Items filtered by date: October 2013
Friday, 18 October 2013 14:59

2Guns Movie Tickets

‘2Guns’ stars Denzel Washington and Mark Wahlberg as a DEA agent and a naval intelligence officer who find themselves on the run after a botched attempt to infiltrate a drug cartel.

While fleeing, they learn the secret of their shaky alliance. Neither knew the other was an undercover agent.

To win one of ten in-season double passes to ‘2Guns’, in cinemas now This competition has closed.
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Terms and Conditions:

1. Winners will be drawn at random at 4pm Monday 21st October at Level 2, 192-210 Brunswick Street, Fortitude Valley. [Winners drawn]
2. Winners will be notified by e-mail. [Winners notified]
3. Winners must arrange to collect the prize from Scene Magazine's offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Wednesday, 16 October 2013 18:02

Mystery Road In-season Tickets

Ivan Sen’s ‘Mystery Road’ is many things.

It’s a murder mystery and a thriller, but it’s also a film about the meeting point of white and indigenous Australia.

In the film, Aaron Pedersen plays detective Jay Swan, who returns to his remote outback town to investigate the murder of a young girl.

Inspired by a real life murder case, it tells the story of the investigation, as it explores tension between the black and white communities in the town.

To win one of five in-season double passes to ‘Mystery Road’ (out nationally October 17)
This email address is being protected from spambots. You need JavaScript enabled to view it.

Terms and Conditions:

1. Winners will be drawn at random at 4pm Friday 18th October at Level 2, 192-210 Brunswick Street, Fortitude Valley.
2. Winners will be notified by e-mail.
3. Winners must arrange to collect the prize from Scene Magazine's offices at Level 2, 192-210 Brunswick Street, Fortitude Valley, during business hours.
4. Entrants' email address will not be used for any other purpose except the conduct of this competition.

Published in Competition
Wednesday, 16 October 2013 17:22

Ill.Gates: Bass Heavy

Canada-born, California-based EDM legend Ill.Gates will be at Island Vibe Festival later in the month for what promises to be one seriously bass-heavy party.

From headlining festivals, to working with some of the best in the business and teaching up-and-comers, Gates has it covered.

What is the scene like for bass-heavy music in San Francisco right now?

San Francisco has an incredible scene for bass music. Period. Or maybe even exclamation mark. Yeah... I'll go with exclamation mark! It's awesome. People there are very forwardthinking and always want to hear whatever's new and innovative. There are massive events and street festivals all the time and the people do not tolerate unoriginal music or poor sound systems. We are also lucky enough to have the American branch of PK Sound based in SF, so you can often find their sound systems bumping at special events.

The only thing you can complain about really is that the fetishism of new original music and high quality sound systems kind of ruins travel to much of the rest of the world. Trends move very fast, so whatever is new to the rest of the world is already old news in the Bay. Definitely a first world problem.

How do you keep up to speed on new technology and software as it emerges?

It has gotten to the point that many of the companies and innovators simply contact me directly as their gear is being developed and/ or send me demo units. I read a lot about new stuff online as well. Blogs like djtechtools.com are excellent sources of reviews and there's always the ableton forum as well.

What's your favourite piece of DJ equipment that you own?

I'd have to say my MIDI Fighters are the most fun. I love Ableton Push for melodic performances, but the MIDI Fighter just slays it. It's like an MPC made of arcade buttons, and then suddenly all those hours logged on ‘Street Fighter II’ at the arcade are musically useful. Go order one now. Trust me.

Another string to your bow is the role of musical educator.

What form does this take? Lately it's nearly all online. Since I signed on with Circle (agency) I have been gigging more than ever before so it is very difficult to financially justify the time it takes to do a workshop. When I have a workshop online it can eventually generate the residual income to justify it to my management but grinding it out doing physical workshops doesn't really make sense any more.

I am, however, treating this Australian visit as more of a vacation than a business venture so I will take the time to teach for the love of it when I'm there.

What is the biggest misconception about DJing that you would like to see change?

I would like to see audiences appreciating actual live electronic music more. People like Mad Zach, Araab Musik, Sibot, Shake Beats, AmpLive etc. are absolutely epic when it comes to finger drumming live. It's amazing. To make a whole song happen ACTUALLY LIVE with no quantise or looping or anything to fall back on is magic. Audiences don't really understand that it actually takes years of practice to be able to truly do it live.

I'd like to see more appreciation for the art and craft of finger drumming, and I'd like to see more people doing it. DJing is great, but being able to actually play instruments live on a stage is pretty amazing too.

Do you have any plans for releasing new material any time soon?

I'm basically doing one track at a time these days because nobody has the attention span for a whole release any more. I'm planning to keep going like that, and then put out mixtapes of all the favourites every now and then. That seems to be the format people are responding to. You can get a new release every month or so at illgates.com or on my soundcloud. Bon appetit!

What drives you to continually find new sounds and styles?

Hack artists ruin every subgenre as soon as it gets popular, so if you like the feeling that music gives you then there is no other option but to constantly seek out new sounds and forms of expressing yourself. Music saved my life. Literally. I owe it to the world to return the favour. I've also got absolutely nothing else on my resume so I'd better give this thing my all if I want to support myself.

There really is something to be said for music as a full time profession. If you've got no safety net at all you really have to hustle to stay relevant. Artists and trends come and go so fast these days that it's adapt or die.

You’ve played some huge festivals like Burning Man and Shambala, but what can fans expect from your show at Island Vibe?

I love Jamaican music. Love it. I have all kinds of remixes, dub versions, etc in my back pocket I've been dying to bust out for ages and I see Island Vibe as my best chance for it. In my previous trips to Australia I typically stayed away from playing tracks with vocals (Aussies tend to think it 'commercial', lol) so I'll have a chance to explore some new territory this time around. I can't wait!

And finally, what are your plans for dealing with the Queensland heat? Beer or water?

Coopers Pale Ale, obviously... cheers!

Ill.Gates plays Island Vibe October 25-27. He also plays the joint IV After Party/ Earth Frequency Launch Party at the Hi-Fi November 2.

Published in Electronic
Wednesday, 16 October 2013 16:48

King Unique Was Promised Feral Pigs

There’s no doubt that Matt Thomas is a unique man.

The DJ has a taste for tripped-out cosmic techno and rough-edged underground house that has seen him win an enviable global following, with a ceaseless schedule of sets and festival gigs.

An instantly recognisable favourite with clubbers worldwide, KU has managed to cross genres and end up in the vinyl crates and CD sleeves of the world's most influential DJs from Digweed to Soulwax, Richie Hawtin to Tiesto.

I read that your goal for the year was to stop renovating and go back to being a musician. Did you stick to your resolution?

I delivered my first KU remix of the year to Microcastle just last week, so I think I can say yes. I've committed to some more remixes too; Henry Saiz and Jamie Stevens among them, so the musician side is back in place. And yes, I have stopped renovating – I just haven't actually finished fixing the crumbling old money pit up yet. And when I say 'haven't finished', I'll probably find out soon that I actually mean 'barely started'.

You’ve been releasing a solid stream of broadcasts lately. Is that something you’ll continue to concentrate on?

The new KU broadcasts are a result of the time I took away from music. I realised when I started working on the house that I've been involved in music every day for over 20 years now, but always from the inside, and it's a completely different experience to the way most people experience music. You send me a promo and my brain instantly goes into work-mode; does the tune function for me?

But if I'm caught unawares by music, say hearing a mix CD in a mate's car, then I actually HEAR it, instead of auto-analysing it. That's why I 'vanished' into the renovation, to have a chance to hear music again. I didn't open a single promo email, I didn't look at Beatport, I didn't touch an instrument or make any music. I just consumed it like anyone else – downloading podcasts and mixes and listening to them while I worked and drove around.

It filled me up where I hadn't realised I was running almost on empty, and maybe had been for a couple of years. The first creative itch to come out of this was the need to broadcast some of this great new stuff myself.

Who and/ or what has been musically inspiring you lately?

The resurgence of the UK scene. People like Shadow Child, George Fitzgerald, Blawan, Hot Since 82, Scuba and labels like Hypercolour, Moda Black, Aus would be among the best known, but there are dozens and dozens of others. Sometimes it can just be a single track from an artist that grabs your attention: Park Hill 'Beres', Wordlife 'Small Talk' are two strange tunes that have stuck with me, both picking up on the resurgence of garage and bassline vibes.

I think there is something about music that comes out of your own culture that will always chime a little deeper with you, and if I'm honest I've missed some of the quirky, aggro, maudlin, understated-inhibited-extroverted bravado and weirdness that comes out of this place. Outside of the UK I was massively inspired by the Diynamic and 2DIY4 releases earlier in the year, I'm absolutely in love with NT89's productions.

Did growing up in Northern England, the powerhouse and birthplace of the British electronic scene influence your career choice?

Yes, but probably not the way people expect – I relocated to Liverpool in '93 to try and crack my way into the recording studio scene. Unlike most people I never got into this to perform or be a 'star'; certainly not to be a DJ — the idea that it could be on my tombstone still makes me shudder slightly. I wanted to produce and engineer amazing records, that was always the driving force.

Today's laptop studios hadn't even been dreamt of at that point; records were made with racks and racks of gear, monster mixing desks you could lie on and big tape machines; if you wanted to get on the scene you begged ‘round the big studios to see if they'd take you on as an unpaid 'assistant engineer ie. tea boy, microphone-stand placer, cable runner, odd job man – anything that no one else wanted to do. You'd work days of sessions, often sat around from midday in case the band turned up, but knowing full well they'd roll in around dinner time and then stay up till 4 or 5am. It was slightly life-eating, but it was the only way to be around recording equipment and people 'making it' in the business.

I could write a book about that time and probably should – working with everyone from endless jangly Liverpool guitar bands to Toxteth rappers and ragga toasters, along with occasional superstars like PJ Harvey and Elvis Costello dropping in for a session. Anyway, I did that for a few years, eventually bumping into a bloke called Matthew who was remixing house music and needed stunt keyboards. The rest, dear reader, is history.

King Unique began as a partnership with Matthew Roberts in 2001. You took hold of the reigns and went solo in 2006. How hard was it to transition from two to one?

Disorientating for a while. I dithered for about a year, trying to continue with the existing 'KU sound' before finally realising it was never going to work. You can't carry on being married on your own.

How did your sound change since going solo?

As my colossally disappointed bank manager will tell you It became a lot less commercial. It just made a lot of sense, personally. Prior to King Unique taking off I'd just begun to cut out a solo niche for myself with some very twisty textured tech-house under the 'Watkins' name, getting support from Fabric resident Craig Richards and remixed by DJ Sneak. For the benefit of younger readers, this was the late ‘90s when he was still a cool dude, rather than a guy hunched over his laptop keeping house real one tweet at a time. (Which reminds me of my favourite Sneak joke. Q: What's the difference between DJ Sneak and a gangster? A: Gangsters make hits)

Anyway, I've always enjoyed the textural technical side of music rather than the hooky-riff and killer chorus, so I delved into that side of things. Complex melodies and structures make my heart sing.

Your renowned for your remixes. Has there been a favourite over the years?

Well, we were astonishingly well paid for the Jamiroquai remix… Ok, ok, artistically then – no, it would be impossible to cut it down to just one. Having just put together a two-hour mix of fourteen years of KU history for Friskyradio, I've obviously given this a lot of thought recently, and the trouble is that they've been too diverse.

I don't know how I'd choose between a deep end-of night bliss-out like UNKLE 'Heaven' or a stadium monster like Underworld 'Two Months Off', or the retro ‘80s electro-funk of Suicide Sports Club 'I Don't Know' or the melancholy house of Baz ‘Believers’.

It’s no secret that you’re not afraid to speak your mind. So... what do you think of the current state of the EDM scene and its meteoric rise into the mainstream?

Was it Steve Aoki or Afrojack who said: ‘It is a tale, told by an idiot, full of sound and fury, signifying nothing?’ Or was it Macbeth, I can never remember – either way he was spot on.

How has the scene changed since you began?

Endlessly and multifariously – it's exploded out into nearly every corner of the world and meant something different in each place and each time. How do I try and make sense of a scene that's taken me from a plush members' club in Moscow full of politicians, TV stars, groomed gangsters and 'girls who do' back in 2001 to an Australian desert hillside covered in thousands of happy hippies screaming at the totality of an eclipse in 2013?

Or the reverse – a slick Melbourne super-club at the height of the silk shirt and fedora frenzy that was the Aussie electro-house boom to a chaotic rave in a Malaysian jungle with masked horsemen sporadically riding at the crowd – both in the same weekend. The PR people and the clubbing press like to create narratives, some valid, some less so – but the truth is the scene is more akin to one of those sub-atomic particles that moves so rapidly it exists in many different places at once – and still it keeps mutating.

You’re playing the Rainbow Serpent festival this coming January. You've played gigs all over the world. What are you expecting of a festival in the middle of the Australian bush?

Feral pigs. I was promised feral pigs in the illuminating and exhaustive 'things that may kill and eat you' pamphlet distributed at the Eclipse festival, and there wasn't a pig to be seen. Ironically, we nearly collided head-on with three horses on the night drive up there; no one mentioned brumbies galloping on the wrong side of the road.

And... what can the Rainbow Serpent crowd expect when they see you?

Feral DJing.

Catch King Unique at Rainbow Serpent at Lexton, Victoria, January 24-27.

Published in Electronic
Wednesday, 16 October 2013 15:43

Alex Williamson: Comedy In Preview

After racking up over 33 million YouTube views on his videos, Alex Williamson has certified his place in Australian comedy and has the 'Disturbing and Distressing' live stand-up show to prove it.

“I've explored some very dark and fucked up places in my stand-up and tried to find the lighter side of it all at the same time, so I can understand how it would be distressing and disturbing to perhaps some of the older generation. But young people my age, I don't think they would find it distressing or disturbing at all,” Alex explains.

In Alex's live show he explores the realm of a bogan Australia, tapping into characters like the eloquently named 'The Loosest Aussie' and 'Musical Drug Dealer'.

“Around the tracks, south of Adelaide where I lived, some of the characters aren't quite characters. They are scary, frighteningly real people who still find it hilarious when they see me imitate them. They don't realise I'm laughing at them so that's convenient.”

After a quick look at Alex's infamous YouTube channel, it's clear that he has every reason to fear the rough Aussie bogans that he impersonates. References to hard drugs, murder and sexual assault are  staples in his specific flavour of comedy, which definitely narrows his fan demographic.

“I know my target audience. Young males are definitely the strongest demographic but I'm certainly trying to open that up and not just to Australian people, but to the world. That's one thing I'm trying to work on now, giving it more of a global appeal, rather than just focusing on the Australian market because if I can get a viral video in fucking India or China or some shit, happy days!”

Alex's self-taught skills in comedy, acting and music, coupled with a media-related university degree, have all helped him progress to where he is today.

“The media studies and the film-making and editing side of things was through a university course and studies at school. But all those other things, the music, the comedy and the writing ... yeah, I just went out there and did it. It took a long time to get it right, a lot of practice but it's starting to take shape. I think in a way I was expecting success eventually but not straight away.”

Alex has been involved in the comedy/ entertainment industry since 2007, and on October 19 all of his hard work, racial slurs, insinuated sexual discrimination, bogan impersonating and mock drug use will pay off. He is filming a live stand-up DVD at the Tivoli.

“They really get on board up there in Brisbane. I don't know what it is in the water, but they are fucking party animals and they just love to laugh and they love to have a great time. I've probably taken a show up there more times than anywhere else and they're still keen as balls, so yeah, I'm pumped to get up there.”

According to Alex, the Tivoli crowd can expect some pretty honest talk.

“[Punters can expect] some pretty real shit. Because it's the DVD filming, I'll be pulling out all of my best stuff and more music than usual and some new stuff that you guys haven't seen up in Brisbane before. But yeah, in the last three or four months of touring I've learned a lot about the world. I've been to fucking Edinburgh to do gigs there. I did 22 shows in a row in Melbourne and lost my fucking mind so I've got some stories for these people.”

Alex Williamson performs at The Tivoli on Saturday October 19 for one show only.


Published in Comedy
Wednesday, 16 October 2013 15:36

2high Festival Pre-Event: Live Review

The recently opened Rabbit Hole Ideation Café in Fortitude Valley was a perfect setting to display all aspects of what goes into the 2High Festival.

Trying to combine such a vast range of talents could have been a cluttered mess.

However, between the art displayed around the upstairs area and musicians performing periodically downstairs, it managed to showcase all the aspects without any impact being lost from the individual pieces. Every person there was impressively articulate and passionate about their role with the festival, whether it was one of the music coordinators, the troupe of physical theatre actresses or a set designer.

Kitty Gatling, aka The Gatling Gun, was at her dynamic best, proving that ‘90s music can start any party, especially when she dropped Will Smith’s ‘Fresh Prince Of Bel Air’ to an incredibly loud squeal of delight from the crowd.

Looking strikingly like Tom Odell, singer Jackson James Smith set an enchanting atmosphere among the fairy lights dripping from the trees. His melodic voice weaved superbly with the music and had captured the attention of nearly the entire crowd by the time he finished his set to a thunder of cheers.

Putting a group of young emerging artists and art producers in one room for the 2High pre-event could have been a night of self-congratulatory pretension. Instead it was an entertaining and thought-provoking insight into Brisbane’s up and coming artists and what they have to offer.

2High Festival Pre-event was held at the Rabbit Hole Ideation Cafe Oct 11.

Click here for photos from the night.

Published in Events Arts
Wednesday, 16 October 2013 15:33

Design For Living: Theatre In Preview

Bringing Noel Coward's classic to life, the Queensland Theatre Company will perform 'Design For Living' this October.

Star of this romantic and hilarious play, Kellie Lazarus says the performance stays true to Coward's 1932 original.

“The film was very different from the original play,” she says. “I think there's only one line from the whole film that was in the play!”

'Design For Living' follows one woman, her effect on two swooning men and the misadventures that follow. Playing the beautiful and outspoken Gilda, Lazarus is joined on stage by her counterparts Tama Matheson, playing Leo and Jason Klarwein (Lazarus' real life partner) playing Otto.

Lazarus says  it’s been a wonderful experience acting alongside Klarwein in an intimate role. “It has been absolutely fabulous.”

Even though the play hit broadway in the '30s, it still appeals to audiences today through its “funny and outrageous” style, Lazarus says. For her, the effort was taken out of over analysing the characters, as the script was excellent.

“All of the work is there on the page, there's very little research needed.”

Lazarus believes it is “a once-in-a-lifetime” opportunity to be a part of one of Coward's plays. Apart from Coward, she says she regards Shakespeare highly — her favourite performance so far being 'A Midsummer Night's Dream' for a charity event. “Shakespeare is one of my favourites,” she enthuses.

Her theatre company, Grin and Tonic is rumoured to join forces with QTC next year in celebration of the company's 40 year anniversary with a performance of Shakespeare's 'Macbeth'.

Her hopes for the future involve promoting theatre and the arts and helping other young, budding actors. “I want to play a part in supporting actors in Brisbane by investing in the youth of the area.”

Like a true master of improvisation, Lazarus explains the thing she loves most about theatre: “The fact that you can walk out on stage and anything can happen and anything can go wrong.”

QTC's 'Design For Living' is at the Playhouse, QPAC, from Oct 19 - Nov 10.

Published in Theatre
Wednesday, 16 October 2013 15:28

Mystery Road: Film In Preview

Ivan Sen’s 'Mystery Road' is many things. It’s a murder mystery and a thriller, but it’s also a film about the meeting point of white and indigenous Australia.

In the film, Aaron Pedersen plays detective Jay Swan, who returns to his remote outback town to investigate the murder of a young girl.

Inspired by a real life murder case, it tells the story of the investigation, as it explores tension between the black and white communities in the town. It’s a mainstream film that explores and uncovers some difficult social truths, and Pederson says that it was the role of a lifetime. In fact, writer and director Ivan Sen wrote the part specifically for him.

“A few years ago, he mentioned that he had a project in mind for me,” Pedersen says. “We had a brief discussion about it, and I said, 'oh yeah, we can talk about that later'. Quite a long time went by, and out of the blue, I got an email from him asking if I was ready to talk about that project.”

It turned out that Sen had written the script for 'Mystery Road'.

“I told him to send it my way, and immediately, I was blown away by the beauty of the words and the poignant story,” Pedersen says. “We jumped right in, and within a year, we’d shot it, and now it’s opening the Sydney Film Festival. Ivan’s a very hard worker — he knew the story he wanted to tell and the actor he wanted to use, and he went for it.”

Ivan Sen first made his mark with the 2002 feature ‘Beneath Clouds’, and since then, has grown into a word-class filmmaker. Pedersen has nothing but praise for him and his methods.

“I’d say Ivan’s like the Dalai Lama,” he laughs. “He’s always calm and never lets anything get to him. He wrote, shot, directed and edited the film, and he composed the music — and he carried himself really beautifully and professionally throughout. He didn’t lose control once. It was such a beautiful thing to see, especially as he was under so much pressure.”

If Sen was feeling stressed out, you’d never have known, says Pedersen.

“I’ve never worked with anyone like him, to be honest,” he continues. “I’d always say ‘G’day Dalai Lama, how’s it going?’ when I saw him in the morning, and he laughed, but that’s what it was like.”

Pedersen himself started out in film in the early ’90s, but his recent roles have seen him move towards television — playing detectives, as it happens — in shows like 'City Homicide' and 'Jack Irish'. For him, making the jump back to film didn’t feel like a great deal of a stretch.

“It’s the same process when you come down to it,” he says, “it’s just that one takes a lot longer to make. Television is shot at a faster pace, so it skills you up a lot quicker than film. Film is slower, you have a little bit more time to develop the ideas.

"There’s a little more detail in film,” he continues, “but really, they’re the same animal for me. It’s all about storytelling. You have to be definitive about your moments and your emotions.”

'Mystery Road' is in cinemas from October 17.

Published in Film
Wednesday, 16 October 2013 15:00

7bit Hero: Top Five Video Games

1. ‘Bubble Bobble’. I never played this game in the arcade but on the Amiga 500, and it changed my life. It involved two dragons called Bub and Bob that could blow bubbles from their adorable mouths. I would waste my days playing co-op with my friend. We would play a run that involved never dying until we reached level 100.

2. ‘Pokemon’. I’m not ashamed of playing this since its inception. ‘Pokemon Red’ was my jam and I chose Bulbasaur. Sure he was grass and would catch on fire at any chance, but he was rad and saved me from Team Rocket.

3. ‘Shadow Of The Colossus’. You’re a cursed kid that must take down creatures as tall as buildings. You spend hours climbing on them while they romp around the empty universe. It was an amazing mix of effort and payoff, but that payoff was the death of something you had scaled intimately for hours so you felt a mix of sad and happy.

4. ‘Battlefield’. I think it’s important to pick a SUPER franchise. This was the first game to have 32 player vehicle combat. ‘Battlefield 4’ is about to drop and I am playing the Beta right now.  The level designers have always perfectly constructed a cat and mouse layout.

5. ‘Faster Than Light’. I recently picked it up in a humble bundle pack and have been blown away with it! It is a rogue-like game that sees you managing a space ship. If you forget one little detail you will die. Like that time my oxygen room got damaged and everyone suffocated while repairing it. Sad day!

7bit Hero performs as part of 2high Festival at the Brisbane Powerhouse Saturday November 2.

Published in Pop/ Electro
Wednesday, 16 October 2013 14:45

Loose Change: Time To Listen

Hip hop trio Loose Change admit diversity is the key to their style.

Group member MC Rapaport says Loose Change draw influences from each member’s rich musical backgrounds in order to achieve their "laidback" sound.

"Part of our strength as Loose Change is our musical influences. It's an assortment of laidback hip hop with a broad range of influences. For us, we're trying to make a hip hop album, but we're also trying to make it really musical, by using different elements of music and different instruments," he says. "It's just who we are."

When the trio first formed in 2008, their sound was somewhat of a breakthrough in the local hip hop world according to Rapaport.

"In 2008 there was not as much people pursuing a laidback style, but I think now there's a bit more and it's more common, and that's great."

Rapaport says ‘Shoosh!’, the lead single off the group’s second album, ‘Listening Party’, was among a set of more serious and heartfelt lyrical compositions.

"With this album it was very much about us trying to compose songs that we really felt deeply about. We weren't thinking of a party set, we just thought, 'let's see where the songs take us'.”

The filming of the ‘Shoosh!’ video, which took the form of a single shot inside a moving Sydney train, was at times difficult, Rapoport admits.

"It was definitely tough doing it in such a strange environment but it kind of gave it a different feel."

His favourite track on the record is ‘Grown Up’. "I think there's a lot of honesty in that song and that sums up the rest of the album."

The next stage for Loose Change is to elevate their music to an international level. "We're realistic but we're also really driven and focused on getting to where we can get.

Loose Change isn't about taking over the world, we're about making music and we think that people are going to respond to it because it has that connection on a personal level.

"As a rapper, you've gotta become the instrument, the music speaks to you somehow and you've just gotta ride with it."

Loose Change play The Joynt October 25. ‘Listening Party’ is out now.

Published in Urban

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