Californian hip hop producer FLYING LOTUS aka STEVE ELLISON tells MATT HICKEY about signing to Warp, the impending expectation, and why his live shows differ so much from his albums.

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• Lockdown’s first bash for ’09 takes place at the Jubilee Hotel on Saturday Jan 24 (Australia Day Weekend), with The Casino Rumblers, Secondhand Smoke (Sublime tribute act), The Pretty Boys, Starsludge, Legions Of Mary, Perhaps Maybe?!?, Dementia 13 and The Flangipanis thus far announced. It’ll be a super-cheap $5 on the door.
• Mistletone expands its seasonal love-in with the Summer Tones party heading to The Zoo Friday Mar 6, 2009. Featuring internationals Dan Deacon, High Places, Ruby Suns, Lawrence Arabia and Melbourne types Beaches, grab tickets through OzTix now for $35.50+bf.

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Calling all metal-goth-vampire devotees, your Lords and Masters – English septet Cradle Of Filth (pictured) – will unleash their Godspeed On The Devil’s Thunder tour at The Arena on Sunday May 31, 2009. Remember to polish up your shiniest black attire and keep the 30+ sunscreen on throughout summer to preserve an appropriately deathly pallor. Ask mum and dad for a ticket when they go on sale Friday Jan 2, 2009, for $91+bf through OzTix.

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Brit’s Paul and Ross Godfrey – the backbone of Morcheeba (pictured) bring their current incarnation to Australia for some summer sun throughout January. Fusing their combined influences – trip hop, rock, rhythm & blues and pop – be sure to catch the multi-limbed groove merchants at Byron Bay’s Great Northern Hotel, Tuesday Jan 6 and Wednesday Jan 7 (with Sunshine Brothers); The Tivoli Friday Jan 9 (with Sunshine Brothers) and Saturday Jan 10 at the Coolangatta Hotel (with Hermitude). Grab tickets through regular outlets.

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Valley Studios - Thu Dec 18

Armed with an eclectic sound palate, Brisbane midi-maestro Hunz plies his post-rock meanderings with a bass and drum ensemble to an audience who prefer to populate corners and couches rather than the gaping space near the front of the stage.

Buoyed by winning the coveted Unearthed slot on the upcoming Big Day Out, local indie rockers Hungry Kids Of Hungary demonstrate the songwriting maturity of a band twice their age, with the musicianship to boot. Their three part harmonies contrast nicely with Kane Mazlin’s staccato keyboard rhythms to achieve a sound somewhere between the ‘70s pop-rock icons Chicago and today’s hippest indie producer Ben Folds.

It’s tough to see past the disappointed faces of Sydney’s kick-ass funk/soul-cum-indie rock act Kid Confucius, here to promote their latest release The Let Go, although the powerhouse octet deliver an amazing set despite the poor turnout. After an opening passage of super-charged rockier newbies including Play A Part, Morning J and Good Luck, singer Rob Hezkial defiantly jumps down from the stage to pull chairs, couches and bodies closer to the stage to instant effect. With the vibe in check, they return to the funk with Stripes’ cruising tune Better Be On Soon and their self-titled debut’s Mister, before peaking with the festival blockbuster Moment.

JAMES STAFFORD 

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(Universal)

The third album from this Grammy-winning singer/producer

Although Akon has made his name in the gritty American hiphop and R&B scene, and he still reinforces that here with guests like T-Pain and Lil Wayne, this album’s title might be a signal of his intentions to break away from the stereotype. He’s done that not only by upping the level of romancing in his lyrics but also by changing the musical settings he constructs for them. So while We Don’t Care and I’m So Paid have all the hallmarks of the typical sexed-up but still self-centred hiphop mid-tempo track, the layered keyboards suggest other influences, and that’s made much clearer in the strong ‘90s Euro-club dance-pop feel of Beautiful, which may come as a surprise, while on other tracks like Holla Holla he makes extensive use of studio-assisted robo-vocals. Akon isn’t alone in moving away from rap’s restrictions (Kanye West being a prime example). But at its weakest, in tracks like Against The Grain, there are echoes of those tepid nu-soul boy bands that faded from view over a decade ago. Yet even then, Akon has rarely sounded as sincere as he does here. It’s the kind of re-invention that may indeed offer him more freedom.

***

BILL HOLDSWORTH

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