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Singer Clint Boge will leave The Butterfly Effect (pictured) after their April-June tour. He will be focussing on his other band, Thousand Needles In Red, as well as a solo album and a series of touring music workshops. The members of The Butterfly Effect plan to seek a replacement. Roadshow Music is releasing a Best Of to coincide with the tour. Meanwhile, Thousand Needles In Red guitarist/songwriter Tristan ‘Trizo’ Bouillaut is working on rap/rock side project called Dead In A Second. Apparently the members of the band will remain a mystery even at shows. An EP will be out in early June to coincide with his birthday.
The Bedrock label spearheaded by prog legend JOHN DIGWEED has long been at the forefront of dance music. He tells MONIQUE MITCHELL about his early days in the acid house, and what we can expect in the future from Bedrock.
Elbow (pictured), with special guests Bombay Bicycle Club, play another Brissie date at the Tivoli on Sunday Mar 25 (their March 24 show is sold out). Tickets are on sale now, $89.90+bf from Ticketek.
Ah Fuck That! (pictured) continue to bruise Brisbane and surrounding suburbs with their rascal-punk as the quartet join a stellar line-up at Nundah’s Prince Of Wales Hotel to celebrate the new CD for Woolongong punks, Rukus. Happening on Saturday Feb 11, tickets are $10 from 7.30 for a line-up including Sydney ska outfit Eager 13 and locals Sausage Chopper and Le Murd.
Brisbane locals Vegas Aces have an impressive crowd for their opening time slot as they deliver some by-the-numbers hip hop to a receptive audience. The bluesy sample underlining Boomtown Shuffle has heads bobbing and is the most interesting and impressive track to come from the group, so far. Following on is the Gold Coast’s Seven who drop some laid back rhymes over eclectic and often dance/synth heavy sampling, the crowd responding well.
Waltzing on stage Matt Colwell (AKA 360) is immediately helped along by a crowd of keen fans reciting opening cut, Killer, verbatim. The Whitest Boy Alive-sampling Just Got Started continues a set heavy on tracks from his latest album, the certified gold Falling & Flying.
This eclectic sampling and use of indie, dance and pop elements may have purists cringing but it is clearly a major part of his crossover success, and throughout the set he controls the stage armed only with a DJ. Every track is greeted with cheers and an indication of the crowd is perhaps best measured by the vigour with which they scream “where the f*#k are the boobies at?” during 360’s reworking of Big Boi’s Shutterbug.
The set shifts, getting strangely intimate for the very personal Child, which proves a highlight, before the energy is turned back up for Boys Like You – his most successful single so far if the Hottest 100 is anything to go by.
What 360 delivers, and what is so crucial to his success, is a show entertaining for both those inside and outside hip hop’s brethren, and that is definitely evident tonight.
The amazing thing about Lana Del Rey, after all is said and done, isn’t the fact that she became famous from a single YouTube clip – after Rebecca Black, anything’s possible – or that she has parlayed that online fame into real-world achievements such as appearing on Saturday Night Live. No, what’s most amazing about Del Rey is that she is the subject of such heated debate when she offers music that is so eager to please. Her major-label début, Born To Die, offers nothing more or less than 15 immaculately produced, well-delivered ballads – some of them with very strong hooks, others less endearing, but always high-gloss, even at their most mediocre. Hating on it is like hating on soft-serve ice-cream: it’s theoretically possible, but it makes you look like an anhedonic, idealistic git. Which isn’t to say that Born To Die is an out-and-out triumph: it’s much too long, for starters, and given that the tracks themselves veer from arresting pop gems (Video Games, Million Dollar Man) to the kind of cruft that fills episodes of Gossip Girl (National Anthem, Radio), it seems to me that it could have been greatly improved with a few right clicks. It’s hard to say whether Born To Die will catapult Del Rey into the ranks of Lady Gaga and Adele, but it’s pretty clear that she’s playing the long con: whether this album does well or sinks without a trace, I’m sure this won’t be the last we hear of her.
Singer Clint Boge will leave The Butterfly Effect (pictured) after their April-June tour. He will be focussing on his other band, Thousand Needles In Red, as well as a solo album and a series of touring music workshops. The members of The Butterfly Effect plan to seek a replacement. Roadshow Music is releasing a Best Of to coincide with the tour. Meanwhile, Thousand Needles In Red guitarist/songwriter Tristan ‘Trizo’ Bouillaut is working on rap/rock side project called Dead In A Second. Apparently the members of the band will remain a mystery even at shows. An EP will be out in early June to coincide with his birthday.
The Bedrock label spearheaded by prog legend JOHN DIGWEED has long been at the forefront of dance music. He tells MONIQUE MITCHELL about his early days in the acid house, and what we can expect in the future from Bedrock.
Elbow (pictured), with special guests Bombay Bicycle Club, play another Brissie date at the Tivoli on Sunday Mar 25 (their March 24 show is sold out). Tickets are on sale now, $89.90+bf from Ticketek.
Ah Fuck That! (pictured) continue to bruise Brisbane and surrounding suburbs with their rascal-punk as the quartet join a stellar line-up at Nundah’s Prince Of Wales Hotel to celebrate the new CD for Woolongong punks, Rukus. Happening on Saturday Feb 11, tickets are $10 from 7.30 for a line-up including Sydney ska outfit Eager 13 and locals Sausage Chopper and Le Murd. 
(Interscope/Universal)
