3D World - Sydney Issue #1038 by TheMusic.com.au

SYDNEY Issue 1038 TUESDAY 23 NOVEMBER 2010

THELONESOME WOLF RETURNS

FREE

• Why HELEN REDDY roars • The truth about LYNX & KEMO • RYAN KWANTEN: Good Po-Lice • CABBIE Conspiracy Theories

NSW

VIC

NSW

CREDITS PUBLISHER Street Press Auﬆ ralia Pty Ltd GROUP MANAGING EDITOR Andrew Maﬆ EDITOR Kris Swales EDITORIAL ASSISTANT Amber McCormick ARTS EDITOR Daniel CrichtonRouse LURE EDITOR Rupert Noffs SENIOR CONTRIBUTORS Cyclone, Daniel Sanders CONTRIBUTORS 5sprocket, Alice Tynan, Andrew Wowk, Angus Paterson, Anita Connors, Baz McAliﬆer, Ben Kumar, Blaze, Brad Swob, Bryget Chrisfield, Carlin Beattie, Chloe Scardina, Clare Dickins, Darren Collins, Darryn King, Dave Dri, Dave Jory, DJ Stiff y, Gloria Lewis, Graham Cordery, Guy Davis, Holly Hutchinson, Huwﬆon, Jane Stabler, JC Eﬆeller, Jean Poole, Jeremy Wood, Josh Wheatley, Komi Sellathurai, Lawrence Daylie, Lee ‘Grumpy’ Bemrose, L-Fresh, Liz Galinovic, Luke McKinnon, Matt O’Neill, Matthew Hogan, Matt Unicomb, Melissa Weﬆ, Monica Connors, Nina Bertok, Nic Toupee, NHJ, Obliveus, Paz, Richie Meldrum, Rip Nicholson, Ritual, Robbie Lowe, Roo, Russ Macumber, Ryan Lungu, Sasha Perera, Scott Henderson, Steve Duck, Stuart Evans, Tash Fraser, Tim Finney, Triﬆan Burke

Brad Marsellos, Carine Thevenau, Corey Brand, Cybele Malinowski, Daniel Munns, Dave Dri, Kane Hibberd, Koﬆas Korsovitis, Luke Eaton, Terry Soo Monique Eaﬆon, Philip Poyner ADVERTISING DEPT sales@3dworld.com.au NSW – Brett Dayman, Jason Spiller, James Seeney VIC – Katie Owen, Sarah Blaby QLD – Adam Reilly, Melissa Tickle ART DEPT artwork@3dworld. com.au Dave Harvey, Samantha Smith, Stuart Teague, Josh Penno COVER DESIGN Stuart Teague

CLUB PICS sushi@3dworld.com.au CLASSIFIEDS www.iﬂog.com.au ACCOUNTS DEPT accounts@3dworld. com.au (03) 9421 4499 PRINTING Rural Press (02) 4570 4444 DISTRIBUTION diﬆro@3dworld.com.au

SUBSCRIPTIONS www.isubscribe.com.au Subscriptions are $2.20 per week (Minimum of 12 weeks). ADDRESS PO Box 2440 Strawberry Hills NSW 2012 1/142 Chalmers St Surry Hills 2010 Phone (02) 9331 7077 Fax (02) 9331 2633 Email info@3dworld. com.au

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SUSHI SNAPS 1 Chinese Laundry Saturdays

6 Saturdays @ The Orient

7 Sienna @ EďŹ&#x2020;ablishment

2 Garden Party feat Krafty Kuts @ Chinese Laundry 3 Pure Ivy

8 Summerbeatz @ Acer Arena

4 RnB Superclub @ Tank

9 Sundays @ Northies

5 Saturdays @ Carmens

10 Trip To The Moon

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NSW

BRIEFS

EPIC&FAIL

KLAXONS

EPIC THAT KLAXONS VID

Like The Escape Club’s Wild Wild Weﬆ making sweet, sweet love to The Human Centipede, the orgiaﬆ ic clip for Klaxon’s Twin Flames has to be seen to be believed – provided you can see it anywhere, with the explicit version pulled from YouTube juﬆ minutes after it surfaced…

KILLAH INSTINCT

Move over 50 Cent, Ghoﬆ face Killah is on Twitter with a series of cleaning tips for “niggas”, with advice like “wash your fuckin face ﬁ rﬆ man. THEN wash your nuts”, and “Clean your ass with the beﬆ soap. That’s Dove!” among the beﬆ.

BANK ON ROBBIE

We’re not usually ones to toot the horn of our own, but it has to be said that Robbie Lowe’s ﬁve-plus hour maﬆerclass on how to mix modern deep to prog house with timeless megabombs at Civic on Friday night was as good as what you’d hear from the Digweeds of the world…

FAIL A BLACK DAY

It appeared commonsense had prevailed when the Black Eyed Peas’ tilt at writing the worﬆ song ever in The Time (Dirty Bit) only debuted at #10 on the ARIA Singles Chart, but alas – it’s now at #1, providing evidence that some Auﬆ ralians don’t act ually possess ears…

MEGA MAD

Families with small children got a shock in Massachusetts, USA laﬆ week when a cinema ﬆarted screening Saw 3D inﬆead of the more family friendly Megamind. At leaﬆ the furnace scene in Toy Story 3 will never scare them again…

VESTED INTERESTS?

Guess who’s leading calls for boob jobs to be claimed under Medicare due to the self-eﬆeem issues facing ﬂat-cheﬆed ladies? The Auﬆ ralian Society Of Plaﬆ ic Surgeons of course. Muﬆ n’t be as much margin in penis extensions because no one’s piping up on behalf of blokes who are juﬆ short of a good length… 12 3DWORLD

DIPPED OUT ON tickets to Laneway Feﬆ ival? Perhaps a trip to Singapore is in order for the event’s debut there Saturday 29 January, especially with !!!, Foals and Yeasayer on board… PRINCE OF THE mash-up Girl Talk has delighted fans worldwide with the release of his new album All Day, poﬆed online for download free of charge. His generosity has not gone unnoticed with blogger and Twitter folk giving him a huge thumbs up for the move. Head to www.illegal-art.net/ allday to check out the tunes… ALTHOUGH HE HAS been sued on numerous occasions for ripping off beats, Black Eyed Peas front man will.i.am has no problem shaking his finger at others for doing similar things. He recently commented that he was appalled by the release Michael Jackson’s track Breaking News. “To me it’s disrespectful. There’s no honouring.” How he juﬆifies The Time (Dirty Bit) is beyond us… IN CASE YOU hadn’t heard, The Beatles are now on iTunes. Wow… ONE OF THE biggeﬆ ﬆories to break this year was reported by news.com laﬆ week – a Koala bear walked into a pub on Magnetic Island and feel asleep. “He looked a little bit out of his element; I think he wasn’t expecting to find himself in the pub,” the owner noted. “But he seemed pretty happy nonetheless.” Slow news day... DON’T FORGET TO vote in the Rage Fifty is you want to sort of gueﬆ program Rage – head to www. abc.net.au/rage ﬆat...

ART VS SCIENCE

WEIRD SCIENCE

Opening the batting for The Chemical Brothers has got to shape up as one of the moﬆ demanding – and no doubt rewarding – tasks in dance music, so there’s probably some excitement and anxious moments in the camps of the acts charged with doing juﬆ that when the live dance music behemoths branch out from Future Music Feﬆ ival next year. Sydney live act Art vs Science bring their indie-elect ro antics to the party, with BBC Radio 1 hoﬆ Zane Lowe and Brit DJ James Holroyd (who warmed up for the Chems on their 1999 jaunt around the USA in support of Surrender) also on the massive bills. Those dates again? Brisbane Riverﬆage Friday 4 March, Hisense Arena (Melbourne) Wednesday 9 and Sydney Entertainment Centre Thursday 10. Tickets via Ticketmaﬆer for Brisbane and Sydney, Ticketek in Melbourne.

EXERCISE HIKE

German DJ/producer Thomas Schumacher is no ﬆ ranger to pre-eminent minimal/tech/ elect ro label Get Physical, having co-produced label co-owner DJ T’s (for the moﬆ part) slept on 2009 long-player THOMAS SCHUMACHER The Inner Jukebox, so it’s hardly surprising to see his name attached to the label’s eighth annual Get Physical compilation – a release which highlights both the label’s legacy and its future direct ions. With over 20 years experience behind the decks under his belt, a night in Schumacher’s hands is a win for the danceﬂoor enthusiaﬆ, and he’ll bring his relentless yet funky tech house ﬆ yle back for a welcome run through the clubs of Auﬆ ralia in December. Catch him at Civic Underground (Sydney) Friday 10 December, Family (Brisbane) Friday 17, Onesixone (Melbourne) Friday 31 December and The Arthouse (Sydney) for a Space Ibiza Featival after-party Saturday 1 January.

NOT SO WORLD WEARY

It’s been a busy year for Underworld alumnus, Global Underground mainﬆay and all round dance music entrepreneur Darren Emerson. Not only has Emerson launched his new label Detone (and a worldwide event brand of the same name which is working its way through the world’s clubbing hotspots), DARREN EMERSON but he’s also got his game face back on in the ﬆ udio – he’s already collaborated with Jim Rivers, Glimpse and James Zabiela for projects set to see the light of day in 2011, while his remix of Silicone Soul’s Right On Right On will be released on Soma Records next year for their special 20th Anniversary release. You’ll no doubt get a taﬆe of the new tunes in his arsenal and everything else rocking his musical world when he plays Space Ibiza Feﬆ ival (Sydney) and Summadayze (Melbourne) Saturday 1 January, Elect ric Playground (Brisbane) Saturday 8 and The Royal Melbourne Hotel (Melbourne) Sunday 9.

NSW

BRIEFS

STARS

GENERAL OUTLOOK I don’t think we’ve ever been formally introduced, but now that I see you, let me juﬆ say that you have “Bette Davis eyes”. AQUARIUS (20 JAN TO 18 FEB) As house prices crash and car alarms ﬆart going off all over the city, perhaps you should consider a haircut? PISCES (19 FEB TO 20 MAR) My advice to you is to get yourself an agent, take some new head shots and move to Hollywood to become a sex worker. ARIES (21 MAR TO 20 APR) You need to get yourself motivated and ﬆ rike while the iron’s hot. That is the only way to get all your ironing done. TAURUS (21 APR TO 20 MAY) I’m one of the top horoscope writers in the country, so tell me then – why am I ﬆ ill living in a rental car? GEMINI (21 MAY TO 20 JUN) Your inability to read a situation will cause big problems for you this week during a violent home invasion at your place. CANCER (21 JUN TO 21 JUL) You will make a poor fi rﬆ impression on your new partner’s parents this week when you accidentally set them on fi re. LEO (22 JUL TO 21 AUG) If public speaking really makes you anxious, you should keep your mouth shut any time you are out in public. VIRGO (22 AUG TO 21 SEP) Alone and on the run from police, you will have a surprisingly fun weekend until a violent shootout leaves you dead. LIBRA (22 SEP TO 22 OCT) Your acne will ﬆart to flare up this week. So will your cold sores. And some sort of lesion will appear on your cheek. SCORPIO (23 OCT TO 21 NOV) You need to learn to be smarter with money. Teach yourself to save. And ﬆop waﬆ ing money on hair extensions. SAGITTARIUS (22 NOV TO 20 DEC) Your popularity will enjoy a spike this week, until you fall out of a hot air balloon and land, anus fi rﬆ, on a large spike. CAPRICORN (21 DEC TO 19 JAN) Your screenplay is really coming along. Too bad you lifted the entire idea from Legally Blonde 2.

THE TEAM FROM Splendour In The Grass have taken out a highly coveted “Commended Award” for their 2010 event from the international Greener Feﬆ ival Awards... AS IF HAVING the queen of the world Oprah over for a visit wasn’t exciting enough, now it has been revealed that our favourite country crooner Keith Urban aka Nicole Kidman’s hubby will be performing at one of the TV hoﬆ ’s shows when she heads down under next month. It’s going to be amazing… IF YOU MISSED the controversial new clip for Klaxons’ Twin Flames in all its uncensored glory (like moﬆ of the world), there may ﬆill be a censored but no less saucy version on your video hoﬆing site of choice by the time we hit the ﬆreets. Definitely NSFW… IN THE COMPETITIVE music induﬆry, diversification is the key, so it makes sense that Public Enemy rapper Flavor Flav has announced plans to launch his own line of vodka and fried chicken. Le Flav Spirits will come in cherry, berry, olive, grape and bubblegum flavours. Why fight the power when you can join it… THE NEW LOOK MySpace appeared laﬆ week, and now the social networking pioneer has announced a mashup app which allows you to integrate with Facebook. If you can’t beat them… GOOD NEWS JUST in – another new music talent search show, Muﬆ Be The Music, will begin unearthing new talent from England and Ireland on Fox8 from Monday 29 November…

SPLITTING HAIRS

Brisbane clubbers have known for a while now that genre and gender bending DJ JD Samson would be hitting town to ply her trade at Piﬆol Whipped at the Step Inn Friday 17 December (co-presented by 3D World), and she’s juﬆ conﬁrmed a handful more dates which will see her setting up camp in Oz until 2010 rolls into 2011. Formerly of Le Tigre, now a member of dance-punk troupe Men and making her way through the clubs of the world with the JD SAMSON simple mission ﬆatement of “creating space for rad people to dance and smile and hold each other”, Samson heads to Melbourne once she’s had her way with Brisbane for the Grouse Queer Party at the Bendigo Hotel Saturday 18 December, joins Peaches at Corner Hotel (Melbourne) Thursday 30 and ﬁnishes her Auﬆralian jaunt at the Big Gay Party at The Exchange Hotel (Sydney) Saturday 1 January. JONATHAN BOULET

ANIMAL MAGNET

One of the moﬆ unlikely of signings to the hipﬆer Modular label, Sydneysider Jonathan Boulet has nonetheless quietly carved himself a niche way beyond his home town with a little help from his label backers. Since readying and releasing his debut long-player in 2009, Boulet has kept himself busy through his conﬆant touring with Parades, product ion for Little Scout and Megaﬆ ick Fanfare and remixes of The Holidays and many more besides. His recent ﬆ udio exploits have produced You’re A Animal (sic – that’s his lack of An!), its dizzying call to arms a warning shot across the bow of all who are hanging out for his 2011 album release. He’ll be previewing new tracks across the country in December, at CBD Hotel (Newcaﬆ le) Friday 3, then Beach Road Hotel (Sydney) Saturday 4, Alhambra (Brisbane) Thursday 9 and ﬁnally Eaﬆ Brunswick Club (Melbourne) Friday 17. OS MUTANTES

TROPICAL FRUIT WORLD

With tropical currently rearing its head as one of the defining dancefloor sounds of recent times, a hiﬆory lesson is perhaps in order. To underﬆand the present it’s sometimes beﬆ to appreciate the paﬆ, and Sao Paolo, Brazil outfit Os Mutantes are credited with drawing together political criticism, prankﬆer humour and an eclect ic range of musical ﬆ yles to give birth to the Tropicália sound in the early 1960s. Such respected names as Beck, Kurt Cobain and David Byrne have propped the psychedelic indie legends for inspiring their work, so even if you’re unfamiliar with them but truﬆ those names you might want to be at The Tivoli (Brisbane) Tuesday 8 March, Enmore Theatre (Sydney) Wednesday 9 or the Forum Theatre (Melbourne) Thursday 10. Tickets on sale through Ticketek now.

ANGLE GRINDERS

Beloved of hipﬆers and open-eared music fanatics alike for their uncompromising, minimaliﬆ approach to guitar driven indie, My Disco have changed the game again with the release of third long-player Little Joy. With it now let loose into an unsuspect ing world, the trio will let loose in the live arena with another ferocious series of shows, hitting ANU Bar (Canberra) MY DISCO Wednesday 24 November, The Cambridge (Newcaﬆ le) Thursday 25, Manning Bar (Sydney) Friday 26, The Zoo (Brisbane) Saturday 27 and wrapping up eaﬆ coaﬆ commitments at The Hi-Fi (Melbourne) Friday 3 December.

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BRIEFS

CALENDAR NOVEMBER BONE THUGS-N-HARMONY – Tuesday 23, CBD METRONOMY, WORLD’S END PRESS – Tuesday 23, Oxford Art Factory BONE THUGS-N-HARMONY – Thursday 25, The Gaelic FAT FREDDY’S DROP, ELECTRIC EMPIRE – Thursday 25, Enmore Theatre PHAROAHE MONCH, JEAN GRAE, PERCEE P – Friday 26, Metro Theatre RECKLESS REPUBLIC PLUS+1: JAY SHEPHEARD – Friday 26, Civic Underground GABE – Friday 26, Plantation DJ KRUSH – Friday 26, The Basement MY DISCO – Friday 26, Manning Bar INDEX: UNTOLD – Friday 26, Goodgod Small Club STEREOSONIC: TIËSTO, CALVIN HARRIS, CARL COX, MAJOR LAZER AND MORE – Saturday 27, Sydney Showgrounds DNBBQ: MAKOTO, LYNX & KEMO, DUB TERMINATOR, RED BANTOO – Saturday 27, Manning Bar JUAN ATKINS, VINCE WATSON – Saturday 27, Marrickville Bowling Club DJ T, CONGOROCK – Saturday 27, Chinese Laundry SKERRIT BWOY – Saturday 27, Goodgod Smallclub FEMI KUTI & THE POSITIVE FORCE – Saturday 27, Metro Theatre MIND OVER MATTER – Saturday 27, The Wall DJ SOUP – Saturday 27, Tone EMOTION BOAT PARTY – Saturday 27, Star City Casino Wharf SPICE: ALTAY ALTIN – Sunday 28, Home Terrace NEWTON’S NATION: BLISS N ESO, BIRDS OF TOKYO, YOU AM I, OPERATOR PLEASE, CHILDREN COLLIDE – Sunday 28, Bathurst’s Mount Panorama ELIZA DOOLITTLE – Tuesday 30, Oxford Art Factory DECEMBER SUBSONIC MUSIC FESTIVAL: MICHAEL MAYER, EXTRAWELT, BORIS BREJCHA, TOBIAS THOMAS AND MORE – Friday 3 – Sunday 5, Mountain Valley Resort (Barrington Tops) SOLA ROSA, IVA LAMKUM – Friday 3, The Gaelic JONATHAN BOULET – Friday 3, Beach Road Hotel DEEP HOUSE PROJECT PLUS+1: POCKET – Friday 3, Civic Underground THE ONLY, HABERSHAM, JON COWAN, LUKE CHABLE, ROLLIN CONNECTION – Saturday 4, Chinese Laundry UNTOLD

CHRISTIAAN VAN VUUREN became a YouTube sensation as The Fully Sick Rapper while he was holed up in a Sydney hospital earlier this year. Now Mother energy drink have challenged the rapper to come up with the world’s longeﬆ ever rap. To add your suggeﬆions head to facebook. com/motherenergy… WORLD BEATING AUSSIE jungliﬆs Pendulum have unveiled the remixers of The Island, with Steve Angello, AN21 and Max Vangeli teaming up to rebirth the monﬆer which will drop on Beatport Wednesday 24 November… POOR JESSICA MALBOUY juﬆ can’t seem to get that damn foot out of her mouth. Following the de-butt debacle, the singer has taken dig a Katy Perry. “I juﬆ went and saw Katy Perry and maybe she’d been touring a lot and had loﬆ her voice a little bit but I saw her having a diﬃcult time singing her own songs. I get quite disappointed when I see an artiﬆ fall a little short.” The irony levels are oﬀ the charts... HIP HOP PRODUCER Chasm is branching out with a new project Dr Don Don which fuses together a mix of elect ro, house and hip hop sounds. Debut single No Other features the vocals of multitalented Sydneysider Joyride. Be on the lookout for Dr Don Don’s EP coming soon and keep an eye on his Facebook for updates… THE SECOND VOLUME in Purple Sneakers DJs’ We Mix You Dance drops 7 January, peep their Soundcloud for a mini mix preview…

CRYSTAL CASTLES

COLD AS ICE

Returning to Auﬆ ralia for Big Day Out, Cryﬆal Caﬆ les will perform a sideshow on Tuesday 25 January at the Enmore Theatre – and it’s allages. Tickets, on sale from Thursday, are from the venue. The inscrutable Canadian duo, idolised for their avant-garde rave-pop, presented their second album, Cryﬆal Caﬆles (aka II), this year – crashing into the Top 30. A BDO edition, released through Shock in January, will include their new version of Not In Love with The Cure’s Robert Smith.

GO GURL!

That California Gurl Katy Perry has announced a second (and ﬁnal) Sydney show on 2011’s California Dreams Tour. It’s at the Sydney Entertainment Centre on Saturday 14 May. Russell Brand’s missus is also hitting Newcaﬆ le Entertainment Centre on Friday 13 May. The ﬆar is touring behind her lateﬆ (and platinum) album Teenage Dream. Tickets go on sale through Ticketmaﬆer (Sydney) and Ticketek (Newcaﬆ le) next Tuesday.

HIGH TOPS

There are some late additions to the 2010 Subsonic Music Feﬆ ival. On the international tip, Portugal’s The Baﬆards and the Brazilian Andre Wakko join names like Michael Mayer, Weekend Heroes and Sola Rosa. Among the local adds are Phil Smart, Simon Caldwell and Jimi Polar. Subsonic happens from Friday 3 to Sunday 5 December at Riverwood Downs,

Mountain Valley Resort, in NSW. For tickets and further details, including how to arrange a comfy teepee, go to www. subsonicmusic.com. au.

Vibes, the label that originally signed him back in 1994. Catch Soup and band this Saturday at Tone’s Jook night. Entry is $12.

MAD MASKS

The SOSUEME collect ive are celebrating Chriﬆmas early with a party at the Oxford Art Factory on Friday 10 December. Catch the likes of Brisbane audio-visual DJ Sampology, local indie band The Jezabels and, excitingly, The Holidays (in a DJ set). For ticketing, go to www. oxfordartfactory.com.

Looking for a glamourous soiree on Friday 31 December? The Sienna Masquerade Party NYE 10 at Eﬆablishment is brought to you by the promoters of Sydney’s classieﬆ Saturday night. Get down to sweaty R&B, sexy house and ol’ skool classics from DJ Def Rok, Troy T, Lilo, G-Wizard and Eko – with MC Jayson. Tickets from Ticketek, rnb superclub, Sienna and the Eﬆablishment Bar. For info, go to www. platinum1. com.au.

COOK UP

Sydney’s DJ Soup is back with a hot new single, So Much Power. It’s from his upcoming EP, Ubersoup, which ﬁnds him adding elect ro ﬂavour to his trademark funky breaks. Ubersoup will drop in 2011 – through Creative

SAMPLE THIS

BRAZIL NUTS

Brazil’s DJ Marky sublimates his Latin musical heritage into drum‘n’bass that is both soulful and rocking. He’s again touring with Stamina MC. Catch them at Manning Bar on Friday 21 January, with Melbourne’s JPS among the supports. Marky lately remixed progressive techno maverick Deadmau5 with SPY. Tickets, on sale tomorrow, are available from the venue and Moshtix.

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BRIEFS

CALENDAR ART OF FIGHTERS

AUSTRALIAN B-BOY CHAMPIONSHIPS: JUSTICE CREW, JUMPS, MATHMATICS, FLOSKEL – Saturday 4, The Italian Forum Cultural Centre TIMMY TRUMPET, STAFFORD BROTHERS – Saturday 4, Soho BASS CONTROL: TECHNOBOY, BRENNAN HEART, TONESHIFTERZ, BIOWEAPON, ART OF FIGHTERS AND MORE – Saturday 4, Sydney International Tennis Centre BAG RAIDERS, FLIGHT FACILITIES – Saturday 4, The Forum SHADOW WARS: JUSTICE CREW – Sunday 5, The Street University BROADCAST, SEEKAE – Wednesday 8, The Forum KOOLISM – Thursday 9, Melt Bar MUSE – Thursday 9, Acer Arena MUSE – Friday 10, Acer Arena DJ SAMPOLOGY, THE JEZABELS, THE HOLIDAYS – Friday Dec 10, Oxford Art Factory PLUS+1: THOMAS SCHUMACHER – Friday Dec 10, Civic Underground EL GUINCHO – Friday 10, The Gaelic D25 PRE PARTY: CO-OP DJS, CLAIRE MORGAN, JOE STANLEY – Saturday 11, The Fox and Lion Terrace D25: CARL CRAIG, KENNY LARKIN, THEO PARRISH, MOODYMANN – Saturday 11, The Forum HERMITUDE – Saturday 11, Tone TIEFSCHWARZ – Saturday 11, Chinese Laundry THE FIELD – Saturday 11, The Gaelic SPICE: TURMSPRINGER, RIKKI NEWTON – Sunday 12, Home Terrace FESTIVAL OF THE SUN: XAVIER RUDD, REGURGITATOR, SHARON JONES – Saturday 11 – Sunday 12, Port Macquarie’s Sundowner Breakwall Tourist Park CLIPSE – Sunday 12, Metro Theatre U2, JAY-Z – Monday 13, ANZ Stadium U2, JAY-Z – Tuesday 14, ANZ Stadium LITTLE DRAGON – Wednesday 15, Goodgod Small Club RAP CITY SUMMER THROWDOWN: BLACKALICIOUS, MURS & 9TH WONDER, R.A THE RUGGED MAN – Thursday 16, The Forum GORILLAZ – Thursday 16, Sydney Entertainment Centre DUBRAVE 1ST BIRTHDAY: NICK THAYER – Friday 17, Chinese Laundry PANTHA DU PRINCE – Saturday 18, Civic JEROME ISMA-AE, YOLANDA BE COOL – Saturday 18, Chinese Laundry SPICE: MURAT KILIC – Sunday Dec 19, Home Terrace SUNBURNT CHRISTMAS: FREESTYLERS, YOLANDA BE COOL VS DCUP AND MORE – Sunday 26, Bondi Beach

MELBOURNE DREAM POP act Cut Copy recently gave fans a little clue to what will feature in their next video via Twitter. “Juﬆ arrived in Sydney for video shoot for our next single with kris moyes. Concept features @cutcopy and breaﬆs. Not a bad kris.” Klaxons, eat your heart out… IT’S BEEN OUT overseas for a while, but John Digweed’s Bedrock 12 compilation now has a local release through Bedrock/Balance Music/EMI… AFTER HOLDING OUT againﬆ progress for so long, the Technics turntable will finally go the way of the Walkman and eight-track tape with parent company Panasonic confirming the iconic piece of DJ equipment will cease production after 35 years on the market. Technics headphones will continue to roll off the production line… A SHITSTORM HAS erupted in Miami with the Winter Music Conference dates moved forward to 8-12 March from the traditional final week of March date. The showﬆopping Ultra Music Feﬆ ival date remains in its traditional slot. Get your popcorn out for this one, it’s going to get intereﬆ ing… NOT CONTENT WITH gueﬆ ing on the tracks of pretty much any pop ﬆarlet who’ll have him, Snoop Dogg is gearing up for the release of the Doggumentary Music in early 2011. The recording process will be accessible to fans with video ﬆ reaming via Snoop’s various social media platforms. Lead single will be New Year’s Eve. Thankfully it’s not a Chriﬆmas album…

STAFFORD BROTHERS

REAL LOVE

Star DJ/inﬆ rumentaliﬆ Timmy Trumpet, due to issue another Pacha mix in early 2011, will play alongside Queensland’s Stafford Brothers at Soho’s F#%k Fluro opening on Saturday 4 December. Brisbane’s Benibee is also billed. The clothing line Wifebeaterz will be launched on the night, too. Oh, and Fox8 will be fi lming the Staffords’ reality TV show. F#%k Fluro is an elect ro house night without the bulls#%t.

DEATH DISC

The boutique Death Strobe Records is teaming with the Adult Disco crew for the Adult Death Strobe party (what else?) at the Civic on Saturday. They’ll be launching their ﬁ rﬆ vinyl release by Jakarta’s Midnight Savari. Entry is $5 before 11pm – plus the ﬁ rﬆ 50 punters will nab a CD and other freebies.

CUT MAN

Major Lazer hypeman (and the world’s maddeﬆ daggerer) Skerrit Bwoy heads the Goodgod Small Club’s dancehall bashment party Everrrrybody Out this Saturday – in tandem with Mad Decent. The New Yorker’s January gig was so crazy that visiting comedian Aziz Ansari even raised it on Jimmy Kimmel Live!. Check out Skerrit Bwoy demonﬆ rating the wild dancehall ﬆ yle of daggering on YouTube. Entry is $15 on the door.

BAD BOYS

Florida’s 2 Live Crew were one of the moﬆ controversial hip hop acts of the 80s with their very naughty As

Naﬆy As They Wanna Be – home to Me So Horny. It was the ﬁ rﬆ record in America to be declared legally obscene. Retailers were act ually arreﬆed for selling the Crew’s music – now they’re ﬆ udied in universities. The Miami booty bass outﬁt descend on The Forum on Thursday 6 January. Tickets, on sale from tomorrow, are from Moshtix.

JACK’D OFF

Mark Murphy is saying ‘auf wiedersehen’ to Spank! Records. He’ll play The Polo Lounge with Magda on Friday from 9pm. Expect to hear a spect rum of quality house, from disco to deep, Chicago to Berlin. Entry is free.

DEEP SEA

All aboard the Bella Viﬆa! Escape the poﬆ-Chriﬆmas blues with the next High Flyers boat party on Boxing Day – Sunday 26 December. It’s a fancy dress with the theme ‘Circus Meets Moulin Rouge’. Playing the tunes on deck will be Simon Caldwell, DJ Create, Klevakutz and JC, with the DigDeep DJs below. Tickets are on sale through Moshtix or from

promoters. For more info, go to www. funkdaﬁed.com.au.

FAME GAME

The harbourside Cargo Bar/Lounge is celebrating its 10th birthday with a massive ‘celebrity’ party Thursday. No less than 10 celebrity DJs are billed at Decade, each playing music from a particular year. These include Alex Dimitriades, Grant Smillie, Jane Gazzo, actor Lincoln Lewis (Home And Away) and Havana Brown. It’s all hoﬆed by media personality Charlotte Dawson. For more, go to www.cargobar. com.au.

FULL CLIPSE

Clipse broke out on The Neptunes’ Star Trak with 2002’s Lord Willin’ – home to the track Grindin’. They’re bound for Meredith with a Sydney sideshow at the Metro Theatre on Sunday 12 December. Hoops ﬆalwart and Triple J jock Nina Las Vegas has been added to the supports. Pusha T is cutting a solo album for Kanye Weﬆ’s GOOD Music and features on his Runaway. Tickets are on sale from the venue and Ticketek.

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MICHAEL MAY CO-RULING T TECHNO DEIT SECRETS WIT

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YER IS ONE OF ELECTRONIC DANCE MUSIC’S TRUE ENTREPRENEURS, HE COLOGNE-BASED KOMPAKT EMPIRE ALONGSIDE A ROLL CALL OF TIES. BUT HE’S NO PURIST, AND IS HAPPY TO SHARE SOME OF HIS DIRTY TH DANIEL SANDERS.

ALWAYS WITH YOU MICHAEL MAYER IS, WHEN IT SUITS, THE PHYSICAL EMBODIMENT OF TECHNO ZEITGEIST; there are few veterans of the dance music induﬆ ry who’ve ﬆarted their careers so typically yet developed them so extraordinarily. Originally from Achern – in Germany’s Black Foreﬆ region – Mayer ﬆarted locally and branched out, his burgeoning, sometimes rocky DJ career landing him in Cologne where Friends Xperiment Sound Syﬆem partner in crime Tobias Thomas had recently relocated. The move can largely be attributed to the proximity of what was eventually to become Kompakt: Jürgen Paape, Jörg Burger, Wolfgang and Reinhard Voigt’s Delirium record ﬆore. It was sometime after the beginning and end of several successful party series that Mayer came to eﬆ ablish Kompakt in collaboration with the Delirium team, thus birthing one of Germany’s moﬆ successful underground elect ronic music companies. It more than lives up to the ﬆandards of Andy Warhol’s inspirational Factory, incorporating a label, record ﬆore, diﬆ ributor, recording ﬆ udios and booking agency. Mayer remains perhaps the moﬆ public and pivotal character behind the ﬆory, and it’s his penchant for “telling it like it is” that not only keeps it intereﬆ ing but ﬆarted the ball rolling in the ﬁ rﬆ place. If it weren’t for him telling Paape, Burger and the Voigts how dismal the Delirium record select ion was, chances are there wouldn’t even be a Kompakt to discuss. Eﬆablished in 1998, the Kompakt label brought a much needed breath of fresh, pop-scented techno air to an otherwise lackluﬆ re, ﬆagnating elect ronic music scene. While it took some time to gather

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momentum, the label and its offshoots rolled inexorably toward wide public attention largely due to the difficult-to-pin-down A&R ﬆ yle of Mayer. It’s true that his profi le as a DJ and producer – and that of his management mates – helped a great deal, but the diverse Kompakt release schedule provided subﬆance not found elsewhere. In the role, Mayer is to be found at his moﬆ liberated. “For A&R-ing I feel even more free than I do as a DJ. I feel I can do whatever I want,” he gushes. “I don’t need to get a dancefloor going and I don’t need to please anybody. The beautiful thing about A&Ring is that you get the chance to liﬆen to a lot of music and the label is like a ﬆ ruct ure – you use things you like and create something bigger out of it. I’m quickly bored with music, so for me it’s important to have a very large variety of music; I want to be surprised by a label [and] don’t want to buy the same record 50 times. I always like labels that work like this, like Nugroove or Warp – labels [from which] you never really knew what’s next but can be truﬆed, that you can truﬆ [have] something intereﬆ ing coming up.” While Kompakt was ﬆarted largely in response to the unavailability of records considered suitable for his sets, Mayer has since deftly guided the Cologne techno empire towards a pop-fuelled definition. Not that pop is the prerequisite feature of every release.

PINNING DOWN KOMPAKT

“Music should be special,” Mayer ﬆates. “Every record should have a clear reason why it exiﬆs, it should be a very ﬆ rong personal note or something that no one else would do. It’s very hard to describe and a more metaphysical thing; there should be some magic to it that emanates from the person behind the music that’s not a technical achievement. That’s what we’re looking for. “I like populiﬆ things, I like the big geﬆ ures. I don’t necessarily use them all of the time but it’s something I’m aware of and very frank with. I even like Scooter,” he laughs. “I’m very open and a very easy vict im for big geﬆ ures and cheesiness. So that’s certainly taken into consideration on the label, too, but of course it has to be populiﬆ techno seen through the Kompakt glasses. I wouldn’t release Scooter but I could imagine releasing something like Scooter.” The Kompakt album output of 2009, at leaﬆ, lives up to this description. More recent efforts from Superpitcher, Walls and Jatoma also cover a few Mayer prerequisites but, in keeping with the general theme of 2010, seem juﬆ that little bit more adventurous ﬆ ill. Likewise, Mayer’s not too recently released compilation Immer 3 saw the label boss himself fusing an assortment of ﬆ ripped back or otherwise elaborate and grandiose music together for a “headed home from the dancefloor” liﬆening experience. An unsurprisingly vocal advocate of the vinyl medium and traditional DJ methodology, Mayer now considers himself “buysexual”, and Immer 3 reflects this combination of purchasing both physical media and digital by fusing approaches to composition. “It’s been prepared with turntables but then the final mix was digital,” he explains. “It was the fi rﬆ time I’ve used a computer in recording a mix CD and it was not an easy decision because I was always very proud of the fact that it’s all handmade. I took the decision in favour of digital mixing because the music I was using on this CD is all very melodic and there’s not a single dry track on the liﬆ. I was very attracted to [the idea] of being able to tune the songs into each other; I can’t ﬆand when there’s harmonic clashes on mixes. [But] if it’s live, okay, sometimes it happens. With tracks from Cortney Tidwell, Ben Watt, Smith N Hack and Juﬆ us Köhncke (as Kinky Juﬆ ice), Immer 3 is easily the moﬆ emotive and reflect ive of Mayer’s compilation mixes to date, and holds a mirror to his current frame of mind. Currently working on a remix for Who Made Who and with a remix of Shit Robot on the way, Mayer is back in the ﬆ udio after a long hiatus. Were it not for his time spent in collaboration with Aksel Schaufler (Superpitcher) as Supermayer, he’d undoubtedly be in a very different creative headspace. Plans are are also flexibly in place for the “band” to return to the ﬆ udio in 2011, though in the busy world of Michael Mayer, you never can tell when the time will present itself. “It was rather liberating for the both of us,” Mayer reveals. “I think we both got ﬆ uck with our solo works and got tired of being alone in the ﬆ udio and we really enjoyed the whole process of working on the album and everything that came after. It’s something I never had, I’m a techno DJ, I’m a lonesome wolf. It was a new experience and a really nice one. “I guess it’s a natural need to sometimes find a friend, raise a family, whatever… you know, sometimes it works and sometimes it doesn’t. There’s been many DJ bands that probably didn’t work too well and there’s good examples. I don’t know, it’s clearly nicer to travel in a small group or juﬆ together with someone else. It’s nice to share all these ﬆories and nice experiences but I muﬆ say I’m also happy to be alone on the road sometimes. That’s when I find time to read and calm down. Sometimes these are the quieteﬆ moments in my life when I’m sitting on a plane.”

It’s perhaps one of techno’s moﬆ difficult to define labels, but Kompakt would not be where it is today were it not for its maniacally diverse catalog. Album releases from Gui Boratto (Chromophobia), Matias Aguayo (Ay Ay Ay), The Field (Yeﬆerday and Today), Juﬆ us Köhncke (Safe and Sound) and SCSI-9 (Easy As Down) do go someway towards explaining where Mayer and Co are headed. The A&R boss himself cites said projects as the moﬆ reliable bearing for his label, though his favourites can sometimes come from unexpected corners. “It’s very difficult to pick one or two (favourites) as we’ve released over 250 records now, and I was there when each and every one was born. I feel a bit like the daddy of every one of these records and they’re all important to me,” he says semijokingly. “Certainly the album projects are the ones I’m more attached to because I get more involved. I really enjoy to work with an artiﬆ for a term of almoﬆ a year – to prepare an album, release it and get them through all the promotions and ﬆ uff. Work wise that’s the more intereﬆ ing part. Then on an emotional level it could be a B2 track on a 12-inch that sold like nothing that could be my favourite track. “Something like from Ulf Lohmann – he mainly did ambient product ions on the label – he did one house track [which could only be Because or Ohio Roads] and it’s one of the cooleﬆ I know. I have no idea how he did it or why he did it but it’s juﬆ awesome. It’s many years old, but it’s one of those tracks I’d always take with me when I’m playing.” If perusing the entire, overwhelmingly massive Kompakt catalog seems a little too difficult however, you’ll not go far wrong putting the annual Total compilations on rotation. It may sound cliché, but after years of effort, this series really is getting better and better.

WHO: Michael Mayer WHAT: Immer 3 (Kompakt/Stomp) WHERE&WHEN: Komapkt 4 at Barsoma (Brisbane) Saturday 27 November, Twenty1 (Gold Coaﬆ) Sunday 28 November, Kompakt 4 at Brown Alley (Melbourne) Friday 3 December, Subsonic Music Feﬆ ival Sunday 5 December

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NSW

HELEN REDDY SINGER, FUNKY FEMINIST SHE IS FUNKY, HEAR HER SOAR. SO SAYS ANDREW MAST OF HELEN REDDY, A SINGER MORE USUALLY ACQUAINTED WITH GOLDEN OLDIE RADIO THAN SMOKIN’ SOUL JAMS.

est known for the feminist anthem I Am Woman, Australian-born singer Helen Reddy is often written off as a middle-of-the-road balladeer. But, of course, British beat-diggers will have none of that, and now Reddy’s forgotten funky outings are being revived. It’s not the first time that the northern soul tradition of bringing old ‘rare groove’ cuts to the fore has found soulful Australian singers, who are ignored at home, honoured in the UK. Reddy’s move back into the limelight follows renewed love for our own Lynne Randell’s Stranger In Your Arms, Marcia Hines’s You Gotta Let Go and a variety of tracks by Renee Geyer, including Be There In The Morning. The track that has kept Reddy a steady seller through online music stores for much of the year is her cover of rock’n’roll standard Hit The Road Jack. The cut initially appeared on Reddy’s 1972 album I Am Woman, probably seeming like a throwaway filler at the time (in the ‘70s, many artists rushing albums to cash in on big hits often padded out their longplayers with covers). However, Hit The Road Jack finds Reddy marrying the controlled belting vocals, utilised to make I Am Woman such a stirring sing-along, with a gritty funk workout of piano and horns – you hit the road dancing. Jack resurfaced in October last year, reissued by Jazz Classics US as double-A 7” vinyl with Salena Jones’ equally funk-driven take on Right Now (previously popular for crooner Mel Torme and punk goddess Siouxsie Sioux). Ever since its reissue, Jack has slowly gained traction with disco, funk and soul DJs in the UK, US and, finally, back home in Australia. Born in 1941, Reddy grew up in Melbourne where she sang on radio and TV, having been born into a showbiz family (her half-sister Toni Lamond has also enjoyed fame as an actress and cabaret performer, she was even in raunchy ‘70s soap Number 96). Reddy moved to the US in 1966 after winning a talent quest, almost immediately hooking up with budding talent agent, and future husband, Jeff Wald. Honing her skills in the lounge scene of Chicago, Reddy’s first single showed all the signs of the swinger within as she covered One Way Ticket for the Fontana label in 1968. But the funk was repressed as Wald formed Reddy into the Queen of MOR pop with a string of dramatic tunes that were massive chart successes for her around the world in the early ‘70s (Delta Dawn, Leave Me Alone, Angie Baby). The soul tunes were kept to a minimum until the dawning of 24 3DWORLD

the disco era and in 1976 Reddy released the string-soaked I Can’t Hear You No More. By now she was working with producer Joe Wissert who also worked with Earth, Wind & Fire and Boz Scaggs (he would later work with more Aussies including Pseudo Echo and Gangajang). The discofied tunes continued in 1978 with Ready Or Not and the Reddy album of 1979, which included her version of Kelly Marie’s disco smash Make Love To Me. Reddy kept with the disco beats into the ‘80s, although her Take What You Can Find single of 1980 was overrun with a lead guitar break… most of the way through. In 1983, Reddy fell into the trap many greater disco artists also fell into – she attempted to jump on the hi-NRG bandwagon without really understanding the genre. The polished NRG singles Don’t Tell Me Tonight and Imagination pretty much marked the end of Reddy pursuing a chart career. Reddy set her sights on stage musicals. In 2005, Reddy published her memoirs The Woman I Am. But it was in Hollywood producer Julia Phillips’s You’ll Never Eat Lunch In This Town Again that we got a peek into the high life Reddy was living in the ‘70s. In the book, Phillips alleges that Reddy’s hubbie Wald blew nearly all the $40 million she made in music on cocaine. (She also recounts a bizarre trip to the hospital where Wald underwent six-hour surgery to fix his eye, which had ‘bugged out’ of his head because he’d done ‘so much blow’ that a pustule travelled from his nasal cavity to his brain.) Now preferring a more settled life, Reddy was inducted into the ARIA Hall Of Fame in 2006 (alongside Icehouse and Divinyls). However, Reddy was reportedly too ill to perform on the night and is unlikely to perform live again in the future (she suffers from Addison’s disease). Hit The Road Jack keeps on giving though.

SPACED OUT

TECHNO FIGUREHEAD JEFF MILLS TELLS CYCLONE THE FUTURISTIC THEMES HE EXPLORES IN HIS MUSIC AREN’T JUST SPECULATIVE, BUT A SIGN OF WHERE HE SEES MANKIND’S FUTURE.

he enigmatic Jeff Mills hasn’t DJed in Auﬆ ralia for six years, but he’s finally returning to headline Stereosonic. Mills has never been a mere superﬆar DJ/producer. He’s one of the moﬆ influential innovators in elect ronic music – an intellect ual and a futuriﬆ. Mills intrigued John Peel.

Laﬆ year the techno auteur graced the cover of, not DJ Mag, but the cerebral Wire. He discussed growing up in a black middle-class family in induﬆ rial Detroit, his father a civil engineer. Amid the 1960s’ race riots, they journeyed to Montreal to attend Expo – formative for the young Mills, who considered a career as an architect. Mills has long transcended ﬆereotypes, defying even notions of Afro-futurism. “If you’re black, you’re supposed to have the funk – the rhythm,” he tells Wire, “but that’s not necessarily true.” Mills is an optimiﬆ but, one suspects, utopianism is too simpliﬆ ic a conﬆ ruct for him. Mills, at the time attuned to hip hop turntablism, emerged in the 80s as the myﬆerious mix-DJ ‘The Wizard’. His radio shows captivated techno’s Second Wavers like Richie Hawtin. Mills began making Chicago-ﬆ yle house, then induﬆ rial, as part of Final Cut prior to devising the techno Underground Resiﬆance with Mike Banks. Yet Mills was only direct ly involved with UR for two years. On splitting, he temporarily relocated to New York, eventually settling in Chicago. He launched Axis Records, liaising with Robert Hood (also ex-UR). In the 90s Mills eﬆablished himself as the chief architect of minimal techno. Though he disseminated seminal DJ ‘tools’ such as The Bells through the Purpose Maker imprint, Mills’ other work developed into something more conceptual – Millsian techno less ideological than philosophical. In later years minimal has become pervasive, sparking a backlash, which Mills underﬆands. Today’s minimal lacks dramatic tension – the music isn’t, as he puts it, “impact ful”. “If the end result is to make people feel ‘higher’, or more than they were before they liﬆened to that track, if they grow by liﬆening to this music, then I think that there were some missing components in the equation. Juﬆ making a minimal track isn’t enough.” These days Mills’ techno is, if not maximal, then epic and occasionally contemplative. He looks forward – space travel, the unknown, and the queﬆ for knowledge are recurring themes – but, as a DJ/producer, he’s about recontextualising older values. Mills’ musical background (a jazz-fusion buﬀ, he used to play drums) provides him with a diﬀerent perspective to other – and younger – DJs. A decade ago Mills composed an avant-garde, architect ural and ambient score for Fritz Lang’s Metropolis. He also collaborated with the Montpellier National Orcheﬆ ra to perform records like The Bells, Gamma Player and UR’s Sonic Deﬆroyer. This culminated in 2006’s Blue Potential, a pivotal moment for techno culture. What did Mills take away from the experience? “The main thing is that it wouldn’t have been possible to do that performance, that project, if I had not made elect ronic music in that particular way where I was using melodies – because, when you’re dealing with 80 musicians, those 80 people have to have something to play (laughs). Playing a minimal thing over and over and over again doesn’t quite work in the translation. And, ﬆ rangely, moﬆ of the tracks that we played during the performance weren’t the moﬆ popular tracks that sold a lot to DJs over the years...

“So I think it taught me overall that, in the end, no matter what you call [the music], no matter what genre or what category it falls under, it ﬆ ill has to have components that can be transferred into other genres. It has to have a song ﬆ ruct ure in order for it to be able to be translated and then also to speak to other people.” Th is year Mills issued The Occurrence, centred on space age metaphysics. In the early 90s UR conceived X-102, proﬀering Discovers The Rings Of Saturn – and Mills recently revisited the

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side-project with Banks. Why the enduring fascination with space? “Because it’s our future,” Mills ﬆates. “In the early to mid70s we loﬆ intereﬆ in space travel, we loﬆ intereﬆ in space, we loﬆ intereﬆ in the idea of colonising and discovering new worlds. But it’s a brief interruption. I think that, by necessity maybe more so than for recreational purposes, we may find ourselves paying more attention to places other than Earth. I’m juﬆ trying in a very small way to remind the people that at one time we had great intereﬆ in these subjects – that the world, all countries and space agencies, were preparing to put us into space. I juﬆ want to believe that there are ﬆ ill some people, especially ones who want to liﬆen to elect ronic music, who ﬆ ill want to learn more about what’s out there around us.” Mills is currently scoring the 1966 sci-fi movie Cyborg 2087, its subject thought control. “I’m working on it. I made one impression at it, I didn’t like it, so I ﬆarted redoing it – but it should be done by the end of this year. It’s really intereﬆing. Time travel, altering the future, and all of those things – it’s juﬆ a big intereﬆ.” Traditionally, Mills has DJed with vinyl on three decks, adding a Roland 909 drum machine. But, in 2010, he plays CDs. And Mills has deployed the Pioneer DVJ-X1 for a multimedia approach – and his Axis label is now digital. “I’ve juﬆ caught up with the times,” he says. “I don’t think that the formats are really that important yet. What the music is about is ﬆ ill the moﬆ important thing. I assume that, if we continue to make music for many, many years to come, other formats will come, and so I think that this debate that’s out there between vinyl and digital and all that ﬆ uff is juﬆ fruitless.” WHO: Jeff Mills WHERE & WHEN: Stereosonic at Sydney Showgrounds Saturday 27 November, Melbourne Showgrounds Saturday 4 December, RNA Showgrounds (Brisbane) Sunday 5 December

HILLTOP HOODLUMS AND HORSES ANITA CONNORS TALKS TO AUSTRALIAN ACTOR RYAN KWANTEN  BEST KNOWN FOR HIS ROLE AS JASON STACKHOUSE IN HBO’S TRUE BLOOD  ABOUT HIS LATEST FILM, RED HILL.

n Aussie Weﬆern. No, it’s not a misnomer. That’s exact ly what fi rﬆtime director Patrick Hughes and actor Ryan Kwanten conspired to create onset of the fi lm Red Hill. “I think we defi nitely have our own version of the Wild Weﬆ and out colonial paﬆ isn’t that dissimilar to the Americans,” explains Kwanten. “But I think it is the mythology of the Weﬆern, like the good versus evil, is always there in Weﬆerns, it’s juﬆ our take on it. And what’s been fascinating is seeing how a worldwide audience has defi nitely, as much as it is an Auﬆ ralian fi lm, it’s very much got mass appeal.” Filmed and set in Victoria, this genre-bending movie finds Kwanten in the role of city cop Shane Cooper, who has juﬆ transferred to the town of Red Hill with his pregnant wife Alice (Claire Van Der Boom) for a ﬆab at the quiet life. And on his firﬆ day on the job, he finds himself having to contend with the rancorous police chief Old Bill (Steve Bisley), his unfriendly crew, and the gaol breaking convict Jimmy Conway (Tom E. Lewis). What follows is a very taut, tense, and frequently funny 95 minutes. Although a Weﬆern, the fi lm encapsulates a vision that’s uniquely Auﬆ ralian. Not leaﬆ because of the eerie and spectacular backdrop of the landscape. Kwanten agrees. “Yeah, it’s almoﬆ it’s own little character in this. The High Plains of Victoria, I hadn’t been there, so I was relatively unfamiliar with them, but they’re juﬆ gorgeous. But what it act ually did for this rural ﬆory was it provided this sense of isolation and scariness. You couldn’t help but

think as the fi lm continues that their world is juﬆ getting smaller and smaller, any hope of help coming in from the outside that sphere, that wasn’t an option; that everything had to be solved from this microcosm of what was happening in there.” Having been working on the American vampire television series True Blood for the paﬆ several years, Kwanten found working with Hughes on a small budget and a short 24-day shoot to be both frenzied and liberating. “Look, he mortgaged his house, I shed a bit of blood, our crew worked in subzero temperatures, it was all sort of masochiﬆic, but it all felt right.” For a fan of American Weﬆerns, it was a dream come true for Kwanten to land the lead role. Quoting John Wayne, he reveals, “‘Courage is being scared to death, but saddling up anyway.’ And that was my sort of motto throughout this entire shooting process, cause you don’t have the time to think or to over analyse things when you’re shooting so quickly. And then even in terms of when as you’re are watching this, you don’t have time to sort of be noﬆalgic about it, you’re juﬆ swept up in it.” Kwanten also adds that onset, “It was amazing. We had no rehearsal time, it was two conversations over the phone, Patrick had his word and his script. And from me, he got total and utter commitment. And what it taught me more than anything was truﬆ, because we only had one or two takes to truﬆ that he got the coverage he wanted, he got the performance he wanted and it worked both ways. “And it’s teﬆ ament to the fact that if you have something to say, people will follow you. And people will do things out of the norm and outside of the syﬆ em, outside of the box to help and your dream. And Patrick had a dream and we followed him on it. You know, I feel like we’re going to be part of Auﬆ ralia’s answer to Robert Rodriguez.” Having worked on Red Hill, Kwanten feels “that I got to work with such raw, untapped Aussie talent. I couldn’t help but think that there muﬆ be a whole hoﬆ of other young writer-directors who deserve to see the light of day. You know, it’s fi lms like Red Hill that are going to expose the world to the fact that Aussies can make fi lms, and we can make a damn good job of it.” WHAT: Red Hill WHERE & WHEN: Screening in cinemas from 25 November

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THE FRIENDLY RAVER

SELF-CONFESSED DUBSTEP SHEPHERD GARY MCCANN TALKS BRAD SWOB THROUGH THE EVOLUTION OF HIS SOUND AS CASPA AND THE FABRICLIVE MIX WHICH CHANGED THE GAME FOREVER.

hese days finding himself at the centre of all things dubﬆep, Gary McCann (better known as Caspa) ﬆarted up his fi rﬆ label Storming Productions back in 2004. Working under the alias Quiet Storm and releasing some decidedly dark halfﬆep beats, McCann has gone on to form siﬆer labels Dub Police and Sub Soldiers and increasingly embraced the more ravey, dancefloor dubﬆep sound. But McCann isn’t embracing full-time life as a desk jockey, and talks to 3D World over the phone from his ﬆ udio in London where he is currently “working up some tunes”. “I’ve juﬆ been writing new material really,” McCann reveals. “In the ﬆ udio writing loads of new ﬆ uff – different ﬆ yles, a few different tempos. I’m not really doing remixes. I’ve turned down a hell of a lot of remixes this year. I’m trying to be really picky with what I do. Juﬆ writing original material and concentrating on the labels and DJing and looking forward to writing another album next year.” With the resurrect ion of Storming Product ions earlier this year as well as his hect ic DJ schedule, McCann has had to hand over the reigns of the business side of things with the labels. “I used to do everything myself but to be honeﬆ I kind of got sick of it because I was sacrificing my music for it. I didn’t want the label to sacrifice us so I partnered up with a guy who basically label manages the whole thing for me and does all the ﬆ uff that I really don’t have the time to do. That’s been really helpful. Basically I’ve juﬆ ﬆ uck to what I always wanted to do which is find great music, sign it, release it and play it out, and that’s all I want to ﬆick to doing and that’s kind of what I’ve done.” So from an A&R point of view, who does McCann have his eye on in 2010? “A lot of the guys I’ve got my eye on I have got signed to my label. I get a lot of demos sent to me but there is only so much music I can put out at

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one time. There are only so many artiﬆs I can work with and not over-saturate the scene or piss some people oﬀ. I’m really comfortable with where I’m at now with the labels and who I have on the labels like Trolley Snatcha, The Others, Emalkay, E1, Subscape – they are all the beﬆ artiﬆs for me in the scene so I’m pretty content with what’s going on there. But I’ve always got my eye open to see who’s next and who is coming through. There’s a couple of people, but no one really that’s kind of breaking boundaries for me or doing ﬆ uﬀ that made me sort of turn and sign them.” As a producer, Caspa tunes have become ﬆaples of the mainﬆ ream dubﬆep experience, not leaﬆ of all his ubiquitous remix of TC’s tune Where’s My Money? which was a huge hit a few years back

despite grating on a lot of people with it’s unrepentant mid-range wobbly synths. But its the ravey energy of this take on dubﬆep that has captured the ear of more people than the more reﬆ rained, raw product ions of McCann’s earlier output. “It’s come a long way and there are a lot of things I’ve done that I’m surprised at. I’ve worked with a lot of people that I’ve looked up to – headlining with those people at feﬆ ivals and that has been completely amazing. It’s juﬆ been a rollercoaﬆer really. I’ve juﬆ been taking it all in and rolling with it. Sometimes when you can think too hard about things and look back and sort of think that it’s changed too much. It’s all grown progressively at a ﬆeady pace.” McCann doesn’t mince words when it

comes to his impressions on the impact he has personally had on the dubﬆep world. “What we were doing back then was groundbreaking to everyone,” he says with complete sincerity. “We did a Fabric CD [Caspa and Rusko’s Fabriclive 37]and people are ﬆ ill hearing that CD for the fiﬆ time now. It was 2007 when we mixed that CD but we made those tunes in 2005/2006 so those tunes are way ahead of their time. I think the new generation of dubﬆep artiﬆs, especially Trolley Snatcha and people like that, that was their introduct ion to dubﬆep. That’s what they look to to make their music so that’s been intereﬆ ing to see the dancefloor ﬆ uff really taking off. It’s had a big impact on the clubs but we were doing that a little while ago. “For me, it’s all about pushing things forward and being the leader of the pack. I don’t really want to be a sheep, I always see myself as trying to be a shepherd, you know what I’m saying? I always want to be the one who pushes things forward and breaks boundaries and I think the only way to do that is by taking risks. If you don’t take risks then you’re never going to be your own individual person. Some people turn around and say, ‘Oh, that’s shit, that’s terrible. Can’t you make any tunes like you did on the Fabriclive CD?’ Man, those tunes are five years old to me. I could sit in my ﬆ udio – I’ve got presets – I could make tunes to please people all day long. But what’s the fucking point?” WHO: Caspa WHAT: My Style (Dub Police/Inertia) WHERE & WHEN: Stereosonic at Sydney Showgrounds Saturday 27 November, Melbourne Showgrounds Saturday 4 December, RNA Showgrounds (Brisbane) Sunday 5 December

THE WORD ON THE STREET FORGET THE NIGHTLY NEWS – IF YOU REALLY WANT TO KEEP YOUR FINGER ON THE PULSE OF WHAT’S GOING ON IN THE WORLD, GLORIA LEWIS RECOMMENDS INVESTING IN A FLAGFALL, BUCKLING UP AND SETTLING IN FOR CABBIE CONSPIRACY THEORIES.

n Barry Sonnenfeld’s 1997 fi lm Men In Black, Tommie Lee Jones’ Agent K tells his apprentice Agent J (Will Smith) that the real news isn’t in The New York Times (“They get lucky sometimes”), but screaming from the front pages of supermarket tabloids. K also suggeﬆs that moﬆ of the 1500 aliens who have taken up residence on Earth are in Manhattan trying to earn a living, to which J asks “Cab drivers?” – a reference to Douglas Adams’ The Hitchhiker’s Guide To The Galaxy, in which archiviﬆ Ford Prefect’s entry hints that driving a cab is how aliens visiting New York earn a cruﬆ. Suggeﬆ ing that the cabbies of the world are aliens would be drawing a long bow but, like the tabloid headlines of Men In Black, it’s taxi drivers who often have the real lay of the land in terms of what’s going on in the world. While moﬆ sit in silence and allow the ﬆ ranger in the passenger seat to do the same, a handful try to engage the person they’ll moﬆ likely never meet again in small talk – and a precious, precious few take the opportunity to espouse their views on everything from the economy to royal engagements to the veracity of the fi rﬆ moon landing. And this isn’t juﬆ reﬆ ricted to Auﬆ ralian cabbies – unsurprisingly, the US of A also has its share of wannabe Oxford Scholars behind the wheel. A pilgrimage to Miami for the Winter Music Conference in 2008 revealed the clubbing mecca to be overwhelmingly populated by taxi drivers of Middle Eaﬆern and African descent, but the real diamond in the rough was a transplanted New Yorker who saw an opportunity to educate a couple of wide-eyed Auﬆ ralians who were five days into a binge of epic proportions and ran with it. As he drove along the massive bridge which links South Beach to Downtown Miami he waxed lyrical on the great 9/11 conspiracy secret, showing us photos and videos on his mobile phone without ever slowing down and implicating everyone from our hotel owner to Tiëﬆo right up to God himself along the way. Unfortunately we reached our deﬆ ination and all but dived out of the moving vehicle before he’d got to Roswell and who shot JFK, but it was enough to have us considering arming ourselves for the reﬆ of the trip. His Auﬆ ralian counterparts are usually more mild-mannered, but occasionally one sees a target and opens fi re. Take the aging Sydneybased Italian who laﬆ week ﬆarted with a semi-intelligible discourse on how the top end of town were monopolising ﬆ reet-side car parking in the city’s CBD and with a hop, skip and jump ended up at 9/11 (a recurring

favourite it seems). He went around in circles several times (thankfully verbally rather than physically – he found our deﬆ ination pretty easily) but ﬆ ressed that the Quebec, Canadabased Centre For Research On Globalisation (www.globalresearch.ca) had the answers to things people didn’t even realise they were seeking. A dissect ion of its contents would fi ll this magazine several times over, but if you ever suspected World War III was coming a cursory read would give you every reason to bunker down and prepare for the apocalypse. If you think these are isolated cases of fearmongering, think again. In the 1997 fi lm Conspiracy Theory, the conspirational rants of Mel Gibson’s cab driver Jerry Fletcher were act ually ad-libbed by Gibson himself, no doubt giving the Irish-American (he won’t be Auﬆ ralian again until he gets himself together) the chance to get a few things off his cheﬆ. Then the Bangkok Poﬆ reported in 2002 that Thai Prime Miniﬆer Thaksin Shinawatra suspected the city’s cab drivers were involved in a plot to syﬆematically undermine his rule, paid by his enemies to take part in a smear campaign where they’d gossip maliciously about him in a hope the criticisms would take root. And while it seems unlikely that the next ﬆoush between Ms Gillard and Mr Abbott will be played out in vehicles marked Black & White, Yellow and Silver Service, next time you’re headed to the airport it might be worth asking your driver if he’s got the good word on what’s really going down with QANTAS. And if you want to unlearn what you’ve learned, juﬆ hope and pray that one of Agent K’s memory wiping neuralysers, much like the truth, is out there.

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THIS TRIBAL ANTIDOTE DRUM’N’BASS DUO LYNX & KEMO ARE DETERMINED TO TRANSCEND THE CONFINES OF THEIR GENRE. MATT O’NEILL SPOKE TO JIMMY “KEMO” BLITZ ABOUT THE DUO’S UNIQUE APPROACH TO REALISING SUCH AN AMBITION.

here have been no shortage of drum’n’bass acts with mainﬆ ream ambitions over the paﬆ five years. In addition to obvious success ﬆories like Pendulum and Chase & Status, there’s also been a surplus of less immediately celebrated acts like The Qemiﬆs and Sub Focus intent on expanding beyond the culture’s club-oriented confines and capitalising on the genre’s increasing popularity. Superficially, London duo Lynx & Kemo appear to be housed within such a movement. Like Chase & Status, Lynx & Kemo have maintained their drum’n’bass roots while ensnaring new audiences with a variety of surprising sounds. Unencumbered by club culture purism, the pair have ﬆ riven to redefine the boundaries of their sound pract ically since their 2005 inception – consiﬆently incorporating disparate genres like dubﬆep, funk, hip hop, soul and world music into their jungliﬆ-friendly product ions. “I love drum’n’bass music. I love the culture, as I perceived it when the jungle movement firﬆ ﬆarted. I also love many other forms and genres of music,” MC Jimmy “Kemo” Blitz explains. “I underﬆand that labels and tags are important to place things in the playliﬆ library of one’s mind, but I would like to diﬆance myself from that approach. I feel like our music can be categorized between Tricky, Faithless and Wu-Tang Clan juﬆ as easily as it can between Calibre and Photek.” The duo certainly appear to be on the cusp of a significant mainﬆ ream breakthrough. Over the paﬆ five years, the pair’s releases have been embraced by DJs as influential and varied as dubﬆep forefather Zed Bias and aforementioned crossover kings Pendulum while the pair’s debut album The Raw Truth – released late laﬆ year – saw Lynx & Kemo material receive consiﬆent airplay through mainﬆ ream outlets like BBC’s Radio 1 and Kiss FM. “It means so much to me that people feel the art that we created. I write lyrics as a cathartic

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exercise and to connect with others. To share my thoughts, feelings, observations with others. To connect with other souls,” Blitz reflects. “The fact that many have responded in a supporting and underﬆanding way gives purpose to what I do and I feel honoured and grateful for each and every dance, smile, drink, hug, photo and conversation.” If one looks beyond the superficialities, however, one discovers that there are vital differences between the output of Lynx & Kemo and their contemporaries. Whereas Lynx & Kemo’s peers subvert their form by way of layering sound upon sound and genre upon genre, Lynx & Kemo expand drum’n’bass through an almoﬆ profound use of absence. The Raw Truth, for example, is not an album built so much on the concept of overwhelming its liﬆener as it is a record devoted to entrancing them. The product ions of Steve “Lynx” Nobes – often comprised of little more than dry, funk-influenced drum loops and minimal, throbbing sub-bass – are writhing, pulsing skeletal affairs. Decorating the space, Blitz’s wordplay is equal parts confessional and impressioniﬆ ic. The combination is both subtly visceral and intensely profound. “It was never my intention to go mainﬆ ream. It seems to me as though I may have even avoided that out of fear of the impact that would have on my consciousness,” Blitz explains. “Lynx and I fi rﬆ met on MySpace and didn’t act ually meet in person [until] after our second release. Our intention was to make the beﬆ out of his music and my vocals mixed and to create a new and powerful sound. I am very pleased with the result. When I liﬆen back to The Raw Truth, I feel a sense of fulfi lment.” The differences, meanwhile, become more pronounced the deeper one digs into the pair’s philosophies. It gradually becomes apparent that, rather than a musical ensemble ﬆaring out upon the potential masses of liﬆeners, Lynx & Kemo are artisans more immediately concerned with turning their gaze inward – seeking what is identifiable within themselves which exiﬆs

universal and independent of external concepts of success, drum’n’bass or geographic location. “Sure, at its core, our sound is influenced by our surroundings, but I also feel there is something universal in there that transcends geographic location,” Blitz explains – specifically referencing the pair’s relationship to London. “Depth and space allow room for much influence and interpretation. I am less concerned about how it sounds and what tags are appropriate. My main concern is how does it make you feel? What thoughts and especially images are evoked? Can we connect?” It’s what the two musicians are currently engaged with which moﬆ tellingly illuﬆ rates their idiosyncrasies. Whereas the majority of dance outfits gifted with the recognition and acclaim beﬆowed upon Lynx & Kemo of late would be moﬆ concerned with capitalising on their success, Blityz and Nobes have both opted to engage in communally-driven initiatives inﬆead – Nobes forming a record label and Blitz developing his own youth education initiative. “We are very much doing our own thing at the moment. Lynx juﬆ ﬆarted his new label, Detail Recordings, and I am quite focused on a youth work project I am kick ﬆarting at the moment,” Blitz explains. “It will connect young people in London with exiﬆ ing youth work organisations, offering them an opportunity to be recognised for their unique abilities and talents and offering youth work organisations affordable marketing to a critical mass of their target audience. “My aim is to change the perception of youth in London and to positively influence the crime situation. I am currently looking for partners and funding,” the MC elaborates. “Life is good. Everyday I learn more about myself and get a clearer idea of my purpose on this planet.” WHO: Lynx & Kemo WHERE & WHEN: Espionage at Roxanne Parlour (Melbourne) Friday 26 November, DNBBQ at Manning Bar (Sydney) Saturday 27 November

IT’S BEEN A LONG TIME BETWEEN BEATS FOR JUAN ATKINS AND MODEL 500, AND THE TECHNO FOREFATHER OPENS UP TO CYCLONE ON GETTING THE BAND TOGETHER, MOVING BACK TO DETROIT AND UNLIKELY SUPERMARKET CONVERSATIONS IN ANN ARBOR, MICHIGAN.

s the Godfather of Techno, Juan Atkins is responsible, even indirect ly, for everything from rave culture to elect ro-hop to Madonna’s Veronica Elect ronica phase. But the Detroiter also presides over a beautiful back catalogue of “timeless dance music”, as he rightfully calls it. Th ree decades into his career, Atkins is ﬆ ill following his own path – and one outside the pop sphere. Atkins is returning to Auﬆ ralia with a live incarnation of Model 500. And it’s this undertaking that prompted him to move back to Detroit from Los Angeles. “When I ﬆarted to think seriously about doing the live band, I wanted to use people from Detroit – so I had to come back and assemble my band,” he says. Even as a kid, Atkins was into music over sport. He acquired a guitar at 10 – and maﬆered the bass. Atkins had his ﬆ int playing in funk bands. Nevertheless, it was electronic music that fascinated him. Surprisingly, Atkins didn’t discover Kraftwerk until later. He was ﬁ rﬆ exposed to synthesisers through Parliament, Bernie Worrell a hero. Atkins befriended Richard “Rik” Davis, a Vietnam vet, at Washtenaw Community College – Davis, too, enamoured of elect ronic music, not to mention Alvin Toﬄer’s futurism. Forming Cybotron, they pre-empted elect ro with 1981’s Alleys Of Your Mind. The universally celebrated Planet Rock didn’t materialise until the next year, but Afrika Bambaataa had the advantage of being in the hotspot of New York. Atkins might have felt fruﬆ ration or indignation, but hearing Planet Rock was validating for him. “It was kinda unfortunate,” he ﬆarts, pausing, “I wouldn’t say ‘unfortunate’... You know, those are good guys – Afrika Bambaataa and Arthur Baker – and I know these guys... I mean, they beat us to the punch!” Cybotron became a regional phenomenon, but the partnership didn’t endure beyond 1983’s album Enter, picked up by the Californian Fantasy Records. Davis, whom Atkins once described as “the Jimi Hendrix of the synthesiser”, wanted

FAMILY BUSINESS to pursue a rockier direction. Atkins wished to explore the sound of Cybotron’s Clear. Atkins has spoken to Davis in later years, albeit in a prosaic (and not very sci-ﬁ) setting. “I’ve act ually bumped into him a couple of times at the supermarket in [the college town] Ann Arbor, ‘cause he lives in Ann Arbor – that was when I was living out there. We shopped at the same supermarket, so I ran into him a couple of times. We talked and things, but that’s about the extent of it right now... He doesn’t look any diﬀerent from how I can remember him.” In the interim, Atkins, now DJing, convened the Deep Space Soundworks crew with his pal Derrick May. Atkins had relocated to suburban Belleville with his concert promoter Dad after his parents separated and it was here he befriended May and Kevin Saunderson at school. A Berry Gordy for tomorrow, Atkins set about releasing music on his own Metroplex as Model 500. In 1985

he disseminated No UFO’s, the blueprint for techno – and a radical black music. Nicknamed “Magic Juan”, Atkins tutored May and Saunderson. They’d become known as The Belleville Th ree, conquering the nascent European party circuit. Indeed, techno blew up globally. Atkins was always the moﬆ retiring, quietly authoritative and a little myﬆerious. The trio planned a group, Intellex, which nearly signed to Trevor Horn’s ZTT, home to Frankie Goes To Hollywood. Only the forthright May reputedly refused to go on Top Of The Pops. Atkins can’t recall the details. “It was something that almoﬆ happened – and didn’t happen,” he says philosophically. In 1993 Atkins was already presenting a Model 500 ‘beﬆ of ’, Classics, on the Belgian R&S – the same year he teamed with Germany’s 3MB (Moritz von Oswald and Thomas Fehlmann) for Jazz Is The Teacher. His Deep Space album ensued. Along the way, Atkins introduced a second handle, Infiniti, for more dancefloor-oriented music than Model 500 (“it’s juﬆ a different attitude,” he says). The Detroit contingent have frequently lamented the fact that the US mainﬆ ream, in particular, ignores them while championing the white Moby. But in 2000 No UFO’s soundtracked a techno-themed Ford Focus campaign. Missy Elliott sampled Clear for 2005’s hit Lose Control. (“I got a couple of good cheques coming in from that,” Atkins says.) Ironically, hip hop acts, traditionally antithetical to elect ronica, are today hiring its producers – but, with the exception of Diddy, they’re approaching European cats like David Guetta, not an Atkins. He’s unconcerned. “I don’t really follow pop music that much, so I can’t really comment on what Lady GaGa is doing or people of that ilk. That’s news to me, act ually!” (Still, Atkins did remix The Style Council’s Promised Land off their shelved ‘deep house’ album.) Nor is Atkins obsessed with the lateﬆ trends in elect ronica, although he’s up on the technological shifts. Since the end of the 90s, when he orcheﬆ rated Model 500’s Mind And Body, Atkins has been less act ive. But he’s now developed Model 500 into a band – with Underground Resiﬆance’s Mike Banks assiﬆ ing. Bolﬆered by Mark Taylor and DJ Skurge (aka Milton Baldwin), they premiered at 2007’s Detroit Elect ronic Music Feﬆ ival. Th is month Model 500 will ﬆage their “audio-visual experience” at Victoria’s Strawberry Fields (Atkins is DJing in Sydney). The four don’t juﬆ perform Model 500 tracks in their hour-long set, either – fans can expect to hear Cybotron (Clear) and Infiniti (the cult Game One). In 2010, Atkins is feeling sufficiently rejuvenated to be contemplating another album, Model 500 juﬆ offering an EP on R&S. “An album is in the pipeline,” he affi rms. “I don’t know who the collaborators may be – if any collaborators. It may juﬆ be all myself. So we have to see how it goes.” WHO: Juan Atkins WHERE & WHEN: Strawberry Fields Feﬆ ival (with Model 500) at Yorta Yorta Dhungala Friday 26 November, Versus: Round 2 at Marrickville Bowling and Recreation Club (Sydney) Saturday 27 November

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TO HELL AND BACK JEFF (HIS REAL NAME, WITH SURNAME WITHHELD) OF ENIGMATIC SYDNEY DUO THE ONLY LETS LIZ GALINOVIC IN ON THEIR “MUSIC DOES THE TALKING” ETHOS – AND HOW THEIR NEW EP BAD GIRLS GO TO HELL SAYS MORE THAN THEY EVER HAVE BEFORE.

ne half of Sydney based elect ronic music duo The Only won’t divulge his name. However he is willing to give up the identities of the two men behind local DJ duo Yolanda Be Cool. “I was reading something in the paper the other day about how they’re ﬆ ill anonymous and I was like ‘they’re not really as anonymous as they think’.” But “Jeff ” is as much as he’s willing to relinquish, claiming that for him and Sean (the other half of The Only) it’s never been about them, but about the music. “As far as who we are, we’ve made a conscious effort to make that not a part of what The Only is and let the sound of the music and the artwork tell the ﬆory. As far as we see it, The Only are the two characters in the comic and that ﬆory unfolds one release at a time and then the music does the talking. It doesn’t really matter who we are, it matters if the music sounds good or not.” The comic he is referring to consiﬆs of a series of cells released with every single and created by Sydney based illuﬆ rator Adios. At leaﬆ Jeff thinks that’s the name of the illuﬆ rator – they’ve only communicated online. “Sometimes we’ll give him a photo or some references and say ‘we’re kind of thinking like this’ and then he runs off and comes back with some amazing comic book image and we go ‘wow that’s way better than we even imagined’.” In only a short amount of time The Only have managed to climb the top of club charts, reach out to the cream of the elect ronic crop who have gone on to play their tracks and turn the heads of induﬆ ry heavyweights Miniﬆ ry Of Sound. All because of a chance meeting between two music lovers who, by even more chance, created a top notch B-side to their debut single The Only Fucking Rave Party. “We gave the fi rﬆ record to a friend of ours who is a DJ, who played it and then within a week or two we had the guys at Miniﬆ ry and the guys at Onelove both go ‘hey we want to sign this record’ and we’re both like ‘whoah, whoah’.” Sensing that they were on a good thing, the duo decided to continue pushing their way through the mass of DJs so that artiﬆs such as The Bloody Beetroots, AC Slater and Steve Aoki were playing their sound. “We juﬆ ﬆ arted sending our ﬆ uff to Steve, like ‘hey we did this record, we really like Dim Mak’. He is such a gentleman, he juﬆ kept replying

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saying ‘I love this, I’m gonna play it’ and then it came round to his mix compilation and he put Rave Party on his disc. We would never have expected something like that.” Aoki went on to enliﬆ their remixing services for his label – as did Dizzee Rascal, Armand Van Helden and quite a few more. Now on the eve of their Bad Girls Go To Hell EP tour, Jeﬀ and Sean hope that what they’ve created will continue to impress. One liﬆen to the title track pretty much ensures this. “‘Cause it’s an EP we had the chance to bring more inﬂuences to the table so there’s drum’n’bass on there, and there’s an indie brooding rock record – well it’s elect ronic but it’s got that rocky edge to it – and then there’s a ﬆ raight club banging thing. Fingers crossed people like that cause

“

WE HAD THE CHANCE TO BRING MORE INFLUENCES TO THE TABLE SO THERE’S DRUM’N’BASS ON THERE, AND THERE’S AN INDIE BROODING ROCK RECORD – WELL IT’S ELECTRONIC BUT IT’S GOT THAT ROCKY EDGE TO IT – AND THEN THERE’S A STRAIGHT CLUB BANGING THING.” it’s not traditional dance as such.” WHO: The Only WHO: Bad Girls Go To Hell EP (Downright) WHERE & WHEN:

Foreshore Feﬆ ival Saturday 27 November, One Five One (Woolongong) Thursday 2 December, Chinese Laundry Saturday 4 December, Harbour Party NYE at Luna Park Friday 31 December

MENTAL COMBAT Hip Hop With BLAZE

OWL EYES

Several new video clips have juﬆ popped online in the paﬆ few weeks and the results are quite good. Onetime beatmaker Avene was behind the lens for some elect ronic lad rap from That’s Them for their track Bam, which features some wrecking shop antics from Nebs, Sarm One, Swarmy and Kerser. Then Dialect rix gets psychoanalysed by 2Buck for their clip Pieces Of A Puzzle. Illy goes for a one location party vibe for the Owl Eyes chorused It Can Wait, while Melbourne’s Briggs wears a fetching ﬆ raightjacket while he raps for the Hilltop Hoods Golden Era label. The Tongue’s track Crazy featuring Joyride is a veritable feaﬆ of luscious camerawork shot around some seedy and sunny locations in Sydney, while singer Joyride also provides the voice for the upcoming venture from Chasm, aka Mr Don Don. His fi rﬆ single No Other is now more dancefloor club oriented and the video is an arty venture set in a hotel room with a forlorn father and a myﬆery. But the absolute beﬆ video of the moment has to be for Addicted by Bliss N Eso. It’s a superb ﬆop motion extravaganza comprised of over 2,000 photos with artwork from Kiwi writers Askew One and Deus. It’s absolutely mindboggling ﬆ uff. The effort and execution is momentous. . And the lads don’t even make an appearance. Apparently it took three months to complete, with six act ual days of painting and 300 cans. Sydney’s DJ Skae has been collating tracks for a compilation entitled DJ Skae’s A-Liﬆ. All that’s left is the final maﬆering and a diﬆ ribution channel. Oh, and some funds to help him reach the laﬆ ﬆage of the process. Contact him via subc.com.au. I’ve been lucky enough to cop a liﬆen via a promo copy and it’s something that needs to come out. Skae has hoped for a release sometime early 2011, so hopefully he will get the help he needs to push forward. It features a whole bunch of names that should attract attention. Some of the more familiar artiﬆs include D’Opus & Roshambo, Illy, Fluent Form, Crate Creeps, Hunter and DJ Vame, Blades and Torcha as well as a collabo between Sereck and Grand Puba. It was only recently I was lamenting the loss of compilation albums of local artiﬆs. I wish there were more comps that provided a mix of the familiar with the upcoming, so here’s hoping Skae resurrects the trend.

STILL CALL AUSTRALIA (SECOND) HOME JOE LINDSAY OF INCREASINGLY INTERNATIONALIST KIWI SEVEN-PIECE FAT FREDDY’S DROP TELLS NINA BERTOK THEY HAVE MORE COUNTRIES COMPETING FOR “SECOND HOME” STATUS WITH EACH PASSING YEAR.

fter a decade worth of touring around the world, Fat Freddy’s Drop tromboniﬆ Joe Lindsay claims gigs tend to meld together into one giant blur – but not the exotic locations themselves, nor the always-grateful audiences, nor the foreign and often exotic cultures. These days considered a major headline band across the seas in Europe, the New Zealand dub/reggae seven-piece monﬆer is gracing its second home of “Aussie” with its presence as part of the Live At Roundhouse London World Tour. “The photo I have on my Facebook page is of me ﬆanding in the middle of this big creek at Glaﬆonbury,” Lindsay enthuses. “I think if I’d have to have ﬆayed there the whole weekend I would have gone crazy – inﬆead I got to go back to a nice warm bath! But I met heaps of people that were juﬆ ﬆaying there in their tents and they were juﬆ having a great time. So often it’s the hospitality that you get at all these places as you’re traveling – that’s the highlight for me, meeting new people and always remembering the welcome we’ve received. The gigs can turn into a bit of a blur if you’ve been doing this for a while but you always remember the people and the food.” A big sign of the band’s success has been the mere fact that Fat Freddy’s Drop no longer draw crowds of juﬆ expats, or even English-speaking audiences. Intereﬆ ingly enough, it’s America that’s proven the hardeﬆ to crack for the group. “America was… good,” Lindsay hesitates. “It’s a hard place to get into, really. Even juﬆ to enter the act ual country can be a pain. The biggeﬆ problem is probably that they have such a huge music scene and we’re really only juﬆ ﬆ arting out over there. Still, we’ve been really surprised by the amount of support that we’ve had from California, because we made that our main focus. We played LA and San Francisco and that was really great act ually, otherwise the reﬆ of America can be quite intimidating.

“For us, it’s really London that gives us endless support. We’ve act ually been going to Europe pretty much every year, if not twice a year more recently. After eight years of doing that, the place does deﬁnitely ﬆart to feel like a second home. I’m so pleased that we’ve been really well acquainted with London, but also Berlin and Paris.” Perhaps the next time Fat Freddy’s Drop play London’s infamous Roundhouse, it’ll feel like a homecoming too. Lindsay says the band couldn’t pass up the opportunity to capture their live sound by releasing a live CD recorded during a performance in 2008. Lindsay recalls. “The album is such a great snapshot of where we were at the time and a good way to show on CD what we’re like to the people that have never seen us live.”

WHO: Fat Freddy’s Drop WHAT: Live At Roundhouse London (The Drop/Inertia) WHERE & WHEN: Enmore Theatre (Sydney) Thursday 25 November, The Forum (Melbourne)

Friday 26 November, Shine On Feﬆ ival Saturday 27 November, Good Vibrations Feﬆ ival, Centennial Park (Sydney) Saturday 12 February, Good Vibrations Feﬆ ival, Flemington Racecourse (Melbourne) Sunday 13 February,

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OGFLAVAS OG Urban news with CYCLONE

NERD

LA BEATMAKER ROCCO RAMPINO TELLS NINA BERTOK HE COULDN’T BE HAPPIER IN HIS NEW STOMPING GROUND OF LOS ANGELES, THE ITALIAN’S WORK AS CONGOROCK VERY MUCH AT HOME THERE SINCE HIS SIGNING TO FOOL’S GOLD.

“I

have a lot of friends in LA, it’s like the very fi rﬆ time I got there I felt like I juﬆ belonged there,” Rampino says of his new digs. “It’s act ually very similar to my hometown [Brindisi] in the south of Italy. LA – life is very laidback and chilled out in both places. Probably the main difference has been that LA is obviously a major centre, it has a big market for dance music, so of course, it made a lot more sense to me to be in the core of art and music. I even juﬆ like the place itself. I love the hills and the beaches and it’s an exciting vibe. Italians usually see LA like a dream place, it’s always only something we hear about or see in the movies.” Quite literally, then, as Rampino confi rms, the recent relocation has been a dream come true. And although he has no plans to permanently return to his native Italy any time soon, you can be sure Congorock ﬆ ill draws a large influence from his roots. “Italy has a lot of good producers,” he ﬆates. “Before I moved to the United States, I really felt like Italy had something to say in dance music again. For quite a few years before I left, it wasn’t that exciting but now it’s act ually grown. We’re seeing some really good talent, even though some of them are living abroad, like Riva Starr and Mowgli. Even though I’m not in Italy, I’m ﬆ ill so proud that so many cool things are coming from there, it’s good to know that we are ﬆ ill definitely on the map. And of course, I ﬆ ill try to inject an Italian vibe at leaﬆ in my music, though my ﬆ uff is based on lots of world music samples.” The moniker Congorock itself speaks volumes when Rampino’s beats are in queﬆ ion, the producer claiming it was ﬆ umbling upon obscure African tapes in his younger years that fi rﬆ ignited his passion for exotic sounds and world music samples. “When I fi rﬆ ﬆarted making music I was really into elect ro and house,” he recalls. “But I also found these really cool African tapes that juﬆ blew

me away. I never knew something like that exiﬆed and it really invoked a ﬆ range feeling in me. So in my earlier days I ﬆarted to mix pretty ethnic music with more ﬆ raightup elect ro and house. My sets ended up being quite tribal sounding.” Unsurprisingly, it was Rampino’s adventurous side and love of experimentation that caught the eye of A-Trak, who did not hesitate to contact the Italian producer and oﬀer him the deal of a lifetime with his label Fool’s Gold. “It happened really randomly for me because I was doing product ion by myself for only about two months. I released a single on blogs and pretty much ﬆ raight away I got an email from A-Trak asking me to join the label – I juﬆ couldn’t believe it! “Fool’s Gold has come at the right moment in dance music – they come from a hip hop background but they’re merging club and dance music.”

WHO: Congorock WHERE & WHEN: Stereosonic at Sydney Showgrounds Saturday 27 November,

Chinese Laundry (Sydney) Saturday 27 November, Stereosonic at Melbourne Showgrounds Saturday 4 December, Stereosonic at RNA Showgrounds (Brisbane) Sunday 5 December

QLD & NSW

In the lead-up to the holiday season there are hot urban albums by everyone from Cee Lo Green to Rihanna to Kid Cudi. But, fi rﬆ, those old favourites N*E*R*D are back with Nothing. Once invincible, Pharrell Williams has loﬆ ground to Kanye Weﬆ and, to an extent, that other poﬆmodern soulman, Cee Lo. ‘Ye, not Williams, came in at No. 3 in NME’s recent ‘50 Cooleﬆ People In Music’, prompting angry letters from (possibly) the same peepz who objected to Jay-Z headlining Glaﬆonbury. Weﬆ is a provocateur – and, as The Neptunes’ ‘face’, Williams muﬆ be aware of his marginalisation, cannily popping up on the Swedish House Mafia’s One (Your Name). Still, N*E*R*D remain a formidable live act – and much cooler than the Black Eyed Peas. The Virginians’ fourth album isn’t far removed from their previous material. Nothing is certainly not a nihiliﬆ ic emo-hop joint. In fact, N*E*R*D scrapped an earlier incarnation of the album as they weren’t happy with the songs (all 20 of ‘em!). N*E*R*D originated as a cult (or “concept”) funk/rock outfit, circa 2000, debuting with In Search Of..., the missing link between OutKaﬆ and The Roots. They found mainﬆ ream success with Fly Or Die. 2008’s Seeing Sounds was an attempt at consolidation. Nothing has been a while coming. The mindless groove Hot-NFun, with Nelly Furtado, faltered months ago – it’s no She Wants To Move, sure, but better than Everyone Nose... And it’s incongruous here – as if N*E*R*D recorded a radio single to placate anxious label types. Party People, featuring TI, is a cliched ‘funky’ jam that will nonetheless go off at shows. N*E*R*D really excel when they experiment. Nothing journeys into soulful psy-rock on numbers like Help Me and the gorgeously harmonised God Bless Us All, the band citing the music of the 60s and 70s as inspiration. Williams is at his moﬆ eccentric on Life As A Fish – N*E*R*D go nu-folk. Surprisingly, Daft Punk produced Hypnotize U, cosmic elect ro-disco with melancholy Detroit synths, Williams flexing his falsetto. The musicianship is tight, yet Williams often sounds like he’d rather be off designing some more mega-expensive sunnies for Louis Vuitton...

BUSINESS MUSIC

Serious Underground Business With PAZ Business Music has juﬆ come across the new Wildlife! EP Buckup. Great title. Does it lean towards grimy Jamaican Patois or 19th Century English dandies? Switzerland’s Wildlife! could be more at home with petit fores and a mild earl grey. English dandies wore ﬆ riking outfits, derived from their time spent in Italy searching for the gayeﬆ (periodically speaking) ruffles. Dandies had clubs, the Macaroni Club (damn now I’m hungry) to be exact. The Macaroni ﬆ yle ventured into Europe via head fop “Beau” Brummell’. Macaroni ﬆ yle is championed in a phrase from Yankee Doodle: “ﬆuck a feather in his cap and called it Macaroni.” Wildlife!’s press kit has displayed Macaroni ﬆ yle in his two bio photos, the firﬆ sipping tea in some bourgeois European cafe, the second doing up buttons on his single breaﬆed, plaid, three button suit jacket. Wildlife! celebrates Brummell’s simplified dandy ﬆ yle, dignified and middle class. Brummell is someone who would offer the term “Buck Up!”. Get ready, put on your fineﬆ, let’s get this party ﬆarted. “Buck” references the gaiety of male deer, ﬆrutting and preening about. Deer also liked the challenge in rutting at each other’s horned heads. This rutting is abundant in all of our nightlife. “Buck up” in Patois means “meet” and Wildlife!’s Buckup is a tribute to legendary 80s and 90s dancehall that bubbled at “meets” in Kingﬆon and NYC. Wildlife! opted to “re-lick” artiﬆ anthems from toaﬆ ing royalty Major Mackrel and Sammy Dread. Wildlife! also included collaborative artiﬆ Terry Lynn (check Kingﬆonlogic), who fl ips Ini Kamoze’s How You Living. A special link in the press kit sources a Vimeo clip of Major Mackrel toaﬆ ing at NYC’s Biltmore Ballroom circa 1989. The footage is an amazing snapshot of an era when the jewels were truck, daggering was someone ﬆabbing you for your truck jewels, and rewinds were on 1s and 2s, not with 1s and 0s. M16 vs SLR (feat Sammy Dread), Galang So (feat Major Mackerel) and Nocturnal World (feat Terry Lynn) draw on modern elect ro, sometimes dub, vocoder/Auto-Tune and obvious dancehall elements. These Wildlife! re-licks are blissed out, with enough energy to ﬆart the night. The project is fully completed with amazing remix work from L-Vis 1990 (touring with thee Stereosonic), Douﬆer (true legend of thee game) and French Fries (juﬆ finished a tour in Auﬆ ralia).

WILDLIFE

SHINE A LIGHT

NIC TOUPEE LEARNS THAT MIAMI CLUB SCENE FIGUREHEAD JONATHON COWAN IS JUST AS COMFORTABLE BEHIND THE DECKS AS HE IS BEHIND THE SCENE’S OF SOME OF THE CITIES BIGGEST PARTIES.

onathon Cowan could at fi rﬆ glance be conceived as the Michael Alig (aka Party Monﬆer, doyen and dilettante of the NY Scene in the 90s) of Miami – but without the drug meltdown. He has been organiser and hoﬆ to many of the city’s moﬆ memorable shebangs at The Shelborne Beach Resort, including some of the WMC’s moﬆ notorious parties of the paﬆ few years. Cowan spent the summer of 2010 with a DJ residency of his own at Ibiza’s equally notorious party deﬆ ination Pacha, and his autumn/winter schedule reads like a Lonely Planet trekker’s guide, ﬆ retching from Aruba to Auﬆ ralia, and of course breathing ﬆops in Miami squeezed in where he can. Meanwhile, his parties at the Shelborne keep rolling on. How does he do it? “Although for the laﬆ five years or so I was running The Shelborne completely, I’ve now taken a ﬆep back,” Cowan explains, demyﬆ ifying the matter completely. “I am only running Shine events [a party concept within the Shelborne], WMC events and special events.” It may look like Cowan’s DJ career is taking off now, after spending years warming up for Shine and WMC gueﬆs. However, that seems to be a misinterpretation of events, his own achievements fruﬆ ratingly overshadowed by the glamour of WMC and its tales of dancefloor madness and poolside debauchery. H “What people don’t realise is I was a DJ fi rﬆ! I was resident DJ at the infamous Groovejet [another legendary Miami venue] in the early 90s and musical director [there]. I also held a residency for Renaissance [in the UK] and at Bono from U2’s club The Kitchen in the nineties. I can tell you now that my favourite place in a club is behind the decks spinning.” Given the quality of the clubs he has created and developed, and the partying that has been done there, that’s quite a teﬆ iment to his enthusiasm. Th is summer he went from running the Miami beachside resort to DJing beachside clubs in Ibiza. Which does he prefer in battle of the beaches? “WMC week and some of the weeks in Ibiza are the only time a lot of the bigger DJs and induﬆ ry figureheads cross paths, and we have a tendency for partying a bit when together,” he admits. “Personally I probably have more fun in Ibiza as I am there purely as an artiﬆ , whereas in Miami I

am spinning but also running 12 events in six days!” When probed for some dirt on wild nights at the WMC, Cowan ﬆays admirably silent, although anyone following his Twitter knows the man enjoys some quality partying. He gives prospect ive WMC attendees a tip or two, though. “The Luciano/Dice annual party has deﬁnitely been insane the laﬆ few years... good fun. It’s like the Hotel California – ‘you can check out anytime you like, but you can never leave’.” Cowan has had more opportunities than moﬆ to observe the ﬁne art of DJing. After years of working beside the crème de a crème, he has a very simple philosophy about what works beﬆ. “A DJ needs to play what comes from his [or her] heart. The biggeﬆ miﬆake an artiﬆ can make is to try and be like someone else - it’s individuality that sets artiﬆs apart. When I ﬆep up to the decks I do what I do. If I worried about what someone else did or played I’d never get anywhere.”

WHO: Jonathon Cowan WHERE & WHEN: Chinese Laundry Friday 4 December

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Defected as well, a big new house one of mine. And I’ve been collaborating with a lot of similar dudes.”

HAPPY DAYS

One person he not only collaborates with but is joined live on ﬆage by is his childhood friend and former Loki band member Chris Arnott. “We’ve done a couple of these shows already; he’s coming along and singing the tracks we’ve written together. We do a few covers as well and I bring my drum machine from the ﬆ udio and we do a bit of live improvised ﬆ uﬀ... it’s been really well received by the crowds, they’ve been loving having that extra person on ﬆage doing the live singing.

“S

“We’re talking about new ideas like him getting on some keys and expanding the options. It’s all juﬆ experimenting at the moment but we’re having a lot of fun with it. I think it’s gonna open the door for lots of diﬀerent things we can do on ﬆ age.”

HAVING CHECKED OFF ONE OF THE MAIN ITEMS ON THE BASS KLEPH TO DO LIST, STU TYSON TELLS LIZ GALINOVIC WHAT CAME BEFORE – AND WHAT COMES NEXT.

omething I think every producer would have on their check liﬆ is to go and get a number one on Beatport,” Stu Tyson opines. And this is what Stu Tyson achieved when his remix of Joan Reyes’ Shakedown not only hit number one and hovered around two and three for several months, but has also proven to be the higheﬆ selling track of the year on the revered portal in 2010 to date. Of course you won’t find it if you look up Stu Tyson, but you’ll find more than enough pots of gold if you type in his Bass Kleph moniker. “I’m so ﬆoked. Especially seeing as the track was one I did where I kind of thought ‘you know what? I’m juﬆ gonna write this for me’ kind of thing. And for it to have that kind of feedback is really affi rming that I was on the right track. It feels really good.” After spending several years in successful rock band Loki, Tyson found that when the band broke up he had been significantly wooed by the rise of dance music. “Inﬆead of going and finding another band I was like ‘you know what? I love this dance music ﬆ uff, I’m ﬆ icking with this’.” He embarked on a course of product ion inspired by what he was hearing around him as it incited a yearning to create the sound himself. DJing soon followed, and it wasn’t long before the likes of Ajax and Kid Kenobi were playing his tunes and he began to realise he was connect ing with people. Today he doesn’t merely treat the locals but tours extensively around the globe. Right now his sound sits somewhere between house and tech house, an influence of his time in Europe where there is a large scene supporting this sound. “I’m doing a lot of work for some labels that support it like Toolroom Records, Spinning Records, I’ve juﬆ signed a big track to

With numerous releases, collaborations, tours and the running of his label Vacation Records, Tyson has a lot to contend with. But he speaks about his career with infectious passion and a detached awe. “You have ﬂashbacks to when you ﬆarted this and thinking it would have been out of reach or something, or juﬆ a fantasy and it’s like wow... I wake up so happy every day these days.”

KUMAR’S CAPERS

All Th ings House with BEN KUMAR WHAT WOULD TIËSTO DO? It’s a paﬆime more famous than the “What Would Jesus Do?” cult that spawned it. Or maybe not. The world’s moﬆ famous DJ (he’s played the Olympic Games for Krishna’s sake) is simultaneously the object of adulation and hatred. The spiritual connect ion between DJ and crowd is a theme that runs rich through house music hiﬆory. Trance fans might argue Tiëﬆo’s connection with crowds is spiritual, but it all seems so fake, so ﬆaged, so… artificial. Now we are faced with a worrying trend where DJs think they are pop ﬆars and behave accordingly. They appear on breakfaﬆ TV and mime on CDJs (David Guetta on Sunrise), release horrible live DVDs of ‘concerts’ (Tiëﬆo) or lead the Black Eyed Peas so far aﬆ ray they think tracks like The Time (Dirty Bit) are a good idea (Guetta again). No one has been more shrewd or calculating than Tiëﬆo – complete with gigs in New York’s Central Park billed as ‘concerts’. I’ve seen primary school recorder concerts with more atmosphere and talent. There was a time (the late 90s) when the release of his Magik series of CDs drew more praise than a Dean Jones double century. He became a superﬆar based on marketing and his years of creativity and innovation are long behind him. Like all famous DJs he has signature tunes. The moﬆ popular is his remix of Delerium’s Silence, a track that many Tiëﬆo fans think he act ually wrote. Tiëﬆo does nothing to correct this – in interviews he often refers to it as “my track”. The truth is that the track was already massive two years before his remix, thanks to a remix by American duo Fade. Tiëﬆo, with a penchant for appropriating popular ideas, did a trance remix. Again, this happened with Imogen Heap’s Hide And Seek. Tieﬆo got there late to the party, then claimed it for himself. Seeing a pattern? The attempts to innovate have become increasingly more feeble and laughable. They’ve diminished the concept of Tiëﬆo the DJ and been all about Tiëﬆo the pop ﬆar and the brand. In the end, “What Would Tieﬆo Do?” should be relegated to a drinking game. Drink every time he plays Silence. Drink every time he fluff s a mix. Drink til he ﬆ arts to sound good. Oh wait…

WHO: Bass Kleph WHERE & WHEN: LaLaLand (Byron Bay) Friday 26 November, Stereosonic

at Sydney Showgrounds Saturday 27 November, Monaﬆery (Brisbane) Saturday 27 November, Platinum (Gold Coaﬆ) Saturday 4 December, Sunburnt Chriﬆmas at Bondi Pavilion (Sydney) Saturday 25 December

QLD & NSW

TIESTO

THE ALBUM OF WEEK

ALBUMREVIEWS

JAMIROQUAI Rock Duﬆ Light Star (Mercury/Universal)

DUB DENTIST Flossanova (Transcendental Dance Records) At this point, it’s really quite unfair to continue to refer to David Kagan as Dub Dentiﬆ. While the shadow of dub-reggae has always hung heavily over the Sydney producer’s work, it’s become increasingly obvious in recent years that there is significantly more to his output. The sprawling, eclect ic Flossanova is the ultimate case-in-point. A wild and expansive double album, Flossanova touches upon aspects of dubreggae over the course of its two-hour running time (the echoing raﬆa vocals of Number One, the rolling bassline of Now Is The Time) but incorporates equal amounts of jazz, chillout, tribal house, breaks, drum‘n’bass and funk into its varied sonic make-up. And the album’s eclect icism is evident from the outset. Clocking in at over 1 minutes, opener Rise evolves gracefully from a simple synthesised bassline into a lush and exotic ambient house joint, while elsewhere Arabesque finds the Kagan operating almoﬆ solely within world music and the psychedelic Open Arms revels in the producer’s breaks fetish. The ﬆ rength of the album is its remarkable cohesion. Kagan’s skill is a producer is such that he can effect ively gather countless disparate genres under the banner of a single album while ﬆ ill having them sound of a piece. The tribal noise of Voodoo Glow, for example, never clashes with disparate tracks like the drum’n’bass-flavoured Borneo Dreams or the breaks workout The Squirrel Gripper. Such homogeneity does, of course, occasionally grow somewhat overly familiar – few tracks on the record wouldn’t sound at home on a Café del Mar compilation, for inﬆance – but, for those who favour the jazzy and elegant sense of atmosphere and ambience of such compilations, Flossanova is an arguable maﬆerpiece. MATT O’NEILL

Rock Duﬆ Light Star is in many ways both a comeback and a new beginning for UK band Jamiroquai. Five years since their laﬆ proper album, Dynamite, Rock Duﬆ Light Star is their fi rﬆ for new label Mercury, and flaunts some big changes to their sound – changes that Sony would not allow them. The album finds the group reveling in their new found freedom, the lay-off having given them the chance to experiment a little and diversify from what had become their signature pop-disco sound. That sound does ﬆ ill exiﬆ on Rock Duﬆ Light Star, on tracks such as White Knuckle Ride (with added elect ronic elements) and the wildly percussive She’s A Faﬆ Persauder, yet shares space with many other influences. The title track’s ‘ﬆop-the-world-I-wanna-get-

BRANDT BRAUER FRICK You Make Me Real (iK7/Inertia)

You Make Me Real could mark the furtheﬆ house music has travelled yet from its black, gay roots. German jazz-dance heads Daniel Brandt and Jan Brauer recently came together with classically trained techno/house producer Paul Frick to form Brandt Brauer Frick, with the express purpose of molding antique ﬆ yles of music to the modern ‘dance’ framework. With a mini orcheﬆ ra behind them the trio has created a sound that owes juﬆ as much if not more to Johann Sebaﬆ ian Bach and Thelonious Monk as it does Derrick May, as loopy Detroit rhythms underpin beautiful piano, brass and ﬆ rings. You Make Me Real is their debut album and it’s unlike anything we’ve heard. Firﬆ single Bop is a ﬁne example of where these guys heads are at as dark classical piano combines with clicking percussion and a throbbing acid line. Elsewhere Caﬀeine heads in a tech-trance direct ion, Mi Corazon threatens speaker damage with its dub reggae b-line while the title track ﬆ rips the beat away completely for a journey into noodle-taﬆ ic freeform experimentation. Forget DJs – it’s all about conductors now. DARREN COLLINS

off ’ sentiment is accompanied by a rock-ish backdrop while Hurtin’, with its funk-rock riffs and Jay Kay’s husky delivery, imagines a meeting of Sly And The Family Stone and Rod Stewart in 1974. The melancholic Goodbye To My Dancer could have been powered by Marley’s Wailers, Smoke And Mirrors wreﬆ les gamely with its massive funk horns while Lifeline fuses good time Motown soul to a showtune breakdown Peter Allen would be proud of. Finally, Hey Floyd, a message to a friend ﬆ uck in the faﬆ lane, somehow manages to mould disco energy to rootsy dub reggae. On the basis of Rock Duﬆ Light Star it’s no wonder Jamiroquai were so keen to get off their long Sony contract, the band unveiling both a new sound and new maturity. There may not be a Cosmic Girl or Virtual Insanity here but it’s the moﬆ intereﬆ ing Jamiroquai have sounded for years. DARREN COLLINS

BRYAN FERRY Olympia (Virgin/EMI)

Lock up your grandmothers – the debonair dad of cruise ship soul, Bryan Ferry, is pulling into port. Front man of the legendary Roxy Music, Ferry has seemingly never entertained the idea of retirement and, at 65, returns with a ﬆar-ﬆ udded new album, Olympia. From Kate Moss on the cover onwards, Olympia is Ferry doing what he does beﬆ with the help of some very famous friends; that voice, so gentle that it threatens to fade away into the ether, ﬆ ill retains the ability to moiﬆen panties at ten feet. The opening notes of the album are a dead ringer for Roxy smash Avalon and it is Ferry’s cheeky fondness for his own hiﬆory that carries the set along. Guitars come from Nile Rogers, Dave Stewart and Dave Gilmour, bass from Mani and Flea and synths from Brian Eno (an early Roxy Music member) while there is even an attempt at ‘dance’ music with the help of Groove Armada. Olympia is an ‘adult’ sound, no queﬆ ion, yet one laced with a mature ‘cool’ few can touch. DARREN COLLINS

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ONE TRACK MIND ADE FENTON Falling Down (Sebaﬆ ian Bayne Mix) (IF? Records)

A wicked hypnotic minimal techno ride. Deep, pulsing bass, tight kicks, and ﬆ ripped-back percussion keep the groove rolling while a heavily reverbed synth burrows deep into your brain, ably assiﬆed by groovy tribal drums. Kick-on music if I’ve ever heard it.

THE TEMPER TRAP Conditions – Remixed (Liberation)

So Conditions – Remixed follows the global success of The Temper Trap’s of platinum selling debut. It’s been a good year for the band, and now they’ve roped in a few top notch producers to breath new life into old(ish) tracks. Old favourites that have been given a makeover include Love Loﬆ, Down River, Fader and Reﬆ. The scope of remixes on Conditions – Remixed range from R&B, minimal, tech house and house, so the album is really a multifaceted approach to what are highly praised and muchloved originals. Fool’s Gold have a crack at Down River, the result of which is a beautifully conﬆructed and arranged remix that has a slight retro and old skool ﬂavour. Faithless’ Siﬆer Bliss and Rollo take on Love Loﬆ whilﬆ Sydney’s PVT takes on

MYSTERY TWIN Myﬆery Twin

(Sensory Projects) There’s been an influx of artiﬆs over the paﬆ handful of years attempting to pass off half-baked bedroom recordings and poorly-realised elect ronic sketches as a romantic form of ambient music. The sound of Melbourne’s Myﬆery Twin’s eponymous debut album Myﬆery Twin is essentially the sound of such an artiﬆ realising their potential. While ﬆ ill somewhat transient in its appeal, Myﬆery Twin nevertheless manages to deliver a comprehensively enjoyable and finely articulated musical experience without compromising the intimacy and immediacy of the project’s origins in the bedroom sketches of Melbourne musician Cailan Burns. The sound of the record – pitched halfway between Animal Collect ive’s lo-fi charisma and the textured sophiﬆ ication of Qua (who act ually gueﬆs on the record) – is far from original but it is undoubtedly accomplished. The album’s mix of soothing psychedelic textures, fragmented inﬆ rumentation and ﬆ umbling beats is aﬆonishingly well-proportioned and dynamic while Burns’ work as a songwriter benefits from a remarkably subtle (but unmiﬆakably pronounced) melodic flair – ensuring matters never degenerate into complete abﬆ ract ion. MATT O’NEILL

NAT

Fader. A particular highlight is The Count’s (aka Hervé) Medusa Remix of Science of Fear. With its sweeping ﬆrings and soundtrack like approach, the house and beats-per-minute ramp up to devaﬆating aﬀect – it’s act ually like The Temper Trap element has been kept to a minimum. The Temper Trap have a well-merited reputation for innovative intensity, their music persiﬆent with tribal drum beats and patterns, delicate melodies and perfect ly arranged songs that ﬆ raddle the commercial-alternative divide. And thankfully creativity is abundant from all contributors as the number of records act ually feel like they’ve been reinvented and not simply regurgitated for the sake of making a few extra dollars to cash in on the Silly Season. Although some remixes appear to be ﬆale and over produced, Conditions – Remixed is ﬆ ill a pretty dynamic and impressive take on the originals. STUART EVANS

THE BUG Infected EP (Ninja Tune/ Inertia)

Kevin Martin was, at one point, one of the moﬆ underappreciated visionaries operating in elect ronic music. Since the release of main alias The Bug’s universally acclaimed third album London Zoo, however, Martin has become one of the moﬆ celebrated producers in the leftfield. Unfortunately, such recognition has apparently come at the expense of the veteran’s confidence as an artiﬆ. Infected, Martin’s lateﬆ EP as The Bug, is yet another release – after King Midas Sound’s Waiting For You earlier this year – which finds the producer boiling down his vaﬆ array of influences into a consciously contemporary but increasingly predictable dubﬆep/dancehall formula. The much-lauded Autechre remix of Skeng is, unsurprisingly, an excellent piece of work but the remainder of the EP ranges from vaguely serviceable to utterly perfunctory. Scratcha DVA’s lo-fi dancehall re-rub of Poison Dart is largely unnecessary and the two originals featured, Catch A Fire and Tune In, merely sound like London Zoo caﬆ-offs – the latter going as far as to partially ape both the bassline and ﬆ ruct ure of the aforementioned Poison Dart. Disappointing to say the leaﬆ. MATT O’NEILL

ZZT Afrika (Turbo)

Likely to work in big rooms or on the main ﬆage at feﬆ ivals, but ﬆeer clear if you’re a puriﬆ. There’s nothing here really to set this apart from the reﬆ of the noisey, ravey so-called “techno” replete with diﬆorted basslines, high pitched synths and “woo!” vocal ﬆabs coming out these days, but it’s likely to work for the kids.

TONY ROHR Isabella’s Arpeggiator (Clink Recordings)

Proliﬁc New York producer Tony Rohr delivers more of his trademark “voodoo techno” sound with this one. The ﬆabby bassline and mechanical percussion complement the sci-ﬁ sounds and headmelting synth, creating controlled chaos. Th is is dark, subtle and slightly twiﬆed but loaded with funk and full of quirky charm, making it perfect for small, dark rooms. ANDREW WOWK

3DPLAYLIST 3D 1. Space Jams LOGISTICS 2. Evening Harveﬆ JAMES TEEJ 3. Thunder PSYCATRON & PAUL WOOLFORD 4. Need Your Love FROMAGE DISCO 5. Scary Monﬆers And Nice Sprites (Noisia Remix) SKRILLEX 6. Space Traitor Vol 1 STARKEY 7. Ashes To Ashes WARPAINT 8. Loud RIHANNA 9. More STARR TRAXX 10. Deeper Down (Deeper Mix) DKS

WIND OF CHANGE LIZ GALINOVIC LEARNS THAT HIP HOP WAS THE LAST THING ON TOM SHIMURA’S MIND WHEN HE BEGAN CRAFTING HIS 11TH RELEASE AS LYRICS BORN, AS U WERE SIGNALLING ANOTHER TURNING POINT IN THE VETERAN ARTIST’S CAREER.

fter almoﬆ 20 years in the business of making music, moﬆ of it hip hop, Tom Shimura aka Lyrics Born has released his 11th album (including mixtapes) As U Were. Since his days at the University of California where, as a DJ for the university’s radio ﬆation, he discovered more music than he could gleefully imagine, he has been producing music that has continued to evolve. Although he has remained rooted somewhere in the hip hop genre, as time has gone by, so has the classic hip hop sound of his product ion. It could be said that the moﬆ hip hop element of As U Were is the fact that he ﬆ ill raps. And Shimura is totally comfortable with this. “To be honeﬆ with you, I really felt like on this album I didn’t really care so much. I didn’t really give a shit about what I’d done in the paﬆ, or what people expected of me or what the label wanted or what the induﬆ ry was doing. For me this was really about juﬆ making good progressive art and I think I honeﬆ ly looked at this album as if ‘ok if I could have a playliﬆ, you know, my own playliﬆ, what kind of songs would be on there?’ and that’s how I approached it.” In this sense, Shimura’s playliﬆ features funky disco soul and dance music with a touch of hip hop – some of this on a track by track basis, some of it all nicely infused into the one song. Some might say the obvious departure from solid hip hop that is evident on As U Were has been gradually occurring for some time. It would seem this has been a natural development for two reasons, the fi rﬆ being the evolution of the genre itself. “I think it’s really diversified. It’s now an inﬆ itutional music – it’s not necessarily this underground, rebellious juggernaut anymore. I don’t necessarily feel like it’s as edgy as it once was and I think that’s sort of to be expected when a music has been around for 30 years. Its worked its way into the mainﬆ ream and while there are progressive forms of it I think it’s so varied right now, there’s so many different ﬆ yles out there, it’s really hard to define now what exact ly hip hop is. I think it’s juﬆ become part of the musical landscape in general.” It’s this thirﬆ for edgy, progressive art, and not necessarily hip hop, which seems to drive Shimura. “I think this is probably the leaﬆ ‘hip hop’ album I’ve made. What people’s popular notion of what hip hop is [anyway]. Some of that is by design and some of that is because my taﬆes have always been very broad and I think they’re broader than ever now. “I didn’t necessarily want to make an album that was great hip hop, I wanted to make an album that was great music and progressive. Of course I ﬆ ill rap but, you know, I always made music from the ﬆand point of an artiﬆ that was more intereﬆed in the music that act ually spawned hip hop as opposed to a hip hop artiﬆ.” Shimura speaks in the way of a wise old man who’s endured many an experience, learnt many a lesson and feels it’s his job to impart these lessons on those around him. Not from a superior ﬆand point, but a reflect ive one. “I hit this point in my career where I’ve experienced a lot of the things that I’d always heard a lot of the older artiﬆs telling me about. Changes in the induﬆ ry, changes in people’s taﬆe, changes in the people in your life, changes in people’s attitudes towards you, changes in your attitudes towards things that you used to feel different about previously. That’s what songs like I’ve Loﬆ Myself is about.

“There’s songs like Pills where I talk about prescription drugs and how dangerous I’ve seen them become and songs like Pushed Aside/Pulled Apart where it’s like complete confusion, then there’s songs like Lies x 3 where it’s having really ﬁ rﬆ hand suddenly experienced betrayal on a really personal level, abandonment you know. But I also wanted to have very balanced album also, so there’s also a lot of songs on there that are juﬆ a little more fun than that.” Shimura’s previous album Everywhere At Once was the ﬁ rﬆ time he began to experiment more with a live band and less with sampling. On As U Were this has occurred even more with tracks like Coulda Woulda Shoulda, a collaboration with Sam Sparro, utilising an orcheﬆ ra with a ﬆ ring and horn

sect ion to create a classic soul sound. Other artiﬆs Shimura worked with this time around include Trackademicks, Francis and The Lights, as well as regular feature Gift Of Gab and his original partners in crime Latyrx. But the inﬂuences range from Michael Jackson and Grace Jones to David Bowie and “a lot of dance ﬆ uﬀ ” that he’s been liﬆening to, particularly artiﬆs he’s discovered while playing the Auﬆ ralian feﬆ ival circuit where he claims the sound is more prevalent than it has been in the States. As he ﬆates himself, this time around Shimura cared very little for whether his ﬆepping further away from the traditional concept of hip hop would incite criticism from its adherents. His creative energy is bigger and broader then that. “Th is is probably my moﬆ musical album and I think I’m juﬆ evolving as a songwriter and as a producer.” WHO: Lyrics Born WHAT: As U Were (Shock)

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DIRTY, SEXY, BAILE WITH A REJUVINATED LINEUP VIA AN MTV BRAZIL TALENT SEARCH, BONDE DO ROLÊ’S LAURA TAYLOR AND PEDRO D’EYROT DELVE INTO THE BAND’S MUSICAL PERVERSITIES AND SIGNING WITH INTERNATIONAL DJ DIPLO’S MAD DECENT LABEL.

rom a bedroom in São Paulo, Brazil, Laura Taylor and Pedro D’Eyrot take a break in product ion to discuss the group’s upcoming sophomore album. “It’s very different from the old one,” says Taylor. “It’s a new band basically. We’ve got two new singers – myself and Ana [Bernardino], so we couldn’t really go along the same line as before. There’ll be a lot more English songs, because I’m a New Zealander… Or at leaﬆ it’ll be half Portuguese, half English, with further baile funk influences. We’re saying what we do is Baile Punk, obviously referencing the traditional dance music. It means something along the lines of chaos… or chaotic!” she erupts vocally. “We’ve been calling the [upcoming] album Our New Chinese Democracy,” beats in D’Eyrot, “because it’s taking forever. That’s the unofficial name – we’re ﬆill fighting over who gets to name it. We’ll probably put on a conteﬆ and the winner will get that privilege; like whoever can eat the moﬆ number of hamburgers in a disguﬆing cafeteria,” he continues with curt sincerity. “Hopefully we’ll have it done by the end of this year and somewhere in 2011 it will be out for the world.” The (now) four-piece are no ﬆ rangers to worldwide exposure. Aside from their freshly formed intercontinental makeup (the result of an MTV reality special), paﬆ singles ‘Office Boy’ (2007) and ‘Gasolina’ (2008) grew into certified club-funk anthems, with the latter (a violent and obscene Portuguese ﬆreet slang ditty) gaining further attention following its use as backing to a subsequently banned Bonds Auﬆ ralia television advert. “Basically all we do is talk a lot about sex,” Taylor declares. “It’s because that’s what we believe in and that’s how we live. I guess our music isn’t simply sex, but it’s – I don’t know… a lot of rubbish really. None of us are serious, so we’re not a serious band and none of our themes are serious. We’re juﬆ talking a lot of shit pretty much. We don’t go out with a mind that we’re going write songs about how we feel, then sing it so everyone can hear us. We’re not like that. We’re more like: ‘Yeah, we’re drinking Smirnoff Vodka! We’re getting messy and having a good time and making everyone have a good time with us’.” “That’s what our live shows are about,” she continues. “Everyone gets wet

NAT

and dirty and there’s a massive party onﬆage. We end up singing anything with the audience, bringing them onﬆage and going down with them. If you’re around a Bonde do Rolê show, be prepared to have beer, or vodka… Or whatever thrown on you. Juﬆ get dirty. We did a few shows, which we dressed up all in white as butchers for and brought lots of blood – fake blood. Hundreds of people ended up covered in blood. It was a bloodfeﬆ. We always juﬆ want people to feel the same way we are – to vibrate like us and get on the same wavelength. We have to have a high-energy show to translate what moﬆ people can’t underﬆand we’re saying. I think that language barrier has made it easier for us in many ways. Maybe if they new what we were singing about they wouldn’t like it as much… they’d probably be offended.” The pair giggles in the background. While perhaps uncouth, it’s this very inclination towards the offensive and inflammatory that delivered Bonde do Rolê their initial signing with US producer Diplo. “The very fi rﬆ track we made was act ually mocking [Diplo] and what he was doing, mixing Daft Punk and baile funk sounds. It’s something our DJ, Gorky had been up to for a long time. Diplo’s got a ridiculously huge network of song trading through the Internet and somehow he reached us and liked it. When he fi rﬆ said he wanted to sign us we wouldn’t believe it – we thought it was a joke.” Turns out it was true. WHERE & WHEN: Smirnoff Nightlife Exchange Project Saturday 27 November

NSW

YOKOO

WHERE AND WHEN WAS YOUR FIRST SET? “About seven years ago, in one of my beﬆ friends’ basement. We decided to put a party on to celebrate the end of the exams. I played a banging set with classic Techno 12” to about 70-100 people, all friends. Some of my beﬆ memories to date act ually. ” WHAT’S YOUR FAVOURITE ALL TIME 12”? “It would be the Elect rochoc 002 promo copy of The Sky Was Pink by Nathan Fake. Such a great name for such an amazing track.” WHO ARE YOUR FAVOURITE DJS? “I have never seen them DJ but all I know is that their product ions send me to the 50th dimension and totally turn me on! Kollektiv Turmﬆ rasse and Nhar are their names and the ones I definitely am into the moﬆ at this present moment.” FAVORITE CLUB TO PLAY? “I can’t say I have traveled that much as yet but some outﬆanding places I played at are the Bukanyr House Boat in Prague and SPICE After Hour Club in Sydney where I currently hold a residency on rotation with other artiﬆs. The Civic Underground for their vibe and crowd as well as for it’s sound syﬆem.” WHAT’S YOUR BEST ALL TIME GIG? “I would say I am pretty lucky being involved with SPICE; playing there on pretty much a fortnightly basis. There is no real need of looking further. The crowd is quite different every week even though you’ll find your regulars there – people know why they go there, they are educated and up for a good time!” WHAT’S THE FUNNIEST THING YOU’VE SEEN FROM BEHIND THE DECKS? “I got hired to play at a swingers party a couple of years back. There was a plasma screen with some porn playing behind me and some seriously crazy shit happening in front. I’ll leave it to your imagination.” WHAT’S THE WORST REQUEST YOU’VE GOT? “All in all I don’t think there is such a thing as one worﬆ requeﬆ because all requeﬆs are bad! Juﬆ let me do my thing and express myself as an artiﬆ. I put a lot of time into my craft so people should juﬆ sit back and enjoy the journey.” WHAT DO YOUR PARENTS THINK OF WHAT YOU DO? “My mum uses my mixes and product ions in her gymnaﬆ ic classes! Both my parents seem to be quite proud even though unsure of where this is going to take me.” WHAT DOES THE LOCAL CLUB SCENE NEED MOST? “People more open to being educated on the worldwide music scene rather than juﬆ liﬆening to what the local radio ﬆations feed them.” UPCOMING GIGS? “SPICE at Home Terrace Sunday 28 November, SPICE Afloat Saturday 1 January.” PIC BY CARINE THEVENAU

NSW

DANCE MUSIC HUB CHART

DJ STIFFY’S WIDE WORLD OF SHORTS SUMMER IN AUSTRALIA = IDIOT CENTRAL This is true and I blame one thing. Music feﬆivals. Case in point: Benny Benassi. As has previously been observed, Benny Benassi’s Satisfaction replaced Crazy Frog Anthem as the song played on repeat in Hell’s famous Diarrhoea Ocean. Precisely why, then, that he should choose to visit Auﬆ ralia makes close to zero sense, other than for the reasons that any other 43-year-old European man would want to come to Auﬆralia: it’s a good place to get your dick sucked by a 19year-old. I mean, it’s not as though anyone considers inner-suburban Sydney a bargain holiday deﬆination anymore. AND ANOTHER THING... Irony of the summer is the fact that The Chemical Brothers and Leftfield are headliners at the ‘Future’ Music Feﬆ ival. YET ANOTHER THING... The fact that everyone who is participating in the apparent debate over gay marriage seems to forget is that marriage is gay. Every single wedding I’ve been to: gay. Gay people – particularly gay men – should enjoy the fact they can’t get married. If you have doubts, please ask any married man what he thinks about being married. TOUR OF THE WEEK: MICHAEL BOLTON Yes, laugh as you may, but I am positive that Michael Bolton has fucked more suburban PAs across the United States than Ron Jeremy. (Which act ually ﬆands to reason, because Ron Jeremy would have been getting paid to have sex with pornographic actresses). That said, Michael Bolton deserves credit for this. But absolutely nothing else. I NEED A SCIENTIST TO TELL ME I’M MISERABLE Apparently the British are so fucked up that they act ually need a group of social scientiﬆs to tell them that they are completely fucking miserable. These days it’s not enough to look out the window at the rainy, fucked-up weather, completely decrepit infraﬆruct ure, collapsing financial services sector and fucked-up dental health of the broader population to realise that the country is shit. I know people always go on about how great the music scene is in the UK. But you wanna know why it’s so great? Because locking yourself in a room with flashing lights, loud music, drugs and cigarettes is the only way to forget how shit it is outside.

1. The Weekend 2010 (Club Mix) TANGO & CASH 2. The Age Of Love (Tempered DJs 2010 Remix) AGE OF LOVE 3. I Can Wait (G&G Remix)

APOLLO 4. Rub It Till It’s Wet GAZEEBO 5. Circa ’86 ETIENNE FUTUR 6. Freshness BIONICK & LAKOSTA

7. To Be MARCO KAZAZZA 8. Like A Prayer THE MYSTERIOUS GIRL 9. Tik Tok (Dimitri

Vegas & Like Mike Remix) BOB SINCLAR & SEAN PAUL 10. Get Wicked (Jackbot Remix) NATHAN PHILLIPS

YOUTUBE OF THE WEEK

It didn’t quite leap oﬀ the grooves of his Into The Great Wide Yonder long-player of earlier this year, but in the live arena Trentemøller’s Silver Surfer, Ghoﬆ Rider Go!!! is quite clearly a feﬆival smasher – and you can see/hear its proto-drum‘n’bass rhythms and surf guitar vibes unleash hell on Denamrk’s 2009 Roskilde Feﬆival in the oﬃcial clip which has juﬆ been unveiled...

“

OMG... KE$HA REHEARSING... BLIMEY TALK ABOUT HOT... IN 15 MINUTES’’ PICTURING THIS COMMENT BEING SAID BY SUNRISE HOST DAVID KOCH IS CREEPY ENOUGH, BUT THE FACT THAT HE WAS SPORTING A PORN STAR MOUSTACHE AT THE TIME REALLY MAKES IT SICK.

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WHAT INSPIRED YOUR DJ NAME? “My fi rﬆ and middle names. Not super creative I know, but I didn’t want to make up a name full of awesome sounding adject ives. It would have been cool if I had a Spanish or Italian sounding surname though I guess.” IN A NUTSHELL, DESCRIBE WHAT YOU PLAY? “Deep, dark and sexy with a minimal tech edge progressing to big room house.” WHAT TRACK TURNS YOU ON RIGHT NOW? “Can’t decide between, Noir – Africanism, Dennis Ferrer – The Red Room, Gregor Salto – Canoa.” WHAT MADE YOU START DJING? “Love of music as well as definite avoidance of finding a ‘real’ job and having to conform to a 9-5

INDUSTRY WATCH

DNBBQ AT MANNING BAR

THE IDEA BEHIND OUR NIGHT IS… “Food, music, bass and great vibes.” WE’LL BE PIMPING THE SOUNDS OF… “Drum‘n’bass, dub, reggae, hip hop and dubﬆep. Eight hours with three room act ion.”

DJBOOTH NICK BLAIR

culture. Oh yeah, and a little island called Ibiza.” WHAT’S THE WEIRDEST THING YOU’VE SEEN IN A NIGHTCLUB? “Midget sex. The image ﬆ ill haunts me.” WHAT’S THE WORST BOOTLEG YOU’VE EVER HEARD? “Oh shit, there have been so many.” THE MOST IDIOTIC REQUEST YOU’VE HAD AS A DJ? “When are you going to play something we can dance to? You know, something we can all sing along to!”

WHERE & WHEN: Open House at Kudu Lounge Friday 26 November, Houseclub at Favela Saturday 13 November

SPANK RECORDS CHART 1. For Five EP AWANTO 3 2. I Need A Dollar (Tensnake Remix) ALOE BLACC (TENSNAKE REMIX) 3. Melted Chocolate TIEFSCHWARZ 4. Metropole KINK & NEVILLE WATSON 5. Some Th ings Remain SOULPHICTION

NSW

6. DJ-Kicks APPARAT 7. My Rescue (Remixes) CANYONS 8. Slinky PLASTIKMAN 9. Webaba EP CULOE DE SONG 10. Eminent Times LEXX

THE TALENT WE’VE GOT LINED UP TO PLAY INCLUDES… “Makoto (Japan), Lynx & Kemo (UK), Dub Terminator (NZ), Red Bantoo (Byron), The Versionaries, Low Society and heaps more! Over 30 artiﬆs!” THE OTHER TRICKS UP OUR SLEEVE INCLUDE… “Bass and free gourmet food for early birds! Also a draw for a double pass to Peats Ridge Feﬆ ival. CHECK OUT OUR NIGHT IF YOU’RE THE KIND OF KID WHO LIKES… “Quality music on tuned sound syﬆems with no pretentious vibes.” THE THING WE PROVIDE YOU CAN’T GET ANYWHERE ELSE IN TOWN IS… “A community based event which provides the ingredients of all great parties. Food, wine and bass music!” WHERE & WHEN: DNBBQ at Manning Bar Sydney University Saturday 27 November

ARTIST PROFILE SWAZE1/SFX/SWB/ZNC

ARTIST BIO? “Graffing since 2000. Hip hop life since 1984. Did my fi rﬆ graffiti world trip in 2009 travelling to 13 countries. I’ve painted in Brisbane, Melbourne, Sydney, Newcaﬆ le, Wollongong and Canberra. ARTWORK? “New Bondi wall called Bondi Midnight Breeze and Avatar.” THE IDEA BEHIND YOUR WORK? “To express our artiﬆ ic sides of our minds to the wall.” CHOOSEN MEDIUM AND WHY? “Aerosol because it’s quick, it’s the laﬆ painting tool that anyone would think of using for artiﬆic means. The can was used when graffiti exploded world wide in the 80s so it will always be the tool of the trade.”

“

WHAT DO YOU SAY WHEN YOUR GRANDPA JUMPS IN THE POOL ..? PADDLE POP !!!!!’’

HO, HO, HO... A JOLLY GOOD JOKE BROUGHT TO YOU BY PART TIME COMEDIAN AND FULL TIME MELBOURNE HIP HOP P PHRASE. SO BAD IT’S GOOD...

DESCRIBE THE CREATIVE PROCESS. “Brainﬆorming is always ﬁrﬆ ﬆep, then get it down on paper, then we usually juﬆ go for it ﬆraight to the wall, improvise and freeﬆ yle the reﬆ.” WHAT DO YOU WANT AUDIENCES TO

LEARN OR FEEL? “I’m not usually too concerned with the audience because it’s more about personal satisfact ion, but with walls such as Bondi Beach where there is such a large audience passing through everyday, I want the people to feel like graﬃti is a skilled, self expresive artform. And not to be so quick to judge us negatively.” INSPIRATIONS? “The world around us and the universe around the world.”

GIVEAWAY

SUBSONIC MUSIC FESTIVAL DOUBLE PASSES Set in the idyllic Riverwood Downs at Barrington Tops (three hours from Sydney), the site for this year’s Subsonic Music Feﬆ ival is the ﬆ uﬀ dreams are made of. Add music spanning everything from techno and house through to dub, funk and soul and you have got one epic event. Th is year’s line-up includes Michael Mayer, Kora, Extrawelt, Hermitude, Earthling and Boris Brejcha among others. The three day event ﬆarts Friday 3 December and we have two double passes to giveaway. Simply email your name and contact details to giveaways@3dworld. com.au with SUBSONIC in the subject line for your chance to win. Entries close Friday 26 November.

WHERE & WHEN:

Bondi Midnight Breeze and Avatar walls at Bondi Beach

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GUESTLIST

MAKOTO

TUESDAY

BEACH RD HOTEL Tuesday Night Live: Leroy, Roger Lock, Ashlee Carrol. 8pm. Free. CBD Bone Thugs-N-Harmony. 7.30pm. $49 + bf. OXFORD ART FACTORY Metronomy, World’s End Press. TOKIO HOTEL Embrace. 7pm. Free. THE VALVE Underground Tables: Loko, Disco Rossco. 7pm. Free. WORLD BAR Pop Panic: Karaoke, DJs Shipwreck, Madhonour (Neon Hearts), The Cosmic Explorer.

WEDNESDAY BEACH RD HOTEL Chaingang, The Dirty Secrets, Myth & Tropics. 8pm. Free. TOKIO HOTEL Embrace. 7pm. Free. WENTWORTH HOTEL Uni Night: DJ Nicky M, Dream One. 8pm. Free.

THURSDAY BEACH RD HOTEL Thursday In The Rex: DJ Alex. Free. CRUISE BAR Salsa On The Rocks: DJ Dwight ‘Chocolate’ Escobar. 8:30pm. Free. ENMORE THEATRE Fat Freddy’s Drop, Electric Empire. THE GAELIC Bone Thugs-N-Harmony. 7.30pm. $49 + bf. HOME TERRACE Unipackers: Aladdin Royaal, Flite. 10pm. NOTES Cositas Flamencas: Rafael Alcolea, Pablo Fernandez Portillo, Claudia Chambers, Marco van Doornum, Karl Krebs. 7pm. $47.95 (pre-sale). TONE Loop: Simon Caldwell, Jimmi James. WORLD BAR Teenage Kicks: The Vines DJs, Urby, Mick Jones, Johnny Segment, Monkey Genuis.

FRIDAY BEACH RD HOTEL Dust Tones: Surecut Kids, The Psyche Projects, Ability, Mike Who. THE BASEMENT DJ Krush. 9:30pm. $43.30 + bf (pre-sale)/$50. CANDY’S APARTMENT Liquid Sky: Teez, Moohoo, Sohda, Wizzﬁzzkidz, Detektives. CARINGBAH BIZZO’S Thundamentals. 8pm. CHINESE LAUNDRY Doctor Werewolf, Klaus Hill, Autoclaws, Blog Wars, Gee Fulkz, Royalston. 10pm. $15 before 11pm/$20 after. CIVIC UNDERGROUND Reckless Republic Plus+1: Jay Shepheard, YokoO, Matttt & Tomass, Sam Roberts. 10pm. $20. THE CHATSWOOD CLUB Poonies. $10/$5 with guestlist. THE EASTERN Circus: Local DJs. 8pm. $10 after 11pm. THE GLADSTONE HOTEL Purple Sneakers: Surecut Kids, Guineafowl, M.I.T, Fantomatique, T-Rompf. 7pm. $12. GREEN PARK HOTEL DJ Dan Copping. 9pm. Free. GOODGOD SMALLCLUB Index: Untold, Mark Pritchard, Zerodub, Preacha, Paul Fraser. 10pm. $20. HOTEL GEARIN Koolism. JACKSON’S ON GEORGE Four ﬂoors of entertainment and DJs. Doors 9pm. Free. KIT & KABOODLE Falcona Fridays: Falcona DJs. 10pm. $10. METRO THEATRE Pharoahe Monch, Jean Grae, Boogie Blind. 8pm. $44 + bf (pre-sale). MR B’S Yogi, DJ Husky. 6pm. Free. OXFORD ART FACTORY Teaser: Distemper, Gabriel Clouston, Gilsun, Rubio, Pop The Hatch, Saikopod. 11.30pm. $15. THE POLO LOUNGE, OXFORD HOTEL Jack: Mark Murphy, Magda. 9pm.

PLANTATION Blunt Entertainment Website Launch Party: Gabe (Live), EzyBoy, Tezzel, Caba, Felipe Cintra, Dylan Griﬃn, Fabeta, Ridge Back. THE ROXY Percussionist DJs, Ray Issac, Rob Brizzi. 5pm. Free. RUBY L’OTEL Flirty Fridays: Shan1 N Krew, Soulganic, Cavan Te, Suite Az. SPECTRUM Silent Alarm DJs. 11:30pm. $5. TAO LOUNGE DJ Husky, Yogi. 8pm. TANK RnB Superclub: G-Wizard, Def Rok, Troy T, Eko, Lilo, Jayson, Losty, Ben Morris. 10pm. TOKIO HOTEL Rock Glam: Turn It Up, Soul Nights. 8pm. Free. TOWN HALL HOTEL Zoltan. 9pm. Free. WENTWORTH HOTEL Wentworth Weekend Warm Up: Wentworth DJs. 8pm. Free. WORLD BAR MUM: Young Heretics, The Cairos, The Bon Scotts, The Money Smokers, Clowns, Celadore, Moonbombs. DJs Nic Yorke, Clarence Knight, Hayley (Chain Gang), Cunningpants, Ohh Face, Holatron & A-Bomb, Jenny Kong, My Melody, Mush, Lonewolf. 8pm. $15.

SATURDAY 202 BROADWAY Jamrock: Prince Andrew, DJ Fasmwa, Joe, Nick Toth. 9pm. $15. BEACH PALACE Matt Nukewood, E-Cats, Jack Bailey, Jay Royal. 8pm. Free. BEACH RD HOTEL Saturday In The Rex: DJ Micha. 7pm. Free. CANDY’S APARTMENT SMS, Lights out!, Teez, Zomg! Kittenz, Disco Valante, Stik. 8pm. $10/$15/$20. CIVIC UNDERGROUND Adult Death Strobe Party. $15. CHINESE LAUNDRY Official Stereosonic After-Party: DJ T, Congorock, Anna Lunoe, Wax Motif, Cassette, Robbie Lowe, Chris Ana, Mike Hyper, Harry Cotton, Marky Mark. 9pm. $15 before 10pm/$25 after/$10 with Stereosonic wristband. THE COLLINGWOOD HOTEL Slinky Saturday: DJ Steve, DJ Trisha. 9pm. $10. ESTABLISHMENT Sienna: G-Wizard, Def Rok, Eko, Lilo, Troy T. 9pm. FORBES HOTEL We Love Indie. THE GAELIC Spit Syndicate, The Tongue, Class A. 8pm. $15 + bf (pre-sale)/$20. GOODGOD SMALLCLUB Skerrit Bwoy. $15. CLASS A

JACKSON’S ON GEORGE DJ Lenno, DJ Aladdin Royaal. Free. MARRICKVILLE BOWLING CLUB Juan Atkins, Vince Watson, Alex Smoke. MANNING BAR DnBBQ: Makoto, Lynx & Kemo, Dub Terminator, Foreignclub Airways, The Low Society Crew, Red Bantoo. 7pm. $35 + bf (pre-sale). MELT BAR The Gameboys, The Swede, Isbjorn, Liz Bird, Mr Belvedere. METRO THEATRE Femi Kuti & The Positive Force. PHOENIX Phoenix Rising: Dan Murphy, Johan Khoury, Mark Alsop, Rado. 4:30am. $10. PLANTATION The Temple: Alex K, Sunset Bros, Outsource, Rata, Steve Play, Andre Jay, Dk1, Wilz Frantic, Benino G, Blinky, ScottyO, Nick Nova, Danny P, Rath. 10pm. $15–$20. THE RED RATTLER THEATRE Stiff Gins Single Launch. 8pm. SPECTRUM P*A*S*H: DJ Knife, Goldfoot. 11:30pm. $8. SYDNEY SHOWGROUND Stereosonic: Tiësto, Calvin Harris, Carl Cox, Major Lazer, Sebastian Ingrosso, Benny Benassi, Wiley, Ricardo Villalobos, Infected Mushroom, Jeff Mills, Afrojack, Luciano, DJ Sneak Caspa & MC Rod Azlan and more. 12pm. $135 + bf (pre-sale). STAR CITY CASINO WHARF Emotion Boat Party. TOKIO HOTEL Alphamama DJs. 8pm. Free. TONE Soup, The Swat DJs, When The Levee Breaks DJs. 8pm. $12. TOWN HALL HOTEL Jed Zarb. 10pm. Free. THE WALL Phatchance, Coptic Soldier, Johnny Utah, Mind Over Matter. 8pm. WORLD BAR Wham!: Simon Caldwell, James Taylor, Rob Kay, Mo’ Funk, Adam Bozzetto, Garry Todd, Foundation, Beetz, Moneyshot, Shamozzle, Gabriel Clouston. 8pm. $15.

SUNDAY BATHURST’S MOUNT PANORAMA Newton’s Nation: Bliss N Eso, Birds of Tokyo, You Am I, Operator Please, Children Collide and more. BEACH RD HOTEL Bondi Sundays. 6pm. FORT DENISON Sundays ‘til Sunset. $20. THE GAELIC Mukti N Revival. 5pm. $30 + bf (pre-sale). THE GOLDFISH The Martini Club, DJs Johnny Gleeson, Tom Kelly 6- 8pm. HOME TERRACE Spice: Altay Altin, Telefunken, YokoO, Schwa. 5am. $20. PLEASE SEND ALL GUESTLIST LISTINGS THROUGH TO SYDNEY@3DWORLD. COM.AU BY MIDDAY THURSDAY PRIOR TO PUBLICATION.

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MONTHLY MOTIVATIONS November is the month of ‘Movember’. Run by the Proﬆate Cancer Foundation of Auﬆ ralia, this is the month when men all over Auﬆ ralia don’t shave for charity. The Proﬆate Cancer Foundation has hit upon a brilliant money-raising venture with Movember. It gives a lot of men a valid reason for growing the facial hair they’ve always dreamed of, but with the social protect ion of being able to say that it’s for charity. The other monthly venture that occurs in November is ‘National Novel Writing Month’, or ‘NaNoWriMo’, a time when aspiring writers are challenged to attempt to complete an entire novel before December hits. As you might have noticed, one of these things requires not a lot of eﬀort and one of them requires quite a lot. In 2009, of the 120,000 people who signed up for NaNoWriMo, less than a third made it to the minimum word limit of 50,000 words, which is ﬆ ill pretty good for one month. Movember, on the other hand, probably has about a 100 percent success rate, since all you need to grow a beard is a face. But why are our months being allotted into speciﬁc act ivities? Auguﬆ is national de-sexing month, which encourages people to go and desex their animals, June is national depression month, which encourages people to talk about depression, and October is ‘buy nothing new month’, which encourages people to try and buy nothing new to show that you can live perfect ly happily without buying two dozen items from IKEA every week. These are all admirable causes, but why can’t we juﬆ buy recycled goods, write novels and grow mouﬆaches all year round? Why should these tasks be attempted in ﬆ rict 28 or 30 or 31-day cycles, and then abandoned? If we gave ourselves a bit more time on each of things, we might even save the planet, write great novels and all work part time as porn ﬆars. No-one is blaming NaNoWriMo for trying to motivate people to put aside one month in yet another waﬆed year and write something of value. But as anyone who has ever tried to write a novel will probably notice, when you try to pump one out without ﬆopping to look at what you’re act ually putting down on paper, you end up being the author of some pretty shocking writing. And with the recent release of Juﬆ in Bieber’s autobiography, the laﬆ thing the world needs now is more crap writing.

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COURT-SIDE

UNDER SIDE FRISKY BUSINESS So you’re walking through airport security, about to board a fl ight, when you are pulled aside for a pat-down. There’s nothing terribly unusual about that. Except that the pat-down becomes a frisking, which quickly turns in to a frigging. By the time it’s over, it’s bordering on a fully-fledged fiﬆ ing. The experience leaves you feeling as though your civil liberties have been violated. In fact, you feel like you’ve suffered a Government sanct ioned sexual assault. If you’ve ever ﬆaggered on to a fl ight feeling that the security guard should have bought you dinner fi rﬆ, you’re not alone. Footage of a man resiﬆ ing such a search at an American airport has gone viral. The man insiﬆs that if the Government wasn’t involved in this frisk, it would be classed as a sexual assault (he also memorably told the security guard “If you touch my junk, I’ll have you arreﬆed”). Another woman blogged about holding her baby while being thoroughly frisked at airport security. She claims the female security guard touched her labia and breaﬆs. Yikes. I have a lot of empathy for anyone who feels that they have been sexually assaulted or otherwise violated by overzealous airport security ﬆaff. It’s a sad sign of the times. But there is a simple solution to the problem and the solution is this: Better looking security guards. Have you seen the freaks they hire down at the airport? I’m sure if they got some talent up there doing these pat-downs, complaints would drop to zero overnight. team of ‘Naﬆ y Girls’ for the guys, some ‘Chippendales’ for you ladies. Crank up some Bobby Brown on the ﬆereo and inﬆall some sexy lighting and suddenly the security pat-down becomes the highlight of the fl ight. In the poﬆ-9/11 world, air travel is no longer designed to be fun. But getting patted down by security would be a lot more tolerable if they could set the mood so it had the feel of a lap dance rather than a rape. And a lot more lonely businessmen would be trying to look Muslim if they thought the ‘random search’ would have a happy ending. DAVE JORY

Auﬆ ralia has already said no to domeﬆ ic violence and Krispy Kremes but laﬆ week we went one ﬆep further to becoming a squeaky clean nation by clamping down on online cigarette advertising, with the introduct ion of The Tobacco Advertising Prohibition Amendment Bill 2010. Retailers who advertise their products without the required health warnings and as being ‘tax free’ will be amoung those moﬆ impacted by the bill. Major supermarket chains and specialiﬆ tobacco and cigar retailers will be consulted on a draft of the regulations once developed. Auﬆ ralia already has some of the world’s tougheﬆ tobacco advertising reﬆ rict ions across TV, radio and print – now the lateﬆ reﬆ rict ions on online advertising are a part of a campaign that aims to reduce smoking rates by 10 percent by 2018. Miniﬆer for Health and Ageing Nicola Roxon has proudly declared, “Together with our eﬀorts to mandate the plain packaging of tobacco products from 2012, Auﬆ ralia is on track to have the world’s tougheﬆ measures againﬆ tobacco”. So if you take great pleasure in watching YouTube videos that encourage you to light up a fag, it might be time to think of another hobby...

HOW DID YOU CHOOSE YOUR MC NAME? “I choked at a MC battle competition when I was 15. It was a big deal for me and when I got over it I thought the name suited. Plus I’m a pretty happy go lucky dude in general.”

MCBOOTH BOOTH SMILES AGAIN

WHAT’S THAT ON YOUR SHIRT THERE? “Tribal! We locked in a sponsorship with Tribal juﬆ before we released Keepin’ It Breezy and havn’t looked back since. They look after us very well.”

HOW LONG HAVE YOU BEEN RAPPING? “Roughly six years.” ARE YOU AFFILIATED WITH ANY CREW? “Mind Over Matter and I Forget, Sorry!” WHAT CAN YOU REMEMBER ABOUT YOUR FIRST GIG? “We made up ﬂyers and handed them out to everyone at school, we packed the place out with about 40 of our school friends. It was a tiny little youth centre venue, so much fun.” EVER EXCRETED ANY UNUSUAL FLUIDS BEFORE ROCKING A SHOW?

shrip at a meeting and someone says to him ‘hey George, the ocean called they’re running out of shrimp’. George replies ‘well the jerk ﬆore called and they’re running out of you!’.”

“Hell yes, recently we supported Pez at a rural show at Tathra. We ate like kings juﬆ before the show. I tucked into some prawns which didn’t sit too well, half an hour after dinner the toilet was my beﬆ friend. I literally legged it from the dunny onto ﬆage as the intro to our set was already playing.” YOUR BEST SHOW AND WHY? “Probably the Brisbane show on the Bliss N Eso Down By The River tour. The crowd was berserk which is a given being we were at a Bliss N Eso show, but it was a show where Willow and I vibed oﬀ each other really well, everything went oﬀ without a hitch.” FAVOURITE COMEBACK LINE? “George Coﬆanza (Seinfeld) is eating heaps of

WHAT’S YOUR DREAM COLLABORATION? “Redman, Eminem and Mind Over Matter!” WHAT’S THE BEST THING ABOUT THE LOCAL HIP HOP SCENE? “The scene is juﬆ down for good music, the talented artiﬆs are the ones who are doing well in the scene. I hope that continues.”

WHERE & WHEN: Cabbage Tree Hotel (Wollongong) Thursday 25 November, The Wall

(Sydney) Saturday 27 November, Great Northern Hotel (Newcaﬆ le) Friday 3 December

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A B C D E F G HI JKL

MNOPQRSTUVWXYZ

3D WORLD’S A-TO-Z OF DANCE MUSIC GENRES THIS WEEK: MIAMI BASS 2 LIVE CREW

Long before Diplo could champion regional music, or the Internet shattered the very concept of ‘regional urban’, a few such genres were nonetheless attract ing cult followers globally. One of these was Miami bass, or booty music, which emerged in the 80s. In fact, bass music didn’t juﬆ emanate from Miami, but also Orlando, home

GIVEAWAY

of Magic Mike. The ﬆ yle is often considered to be a hip hop oﬀshoot, but it has its roots in elect ro – the New York elect ro of Afrika Bambaataa & The Soulsonic Force and Detroit’s Cybotron. In its classic form, Miami bass is produced on an 808 drum machine – the pitch of the kick drum is lowered so as to create a bassline

SHAUN TAN, THE ARRIVAL GIVEAWAY They say a pict ure is worth a thousand words and anyone familiar with the work of author-illuﬆ rator Shaun Tan will know that there are few who can tell a ﬆory like this talent soul. Tan’s lateﬆ release The Arrival & Sketches from a Nameless Land is a novel told completely without words - emotive illuﬆ rations are the guide. The Arrival explores the challenging process of immigration, exposing the heart warming and heart breaking experiences along the way. With multiple national and international awards under his belt, and a ﬆ ring of ﬁ lm, theatre and orcheﬆ ral adaptations of his graphic novels, Shaun Tan’s works are beyond exceptional. 3D World would like you to own your own copy of The Arrival. There is one book up for grabs so email your name and address with ARRIVAL in the subject line for your chance to win. Entries close Friday 26 November.

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– and features an elevated tempo, ad-hoc samples, synths and sexuallythemed raps. It’s unpretentious party music. Amos Larkins was an original proponent of Miami bass, producing MC ADE’s 1985 Bass Rock Express. But it was 2 Live Crew who really put Miami bass on the international map. Their music

was faﬆer – and sleazier. The outfit – which moved from California to Florida only to be remoulded by local entrepreneur Luther ‘Luke’ Campbell – blew up with Th row The Dick. 2 Live Crew’s controversial debut, The 2 Live Crew Is What We Are, was ‘naﬆ y’ rap. They didn’t exact ly tone things down for 1989’s As Naﬆ y As They Wanna Be, which spawned Me So Horny. Th is time 2 Live Crew found themselves embroiled in an obscenity case initiated by the ultra-conservative American Family Association that act ually helped them shift even more units. Citing the Firﬆ Amendment, the group argued that they were being censored, their music belonging to a tradition of subversive black comedy. Still, some liberals deemed their music misogyniﬆ. The next decade saw poppier variants of Miami bass. Atlanta’s Tag Team unleashed Whoomp! (There It Is), among 1993’s biggeﬆ records (it was later given the Crazy Frog treatment). Florida producers CC Lemonhead and Jay Ski were involved in crossover acts like 95 South (Whoot! There It Is), 69 Boyz (Tootsee Roll) and Quad City DJ’s (C’mon N’ Ride It (The Train)). In 2000 James Lavelle’s Mo Wax issued a ‘cool’ compilation of inﬆ rumentals from Magic Mike – The Journey. (His 1989 album, DJ Magic Mike & The Royal Posse, was certified platinum Stateside – hardly underground.) Miami bass has a counterpart in Detroit’s ghetto-tek and Chicago’s booty house. In the 90s Florida gave rise to a new breaks sound indebted to bass music. Today the influence of Miami bass pervades the dominant Southern hip hop – and crunk.

WELCOME TO THE JUNGLE NOT EVEN A LAST MINUTE WEATHER-ENFORCED VENUE CHANGE COULD DIM THE SPIRITS OF JUNGLISTS MAKING THE PILGRIMAGE TO THE INAUGURAL PARADISE IN BALI FESTIVAL, AND 3D WORLD’S DAVE DRI WAS THERE FOR EVERY RINSE OUT, AMEN BREAK AND REWIND. PHOTOS BY ARIANA YEUNG.

he humid air seems to slow the sunset, with an over-ﬆ uffed ball of orange turning pink with the effort of gliding slowly into the ocean. As it dips out of view, a final round of Bintangs are ordered to accompany the slow ﬆagger up an impossibly long ﬆ retch of sand, aiming somewhere towards the diﬆant bungee tower presiding over a serious looking ﬆage. Either side of the ﬆage ﬆands a virtual apartment block of speakers, and even as the firﬆ hints of a rolling bassline are heard along the coaﬆ line of Seminyak, a burﬆ of lasers splits the air. Such are the beginnings for the inaugural Paradise In Bali, an unrelenting two-day feﬆ ival representing the full spect rum of drum’n’bass with acts from across the world. Two years in the planning, the Jungle Box crew have realised a dream event that couldn’t better match its title. Originally planned to be held at the GWK complex, a week of intense tropical rain sent the team on a recon mission for the sake of safety and comfort, settling into the local inﬆ itution known as Double Six. A favourite of the locals and the guide book masses alike, this madhouse is perched across from Seminyak beach,

with a large peaked roof ﬆ raddling a series of lounges that surround a central dancefloor. From all angles the imposing bungee tower is visible, firing from dusk until dawn under the auspices of the AJ Hackett brand. With a line-up this heavy, the nights roll out quickly, with Brisbane local de la Haye a highlight ﬆraight out of the gate, heating up Double Six’s main dancefloor where the world’s top DJs have ﬆood before her. Outside in the courtyard, the main ﬆage is a booming reminder that

drum’n’bass and dubﬆep are a dish beﬆ served large. If there were any coconuts left in the beachside palm trees after soundcheck, they’ve all been shaken out by the time the Ragga Twins introduce Utah Jazz onto the ﬆage. Clearly in fine form, the Twins roaﬆ and toaﬆ their way through a cycle of smiles and serious bass face, giving a history lesson amongﬆ the rapidfire flow. Somewhere amid the rolling beats and sine waves comes a sudden cheer and that unmiﬆ akable half-time headspace of a head-caving

dubﬆep break. Reece gives way to Rave-out, and ShockOne manages to outdo the manic crowd for energy and intensity. If nearby island nations suddenly collapsed into the ocean’s depths, the tsunami would lead back to so much syncopated, headbanging madness when True Believer drops, keeping the wobble up as a refreshing break before diving back into some serious rolling business. Handing out his own virtual business card comes Netsky, smoothing out the hard edges into another “beﬆ of the feﬆ ival” moment, for those yet to give in to the realisation that the whole night is a “beﬆ of ”. Needless to say, the sun rises with a shock of colour and heavy feet trample every direct ion home. After the fi rﬆ night madness, and the second day debauchery and sunburn, the following night kicks off harder and in greater numbers. Q-Bik waﬆes no time moving right into rinse-out, with Excessiv on the mic to keep things rolling. The night goes deep, packing the floor into a sub-bass submarine of subsonic sound. The bar might as well be tipping beer out of the boxes, with all of these b-lines being thirﬆ y business, and a quick retreat into the

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BALI BASICS

Bali is a popular deﬆination for Auﬆralian travelers, with the majority spending their entire holiday in the maddening conﬁnes of the Southeaﬆ. This ﬆretch of beach was once a series of villages, but now forms a non-ﬆop series of beach umbrellas and beer drinking in an easy walk from Kuta, through Legian and Seminyak. The development of Kuta is typical of Southeaﬆ Asia, a mix of madness and inspired DIY, with endless accommodation choices to pick from within an easy walk. If you need to book ahead, pick your ﬁrﬆ night with the time-honoured pairing of Wotif and Trip Advisor websites, but keep in mind that there are thousands of cheaper options without a web presence for those willing to look.

BALI

FACTS & FIGURES Population: 3,551,000 (2009) Language: Indonesian/Balinese, though English is common National Drink: Bintang Average Annual Rainfall: Year round Currency: Indonesian Rupiah (AUD1.00 = RP8848)

arct ic air conditioning of the indoor ﬆage yields some cold air and a blaﬆ of hoovers from the heavy shakedown of Singapore’s Ming. Ming and the reﬆ of the Asian contingent might be relative unknowns to the Auﬆ ralian and UK crowds, but the success of the event can only mean greater exposure to neighbouring talent – including the incredible Javabass crew who are only a hop, skip and bassline jump from Auﬆ ralian speaker ﬆacks. The indoor respite is a welcome one, but the call to arms for Kruﬆ & Die means a march back outside, ﬆopping only at each bar to re-arm for the onslaught ahead. In yet another pair of “beﬆ set” moments, Die edges ahead of Kruﬆ with a dynamic set that switches back into half-time breathers and rewind show-ﬆoppers – some at the requeﬆ of Stamina MC. And if ever an MC beﬆ represented the art, it’s Stamina. Switching between reverb drenched vocal takes, improvised hip hop ﬂow and an allimportant lesson in ﬆage design for the larger MC, Stamina’s dynamic with Die leaves the crowd breathless, literally, as rain clouds gather. Blame the Ragga Twins for doing the rain dance, but even the rain can’t ﬆop the party, as the

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crowd pours indoors to conquer the dancefloor together. This is heavy, serious, tropical rain, punct uated only by an army of moto drivers in their rain capes, looking more like ﬆunt riders than a safe means of riding home in the rain. The main ﬆage washout might read as a downfall of an outdoor event in the tropics, but the unified floor on the final rinse and rewind makes for a fitting end to an incredible event. Th rough venue changes, local challenges and a serious lack of sleep, the Jungle Box crew have pulled off a truly

international event in a jaw dropping and chaotic setting. Whether it is the uniquely uniﬁed vibe of the d’n’b scene, or the novelty of the exotic location, or simply the dirt cheap beers, there is a sum greater than the parts to create such an experience in spite of the challenges. In this cookie cutter feﬆ ival world, there is an even greater reward for new events and the courage to take big risks – and what greater risk than unleashing an army of jungliﬆs in a tropical jungle? One worth the taking. Boh!

TIPS FOR THE JETSET JUNGLIST

Keeping healthy is easy without becoming paranoid, as any dangers of catching “Bali Belly” are balanced out with the economic reality that businesses generally won’t ﬆay open if they can’t keep their patrons healthy. The greateﬆ dangers are economic, with late-night taxi drivers regularly quoting in excess of RP$200,000 for the 10 minute drive from Kuta to Seminyak, which will clock in on a metered taxi during the day at around RP$14,000. That’s AUD$20 plus for a ride less than AUD$4 during the day. Keep in mind that this is a region where the typical poor family makes do on USD$2 a day, so keep your cool and pre-book late night drivers where possible. Another tip is to ﬆ ick to the Bintang. Th is local beer isn’t only a cultural landmark for the singlet brigade, but it avoids using glassware commonly rinsed in buckets of dirty water at particularly busy clubs.

IF YOU LEFT TODAY?

Jetﬆar and Virgin Pacific Blue regularly offer cheap flights to Denpasar. Return Airfare: $779.00 (from Sydney)/ $799.00 (from Melbourne) / $559.00 (from Brisbane). Cheapeﬆ Hotel Room – Room only accommodation from AU$10. Current Foreign Affairs Status – Exercise Caution. See www.smartraveller.gov.au for updates. Entry/Exit Requirement – Visas are available upon entry for US$25. Make sure your passport has at leaﬆ six months’ validity from your planned date of return to Auﬆ ralia.

BORED CAT IS WATCHING YOU PROCRASTINATE Auﬆ ralia’s premier all-female elect ronic act B(if)tek were on to something with the release of Machines Work in the year 2000. Th is soundtrack to the changing Millennium offered the catch-cry of “machines can do the work, so that people have time to think”. And think they did. Since the end of World War II, and the resulting over-abundance of manufact uring capacity throughout the 1950s, humankind has had more time to think. Naturally, those thoughts have largely been how to make even more time to think by developing even better machinery. To date, the only non-mechanised funct ions of human exiﬆence have been the pleasures of procreation and pet-pampering. Until now. As reported as one of the top ﬆories on news.com.au, that laﬆ baﬆ ion of fi ne journalism, a company based in Boise, Idaho in the good old US of A has developed the solution to our fi nal frontiers of pesky manual labour. Running with a suitably professional lolcat photo, the article is an underﬆ ated description of the success of Apriori Control in taming our endless subservience to

the oppressive legions of insatiable kittehs. Th is freedom has been achieved like so many others – through the adaptation of weaponry and robotics. Apriori Control fi rﬆ rose to relative insignificance via a basic form of web-enabled paintball robotics – simple remote weapons that allowed users on the interwebs to mash their keyboards and watch balls of paint explode. Th rough persiﬆence and inspiration, the team have aimed their technological breakthrough right between the eyes of cute kittens worldwide, ﬆarting with the ldaho and Oregon humane societies. On paper this is a magnificent triumph, but the resulting YouTube footage suggeﬆ s little more than a few robotic levers wiggling the odd toy or play-thing, largely to the disintereﬆ of the exhauﬆed kitten nearby. The syﬆem uses Microsoft’s Silverlight protocol to act ivate a series of robotic funct ions, the potential of which exceeds the current implementation in much the same manner as the current crop of mechanised web cameras. Still, the breakthrough is significant, with the head of Apriori, Scott Harris, revealing that he had been approached with offers from online adult services. In one fell swoop, both the future of pets and pleasure has been unravelled, and only time will tell when both the literal and figurative tasks of pleasuring pussy can truly be automated, synergised with social media, and ﬆreamed realtime on Twitter and Facebook. DAVE DRI

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PERSONALITY TEST TAAY NINH

HOW WOULD YOUR MUM DESCRIBE YOU? “As a dreamer.”

EMBARRASSED TO ADMIT YOU OWN? WHAT’S ONE GENRE YOU WOULD “Peter Skellern (featuring the REMOVE OFF THE FACE OF THE EARTH AND WHY? Grimethorpe “Cyborg Death Trance – because I think it’s Colliery Band) elitiﬆ.” – Aﬆaire. In my WHO INSPIRES YOU MUSICALLY? defence it was part of a bundle I picked “There are many. My band members in Elect ric Wire Huﬆ le – Myele Manzanza and up for samples at Mara TK – they are conﬆantly inspiring me. some garage sale a Outside of that Eddie Hazel of Funkadelic is few years ago.” currently blowing my mind. I have ‘maggot SPIKE MILLIGAN brain’ on loop at the moment.” QUIPPED HE’D LIKE HIS NAME THREE TRACKS TOMBSTONE TO CURRENTLY DETONATING YOUR READ ‘I TOLD DANCEFLOOR. YOU I WAS ILL’ “CMYK by James Blake, Hyph Mngo by Joy – WHAT WOULD Orbison and Shutterbug by Big Boi.” BE ON YOURS? TELL US ABOUT A CLASSIC “‘Ăn có nhai, nói có CLUBBING MOMENT. ngh’ – (Eating needs “Once at a club in Auckland there was an unfortunate event where we muﬆ have played chewing, talking the brown note. If only I could remember the needs thinking).” tune that was responsible.” WHAT: Elect ric Wire WHAT’S ONE RECORD YOU’RE

NSW

Huﬆle (BBE/Inertia)

GIVEAWAYS

MONSTERS DOUBLE PASS Directed by Garath Edwards and ﬆarring Scoot McNairy, Whitney Able and Kevon Kane, the film Monﬆers is set six years after Earth has suffered an alien invasion. The aliens are no longer invaders, they are residents in a Central American “Infected Zone”. While the American and Mexican military ﬆruggle to contain the creatures, that doesn’t ﬆop one inquisitive journaliﬆ and a touriﬆ from venturing into dangerous alien territory. Absorbing and thrilling, this is one flick guaranteed to get your heart pumping. 3D World have 3 double passes to giveaway. Simply email your name and address to giveaways@3dworld.com. au with MONSTER in the subject line for your chance to win. Entries close Friday 26 November. PEATS RIDGE DOUBLE PASS With a ﬆellar lineup that includes Angus & Julia Stone, Trentemøller, Built to Spill, Freeﬆ ylers, Shout Out Louds, Born Ruffians, PVT, Washington, Cloud Control, Space Invadas and more, it’s easy to see why tickets to this year’s Peats Ridge Feﬆ ival are selling like hot potatoes. Held in the beautiful Glenworth Valley juﬆ an hour north of Sydney for three days over New Year’s, this is NSW’s largeﬆ music and camping feﬆ ival. Peats Ridge and 3D World are offering one lucky music lover the chance to win a three day camping and feﬆ ival ticket, valued at over $600, for themselves and a friend. To enter simply email your name and contact details to giveaways@3dworld. com.au with PEATS in the subject line. Entries close Friday 26 November.

TUBETIME The incredible world of television with 5SPROCKET

Comedy School (SBS) is a new half-hour reality series about people enrolled in a ﬆand-up comedy course at a community college. With the words ‘comedy’ and ‘school’ in the title you may think that there will be Animal House-equse hi-jinks in ﬆore. Incorrect. There are no sneaky shower scenes, no boozy montages, and no difficult Deans going out of their way to shut down a fraternity of slackers and syphilis. Inﬆead, what we have is a situational programme devoid of a worthwhile situation. It’s the televisual equivalent of a TAFE course. The people that are there don’t want to be there, you’re not going to discover anything that you didn’t already know, and it all seems designed to piss you off. The voice-over man drawls rhetoric, asking, “Could there be anything more terrifying than doing ﬆand-up?” Yes, here is a brief liﬆ: ants crawling inside your penis, diarrhea through all orifices simultaneously, giant cannibal trees made of human flesh, and, of course, spiders. The ‘veteran comic’ that teaches the course has that rare crazy-eye condition that affl icted Michael Ironside. He runs through the rules of comedy, such as “the reverse” and “hyper exaggeration” by picking on the fatteﬆ and moﬆ insecure woman in the class: ‘Michelle is so fat that if she was a whale all the other whales would think she were an island’ - that kind of thing is allegedly ‘comedy gold’. In research for their 90-second ‘bit’ one of the ﬆ udents, a former cryﬆal meth addict, goes to awkwardly chat with his exgirlfriend. Unimpressed, she says, “Do you remember that you took my bike apart and I had to buy a new one?” “Nah,” he says. “I was pretty messed up, hey.” Another ﬆ udent, an IT operations manager, is trying to hone his comedic timing for his wedding night. He presents his ﬆand-up routine before his classmates: “I grew up in Toowoomba, it was a lot of fun. I had some great mates. [Extended pause.] They were great mates. Um. We all loved superheroes. Obviously we couldn’t fly. But we’d pretend to jump off things, and we ﬆ ill couldn’t fly.” Clap. Clap. Clap. Comedy School makes me yearn for the days when SBS didn’t try to show local content and was happy to juﬆ show repeats of that sex movie about the naked Swedish chick that lived in a barn.

FILMREVIEWS

HARRY POTTER AND THE DEATHLY HALLOWS: PART 1

And so here we are, at the final fi lm (well, kind of) in the Harry Potter cinema franchise. The world has persevered through six inﬆalments of varying levels of quality, and its ﬆars have grown up on screen in front of millions of people, albeit a lot more rapidly in real life than on screen. Whilﬆ moﬆ will see Alfonso Cuarón’s inﬆalment, The Prisoner Of Azkaban, as the turning point of the series from a cringe-worthy Family Friendly™ tie-in to fully fledged cultural behemoth as appealing to adults as it is children, it is director David Yates that will be remembered moﬆ fondly, as the man in charge of the final three (well, four) fi lms. As a fan of his direct ion on the superb British mini-series State Of Play, it’s a pleasure to see the Brit with such scope to work with, and you can see the maturity and reﬆ rained nature of his fi lmmaking in how he approaches Harry Potter. There’s no point in explaining the plot here – the only reason you’re seeing Harry Potter And The Deathly Hallows is because you’ve either read the books or at leaﬆ seen the prior six fi lms, but what will be said – and call it fi lmmaking as reflect ion of the internal development of its protagoniﬆs – the fi lms have gotten a lot moodier as the series has progressed, none more so than with The Deathly Hallows. As such, Harry Potter has developed into a dark and richly complex saga that deserves the direct ion of somebody like Yates – so thank Chriﬆ the producers ﬆ uck with him. And in The Deathly Hallows: Part 1 he doesn’t disappoint, creating a fi lm that, whilﬆ being only the fi rﬆ part of the final chapter, ﬆands alone thanks to the ﬆ rengths of everyone involved. With

so many fi lms behind them, you’d expect it to be a well-oiled machine to the point of tedium, and yet there are plenty of surprises, such as the simpliﬆ ic beauty of Hermione and Harry dancing to Nick Cave, which is, it has to be said, a wonderfully tender moment, a glimpse of carefree youth that the characters don’t often experience, and the moﬆ heartfelt moment in the fi lm. Whilﬆ often incredibly dark, it’s also frequently hilarious; the young actors’ nuances often causing unintentional laughs, although this is in no way detriment to the fi lm. It’s a bittersweet feeling to want the final fi lm to come, because once it’s released, that’s it – no more Potter, no more excitement. With that in mind, enjoy The Deathly Hallows: Part 1 and then savour the next six months. It’s almoﬆ over. WHERE & WHEN:

Screening in cinemas now DCR

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DISCWORLD DVD Reviews with DCR

SHAMELESS SERIES TWO

(ABC/ROADSHOW) It’s taken long enough – five years in fact – for the second series of Shameless to makes its way onto DVD in Auﬆ ralia, which is all the more ﬆ range considering the fi rﬆ series was made available in late 2005, only a year after it debuted in Britain. In the half-decade since, Shameless’s influence has been felt in the new wave of contemporary working-class focused British television by way of Gavin & Stacey, Skins and Misfits, whilﬆ James McAvoy – ﬆar of the firﬆ two seasons – has gone on to become a household name thanks to roles in fi lms such as Atonement and Wanted. Now in its seventh season, Shameless has moved on from the its original focus, ﬆarting out as portrait of a motherless family with an unreliable father drinking his way through his ASBO payments as all the while the children raise each other (but not without getting into crazy hijinks and plenty of human moments along the way). Since season two, a lot of the characters, namely the children, have left, including moﬆ dramatically Fiona Gallagher (as played by Anne-Marie Duff ) and her partner Steve McBride (played by McAvoy), who left at the end of this second season. And so whilﬆ you will find the occasional fan that’s dedicated themselves to watching every season, moﬆ – like yours truly – will be content with leaving the show at the end of season two, as their character arc gave the show its heart, in ﬆark contraﬆ to the hopeless-yet-endearing nature

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of Gallagher senior, Frank. What Shameless gets right, and what no other show has done since, is mixing humour with sincerity, making you care for these characters, even though they oftentimes act despicably and you probably wouldn’t want to be living next door to them. And yet the ﬁ rﬆ two seasons of Shameless provide us with a handful of the moﬆ well-written and acted characters on television. It’s taken a hell of a long time for the Gallaghers to make their return to DVD in Auﬆ ralia, but if you’re looking for an example of the quality of British television that’s come out this paﬆ decade, you should seriously inveﬆ in this.

TECHNO SCAPE

SYPHON + KINECT No Jetpacks this week, but there have been a few exciting live video developments lately. SYPHON http://syphon.v002.info is “an open source Mac OS X technology that allows applications to share frames – full frame rate video or ﬆ ills – with one another in realtime. Now you can leverage the expressive power of a plethora of tools to mix, mash, edit, sample, texture-map, synthesise, and present your imagery using the beﬆ tool for each part of the job. Syphon gives you flexibility to break out of single-app solutions and mix creative applications to suit your needs.” Out of the box, this means you can send live video signals between these applications: Quartz Composer, Max / MSP Jitter, Freeframe GL and Unity 3D Pro (a game engine). Within a short while of release though, this liﬆ has been extended to include Modul8 and the MadMapper mapping software, Resolume Avenue, built-in support within the new beta of VDMX, Isadora, CoGe, Open Frameworks, Cinder and Mix Emergency (software for scratching video with a Serato turntable set-up). It all happens on the graphics card, not the CPU, which means HD video can be shuffled between applications at 60 frames per second. Th is is a great booﬆ for live video flexibility (lossless live video mixing in and out of 3D game engines? No problem.), and when it evolves to include being sent over networks, awesome collaborative possibilities await. KINECT Another splasher in the visual tech world has been the recent release of the Kinect camera add-on for the XBox. The device features “an RGB camera, depth sensor and multi-array microphone running proprietary software”, and enables 3D motion capture, facial recognition and voice recognition. Being such a hacker’s delight of a device, within a week of release there’s already a growing range of software written that enables it to be used outside the Xbox. Some of these include the ability to draw in 3D (and rotate the image) using geﬆ ures, visual FX applications and thanks to Syphon, there’s already a way to include Kinect 3D depth images within Quartz Composer – by fi rﬆ using it within QF and then sending it through Syphon to your visual app of choice. @JEAN_POOLE

INTHESTUDIO INTHE STUDIOWITH...

WILL RECKLESS

HOW DID YOU GET STARTED AS A PRODUCER? “I ﬆarted back in 2003 when I was 17 as an up-and-coming DJ playing at clubs and bars around Sydney. From 2003 ‘til now I’ve had all sorts of twiﬆs and turns with changing in ﬆ yles of music, ﬆarting off with the whole trance thing when I was younger and now into more elect ro, progressive and housier things which is also what I am producing now. As well as meeting new producers for inspiration and ideas it has got my product ion skills to a much higher level then back in 2005 when I got my fi rﬆ Mac and Ableton Live set-up sitting in my bedroom producing noise and annoying my neighbours.” HOW IMPORTANT HAVE THE VICOUS LABEL BEEN IN HELPING YOU DEVELOP YOUR SOUND? “Vicious have been great to me, they have supported me since 2007 when I had the chance to meet Andy Van from Vandalism to give him some of my demos in person. Luckily he had his laptop there with him so he juﬆ liﬆened to them in front of me and then I got an awesome react ion five minutes after he put the CD in. It was in a tent backﬆage of some feﬆ ival before his set, it was pretty funny. It then led to remix work with Vicious, remixing artiﬆs from the label such as Vandalism, Sgt Slick, The Cut and Stephen Gori and then being signed to them with my fi rﬆ single Heaven Scent in 2009.” DO YOU FEEL LIKE YOU’RE PART OF A SCENE IN SYDNEY WHO ARE ON A SIMILAR WAVELENGTH IN TERMS OF PRODUCTION? “I do feel that the Sydney scene has a lot of talented producers that are on the same or even higher wavelength than me. We also network, collaborate and share thoughts with our product ions – there are artiﬆs like Jeremy Joshua, Dave Winnel, fRew and Jimmy2sox from Flight Facilities who I personally know and really dig at what they are doing.” GETTING PLAY FROM TIËSTO MUST BE A HUGE BUZZ FOR YOU? “I have always been a big fan of Tiëﬆo since I was ﬆarting off, finding out that he has been supporting my singles and remixes is freakin’ awesome! Not only one tune but a few of them such as Heaven Scent and my cheeky bootleg remix of BoB feat Hayley Williams – Airplanes which both got huge airplay by him on his radio shows and DJ sets. He really is digging my sound at the moment which is good recognition for me in the dance community, not only that but his label Black Hole Recordings are in talks with me and are intereﬆed in giving me a remix to do in the near future!”

DO YOU HAVE ANY AMBITIONS TO TACKLE A LARGER BODY OF WORK, OR EVEN DEVELOP A LIVE SET? “The ambition right now is to maﬆer my live set and ﬆart playing my tunes out live. I’m happy at the moment with releasing singles for Vicious, but I do have ambitions on tackling the mainﬆ ream market with a totally diﬀerent sound than what I’m doing now.” WHAT OTHER PROJECTS AND RELEASES DO YOU HAVE IN THE PIPELINE? “I do have a lot of ﬆ uﬀ coming out with a new release due out in mid-December on Vicious called Ma Ma Alle, also later next year locked and ready to go Get This Started on Vicious which is something in the ﬆ yle of my recent single Disco Tweakin’. A couple of remixes for an Amercian elect ro label called Big Alliance Records, also working on a collaboration with an awesome female vocaliﬆ from the UK who has worked with other artiﬆ s such as ATB, Paul Oakenfold, Cosmic Gate and Moonbeam, and laﬆ ly I’m also about to ﬆ art producing with an R&B pop ﬆ ar in France named Humphrey from Columbia Sony which is totally new to me, but hopefully it all works out.” WHERE & WHEN:

Chinese Laundry Saturday 11 December

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A MAN OF MANY TALENTS, DJ/PRODUCER TIMMY TRUMPET IS VENTURING INTO THE WORLD OF FASHION, LAUNCHING A CLOTHING LABEL - WIFEBEATERZ. THE LABEL’S SIGNATURE IS THE CARICATURES OF AUSTRALIA’S BIGGEST DJ’S THAT FEATURE ON THEIR GEAR. WHAT IS THE IDEA BEHIND YOUR NEW LINE WIFEBEATERZ? “We originally came up with the idea because we couldn’t find any long singlets. Around the same time last year, promoters were booking us for festivals like Future, Good Vibes and Stereo with the option to sell merchandise at the events. These two ideas led to the birth of Wifebeaterz.”’ WHAT ARE SOME OF YOUR FASHION DO’S AND DON’T’S? “Be different. Not too different though, you weirdo.” HOW DO YOU THINK FASHION AND MUSIC RELATE TO EACH OTHER? “As Johnny Depp said in Blow ‘If it’s accepted by actors and musicians, the rest will follow.’ Unsure what exactly he was referring too, but the same goes with fashion.” WHAT’S NEXT FOR YOU? “Currently mixing a Pacha compilation with some big new tunes of my own. Going to stay in Oz for the summer, before I venture back over to Miami and Ibiza again, with a few shows in Asia and Canada to fi ll in the gaps.” Wifebeaterz available via wifebeaterz.com.au from December

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Designs by Natalia Shell button resin bangles ~ $70. www.designsbynatlia.com.au

Cooper St. Mainsail frock ~ $129 . 02 9211 4511

Shona Joy Heart of Glass frill dress ~ $220 shonajoy.com.au

660 0

WORLD WOR W RL LD D

SuprĂŠ bleached stretch deim shorts ~ $40. www. supre.com.au Supr

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Orri Henrisson 3-tier Pleat Shirt ~ $259. www.orrihenrisson.com

LureBriefs

Ruby Rose

Shirt Lifter Henry Ng is the man behind men’s fashion label Orri Henrisson, the self taught designer who never studied studie designer has taken it upon himself to vamp up wardrobes with his vibrant, quirk quirky, dapper and sometimes even outrageous taste. With a background in multimed multimedia, Ng thinks outside of the box and in his own words his look is “not about black, blac black and black and not about looking like a hipster.” This three-tiered, candy-coloured candy shirt features structured lines expertly pleated, panelled and pressed for fo sharp sophistication. This is but one splendid item from Orri Henrisson’s colourful colou Spring/Summer 2010-2011 collection titled Bobby, King of Boys Town inspired inspire by shapes, contrast, sports and Big Bang 2NE1 ‘Lollipop’ music video. SSee orrihenrisson.com for the full range.

Terra Plana Men’s Claudius Shoes ~ $165. www.terraplana.com.au

DKNY watch ~ $179. www.donnakaran.com

Justin Bieber

Billion Dollar Babe Singer, actress, perfumer, and fashion icon Jennifer Lopez is set to design a new range of lifestyle men’s and women’s clothing with her husband Marc Anthony. The 41-year-old star, who recently appeared in a Gucci ad campaign with her children, is forecast to generate as much as $3 billion in sales from this latest venture for US retailer Kohl’s, who will distribute the line.

Afterhours Athlete “Here’s to the afterhours athlete…” is the premise behind Puma’s latest range of high-tops, The Sky Hi, which takes the brand’s original style‘s signature elements and exaggerates them to the utmost. The complete Sky Hi + Pack features five versions, each fashioned with a classic sneaker material: Ripstop, Suede, Nubuck, Leather, and Metallic Croc. Sneaker freaks are bound to go gaga for this range, check it out at www.puma.com.au.

Style Via Google? Online shopping has been taken to the next level with Google launching a clothing search site allowing users to build an individual fashion profi le and view styles selected by popular celebrities and other tastemakers. Boutiques.com offers hundreds of thousands of choices in an attempt to help fashionistas define their own personal style. Sounds good in theory but a tool like this could just make decision-making a nightmare.

EPIC MTV host Ruby Rose looking super fly in an electric yellow, tiger-stripped jacket at the MTV Summer Party at Dreamworld last week. Wanna get laid? Send products and info to lure@3dworld.com.au

FAIL Teen pop sensation Justin Bieber sporting extremely oversized ‘nerd’ glasses of late at a number of public appearance. Geek chic gone wrong.

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THE FINAL WOLFRAM ALPHA

SIZE MATTERS? Unquantifiable.

FEATURES? The world’s fi rst and only computational knowledge engine.

PROS? Is able to translate complicated units of measurement into easily identifiable comparisons such as football fields (FIFA approved).

CONS? Doesn’t know how long a piece of string is.

FOR? When you’ve just gotta know how big the known universe is.

FROM? www.wolframalpha.com.

ASK JEEVES

SIZE MATTERS?

Gentlemen like Jeeves never tell.

FEATURES? Allows users to get answers to questions posed in everyday, natural language, as well as traditional keyword searching. Now features support for math, dictionary, and conversion questions.

PROS? Jeeves’ striking suit and tie combo can actually be customised – we recommend shorts, which means you get automatic pluggers to match.

CONS? He blinks, which is kinda freaky. Add sunglasses.

FOR? Retro searching from a much simpler age of the information superhighway.

FROM? uk.ask.com.

CUIL

SIZE MATTERS? 121,617,892,992 pages searchable on launch in July 2008.

FEATURES? Organised web pages by content and displayed relatively long entries along with thumbnail pictures for many results – a technique Google now utilises.

PROS? Set up by rebel Google employees so shared many of its better attributes.

CONS? Ironically, prospective clients Googling the site often misspelled it. No longer exists as of September 17 2010.

FOR? Geeks to wax lyrical about how internet searches were once much sexier – cuiler even.

FROM? 404 Not Found.

62 3DWORLD

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EMPLOYMENT CALL CENTRE/CUST. SERVICE Telemarketer required with music industry experience by Sydney based established music production company. Possible work from home, if more suitable. Hourly rate plus commission neg. Please email your details for an appointment. leon@oriium.com.au iFlogID: 9367

ENTERTAINMENT Looking for a job backstage? Then join the thousands of other members who have found jobs at backstagejobs.com.au its free to subscribe with Jobs,News,Classifieds and now you can download our Iphone App for free iFlogID: 9268

PROMOTER 297 capacity, stylish & well equipped martin place bar/nightclub available for one off parties/ events or regular weekly nightclub nights. If you are interested then give Danielle a call on 0414 89 89 36 between 11-12am or 3-4pm Monday-Thursday. iFlogID: 9396 DIRTY LAUNDRY PRODUCTIONS IS CURRENTLY RUNNING NEW EVENTS @ LADY LUX ON FRIDAYS AND WE ARE LOOKING FOR SOME NEW PROMOTERS WHO ARE KEEN TO JUMP ON BOARD WITH THE TEAM. PLEASE CONTACT MICHAEL ON 0403820043 iFlogID: 9264 love to party? love going to the cross? We are Currently looking for New Promoters to join our promotions team get paid to party iFlogID: 8850

VOLUNTEER NEW WAY COMMUNITY CHAPEL NEW WAY COMMUNITY CHAPEL a small independent and non-denominational, inner-city Christian Church would really like to be in touch with someone who plays a musical instrument to assist us in our Worship Services held every Sunday night from 5.00pm. Time wise? Involvement could be weekly or fortnightly and hopefully voluntary. For more information? Go to www.newwaychapel.org.au or phone Pastor David on 33665412. We’re looking forward to hearing from you. iFlogID: 5909

WEB DESIGN SEO Services wanted for small business to rank better online. Happy to work with student and pay cash. No Rip off’s or spam seo’s please. would like to work with decent local to get my site optimised and ranking better. iFlogID: 9284

FOR SALE AMPS Bass combo 180 Ashdown -electric blue Little beauty on wheels hardly used since new 2006 15” speaker 180 watts Low mid treble Subharmonics, DI input send return effects loop Analog amp head, punchy, deep warm sound iFlogID: 9088 Fender twin reverb combo amplifier, later 70’s. reverb and tremolo.

100+ watts. silver face with foot switch, on casters. All original including the valves no tears anywhere. excellent condition. $2100. Contact brendon at email mccarrison@aapt.net.au iFlogID: 9421 FS: Guitar amp and FX unit. Crate G80XL 80 watt clean celestion combo and awesome sounding “Black Box Reloaded” M-Audio multi-FX unit (also works with ProTools to record). $400ono the lot. Great gigging setup, loud & reliable. Brent 0406501192 iFlogID: 9207 GUITAR AMP. PEAVEY BANDIT 11. 80 watt 12”combo. features reverb/saturation. 2 channel footswitchable. very loud. great fat sound. perfect condition. $350. Ph. 0428744963 cooroy. iFlogID: 9155

BASS BRAND NEW BLACK AB2 BASS STARTER PACK: $350 AB shape bass 34” scale length 20 fret Built-in tuner VOL/TONE controls Comes with: BA15, DVD, Bag, Extra Set of Strings, Strap, Cable, Picks, Manual + COMPLIMENTARY WHITE PAGES BASS TAB iFlogID: 9096

DRUMS $250 for a 20” cast, hand-hammered ride cymbal? If you are not Dreaming already, go to www.cymbalsplus.com. Dream Cymbals and Gongs, Metro Drums plus more. iFlogID: 6985

GUITARS FENDER STANDARD STRATOCASTER Brand New Fender standard Stratocaster.(Mexico) Updated model including new tinted neck. Different colour options available. Package includes Guitar, gig bag and stand. RRP $1100 Logans Price $756 Heaps of other Fender bargains instore. Logans Music (02) 9744 2400 www.loganspianos.com.au AUTHORISED FENDER DEALER iFlogID: 6618

GIBSON SG STANDARD LEFTY Brand New Gibson SG Standard Lefthanded guitar. Heritage chrery finish including Gibson hard case. Logans Price $1999 WOW! (righthanded also available!) Logans Music Burwood (02)97442400 w w w. l o g a n s p i a n o s . c o m . a u AUTHORISED GIBSON DEALER iFlogID: 6614

GUITAR AMPLITUBE IRIG AmpliTube iRig. Plug your guitar into your iPhone/iPod touch/iPad and jam anywhere with world class guitar and bass tone right in the palm of your hand - from the leader in studio-class guitar and bass software. Simply plug the iRig interface into your mobile device, plug your instrument into the appropriate input jack, plug in your headphones, amp or powered speakers, download AmpliTube for iPhone Free and start rocking! You’ll have at your fingertips the sound and control of 3 recombinable simultaneous stompbox effects + amplifier + cabinet + microphone just like a traditional guitar or bass stage rig! Add amps and effects as you need them — you can expand your rig with up to 11 stomps, 5 amps, 5 cabinets and 2 microphones in the AmpliTube iRig app custom shop. ONLY $59.99 UNBEATABLE Logans Music (02)9744 2400 www. loganspianos.com.au iFlogID: 6545

Lowden acoustic guitar. Made in Ireland 2003. Model 032C cutaway. Rosewood back and sides, sitka spruce top. Abalone inlays. Hiscox case. Mint unused condition suit new buyer $3500. Ph Brendon on mobile 0417644600. iFlogID: 9423

MIXERS Sell Digidesign Focusrite Control 24 very good condition, everything’s working, selling because moving overseas. Control Surface compatible with ProTools HD and LE. 16 Focusrite mic-preamps / 24 channels. Please contact me to discuss the price. iFlogID: 9489

OTHER Avalon 737SP micpre/compressor/ equaliser Amazing Class A professional quality recording strip, used by studios everywhere. Hardly used! Very regretful sale. Perfect cond. RRP $3400, selling $1800! iFlogID: 9562

BURLESQUE & DRAG EYELASHES Petticoats & Gallantry has launched a new range of exclusive, boutique handmade & decorated false eyelashes perfect for going out. With a mix of over-the-top dramatic lashes suitable for Performances, Burlesque, Drag and even just for a special night out, you’re sure to find some one-of-a-kind false eyelashes to wear. Each pair is customised and decorated by hand in a variety of themes, and commission orders are very welcome. www.petticoatsandgallantry.com. au Look for us on facebook for exclusive promotions. iFlogID: 6658 I’m seling my Digidesign MBOX2 including Pro Tools LE 8 for $450. It has been kept in a box and used only a couple of times since i bought one year ago. Mobile: 0421250023 iFlogID: 9276 Joe Meek Twin Q recording strip. Mic pre/compressor/limiter/equaliser stereo/twin channel recording strip, barely used, perfect condition. Adds awesome vintage mojo to recordings. Sounds fantastic. I’m selling all my recording gear. I paid $1450, sell $750! iFlogID: 9566 RADIO BONDI IPHONE APP - FREE! iFlogID: 9001 Score a Brand New Unopened Rode K2 tube studio condenser mic for a great price!! $890 check out features at factorysound.com Call to do the deal 0411083379 iFlogID: 9094 Vintage 1960’s “Optro” 305 compressor limiter. Vintage & classic 2RU broadcast transformer balanced opto compressor/limiter, in great working condition. Great vintage mojo. As used by Festival, ABC and Metropolis studios. Bargain! Sell for $675! iFlogID: 9564

$750 lot.Ph.0428744963 cooroy iFlogID: 9308

MUSIC SERVICES BOOKING AGENTS Gig Launch has heaps of opportunities for artists in Australia and around the world. We’re always on the hunt for new artists, so head over to www.giglaunch.com.au and get submitting! Go Aussie, Go Gig Launch iFlogID: 9386 Gig Launch is Australia’s first online booking agency with a difference for worldwide artists and promoters. We cater for every type of artist and promoter, to find out more head over to www.giglaunch.com. au Go Aussie, Go Gig Launch! iFlogID: 9147 Looking for bands to play Apollo Bay! Gig Launch, Australia’s first online booking agency, are accepting submissions to play Apollo Bay 2011. Great festival, great promotion. Head over to www.giglaunch. com.au to submit your band. Go Aussie, Go Gig Launch! iFlogID: 9184 SnakeEyeProductions offers EPK’s also know as electronic press kits, they work as a bio/show reel, to promote your band to bookers/ promoters/labels and venues. PH0416120639 iFlogID: 9588

EP RELEASE SPECIAL OFFER!!!! Special Packages available for artists and bands!! Whether being recording/mixing. With networks to many studios around town your project will sound great and professional whilst working within a budget!! OUR PASSION IS TO CREATE RECORDS THAT GIVE THE LISTENER A HARD HITTING, FRESH SOUND THAT PUSHES BOUNDARIES, WHICH STANDS UP AMONGST THE INTERNATIONAL MARKET. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE AND DO ALL GENRES. For a full list of our credits see myspace.com/mixinthelab. Contact us on 0424 462 945 or Email at thelab1@hotmail.com iFlogID: 6287

HIRE SERVICES Need a PA /Sound system for small functions/events ? For as low as $100, you get a professional PA system with a sound mixer, complete with operator. Suitable for weddings, pub/club band gigs, private parties,etc. Contact Chris 0419 272 196 iFlogID: 9256

LEGAL / ACCOUNTING DETAX GOT ME A GREAT REFUND!

PA EQUIPMENT

MANAGEMENT The Sino Australian Music Exchange (S.A.M.E.) can help you organise your band’s tour of China. Download the prospectus document now for more information www.tenzenmen.com iFlogID: 9143

MASTERING FREE LISTENING SESSION... The Butler Mastering is offering a free listening session to all unsigned artists. Hear your music within a world-class listening environment and discuss what can be achieved to take your music to the next level. info@thebutler.com. www.the-butler.com iFlogID: 9310

OTHER Commercial Radio Airplay, get your songs on Radio! Interested? contact andy@zfmcountrywide.com iFlogID: 9406 free iphone and nokia apps Radio Bondi iFlogID: 9548 Free Radio Bondi Fm Iphone app, visit the app store, search for radio bondi, download free app, enjoy! iFlogID: 9408 GET YOU AND YOUR MUSIC ONTO AUSTRALIAN RADIO STATIONS+SMART PHONES AND INTERNET RADIO STATIONS WE’LL PLAY YOUR SONG 300 TIMES IN 1 MONTH FOR LESS THAN $2 A TIME.THATS A LOT OF COVERAGE FOR LITTLE MONEY EMAIL andy@ zfmcountrywide.com iFlogID: 8997 SELL YOUR BANDS C.D’S ONLINE!!!! www.rocknpops.com/ unsignedmoozik iFlogID: 9373 SUPPORT LOCAL ACTOR IN L.A FEATURE FILM AUDITION VOTE FOR BENN ALLSOP Need Your Support Your Time & Effort is Greatly Appreciated So Please take the 5 minutes and go to www.idancemachine. com/blog/2690 and vote! contact me @ www.riverlanemusic.com iFlogID: 9242 We’ve had a few more artists sign up over the past week, come check them out. Also, the site is changing, so bookmark us and stay tuned! www.soundornot.com. iFlogID: 9092

PA / AUDIO / ENGINEERING PA/OPERATOR FOR HIRE For as low as $100, you get a PA system with a sound mixer, complete with a human operator as well to set it up for you for the evening. Contact Chris 0419 272 196. iFlogID: 7415

THE CHEMISTRY OF SOUND

BSSOUND SALE. Ex-hire equipment. OnLine Auction 19-24 Nov. 140 Lots of microphones, speakers, effects, amps, mixers, lights. www.bssound.com.au/sale.htm or Mark Barry on 0419 993 966 iFlogID: 9262 CARVER U.S.A Twin 900 watt split mono power amp with Bose controller/pre amp. rack mount style.in covered case.will run 4 speakers each side.total 1800 watts.LOUD! VGC

and every tax return. Individual Tax Returns from only $99. Discounted rates available for multiple years. Phone Dave Elliott 0434 979 269 or email Detax@optusnet.com.au iFlogID: 8597

Detax will maximise your tax refund or minimise your tax liability, by applying years of Entertainment & Arts industry tax knowledge & personal industry experience into each

As Engineers/Producers our passion is to create tracks that give the listener a hard hitting, fresh sound that sonically sounds PHAT and pushes the boundaries of what music currently sounds like in Australia, which stands up amongst the international market. WE SPECIALIZE IN HIP HOP/R&B BUT LOVE ALL GENRES. We’re located at Level 7 studios and the studio is decorated in some of the most appreciated vintage and

modern gear which provides our clients an incomparable advantage in the sense of both the analogue and digital domains. Artists we’ve worked with include: Pharrell Williams, N.E.R.D., Kanye West, INXS, Black Wallstreet and a myriad of local artists such as Hyjak, Potbelleez, Vice Verser, Thundamentals, Fame, Tycotic, Rai Thistlewaite (Thirsty Merc), Wendy Mathews, Gin Wigmore, Tim Freedman (The Whitlams), Carl Riseley, Hoodoo Gurus, Wes Carr, You Am I, and many more. Contact us on 0424 462 945 and check out myspace.com/mixinthelab iFlogID: 6186

RECORDING STUDIOS Do You Want That Million Dollar Sound On A Small Budget! CityOfNineGates is a studio near Bondi Beach that specialises in Contemporary and Urban music. To hear samples of recent projects and see testimonials – www.cityofninegates.com For Pricelist- cityofninegates@gmail.com iFlogID: 9057 Have you got a song in your head? Get it recorded with a multi-instrumentalist producer in a relaxed, friendly studio. Experienced in arrangement, composition, performance and production. Affordable rates Call Greg 0425 210 742 iFlogID: 9377 SONGWRITER’S RECORDING STUDIO Understanding the needs & budget of a songwriter, International producer Nathan Eshman can create complete production on your hit songs, from concept to mix & master. Clients include: Marcia Hines, Candice Alley & exToto front man Fergie Frederikson // www.nathaneshman.com iFlogID: 9335

THE LAB STUDIOS We are experienced risk takers that not only know the rules, but also know when and how to break them! We have been engineering and mixing for over 15 years and have worked in Sydney’s top studios. We also have our own Mixing/Production studio called The LAB, located at the famous Level 7 studios which is decorated in some of the most appreciated vintage and modern gear in combination of a myriad of assorted software and plug-ins that provides our clients an incomparable advantage in the sense of both the analogue and digital domains. THIS IN COMBINATION WITH MANY STUDIO CONTACTS AROUND TOWN, YOUR PROJECT WILL SOUND GREAT AND PROFESSIONAL WHILST WORKING WITHIN A BUDGET!! For a full list of our credits see myspace. com/mixinthelab. Contact us on 0424 462 945 or Email at thelab1@ hotmail.com iFlogID: 6285 The MUDA Studio is offering a “Production Pack” including Writing, Recording, Mixing and Mastering for $300 per track ONLY. This pack is available for a period of time so hurry up and contact us at studio@mudasutdio.com iFlogID: 9280

REPAIRS MIKES GUITAR GARAGE GUITAR REPAIRS & SETUPS www.mikesguitargarage.com (02)95862486. We are passionate about Guitar Repairs. From simple restrings, complete setups, repairing broken headstocks or installing pickups, we can do ANYTHING! We can get your favourite axe sounding and playing better! iFlogID: 9578

For a limited time. Free online andprint classifieds Book now, visit iflog.com.au

NSW