Scene Magazine celebrates 20 years on the streets in 2013. Each week this year, in this column, we're looking back at what we, and you, were doing.Issue 45: September 14, 1994. The last of the initial A4 gloss format before a switch to the dreaded newsprint! But more on that next week. First it's worth looking at just the five preceding issues as so much was happening in our pond, and at such a pace.
Covers: were as diverse as Vision 4/5 & Lollie (#45) juxtaposed with Prince (#41).
Editorially: we were featuring Central Station Records’ Top 10 every week. CSR was a powerhouse operating above Hungry Jacks (Queen St Mall) and run by the perennial Harry Katsanevas (Family/ Fluffy) with assistance from Edwin (The Beat/ Sexing The Cherry).
Scene Magazine's present-day support of gay news is not a new-found thing: Bent Vent was a wrap of the gay/ music scene, written by gay-scene identity and promoter Gavin Waller (RIP) and the vivacious Dixie Lloyd.
Personnel: Neil Richards had become our first editor. A consumate professional, very well respected throughout the music industry (then and now), and certainly not prone to the all-too-common sniffy and tortured tastemaking that afflicts so many in that role. Ten years later, Neil edited the Melbourne edition from our offices in Johnson Street, Collingwood.
Jenni Juckel (DJ Jen-E) was writing the weekly Dance Directions and full page features on all things electronic, while holding down her five-night residency at The Beat.
And in a little-known nugget from the annals, emerging Brisbane musician Tyrone Noonan (George and in his own right), was Scene Magazine's advertising man — albeit not for very long!
Advertisers: Kimberley Davis (Annalise Hartman character in Neighbours) was appearing at Club LQ. Quite what she was doing is anyone's guess, but I'm sure it made sense at the time. The 3rd Brisbane Blues Festival (by promoter Rob Hudson — another hard-wired perennial industry pro) feat. Mick Hadley (RIP) & The Shakers and Lil Fi and The Delta Rhythm Kings. You could catch Hunters and Collectors + Dave Graney at The Roxy for $16 and D:Ream @ Festival Hall (RIP) for $26.
And things for Scene Mag (and D:Ream) were certainly getting better!
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‘Holding the Man’ opens February 16 for a limited season at La Boite.
PHOTO: DYLAN EVANS
For more information on the theme team.
brisbane.lanewayfestival.com.au/show-day/art/ or dwdc.com.au
Australian hip hop tends to take no prisoners. It’s pretty raw and gritty a lot of the time, as is the case with Cheap Sober, who has recently released his second album, ‘Gone Unnoticed’. But the NSW emcee isn’t necessarily about keeping the status quo.
“I wanted to add something original to the scene,” describes the lad from Illawarra. “I wanted to bring my own sound to what I was doing to be honest.”
First getting involved with music as a youngster by listening to the golden era of hip hop — artists he names are Mobb Deep and Wu-Tang Clan — Cheap Sober describes the inspiration he received and why as a result, he wanted to pursue music more seriously.
“There was this youth centre near where I lived and they had all sorts of different types of musical equipment, and they encouraged the kids to learn how to use it. I was pretty curious and recorded something when I was about 16 years old, and I really quite enjoyed it. From there, I bought some gear for myself and decided to take things a little more seriously.”
With his apprenticeship completed, Cheap Sober is now promoting the release of ‘Gone Unnoticed’.
“It did take quite a while to get through it,” he explains. “There were a few things that came up in my life that sort of held me back from doing music for a while too. So I'd say it took me from around 2010 to 2012 to produce and complete the album.”
That said, an album that evolves over a period like that, is bound to have depth and diversity.
“For sure,” agrees Cheap. “I think there is balance on the album. It took me probably twice as long to finish as I thought it might. I also ended up doing about twice as many tracks in the studio versus what actually ended up on the LP. I had to pick and choose the ones I liked most to really get the result I wanted.”
All in all, Sober considers making music something of an emotional outlet.
“If I want to get something off my mind or have something to do or have something to say, music is where I'm at. It has helped me deal with anger and frustration, get things out of my mind, and it has also made me feel better about myself. To see and hear people listening to your music saying that they're feeling it and all that — or even that it helped them through something — that's really positive.”
The production of ‘Gone Unnoticed’ was taken care of by a number of his compatriots, both locals and from overseas. Likewise, the sound is diverse and unique.
“I've got this group of contacts that I've picked up from all over the place and I've kind of leaned on that for the album. To be honest, I wasn't too fussed where the producers were from or what they'd done before — as long as they brought the fire for this release!”
Yet not to be outdone, Sober is also back in the studio working on another EP, just to tempt the appetite of his fans.
“I just want to keep the buzz happening,” he says. “After that, I will have a break for six months and then start thinking about the next album. It's probably not something I'm taking as seriously as the album, so it was a little more fun to do, but I am still serious about it and looking forward to that release as well.”
Finally on the tour, he is ready to promote the album and suggests that it's going to be a much more lively than it was in the past.
“Tracks like ‘Puzzles’ are going to be a bit deeper, and there are some others I've re-done a bit too. I'm looking forward to seeing everyone's responses to that. I've also got a great set of support acts that are coming to help out so it's going to be a high-energy show for sure.”
‘Gone Unnoticed’ Is Out Now. Stay Tuned For Details Of Cheap Sober’s Brisbane Show. Facebook.Com/Cheapsober
With the third volume of his popular ‘The Art Of’ compilation already released, legendary Dutch electronic DJ Marco V is happy with the results.
"I've done a lot of mix compilations in the past, but on this one I really wanted to show the people a reflection of my DJ set — the energetic stuff that I always play in the clubs," he says.
With remixes of artists like Fedde le Grand, Digitalism and Punk Ninja — to name just a few — it’s definitely a diverse collection of tunes.
"There are a few older tracks, and a lot of new stuff on it, but still, it’s a lot of music I play in almost every set, so it gives a good reflection of what you can expect when you see a Marco V DJ set.”
With modern technology saturating the DJ landscape these days, showing diversity and building a brand is important for a DJ’s survival.
"A mix compilation is a big help," agrees Marco. "I think it’s important, because people like to link a DJ to a track, a concept or to a label, also label nights. It’s really the thing of the moment right now so yeah, I think it’s really important to have a link to a few things."
Social media is important to him as well.
"The thing that I like about social media is that it’s so direct, you're so connected now with people that like your music. Before you had to go through management and everything — you're so connected now with people that like your music. It’s so easy, but I don't like to spit out a lot of information. I'm in the studio, you know.”
Marco is a big fan of his Australian supporters too. "In general, the crowds in Australia are one of the best in the world,” he says. "They're passionate about the music. When I play my own tracks, you already get a good crowd reaction because they know them. That’s great as a DJ, because you don't have to play the 'same old same old' stuff. It’s not always about the big tunes in Australia, it's an educated crowd.”
It's probably just as well that we're musically educated, with more music than ever before being mashed together.
"I don't know if there is a tech-trance scene at the moment, or a trance scene. At the moment the whole music scene is so blended — what's called house is so trancy at the moment. Even the trance productions are more house influenced.”
But that ever-diversifying nature of music is something that suits Marco.
"It’s something that I always liked. If you've been longer in the scene, you like more diverse stuff. It's also a reflection of my mix CDs and my DJing; it’s about every style of music. That’s what I like.”
Clearly at ease with what he's achieved, Marco will remain busy throughout 2013.
"I got a couple of new tracks, some vocal tracks, some collaborations. I get a lot of inspiration when I'm DJing. My DJ sets are my biggest inspiration for producing music.”
And that's why his ‘...Art Of’ releases are doing well, because essentially, it’s him doing what he loves most. "It’s fantastic as a DJ, when you play one of your own tracks and people go nuts — it’s what you work for in the studio.”
With the third volume of his popular ‘The Art Of’ compilation already released, legendary Dutch electronic DJ Marco V is happy with the results.
"I've done a lot of mix compilations in the past, but on this one I really wanted to show the people a reflection of my DJ set — the energetic stuff that I always play in the clubs," he says.
With remixes of artists like Fedde le Grand, Digitalism and Punk Ninja — to name just a few — it’s definitely a diverse collection of tunes.
"There are a few older tracks, and a lot of new stuff on it, but still, it’s a lot of music I play in almost every set, so it gives a good reflection of what you can expect when you see a Marco V DJ set.”
With modern technology saturating the DJ landscape these days, showing diversity and building a brand is important for a DJ’s survival.
"A mix compilation is a big help," agrees Marco. "I think it’s important, because people like to link a DJ to a track, a concept or to a label, also label nights. It’s really the thing of the moment right now so yeah, I think it’s really important to have a link to a few things."
Social media is important to him as well.
"The thing that I like about social media is that it’s so direct, you're so connected now with people that like your music. Before you had to go through management and everything — you're so connected now with people that like your music. It’s so easy, but I don't like to spit out a lot of information. I'm in the studio, you know.”
Marco is a big fan of his Australian supporters too. "In general, the crowds in Australia are one of the best in the world,” he says. "They're passionate about the music. When I play my own tracks, you already get a good crowd reaction because they know them. That’s great as a DJ, because you don't have to play the 'same old same old' stuff. It’s not always about the big tunes in Australia, it's an educated crowd.”
It's probably just as well that we're musically educated, with more music than ever before being mashed together.
"I don't know if there is a tech-trance scene at the moment, or a trance scene. At the moment the whole music scene is so blended — what's called house is so trancy at the moment. Even the trance productions are more house influenced.”
But that ever-diversifying nature of music is something that suits Marco.
"It’s something that I always liked. If you've been longer in the scene, you like more diverse stuff. It's also a reflection of my mix CDs and my DJing; it’s about every style of music. That’s what I like.”
Clearly at ease with what he's achieved, Marco will remain busy throughout 2013.
"I got a couple of new tracks, some vocal tracks, some collaborations. I get a lot of inspiration when I'm DJing. My DJ sets are my biggest inspiration for producing music.”
And that's why his ‘...Art Of’ releases are doing well, because essentially, it’s him doing what he loves most. "It’s fantastic as a DJ, when you play one of your own tracks and people go nuts — it’s what you work for in the studio.”
‘Marco V Presents T.A.O VOL 3’ is out now.