Enchanted 06 – MPK & Devious

Since 1998, the Enchanted Forest rave parties have been an eagerly awaited event for thousands of people around South Australia. The excitement of secret venues, fabulous line ups and fantastic production values that has seen it be awarded party of the year time and time again. DJ Devious aka Chad Bergman and DJ MPK aka Daniel Michael are the promoters behind Enchanted Forest, and this year sees a bit of a change from the usual format of an all night rave at a ‘secret location’ in the middle of nowhere, which has been the par for the course over the last 8 years. This year the party will be held at the Royal Adelaide Showgrounds in Wayville, starting at midday and progressing until 11pm.

“There are a lot of reasons we chose to do a day party”, Michael says. “Night Parties were good at the time we started, but we always try and find the best venues and they’re becoming harder to find. The Showgrounds are safe, have good parking, no dust but lots of grass, public transport and decent, reliable power for sound.” “And good toilets. Everyone hates portaloos,” Bergman chimes in. “And we can put on a lot more acts during the day,” continues Michael. “We’ve been to a few interstate parties, and culturally they’re no different to what we’ve been doing here, and they have successful day parties all the time.”

“We’ve got a totally blacked out room for people who like the dark”, he smirks, “and they can always wear sunglasses,” adds Bergman, chuckling. “We’ve heard of people booking hotel rooms who are planning on going to go to Enchanted, then one of the after parties, and that’s a lot safer than having that long, horrible drive at 5 or 6am. I do get worried about what can happen on the roads at that time of the morning,” Michael adds. “I think three quarters of the people are going to like the idea, and maybe a quarter won’t, but what’s important is that people will be enjoying themselves.”

Enchanted has had its fair share of controversy, mainly because of the decision in 2003 to begin pill testing after suggestion from Dr Caldicott of the Royal Adelaide Hospital. It was a safety issue that the promoters felt strongly about, they were being briefed by a doctor, “and who are we to argue with a trained professional!” exclaims Michael. Other parties had pill testing, and the police generally turned a blind eye to it, until 2004 when the Advertiser had a slow news day and ran an “expose” and the dangers of raves and drugs. The police then had to take an interest “but they were just doing the job, I guess” Michael points out democratically.

He saves his anger for the press. “They’d ring me up for an interview at 6pm, and then the same people would ring up with the same questions at 7am the next morning. I’d be working all night DJing, and they would wonder why I’d be grumpy and refuse to answer their questions!” But furthermore Michael and Bergman had facts on their side. No one has ever died at Enchanted. Reports from previous Enchanted’s from police and first aid, who they get together with after every party, were quite minimal. “A Royal Adelaide Hospital report from a few years earlier showed that people were twice as likely to end up at hospital during a test match than during our raves!” the previously jovial Bergman says seriously. “Cricket is more dangerous!”

But both Michael and Bergman wish to steer away from controversy. “What’s important is people enjoying themselves in a safe environment, not what some middle age conservative journalist who has never been to a rave thinks.” To facilitate that fun, this year sees Peter Coomb join the ranks of DJs and MCs. An odd choice, perhaps, but Michael is correct when he says many ravers grew up with Coombs, and know his music as well as the latest from Pendulum or Keven Energy. “It’s so people will have a laugh,” he smiles. “I saw him at O’Ball and Shutzenfest and he rocked it. Absolutely rocked it!”

Even though the planning of Enchanter begins as soon as another is over, Michael and Bergman take it one party at a time. Though this is a day party essentially in the city, they don’t rule out having another ‘secret venue’ party in the future, and it’s certainly not the death of outdoor parties. “We’ve got Ultraworld in the Outback early next year,” they grin, although they hasten to add with a chuckle “good venues don’t grow on trees”.

Enchanted kicks off at the Adelaide Showgrounds on Sat 9 Dec and features a stellar line up including Peter Coomb, Pendulum, Tomcraft, Kosheen, Steve Hill, Keven Energy, Goldie, Jon B, Chicken Lips, CJ Boland and heaps more!

Soul Of Man

The mighty breaks record label Finger Lickin’ would be nothing without the dedication of Justin Rushmore and Jem Panufnik, also known as Soul Of Man. From running the day to day admin work, to sourcing new talent, and designing the iconographic and wonderful album art, as well as produce fine singles, remixes and mix albums, they’ve certainly got reason to be a little less prolific than other artists. Add to this Panufnik’s recent marriage and Rushmore’s recent baby, and the fantasy of running a label starts to look less like a fun time sitting around listening to good music, and more like real work!

One of the things that make Finger Lickin’ stand out beyond the incredible music is the artwork decorating every piece of vinyl they release. It’s bright, funky and attention grabbing, and all done by Panufnik. “We wanted to have a really strong visual identity,” Panufnik says of his artwork. “It’s important that the music is upfront, funky and in your face and the visuals to reflect that. And it’s great fun for me to do that,” he adds with a smile, “and more often than not it’s a piece of music that inspires it. And especially now that vinyl sales are very much in the balance it really makes a difference to have something that grabs people’s attention and is something they want to buy and keep. It’s much more exciting than downloading an MP3.”

“However,” he continues, “doing the Artwork is a full time job, so on top of the admin it is very time consuming, and Justin and I want to do less of the 9 to 5 drag and concentrate on producing music now. But it is kind of hard to let go. Whilst I may moan about doing the artwork and other things I’m often frightened to let anyone else take it over, and the same with Justin really. It is our baby, and it is frightening to start to let go, but having said that the whole of this year has been geared up to let things run themselves and to let go of the reigns and let us get along with our own thing.”

Even as touring DJs they don’t do things by half. Last year I was lucky enough to see them at Field Day in sweltering 44 degrees heat in Sydney. “Field day was particularly agony because it was a pretty full on tour. By the time we arrived in Sydney we had already done a gig in Perth, a gig on New Years Eve in Hobart, had to go without any sleep to Melbourne to do Summerdayze in the afternoon, and then literally take the last record off, leg it to the airport, and, I think our plane was the last allowed to land before the tarmac was considered too soft for planes to land! The whole baggage system broke down because of the heat!” he laughs. “We were really lucky to get there – we arrived maybe half an hour before our set, we were stinking of booze and sweat and it was pretty hardcore but we soldiered on,” Panufnik chuckles again.

Due to their recording commitments, they unfortunately won’t be back in Australia until next year sometime, but the first step on their way to getting back amongst the music is to produce the annual Finger Lickin’ Thang mix CD. Always funky, vibrant and featuring the best Finger Lickin’ has to offer, this year is no different, but does offer a slightly different sound. With computers and music software becoming more advanced, breaks are shifting from sampling funk and hiphop to producing its own sound, becoming a little more electro in its direction. “The whole electro angle is a production thing, and I think it’s probably kicked a lot of breaks people up the arse when they realise that there’s some amazing music being made out there that has fantastic dancefloor appeal,” Panufnik enthuses.

“The grooves are wicked, and apart from anything else the production sounds absolutely amazing. That’s the sound we’re very inspired by at the moment, because of the way it’s heading really. It’s giving breaks a really good shake up showing there’s a lot of great stuff out there. For example, I think it was a good move to put the D.Ramirez remix of the Plumps on Finger Lickin’ Thang 4. He’s woken a lot of people up to this sound, and the Plump DJs track adapted brilliantly as well.”

Finger Lickin’ Thang 4 Mixed by Soul Of Man is out soon through inertia.

Mystro

The name Mystro is well known to Aussie hiphop heads, as he’s appeared on a slew of records which hit their hearts and local charts. Resin Dogs, Downsyde and Adelaide’s own Hilltop Hoods featured Mystro on their major releases, and he’s toured around the country, impressing audiences with his flow and dialogue. Now he returns the favour with his own album ‘Diggi Down Unda’, due out January, alongside artists such as P Money, Hilltop Hoods, Dazastah (Downsyde), DJ Bonez (Hyjak N Torcha), Phrase, Macromantics, Maya Jupiter, and more. Released in the UK and Australia, it will hopefully impress the UK punters in the same way Mystro has impressed Australian audiences.

Mystro got introduced to hiphop at the age of 12 through artists such as NWA, Public Enemy, and De La Soul. He was also introduced to ragga, and even dabbled in a little bit of jungle MCing. “There was a time when hiphop kinda droped out for me,” he laments. “It wasn’t as interesting as when I first heard it, around like early 90s. There was jungle, and that was all UK music, everyone in the area was heavy into it. I had a friend who had a local radio station and people were going “you should go on the radio show” so we did. I lost interest in it quickly because people didn’t care what you were saying, just going “yiidayyiddayidda” to the music, man,” he bursts into laughter, and I have to admit it’s one of the finest dnb MC impersonations I’ve witnessed.

Luckily his interest in hiphop perked up as artists like MC D and Blak Twang appeared with a uniquely UK sound. Mystro set about impressing people at open mic clubs and battles which eventually led to Deal Real signing his first single ‘Kiss That Arse Goodnight’. His rise is not too dissimilar to the way a lot of Aussie hiphop acts start, and it’s no surprise he won many fans not only in the UK but Australia as well.

That fan base wanted to hire him to play in Australia. “I originally got booked to play in Australia in 2004 and it was only a 3 week tour, hitting the major capital cities. The promoter basically introduced me to anyone I could meet at the time, and it went from there,” he says of how he got involved with many Australian artists. “I came back and toured for 3 months, and we hit Adelaide on that run – it was actually the Hoods who booked us to do the show. We stayed at Debris house and ended up recording the track on their album. When I had a gig in Perth Downsyde booked me to support them. Most of the time when I got to a city I’d be approached by the promoters or an act I was working with to do stuff with them.”

Originally ‘Diggi Down Unda’ was just going to be an EP, but the talent here and Mystro’s love for making music led to a full album. “Australian hiphop has its own identity. Everyone I’ve got on there uses their own accent. There’s no body on there who sounds like anyone else they (the UK listener) ever had heard of,” Mystro says of the artists on the album. “There’s a range of different voices and flows. Whether UK people get into it is another matter, but I think it will be easier with a familiar voice there. But that’s the goal – to let UK people know there’s talent all the way over there.”

Although both the British and Australian scenes have strong local following, it’s still rather underground, and hasn’t made a blip on the American Radar. “The people at the top still don’t take it seriously. There are still people in the industry saying “ah, nah, UK hiphop will never blow up” and there’re still probably rednecks in Australia who say the same thing about Aussie talent,” he laughs. “But I think it’s just a case of being marketed the right way. It’s sad to say it, but that is what it’s turned into now.”

“It’s not about just having a good album, you’ve got to have a good album, you got to push the album, hit all the radio stations and posters, flyers, magazine interviews, and now even you’ve got to pay to get the front page and get slotted in the right place in the store,” he sighs. “And this makes it harder especially for the independent artist and labels to get their name out there and get their promotion done as well as all these majors are doing. The majority of homegrown talent isn’t signed to major labels and I think that’s the backbone of the problem – no body really gets to hear it because it can’t be promoted well and there’s not that much talk about it because it’s not on the big billboards and that.”

However, he doesn’t see all gloom, otherwise he wouldn’t be still in the game, and the success of the Hilltop Hoods has buoyed his spirits. “The stuff the Hoods are doing is really good for the scene. It’s not like they’re making stuff that all of a sudden changed for punters or labels. It’s good that a group like Hilltops won the Aria and not some bubblegum rap that Sony have just signed or something,” he chuckles.