custard, Magic Dirt. Rehearsing at Marrickville. Call 0414184301 or 0411757469 iFlogID: 13394



OTHER is free to join, and with over 5000 members its fast becoming the largest online music community in Australia! If your looking to join or form a band, find a band member, or get exposure check Ozjam out today! iFlogID: 12986




Alexi are looking for a new Drummer. Check out our music via www. for more info and/or email us via to audition. iFlogID: 13381

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 iFlogID: 12934

DJ & MUSIC PRODUCTION LESSONS One on one, tailor made DJ/Production lessons with industry professional DJ/Producer. Cut years off your learning curve. All equipment can be provided. Affordable rates. We’ll come to you. facebook. com/nuperspektivedjschool PH: 0416935787 iFlogID: 13300

SAMANTHA SCHINDLER - needs a central coast NSW bassist AND drummer for gigs. go to and see if its your thing,and leave a message. iFlogID: 13308 Western Sydney Rock Band seeks bass player 15-20yrs old. Must have own gear and be prepared to rehearse weekly. Originals and covers with gigs ready to go. Call 0438137609 iFlogID: 13213


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 female singer lyricist wanted to complete songs. Electronic dance .email for demos iFlogID: 13298 GOSPEL SINGERS WANTED for non-denominational music ministry to record triple-CD in Perth. World-class, passionate and devotional vocalists sought. View www. for details. Jesus is KIng! Reverend Eslam. God Bless You! iFlogID: 13088 Rock/Hard Rock band from the Inner West seeking vocalist. Preferably in their 20’s, originals and covers, must have transport and a good attitude. Call Michael @ 0420371624 iFlogID: 13417

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

OTHER GIG AND BAND PHOTOGRAPHY Gig photography, tour photography, band publicity & portrait shots. Reasonable rates & friendly service. Robert 0438 02 72 21 iFlogID: 13011

WANTED OTHER PLAY MORE CHINESE MUSIC - love, tenzenmen. iFlogID: 13077

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3D World - Melbourne Issue #1060  
3D World - Melbourne Issue #1060  

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