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Wednesday, 07 March 2012 15:19

Che Fu: Remembering Marley

Founding member of Supergroove, and certified icon of reggae music in New Zealand, Che Fu is a name that’s spoken in revered tones in his homeland.

You’re known in NZ as an icon of the hip hop, reggae scene; obviously that’s a nice compliment to have in your back pocket?

Gee, that sort of stuff is awfully humbling. When I hear words like ‘icon’ being thrown around in regards to me, I feel like I should at least have arthritis and a pension. But yes, it’s great to be recognised in such a way, and I can honestly say, that I’m totally grateful for the job I have.

Performing at the Queen's Golden Jubilee... what was that like? And does the Queen dig her NZ hip hop and reggae?

That was just nuts! We played smack-dab in the middle of Hyde Park, on a day when one million people were out on the streets to celebrate; it was absolutely epic. As for the Queen and her hip hop/ reggae sensibilities, I’m unsure. But the future King, Prince William, did mention to me on his last visit at a dinner at Government House that he liked Jay-Z.

Do you have any memories of when you stood side of stage at a Bob Marley concert in 1978 as a four year old?

A few. I remember standing on stage next to the keyboardist, looking into the crowd and seeing gang members of the Mongrel Mob and the Black Power (bitter enemies) in a state of bliss, all enjoying the music oblivious to their rivalry. Testament to the man and his music.

Your upbringing; how important was music both personally and socially growing up for you?

Like most people, my parents, musical tastes were a big influence on me. Coupled with the fact that my Dad (Tigilau Ness) had a reggae band, music was very significant in my daily life. In terms of social influence, my parents, inspired by the words and life of Robert Nesta Marley, helped form a branch of '12 Tribes of Israel' in NZ and subsequently converted to Rastafarianism in the early ‘80s.

Wednesday, 07 March 2012 15:10

The Upbeats: Shoegaze D&B?

Emerging from the rich landscape of New Zealand drum & bass, The Upbeats first came together over a mutual love of the ocean.

The first encounter between Downie Wolf and Terror Snake: did the earth shake and the ocean boil?

Terror Snake: Haha indeed, well the ocean boiled at least. We met in high school through a shared love of bodyboarding. So the first few years together revolved around missions to the beach, and slowly but steadily converting Dylan (Downie Wolf) from his rock ways into an electronic, D&B listening raver!

As performers, how do you two interact on stage?

We like to keep things open here. Unlike most duos who DJ together we like to play back to back, one tune for one tune. It means we're both constantly doing something, and it means we have to communicate a lot about where we want to take the music. It's awesome, it keeps us really engaged when we perform!

Drum n bass in 2012; where is the genre headed stylistically?

The last two years it has felt like drum & bass has been really polarised. On one side labels like Ram and Hospital Records were releasing big commercial sounding songs that seemed like they were aimed directly at UK radio play. On the other end of the spectrum, there was a thriving scene for moody, deep minimal D&B. Now that's cool, there are aspects of both of those sounds that we like. But it really did feel like there was a gaping hole in the middle ground.

Do you guys have another artist album in the works... if so, what kind of musical broth are you cooking up?

We're furiously working right now on finishing our next Upbeats album before we head back to Europe in mid April. So we have about five weeks to get it all wrapped up! We've also signed it to a label we're extremely excited to be working with, more info on that soon! And I think this album is definitely the most banging, energetic dancefloor album we will have done to date. Having said that we're already hatching plans to write another album of strictly leftfield, introspective shoegaze D&B... one day.

The Upbeats play The Outlook Festival launch party at the Jubilee Hotel Saturday March 10.

Wednesday, 22 February 2012 14:10

Greg Wilson: Still Rockin'

When it comes to credentials, Greg Wilson’s DJing needs little introduction. The UK veteran has been rocking the ones and twos since the mid ’70s.

It’s 1983 and you’ve been asked to start a residency at a newly opened Manchester club, The Hacienda. Was there any inkling of how the venue would shape the UK music scene over the ensuring years?

Not in the slightest. The Hacienda was really struggling at the time and would have gone bankrupt but for New Order’s success. I was working across town at Legend at the time, which was a world apart – Legend was the leading club in Manchester back then. The Hacienda had major problems, not least their sound system, which was notoriously poor – this was in total contrast to Legend, which, arguably, had the best sound system in the country. The type of people who went to The Hacienda were generally students and indie kids, many of whom were incredibly snobby when it came to dance music, regarding it as inferior to live bands, so the fact that it became one of the most famous dance music venues of all time was somewhat ironic!

You were the first person to mix live on British TV; how novel an idea was DJing to the mainstream back then? Well, everyone, of course, knew what a DJ was, but the idea of mixing was new to most people. Even Jools Holland, who interviewed me, asked me to point out what a turntable was. You’re also known for teaching a guy called Norman Cook how to scratch before he became Fatboy Slim... 

It’s something I didn’t realise until five or six years later, when he had a UK #1 with ‘Dub Be Good To Me’ by Beats International. I was reading one of the music papers at a train station in London and was taken aback to see this Norman Cook guy name me, alongside Grandmaster Flash, as an influence. I had no idea who he was, and it wasn’t until later that I realised he was previously Quentin, who I’d met in Brighton while touring with ‘The Hacienda Review’ back in ’83. He came along with us to the next gig, and it was at the soundcheck that I showed him the basics of cutting and scratching.

Greg Wilson plays Barsoma Sunday February 26.

Wednesday, 08 February 2012 12:09

Dr. Who: Tipper

Electronic producer Tipper has been constructing ambient trip-hop productions for the better part of 15 years. In the country for a number of music festivals, Tipper has been boarding with fellow electronic artist, Spoonbill. You’ve been staying with Jim Moynihan aka Spoonbill; we hope Jim’s being hospitable in every way!!

Absolutely. In my opinion Jim is one of the finest humans gracing the face of this planet, so it's both an honor and a pleasure to hang out with him. Plus he has a really nice face.

On your current Australian trip; have you been searching out local musical talent? Any finds? Australia appears to have a great deal of up and coming talent across a multitude of genres. I have a huge amount of respect for anyone that has a unique creative offering that is clearly of their own volition. Two already established names that come to mind are Spoonbill and Opiuo, who are both completely different and fantastic at what they do.

Aside from straight artist productions, you’ve also dabbled in documentary soundtracks etc ... are you always looking for other avenues to express yourself creativity?  Absolutely. I just recently finished the music for a new Dr. Who video game that the BBC are releasing.

The current climate of electronic music; where do you see the next big sound or element coming from? Or has the scene fractured so much that niche sub-genres is the way of the future? I have no idea. There are so many variables that effect the trends and changes in music. It does seem as though the sub-genre mentality will prevail for the time being, as it seems to correlate directly with up and coming artists' desire to be responsible for creating something ‘new’, hence the constant changing of names for music that could just as easily be lumped into a much smaller grouping of genres.

Tipper headlines Earth Frequency at Landcruiser Mountain Park, on the Sunshine Coast, February 17-20.
Wednesday, 08 February 2012 12:03

Getting Props: Terntable Jediz

Local hip hop luminaries, Terntable Jediz, are gaining momentum less than a year after re-forming.

Founding member DJ Sheep checks in from Tokyo, where’s he’s currently on the hunt for all kinds of rare vinyl.

Thirteen years strong for the Jediz; does it feel like a lifetime ago that Krypton and you started the crew outta Capalaba?

Yeah, it feels like a lifetime ago, buying my first set of decks after meeting Krypton (f/k/a as Karma) circa 1998. Those days at Capalaba watching VHS tapes of battles and mail ordering inspiration information will never be beaten. Kids got it easy these days with the digital age.

The crew reformed last year with the new inclusion of Prop Greg, a young gun you've been mentoring; it must be a pleasure to come across a young-un not caught up in the digital age?

We kinda disbanded for a while there… it made no sense to stay together, and we had no direction. Finatik is living in Miami, I was travelling the world hustlin' records and doing shows. However, after we found Prop Greg, we had a bit more direction and decided to bring real skills back as a turntablist crew. Greg got put through the O.G. training routine developed by Damage and I, with the guidance of our lost soldier, DJ Bribe; the classic training, analogue style. He's come a long way, and we're proud to have a new dude rep locally.

You're on the bill for the upcoming Qbert Brisbane show, and personally invited by the man himself... you guys go way back right? Damage and you had an eight-hour scratch session with him in 2000, right?

Oh wow? Qbert invited me to DJ, he's done that a few times now… I didn't know. I first met Qbert in 1996 when I toured him around Australia, and subsequently went to his house to scratch a few years later. In 2000, Damage visited when I was living in San Francisco and we had a long enduring eight-hour scratch session on the Octagon with fellow tablist, DJ Spair. I wish we filmed that. What started off as a very nervous session for us, became the blueprint for years to come...

Terntable Jediz support Qbert at Mustang Bar Sunday February 26.
Wednesday, 25 January 2012 13:37


Eternal Recurrence

San Francisco-based Canadian, ill.Gates, has been plundering the bass-heavy landscape for the better part of 16 years.

Whether it’s his glitch-hop infused productions, bassline friendly DJ sets or headlining such seminal festivals as Burning Man, Shambala and the New Orleans Jazz Festival, ill.Gates is a brand within the bass community.
Headed to Australia next month, including headlining Earth Frequency alongside Tipper, Mr Gates took time out from his travels to have a chat about all manner of things, including the Sundance Film Festival, Eternal Recurrance and hanging with the ‘real’ Gates.

You’ve been DJing, producing since your teenage years; did you ever have any doubt that this was the career path you wanted to pursue?

I had NO idea that this would ever become my job. It was always something that just happened, like sleeping, eating or showering. At one point I was studying to be a graphic designer all the while doing music in my spare time. My design school got me this horrid internship at a wedding magazine where I would get punished for being too creative or else my boss would hit on me when I was 'good'... it was slowly crushing my soul. I had been reading a lot of Nietzsche at the time and came across this thought exercise called Eternal Recurrence that really helped me to make the decision to focus on music full time. Eternal Recurrence works like this: imagine for a moment that you are dead, but your mind is still active somehow.

Now imagine that instead of going to heaven or to hell you are instead forced to watch your life play like a movie again and again and again and again. How would you feel about your decisions then? By which standard of judgement would you hold your actions? After considering Eternal Recurrence and the various options I had in life I was able to say 'Fuck it. I don't care if I'm poor my whole life, I don't care if I can't have a car or a kid or anything, I can not live with myself unless I am exploring my creativity full time." I never looked back.

How did you end up basing yourself in San Francisco; were you drawn to the bass heavy culture of the city?

Damn straight! The music was the main thing that drew me to the city, but the people, food, art, lifestyle and weather are all exactly to my tastes as well. It really is a magical place.

Does the richness of the city’s bass scene give you a fertile sounding board for your ideas?

It's not so much of a sounding board for me. I actually try not to play in SF any more than I play elsewhere. It's easy to play yourself out in your hometown, no matter how good you are. I do plunder the city for inspiration on the daily, and there are many excellent musicians that I collab with. Collaborating makes writing music a lot more fun, and it makes the tunes come out differently each time, which is an essential part of my modus operandi.

It's a pet peeve of mine when artists rehash their most popular tune again and again until all of their material sounds the same. The individual tunes might sell well, but then when you see that artist live it sounds like one long, predictable track and it gets to be disappointing after a while. A diverse set creates a feeling of spontaneity that I find essential to getting my dance on.

You were at the Sundance Film Festival recently; what was your role: artist, fan or both?

I'm a HUGE cinephile so I would try to come here even if I weren't playing. Nonetheless I had this absolutely killer gig playing with Drake at a private event. It's so rad that Bing get these megastars to perform with the likes of me in these arty intimate spaces. I performed with Wiz Khalifa, Theophilus London, Cobra Starship and James Murphy during the week at Sundance ... definitely a good use of the marketing budget in my opinion!

You played a 2010 Microsoft party at Sundance, ‘kicking it’ with Bill Gates; what was that experience like?

Oh man, what a night! Bill is a real sweetheart, very easy to hang out with and very down-to-earth. We had a private performance from The Roots with John Legend to enjoy together too. The only bad thing about that night is knowing I'll probably never top it.

As one of the pioneers of the glitch-hop sound, can you break down the genre for us - what exactly makes it glitch-hop?

The term or genre name 'glitch hop' actually really annoys me. Much of the genre is not glitchy at all, and most of it sounds more like slow breaks than hip hop. The word 'glitch' tends to turn a lot of people off too; it sounds like the music is going to be all pretentious and IDMey. Whatever you want to call the genre it seems like it's united by bass, modern production and BPMs between 80-110. I would love the genre to improve and gain more attention despite my not liking the name.

The subgenres that litter the EDM landscape - do you have a hard time keeping track of the new sounds originating out of bedrooms around the world? 

Living with all the hipsters in San Francisco I hear pretty much everything as soon as it has a name, and often sooner. There are so many DJs and producers in the scene here that the pressure to differentiate yourself is just massive. People here are always looking for the next big thing and are usually over any genre far before it becomes popular. At some point you gotta just roll your eyes and say 'Fuck it: it's all just music. Do I like what I'm hearing or not?’”

What are you thoughts on dubstep?

I love dubstep in all of its incarnations even if some of them make me cower and cringe. Dubstep as the lowest common denominator is a HUGE step forwards from house music or trance. As much as I hate Top 40 dubstep, I'd rather listen to that than hours and hours of evenly spaced kick drums with inane rave synths or filtered disco samples over the top. I think that the best thing about dubstep is the influence on other genres, though. Once the momentum started to really get going, it forced everyone else to up their game in response. It's also opened up the public consciousness to slower-sounding party music which is just great for me.

What is the next step for EDM; we’re now in an era where people are growing up from birth with EDM as a mainstream genre; will this affect the direction of the scene?

It already has and it's about time. You can shake your head at the Skrillex fan pages all you like, but I just think it's great that real success is possible for electronic musicians now. So much of the EDM in the ‘90s is just languishing in people's abandoned vinyl collections at this point and it's a bit sad. So many brilliant dubplates lost... So many epiphanies forgotten... I can't wait until people en masse consider producing to be as legitimately a part of music as playing guitar or singing.


Wednesday, 23 November 2011 15:11

Artistic Raw

The Cassette Kid

As an eight-year-old, Artistic Raw was already fiddling with music, experimenting with cassette mixtapes. Now the Dutch DJ/ producer is ready to show Australia have far he has progressed.

Was there a particular moment when you knew the draw of music would lead to a career as a DJ/ producer? At the start I never thought about a professional career; it was just for fun. When my music was picked up by promoters, DJs, music labels, and the clubs were asking to perform more often at their clubs, I noticed that I wanted a professional career as a DJ/ producer.

How did your early years experimenting with cassette decks shape your DJing style? The possibilities with a simple cassette deck was were it all started for me; it was minimum, so I had to be creative with the cassettes to get a proper sounding mix out of it. 

What do you most enjoy when you’re in the DJ booth - control over the music played, crowd reaction, the rider? The reaction of the crowd is the most important thing for me. It feels so good when a crowded room reacts in a good way to my music. I also enjoy having control over the music, but at the end it’s the crowd that decides what I play.

Owning a label must give you plenty of creative license, but what are some of the pitfalls of running an imprint? Owning Drughouse Records is really important and fun. I created a platform for young, talented DJs to release their music on my Drughouse mixtapes.The only pitfalls is the paperwork that comes with it.

You can sign any megastar to be the face of your label - no expenses spared. Who do you sign? Chuck Norris.

As a co-founder, tell us about The Drughouse - what exactly is it? When I started as a DJ and producer I produced beats, but the big problem was to get my music noticed by other DJs and the crowd. My solution for the problem was bringing out my own mixtape with my own tracks, and other exclusive tracks from other DJs. This way I created a unique mixtape with sounds people had never heard before. Nowadays, I’ve released 15 volumes of The Drughouse, with more than one million downloads in total.

With all the bells and whistles that come with a touring DJ, not to mention longhaul flights, airports and transfers, how do you stay focused on the job at hand - whether that be rocking the club or spending quality time in the studio? After a long flight, airports and lots of travelling, coming to a club where the crowd is going wild for my beats makes me forget about the long waiting.

Who would be your dream collaboration? A track with Timbaland would be sick!

Sticking to reality, who are you looking to collaborate with over the next couple of months? I’ve got a lot of projects going on already in Europe and America. But I can’t tell names before it’s official and finished. What I can say is that I’m happy with the people I’m working with.

Artistic Raw plays Electric Playground this Saturday, November 26.

Wednesday, 20 October 2010 09:45

78 SAAB Interview

Good Fortune

Fifteen years is a long time for any band to be together, let alone release three quality indie-rock albums, nurture a loyal grassroots following and still remain relevant on a national scale.

Sydney’s 78 Saab may not be a household name within the mainstream Australian music market, but they do peddle a gorgeous brand of bruised rock soaked in golden pop that any tuned-in indie type can relate too.

“It’s great that we have a pretty loyal following out there, and it does create a little extra pressure in the studio,” says the voice of 78 Saab, Ben Nash. “You are still making an album for yourself first and foremost. I guess as well, when it comes down to it, we’re agonising over what songs will go on and thinking in the back of your mind ‘why are you doing it?’ and how people will receive the album. We don’t want to be putting out an album that we would consider sub-standard because that’s an affront to people who’ve been loyal to us and dug our music for the past ten years.”

Together with the same line-up for the last 12 years: Nash, Jake Andrews (guitar), Garth Tregillgas (bass) and Nicholai Danko (drums), 78 Saab’s latest opus is ‘Good Fortune’. It’s packed to the rafters with melody and mood Saab fans have grown accustomed to over the years, while Nash’s vocals remain as soulful and emotive as ever.

“When you’re working through those songs that you’re going to choose for the album - I think we initially had 25 - you just start whittling them back and forth. The ones that you keep coming back to are the ones that you’re still excited to play; you always want to keep it fresh because at the end of the day, you are going to be playing them, whether it’s in the studio working out the tracks or going on the road, you’re going to be playing these tracks for over a year-and-a-half.

“So we want to make sure those songs are durable enough and that they still inspire us - it just feeds off of each other. You know how it is, you go to a gig and you can tell when a band are going through the motions and it doesn’t make the audience feel any better either. So, that’s something that we keep in our mind as well: ‘Do we really want to play this song? Does it excite us ‘cause we’re going to play this a hundred times’.”

Nash says the band’s camaraderie makes life in the studio easier and has led to such a long shelf life for the band.

“First and foremost, we’re all really, really good mates: we’ve had the same line-up since 1998. We all do our own things outside of the band. We take the music extremely seriously, but we’re not playing it - we want to keep it fresh really. We did a lot of touring and then we decided to pull back and work a bit more on the songs themselves. Sydney is an expensive place to live, so we all sorta juggle day jobs, playing in other bands and whatnot, and I’ve just had a daughter which takes up quite a bit of time.

“In one way, I think it has saved the band; as opposed to coming into the rehearsal room and thinking ‘Fuck, we’re doing another album’ or ‘we’re doing another tour wherever’. I think when we do come into these situations we realise our time together is extremely precious and that has tended to reflect in the music. Plus we enjoy having a beer together discussing the latest Wilco album.”

The group’s collective love of music also plays a major role in the creation of a 78 Saab track.

“The way we structure songs, there’s no real one - we don’t have to spill too much blood to get to the end process. I know some bands nearly go through a divorce and get a couple of cracked ribs to finish off a song. That’s never really been us. We’re all pretty accommodating (but) with different opinions. So if something is not really gelling, we tend to go ‘fuck it, let’s go to the pub’.”

With Sydney and Melbourne launch shows slated for next month, Brisbane punters will have to wait just a little longer thanks to an admin bungle.

“Brisbane was actually pencilled in, but then we were unfortunately double booked and we couldn’t make up the show in time for November, which we’re really bummed about. But we’re doing another national run in late January, early February and we’ll definitely be factoring in Brisbane.”


Tuesday, 18 May 2010 23:37

BRMC Interview

No April Fool

When you look at the American garage blues and alt. country landscape over the last decade, it's fair to say that the Black Rebel Motorcycle Club have filled their fair share of bars and venues, peddling a coarse brand of low-fi, sprawling rock soundscapes.

Now the Los Angles via San Francisco group are back on the promotional circuit, talking up their latest, and independently released album, 'Beat The Devil's Tattoo', the first batch of songs featuring BRMC's new line-up.

A lot of water has passed under the bridge since Peter Hayes and Robert Levon Been saw original drummer, Nick Jago, leave the band for the second time in June of 2008. What could have derailed a lot of other outfits, the departure of Jago solidified Hayes and Been's working relationship and the band soon moved on when they drafted in The Ravonettes touring drummer Leah Shapiro.

On the line from the States, where Hayes, Been and Shapiro are fielding media calls ahead of their Splendour In The Grass appearance in July, Leah recounts how she came to be passed into the BRMC fold.

"I'd opened with them for my old band, Dead Combo, and we stayed in a touch. And it was about a year after we'd done that tour and I received a call - on April 1 actually. I kinda thought it was a April Fool's joke when Rob called me to see if I could learn the songs. It all happened pretty quick; I had a month to get my stuff together and learn a very large batch of songs. I think we had a week of rehearsals and then we went straight on tour, then straight from the tour to preparing for the record and then doing the record and now we're on tour again. There hasn't been a lot of time to decompress and really process what has been going on. I guess in a way, that's a good thing because I don't have to psych myself out."

Now a certified BRMC member for close to two years, Leah says her integration into Hayes and Been's world went more smoothly than any of them could of predicted.

"Everyone was ... the guys in the band and management and everyone that works in the crew were extremely supportive and really nice and it made it a lot easier than I think it could've been. It was a surprisingly smooth transition and I'm not quite sure why it happened that way. I guess it was just one of those things that was supposed to happen and it came about without too much of a headache.

"That took me by surprise and it kinda took the boys by surprise as well, because no one knew what to expect. Like nobody knew what to expect as far as 'now we have to rehearse and go on tour with this person and it might change the sound (of the band)'. But that went ok. So the next step was 'how is this going to work as far as writing goes?' because that is a completely different ball game. But I think somehow we all managed not to get too caught up in over-thinking things and just allowed everything to happen."

The writing process remained the domain of Hayes and Been when the trio began work on 'Beat The Devil's Tattoo' in the basement of a friend's Philadelphia home during a severe cold snap. Not that Leah was too concerned about the wintery landscape.

"It was probably harder for the boys — cause they're from California and I'm from Denmark originally and I've been living on the east coast for a while. So I think the winter was more brutal for them than it was for me. But it was cool, 'cause we were living in this commune with some friends of ours who were so wonderful.

"They let us come and stay in their house and write the record there because we didn't really have anywhere to go and not really any money to go anywhere either. So they kinda set an environment that was very much like a family and a home ... and that's a pretty good place to be in.

"It was a strange experience — cause there was the actual family who was living there as well, and they were there the whole time and Kweli, the father of the house who's an older man, a fantastic man, and he'd bring his friends over when they'd been out at a bar and they'd come down to the basement and hang out and watch us play and they'd ask us to play Irish songs and whatnot."

'Beat The Devil's Tattoo' is out now through Shock/ Abstract Dragon. BRMC join an amazing line-up at the sold out Splendour In The Grass at Woodfordia July 30 till August 1.

Wednesday, 23 December 2009 12:44

Nancy Boyz Interview

They Know What Boyz Like

The “unofficial mayor” of Byron Bay, the ubiquitous Captain Kaine, is part of a stellar NYE Trip, Kicks lineup that threatens to derail the already tenuous sanity of the town. Here, he talks absolute nonsense in the leadup.

How does one spot the 'fidgety electro disco' monster that is mentioned in your bio? Is he a friendly monster like the BFG, or more like King Kong - a misunderstood beast?

It is a nocturnal creature often found dancing under the pale moonlight in a parallel dimension. If you have a pair of 3D telescopic nightvision goggles handy, you could be lucky enough to witness their strangely wonderful mating ritual. It has a very user-friendly nature, enjoys night walks on the beach, movies, etc and is mostly socially secure. Ahh the life of a monster. Its not all Jager bombs and canoodles you know.

Tell us about your home planet, Androgyny. Is it a place where dance music rules the land?

Androgyny is the twenty-four-hour party planet. It's not over ‘til the phat lady sings apparently. All we know is music. We take great pleasure in conducting experiments with our one true love and passion. Bass that is. How low can you go?

The music of Nancy Boyz; are you dishing up oysters draped in 80s nu wave and finished off with glam, 90s rave glowsticks?

Yeah its a smorgasbord of style as we don't like to discriminate musically or in any other way. In our short existence so far we've focused on making song-based electro that makes you want to move and get jiggy with it. Eclectic to the core, expect tasty canapes of anime, nu black chic, eyeliner, afros, patent leather, sirens, whistles and, of course, white gloves. Acieeeeed!

Michael Hutchence is referenced in your bio as an influence; from your vantage point on planet Androgyny, how important was INXS - the 80s, early 90s version - to the development of music in the land of Oz?

The early incarnation of INXS could only be described as seminal. Charismatic and classy with a subversive undertone, many an electronic artist from Oz is indebted to those boys.

The Nancy Boyz live show - spruik Scene readers on the merits of your performance and why they need to be ringside when you play the Trip, Kicks NYE show.

We will be featuring our all-singing, all-dancing Nancy Boyz big band for the New Year’s festivities at Trip, Kicks with the addition of disco diva Sarah on backing vocals. She's sure to be bringing enough funk for everyone to get some in their trunk. Also as a special treat, Crystal Grid VJs will provide some mind altering visual enhancements to make certain we're all traveling to the same space in the time line. How far can too far go? Let you know when I get back from the acid disco. We hope you have as life changing a spiritual experience as we have had since we came in search of the bass. We found it. You can too. Amen.

How do you handle criticism?

Constructive criticism is always relevant as the music world is full of opinions. We try to keep our sense of humour with what we do. You can't please all the people all of the time. You can try though.

What do yo expect from a crowd when you're playing live; do you prefer active enjoyment or the art of chin-stroking?

We definitely prefer a bunch of people that are totally off the hook in a party environment. You can really vibe with the massive in a live situation. Bouncing the energy round between the crowd & yourself creates that electric atmosphere we all love to feel. Chin stroking is preferred in the lounge room.

You have the choice between saving a beached whale and winning the girl of your dreams in the process, or you can tour with The Rolling Stones - circa early 70s - and have groupie sex for months on end. Your choice sir?

Difficult choice being the sensitive nu age kind a guys we are but the Stones tour sounds like a laugh. Can we make that group sex please sir?

Trip, Kicks NYE happens at The Great Northern Hotel, Byron Bay, on ... um, New Year’s Eve.


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