( Issue 1053 ~ TUESDAY 22 MARCH 2011 )
HARD KNOCK LIFE PEANUT BUTTER WOLF: Hip Hop’s Hippest Mogul The Good, Bad & Ugly Of TANK GIRL MELBOURNE FASHION FESTIVAL: Fashion Full Stop Reviewed HOLLYWOOD’S GUIDE TO Surviving The Apocalypse
FOO FIGHTERS wasting light on the harbor
WIN S! TICKET
To celebrate the Foo Fighters’ secret pop-up gig at Sydney Harbour, a world premiere for new material from the band’s new album Wasting Light to be broadcast and televised, Channel [V] have given Drum Media two of the last money-can’t-buy tickets to the event.
AND WE’RE HANDING THEM ON TO YOU. If you want to get along to this historic event, head to facebook.com/drummedia and look for the Foo Fighters Giveaway tab for further information.
The show is happening this Thursday, sunset at the secret location.
IS ON THE GROUND AT
SXSW Keep up with all the latest from the annual international music event SxSW as it takes place this week in Austin, Texas. Street Press Australia and themusic.com.au are there so that you don’t have to be.
296 OFFICIAL BANDS OVER 50 AUSTRALIAN BANDS 4 DAYS NON-STOP GIGS This year’s SxSW promises the usual mix of arena names, underground blog faves, comebacks and chancer buskers. SxSW 2011 is where Duran Duran, The Strokes, Gayngs, Yuck, The Fleshtones and Yoko Ono can all be found gigging in the one city in the same week. Be ﬁrst to ﬁnd out how it unfolds through themusic.com.au.
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CREDITS PUBLISHER Street Press Auﬆ ralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel Crichton-Rouse SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alanna Bishop, Aleksia Barron, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAliﬆer, Ben Kumar, Blaze, Brad Swob, Bryget Chrisﬁeld, Carlin Beattie, Clare Dickins, Darren Collins, Dave Dri, Dave Jory, Djengel, DJ Stiﬀ y, Fern Greig-Moore, Gloria Lewis, Guido Farnell, Guy Davis, Holly Hutchinson, Huwﬆon, Jake Sun, Jane Stabler, Jann Angara, Jean Poole, Jeremy Wood, Johnnie Runner, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Maria Lee, Matt O’Neill, Matt Unicomb, Melissa Weﬆ , Mitch Knox, Monica Connors, Nick Connellan, NHJ, Nic Toupee, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Russ Macumber, Sasha Perera, Scott Henderson, Stuart Evans, Tim Finney, Tom Brabham, Triﬆan Burke Ben Maccoll, Carine Thevenau, Corey Brand, Cybele Malinowski, Dave Dri, Kane Hibberd, Koﬆ as Korsovitis, Lou Lou, Luke Eaton, Terry Soo ADVERTISING DEPT email@example.com NSW – Brett Dayman, Jason Spiller
Auﬆ ralia’s greateﬆ progressive house export (apologies to Infusion and Luke Chable) is back and in as sparkling form as ever. Yes, James Cayzer aka Jimbo aka Jaytech – with a little help from Anjunabeats label manager James Grant – has once again delivered the goods with the Anjunadeep:03 compilation, a two-disc set fans of the rainbow ﬆ ylings of producers like Paul Keeley, Proﬀ, Komytea and Dinka should be all over ASAP…
It’s one of the more iconic signiﬁers of the lifeﬆ yles of the rich and famous on the planet, but do you know the real hiﬆory of the Hollywood sign? If you don’t have the time or inclination to digeﬆ all 224 pages of the new hardcover book The Hollywood Sign: Fantasy And Reality Of An American Icon, slate.com have thoughtfully paraphrased it for you – and with a spiﬀ y slide show to boot…
VIC – Katie Owen, Cat Clarke QLD – Adam Reilly, Melissa Tickle CLASSIFIEDS www.iﬂog.com.au ART DEPT firstname.lastname@example.org Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague ACCOUNTS DEPT email@example.com PRINTING Rural Press DISTRIBUTION diﬆ firstname.lastname@example.org SUBSCRIPTIONS www.isubscribe.com.au Subscriptions are $2.20 per week (Minimum of 12 weeks). HEAD OFFICE 2-4 Bond St, Abbotsford, VIC 3067 (03) 9421 4499 Sydney: (02) 9331 7077 Brisbane: (07) 3252 9666 HEAD OFFICE email@example.com
If you’re in Sydney and Melbourne this is your laﬆ week to check out the French Film Feﬆ ival, while Brisbane-ites have until next Sunday 3 April to get involved. Our hot tip is the animated A Cat In Paris, which according to our Arts Editor is about “cats and gangﬆers and Paris and ﬆ uﬀ ”. How could that not tempt you?
THINGS TO DO THIS WEEK
WATCH Our Kylie is currently ﬆ rutting her ﬆ uﬀ around Europe before heading our way in June and Xbox game Dance Central is sponsoring the tour. Relevance? Well they’ve created a promo clip where an unfortunate British chap named Darren dresses up in some of Kylie’s moﬆ famous outﬁts and recreates the moves from the Can’t Get You Out Of My Head ﬁ lm clip. Gold hot pants have never looked so unattract ive…
STREAM Letting David E Kelley, executive producer of Boﬆon Legal and Ally McBeal, loose at a new pilot for Wonder Woman on American’s NBC network sounds like a good idea on paper, but his coﬆ ume department probably should have put in a bit more eﬀort than juﬆ nipping down to the local fancy dress shop if this ﬁ rﬆ shot of Adrianne Palicki in character is any indication…
The music world is doing its bit to pitch in and help disaﬆer relief appeals in Queensland, Chriﬆchurch and Japan Proceeds from all 12 month subscriptions to Tiga’s Turbo label’s online shop made before Sunday 1 May will go the Japan Earthquake And Tsunami Relief Fund – and for $65 you’ll get one year of Turbo single pack downloads a week earlier than their oﬃcial release. Head to shopturbo.com for details…
You know those guys that sang about needing a bosom for a pillow and all that? Well they’re called Cornershop and they’re ﬆ ill kicking along and The Hype Machine is kindly ﬆ reaming their new album Cornershop And The Double ‘O’ Groove Of... right now. And it’s quite smashing, with previously unrecorded Punjabi singer Bubbley Kaur letting loose the true sound of the Asian underground over some delicious poﬆ-MIA cut-and-paﬆe hip hop grooves…
Brazilian fashion brand Colcci have signed up their bombshell countrywoman Alessandra Ambrósio and Twitter guru/occasional actor Ashton Kutcher for their Fall/Winter 2011.12 Campaign and some more images have juﬆ been released, with Amboriso looking suitably ﬆ unning and Kutcher showing oﬀ the result of what looks like many, many hours of serious back sculpting exercise…
ANNOUNCEMENTS CANNY OPERATORS
Central Station are back with their lateﬆ Central Energy compilation and as always they’ll be touring some of their ﬆarring performers. Demonﬆ rating their highly developed beat skills on the album are DJs Alex Kidd and XDream, who are set to deliver kicking DJ sets across Oz. The tour hits Family (Brisbane) Friday 15 April with Alex Kidd, the same day XDream plays Forever Young Feﬆ ival U18’s (Sydney). Kidd plays Chasers (Melbourne) Wednesday 20 April, together with XDream at Woodport Hotel (Central Coaﬆ) on Saturday 23 and ﬁnally at Billboard (Melbourne) Monday 25.
M TO THE K
One of the UK’s leading hip hop artiﬆs, DJ MK has been circling Oz with Dizzee Rascal as part of the Future Music Feﬆ ival behemoth. Now, as well as supporting DOOM, he will be playing solo gigs nationally in late April. MK has collaborated with artiﬆs including Roots Manuva, Dido, Gorillaz and Skinnyman, and currently hoﬆs the UK’s higheﬆ rated hip hop radio show. Aware of changes in trends along with the legendary cornerﬆones of the genre, MK is unafraid to engage people with his high spirited and one of a kind live show. He plays Chinese Laundry (Sydney) Friday 25 March, X & Y Bar (Brisbane) Wednesday 30 and Fannys (Newcaﬆ le) Saturday 2 April in between DOOM warm-up duties.
Following the release of mix album Vicious Cuts 2011, DJs Ian Carey and John Course are embarking on solo national tours. Carey has a legendary reputation, notable for being a double platinum selling artiﬆ and IAN CAREY having DJed in over 50 countries, along with running his own label. His signature ‘funky bassline’ product ions have demonﬆ rated his creative eye for detail and his accessible and choice beats, a la mega-hit Get Shaky. Over the paﬆ decade, John Course has been leading a house music revolution in Auﬆ ralia. The artiﬆ has been the featured closer of Summadayze and continues to lap the clubs of Auﬆ ralia to high acclaim. Coursey shows his ﬆ uﬀ at LaLaLand (Byron) Friday 25 March, Platinum (Gold Coaﬆ) Saturday 26 and Soho (Sydney) Saturday 14 May, while Carey’s wing of the Vicious Cuts Tour plays Chinese Laundry (Sydney) Saturday 2 April, Platinum (Gold Coaﬆ) Friday 8, Fusion (Melbourne) Saturday 9 and an Under 18s show at Homebush (Sydney) Wednesday 13.
Brisbane indie dance ﬁvepiece Tin Can Radio are celebrating the release of their debut album Chase The Sun, Hold The Night with a national tour. Their album features their singles Hot Trash and Days To Duﬆ, and journeys through dreamy landscapes, singalong hooks and grinding dubﬆep breakdowns. Presented by Street Press Auﬆ ralia, they play World Bar (Sydney) Friday 15 April, Pyramid at Transit Bar (Canberra) Saturday 16, Revolt (Melbourne) Thursday 21, Evelyn Hotel (Melbourne) Saturday 23, Cambridge Hotel (Newcaﬆ le) Wednesday 27, before tracking to Beach Hotel (Byron Bay) Friday 13 May and The Zoo (Brisbane) Friday 20.
WHAT GHOSTS KNOW
Tales In Space have released their new video clip, Ghoﬆ In The Room, ahead of a national tour. The band describe themselves as an “explosive collage of elect rodynamo-pomo-disco rock”, and they manage to make a volcanic sound. Their lateﬆ track is a synth-laden, spooky tune about choices in parallel universes. They are quickly picking up ﬆeam for their live performances, which are like lightning bolts for your face. They play The Lansdowne (Sydney) Saturday 2 April, Public Bar (Melbourne) Saturday 9 and Beetle Bar (Brisbane) Thursday 14.
GET OVER IT
Melbourne death-hop pioneers, Over-Reactor are celebrating the release of their brand new album Lose Your Delusion with live shows throughout April. The group believe that all their music should be available to fans for free, and you can liﬆen to their chaotic beats at over-reactor.com. They play The Barwon Club Hotel (Geelong) Thursday 31 March, The Harp (Wollongong) Thursday 12 May, Caringbah Bizzo’s Saturday 14, Bar On The Hill Thursday 19 and The Northern Star (both Newcaﬆ le) Friday 20 and Tempo Hotel (Brisbane) on Friday 27.
Coming live and direct from Jamaica are two of the country’s biggeﬆ ﬆars, Anthony B and Ce’Cile. One of Jamaica’s top entertainers, Anthony B delivers conscious roots and slammin’ dancehall in a high-energy performance, while diva Ce’Cile has used talent, wit and sex appeal to grow into one of the bolder acts on the scene. They play Manning Bar (Sydney) Thursday 21 April, Monaﬆery on Church (Melbourne) Friday 22 and The Hi-Fi (Brisbane) Sunday 24. Tickets $50 from bigtunesmusic.com.au.
FAMOUSLY BALD MUSICIAN Moby is set to release new album Deﬆ royed on 13 May. The album was reportedly inspired by the dull moments on tour, such as waiting for your skull polish to dry. It is said to capture the anxiousness and isolation that people experience when they liﬆen to Moby... LIONEL RICHIE AND Guy Sebaﬆ ian have combined to create an update of Richie’s All Night Long. Money raised from the single will be donated to those aﬀected by the Chriﬆchurch earthquakes and the Queensland ﬂoods... FRENCH DUO JUSTICE have teamed with ﬁ lmmaker Romain Gavras on the All ADIDAS brand campaign. Extracts from their soon to be released Civilization were used in the promo. Having sold over 800,000 units of their classic †, they’re reportedly excited to be associated with shoes... THE BEASTIE BOYS’ eighth album Hot Sauce Committee Part Two is set to be released 29 April. Four years since the release of their laﬆ, the group will not be sampling Rebecca Black’s hit single Friday, much to the dismay of everyone on the planet... THE BOLD NEW album from the Junior Boys, It’s All True, will be released 17 June. Bounding from lofty bpms to spare and brooding hymns, the LP’s tracks include Itchy Fingers, Playtime and A Truly Happy Ending, indicating their lateﬆ output will be as sexy as a naked angel licking your ear...
BENDING THE RULES HEALTH PROBLEMS, CREATIVE DIFFICULTIES AND A SPLIT WITH HIS LABEL ALL CONSPIRED AGAINST PAUL RIDGE CRAFTING THE THIRD DRAPHT ALBUM, THE LIFE OF RILEY, BUT LUKE MCKINNON LEARNS IT DIDN’T SWAY THE MC FROM HIS MISSION TO CREATE A BODY OF WORK THAT SEEKS TO INSPIRE AUSTRALIAN YOUTH NOT TO CHOOSE A LIFE DICTATED BY THE EXPECTATIONS OF OTHERS.
OR PAUL RIDGE, BETTER KNOWN AS DRAPHT, there is one thing that unequivocally deﬁnes him – his music. For the Weﬆern Auﬆ ralian MC it is an all encompassing beaﬆ that cuts to the core of everything he does; at times it is an immense, burdensome weight, at others a liberating force, the source of spectacular highs, yet it is always a conﬆant. Ridge is set to release his third full-length The Life Of Riley, a loosely conceptual record focused on the notion of “living the life you want to live, not abiding by society’s pressures and no longer working for the man”. The inspiration derived from the laﬆ two years of Ridge’s life, which have seen his popularity explode oﬀ the back of the single Jimmy Recard and resulted in the ability for Ridge to live oﬀ his music on a full-time basis. That the line between his music and real life is becoming increasingly blurred is not surprising given the earneﬆness with which Ridge approaches his lyricism and the pervasive nature of his work. The Life Of Riley’s subject matter is deeply personal and incredibly introspect ive, capturing the minutiae of Ridge’s everyday life, both its highs and lows. It is the type of lyricism that could render a deep emotional toll on the writer, so did it? “No, none at all,” Ridge says. “It’s purely because I feel I need to write these songs to vent the paﬆ two or three years of my life and I’ve always found that people connect to honeﬆ y more than anything else in music. So, songs like Falling and Jimmy Recard are really personal songs. Whether you think Jimmy is or not, it is, because it’s got to do with namesake and they’re the songs that people relate to moﬆ. So I took that on in terms of my writing ﬆ yle going into this record because I knew people related to those tracks moﬆ.” Conceptually, The Life Of Riley plays out like a road map for growing up – a rap guidebook for adolescence. Given Ridge’s popularity, the record has the potential to be incredibly inﬂuential on Auﬆ ralian youths, a concept that Ridge does not shy away from. “I really hope it does,” the gregarious MC says, “purely because the message behind this record is not abiding by society’s pressure. There are so many young kids out there that don’t know what route to take after leaving school and they get forced into doing these trades or something that initially their parents would like them to do, but it’s not what they foresee themselves doing in the future. “I really want to get the message across that you need to live your own life and not live someone else’s expectations out; because all you’re doing by following a guideline is moving towards a midlife crises. There are so many people that I went to school with that are ﬆ ill on the same boat; they’re miserable in their careers; they’re ﬆ ill seeing the same chick from high school that they don’t even like – every time I’m around at their houses they’re bitching about this chick that they’re fucking engaged to and that doesn’t seem right, it’s doesn’t seem like they’re enjoying the life that they live.”
“I THINK THAT THERE’S A MASSIVE PIT HOLE THAT THE AUSTRALIAN HIP HOP INDUSTRY HAS FALLEN INTO; THEY JUST KEEP ABIDING BY A GUIDELINE AND A RULEBOOK THAT’S FUCKING NOT EVEN EXISTENT BECAUSE THEY DON’T WANT TO HEAR PEOPLE GIVE CRITICISM OR DISS THEM…” Whilﬆ Ridge is incredibly upbeat about the release of his new record, there is also an evident sense of relief that the album has reached its completion. “I’m fucking ﬆoked to have it ﬁnally ﬁnished and be gone, gone out of my fucking life,” Ridge explains. “It was by far the hardeﬆ thing I’ve had to tackle in my 28 years of living. Not so much the writing process – that took about ﬁve months and wasn’t too hard – but half way through recording and formulating the record, I’d come across some ﬆomach issues that I’d been dealing with over a ten-year period. I couldn’t eat certain things and it ended up getting worse and I was diagnosed with a really serious issue half way through the process. So, I was trying to make the record as well as deal with all these health issues at the same time, which was really taxing and it juﬆ happened to fall right in the middle of summer, which made things heaps worse.” If battling health and creative diﬃculties wasn’t enough, as the creation of The Life Of Riley neared completion, Ridge split with the Obese Records label. At the time – given the success of his previous record, Brothers Grimm – his departure seemed both sudden and unceremonious. Immediately, the induﬆ ry was rife with rumours of Ridge jumping ship to Hilltop Hoods imprint Golden Era. The truth, however, turned out to be far diﬀerent. Whilﬆ both parties have remained coy about the circumﬆances, it seems Ridge fell out with Obese over a contract ual dispute and the payment of funds he was owed. “I’m 100 percent ﬆoked not to be [at Obese] any more,” Ridge says. “I don’t like to put too much of a negative spin on the whole situation because I’ve left it behind me now and obviously it’s pretty personal with me and Obese and we’re ﬆ ill trying to work certain situations out. It’s not something I can really delve into too much, but I’m fucking ﬆoked to be doing my own thing, put it that way.” Given the successful working relationship that both Obese and Ridge have shared over the years, becoming embattled in a seemingly bitter ﬁnancial dispute muﬆ have left a sour taﬆe in Ridges mouth? “Yeah, it has, and again, there’s not too much I can say without adding fuel to the ﬁ re, but it’s juﬆ something that I’d rather leave behind me because we’re ﬆ ill working on that situation. To be totally honeﬆ, I juﬆ want what I’ve worked for and I want to move on with my life. I don’t think it’s that hard – you know, I lived out my half of the record contract and I ﬆayed till the end and that’s all I was asked to do and now I’m juﬆ waiting for what they were asked to do.” Leaving Obese however, has been a liberating experience for Ridge, who, by releasing The Life Of Riley through his own label, The Ayems Records, has garnered a new found creative freedom. “I’ve have no barriers at the moment,” an elated Ridge says. “I can do anything without anyone telling me what I should or shouldn’t do. I think that there’s a massive pit hole that the Auﬆ ralian hip hop induﬆ ry has fallen into; they juﬆ keep abiding by a guideline and a rulebook that’s fucking not even exiﬆent because they don’t want to hear people give criticism or diss them, they’re scared of people dissing them. But I’m a position now where I’ve done it for ten years and I could not give a fuck what people think and I’m juﬆ writing the music that I really want to write and that I really want to liﬆen to. “I’m forging my own path. I’m lucky enough to be living oﬀ my music and have been for the laﬆ two years, which is something that I never thought I’d be doing three years ago when I was working nine to ﬁve – it’s been a hobby for me for the laﬆ ten years, but I never thought it would be my livelihood.” WHO: Drapht WHAT: The Life Of Riley (The Ayems Records/Sony) out Friday 1 April WHERE & WHEN: Kay Street (Traralgon) Friday 8 April, The Bended Elbow (Geelong) Saturday 9 April, New Albury Hotel (Albury) Sunday 10 April,
Kings Beach Tavern (Sunshine Coaﬆ) Thursday 14 April, The Hi-Fi (Brisbane) Friday 15 April, Coolangatta Hotel Saturday 16 April, Great Northern Hotel (Byron Bay) Sunday 17 April, Billboard (Melbourne) Friday 22 April, Groovin The Moo at Prince of Wales Showground (Bendigo) Saturday 30 April, Groovin The Moo at Murray Sports Complex (Townsville) Sunday 1 May, Carrington Hotel (Blue Mountains) Thursday 5 May, Wollongong Uni Friday 6 May, Groovin The Moo at Maitland Showground Saturday 7 May, Groovin The Moo at University Of Canberra Sunday 8 May, Come Together at Big Top Luna Park (Sydney) Saturday 11 June
JOHN, PAUL, GEORGE, RINGO & PAUL
he Beatles may seem like an unlikely source of inspiration for an Auﬆ ralian hip hop album, but the world’s moﬆ famous band has played an integral part in the creation of Paul Ridge’s lateﬆ release. Ridge has consiﬆently spoken of the inﬂuence The Beatles have had on his music and on The Life Of Riley their inﬂuence comes to the fore. The album is full of Beatles-esque melodies, with Drapht consiﬆently morphing into a hybrid of singing and rapping through out. Taking it one ﬆep further, the track Won’t Liﬆen When is based on The Beatles’ Rocky Racoon by not having a solid hook ﬆ ruct ure, and having the three verses ﬂow into each other from ﬆart to ﬁnish. “I think it’s juﬆ the harmony and melody and that the subject matter that The Beatles always had in their music that I really love,” Ridge says. “In terms of their songwriting abilities, those guys were juﬆ ﬂawless. Even the way they panned [the act of placing the audio in the ﬆereo ﬁeld] their music back in the day when no one else was doing it. I’m a big fan of panning inﬆ ruments, which you can hear in the record as well. I’ve taken a lot from The Beatles in the paﬆ two years and captured a lot of it in the hip hop sound that I’m trying to make at the moment. “But it comes down to their catchy melodies; I juﬆ love the sound of their music. It’s really juﬆ feel-good music. Even if they’re writing about gloomy topics it’s ﬆ ill something that ﬆ icks in your head and you can really relate to, which is what I’ve tried to do on this record.”
OFF THE CLOCK AS THE ASTON SHUFFLE PREPARE TO LAUNCH THEIR DEBUT ALBUM INTO THE WORLD, MIKAH FREEMAN TALKS CANBERRA, PERFORMING LIVE AND COURTNEY TAYLOR-TAYLOR WITH STUART EVANS. orn, ﬁ reworks and a reputation for being a bit dull - that juﬆ about sums up Canberra’s reputation. Thumping elect ronic music isn’t normally connected with the capital. “We’ve got this wonderful thing called the internet to thank for getting the word out there I guess,” laughs Mikah Freeman, one half of Canberra duo The Aﬆon Shuﬄe. Th ree years ago Vance Musgrove and Mikah Freeman were, by and large, the sole purveyors of elect ronic music in the capital. The number of Canberra based acts who blended danceﬂoor sensations with their own diverse taﬆes was minimal. Not that it ﬆopped The Shuﬄe from getting amongﬆ it and mixing it with some of Auﬆ ralia’s biggeﬆ and beﬆ. Their MO was hammering beats and hooks. Remixes of Green Velvet’s Shake And Pop, Claude VonStroke’s The Whiﬆler and Chris Lake’s Carry Me Away have all focused the spotlight in their direct ion. Stomp Yo Shoes, their second single which featured Tommie Sunshine, was another success. Before The Shuﬄe went full-time into manufact uring beats, the boys had a bash at running a digital record label (also called The Aﬆon Shuﬄe) as well as tinkering with music under diﬀerent aliases. “Back when we ﬆarted the label there used to be three of us in The Aﬆon Shuﬄe. We ﬆarted the label juﬆ when vinyl was moving to digital. We ﬆarted it as a vehicle to get music out there. To promote the label’s name we ﬆarted to remix under the name of The Aﬆon Shuﬄe and things really progressed from there,” he says. The Shuﬄe has also already had some respectable original hits under their belts.
Trace their pedigree via early singles, the 2007 eﬀort For Everyone and the 2009 release Do You Want More. Although primitive, the singles displayed their pulped musical attitude. Wider acclaim and recognition didn’t arrive until they released I Wanna See You, which was tighter and altogether grittier. Recent single Your Love further positioned them as innovators and maﬆer-fusers of elect ro and breakdowns. Your Love was placed on high rotation on Nova and Triple J. If initial react ion is to be believed, their Start Again EP is another release that will cause a fair bit of annihilation here and overseas. Focus has also been on Seventeen Paﬆ Midnight, their upcoming debut album. Freeman sees The Shuﬄe’s
aural progression as diﬀerent but exciting. “We’ve always had the intention of making an album as we wanted to create our own body of work. If the album is well received we’d certainly like to keep doing more of them,” he explains. Do The Aﬆon Shuﬄe rate themselves as good producers? “I reckon we’re competent and always try to raise the bar. The album took a long time to make as we had a ﬆory to tell and we wanted the album to be of a high ﬆandard,” Freeman tells. It’s no ﬂuke that over the paﬆ few years as their focus has become sidetracked to other opportunities their sound has changed and progressed. “We’re not trying to write club music as a core focus anymore. We’ve got more inﬂuences and are not afraid to experiment,
particularly when we’re aiming for commercial radio and audiences,” he says. But what’s elect ronic music without a tale of deck debauchery? Legend has it that at a gig in Chriﬆchurch, New Zealand, Musgrove had a tipple too many and passed out backﬆage. When he came to, he clocked The Dandy Warhols’ Courtney Taylor-Taylor and pursued him for a photograph. In one of the photos Musgrove reckons that the Dandy’s singer can clearly be seen gawking at Freeman. “Yeah man, that’s true. I think Courtney was pretty waﬆed too. It wasn’t until the following morning when we looked at the photos when I realised that Courtney was looking at me quite seduct ively,” he laughs. Freeman maintains that, for the moﬆ part, the duo are professional. “If the crowd’s getting into it then we’ve been known to get a little loose when we play. It’s all about having fun and enjoying the moment.” Another ﬆ rong aspect to their repertoire is their re-worked live show featuring more sensory and visually engaging fun. “We’ve only done around three or four live shows and we’re really in the process of experimenting and reﬁning it. We want to put on the beﬆ possible live show.” WHO: The Aﬆon Shuﬄe WHAT: Seventeen Paﬆ Midnight (Downright/
Universal) out Friday 15 April
WHERE & WHEN: Oxford Art Factory
(Sydney) Saturday 26 March, The Met (Brisbane) Friday 1 April, After Dark Social Club (Melbourne) Saturday 9 April, Inferno (Traralgon) Saturday 16 April
HE CALLS HIMSELF CAPTAIN AUSTRALIA. HE PATROLS THE STREETS OF BRISBANE (AND, SOMETIMES, SYDNEY AND MELBOURNE) DOING GOOD DEEDS, PREVENTING CRIME AND MAKING PEOPLE LAUGH EITHER WITH OR AT HIM. HE IS APPARENTLY TOTALLY SERIOUS – HE IS A “REAL LIFE SUPERHERO”. MITCH KNOX WILL BE THE JUDGE OF THAT.
TO THE RESCUE? here’s a scene really early in Batman Returns where a convoy of demoniclooking clowns and other circus freaks run rampant at a crowded outdoor event, terrifying the bejesus out of adult and child alike as mayhem breaks out around them before Batman rocks up and ruins a bunch of people’s faces and rescues everyone because, hey, he’s Batman. Well, Movie World obviously thought it would be a good idea to re-enact that scene with a twiﬆed “kidnapping” motif back in 1992 while a certain then-sixyear-old who would later grow up to be a rakishly attract ive and eloquent ﬆ reet press writer (ahem) was on holiday with his family. So basically, a bunch of half-terriﬁed, halfconfused-as-fuck children were lifted by demon clowns oﬀ the main avenue from their laughing
and clapping parents and dumped into a ﬆ ring of horrendous and traumatising cages before being driven down the ﬆ reet. The tears are ﬂowing; seriously, ﬆ reaming. Then – salvation. The Batmobile screeches around the corner of the avenue. A ﬁgure emerges. It’s some actor paid by Movie World, but to the six-year-olds in those cages – this is Batman. He disposes of the clowns in classic Bat-ﬆ yle, wrenches open the cage doors and picks up the ﬁ rﬆ kid he sees – me – then puts me in the Batmobile, and drives me down the main ﬆ reet of Movie World. In the Batmobile. My hero. It might sound ﬆ upid now, but I genuinely regard that moment as almoﬆ wholly responsible for my enduring intereﬆ in and passion for superheroes and pictorial ﬁct ion as a whole. Superheroes are fascinating literary creations who work so well in comic books precisely because they wouldn’t – or shouldn’t – work in real life. So when I heard there was a guy dressing up in a loose paﬆ iche of Captain America’s coﬆ ume calling himself Captain Auﬆ ralia, liﬆ ing his iPhone and “pens, pencils and paper” in his Armoury (no grappling hook?) and act ively taking ﬆ rides to be a superhero (when his ‘secret identity’ obligations permit), you can imagine – I was intrigued. My ﬁ rﬆ inﬆ inct was to apply to be his sidekick. With an embarrassingly encyclopaedic knowledge of comic book characters, ﬆorylines and trivia, as well as a coﬆ ume that was made for me by some friends who were way too supportive during an earlier “I’m going to be a superhero” phase, I ﬁgured I would be a shoe-in – at leaﬆ until I saw there were genuine applicants such as Goanna Girl, Down Under Boy Wonder, and Vegemite, all of whom have apparently legitimate “fuck you up” skills and all of whom scuttled any hope for someone like me, whose beﬆ credential is
“faﬆ due to hiﬆory of running from bullies”. Still, we’ve all seen The Incredibles. Hell hath no fury like a marginallyeﬀeminate nerd scorned. Supervillainy suddenly became a viable, real-life option; even moreso when I contacted the Captain and he freely dropped information about his personal life that moﬆ villains would kill their own mothers to have about their nemeses – but, man, supervillainy takes serious eﬀort. I decided inﬆead I need to underﬆand the real-life superhero process. Captain Auﬆralia is currently on leave from act ive patrols for the next month or so – make of that what you will – but when he returns, I’ll be joining him for a week or so, and it better be like comic books told me it would. To be continued...
THIS IS KICK-ASS Captain Auﬆ ralia is not the only ordinary citizen donning a coﬆ ume and trying to protect the ﬆ reets. In what is becoming an increasingly commonplace occurrence, regular folks all over the world are taking up self-proclaimed superhero mantles – some more successfully than others. Seattle-based Phoenix Jones, for example, deﬁnitely has the look and mythos down. Super-ﬆ renuous research reveals that at night, Jones goes into a secret room in a myﬆerious comic book shop and dresses up in one of the moﬆ bad-ass supersuits seen outside of a movie, complete with bulletproof veﬆ, ﬆab-proof plating, and skull-crackin’ weaponry in the form of nightﬆ ick, taser and mace. He is joined in his patrols by the Rain City Superhero Movement, which is made up of Jones and nine other capes with awesomely thought-out names like Green Reaper and Penelope. The depressing trend that’s emerging is that real-life superheroes don’t really do all that much that ends up being useful. Take Mexico’s non-violent superhero Superbarrio. Superbarrio ﬁghts crime with proteﬆs and petitions and labour rallies. Superbarrio does not need to wear red and yellow tights with mask to do this; he needs to get himself a nice pinﬆ ripe suit and ﬆop being so ridiculous. Meanwhile, Canada’s Polarman shovels snow by day and prowls for criminals at night – hopefully to hit them in their faces with his snow shovel and teach them a fucking lesson. But you know he probably juﬆ calls the cops.
VINTAGE JENNY KEE
FULL STOP, COLLABORATE, LISTEN WHEN THE L’ORÉAL MELBOURNE FASHION FESTIVAL KICKED OFF WITH THE FASHION FULL STOP: DECADES OF AUSTRALIAN FASHION & MUSIC SPECTACULAR, CYCLONE WAS THERE TO TAKE IN ALL OF THE AUDIO AND VISUAL SPLENDOUR. PHOTOS BY HEIDI TAKLA.
ROMANCE WAS BORN
he ﬂamboyant Baz Luhrmann would be proud – this year’s L’oréal Melbourne Fashion Feﬆ ival launched with an ambitious mash-up of rock, disco, musical theatre, contemporary dance, ﬁ reworks and, naturally, fashion. Fashion Full Stop served as a 50-year retrospect ive with curators and ﬆ yliﬆs (including Michelle Jank). In some ways, it was like a living exhibition – certainly more entertaining than inspect ing clothes from behind glass cases, yet ﬆ ill inﬆ ruct ional for aspiring vintage hunters. Conceived by LMFF’s incoming Creative Director Grant Pearce, FFS was marketed to the wider public – it’s an egalitarian alternative to those invite-only Government House bashes of old. FFS was held at The Plenary – a 5000-plus capacity theatre in the Melbourne Convention and Exhibition Centre. (The balcony is inclined severely – precarious for the fashioniﬆa in heels.)
FFS began fashionably late – 45 minutes – when Guy Sebaﬆ ian, afro-free and dapper in a suit, let rip into INXS’ New Sensation. It was an apt introduct ion to the evening’s ﬁ rﬆ segment, Auﬆ raliana, spotlighting designs by Jenny Kee and Linda Jackson from the 70s on. The pair did much to forge an Auﬆ ralian fashion identity by looking to the landscape, wildlife and Indigenous art. They were unafraid, too, of using brazen colour splashes in their textiles. Remarkably, Karl Lagerfeld was so enamoured of Kee’s black opal print as to incorporate it into a Chanel ready-to-wear line in 1983. In 2011 the Flamingo Park founder’s diﬆ inct ive Luna Park knit dress is 80s kitsch, but once it was transgressively fun. Th roughout FFS archival ﬁ lm was screened – a 70s Razzmatazz TV ad (with its Oh! Oh! slogan) among the moﬆ iconic ever. To a backing of Sam Sparro’s Black And Gold (courtesy of DJ Agent 86), dancers celebrated Auﬆ ralian hosiery and, er, ‘down under wear’ brands. Auﬆ ralian fashion came into its own in the 70s, as the now seemingly prim boxy suits, mini skirts and hats of the decade prior were superseded by decadent ﬂowing fabrics and an abundance of colour and glitz. Th is was the era, leﬆ we forget, of the maxi dress. An informally attired Russell Morris performed his psy-surf classic The Real Thing as a duet with indie chick Owl Eyes, aka Brooke Addamo – a ﬂower child in her white lace-sleeved Lover mini. Evoking Studio 54’s heyday, Marcia Hines, in sparkly Sportsgirl, next sang Disco Inferno, during which dancers ﬂew down the aisles, in addition to her own You. Yet other parts honed in on the Auﬆ ralian lifeﬆ yle. Firﬆ up? The races – and where would our fashion induﬆ ry be without the Melbourne Cup? Ancient news footage documented the scandal sparked by gamine Brit model Jean Shrimpton when in 1965 she rocked up to the Victoria Derby in (gasp!) a short white shift with no hat, gloves or pantyhose. (Young women loved it – and Melbourne designer Prue Acton beneﬁted.) In a sly irony, cabaret crooner Tim Draxl delivered Peter Allen’s Quiet Please,
There’s A Lady On Stage – a belated missive to bitchy society types. And then there’s our love of the beach – a love that has spawned global Aussie swimwear and surf empires such as Billabong. FFS also acknowledged the ubiquity of both casual and dressy denim – Melbourne’s Bettina Liano, the Queen of Skinny Jeans. The 80s were OTT, but it was original altrocker Mark Seymour who represented them, playing Hunters & Collectors’ Do You See What I See? on acouﬆ ic guitar, not some new (old) waver. However, 80s pop kitsch wasn’t neglected, with Agent 86 dropping a Kylie Minogue mega-mix. FFS could have become a casino revue, but the programming was suﬃciently progressive to recognise the 90s dance music boom. Metals joined Josh Abrahams, who coincidentally has worked with Luhrmann, for a bliﬆering rendition of his breakbeat techno anthem Addicted To Bass, Candice Butler giving Amiel a run for her diva dosh. Butler switched her billowing, gothic Gail Sorronda dress for a ﬆatement-making cardboard number from Box Wars to lead Metals’ punktronica Drop Your Guard with its recycled (and replayed) Doctor Who sample.
Auﬆ ralian fashion has matured – and today it can be beautifully avant garde. Th is was illuﬆ rated in a surreal fantasy sequence entailing ballet – incongruous after Abrahams’ Addicted... The beﬆ exemplar of Oz couture? Japanese expat Akira, his clothing ﬂuid, sculptural and poetic. The moﬆ pertinent part of the program was Today And Tomorrow, featuring labels ﬆocked by sponsor David Jones. Appropriately, Addamo, reappearing in a sprite-ish camilla and marc cocktail dress, previewed her song Raiders – she’s surely
the cooleﬆ former Idol contender since Lisa Mitchell. High ﬆ reet favourite Alannah Hill has long adored ‘ladylike’ fashion – and well before its Mad Men-induced revival. But her new season collect ion favours, not romantic ﬂorals, but sweet bows and cheeky, snazzy ﬆ ripes. Lisa Gorman, who pioneered aﬀordable organic garments in Auﬆ ralia, has ingeniously managed to take an individualiﬆ Fitzroy ‘look’ mainﬆ ream. Her lateﬆ range is deﬁned by a magpie aeﬆ hetic, with bold op shop prints. It’s girly but ﬆ reet – not prissy. The models wore quirky accessories that might have come from a market. Indigenous supermodel Samantha Harris was glorious in a draped yellow dress from Kit Willow – yellow an eccentric colour choice in contraﬆ to her collect ion’s predominant ﬆony brown, black and white scheme. Again, Willow has created unusual textures through prints, tailoring and cutting. In the interim, the uber-trendy Dion Lee is oﬀering modish, albeit wearable, minimalism, while defying any monochrome expectations with a ﬆ reak of sunset red. If nothing else, what FFS underscored is fashion’s cyclical nature. Carla Zampatti is back on the radar thanks to Dannii Minogue, who modelled her sublime gowns on The X Factor
– and the veteran’s current collect ion is a sleeker incarnation of Halﬆon’s 70s elegance. So who is carrying the legacy of the loud-and-proud – and multicultural – Kee and Jackson? It has to be Romance Was Born with their playfully kitsch, or fantaﬆ ically rebellious, concepts. The Sydneysiders’ autumn/winter collect ion revels in Asian inﬂuences – hyper digital-ﬆ yle ﬂorals clashing with wild cat print. It’s Chinatownmeets-nu-rave – or poﬆmodern Chinoiserie fabulousness.
LIKE A GROWLING STONE CHRIS MANAK MADE HIS NAME AS PEANUT BUTTER WOLF, BUT HIS WORK IN THE BACKGROUND OF HIS STONES THROW LABEL EMPIRE HAS BEEN JUST AS IMPORTANT – AND LUKE MCKINNON LEARNS HIS FORAYS OUTSIDE OF HIP HOP WILL SOON HAVE AN AUSTRALIAN FLAVOUR. hris Manakis is a musical iconoclaﬆ. Plain and simple. In the late 80s and early 90s Manak (aka Peanut Butter Wolf) was part of a trailblazing group of weﬆ coaﬆ based, underground artiﬆs that challenged the dominion of the New York hip hop scene. His early product ion work on releases such as Peanut Butter Breaks and on Kool Keith’s (now iconic) debut solo record Wanna Be A Star eﬆablished a sound that was both unique, incredibly raw and that would prove pivotal in deﬁning a sound that the weﬆ coaﬆ hip hop community could call their own. Yet, it has been Manak’s work as the founder of the Los Angeles-based Stones Th row imprint that has seen him recognised as an induﬆ ry legend – an authority on the independent music movement, DJ culture and, of course, hip hop. Manak possesses an innate ability to spot and subsequently unearth product ion talent, long before his competition, with Stones Th row largely rising to prominence on the back of his relationship with über producer, rapper and multi-inﬆ rumentaliﬆ Madlib. With Manak ﬁ lling the role of executive producer, Stones Th row released such classic Madlib helmed albums as Lootpack’s Soundpieces: Da Antidote!, Quasimoto’s The Unseen and The Further Adventures Of Lord Quas, Madvillain’s Madvillainy and Jaylib’s Champion Sound – an album that would bring Detroit’s Jay Dilla into the Stones Th row fold and pave the way for the release of his inﬆ rumental maﬆerpiece, Donuts. In recent years however, Manak has broadened the scope of Stones Th row’s musical output to reach beyond the hip hop genre. Releases from Mayer Hawthorne, Aloe Blacc and The Stepkids have lead to a resurgence in contemporary soul music whilﬆ albums from beguiling and unreﬁned songﬆ ress Anika and the genre defying James Pants point to a decidedly non commercial approach to the business where success is not measured by the number of iTunes downloads. Manak has always ﬆated that he only signs artiﬆs to Stones Th row that he absolutely loves; his track record – in terms of quality and success – thus far, has been impeccable. Nevertheless, Manak admits that balancing your heart with the commercial realities of running a business is increasingly problematic. “You know it’s harder and harder as the years go
by and you develop relationships with the artiﬆs,” Manak laments. “I’m not going to say that I like every single song by every single artiﬆ but I believe in all my artiﬆs and I sign them because I hear something that I like and it’s my duty to help them develop their careers from that point. Being an artiﬆ myself – or at leaﬆ ﬆarting out as one – I really want the artiﬆ to be 100 percent happy with their album, so, if there’s a song or two on their album that I don’t like, but they really like, then you know, I let them go with it. But every relationship is diﬀerent and some of the guys I work with really truﬆ my judgment and want me to be quite hands on with it. Striking a happy medium is important. “I basically sign everything I like and I juﬆ try and make sure that it gets a fair shot. There are a lot of factors that make something commercially viable or not. I mean for the artiﬆ to be a commercial success you have to tour conﬆantly, do all the interviews etcetera, so it’s not like you can juﬆ sign someone that you think is commercial
and that is going to be hit, it doesn’t work that way. I’m lucky, because really, I think I’m at a point creatively with Stones Th row where pretty much all the beﬆ talent comes to me now because of all the records I’ve put out. So I kind of get to pick the beﬆ of the litter.” Whilﬆ Stones Throw is in a unique position – mainly due to its critically acclaimed and hiﬆorically signiﬁcant back catalogue – when it comes to signing and releasing some of the world’s beﬆ hip hop, its forays into other musical genres were not immediately successful. “I ﬆarted widening the [musical] scope around 2000, but moﬆ of the ﬆuﬀ I was putting out was not hip hop, so it wasn’t working through Stones Throw, because we were known as a hip hop label. But that didn’t really bother me, I mean, it bothered me for the artiﬆs, it was fruﬆrating, but it didn’t discourage me from doing it or continuing to do it and now I think people are more accepting.” The commercial and critical successes of Aloe Blacc and Mayer Hawthorne in recent years are teﬆament to this, but both artiﬆs have considerable links to the hip hop world – a fact that Manak is acutely aware of. “I think Aloe and Mayer are both too closely related to hip hop, they’re both ex-rappers for ﬆarters, but I juﬆ signed an artiﬆ Vex Raﬃn who I think is incredible, but I think his music is going to be a real challenge for me to ﬁnd the right people who will be into that ﬆ yle.” Yet it is this challenge to cultivate and nurture new talent to success that continues to motivate Manak. “I’ve signed a heap of new artiﬆs lately and they’ve really been inspiring me musically
and vocationally. I’ve act ually juﬆ signed an artiﬆ from Sydney,” ﬆipulates the enthusiaﬆic label head. “His name is Jonti, but he was going by the name of Djanimals, but I think he might need to change that. He’s done a couple of albums worth of ﬆ uﬀ which I think is really awesome, so between him, Vex Raﬃn and The Step Kids I’m pretty excited about the direction Stones Throw is headed musically at the moment.” WHO: Peanut Butter
WHERE & WHEN: RBMA Info Session at Revolver (Melbourne) Tuesday 22 March, The
Espy (Melbourne) Friday 25 March, The Basement (Sydney) Saturday 26 March
WHETHER IT’S DOOM METAL OR PSYCHEDELICA INFLUENCING HIM AT THE TIME, JAMES PANTS’ AURAL GEAR IS NOT MEANT TO BE PIGEONHOLED. TED SCHLECHTE CHATS TO HIM FROM HIS NEW STUDIO IN THE FATHERLAND AHEAD OF HIS SHOW AND LECTURE AS PART OF THE RED BULL MUSIC ACADEMY TOUR TRAIN.
merican multi-inﬆrumentaliﬆ James Pants (real name James Singleton) has certainly come a long way since he left his high school prom with his date to meet one of his idols, Peanut Butter Wolf, at a show in Auﬆ in, Texas. He took the Stones Throw Records head honcho vinyl shopping around town, became an intern at the label, put out several singles and various other bits and bobs and has dropped his ﬁrﬆ two albums on the imprint, with his third to follow soon. The ﬁ rﬆ single from the forthcoming self-titled release is Darlin’, a bizarrely hect ic slice of deleterious bass amalgamated with echocharged vocals, somehow creating a doo-wop pop track that is pract ically beyond any sort of concise description. Imagine Buddy Holly teaming up with The Go! Team and you’ve moﬆ likely juﬆ scratched the surface. “Juﬆ before you called, a co-worker of mine put a promo copy of the whole CD into my hands. It comes out in early May and I like to call it adult contemporary,” Pants semijeﬆ s about the long-player from his ﬆ udio in Cologne, Germany. “There are short inﬆ rumentals, but I’ve included more singing on it than anything else I’ve concocted over the years. I juﬆ wanted to have a diﬀerent sound. It’s not as 80s as what I’ve done before, it’s more psych inﬂuenced. Early Prince, Frankie Avalon and Frankie Lymon also inspired it. It’s a rock record with digital saxophones and light drum machines – smooth grooves,” he adds, putting on a husky, Barry White-esque voice. “I try to make like 50 or 60 songs for every record. Some obviously don’t ﬁt, but I try to do whatever I’m feeling at the moment. Building up a ﬆockpile is always handy.” Pants is happy to concede that his corralling
of keyboards is juﬆ one of his ﬁ xations and that he “retires” them after they go through their run of fame. “Because I generally perform alone – not to sound deserted or anything – I inescapably use lots of drums and keys. When I want to alter something, it’s oﬀ to buy a new toy. It is incredible how much of a diﬀerence a particular component can make.” Although Pants moved to Europe because of his position at the Red Bull Music Academy, he laughs when queried as to how the involvement came to fruition. “I don’t know, act ually. They asked me to give an informal lect ure a couple of years ago in Barcelona and I did that and quite a few more shows. I was also a ﬆ udio deckhand, helping the participants record. Now I have a three-year-old daughter, so I wanted to tour less. I wrote to the Academy over the [American] summer about what I could do and they asked me to come over here.”
As Robert Froﬆ once said, “Education is the ability to liﬆen to almoﬆ anything without losing your temper or your self-conﬁdence”. Th is is epitomised on Pants’ blog, an in-depth glimpse into the mind of one of modern music’s more intriguing artiﬆs. Poﬆ ing sound eﬀects, haunting organ anthems, obscure funk and soul, ghetto remixes, Czech psych-out soundtracks, mixes and much more, it is a good way to spend a lazy afternoon – or week for that matter. Bearing that in mind, his upcoming performance on his ﬁ rﬆ tour of Auﬆ ralia should also fulﬁ l the urge to hear material you’re guaranteed to have never lent an ear to before. “I’m doing what I like to call a variety show,” Pants divulges in a humorous tone. “It’s one part DJing, one part drum machine and one part karaoke. I try to make it something diﬀerent from the typical DJ set. There’s a lot of drumming, yelling, singing and dancing. It’s quite tacky to be honeﬆ. “My mix-tapes are a good introduct ion to what may be had. I try to see how out there I can go, sometimes even sneaking in a bit of gluttonous doom and things like that, but without losing everyone. I have so much fun performing live because it can go one of two ways, depending on the crowd. It’s a real love it or hate it kind of thing. If things go wrong, I’ll juﬆ spin some golden era hip hop.” Choose your adject ive: quirky, idiosyncratic, unorthodox or whatever else you see ﬁt. Regardless, James Pants is undoubtedly on a mission to break down categories and have fun while doing so. “I’ve been liﬆening to lots of 80s library records and new age relaxation ﬆ uﬀ,” Pants conveys. “I’m also getting more into folk, which I’d never really felt before.” They played at one another’s weddings and Pants has nothing but kudos for Peanut Butter Wolf ’s upcoming AV/DJ showcase that is going down after his own extravaganza. While he’s self-deprecating about his own shows, Pants is more open about his own excitement for Wolf ’s impending assault of the senses. “These shows of his are nuts. They’re tremendously fun, all over the place and very unique.” WHO: James Pants WHAT: James Pants (Stones Th row Records) out in May WHERE & WHEN: The Espy (Melbourne) Friday 25 March, The Basement (Sydney) Saturday 26 March, RBMA Info Session at Tone (Sydney) Sunday 27 March
TONY WHY & TODDY TRIX WHERE AND WHEN WAS YOUR FIRST SET? “Our ﬁ rﬆ gig together was at Candy’s Apartment early 2010. It was awesome.” WHAT’S YOUR FAVOURITE ALL TIME 12”? “Starduﬆ – Music Sounds Better With You and The Pixies – Bossanova.” WHO ARE YOUR FAVOURITE DJS? – “Mix Maﬆer Mike, Qbert, A Skillz and Krafty Kuts would have to be our favourite non Auﬆ ralian DJ. In terms of our favourite locals we would have to say Ember for his technical skill and Smokin’ Joe Mekhael for the energy he brings to his sets.” FAVOURITE CLUB TO PLAY? “Lady Lux or any club that will give us free
drinks all night.” WHAT’S YOUR BEST ALL TIME GIG? “The opening night of The Revolution at Le Panic – crazy crazy night.” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “Another DJ getting kicked out of their own set for being really drunk and deciding to jump on top of the main club speakers and scream at people.” WHAT’S THE WORST REQUEST YOU’VE GOT? “It would be a split between munted punters asking us if they could have a mix and ‘It’s my friend’s birthday today, can you wish them a happy birthday on the microphone?’.” WHAT DO YOUR PARENTS THINK OF
WHAT YOU DO? “They think we announce each track on the microphone we play.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “More DJs that get booked on talent oppossed to numbers they can bring. An open minded music policy (less top 40s). Free drinks all night for DJs, more breaks, d‘n’b and more Tony Why and Toddy Trix.” UPCOMING GIGS? “Lady Lux Friday 25 March, MixAnation on Bondi Fm Saturday 26 March, The Revolution at The Marlin Saturday 26 March, The Revolution at Baroque Friday 15 April, Lady Lux Friday 22 April, The Revolution at The Bowral Hotel Thursday 21 April.” PHOTO BY CARINE THEVENAU
ANNOUNCEMENTS IN THE MF HOUSE
You might have read hip hop supervillain DOOM talking up a collaborative project with Thom Yorke in laﬆ week’s 3D World – NME, Pitchfork, Rolling Stone and Billboard certainly did. Well now the myﬆerious masked man has sold out his upcoming show at the Metro. If you’re keen to check out this rare opportunity to see one of the genre’s biggeﬆ acts, make sure you grab tickets for his second show at Oxford Art Factory on Thursday 31 March. Tickets available through Moshtix.
THEY ALL FLOAT ON
Spice Aﬂoat is set to hold its third cruise for 2011 featuring ﬆar headliner Joris Voorn, direct from the Netherlands. The midnight cruise gives partiers the chance to set sail through Sydney Harbour, checking out acts including his Green label co-worker Edwin Ooﬆerwal and locals Murat Kilic and Matttt & Tomass. Get on board Saturday 14 May, tickets on sale now $45 through Moshtix. JORIS VOORN
EPIC FUTURE IS THE LEFT
Not only did Leftﬁeld draw an enthusiaﬆ ic crowd of the uninitiated and veteran ravers alike to the Enmore on Thursday night, but they juﬆ happened to deliver a maﬆer class for the ages. There are few matches in live dance music for the power of Afro-Left in full ﬂ ight…
SUMMER OF LIVE
Leftﬁeld were juﬆ the icing on the cake of a two-and-a-half month period which has seen Flying Lotus, Booka Shade, Faithless, Mount Kimbie, The Chemical Brothers and Plaﬆ ikman deliver the goods. Hopefully a new generation of local live acts will take the inspiration and run with it…
CLUB THE VOTE
We’ve seen a whole lot of Kriﬆ ina Keneally in the media of late and hardly anything of Barry O’Farrell, so we can only assume the time to vote is nigh. Make it count this Saturday kids…
SMELLS FISHY IN HERE
We know times are tough in clubland these days, but is it really necessary to cram too many people into a space juﬆ because you can? Does the paying punter not have the right to some sort of comfort for parting with their hardearned?
The Players Club at Ivy have lined up some of Sydney’s biggeﬆ acts to make the moﬆ of the Eaﬆer Long Weekend. Headliners Miami Horror DJs and Bag Raiders will be taking over the exclusive, three level venue which will be transformed into a Vegas-esque ‘High Rollers Club’ juﬆ for the occasion. It happens Sunday 24 April, with second release tickets on sale now for $45 though Moshtix.
Leader of the new school DJ Shitmat is heading our way. His DJ and live show’s are a rollercoaﬆer ride of splintered jungle, rave, old school, gabber and attention deﬁcit disorder plunderphonic mash-ups. No genre is sacred, no sample is safe. He’s played at some of the beﬆ feﬆ ivals around, including Glaﬆonbury, Reading and ATP curated by Godspeed You Black Emperor. And he plays Club 77 this Friday 25 March, presented by Duﬆed, with Passenger Of Shit, Paul Blackout, BINT, Vict im and James Daak in support. Tix $15 through Moshtix.
Following a massive turnout in December, the Courtyard concept is back at The Ivy this Anzac Day for a music extravaganza. Leading the charge are Midnight Juggernauts DJs, supported by an entourage of local ﬆars Ajax, Starfucker DJs, Trumpdisco and Light Year. It happens from 2pm on Monday 25 April, tickets $35 available through courtyardparty. com.
FBi Radio have made their ﬁ rﬆ programming announcement for the much anticipated launch of their music venue FBi Social, held at Kings Cross Hotel. Friday nights focus on all things dance, DJ and elect ronica, with a collaboration between Big Village and Sketch The Rhyme featuring on Friday 13 May. For the full line up, visit fbiradio.com.
An eclect ic mix of artiﬆs and musicians are making the trip to Auﬆ ralia to appear at an exclusive party being hoﬆed by Mexico’s favourite tequila drink, el Jimador. Performing live will be Mexico City-based dance synth band Trans-X, who had a worldwide hit with Living On Video in the 80s. It’s happening at Lo Fi on Tuesday 22 March.
COME TOGETHER Come Together feﬆival is returning for its
TIME FOR THE PUNT?
Sorry Ricky Ponting, but unless you conjure a minor miracle to get your team over the line againﬆ India on Thursday night, it’s time to leave the house. And you can take Cameron White and Steve Smith with you and let Queenslander James Hopes back in on your way out…
NO CURE FOR STUPIDITY
UK paper The Daily Mail has reported that Apple has approved the British release of the Exodus International iPhone app, which its Chriﬆ ian developers claims can ‘cure’ gay people of their shocking aﬄ ict ion. And religious types wonder why Atheism is such an attract ive option…
THINK SOCIAL, ACT LOCAL
eighth innings, promising to unleash a who’s who of local hip hop to a frenzied crowd. The one day event, held Saturday 11 June, will be headlined by artiﬆ on the rise – and this week’s 3D World cover ﬆar – Drapht. Other featured acts are Urthboy, Muph & Plutonic, M-Phazes, The Tongue, Illy and Mantra who will smack the Luna Park Big Top with their fearless beats. You can’t aﬀord to skip on a line-up featuring a roll call of Aussie hip hop hierarchy. The ticket price has been reduced to $59, including which also includes access to the Park’s rides. Tickets available through Ticketek, Moshtix and OZTix, more info at cometogether.com.au.
IN IT TO WIN IT The Inner Weﬆ Feﬆ ival
returns to the Sandringham Hotel this Eaﬆer Long Weekend. After the success of laﬆ year’s event, it now runs two days (Saturday 23 and Sunday 24 April), with more then 30 artiﬆs performing over the two ﬆages. Presented by 3D World, the event will showcase the ﬁneﬆ in local hip hop and bass on the Saturday with Sketch the Rhyme, True Vibenation, Reverse Polarities, Tuka, Hyjack and many more. Headlining the Sunday shindig for rock pigs will be iconic Sydney band Hard Ons. Pre-sale tickets on sale now through Moshtix, $16.50 gets you a day pass.
SWEET HOUSE CHICAGO
A legend in the house music scene of home town Chicago, DJ Rahaan is heading our way to unleash his unpredictable cuts. Since the early 2000s he has amassed an insane collect ion of hard to ﬁnd records spanning soul, funk, Italo, disco and early house music which he has combined with a library of his own unreleased re-edits. It’s to be held at a yet to be revealed warehouse location on Saturday 26 March. Tickets are limited, available for $25 from residentadvisor.net.
SONGZ IN THE KEY OF HYPE
Current king of R&B Trey Songz will bring the new school ﬂavour on his upcoming sideshow, fresh oﬀ the Usher Tour. Known for his Billboard chart smash hits Bottoms Up and Say Aah, the proliﬁc US urban artiﬆ will be performing all his hits with a live band at Home Nightclub on Friday 25 March. Tickets to see these heavy hitters on the ﬁ rﬆ Auﬆ ralian tour are $85, available through Moshtix.
If Carlos Santana had been hanging out in Iraq for the paﬆ decade he would sound something like Gold Coaﬆ /Byron Bay act Tijuana Cartel. Featuring funky Latin ﬂavours, the idiosyncratic band continues to win over crowds with their crazy Mexican rhythms and phat elect ronic beats. They are supported by Kato, Bentley, Mike Who and James Locksmith. The hat dance happens at Tone Friday 25 March, presented by Duﬆ Tones.
GRANT AN AUDIENCE
Circoloco member Andrew Grant has announced that he will be touring in April. An invaluable member of the Circoloco family and resident DJ for eight years, 2011 will see him bring a slice of the ‘crazy circus’ down-under, with his debut tour of Auﬆ ralia. In between holding down residencies and touring the world, Grant heads up the Barraca Music label with releases from Ricardo Villalobos, Los Updates and Aﬀ kt. Alongside Shit Robot, he brings Circoloco to the Greenwood Hotel Sunday 24 April.
PALE OR SPARKLING?
Rising techno talent Max Cooper is heading out for his ﬁrﬆ Auﬆralian tour. With releases on over 20 labels over the paﬆ decade, Cooper has evolved into one of the world’s more intereﬆing live electronic acts. He was worked as a genetic scientiﬆ while honing his craft as a DJ, with his beats demonﬆrating a mind-bending union between these two dimensions of his psyche. He hits Shrug at GoodGod Small Club Saturday 9 April alongside MSG & Marcotix, DJ Trinity and Dave Stuart – second release tickets $20 from Resident Advisor.
SURROUNDED BY BEATS
Launching on Saturday 2 April is new club night Cube. It will play hoﬆ to Sydney-based international and local tech house DJs each week, releasing four headliners each month who will bring their unique ﬆ yle of deep/ tech house. April sees Franchi Bros (Saturday 2), Garry Todd (Saturday 9), Robbie Lowe (Saturday 16) and Mitch Crosher (Saturday 23) join resident DJs Tom Brereton, Amy Fairweather, Kimba and Ryan Simpson at one of the few remaining venues that will house nights of proper tech house for the masses. It’s hoﬆed at the Forbes Hotel, cover $10.
Members of Flying Lotus’ Brainfeeder collect ive continue to dominate, with the intriguingly named Canadian Teebs the lateﬆ to hit Auﬆ ralia on the back of his debut album for the label. Presented by Space Is The Place, he’ll be joined at Tone Saturday 2 April by supports 104 Collect ive, Monk Fly and Prize. Tickets $15+ bf (pre-sale) from Resident Advisor, $20 on the door.
MARCH RED BULL MUSIC ACADEMY: PEANUT BUTTER WOLF, JAMES PANTS – Saturday 26, The Basement RED BULL MUSIC ACADEMY: JAMES PANTS – Sunday 27, Tone APRIL TIN CAN RADIO – Friday 15, World Bar A STATE OF TRANCE: ARMIN VAN BUUREN, MENNO DE JONG, ALEX MORPH, ALY & FILA, SHOGUN, TYDI – Saturday 16, Acer Arena MIND OVER MATTER – Thursday 21, Oxford Art Factory BONE THUGS-N-HARMONY – Thursday 21, Waves Nightclub, Wollongong BONE THUGS-N-HARMONY – Saturday 23, Blacktown Olympic Park INNER WEST FESTIVAL: SKETCH THE RHYME, REVERSE POLARITIES, TUKA, TRUE VIBE NATION, HYJACK, ELELSQUIRE – Saturday 23, Sandringham Hote JOHN LEGEND, LOWRIDER – Sunday 24, State Theatre BONE THUGS-N-HARMONY – Sunday 24, Oxford Art Factory JOHN LEGEND, LOWRIDER – Monday 25, State Theatre TIN CAN RADIO – Wednesday 27, Cambridge Hotel (Newcastle) TIN CAN RADIO – Friday 29 April, The Youthie (Tamworth) MIND OVER MATTER – Friday 29, The Fitzroy Hotel MIND OVER MATTER – Saturday 30, Gearins Hotel MAY DATAROCK – Thursday 5, Oxford Art Factory HOUSE OF PAIN – Friday 6, Manning Bar SAMPOLOGY – Friday 6, Oxford Art Factory GROOVIN’ THE MOO: UNKLE, AC SLATER, ARCHITECTURE IN HELSINKI, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO AND MORE – Saturday 7, Maitland Showgrounds GROOVIN’ THE MOO: UNKLE, AC SLATER, ARCHITECTURE IN HELSINKI, ART VS SCIENCE, THE ASTON SHUFFLE, BLISS N ESO AND MORE – Sunday 8, The Meadows, University of Canberra UNKLE – Monday 9, Sydney Opera House TIN CAN RADIO – Friday 13, Beach Hotel MIND OVER MATTER – Saturday 14, Hoey Moey MIND OVER MATTER – Friday 20, Beaches MIND OVER MATTER – Saturday 21, Sussex Inlet Tavern TIKI – Thursday 26, Panthers TIKI – Friday 27, Selina’s PEGZ – Saturday 28, Annandale Hotel
OGFLAVAS Urban news with CYCLONE
One of urban music’s moﬆ recognisable identities, Nate Dogg, has gone to gangﬆa heaven. The hip hop singer, born Nathaniel Hale, suﬀered the ﬁ rﬆ of two ﬆ rokes in 2007. Latterly, he was reportedly conﬁned to a wheelchair and unable to speak. The Long Beach, California native was 41. A Baptiﬆ paﬆor’s son, Hale grew up singing in church. He served in the US Marines for three years before pursuing a music career. Hale was a member of the 213 posse with Warren G and Snoop Dogg – his school pal who also renamed him. Though he cameo-ed on Dr Dre’s The Chronic, Hale’s real breakthrough came with Warren’s Michael McDonald-sampling Regulate – nearly as omnipresent as Coolio’s later hip-pop hit Gangﬆa’s Paradise. With his diﬆ inct ive baritone, Hale emerged as the G-funk singer – gangﬆa rap’s soul – yet much of his success was due to collabs. The ‘King Of Hooks’ appeared on several Tupac Shakur joints, including How Long Will They Mourn Me? oﬀ the Thug Life album. Hale, too, aligned himself with Death Row but, like its other R&B acts, was sidelined. The label’s legal dramas didn’t help. Hale’s solo debut, G-Funk Classics Vol 1 & 2, home to the Snoopfeaturing Never Leave Me Alone, was belatedly released in 1998. Freed of Death Row, he returned with the diverse Music & Me. A third (self-titled) album, issued independently, faltered in 2008, despite the product ion input of Timbaland, Scott Storch and Rockwilder. Hale’s later years were troubled – he was arreﬆed on ﬁrearms and drug charges. But he’ll be remembered for his contributions to tracks by the likes of Ludacris (Area Codes), Eminem (Shake That) and Mariah Carey (Glitter’s If We). His key collabs aside from Regulate? Hale performed on Dre’s Deeez Nuuuts, but it was his turn on the Donny Hathaway-inspired Lil’ Ghetto Boy on The Chronic that ﬆood out. Then there’s 50 Cent’s 21 Queﬆions – an Auﬆ ralian #1 hit. And let’s not forget Mark Ronson’s cult Ooh Wee with Hale and Ghoﬆ face Killah. Snoop paid tribute to his homie in his own inimitable ﬆ yle on Twitter: “We loﬆ a true legend n hip hop n rnb ... I am so sad but so happy I got to grow up wit u and I will c u again n heaven cuz u know d slogan all doggs go to heaven.”
A PERSONAL TOUCH rendan Tuckerman is like the Sydney hip hop scene’s little superhero: a teacher by day and a rapper by night. Even though discarding the teacher’s attire reveals the rapper, removing this guise reveals another teacher’s outﬁt and so on because Tuckerman the teacher uses Tuka the rapper, to teach. “I teach rap for a living. It’s like a disguise; I’m a Tafe teacher for minority groups. We use music to suck ‘em in and then I try to get them to Year Ten.” That’s a life signiﬁcantly immersed in rap and hip hop for a man who grew up with little intereﬆ in music. “I didn’t act ually care about music til I found hip hop really, till I got in contact with it,” he says. A genre he discovered via the soundtrack of skateboarding videos, the ﬁ rﬆ indication of what was to become a fervent passion would have been when he found himself spending hours sifting through his mum’s boyfriend’s homemade VHS tapes of Rage in order to ﬁnd a song that had tickled his fancy. Today, Tuckerman’s alter ego Tuka is a member of reggae/roots/hip hop band Rumpunch, one half of Sydney hip hop duo Thundamentals, a regular freeﬆ yler for Sketch the Rhyme, and has juﬆ seen the release of his debut solo LP Will Rap For Tuka. Where does he ﬁnd the time? “I couldn’t answer that. It’s ridiculous. I don’t act ually feel like I pull it oﬀ the whole time but I do my beﬆ.” While the sound of Will Rap For Tucka diﬀers from his other projects, as the projects ﬆand individually, it could almoﬆ be a meeting of the three ﬆ yles that in themselves take inﬂuence from a variety of ﬆ yles, to create an album that’s layered with jazz, dub and hip hop beats. And while it’s the ﬁ rﬆ time he has act ually released any of his own beats, it was thematic freedom that spurred the solo project on. “Essentially I’ve been a collaborative artiﬆ for about 8 years now and over time you kind of have to make a lot of sacriﬁces for particular people and/ or themes and ﬆ uﬀ. And I had a couple of things I wanted to say that I didn’t feel like sharing with another MC or another vocaliﬆ ; it was juﬆ a bit more personal. So my angle for this record was pretty selﬁsh really. I wrote it for me and no one else.” A prime example of the album’s personal nature is the next single to come oﬀ it, Apples – a tale of love and its end but not necessarily in the way love’s end is usually presented to us. When asked if the track was
based on a true ﬆory Tuckerman drew in a sharp breath and blew out a “yes it is.” “I saw a girl for a pretty long time, a pretty big chunk of my life and I felt like we kinda learnt a lot from each other except we didn’t get to reap the beneﬁts because we’d already broken up, if that makes sense. And so I wanted to do a piece about a break up that was good ‘cause you don’t really get that often, in a lot of pop music anyway, where it’s alright, the couple breaks up and they’re ﬆill good friends kind of thing. I ﬆill work with her, she’s actually a member of Sketch The Rhyme and I juﬆ wanted to illuﬆrate to kids that it doesn’t always have to be so dramatic all the time. You can ﬆill be beﬆ friends with someone that you had a love intereﬆ in.’ LIZ GALINOVIC
WHO: Tuka WHAT: Will Rap For Tuka (Big Village/Other Tongues) WHERE & WHEN: The Zoo (Brisbane) Thursday 24 March, Evelyn Hotel (Melbourne) Friday 25
March, Annandale Hotel (Sydney) Saturday 26 March, Inner Weﬆ Feﬆ ival at Sandringham Hotel (Sydney) Saturday 23 April
ADD IT UP t’s been ten years since The Herd announced themselves to the Auﬆralian music scene with their classic single Scallops – a song that not only introduced the group (via Triple J) to a wider audience, but a song that, for all intents and purposes, exposed Auﬆralian hip hop music en masse for the ﬁrﬆ time. Since those embryonic years the Sydney collective has amassed an impressive ﬆrike rate of hits and have been responsible for some of the moﬆ infamous, politically charged and memorable musical moments of the paﬆ decade. Whether by nature or nurture their career has been bookmarked by a slew of hit singles that have coincided with signiﬁcant moments in Auﬆ ralia’s hiﬆory. From 2003’s infamous 77% (a response to the number of Auﬆ ralians announced in a survey that agreed with the Auﬆ ralian Government’s response to the Tampa Aﬀair) to 2008’s The King Is Dead (an ode to John Howard’s political demise), musically The Herd have played the role of Auﬆ ralia’s political and social conscience. Having gone on an extended hiatus for the paﬆ two years however, the band are back and are gearing up for the release of their ﬁ fth ﬆ udio album and as Kenny Sabir (aka Traksewt) explains, the new album possesses a decidedly darker quality and, unusually, shies away from the overtly political. “With the new album we wanted to try something diﬀerent. I guess as a band releasing their ﬁ fth album, you really do need to reinvent yourself a bit, because if we keep doing what we thought was exciting ten years ago, then we run the risk of becoming repetitive or boring. Music needs to evolve. I guess we’re always writing about what we’re feeling. Like even on the previous albums whilﬆ the moﬆ real life politics ended up being on the singles, there was a lot more subtle politics throughout the reﬆ of the album. Likewise on this album there isn’t too much so far (but it’s not ﬁnished yet) that is overtly political, but there is ﬆ ill deﬁnitely nuanced political messages that will end up shining through.” The Herd’s new approach to making music is evident on the album’s ﬁ rﬆ single, The Sum Of It All – a deeply self-reﬂect ive rap ballad that broods with dark musicality, a mood that Sabir says will pervade the entire album. “We’ve approached the music quite diﬀerently; on the previous four albums we’ve always spent some time at Summerland Point in a beautiful hut overlooking a lake where we do a lot of the recording and it’s also where a lot of the tracks get written. So for this album, in order to get something diﬀerent we thought let’s not do that and see what happens. So I think that perhaps this is contributing to the album’s darker feel, as a lot of the album is being recorded in an induﬆ rial area in Marrickville.” As a ﬁ rﬆ single, The Sum Of It All is an intereﬆ ing choice. Unlike previous singles, it is not governed by a catchy chorus and lacks The Herd’s trademark energy. If anything, the single is beﬆ described as subdued. Yet, that feeling is exact ly the feel The Herd was aiming for. “As a group
we thought The Sum Of It All would be a good one to get out there because it’s quite diﬀerent to the singles we’ve done in the paﬆ,” Sabir says. “A lot of people have contributed to that single and because there’s eight of us in the group, getting anything complete takes quite a while because there’s usually a lot of diﬀering ideas, so getting to a consensus where everyone was happy takes time, but we think it’s worth it. “We’ve been working on the new tracks [oﬀ the forthcoming album] for about a year now. The three main producers in the group have each put together ten songs, so we’ve got
about 30 songs at the moment and we’ve got to try and trim that down to 12. With the majority of The Herd’s albums following similar thematic and sonic paths, 3D World wonders what evolution the new album may have gone through. “I guess one thing that’s diﬀerent on this album is it’s got a lot more of a personal touch to it,” Sabir oﬀers. “It’s quite self critical in a lot of ways, so in that respect the album is quite introspect ive. Musically, I guess one common link is the use of all sorts of inﬆ ruments throughout the tracks – there’s nothing too minimal on the album. We’ve had orcheﬆ ral inﬆ ruments across all our albums, but on this album there is a lot more of it – we’re using the whole arsenal.” Creating music as a group for over ten years is a remarkable achievement and one that has eluded many others. Yet, The Herd seem to be able to continually and consiﬆently deliver hip hop in that is evocative, earneﬆ ly poignant and at times, enormously fun. But what is it that keeps them going? “We all posses the musician’s curse – once you ﬆart you can’t ﬆop!” Sabir laughs. “You can have a break for a few years but then you get the urge to create again. We’re all ﬆ ill great friends, we all ﬆ ill get along and we’ve all been through a lot together, so ﬆ icking with The Herd is juﬆ something that we’ll always do.”
WHO: The Herd WHAT: The Sum Of It All (Elefant Traks) WHERE & WHEN: Cambridge Hotel (Newcaﬆ le) Thursday 31 March,
Corner Hotel (Melbourne) Friday 1 April, The Zoo (Brisbane) Friday 8 April, The Factory Theatre (Sydney) Saturday 9 April
MENTAL COMBAT Hip Hop With BLAZE
A TRIBE CALLED QUEST
Sony have picked up the rights to actor Michael Rapaport’s documentary on A Tribe Called Queﬆ. Beats Rhymes and Life was well received by the audience at Sundance, despite Q-Tip’s proteﬆations that he didn’t approve the ﬁnal version and wanted severe editing to paint him in a more favourable light. The other members of ATCQ loved the ﬁ lm with even Phife Dawg getting emotional and tearing up at the end of the screening. The fans loved it and now Q-Tip has altered his view and no longer criticises the ﬁ lm. There’s no sign of it being released in Auﬆ ralia as yet, though hopefully it will ﬁnd its way into one of the nation’s ﬁ lm feﬆ ivals. In a musical world far diﬀerent than my own personal taﬆe, there is a new VH1 reality show called Love & Hip Hop. It features people related to such artiﬆs as Fabolous, The Game, Jim Jones. Basically their girlfriends and or wives, but it’s the exquisite looking model turned rapper Somaya who bum rushes the scene and turns everything upside down. It almoﬆ feels like it’s scripted because of the incredible turn of events that seem to occur. I’ve only watched one episode, but it’s already compelling and I don’t even like the commercial club rap scene. Call it fascination repulsion. I was devaﬆated when I found out that the car rep show Lizard Lick Towing was scripted and not the hillbilly punch-up mess that it portrayed. I’m all for reality TV as junk to watch, but if Love & Hip Hop is scripted then it is another death knell for the genre. The second season of the excellent HBO show How To Make It In America will apparently screen in the US in April, with the DVD of season one on its way. Aloe Blacc’s theme song ﬆ ill thrills me. Adelaide afro-funk outﬁt The Liberators recently dropped their self titled debut album on the Italian label Record Kicks. Roxie Ray from Sydney’s Dojo Cuts sings on a track as does Cameroon drummer and Kokolo gueﬆ Jojo Kuo. Sad news that Nate Dogg, singer for many a Weﬆ Coaﬆ G-rapper such as Warren G, Snoop Dogg and Dr Dre, passed away due to a ﬆ roke at the young age of 41...
THROUGH THE GALAXY
hese exciting days, there are many ways to travel… Our favourite way to travel is what we call ‘soul transportation’.” It’s these ﬆ range, otherworldly and alien voices that beckon us into the opening of Space Invadas’ 2010 debut album Soul:Fi. Lifted from an unidentiﬁed 1960s sci-ﬁ ﬁ lm, it’s the perfect introduct ion to the contraﬆ ing future/retro vibes of the album. The result of the extended ﬆ udio sessions of renowned Aussie beatmaker Katalyﬆ aka Ashley Anderson and UK underground soul legend Steve Spacek, Soul:Fi was a deliciously cohesive mix of soul, hip hop and elect ronica, the diﬀerent threads held together by an eerie science ﬁct ion vibe that gave rise to the above samples. Warmly received in Auﬆ ralia laﬆ year, in early 2011 Anderson tells 3D World it’s time to give the album a push internationally. “We’re heading into the overseas kind of phase I guess,” he says. “The album came out worldwide on BBE in late February, and they’ve been doing a pretty good job in getting it out there. We‘ve got a manager on board who juﬆ kind of heard the record through some other work I’d been doing, she’s based out of Atlanta and managing people like Cody Chesnutt which is kinda cool. So we’re planning on heading over to do some feﬆ ivals in June and July this year, when it’s a bit warmer over there.” Prior to recording and touring together, both Space Invadas were already forces to be reckoned with. Spacek’s proﬁ le had largely come from his groundbreaking work with future-soul collect ive Spacek Sound Syﬆem since 2001, while Anderson had found much success as Katalyﬆ, his love for soul, funk and hip hop showcased on the Manipulating Agent and What’s Happening albums. However, Space Invadas saw them coming together for something completely diﬀerent; Spacek’s soulful, and often haunting crooning was crafted into something a little more accessible, while Anderson’s musical palette was given a cybernetic upgrade. Soul:Fi is soul music for the 21ﬆ century. “We’re gonna probably push that direct ion even further with the next Space Invadas record,” Anderson says of the next album, tentatively scheduled for early 2012. “There’ll be some more crossover ﬆ uﬀ on there and we’ll be pushing it a little further into the future… Steve’s direct ion is always very future focused, and I also didn’t want to juﬆ write a record that sounded like it was made in 1969 or 1972, I wanted it to feel like
it belonged in this age..” he says of the kooky sci-ﬁ vibe. Th ings were quiet for Space Invadas in the second half of 2010 after a busy ﬆart to the year, and Anderson conﬁ rms he’s been busy in the ﬆ udio working on several projects set for release later this year. Firﬆ is the much talked about Quakers project with Geoﬀ Barrow from Portishead. Following that will be the third album under his Katalyﬆ moniker. “I’m working to make that as accessible as possible,” he says. “While ﬆ ill doing something that I think is of a high quality – that was the mental direct ive I gave myself. It’s always a conﬆant challenge as an artiﬆ to ﬁnd that equilibrium.” ANGUS PATERSON
WHO: Space Invadas WHERE & WHEN: RBMA at Barsoma (Brisbane) Friday 8 April,
The Gum Ball at “Dashville” Belford (Hunter Valley) Saturday 30 April
QLD & NSW
PERSONALITY TEST VENUTO
BEBOP & ROC Sweet Soul Music with HUWSTON
HOW WOULD YOUR MUM DESCRIBE YOU? “Let’s not go there…” WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “Dubﬆep… such a joke ha ha ha.” WHO INSPIRES YOU MUSICALLY? “Michael Jackson, Swedish House Maﬁa, Lawnchair Generals, Kerri Chandler, Ron Carroll, Derrick Carter, Dennis Ferrer, Maﬆers At Work.” NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “ Ben Morris and Venuto – Give It Up, Nalin & Kane – Beachball (Chris Lake mix), FeenixPawl – Seasons (Ben Morris & Venuto remix).”
WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “The Macarena.”
TELL US ABOUT A CLASSIC CLUBBING MOMENT. “Played at Amnesia main room in front of thousands of people… absolutely insane.”
WHERE & WHEN: Ladylux Friday 25 March, Dee Why Hotel Saturday 26 March, Homemade at Home Nightclub Saturday 26 March
SPANK RECORDS CHART
1.Art: Remixes EP 1 ROBERT OWENS 2. Logic Sunrise EP CHRIS CARRIER 3. Jack Is Back STEVE BUG 4. Ruede Hagelﬆein EMERGENCY 5. Summer Gone LAYO & BUSHWACKA! 6. CMYK EP JAMES BLAKE 7. Feels Like ALPHABET CITY 8. It’s You Again CLOCKWORK 9. Retroﬁt #5 JAY SHEPHEARD 10. Hydrophonic EP MOVE D
RED BULL MUSIC ACADEMY Red Bull Music Academy are presenting a night of world-class music with Stones Th row label boss Peanut Butter Wolf and intergalact ic funk specialiﬆ James Pants at The Basement this Saturday 26 March. At the helm of Stones Th row Records for the paﬆ 15 years, Peanut Butter Wolf has led the independent hip hop and funk scenes with a
Th is April sees the release of Bibio’s Mind Bokeh record on Warp, which is a rather quick follow-up to his ﬁ rﬆ LP. It’s a marked improvement on his earlier work although one might suggeﬆ the ﬁ rﬆ eﬀort was a deliberately purposed introduct ion before they let the real talent out of the cage. Mind Bokeh features Bibio’s vocals on moﬆ of the tracks, with the beats weaving somewhere between the choppy MPC folk samples of Bullion and the bendy, oﬀ-kilter synths of Boards Of Canada. Some people have told me they think it’s depressing and forlorn but I think it’s a wonderfully cheery sunny record for the hippy in all of us. I particularly love the track Take Oﬀ Your Shirt which has a Dinosaur Jnr power rock feel to it. Sticking to a guitar motif, I’ve previously written about the Owiny Sigoma Band
INDUSTRY WATCH RED BULL MUSIC ACADEMY AT THE BASEMENT
THE IDEA BEHIND OUR NIGHT IS… “Th is year Red Bull Music Academy is being held in Tokyo and to celebrate the Academy heads to Auﬆ ralia for a series of very special events and info sessions. Visiting Sydney will be Stones Th row head honcho Peanut Butter Wolf and intergalact ic funk man James Pants.” roﬆer of highly successful artiﬆs including Madlib, J Dilla and Aloe Blacc. A highly skilled DJ and producer himself, Peanut Butter Wolf will deliver a special live DJ/ VJ set drawing exclusively from his extensive collect ion of weird and wonderful music video clips. For your chance to win one of three double passes to this event email your name and contact details to giveaways@3dworld. com.au with PEANUT in the subject line. Entries close 9am Friday 25 March.
WE’LL BE PIMPING THE SOUNDS OF… “The beﬆ underground party vibes from Los Angeles and the Weﬆ Coaﬆ. Expect plenty of hip hop, classic breaks, beats, funk, boogie, soul and psych.” THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Peanut Butter Wolf returns to Auﬆ ralia with his video and DJ set – new and classic music tracks and videos, cut, chopped and reassembled. James Pants in his debut Auﬆ ralian show, brings with him the ‘fresh beats’. Pants will blow you away with his
CKSTEADY who are on Brownswood Recordings. Their debut album is available now and features the new single Wires which is getting a Theo Parrish remix and 12” release for Record Store Day. Get behind this one, it’s a winner. The original features the kind of African guitars and pop vocals that help make Vampire Weekend so popular and the remix totally techs out the thunderous bassline, background vocals and African thumb pianos as only a man like Theo Parrish could. Congrats to local group The Liberators whose new self-titled debut hits the shelves this week and is quite the powerhouse recording. Backed up by an incredibly well shot video for Rags To Riches which borrows liberally from Blaxploitation spoof Black Dynamite, it’s an amazing achievement for all involved. Another amazing achievement comes from Irish label All City Recordings who have juﬆ wrapped up the laﬆ in their 10 x 10” series of LA-based producers’ output. Closing with Exile and Free The Robots, it’s a ﬁtting end to a series which has taken in the hip hop of House Shoes, the ﬁeld recordings and ambience of Carlos Nino and the twiﬆed psych elect ronica of Take and Ras_G (amongﬆ many more). Well done! Finally, a few others worth a mention are J Rocc’s Some Cold Rocc Stuf, Joy O aka Joy Orbison’s Jels/Wade In, Raekwon’s new album and a new one from Dennis Coﬀey, which features Mayer Hawthorne, Kings Go Forth and Paulo Nutini of all people! spectacular live DJ show, incorporating live drumming and vocals with a mix of classic tracks and fresh bizness. Local supports from Sir Robbo from Aﬆ ronomy Class, Edseven and the Space Is The Place DJs.” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Peanut Butter Wolf packing all the new unreleased ish from the Stones Th row catalogue. Th ink unreleased Madlib and J Dilla joints for days. Not to mention the ﬆash of classic videos he’s been collect ing, documenting the paﬆ 30 years of hip hop and beyond!” CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “To get down and party to the fresheﬆ underground sounds. Head nod and hip shaking all night long.”
DJBOOTH FRAMES HOW DID YOU GET YOUR DJ NAME? “I could go on about ‘putting boundaries around genres and framing sounds as separate entities rather than enjoying the bleed between ﬆ yles that helps create intereﬆ ing and exciting new music’, but truth be told I think the word sounds great to say out loud and a mate came up with it.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY. “Handclap disco, hip-thruﬆ house and letchairdown techno.” WHAT MADE YOU START DJING? “It’s a pretty boring, ﬆandard ‘I-got-into-DJing’ ﬆory. Like moﬆ people I wasn’t born the son of an already eﬆablished DJ, but I was fortunate enough to save the life of a fellow DJ in 2004 thus allowing me to get into it. I suppose moﬆ DJs these days get into it in a similar fashion.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “I’ve got a lot of time for watching Nafey from the Discopunxxx rave the night away while being forced to dress in any number of animal suits on a regular basis. The penguin was a deﬁnite highlight. What a silly beak it had!” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “There’s a so-bad-its-incredible mash-up from a
LEFTFIELD, INFUSION ENMORE THEATRE: 17.03.11 After partially rearranging internal organs at Future Musical Feﬆival, Leftﬁeld return to ﬁnish the job at the Enmore Theatre, accompanied by gueﬆ vocaliﬆs and MCs, and one of the moﬆ bad ass sound syﬆems Sydney will ever experience. Infusion are given the honour of opening for Neil Barnes and co, treating the slowly swelling crowd to old school favourites like Spike, Natural and their remix of Icehouse’s Great Southern Land, as well as a preview of a couple new, unreleased dubﬆep and drum‘n’bass tunes. Their energy on ﬆage is infectious, and their performance as tight and improvisational as ever. The roar from the crowd as Leftﬁeld take the ﬆage is nearly as loud as the sound syﬆem, but the entire room is ﬆ unned into silence as the ﬁ rﬆ few chords of Song Of Life twinkle through the speakers. When it ﬁnally drops,
THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “Two world-class performers in one of Sydney’s beﬆ venues for only $20. What more can be said?” WHERE & WHEN: Red Bull Music Academy at The Basement Saturday 26 March
PHOTO BY DAVE DRI
while ago of Major Lazer – Hold The Line with Toto – Hold The Line. I’m the guilty party for airing it all too often at the end of the night.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “‘But can you ﬆ ill DJ when you have the knowledge that I’m behind you with my pants around my ankles? Okay, can you ﬆ ill play when you have your pants around your ankles?’ Requeﬆ granted buddy, checkmate. That was a weird 12 minutes.” WHERE & WHEN: FBI Social Opening Night: Socially Acceptable at Kings Cross Hotel Friday 25 March
some go mad; some juﬆ ﬆand and ﬆare in awe. And so it goes for the next nigh-on two hours as the band bring material from Leftﬁsm and Rhythm And Stealth to life with live keyboards, bass, drums and eﬀects. The set is programmed beautifully, ebbing and ﬂowing at exact ly the right moments. Original provides a chance for a breather, before Afro-Left and Inspection (Check One) cause outright chaos: at one point it feels like the ﬂoorboards are going to give way. Of course Space Shanty receives the biggeﬆ response, and rightfully so: it’s turned into a 15 minute brain-melting acid trip with a killer half-time breakdown. It’s a teﬆament to an act ’s brilliance when you can see them play the exact same set twice in the span of ﬁve days and ﬆ ill walk away ﬆ ruggling to comprehend what juﬆ happened even though you know every single thing that’s coming next. I’m calling this one early: gig of the year. ANDREW WOWK
CLUB CLASSICS PRIZE
WHERE & WHEN: Red Bull Music Academy at The Basement Saturday 26 March, Space Is The Place featuring TEEBS at Tone Saturday 2 April
FLYING LOTUS 1983 (Plug Research), 2006 “Perfect ly capturing the beginnings of the Beats movement. The album takes the liﬆener on a voyage through Flying Lotus’ sundrenched psychedelic imagination. 1983 is a trip.” ELECTRIC EGYPT IMPRESSIONS OF THE IN EXPRESSIBLE INVISIBLE (Moamoo), 2010 “Hailing from the tropics of Auﬆ ralia, EE puts together his debut musical maﬆerpiece. Bringing us closer to nature, the spirit and the heart ‘beat’. Unlocking the myﬆ ic secret in us all.” TEEBS ARDOUR (Brainfeeder), 2010 “Teebs’ music is like a sunﬂower blossoming from the rich and vibrant roots of the Los Angeles underground. The album is teﬆament to my love of the LA beats scene.”
PERSONALITY TEST TIJUANA CARTEL
WHAT’S ONE GENRE YOU WOULD REMOVE OFF THE FACE OF THE EARTH AND WHY? “Boy Bands, come on, really? Do we ﬆ ill need them? And Zumba – it’s horrible, it’s a virus on humanity.” WHO INSPIRES YOU MUSICALLY? “At the moment I’m having a Cryﬆal Caﬆ les phase, Tipper also features heavily.” NAME THREE TRACKS CURRENTLY DETONATING YOUR DANCEFLOOR. “Tipper – Snake Charmer, Opiuo – Slurp And Giggle, La Roux – In For The Kill (Skream Remix).” TELL US ABOUT A CLASSIC CLUBBING MOMENT. “Plump DJs Fabric, New Year’s Eve 2002. I managed to pass out under a table for much of the night. Also, Regan our MC was juﬆ telling a ﬆory about wondering around a Gold Coaﬆ nightclub with his pants down for three hours.” WHAT’S ONE RECORD YOU’RE EMBARRASSED TO ADMIT YOU OWN? “Elton John – Goodbye Yellow Brick Road.” SPIKE MILLIGAN QUIPPED HE’D LIKE HIS TOMBSTONE TO READ ‘I TOLD YOU I WAS ILL’ – WHAT WOULD BE ON YOURS? “It’s OK, I’m into necrophilia.” WHERE & WHEN: Tone Friday 25 March, Bondi Beach Road Hotel Saturday 2 April, Newcaﬆ le Brewery Sunday 3 April
VOCALBOOTH HR KING WHERE AND WHEN WAS YOUR FIRST PERFORMANCE? “El Rocco Jazz Cellar.”
male pop artiﬆs!” FAVOURITE VENUE TO PLAY? “RNA Showgrounds so far.”
WHAT ARE YOUR ALL-TIME FAVOURITE SONGS? “MJ’s Thriller and Bad album. Stevie Wonder Songs In The Key Of Life. Typically though pop music. I love 80s songs as
WHAT IS YOUR DREAM COLLABORATION? “I’d love to collab with Rihanna and JT.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “They support it.” WHAT DOES THE LOCAL MUSIC SCENE NEED MOST? “Support for solo
WHAT’S YOUR BEST ALL TIME GIG? “Supafeﬆ supporting Akon, Kelly Rowland and Jay Sean.” WHAT: Fearless (Independent)
TREY SONGZ TICKETS Trey Songz, Grammy Nominated US R&B superﬆar and international ladies man, will be performing his ﬁ rﬆ ever solo show in Auﬆ ralia whilﬆ touring with Usher. Primarily known for his Billboard chart smash hits Bottoms Up with Nicki Minaj, Say Aah, I Need A Girl and Invented Sex featuring Drake, as well as appearing on Drake’s massive single Successful, Trey is a proliﬁc gueﬆ artiﬆ in the US urban scene, providing hooks for or touring with the likes of Jay-Z, Nicki Minaj, Lil Wayne, Ludacris, Diddy, Mariah Carey and Rick Ross to name a few. Trey Songz will play Home Nightclub with full live band Friday 25 March. For your chance to win a double pass to the event email your name and contact details to firstname.lastname@example.org. au with TREY in the subject line. Entries close 5pm Thursday 24 March.
EVELEIGH FARMERS’ MARKETS
Situated in a heritage liﬆed former Blacksmith’s Workshop, the Eveleigh Farmers’ Markets have enjoyed a rapid rise of popularity in only two years of trading. Only minutes walk away from Redfern train ﬆation, the markets buﬆ le early with inner-city locals moving between the 70-odd ﬆalls of boutique, organic and down-right local produce vendors. Some come for the coﬀee, some for the local olive or truﬄe oils, while others juﬆ relax into the social atmosphere that is peppered with a collect ion of fashionable and friendly dogs no doubt soon spoiled with taﬆ y treats. For all the virtues of an inner-city market, not the leaﬆ of which is the aroma of freshly baked bread and paﬆ ries, there is something to be said for the sound of a farmer spruiking his harveﬆ . We are drawn in by a worn Akubra hat, sitting at an angle atop a cheerful and insiﬆent farmer, slicing up slivers of his lateﬆ hauls of explosively ﬂ avoured and fresh apples. Thoroughly entertained, a kilo bag of fruit is joined in quick succession by a pack of spicy sausages. Th is mix of gourmet and garden makes for one part treasure hunt, one part spectacle. We might not go for the whole gluten free chocolate cake on this run, but we know it’s there – and it taﬆes amazing. What we do treasure are the free-range eggs, limited only by both how many the hens have laid and how many the ﬆall holder’s children have found that morning. Where many attempts at the European ﬆ yle market can feel forced, with the fabrication of diversity falling short of any real energy, the Eveleigh Farmers’ Markets boaﬆ a true mix of characters – be it the faﬆ talking farmer shouting the lateﬆ deal for his precious cargo of delicious apples or the family aﬀair of organic olive oil producers with endless ﬆories to tell. Then there are the pies, the paﬆ ries, the pancakes and prosciutto. With so much to choose from, don’t worry, there’s also the coﬀee and the newspapers to take it slow. And it will all be there next weekend. DAVE DRI WHAT: Eveleigh Farmers’ Market WHERE: Carriageworks, 243 Wilson Street, Darlington WHEN: Every Saturday 8am-1pm
THREE OF THE REST
SYDNEY FISH MARKET The world’s third largeﬆ ﬁsh market is a ﬁ xture of Sydney’s fascination with seafood. Once the sole hub of seafood trade in the ﬆate, the move towards market deregulation also signalled the development of touriﬆ facilities, ranging from a sushi bar through to the Sydney Seafood School. Where else can you potentially buy in bulk, eat fresh and learn to cook at the same spot? The retail and wholesale arms might be separate, but the infect ious energy of the early morning auct ions lingers in the atmosphere of the marketplace for those willing to venture out into the morning. PADDY’S MARKETS A popular inﬆ itution with locals and touriﬆs alike, the Haymarket site of the current inception of the markets is an explosion of diversity smack bang in the middle of the city. Accessible by rail, bus or
monorail (and, possibly, jetpack), Paddy’s has been associated with the area for some 150 years. With densely packed ﬆalls, this is the Asian ﬆ yle of market that will be at home with veterans of Hong Kong or Indonesia, swapping the Bintang singlets with boomerangs. Aside from the tacky are the treasures, as well as a fully ﬂedged shopping centre besides. MANLY ART & CRAFT MARKETS There is a comforting warmth to be felt about art and craft markets, like walking into a ﬆ ranger’s home and recognising all but a few pieces of furniture from the lateﬆ Ikea catalogue. No matter where you travel in the world, you can take solace from seeing the same jewellery, hippy pants and photo frames ﬆacked optimiﬆ ically along a table of no great diﬆ inct ion. Watch as they are passed over by the usual tide of casually disintereﬆed day-trippers, of which a number invariably (perhaps irrationally) dip into their wallets to purchase possibly the world’s moﬆ expensive packet of macadamia nuts.
SUSHI SNAPS 1 Alize End of Summer Splash
6 Saturdays @ Bar333
2 Chinese Laundry Fridays
7 Saturdays @ Empire Hotel
3 Garden Party @ Chinese Laundry
8 Sienna @ EďŹ†ablishment
4 Le Rouge @ The Rouge
9 Skybar @ The Watershed
5 RnB Superclub @ Tank
10 Sundays @ Northies
GUESTLIST TUESDAY LO FI El Jimador, Trans-X. WORLD BAR Pop Panic: DJs Cris Angel, Daigo, Cosmic Explorer, Power Ballads Room. 8pm.
WEDNESDAY ACER ARENA Usher, Trey Songz, The Potbelleez. 7:30pm. $99.90 - $150.50. BEACH RD HOTEL Fifth’s Sideshow Wednesday: The Delta Riggs, Black Devils Yard Boss. 8pm. CASABLANCA 3 Amigos Latin Dance Party. 8pm. Free before 9pm, $3 after. KINGS CROSS HOTEL FBi Supporters Night: Moriarty, Bad Ezzy, Kato, Boonie. 8pm. MARLBOROUGH HOTEL Student Nights: DJ Moussa. 11pm. Free. METRO THEATRE Doom. 8pm. $65.70. NORTHIES CRONULLA Trivia. 7:30pm. Free. WORLD BAR The Wall. 8pm. Free.
THURSDAY ACER ARENA Usher, Trey Songz, The Potbelleez. 7:30pm. $99.90 - $150.50. BEACH RD HOTEL Camera Club: DJ. 11:30pm. CARGO BAR Thursdays I’m In Love. 5pm. Free. ELEVEN Cern, DJ Strife, De La Haye, Dauntless. 8pm. GREEN PARK HOTEL Live at The Park feat. Mani Jerry. 7pm. Free. HOME TERRACE Unipackers: John Young. 10pm. $5 - $10. THE IVY World Wine Fair. 6pm. $20. NORTHIES CRONULLA Global Beats. 6pm. OXFORD ART FACTORY Bonjah and guests. 8pm. $10 (+bf). WORLD BAR Propaganda: Urby, Mush, El Mariachi. 8pm.
FRIDAY BALCONY BAR Balcony Bar Fridays: Gian Arpino. 6pm. Free. BEACH RD HOTEL The Liberators. 8pm. Free. CARGO BAR Good Fridays: Rogers Room & guests. 8pm. Free. CANDY’S APARTMENT Vengeance, Kyro, Moo Who. 8pm. $10–$15. CHINESE LAUNDRY Dubrave Party: DJ MK. 10pm. $15 - $20. COHIBAR DJs Jeddy Rowland, Anders Hitchcock. 5pm. CLUB 77 Dusted: Shitmat, Passenger Of Shit, bint, Paul Blackout, Victim, James Daak. 10pm. $15. CRUISE BAR Johnny Vinyl & Strike. 8pm. DIAFRIX
THE GAELIC Purple Sneakers: Cuthbert, Owl Eyes, Metals. Kill the Landlord, Minou, Wacks, Josh Kelly. 8pm. $10. GREEN PARK HOTEL After Dinner Funk Vibes feat. DJ Mickey Morphingaz. 9pm. Free. GYPSY LOUNGE Next (USA), Theegs, Merv Mac, Drop D.E.A.D Mutu, Brandon P, Peter Gunz, Pace, Roc Boi, FlipZ. 10pm. HOME Filo & Peri. 10:30pm. $25 - $35. HOME Trey Songz, Diafrix, City Love Band, Merv Mac, Prinnie, Peter Gunz. 6:30pm. INNER CITY WAREHOUSE People Must Jam: DJ Rahaan, Matt Trousdale, Pete Dot, JMS. JACKSON’S ON GEORGE Ultimate Party Venue: DJ Michael Stewart. 9pm. Free. KIT & KABOODLE Falcona Fridays: Falcona DJs. 10pm. $10. LE ROUGE Shock Horror: Skinny, Chris La Sek, Bounce Crew DJs, Matt Ferreira. $5 before midnight (guestlist). NORTHIES CRONULLA Club Classics. 6pm. OXFORD ART FACTORY Oh Mercy. 8pm. Free. SPACE Zaia. 9.45pm. TANK RnB Superclub & NotMyself: G Wizard, Def Rok, Eko, Troy T, Lilo, MC Jayson, I AM SAM, Cadell, MisTa Kay, Matt Nukewood, Ben Morris, Sancho, Joey Kaz, Frankie Jay, Puma. 10pm. Guest list $15, General $20. TONE Dust Tones: Tijuana Cartel, Watussi, Kato, Bentley, Mike Who, James Locksmith, Mashy P. 9pm. $18. THE WATERSHED HOTEL Bring on the Weekend! Resident DJs. 10pm. WORLD BAR MUM: Teleprompter, Hey Fever, The Cool Calm Collective, Doc Holliday Takes the Shotgun. 8pm. $10 before 10pm, $15 after.
SATURDAY 202 BROADWAY Jamrock. 8pm. THE ANNANDALE HOTEL Laneous & The Family Yah, Tuka. 8pm. $15 (+bf). Simon Caldwell BELLA VISTA Funkdaﬁed Top Deck cruise: Simon Caldwell, Gian Arpino, DJ Create, JC. THE BASEMENT Red Bull Music Academy: James Pants, Peanut Butter Wolf, edseven, Sir Robbo, Prize, Soﬁe Loizou. 9:30pm. $20 +bf (pre-sale). CANDY’S APARTMENT ZOMG Kittenz, Disco Volante, SMS, Teez, The Kid. 8pm. $10–$20. CARGO BAR Cargo Saturdays 8pm. Free. CHINESE LAUNDRY Johnny D. COOGEE BAY HOTEL Mr Morph. 3pm. CRUISE BAR Casa, Danny Presti, Simon Neal, Ben Vickers, The Jackal. 8pm. DEE WHY HOTEL Steve Frank, Venuto. 8pm. Free. FAKE CLUB Foamo. 11pm. THE GAELIC Super Florence Jam. 8pm. $10 (+bf). GREEN PARK HOTEL Saturday Sound System: DJ Brynstar, Ross Middleton. 9pm. Free. HELLENIC CLUB Saturday Live. 8pm. Free. IVY Pure Ivy Saturdays: Cissy Strut, Cadell, Liam, Sampras. 6pm. $15 before 11pm on guestlist, $20 general. JACKSON’S ON GEORGE Ultimate Party Venue: DJ Michael Stewart. 9pm. Free. LE ROUGE Guy Tarento, Dejan Sem, Chris Fraser, Sademan & Vanz. $10 before 11pm (guestlist). MELT Format: B. 9pm. $15. NORTHIES CRONULLA House Blend. 9pm. Free.
DE LA HAYE
OXFORD ART FACTORY The Aston Shuﬄe, Kato, Wax Motif. 9pm. $20. THE POLO LOUNGE Robopop: Robopop DJs. 10pm. $10. TONE Spit Syndicate, Dutch, Gabriel Clouston, Mike Who, Bentley, Ability. 9pm. $18. SPECTRUM P*A*S*H. 11pm. SPACE NIGHTCLUB Masif Saturdays: Toneshifterz, Bioweapon, Steve Hill, Suae, Pulsar, Nik Fish and more. 10pm. TANK Sienna: G Wizard, Troy T, Def Rok, Eko, Lilo. 9pm. $20. 9pm. THE WATERSHED HOTEL Greek Night. 9pm. WORLD BAR Wham: AJAX, James Taylor, Murat, Levins, Wax Motif, Adam Bozetto and more. 8pm. $15 before 10pm, $20 after VAULT HOTEL Spice & House Inspection: Kiki, Pepperpot, Murac Kilic, Yokoo, Nic Scali, Bella Sarris. $15 (pre-sale) - $20 (at door). ZETA BAR DJ Franck Roger. 9pm. $25.
SUNDAY BEACH RD HOTEL Softwar. 8pm. CARGO BAR Sunday Lounge Sessions. 5pm. Free. CAMBRIDGE HOTEL Tin Can Radio. CRUISE BAR Sun Sets with DJ Strike. 3pm. FAKE CLUB Spice: Reno & Foundation, Nic Scali, Yokoo. $20. GOLDFISH The Martini Club (Live). DJs Johnny Gleeson ad Tom Kelly. 9pm. Free. GREEN PARK HOTEL Old School Sundays: DJ Yokoo. 4pm. Free. JACKSONS ON GEORGE Aphrodisiac Industry Night: House DJs. 5pm. Free. LE ROUGE Cheap Th rill$: Matt Nukewood, J Smooth, Barﬂy. 9pm. Free. NORTHIES CRONULLA Sunsets. 8pm. TONE Red Bull Music Academy: Peanut Butter Wolf. WORLD BAR Fortune: Disco Punx. 6pm. Free.
ACER ARENA Usher, Trey Songz, The Potbelleez. 7:30pm. $99.90 - $150.50. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO SYDNEY@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.
CALENDAR MARCH EL JIMADOR, TRANS-X – Tuesday 22, Lo Fi DOOM, DJ MK – Wednesday 23, Metro Theatre TREY SONGz - Friday 25, Home NEXT - Friday 25, Gypsy Lounge FILO & PERI - Friday 25, Home DJ MK – Friday 25, Chinese Laundry THE LIBERATORS – Friday 25, Beach Road Hotel RAHAAN - Friday 25, Secret Loft Venue SHITMAT – Friday 25, Club 77 TIJUANA CARTEL - Friday 25, Tone FOAMO - Saturday 26, Fake Club THE ASTON SHUFFLE - Saturday 26, Oxford Art Factory KIKI – Saturday 26, Vault Hotel STEVE FRANK, VENUTO - Saturday 26, Dee Why Hotel FORMAT:B - Saturday 26, Melt LANEOUS & THE FAMILY YAH, TUKA – Saturday 26, The Annandale Hotel RED BULL MUSIC ACADEMY: PEANUT BUTTER WOLF, JAMES PANTS – Saturday 26, The Basement WHAM!: AJAX – Saturday 26, World Bar JOHNNY D – Saturday 26, Chinese Laundry RED BULL MUSIC ACADEMY INFO SESSION: JAMES PANTS – Sunday 27, Tone TIN CAN RADIO - Sunday 27, The Cambridge Hotel SPICE: MURAT KILIC - Sunday 27, Fake Club USHER – Monday 28, Acer Arena USHER – Tuesday 29, Acer Arena TIN CAN RADIO - Tuesday 29, The Youthie OS MUTANTES – Wednesday 29, Enmore Theatre DOOM – Thursday 31, Oxford Art Factory APRIL COLLARBONES – Friday 1, Red Rattler COOKIE MONSTA – Friday 1, Chinese Laundry TIJUANA CARTEL – Friday 1, Soundlounge E-MOTION FRANTIC BOAT PARTY: STEVE HILL, YOSHI, STEVE GIDDO, ZANA MILLS, MIKEY G, THE BONDI DJS, TISH TASH – Saturday 2, Sydney Casino Wharf TEEBS – Saturday 2, Tone IAN CAREY – Saturday 2, Chinese Laundry DJ MK – Saturday 2, Fannys HEAVY FEET – Saturday 2, 151 TALES IN SPACE – Saturday 2, The Lansdowne Hotel HEAVY FEET – Saturday 2, World Bar, DANIEL STEINBERG – Saturday 2, Sweeney’s Rooftop MASIF SATURDAYS – Saturday 2, Woodport Inn TENZIN, RAYE ANTONELLI – Saturday 2, Dee Why Hotel CALIBRE, MC DRS – Saturday 2, Manning Bar PLATFORM HIP HOP FESTIVAL: RAHZEL, SUPERNATURAL, DJ JS-, KOOLISM – Saturday 2, Carriageworks TIJUANA CARTEL – Saturday 2, Beach Road Hotel TIJUANA CARTEL – Sunday 3, Queens Wharf Brewery INHALE: PURSUIT GROOVES – Thursday 7, Eleven Nightclub HEAVY FEET – Thursday 7, Trinity (Canberra) MEAT KATIE – Friday 8, Chinese Laundry
SHRUG: MAX COOPER – Saturday 9, GoodGod Small Club THE BELLIGERENTS – Saturday 9, Oxford Art Factory TOM PIPER – Saturday 9, Dee Why Hotel THE HERD – Saturday 9, The Factory DANNY HOWELLS, DROP THE LIME – Saturday 9, Chinese Laundry SUPAFEST 2011: SNOOP DOGG, KERI HILSON, NELLY, TAIO CRUZ, BOW WOW, T-PAIN, BUSTA RHYMES, CIARA – Friday 9, ANZ Stadium IAN CAREY – Wednesday 13, Homebush DANNY BYRD – Friday 15, Chinese Laundry XDREAM – Friday 15, Forever Young Festival TIN CAN RADIO – Friday 15, World Bar LADI 6 – Saturday 16, Gaelic Theatre SEEKAE – Saturday 16, Manning Bar MICHAEL WOODS – Saturday 16, Chinese Laundry BRUNO MARS – Thursday 18, Luna Park Big Top MIND OVER MATTER – Thursday 21, Oxford Art Factory TOOTS AND THE MAYTALS, LUCIANO, JAH MESSENGER BAND – Saturday 23, Enmore Theatre THE INNER WEST FESTIVAL: SKETCH THE RHYME, REVERSE POLARITIES, THUNDAMENTALS AND MORE – Saturday 23, Sandringham Hotel BONE THUGS-N-HARMONY – Saturday 23, Blacktown Olympic Park ROBERT BABICZ – Saturday 23, Chinese Laundry Circo Loco ALEX KIDD, XDREAM – Saturday 23, Woodport Hotel JOHN LEGEND, LOWRIDER – Sunday 24, State Theatre MIAMI HORROR DJS, BAG RAIDERS – Sunday 24, Ivy CIRCO LOCO: SHIT ROBOT, ANDREW GRANT – Sunday 24, Greenwood Hotel JOHN LEGEND, LOWRIDER – Monday 25, State Theatre SHE POOL PARTY: MARK FARINA – Monday 25, Ivy Pool MIDNIGHT JUGGERNAUTS DJS, GLOVECATS, AJAX, STARFUCKER DJS, TRUMPDISCO, LIGHTYEAR – Monday 25, Ivy CHRIS BROWN – Tuesday 26, Acer Arena TIN CAN RADIO - Wednesday 27, The Cambridge Hotel JUSTIN BIEBER – Thursday 28, Acer Arena CASSIAN – Friday 29, Woodport Inn GUM BALL: KORA, VASO ERA, SPACE INVADERS, THE BAMBOOS, CHASE THE SUN AND MORE – Friday 29 - Saturday 30, Dashville Outdoor Arena NATURALLY 7 – Friday 29, State Theatre CREAMFIELDS: DEADMAU5, MARTIN SOLVEIG, SKRILLEX, GABRIEL AND DRESDEN, WYNTER GORDON, KEVIN SAUNDERSON AND MORE – Saturday 30, Showring & Hordern Pavilion CASSIAN, JONATHAN COWAN – Saturday 30, Chinese Laundry MAY HERBIE HANCOCK – Sunday 1, Sydney Opera House
DATAROCK – Thursday 5, Oxford Art Factory MURS & 9TH WONDER, RA THE RUGGED MAN – Thursday 5, The Gaelic DATAROCK – Friday 6, Oxford Art Factory HOUSE OF PAIN – Friday 6, Manning Bar OVER-REACTOR - Friday 6, Tamworth Youthie CASSIAN - Saturday 7, 151 SAMPOLOGY – Friday 6, Oxford Art Factory UNKLE – Monday 9, Sydney Opera House THE CAT EMPIRE – Thursday 12, Annandale Hotel CUT COPY – Thursday 12, Enmore Theatre AREA51 – Friday 13, Home FBI SOCIAL: SKETCH THE RHYME – Friday 13, Kings Cross Hotel LOWRIDER – Friday 13, Annandale Hotel GARY NUMAN – Friday 13, Enmore Theatre KATY PERRY – Friday 13, Newcastle Entertainment Centre JOHN COURSE – Saturday 14, Soho KATY PERRY – Saturday 14, Sydney Entertainment Centre N-TYPE – Saturday 14, Oxford Art Factory OVER-REACTOR – Saturday 14, Caringbah’s Bizzo THE CAT EMPIRE – Saturday 14, Enmore Theatre SPICE AFLOAT: JORIS VOORN, EDWIN OOSTERWAL – Saturday 14, Star City Casino Wharf THE CAT EMPIRE – Sunday 15, The Basement OVER-REACTOR – Thursday 19, The Bar On The Hill OVER-REACTOR – Friday 20, The Northern Star JOHN COURSE – Thursday 21, One Nightclub TIKI – Friday 27, Panthers BLISS N ESO – Saturday 28, Hordern Pavillion TIKI – Saturday 28, Selina’s JUNE PEZ, MAYA JUPITER, 360 – Thursday 2, Wollongong PEZ, MAYA JUPITER, 360 – Friday 3, Factory Theatre
OUTLAW/SEX F SHE SWEARS, KILLS, DATES A MUTANT KANGAROO CALLED BOOGA… AND SHE LIVES IN A TANK. SHE IS TANK GIRL, ONE OF THE STRANGEST, MOST WONDERFUL CREATIONS TO EVER ENTER THE PUBLIC CONSCIOUSNESS. MITCH KNOX REVISITS AN OLD FRIEND.
n the 1980s, long before the world had ever heard of Gorillaz and Jamie Hewlett had learned how to do backﬆ roke in a tank of money, he was a ﬆ ruggling artiﬆ making his way in the cold, hard world of British comics. He and writing partner Alan Martin unwittingly hit the jackpot, however, when together they created a seemingly unimportant character called Tank Girl one (presumably cold, being England) day late in the decade, and managed to get themselves published in the pages of Deadline, the then burgeoning home for all things messed right the hell up. Tank Girl, for all intents and purposes, is an abomination unto society’s highly reﬁ ned mores. She is super-grotty; she’s violent, prone to getting absolutely shitfaced, is unafraid to spit and vomit and fart and bang whatever she pleases; she disrespects authority and, oh yeah, she lives in a fucking tank. Th is is not as abnormal as it seems – the ﬆ rip is predominantly set in a poﬆ-apocalyptic Auﬆ ralia, which at leaﬆ partially explains the presence of mutant kangaroos. It is hugely surrealiﬆ ic, too, with Hewlett making frequent use of unorthodox artiﬆ ic approaches and Martin having a blatant disregard for anything even resembling a coherent plot or sense of narrative. Unsurprisingly, this much unreﬆ rained and uncensored awesome ﬆ ruck a chord with the international punk and riot grrrl movements on both ends of the Atlantic. Tank Girl became synonymous with the anarchiﬆ ic, rebellious tendencies of the two closely-aligned social/ political/musical ideals. People even got tattoos and shit. It was big ﬆ uﬀ, in a really culty kind of way. Tank Girl helped to mobilise an entire counterculture’s sense of gender empowerment, and she did it with a big 38 3DWORLD
“fuck you” to anyone who didn’t like it. It was bold; it was messed up; it was fantaﬆ ically diﬀerent. But then, as always, Hollywood screwed everything up. In 1995, around the time Deadline was ceasing to exiﬆ and the future of Tank Girl as a ﬆ rip was already kind of in limbo, one of the world’s worﬆ comic book adaptations in hiﬆory mortiﬁed fans and critics alike – yes, despite the presence of not only mutant kangaroos but a mutant kangaroo played by Ice-T – and deﬆ royed an image that had taken seven years to cultivate in a seriously lousy 104 minutes. Tank Girl, the ﬁ lm, is a garish, sloppy nightmare, with Lori Petty (who was also in A League Of Their Own) looking more like Gwen Stefani on whatever Amy Winehouse was taking and Malcolm McDowell depressing everyone who ever loved him, waﬆ ing his talent simply by being there. A ﬁ lm’s poﬆ-apocalyptic setting has never been so ironic – it’s fucking Ragnarok for your senses. Of course, the ﬁ lm has its supporters and has developed a ﬆ rong enough cult following, but for those who don’t have a large enough LSD supply to ﬆomach it in one go there’s the growing feeling that it sure could use a reboot. The comic is ﬆ ill published intermittently today, albeit no longer with the involvement of Hewlett and in a more linear, narrative-driven form, but its heart is the same. If Spider-Man, Hulk and Fantaﬆic Four can all get reboots within a decade of their ﬁ rﬆ franchises (or ﬁ lm, in Hulk’s case) ﬁnishing, there’s no need to ﬆ all on one that’s sorely needed for one of the moﬆ celebrated countercultural ﬁgures of the late 20th century.
REBOOT ME PLEASE HOWARD THE DUCK (1986)
Marvel Comics’ Howard The Duck is an angry little anthropomorphic duck ﬆ uck on Earth who has a bunch of wacky, satirical adventures that are really making the point that the only point is there is no point. Exiﬆentialiﬆ comics. What a riot. Anyway, in ‘86, George Lucas got involved in a ﬁ lm adaptation of the character which removed all the exiﬆentialism and replaced it with cheesy writing and a ﬆ upid “duck from space” subplot. A series of ﬆ unt men in a seriously budget duck suit played the title character and, also, that Dean from Ferris Bueller’s Day Oﬀ who was later convicted in real life of being a sex oﬀender was there. Do the math on why it sucked.
THE SHADOW (1994)
Look, there is no shortage of Alec Baldwin love on this end of the room, but this movie is where fun goes to die. It has all the elements to be awesome: shady rich vigilante played by Alec Baldwin, ancient magic, descendents of Genghis Khan, Penelope Ann Miller in a plunging neckline – how can you screw that up, really? Oh, by writing one of the moﬆ boring scripts ever and making your audience hate everybody in your movie – even Ian McKellen, and he is adorable by default.
THE PHANTOM (1996)
Do you even need an explanation for this? Billy Zane in skintight purple? Fuck this movie, seriously. In fairness, there already was a pseudo-reboot in the 2009 two-part mini-series The Phantom, ﬆarring Ryan Carnes as the titular Ghoﬆ Who Walks, which added a few sci-ﬁ elements to the whole deal and, also, a new updated look for The Phantom, all motorcycle-fetish and such. But that’s not exact ly a ﬆep up.
DO THE FUNKIE JUNKIE DJ STIFFY’S WIDE WORLD OF SHORTS
VALE NATE DOGG Yes, I know everyone’s going to be crying and writing obituaries and getting all teary on account of Nate Dogg being dead, but we gotta keep this shit in perspective, seriously. I mean, fuck, it’s not as though Yeezy, Weezy or even fucking Jeezy died. And it seems that about the only goddamn fucking thing that people act ually manage to fucking remember him for is goddamn Regulate, which, don’t get me wrong, is a great song, but the only person who seems to have act ually made any money out of it is Michael McDonald (and, yes people, go and do some homework and bother to ﬁnd out what the genius behind What A Fool Believes act ually did for rap music), and, for that matter, everybody seems to be overlooking the fact that he was act ually responsible for contributing signiﬁcantly to arguably the greateﬆ four minutes in the hiﬆory of rap (and certainly Weﬆ Coaﬆ rap), ie The Next Episode by Dr Dre, and I defy anyone to say with a clear conscience that they never, ever screamed “smoke weed everyday” at the top of their lungs after blowing a mssive joint. So, anyways, the point is, a lot of rappers die, and a lot of people get sad when rappers die, but the fact is that when, say, someone like Snoop makes his way to heaven, then you can think about donning the black tracksuit and matching Adidas Superﬆars for a month and downing a bottle of yak and a few blunts. VALE A LOT OF JAPANESE Er, and while we’re at it, and everyone was crying into their Above The Rim soundtracks, did they act ually forget to fucking notice that there were about 10,000 or more people who completely loﬆ their shit (eg lives, families, home and contents) in Japan? (And you can assume that there were probably a large number of copies of said Above The Rim soundtrack loﬆ in said disaﬆer, in addition to the large number of copies that will be permanently irradiated and therefore completely unplayable without getting radiation sickness – this is, of course, the problem with being a middling rap artiﬆ, ie you always end up being big in Japan.)
Drug abusers, or junkies as we like to refer to them colloquially, usually only ruin their own lives and the lives of their families but every now and then, the ways of the junkie aﬀect the lives of the ordinary. For example, the regulations regarding the sale of pseudoephedrine, a previously over the counter pharmaceutical that works wonders on a body riddled with ﬂu and sinus problems. But, it’s also an ingredient in meth and speed and therefore a hot commodity on bikierun black markets. It wasn’t uncommon to ﬁnd a skinny 45-year-old looking 25-year-old making
their way from chemiﬆ to chemiﬆ purchasing pseudoephedrine products either for their own personal use or as the employees of higher ups in the illicit drug trade. Now, to purchase these products everyone muﬆ hand over photo ID and have all their details recorded so that pharmacy ﬆaﬀ, if they can’t tell by looking at you, can check your records and determine whether or not you are a junkie. Okay, somewhat fair enough – pseudoephedrine can make you feel pretty good but Nurofen Plus? Panadeine? It’s true, there are people who take up to 60 Nurofen Plus tablets a day which causes a euphoric-morphine like ﬆate. Codeine junkies! Never mind that the ibuprofen that puts the ‘fen’ in Nurofen is perforating the hell out of their ﬆomachs – they’re getting high man, and cheaply. Thanks to codeine junkies, all products containing codeine have been moved behind the counter of all pharmacies and may only be purchased in small quantities accompanied by pharmacy lead interrogation. With a slight narrowing of the eyes you will be asked “Have you used this before? What are you using it for? Are you aware you should only be using this for short term relief?”, and so on. It’s come to the point that whenever you’re looking for some light symptom relief, the people behind the counter are going to be
sizing up whether or not you’re a junkie. And you could be, because codeine abusers aren’t juﬆ the husks of human beings who’ve left their kids at home, asleep, with the gas heater on and nicked out to ﬆeal whatever they can sling for 20 bucks. Codeine abusers can look as innocent as your mother. Sadly, they could act ually be your mother. An innocent (albeit ﬆ upid) woman who has mismanaged her minor pains with so much codeine she’s developed an addict ion and now ﬁnds herself walking from chemiﬆ to chemiﬆ purchasing as much Panadeine as she can get. LIZ GALINOVIC
APOCALYPSE NOW? It is obvious that we are currently going through the end of days. Like a temperamental teenage bitch, Planet Earth is going through irrational spats of volcanic abuse, land splitting tantrums and unexpected and gushing ﬂoods. There is no time to run for the hills – they’re already full of giant mutant ants. The obvious solution is to follow the lead of Hollywood disaﬆer movie spectacles, ﬆarting with the lock-jawed movie ﬆars that managed to save the world as their careers were being vacuumed by apocalyptic tornadoes. When the tectonic plates grind againﬆ each other like sweaty ﬆ rangers at a nightclub, you know it’s time to get the hell out of there. In ultimate disaﬆer movie 2012, John Cusack used his formidable skills as a limousine driver to drive his way out of a bit of a pickle. As bits of mud and rain knocked againﬆ his windscreen, the tiny lipped actor advised his children to “hang on” as he sped across the spasming landscape in the moﬆ awkward vehicle available. While the bones of skyscrapers shattered across the Los Angeles waﬆeland and aircraft plummeted on to trains that full of explosives, Cusack concentrated his survival inﬆ inct into a determined squint, clearly the key to his survival. Giant waves often drown our cinema screens, their cause reﬆ ing with a rogue meteor (Deep Impact ), aliens (The Abyss) or Mark Wahlberg (The Perfect Storm). It is very diﬃcult to escape a wave, so it’s reasonable to take hints from web-footed Kevin Coﬆ ner in Waterworld. Ensure that you are well ﬆocked up on your supply of dirt before the wave hits, it will be as valuable as gold in the future civilisation that is run by Dennis Hopper. There is also risk of a major radiation leak, an extreme situation that has the potential to spawn freakish mutations that love to ﬆep on all the things we hold dear. A Giraﬀ topus, slithering down highways and headbutting helicopters. Attack of the Hippopotoshark. The Bearlephant. As Godzilla movies have demonﬆ rated, this is a very real and often poorly dubbed threat. These unnatural and improbable creatures will snack on terriﬁed civilians as they ﬆ ruggle through an identity crisis very few of us could relate to. At the other end of the spect rum, Hollywood has taught us the condensed blaﬆs of radiation are not act ually a bad thing. Look at the Hulk, Spiderman or Charlie Sheen. Once they were ordinary people; now, they front multi-million dollar franchises. The next time it seems like the end of the world, make sure you take the time to throw on a DVD of Evan Almighty or Earthquake 1974 to see how the professionals dealt with hard times. It could juﬆ save your life. 5SPROCKET
AQUARIUS (20 JAN TO 18 FEB) Juﬆ because you are clinically obese, doesn’t mean you shouldn’t make fun of other fat people. Be cruel to others this week. You’ll feel better. PISCES (19 FEB TO 20 MAR) Your high proﬁ le aﬀair with a low proﬁ le AFL player will receive a booﬆ this week, when a medium proﬁ le dentiﬆ agrees to racially proﬁ le you. What? ARIES (21 MAR TO 20 APR) Who’s that sleeping in your bed? Why it’s actor Robert Downey Jr of course. He’s relapsed this week to create a dated pop culture reference. TAURUS (21 APR TO 20 MAY) I hate writing these horoscopes Taurus. Sometimes I have to ﬆ ick a fork in to my leg juﬆ to keep from slipping into a coma. GEMINI (21 MAY TO 20 JUN) When you are exposed as a fraud by a work colleague, you will have no choice but to follow them home and kill them. All this for two shifts a week at KFC? CANCER (21 JUN TO 21 JUL) You had no luck ‘ﬁnding wallets’ laﬆ week, so try a new money making venture this week. How many blowjobs can you give in an hour? LEO (22 JUL TO 21 AUG) When local bullies target you for a beating this week, a wise and myﬆ ical janitor will teach you karate and sell you an unlicensed ﬁ rearm. VIRGO (22 AUG TO 21 SEP) Th is week someone will ask you “How many ﬁngers am I holding up?”. You won’t have an answer, as the ﬁngers have been hacked oﬀ and placed in a paper bag. LIBRA (22 SEP TO 22 OCT) Your life is like one of those coﬀee cards where you get ﬆamps and the tenth coﬀee is free, but before you can cash it in you get mugged by a junkie. SCORPIO (23 OCT TO 21 NOV) When a serial killer ﬆ rikes, your city will be terriﬁed and they will turn to you for help. Until someone suspects you are the killer and a mob beats you to death. SAGITTARIUS (22 NOV TO 20 DEC) “Horoscopes are really juﬆ a poor man’s LSD.” President Nixon said that. No one is quite sure what he meant. Perhaps he was high on horoscopes. CAPRICORN (21 DEC TO 19 JAN) Now that you are oﬀ drugs, throw yourself into your work. If you catch up suﬃciently and get enough done, you can probably aﬀord to get back on the drugs.
REVIEW DJ EQUIPMENT DJing is now much more than two turntables and a mixer – and even the control vinyl utilised by the latest software is a far cry from the shiny black platters of yesteryear. When you’ve settled on your tunes, our DJ Accessories spread shows you what else you can take with you into the booth…
ALBUMREVIEWS THE WEEK ALBUMOF
BEATS WORKING Found The Sound (Hydrofunk)
THE QEMISTS Soundsyﬆem (Ninja Tune/Inertia) Truly exceptional producers, The Qemiﬆs’ greateﬆ asset will moﬆ likely always be their ﬆ unning live show. Arguably the closeﬆ any act has ever come to successfully synthesising the viscera and musicianship of a live band with the dextrous unpredictability and spontaneity of a DJ set, The Qemiﬆs’ live show sees the Brighton drum‘n’bass trio mashing up and re-contextualising their own material in a blur of aﬆonishing live musicianship and innovative elect ronic ﬂourishes. Soundsyﬆem is presumably an attempt to chronicle that unique experience on record. A fully mixed set consiﬆ ing of countless re-iterations and mashups of the band’s own material and the occasional outside remix, the disc lacks the inimitable intensity of the group’s notorious live performances but successfully approximates the originality and unpredictability of said performances. The soaring diva vocal of Fading Halo is dropped over the explosive backdrop of The Only Love Song, Wiley’s gueﬆ appearance on Dem Na Like Me segues ﬂuidly into the punishing dubﬆep of Cutline’s remix of Renegade and Spor’s now-legendary Stompbox remix also ﬁnds a home in the onslaught. Unsurprisingly, such daring does produce mixed results on occasion. Certain cross-pollinations simply do not succeed, the latter half of the album drags on occasion and there’s something vaguely disappointing about the band’s ability to interchange any and every component of their songs with such apparent ease. Still, for every shortcoming, the album delivers another surprising success and one can’t help but applaud the sheer ambition of the endeavour. MATT O’NEILL
Since 2007, NSW coaﬆal dwellers Beats Working have dropped their ﬁ rﬆ LP Harbour Drive and have since been ﬆeadily pampering and perming their second, the 16-track Found The Sound. The blues-rinsed funk and ska-rapwashed ﬁve-piece have managed everyone and everything here into a cohesive unit ﬁt for the sound revolution as the album cover suggeﬆs. The 2011 return sees the lyrical party-pushing rhymes from Handsome Dan and MC Mullut bounce in tandem to every over-spilt hip hop fusion provided by Domino Shields on drums, Gruﬀa on the cuts and producer of the album, James Branson. Rather than the lyrical talent, it’s the experimental trials of ﬆ ring and brass sect ion arrangements that makes this album and Beats Working a live show-piece dream.
HERCULES & LOVE AFFAIR Blue Songs (Moshi Moshi/Shock) A resurgence of late 70s-early 80s inspired neo-disco was sparked by the release of Hercules & Love Aﬀair’s self titled inﬆalment back in 2008. The band’s debut record embodied a certain originality and eﬀervescent funk-punk sensibility through the seamless blending of a soul-house composition with slick transgender vocals. The new release Blue Songs however sounds like an experiment, as the band channel a variety of ﬆ yles and genres rather than aﬃ xing to one. The opening tracks Painted Eyes and My House provide a promising mix of synth pop melodies complimented by subtle ﬆ rings, simple basslines and glossy, cabaret inspired vocals. Unfortunately, these ﬆellar tracks are a deeply misleading opening to a sub-par record which
Lazy Days rocks an opening riﬀ solo from Rob Robertson who works out a blues-whining bridge for a new summer-afternoon anthem. And diversifying the LP, Watch The Sky sees the band let loose and attracts a real ska swing to the album, while the uptempo All About You and the hip hop traditional beat-ridden Strut featuring Bris Vegas OG DNO who does juﬆ as the song suggeﬆs all over the track and Reverend Jones which invites Tom Thum to cut the track up and beatbox all reminds fans that this is foremoﬆ, a hip hop album. From right out of the box and relying on nothing but what the band feels is musically challenging, Found The Sound took real courage, creatively. To sell an album with such an eclect ic grab at formulating beats, Beats Working makes it work musically from a broadened scope of hip hop and should be commended on taking the gamble. RIP NICHOLSON
fails to capture the same charm as that of the band’s debut release. Such danceable songs become a rarity as the album progresses due to the focus shifting away from the disco genre, as seen in bizarre minimaliﬆ anthem Boy Blue. The exhauﬆed pop vocals in this track are teamed with ethereal acouﬆ ic guitars, producing a fragile folk-ballad rather than a signature Hercules song. The record closes with fauxsentimental slow jam It’s Alright, which provides a superﬁcial commentary on how music has the ability to cure global political disparities such as oppression and poverty. Ultimately, Blue Songs is a repetitive, erratic and lackluﬆ re record. Tedious house inspired melodies and monotone vocals throughout the release are only worsened by beat-less acouﬆ ics and insincere lyrics as 70s disco ﬆ yle is abandoned in a sea of mediocre genre experimentation. AVA NIRUI
ONE TRACK MIND JOHN DALY Tonight (Main Mix) (One Track Records)
SEEFEEL Seefeel (Warp/Inertia) After a 14-year hiatus, pioneering shoegaze outﬁt Seefeel have returned with their creative core – Mark Cliﬀord and Sarah Peacock – intact but its creative blueprint largely redeﬁned. Where the 2007 Redux Edition of the UK band’s Quique album gave latecomers the opportunity to discover the timeless, ambient, techno/shoegaze endorphin-rush of Seefeel circa 1993, Seefeel sees the rebuilt four-piece exploring much darker, grittier, deliberately anti-euphoric sonic territories. Strangely, though, at a time when the warpingand beauty of classic shoegaze is well-and-truly back in town, the all-new Seefeel sound already feels somewhat dated and conﬆ rict ive. Firﬆ track-proper – the appropriately titled Dead Guitars – eﬆablishes the 2011 template,
introducing Cliﬀord’s glitchy, ﬆatic-ridden spray of heavily processed (dying) guitar that has largely replaced the warm, hazy drone-loops of Seefeel’s paﬆ. Sadly, a sparse, funereal trudge of drums and dub-heavy bass oﬀers the track little momentum, and Sarah Peacock’s multitracked angel-choir often seems to be drowning beneath a veritable water-boarding of abrasive frequencies. Those trademark vocals suﬀer a similar fate as counterpoints to the muscular hip hop ﬆomp of Rip-Run, the pseudo ‘DJ scratch-feﬆ’ that is Making, and the suﬀocating Airless; texturally dense tracks that serve to keep Seefeel disappointingly grounded. Despite the impeccable product ion throughout, it’s only on ﬁ rﬆ single Faults and album closer Sway that the band truly uniﬁes its competing bag of sonic elements. Here’s hoping Seefeel is simply a ﬆepping-ﬆone to the sort of bigger, better things we know they’re capable of. ANTHONY WILLIAMS
Uncharacteriﬆ ically epic compared to Daly’s usual slow-building material, the Main Mix of Tonight is a house bomb harking back to the early Chicago days with jackin’ percussion and a funky bassline. Layer upon layer of lush synths creep into the mix throughout, adding to the already thick sound created by the beats and bass. A sure-ﬁ re winner as sunlight creeps in through the windows.
RAY OKPARA Booty (Mobilee) Booty is certainly an apt name for this mid-tempo tech house groover – involuntary arse-shaking is almoﬆ guaranteed if you drop this. The bassline sounds like a sample cut and paﬆed from an old 70s funk record and is nicely complimented by Rhodes ﬆabs and subtle guitar licks, while the organic percussion and crooning old black dude add the ﬁnishing touches.
JOY O Jels (Hotflush Recordings)
CONQUERING ANIMAL SOUND Kammerspiel
METALS Get Yourself A Gun EP
It’s fair to say we’ve reached a point where the merging of the organic and the elect ronic within indie-pop is such the norm that we barely give it a second thought. Perhaps that’s because of bands like Conquering Animal Sound – the Glaswegian duo of James Scott and Anneke Kampman – who make the diﬆ inct ion between the two so beautifully hazy that you can hardly tell (nor even care) what is act ually what. Their debut album Kammerspiel (loosely translated as ‘intimate play’) is a landscape of folk ballads where harps ﬆ rum, xylophones twinkle and emotive orcheﬆ ral sect ions sit comfortably alongside ﬆeady drum machines and crackling digital loops. It’s a ﬁtting environ for the centrepiece to each track; Kampman’s wide-eyed and aﬀect ingly naïve vocals which sit somewhere between Emiliana Torrini and Björk in her calmer mode. HENRY JOHNSTONE
The lateﬆ vehicle for leftﬁeld Melbourne techno legend Chris Coe (aka Digital Primate), Metals sees the veteran producer teaming up with MC/vocaliﬆ Candice Butler and expanding his dub-heavy ghetto-tech with elements of rock, elect ro and hip hop. While that may sound like something of a contrived formula, Coe couldn’t sell out if he tried and Metals’ jagged, pop-inﬂected cacophony is nevertheless quite a unique and compelling beaﬆ.Debut EP Get Yourself A Gun act ually makes more sense as a double A-side. Kicking oﬀ with a ﬆaggering one-two punch with opener Get Yourself A Gun and single Drop Your Guard, Metals set an exceptionally high ﬆandard from the outset which subsequent tracks, while impressive in their own right, simply do not manage to maintain. In fairness though, those two opening cuts are genuinely wonderful pieces of work – confronting, inventive and thoroughly inspiring. MATT O’NEILL
Joy Orbison’s lateﬆ is a dark, heavy acid house trip which breaks out into soaring piano riﬀs at juﬆ the right moment. It would have sent warehouses crazy back in the 80s, and is juﬆ as likely to send danceﬂoors crazy in the 21ﬆ century. Bonus points for using a TR-909 clap. ANDREW WOWK
3DPLAYLIST 3D 1. Anjunadeep03 VARIOUS/JAMES GRANT & JAYTECH 2. A Hiﬆory Of Now ASIAN DUB FOUNDATION 3. Ye Ye D SNAITH (AKA CARIBOU) 4. Looking For Love DEN HAAN 5. NY Masking PRINS THOMAS 6. Gutter Rainbows TALIB KWELI 7. We Unfold THE LOOPS OF FURY 8. 7 Year Itch VARIOUS/MEAT KATIE 9. Worse For Wear IN FLAGRANTI 10. Afro-Left LEFTFIELD
TUBETIME FILMREVIEW The incredible world of television with 5SPROCKET
Nothing quite marks the end of your career’s usefulness than being a gueﬆ celebrity on This Is Your Life (Channel 9). The long-running, oft-cancelled show has been re-jigged once again, now shot at Crown Casino in front of a hundredﬆ rong crowd of people who are easily entertained by lights and movement. Smoke machines are on hand to suﬀocate the audience into delirium and minimise the smugness of hoﬆ Eddie Maguire. Steve Irwin would have been the show’s lateﬆ victim. Seeing as he’s dead, the sensible option is to proﬁ le his tag-along wife Terri. She is performing with crocodiles when Maguire ﬆruts through a smoke-ﬁlled doorway to present her with an over-sized book that reads the show’s title. Onlookers applaud wildly, they think today is going to be the day that the hoﬆ of Hot Seat will be fanged by reptilian jaws and held at the bottom of a lake. Transition through ﬆarduﬆ, we are in a ﬆ udio. Irwin’s lipﬆick is pancaked to her face, and has spray tanned for the occasion. A photo of young girl Terri making lemonade at a cheap ﬆand that has the letters backwards. A photo of Terri about to be mauled by her pet cougar. Video messages from celebrity friends spew on screen, like a 16-year-old full of pretzels and tequila. Chunks of Wiggle and Olivia Newton-John ﬆ ick to the ﬂoor, Eddie Maguire watches on like a dog eager to lap up the mess. Psychic John Edward comes on ﬆage, a missed opportunity. They could have chatted to Steve’s ghoﬆ. Her spawn, Bob and Bindi, come out wearing animals. It’s their brand. With slow blinks, Bindi delivers each word juﬆ as her elocution teacher demonﬆ rated. “My Fah-ther.” The unspoken topic of Steve Irwin’s death inevitably comes up in the ﬁneﬆ archive footage montage that the basement monkeys could render. John Williamson and Ray Martin come out for emotional support. Jessica Mauboy butchers Love Me Tender in advance of a national tour to poor ticket sales. Terri looks on, aware that she is ﬆ rapped in a gauntlet of fading celebrity. She sees footage of her deceased love, her life eulogised before her eyes. “Th is Is Your Life, Terri Irwin,” closes Maguire, as he prepares himself for next week’s show.
BATTLE: LOS ANGELES
Auguﬆ 2011. We are in a military base on the coaﬆ of Los Angeles. Everyone seems to be having a great time. You can surf at a private beach, go golﬁng near memorial tombs and pick up drunken ﬂoozies in the middle of the night. Arming yourself with a semi-automatic riﬂe is not juﬆ good for your country, it’s good for your masculinity, too. Staﬀ Sgt Michael Nantz (Aaron Eckhart) is one day from retirement. “I did my 20,” he says. “I know when to get out.” He loﬆ some men on his laﬆ tour and he suﬀers with the pain every day. A framed photo of an eagle reads ‘Courage’ beneath it. A senior oﬃcer chases after him as leaves the base. “I’m bringin’ ya back to the company Mike. We need ya.” A news report declares “Meteors falling oﬀ the coaﬆ of Tokyo”, as if they hadn’t had enough already. It is Th reatcon Delta, its seriousness indicated by an ineﬀect ive slide show. Apparently the meteors are slowing down, moﬆ ly because they’re really aliens. “Aliens? That’s impossible!” says the southern trooper, there for comic relief. The heavily armoured ETs get ﬆ raight into their expected decimation, blowing up naval ships and ice cream vans. “Fighting for our women, our families and our country Goddammit” can only be captured by camera that shakes like a drug-worn lab rat on its lateﬆ ﬁ x. After methodically introducing a band of brothers that will prove to be indiﬆ inguishable in a sweep of duﬆ and poor act ing, the commander kicks oﬀ the video game that will be the reﬆ of the ﬁ lm. For the next 90 minutes you are the back seat driver on someone playing Call Of Duty, and they won’t let you have a turn. The blaﬆ of an explosion forces soldiers to leap in slow motion. Bullets tap the ground in slow motion. The screams of marines harmonise in a pleasant D major. It plods from one act ion shoot out to the next, changing only a minor thing each time. One scene adds butch marine chick Michelle Rodriguez, here to wipe alien slime from her mouth while a trooper says “Daym! You do that on a ﬁ rﬆ date?”. Another act ion set piece has military men arguing with each other, one insiﬆ ing “We leave no man behind”, while the other spews “You gotta get outta here!”, their dialogue looping to hilarious eﬀect. Transformers-esque music builds, helicopters go down, it is very popular to shout. Hector the fat Latino kid needs to be saved, along with the reﬆ of the world. Digital soldier gets squashed by a car. Eckhart manages to capture a live alien. A civilian woman approaches him. “Maybe I can help. I’m a veterinarian.” Tears of valour for the men we loﬆ out there
today. They were our friends. They are our heroes. Lacking the elegance of Independence Day or the spectacular absurdity of Michael Bay, Battle: Los Angeles is recklessly moronic and unfathomably tiresome. It lugs its narrative around like a broken suitcase at an airport, before abandoning it all together. The ﬁ lm has an unsettling case for unity through violence, working beﬆ as an overproduced recruitment tool that will see the eight-year-olds of today in the army of tomorrow. If this piece of trash doesn’t leave you with poﬆ-traumatic ﬆ ress disorder, you should probably sign up to ﬁght the aliens too. For your country! 5SPROCKET WHERE & WHEN:
Screening in cinemas now
ROCK OF LOVE – THE COMPLETE COLLECTION (Shock)
One of the greateﬆ shows of the modern era, VH1’s Rock Of Love ran for three seasons over 2007-2009. A reality dating program that is both ‘rock’ and ‘slut’ themed, it screams class in a way that makes you want to put dollar notes on the television aerial. It is The Bachelor for trashbags, a show that will give you a sexual infect ion simply by watching it. Rock Of Love spins around former Poison lead singer Bret Michaels’ pursuit for the perfect ‘rock’ woman. Michaels is older now, his face has dead nerves and he is clearly preserving himself with shots of formaldehyde. Michaels is an every man – he likes to motorbike, lay tracks in his private recording ﬆ udio and have women labour on the body parts he believes have a right to get wet. The former rock ﬆar selected 25 women to be conteﬆants on the show, each one cat-ﬁghting her way to the musician’s heart and belt buckle. “Rock‘n’roll is a sexy bitch goddess,” says the hoﬆ, “and I’m looking for one woman in my life to participate in that threesome.” Moﬆ of the girls vying Michaels’ aﬀect ion are peroxide blonde, have fake tits the size of exercise balls and ﬆ ruggle to formulate a sentence. One of the conteﬆants, Erin, was Miss Hooters of Illinois. “I love my boobs, they are the beﬆ birthday present I got from my parents laﬆ year.” They are so freakishly massive they could tear a hole in our dimension, unleashing the Cthulhu creatures from the land of the shadow tit. When they get the chance they try to sell Michaels the ﬆory that they aren’t juﬆ buxom morons, but have intellect too. Like a sampler of wax museum oﬀ-cuts, these self preservers are moﬆ ly bottom of the peanut barrel ﬆeak-house slappers. Like The Toxic Avenger. Bret Michaels is always wearing a bandana. Th is not only covers his bald spot, but makes him look very cool about 20 years ago. With so many women fawning over him, Michaels is as overwhelmed as a diabetic in a candy ﬆore. The rock ﬆar isn’t used to talking to women – he prefers to consume them like takeaway food. He has a conversation with a hot brunette, wide-eyed and completely vacant.
Unable to respond to his queﬆ ion “How are you ﬁnding this experience?”, she giggles and rolls her eyes. Michaels rants, “I was willing to excuse the fact that we couldn’t hold a conversation, because I felt that eventually we would ﬁnd a way to communicate, if I either had to beat on a fuckin’ log or send smoke signals.” Each day the women get ﬁ lthy drunk. This leads them to ﬂash their tits, pole dance and vomit in the pool. An early rejectee, Tiﬀany, begs to have the opportunity to ﬆay in the house. She proceeds to get disguﬆingly drunk, like a wet car tyre. She clings to Bret like a used condom. “She beat my penis to a pulp,” Michaels says. “And it was a dry beating.” Blonde chicks are like crows, hanging around to pick on the carcass of a rock ﬆar. To make the other birds ﬂy away, ditzy blonde #6 removes all her clothes. “Her heaving, well
implanted breaﬆs caught my eye immediately, and I knew we were going to have a spiritual connection.” Week by week, the girls get kicked out. The winner will have a short lived relationship with the Poison ﬆar, before the next season commences. Watching this show is like being sober at a party where cheap and naﬆ y women drink a bottle of tequila and pract ice French kissing before vomiting through their eyes. It’s entertaining as all hell – you know you shouldn’t be enjoying it nearly as much. When he asks the women to ﬆay, he hands out VIP passes rather than a rose. “I ﬁnd you, a beautiful young girl to have lovely hot breaﬆs. Will you ﬆay with me and rock my world?” 5SPROCKET
RANDOM SNIPPETS Herzog’s 3D Cave Of Forgotten Dreams ﬂ ick ﬆeps closer to release. And who better than New Scientiﬆ (http://goo. gl/m31zw) to preview Herzog’s descent into the Chauvet cave, capturing cave paintings that are almoﬆ 35,000 years old. As always, Herzog manages to uncover hidden eccentrics on his travels, this time round including a ﬂute playing archaeologiﬆ dressed in animal furs and a former parfumier “sniﬃng the hillside for the whiﬀ of an undiscovered cave”. 69 LOVE SONGS, ILLUSTRATED Attempting to illuﬆ rate all of The Magnetic Fields’ 69 Love Songs is this here blog – howfuckingromantic.wordpress. com. Found via comic author Scott McCloud, who recently helped contribute to Google’s Will Eisner tribute. WHAT DO THESE FILMS HAVE IN COMMON? Werckmeiﬆer Harmonies (2000, Bela Tarr’s Hungarian feature with only 39 shots), The Holy Mountain (Jodorowsky’s South American psychedelic epic), A Zed And Two Naughts (1985, Peter Greenway twiﬆed threesome timelapse?), Miami Vice (2006, Michael Mann, 2006. What’s to say?), The Saddeﬆ Music In The World (2003, Guy Maddin’s depression era musical set in Winnipeg), Contempt (1963, Jean-Luc Godard, ﬆarring Brigitte Bardot and Fritz Lang as himself), Brazil (1985, Terry Gilliam’s tragicomic rabbithole adventure in a world of technocrats), Starduﬆ Memories (1980, Woody Allen’s black and white parody of Fellini’s 8½), City Of Women (1980, Fellini’s dreamy exploration of attitudes towards women). They’re the favourite ﬁ lms of Corey Adams, who along with Alex Craig made the enticing skate feature Machotaildrop. Pitching itself as a blend of Willie Wonka, Wes Anderson, Terry Gilliam and Michel Gondry, the Macho trailer promises a particularly novel and immersive world with art direct ion that seems built for outputting 25 frames a second to that recently bookmarked quirky Tumblr blog made by your cousin who dropped out of second year visual arts. No word on a DVD release as yet, but turns out they have a range of other shorts and skate-infused odyssey’s available online. Peep more Corey and Alex at www. coreyadams.ca and vimeo.com/ user5048671. @JEAN_POOLE
STUSSY PARELLA CARDY ~ $79.95. 1800 132 780
MOOKS HEATHER BIKER JACKET
STUSSY BACKWOODS BIKER JACKET ~ $99.95. 1800 132 780
MOOKS LETTERMAN II BOMBER JACKET ~ $349.95. 1800 132 780
~ $129.95. 1800 132 780
STUSSY HYBRID BLACK LEATHER JACKET ~ $399.95. 1800 132 780
MOOKS RIP TO SHREDS BEANIE ~ $39.95 1800 132 780
STUSSY RADAR CAP ~ $44.95 1800 732 780
STUSSY DAVEY CAP ~ $39.95 1800 732 780
STUSSY SS SEAL TRUCKER CAP ~ $29.95 1800 732 780
STUSSY KNIT VAN CUFF BEANIE ~ $34.95 Stockist 1800 732 780
MOOKS CABLE BEANIE WITH POM POM ~ $39.95 Stockist: 1800 132 780
DENON DNS3700 CD PLAYER ~ $1,239. email@example.com
KORG KAOSS PAD QUAD ~ $479. firstname.lastname@example.org
PIONEER HDJ2000 ~ $389. email@example.com
AKAI APC40 ~ $629. firstname.lastname@example.org
NI TRAKTOR CONTROL S4 ~ $1,089 email@example.com
NI TRAKTOR SCRATCH VINYL BLUE ~ $29. firstname.lastname@example.org
KORG MONOTRON ~ $109. email@example.com
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MONO FLYBY BACKPACK ~ $229. email@example.com
FAKE PETS TAMAGOTCHI
Tiny plastic egg that has a temperamental dot that depends on you for survival.
Three buttons that only a four-year-old could negotiate.
Makes a cheap gift for that nephew you don’t like.
Beeps like a bastard if you forget to feed it, clean its excrement, play games with it, or buy it the latest addition to the Xbox.
Christmas 1998 to early 2000s.
Learns English over time, can communicate with other Furbies through infra-red, knows how to blink.
Likes to sit in the corner and observe everything you do and say, waiting for the perfect moment to gaffer tape you to a chair, steal your credit card and head to Mexico.
Spoilt children and lonely bachelors.
Six months in 1975.
It’s a rock.
Comes in custom cardboard box and 32-page training manual, with instructions on how to properly care for the rock.
You could throw it at someone.
Could have bought a beer instead.
Those who watch Today Tonight for investment advice.
ADVERTISING / MEDIA
Fender Blues Deluxe 40 watt tube amp for sale $1200 (negotiable) or trade for smaller amp plus cash difference! includes footswitch (channel select and reverb on/off) and amp cover. please call arturo at 0451668661 or email turo388(at) gmail.com iFlogID: 12155
2 camera peeps required for filming a music vid in & around central Brisbane. Own camera’s and editing skills preferred. More than one clip required. Students welcome iFlogID: 11377 Advertising Sales Assistant Parttime sales position for D.H.A Magazine. Min. 2 days req. (pref 3). Office in Underwood area (Brisbane). Position is commission only with monthly bonus opportunities. To apply forward your resume and covering letter to dhamagazine@ gmail.com iFlogID: 12176
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COMPUTERS Apple E-MAc for sale. Bondi NSW. 17” iFlogID: 12186
DECKS TECHNICS 1210 SLK MKII FOR SALE: Selling this Technics deck as i am downsizing my studio and no longer have use for it. In excellent working condition and needs a good home. PH: 0433775996 iFlogID: 11757
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PA EQUIPMENT For Sale including: Mixers, Power Amps, Equalizers, Road Case, Speakers, Speakers Stands, Mics, stands, Drum Kits,etc. www.bluenotestudios.com.au iFlogID: 11790 PA New. AKG Cardiod Mic, CBI 30’ XLR-XLR Mic cable,EV SXa 360 12” Active Speakers x2,Hercules b/stand,Hercules Speaker stand x2,Neutrik male XLR connector x2,Neutrik stereo jack connector x2,Soundcraft Notepad Mixer. Value $5000+ Sell $3650ono. 0449168398 iFlogID: 12056
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LEGAL / ACCOUNTING DETAX GOT ME A GREAT REFUND!
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**VOCAL RECORDING** $50 AN HOUR! PRO STUDIO IN SURRY HILLS INCLUDES ENGINEER! If you need good quality vocals for demos/albums, simply bring along backing track/s or pre-recorded track/s to sing over! Call Danielle: 0425-213-721 blaco.recording@ gmail.com 5mins walk from Central Station iFlogID: 11862
Northies Cronulla is seeking bands / musicians for it’s upcoming open mic night on Tuesdays “Break The Silence II” Please register your interest sending links etc to jac@ northies.com.au iFlogID: 11926
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MUSICIANS WANTED DJ SO YOU THINK YOU CAN DJ? Aspiring DJ’s wanted for Sundays in Chatswood using CDJ 900’s - DJ’s paid by headcount so u need to have friends who wanna see you play! 18+ age.Contact Peter or Cristo on 9419 5481 iFlogID: 11817
KEYBOARD INDUSTRIAL KEYBOARDIST WANTED
Keyboardist required for brand new Industrial Electronic project “The Damned Humans” music is a cross between KMFDM, Nine Inch Nails and Alice Cooper. Must have good equipment, and be willing to travel. Songs are written in demo phase, but there is plenty of room for input. Songs are available to listen here: http://www.facebook.com/pages/The-DamnedHumans/130450753639308 And on youtube: http://www.youtube. com/watch?v=a4MW2ndAlnA If interested contact Elliott on 0419262763 or at disturb4@tpg. com.au iFlogID: 11786 keyboard /synth wanted to compliment our current line up playing covers and some originals so if you like u2, depeche mode, pink floyd,police and many others call us on 0417044497 iFlogID: 11815
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Published on Mar 20, 2011
Published on Mar 20, 2011
Drum Media is a Sydney icon. The people behind Drum virtually invented what has come to be known as street press. For over 15 years, Drum ha...