Tales From The Whip: Matthew Watson

Matt Watson, who we can only assume is referred to as “Watto” by his mates, threw us 150 succulent ones during our crowdfunding campaign last year. As televangelists would claim, his seeding of that money has borne fruit – He now finally has the details of that bender he embarked on with the kick-on kids, as retold by Jake.

Watto chooking along the back straight of a whip

Explanatory note: Due to differences in time zones, Australia Day in Canada spills over two days. Australians have never needed an excuse to bender, but when you’re in Whistler, Australia Day comes with one in-built. And like all good stories set in the STI capital of Canada – Whistler – we start deep in the Bermuda Triangle.

Lost In The Bermuda Triangle – 25th January

4.48pm – We take stock of our energy supplements – because patriotism can only get you so far on a 2-day whip. Half an ounce of weed, 9 bags of coke and a rock of MD. We’re unsure how much the rock equates to. The uncertainty excites us.

4.49pm – You state your goal of the impending bender – transcendence. Your theory: Today is a celebration of your home country stratified upon your adopted home. You’re unifying both countries. You refer to this as the trinity and claim you will transcend this reality. We ignore you and confiscate the bag.

4.52pm – First tracks of the day are chopped up on Stacey’s make-up mirror. You explain the Bermuda Triangle strategy – alternating between MD, coke and pot, with alcohol as the unifier. The strategy seems flawless.

5.00pm – Midday Jan 26 in Australia. Triple J Hottest 100 kicks off with Seth Sentry. Disappointing start, but spirits remain high.

5.08pm – Next two songs are also shittier than a festival portaloo. After chipping off more of the rock, you pull out two BB guns and propose a game – Hit the Nip.

5.12pm – You and Yogi have a BB gun each and alternate between shots at each other’s nipples. Whoever hits the nip first wins. The prize is respect.

5.14pm – Yogi’s forehead, a nearby lamp and your pet gerbil, Bertram, have all received BBs but no nipples.

5.17pm – You win hit the Nip. Yogi cries foul – your minuscule nipples are harder targets, which given the temperature is true on two counts. Yogi proposes a nipple handicap. He is overruled.

5.19pm – Yogi threatens to exact revenge.

5.21pm – Hottest 100 gets marginally better. Then Courtney Barnett comes on. I’ve heard ice-addled female truckies sing better than her. You believe she is the rock hero of our generation.

5.44pm – We finish the first bag and in a moment of inspiration, you chip of a bullet-sized chunk of MDMA, load it into the BB gun and recruit Stacey to shoot it into your mouth. You’re going for the World Record for fastest ever drugs consumed.

5.49pm – I phone Guinness. They refuse to send out a rep to acknowledge the record attempt – some dribble about eating MD off the rock not being conducive to their brand image. I argue the toss.

5.51pm – Arguing with Guinness continues. They threaten to call the police.

5.52pm – We stop everything and start an impromptu mosh pit to The Bennies’ “Party Machine”.

5.55pm – We attempt the record anyway. Stacey shoots a rock of MD at you. It explodes as it leaves the barrel. A couple of shards enter your eye.

5.57pm – Your eye is visibly red, but you claim some guy on Reddit told you that consuming drugs through your eyeballs is better as it circumvents the GI tract and liver. It also hits you faster. #cleanliving

6.01pm – We decide to head to the local piss palace – Tepley’s.

Shoot Out At Tepley’s

6.07pm – The guy on Reddit was right; the shards of MD come on like a runaway froth train. You confess your love to Stacey. She rebuffs you.

6.10pm – Bouncer at Tepley’s comment on your red eye. You explain what happened – BB gun, MDMA, eyeball, chockaz. Remarkably, he lets us in.

6.15pm – Your ocular MDMA has achieved its final form. You’re providing a running commentary on the Hottest 100. You offend all fans of Sticky Fingers – and rightly so – but then win them over with cocaine.

6.38pm – We finish the second bag. The rock is a third gone.

8.27pm – Your Hottest 100 commentary continues, singing Skepta’s “Shut down” over anyone with a different opinion, before shooting them with your BB gun.

9.52pm – Your eye is really red now. We start calling you Pink Eye, which Stacey quickly mutates into Pink Sac. You interpret it as a sign of affection.

10.49pm – Because of your vocal support for Courtney Barnett, half the Australians turn on you.

1.03am – The Rubens have taken out Triple J Hottest 100. Arguments ensue. You start shouting that it’s the blandest vanilla smoothie of a song since “Coco Jumbo”. You’ve heard edgier stuff played in your local Chinese restaurant. It’s the type of music you’d expect at a Liberal Party fundraiser and anyone who voted for it is musically disabled – a reflection of the current Triple J audience. I support your opinion. The staff and patrons don’t.

1.04am – Locals, staff and fellow Australians turn on us. We draw out the BB guns and start firing. Glasses are thrown. Chairs. The bouncer starts coming for us. We’re low on ammo. Stacey smashes the fire alarm.

1.05am – We escape. Run down the street. You tell Stacey that the fire alarm ploy was badass. You re-declare you love for her, explaining that you only “fuck with bad bitches.” Stacey (pink) sac whacks you.

1.15am – Aimless wondering and obnoxious cries of “Aussie, Aussie, Aussie.”

3.03am – Make it home. Hot tub and a smoke.

3.48am – You reflect on the “philosophy of the mountain” – some smack about how the mountain remains a constant rock as seasons come and go. Irrespective of global warming, humans, pollution, animal piss – it always remains. Resilient. Eternal. You believe the mountain needs to accept you before you transcend. You ponder.

4.12am – Your pondering continues.

5.00 – 8.00am – Collective blackout period. Possibly all unconscious.

Heckler’s Hill – 26th January

8.01am – Trying to wake up for round 2. Stacey suggests coke may help. It does.

8.21am – Leave house. We arm ourselves with BB guns for protection. Decide it’s an MDMA and weed free day because we’ll be on the slopes and need our wits about us.

8.22am – Decide to get our wits from the remaining 3 bags of coke. It would be irresponsible not to.

8.45am – Op Shopping. Kangaroo masks acquired.

9.13am – The powder gods reclaim your brain. You tell passers-by about your spiritual pilgrimage. Most flee in fear. The oversized kangaroo mask might have something to do with it.

Photo credit: Erick Beckstead for Vice

10.30am – Arrive at Heckler’s Hill. The perfect vantage point from which to insult passing ski school kids and all manner of alpine punters. Couple of Goldy lads throw empty tins. We join in. Straya.

11.03am – Obligatory cricket match. You’re out for a duck.

12.42pm – Vibe is positive. There’s no greater team-building exercise than a drunken, coked-up mob of compatriots embracing the absolute worst of our self-destructive tendencies and celebrating our aggressive British colonialist heritage by laying claim to part of another country’s ski resort. We collectively ignores the irony.

1.30pm – Ski patrol request we move off. Their advice is considered and rejected.

1.34pm – Group continues to ignore ski patrol.

1.42pm – Ski patrol leave. Because if you ignore a problem long enough, it goes away.

2.57pm – In a bout of coke-rage, Yogi challenges you to a Hit the Nip rematch. You accept.

3.01pm – The crowd gather round as Hit the Nip kicks off. You dedicate the duel to Stacey, who you publicly declare is your future wife. The crowd’s cheers drown out Stacey’s protests.

3.14pm – Hit the Nip continues. Crowd’s losing interest. They resume throwing things at passing ski school kids.

3.21pm – You beat Yogi. Again. He’s furious. Especially since you didn’t take your kangaroo mask off the entire time.

3.30pm – Stacey talking to a Canadian bloke. You go over to her and say, “Yo Stacey, what cho doing with another mannn, Gurl.” Stacey tells you to fuck off.

3.31pm – You fuck off.

3.38pm – Yogi has run off with the BB guns and a bag and swears he will get his revenge. He retreats to the trees. We have only one bag left. Small concern.

4.04pm – Ski patrol arrive. Cops are waiting at the bottom of the mountain. It’s our last chance to move on. Crowd has drunk and snorted everything anyway so decide to migrate back into the village to source more piss and narcotics.

4.06pm – We break away from the group and head out of bounds to Bazza’s Retreat.

Bazza’s Retreat

4.25pm – We take our spot at Bazza’s Retreat. The sun is setting as we look out at the most amazing mountain range you could imagine. You whisper that you must become the mountain. Stacey comments that you’ve hoovered enough powder to open your own ski resort in your nasal passage.

4.55pm – The sun sets. It’s beautiful.

Whistler sunset

5.05pm – We finish the last bag.

5.19pm – Now completely dark, we decide the quickest way down the hill is to board. As fast as we can. In theory, this seems sensible and efficient. In practice, boarding flat out down a dark ski hill where the snow becomes pure white and the trees become a grey blur is straight-up suicidal. The snow is visible but we can’t see the ruts or changes in grade. We go as fast as possible with our minds pumping on adrenaline and coke and excitement. We can see the twinkle of the village come in and out of range as we hurtle down the hill.

5.20pm – You scream that you’re lost in the eternity of the mountain. This would later be the moment you claim you were transcending the confines of your body and existing as pure consciousness with your surroundings. Then Yogi emerges from the trees and starts hammering us with BBs. The vengeful little fuck.

5.21pm – You and I hit the deck, both copping ball bearings to the face, which admittedly, we couldn’t feel. Stacey keeps going, giving zero fucks. Yogi charges you and you end up on your arse. He rips your jacket open, pulls your shirt up and pumps a BB right on your nipple. Despite the coke and the cold, you feel it. You scream. You cry. Yogi claims victory.

5.22pm – We’re all friends again.

5.31pm – Hot tub. Spliffs. Blistered nipples. Scattered brains. Near-transcendence. Riotous patriotism. Reflection on the best 36 hours of our lives. Happy Australia Day.

Link to original article from Vice in which Matt is featured.


Friday Mix: Logic & Sound

Ryan Bell and Paddy Baker are two dudes from Adelaide peddling neuro-influenced drum & bass music under the banner of Logic & Sound. With demanding Dj schedules and an upcoming EP release on UK label Reform Recordings, Kick-On Kids were very lucky to pin the boys down for a quick chat and mix.


Adelaide has held a prominent role in Australia’s drum & bass scene, often heralded as the drum & bass capital. What is it that sets the Adelaide drum & bass scene apart?

We’re a bunch of drunk party animals haha. It’s just one big crew who are all mates having parties, and it just so happens we are lucky enough to have the Bass Element dudes (and others) putting these parties on with cool acts.

When did you guys get into the scene? How has the scene changed since then?

We believe the core of the scene is still about good music and good people. Sure, bits of it have changed but the basic principles are still there for a lot of the new kids coming through, which makes me really happy.

Drum & bass finds its historical roots in UK rave culture, which traditionally came with an all-inclusive philosophy, one that emphasized unity and respect. Is there still a sense of this at the parties you guys are frequenting?  indiv1

Yeah, everyone’s either rocking out to the music or talking someone’s ear off haha. The parties here are just people out to enjoy the music and have a good time; I don’t remember the last time I saw a fight at a show or anything like that.

Keeping on the historical tip, drum & bass has been influenced by genres such as hip hop, jungle and dub, and continues to collect influences and evolve. Where does Logic & Sound fall on the drum and bass spectrum? 

Ryan: I was a hip hop kid – still am, too, I guess – but boom bap rap and jungle were my styles growing up – strong snares with a bassline.

Paddy: I’m an all-round music lover. My parents raised me with a mix of heavy metal and classic rock anthems, but as soon as I could start to recognise different genres I started finding my way to hip hop. Then a friend of mine gave me an old jungle CD back in Year 9 and it hooked me straight away. I agree with Ryan, though, anything with that strong snare and bassline will hook me. Production-wise, we aim to not just make drum n bass but bass heavy style tracks. When our first EP started to come together we soon worked out what our strong points were.

On that note, you guys have an EP coming out on Reformed Recordings UK called “Rise Up”. It’s three-tracker of peak-time weapons. How’s the response been on the dance-floor so far?

indiv2Ryan: Been sneaking a couple in here and there but we’ve kept it fairly hush in terms of playing them out – trying to hold off until the actual release – but we’ve had a few cheeky DJs look over the booth to try and check IDs haha.

Paddy: Haha yeah we’ve kept it a bit quite but we have let a few tracks slip when playing out. People are starting to catch on to what our sound is.

Talk us through some of the influences that went into the EP. Sounds, genres, experiences, high-minded philosophy?

Ryan: Darker, nuero type stuff.

Paddy: Pretty much that. We didn’t aim to make something heavy, instead we took to a blank canvas and let the songs do the work for us. We’ve taken a lot of influence from artists like Dimension, Inside Info, Mefjus, June Miller and Mind Vortex, to name a few.

What’s the collaboration process like? How do your individual influences come together and conflict? Is there ever any argy-bargy in the studio?

Ryan: Paddy is the production mastermind haha. We will work on tracks together but a bit of the time is pent translating the nonsense and hums I come out with and trying to turn them into something useful. We go back and forth heaps with tracks, cutting and adding bits here and there, but luckily we have really similar tastes so ideas generally line up.

Paddy: That’s spot on. Ryan is great when we work together as he’s learning along the way instead of being a silent partner haha. He does his hums or shows me a track that has caught his ear, wanting to create something similar, so we work off that.


Are you also pursing solo projects? 

Ryan: When I am not doing the L&S thing I’m out Dj’ing and then working during the days. Sleep is something I try and work on in my spare time.

Paddy: I’ve got my own thing going on, as well as Uttersounds. So it’s a bit of a juggling act with the L&S project and my own, plus work, etc. But it all pans out in the end which is good.

Clearly you guys keep pretty busy. What gigs have you got coming up over the next month?

Ryan: Silent disco for the Fringe which we are playing together, which should be fun. And I’m doing a few other things around the place.

Paddy: We’ve also got a set at an event called Freefall which is run by another local DnB man.

You’ve also delivered us a mix. Talk us through it – Are we in for inner spiritual exploration or is it a mix to get us moving? 

Simply put, there’s some solid bangers in there haha.


Kick-On Kids is a web series set amongst a backdrop of several kick-ons. Because of this, we like to exploit and use our DJs to harvest kick-on anecdotes for our collection. Give us your best.

After one show, an international DJ (who shall remain nameless) came back to the kick-on. English wasn’t his first language but he was doing pretty well, but after a few hours and a lot of drinks someone pulled out a record for him to sign. Trying to remember how to write his name must have brain-fucked him because all of a sudden he pretty much forgot how to talk English.

Haha nice one! Thanks boys. Appreciate you taking the time 🙂

Friday Mix: Scatterbrain

Joel Pearson, aka Scatterbrain, is a Sydney bass DJ/producer who co-hosts FBI Radio’s Future Face program. There are few people more passionately involved in Sydney’s music scene – from pushing new artists on a variety of different radio stations, to involvement in not-for-profit grassroots music organisations, to starting his own label – Joel’s priority is to cultivate the vibrant and diverse talent in his own backyard. It was an absolute pleasure to catch up with Joel for a chat and be able to showcase the impeccably curated mix he delivered for us.

Scatterbrain - Promo Pic

You’re heavily involved in the Sydney bass scene. Bass music comes across as very fluid and can provide a springboard for a plethora of different styles. But for the bass unfamiliar, what genres are we typically talking about when we mention bass music? 

It’s broadly encapsulating UK dance music ranging from jungle and drum & bass to dubstep, UK garage, and that has begun to extend into dub techno and Chicago footwork as well. Broadly speaking it’s a UK-centric music.

Can you give us an idea of where bass music has come from in Sydney since you first became involved?

There has always been a very dedicated bass music scene in Sydney. I started going to the Void and Index club nights back in about 2008, as well as No Frills/Locus parties and a couple of other party crews.

Void and Index were a pair of nights run by a DJ called Victim and he brought out all the big dubstep artists before the sound broke into the mainstream. He was bringing out guys like Headhunter, Kode9, Pinch, Skream and Benga before Skrillex and those guys took the dubstep name in a different direction.

In terms of venues back then you mainly had Civic Underground and Phoenix Bar. Phoenix has unfortunately closed down but that was one of the best venues for it. They used to get the Hijack soundystem, which was one of the best mobile rigs in Sydney. They would always take these massive subs down into Phoenix Bar and it was just like: dark room, huge sound… The guy who runs that has stopped hiring out the system these days unfortunately though.

Where is the Sydney scene now as opposed to its beginnings?

There’s more focus on drum & bass at the moment. Since Victim stopped running those nights and dubstep’s popularity waned, drum & bass is more prominent but there is still an undercurrent of the earlier dubstep movement.


Civic still representing

I’ll take this opportunity to shout out to Dungeon Events crew. They put on some pretty great parties, both open ones like the all-vinyl B2B Wax at Civic Underground as well as some secret underground ones. Also, James and Carly  who were running Afterlife. Afterlife had a very vibrant scene over at the Gladstone Hotel before it changed hands. For about two years they ran a monthly free drum & bass night, which always packed out and had great sound. It was a really good community vibe – you could always rely on going there every month and seeing all your mates and having a dance and there was no pretense: it was just big sound, good music, fun time.

Sounds like proper rave ideals in full effect.

Yeah, so it was very sad when the Gladstone changed hands and they had to find a new home. They did one party at the Lansdowne Hotel and they’ve been on hiatus since then.

Of course, Lansdowne is another venue that’s shut its doors in Sydney.

There’s been a lot of turbulence with respect to lockouts and venue closures, but you’ve got people like the Riot Club and Bass Drop who are working together to put on parties. They usually go to Miind Nightclub on Oxford Street. They recently did a boat party for Royalston’s album launch. And they often do pop-up stuff in Sydney Park as well.

What’s the attitude of council and the police when they do pop up events?

I’m not sure if they go by the books on that or if it’s just a bit on the sly. The last one they did was after the Royalston boat party, which was the Saturday before last, and the rain just bucketed down and everyone was just out in the mud and slop anyway. One guy stripped down to his jocks and was sliding through the mud. So you know, it’s a very welcoming and inclusive vibe. There’s never any snobbery; anyone who’s new to the scene it’s just like, ‘Welcome.’

That’s what it should be all about. And what about the future of the bass scene in Sydney? How do you see it evolving? Devolving?

SCat DJI think there’s a lot of drive from people who are putting on parties and they’re very resilient to this whole situation of venue closures and whatnot and they’re always looking for alternatives. There’s a lot of life online as well. There are Facebook groups like Deep Minimal Meditation, NSW DNB Community and Sydney Drum N Bass. There’s always activity in these groups – people posting tunes and pushing parties. So even if you’re not at the parties, people are still very much keeping in contact with one another and keeping up to date with new music.

It’s encouraging to know that the community will very much live on despite whatever happens in the Sydney party scene.

You host a show with two others called Future Face on FBi Radio. In the past you’ve also hosted shows on Bondi Beach Radio and back in your hometown on Radio Blue Mountains. Has hosting radio shows helped you discover a lot of homegrown talent you would’ve otherwise been unaware of? Has this helped shaped your current sound?

Absolutely. I’ve been doing community radio since… I think it was December 2009 when I started my first show Surrounded By Silence on Radio Blue Mountains. It’s just helped me push that passion for finding new music and always trying different things. So definitely that’s informed my taste in music, my DJ selection and even my production technique.

I’m always on the lookout for new Sydney artists and people doing their own thing. That was basically the MO for Bass Mountains on Bondi Beach Radio. We always wanted to get heaps of guests in – heaps of local talent and diverse styles. Although it was called Bass Mountains, we also did glitch-hop, psytrance, techno, house, as well as garage, drum & bass and dubstep. Most of our show recordings are on Mixcloud, so anyone can check that out and get a good cross-section of Sydney and NSW DJs.

From one who has their finger very much on the pulse, what local Sydney producers should we be keeping an ear out for?

Roleo, my partner in crime on Future Face, has an EP he’s going to drop next week. Also, the Never Slept crew have another compilation coming out soon. It has a handful of Sydney artists as well as some international ones. They’re doing the future bass, footwork and trap sound. I’ve been playing a lot of their tracks in sets recently. Keep an eye out for JV, Rattraps, Jozz Scott, Letabruthaknow, Iljus Wifmo, Tobio, Southpaw and her collab project with Slamagotchi, The Lowe.

Warming up for Mala earlier this year. Big ups Charades!

You’re quite an accomplished producer yourself and are currently honing your skills further at AIM. What’s AIM’s electronic music program like?

I’m doing a Composition and Music Production degree there and basically all the assignments are tailored to be genre non-specific. So whether you make hip-hop or dance music or you’re a singer/songwriter they are totally open to different interpretations of the assessment criteria, which is great. So I can write a jungle tune and it can still fulfill the assessment criteria for my composition. The units cover both composition technique and music theory, as well as DAW skills in Ableton, Pro Tools and Logic. If you want to study music production then I’d recommend it.

You’ve also got a label launch in the works – Milk Thistle Records. What can we expect from the label musically?

Label Art
Milk Thistle Records – coming soon!

The direction I want to take is anything gritty or textural. Some of it will be dancefloor stuff, some of it will be more headphone listening. Mostly broken beat, hip-hop sounds. Maybe some jungle and dance music like that, but if anyone was to hit me up with tunes, I would be open to 4/4 stuff, as long as it’s got the right atmosphere and vibe.


I wanted to be doing a compilation EP to kick things off, but one guy kind of disappeared and another guy’s hard drive failed and another guy went overseas… [Laughs] So my initial plans have been pushed back a step or two, but I’ve got a designer that I’m working with, Renae Titchmarsh, who’s doing some great artwork and I’m working on some original material that I’ll probably lead with to get some momentum happening.

Will the artists be chiefly local, or international?

To start with I want to push local Sydney sounds and then expand across Adelaide and Melbourne before hitting international artists because I think there’s a lot of untapped potential here. I want to offer a home to people and I want to encourage collaboration through the label. I know a lot of people who produce at home on their own and they are working away at things but don’t quite know where to take it next, so I want to be able to help facilitate through radio and other connections to increase exposure.

What can we expect in terms of a launch date?

I’m hoping to have a release out in the first quarter of this year.

Where do you hope music production will take you? Are you satisfied thrashing out club tracks? Or do you foresee an aural life beyond the DJ booth?

I want to be diverse as a musician and as a producer. I’m always going to pursue radio and gigging but I want to do film, TV and video game soundtracks. One of the units I’m taking at AIM at the moment is actually a collaborative project working on a soundtrack for an indie game. I’m also doing units in film music.

The music I write is pretty diverse. I’m writing some hip-hop tracks, some ambient music, some drum & bass and footwork. So I’ve got a lot of different sounds that I’m massaging and working on that I think could potentially fit with film soundtracks.

As if you haven’t contributed enough to the musical landscape already, you’re also involved in a not-for-profit collective called CDR aimed at the advancement of music production. Can you tell us a little more about how CDR operates? What are its aims? What’s your involvement?

It’s basically a series of community-run events to encourage connectivity and collaboration between local artists. It’s been running for a few years, previously under Lorna Clarkson of Down Low Disco on 2SER, and now I’m working with Sofie Loizou aka Anomie and Tristan Alaba who’s a fellow AIM student.

Basically we get everyone into 107 Projects in Redfern, bring a sound system in, and all the music you hear on the night are tracks submitted by local producers. For a lot of people they might only hear their tunes on headphones or studio monitors, but when you hear your tracks played on a club quality sound system it’s a whole different experience.

What’s the basic format of a CDR night?

Typically we have a guest speaker to kick things off. In the past we’ve had artists such as Steve Spacek, Deepchild, Daisuke Tanabe, Katalyst and Kode9.

Then after we’ve had our guest speaker, we play everybody’s tracks at random, so there’s no preferential treatment. The artist name and track title are displayed on the projector screen, or you can remain anonymous if you’re a bit shy. Meanwhile you can have a beer, have a chat with other producers and musicians… It’s a social event – we want people to meet each other and encourage collaboration.

It’s free entry, there’s no stylistic expectation – we’ve had rock and blues bands play their tunes; there’s often ambient, hip-hop, dance music of all styles. It’s totally open.

There’s a CDR even coming up soon. What can we expect on the night? Will you be there?

We’ve got an event coming up this Friday (February 12th) with Frank Rodi, a representative from APRA AMCOS, talking about how people can get paid for their music and how to go about getting their royalties for radio play and that type of thing.

Will you be there?

I’ll be there. Pretty keen to play some of my new tracks!

CDR Event

Of course, you’ve given us a mix – what a journey! It takes us to a few different locales across the bass soundscape, including a very timely Wu-Tang nod, how indicative is this mix of your sound? Talk us through the mix a little.

This is what I’ve been playing in some of my sets lately. I recently played the Red Rattler for Altitude Festival back-to-back with Andrew Wowk and we played some stuff like this. It’s got that Chicago juke vibe as well hip-hop and R&B, but heaps of jungle breaks. I think it’s interesting pushing in new directions while still being accessible. I’ll be playing stuff like this at my upcoming gigs and I’m playing similar stuff on Future Face (on FBi Radio) as well.

You’ve got a few gigs on the horizon. Let the readers know where they can find you in the coming weeks.

Friday 19 Feb—The Elements of Tech and Bass at the Agincourt Hotel’s Valve Bar. Free entry, 9pm-4am. All local artists. I’ll be on from 11pm-12am: prime time slot to play some bangers! [Laughs]

Sunday 28 Feb—The Flavours of Drum & Bass at Hermann’s Bar. Free entry, 2pm-9pm. All-local lineup with a headliner from Canberra called Lockjaw. It’s put on by a couple of different crews – Breakneck Entertainment, Flying Fortress, Haunted Science and United Colours of Drum & Bass. It kicks off in the afternoon; I’m playing the opening set at 2pm. They’re going to have a BBQ.

I’ll need you to go into a little more detail with the BBQ because it looks quite appetizing on the artwork.

Zac’s responsible for that. He’s the sound guy at Manning Bar and he’s really big on his BBQ meats and things, so that will be definitely be tasty. And I think there’s a good demand for veg-friendly options as well, so if you don’t eat meat you’ll still be taken care of.

So once again, a very all-inclusive party.

Absolutely. I think that’s the main thing about the Sydney bass scene – people want to have a good time with good vibes and good people.


And just to finish, I’d like to shout out to Breakneck Audio who have reprised the 4-6pm Friday timeslot on Bondi Beach Radio. Bass Mountains finished at the end of last year – I think we had 142 episodes – Marc Ncrypt, my co-host from Bass Mountains, is now running that with the Breakneck guys, Trish Daschwood, Nick Parker and Daniel Henderson. Those guys are doing really well.

And all the community radio stations – Bondi Beach Radio, FBi, 2SER. If people tap into community radio they’ll realize there’s a really vibrant alternative music scene, bass music and otherwise. Radio cops a bit of flack because of your 2DAY FMs and whatever and people start to think commercial radio is all there is but it’s just not the case. That’s the power of these community stations; programmers and presenters have got the capacity to curate their content, select what they want to play without someone breathing down their neck telling them what to do and how to be.

Thanks for your time, Joel. Appreciate everything your doing for the local scene and taking some time out of your busy schedule to provide a mix and have a chat.

Friday Mix: Persian Rug

Persian Rug come off Sydney’s Northern Beaches with a dump truck of personality and a swag of tunes to justify their outrageous antics. This colourful duo consist of Tom Rowles and Lachlan “Wasn’t Impressed by Moodymann” See-Hoe. They’ve stepped up to the Kick-On Kids family to lay down a deep, druggy house mix and offer a few thoughts on the general state of things.

The Rug keeping it colourful at Lost Paradise

Let’s start at page one. When was Persian Rug formed? Have you always been a duo? 

Tom: Yeah we have always been a duo. We started experimenting on a mate’s decks and both really enjoyed it. We took a trip with a couple of mates to Cancun and that’s when we decided we needed a name for ourselves and Persian Rug was born.

Lachlan: I bought some CDJs at the end of 2013 and our first gigs were around May 2014.

Fans of Persian Rug have affectionately nicknamed you “The Rug”. Is it true that you refer to your fans as “The Rug Munchers”?

Lachlan: I wouldn’t go as far as referring to our fans as that, but have definitely been on the receiving end of that one along with a few others. There were a few young girls that were going by “Persian Rigs” at some stage.

The Rug has supported some pretty big names from the local and international community, including Seth Troxler, Scuba, Motor City Drum Ensemble, Four Tet, Mr. G, Ame, Simon Caldwell and the list goes on. What have been some highlights for you?

Tom: By far our biggest highlight was playing at Lost Paradise over new years. The vibe and the crew made it an unforgettable experience.

Lachlan: Yeah, Lost Paradise was a highlight. We played the Lost Disco stage for Bare Essentials alongside Four Tet, Motor City Drum Ensemble and Prosumer. The stage was shaped like a huge triangle with a heap of our mates in the crowd. Was definitely up there.

What about lowlights? Any train-wrecked mixes, lewd behaviour or sheer crowd hostility?

Tom: Playing early slots when no one is there… Haha but everyone’s got to do it.

Lachlan: I had a huge train-wreck at the Burdekin not too long ago, was pretty funny.

DJ Butt
DJ Butt keeping things filthy

Another time was when we were playing in the dungeon at the Chippendale Hotel. It was sooo packed and the place was going bananas. The power went off a few times and the table the gear was on was rocking back and forth so much the CDJs and mixer were sliding all over the place. Eventually the booth monitor fell off the table, but I managed to catch it before any more damage could happen. To the trained ear the set would have sounded like shit, but the 100 frothers in the rave cave were loving it.

Aaaand there’s a photo of me with no pants on in the booth somewhere because I ripped my undies off while I was wearing them and threw them at someone in the crowd.

On that note, the NSW government has recently come out with an ultimatum for music festival promoters. They’ve threatened to shut down certain music festivals after several drug overdoses in recent months, some of which were fatal. As two practitioners actively involved in the scene, what’s your take on this? Does dance music culture have a drug problem?

Lachlan: Anyone who thinks people that go to festivals are the only people taking drugs are delusional. The government and police seem to be making an example out of festivals, but if you want to change current behaviour it needs to come from the culture and a change in policy.

They also hang around in car parks

Pill testing centers at festivals are a great idea as they let people see what’s really in the substance they’ve been sold and they can make an informed decision on whether they want to consume it or not. Some European festivals are doing this, as well as having big signs with pictures of dangerous or high strength pills on them, warning people of their effects.

As someone who has been to major festivals across the world such as Coachella, Ultra Miami, BPM and Creamfields UK, I have never seen sniffer dogs searching people upon entry. So why are we still doing it? Police and the government need to realize that no matter what they do they are not able to stop people from wanting to take drugs. They need a better approach in trying to prevent people from getting hurt and dogs aren’t the way to do this. If they focus on reducing harm as opposed to trying to stop drug consumption altogether, the safer festivals and society as a whole will be.

Also, I think people need to know their limits and not try be the hero and try outdo Brett Lee and his 10 Weet Bix. I’ve seen plenty of cases of people trying to outdo their friends and it going horribly wrong. And as much as you can blame dodgy gear, some people just have bad reactions or just consume too much, so I think it’s also up to friends to encourage a safer environment and respect people’s decision to say no.

It’s an interesting time for recreational drug users, with many European nations adopting a harm minimization approach to drug use – even America has legalized weed in several states. So while parts of the world seem to edging further and further away from the War on Drugs stance, Australia seems to be running full pelt towards it, at least on a state level. Looking at it through the lens of the dance music scene, do you think such a stance is sustainable? What would the effect of harsher drug laws – including alcohol – be on the club scene?

Lachlan: People go to nightclubs to socialize and lose their inhibitions. Many people will drink and use drugs to enhance their experience, but if done in a responsible manner, with people making informed decisions, it isn’t going to harm others, so I’m all for it. The zero tolerance policy is very outdated but if the laws were made even harsher, I think you would see a further demise in the scene. But I don’t see why Australia would waste more manpower and money on trying to make the laws harsher; they’re already struggling to deal with the current situation. Once everyone realizes that the war on drugs was lost many years ago, we might start taking a step in the right direction.

With all this in mind, if we were to gaze into Persian Rug’s crystal ball, where do you think the scene will be in 5 years time? Healthy, overweight, dead?

Lachlan: I dunno, I don’t see these lockout laws being changed anytime soon while the same government is in power, so people need to continue to come up with cool concepts for parties, build followings and not let ego’s get in the way. But I’m sick to death of everyone using the lockouts as an excuse. Yes, everyone was impacted by it and it’s unfortunate but I think it’s time to move on and play the hand we got dealt. I’m all for the rallies and protests but people need to learn to adjust their going out routines: go to clubs earlier and don’t club hop, actually stick to one venue.

As for Persian rug in 5 years I’d say I’ll still be overweight, rude, outspoken, still partying excessively and if I’m not dead, I’d say I’d be pretty close.

But in all seriousness, hopefully by then we would have pulled our finger out and dabbled in some producing. Whether or not still chasing the circuit is yet to be known but definitely still collecting music and hopefully still waking up and playing 4 hour 8am bedroom sets in the nude just to piss off the neighbours.

Tom: Hopefully be able to produce some hammer tracks and get them on a solid label.

Speaking of hammers, what producers are you guys vibing at the moment?

Lachlan: Diego Krause, John Dimas, IO Mullen, Ion Ludwig.

Tom: Apollina, Julian Sandre, Denney.


What does the Persian Rug day planner have in store for us over the coming months?

This Sunday we are playing S.A.S.H by day @ The Greenwood Hotel under the Bare Essentials banner.

Sunday 7th Feb we’re playing at the THIS 1st Birthday Party @ Bristol Arms Hotel.

Not sure if I’m supposed to say this one but on Saturday 27th February, the Mantra Collective boys have kindly asked us to come spin some records for them. There’ll be a mad international headliner, but that’s all I can say.

Later that night we are playing at Chinese Laundry in the Cave warming up for the legendary Deetron.

Saturday 5th March we’ll be back at our favourite party, Bare Essentials, but all details will be revealed soon.

What is one track (each) we can expect to hear at one of these parties?

Tom: Changes (dub mix) – Burnski…. Really digging this tune at the moment

Lachlan: This record is getting a workout at the moment. I’ve included the A1 but the B2 is also a hammer. Diego Krause – Track 1 (Unison wax 04)

At the risk of undercutting any of the serious points raised before, I have to hit you guys up for a kick-on story. Give us your best. 

Lachlan: This is a tough one but one stands out. So there’s 60 people in the backyard at 9am in the morning wearing 80s flouro gym wear and someone thought it would be a good idea to do our best impression of Nitro Circus. We had a rusty mongoose pro and made a jump out of a piece of ply and a 30-year-old couch. One bloke confidently put his hand up. So after getting clapped in he hit the jump at a whopping 5km per hour and slowly went face first from the top of the jump to the dewy grass below. The dull thud was heard for miles and everyone burst into laughter until he didn’t get up…

Everyone crowded around to have a look and as he turned over he dropped, “I think I broke my nose.” He looked like he’d gone 10 rounds with Mike Tyson and everyone erupted. Then, just as everyone finally was overcoming their hysterics, a girl walked into the middle of everyone and goes, “Watch this,” and kicked herself in the head. Was probably the funniest 10 minutes of my life and definitely one of the most meat headed thing I have ever been involved in.

Holy shit. Props to the chick! Thanks guys for the mix and chat; I’m sure we’ll be seeing The Rug around soon.

Kick-On Kids is an upcoming comedy-drama web series about kids trying to find their place in the world. We are currently in the post-production phase. Follow us on Facebook for more music and series updates.

Friday Mix: Mantra Collective (Mixed by aboutjack & Whitecat)

Mantra Collective are four of the most passionate plate-spinners in the Sydney scene today. Comprised of aboutjack, Whitecat, Space Junk and Antoine Vice, the Mantra lads have been throwing parties in some interesting places – from multi-story boats, to heaving clubs, to a plethora of warehouses – and keeping people dancing in an increasing difficult Sydney club scene. aboutjack and Whitecat delivered an emotion-laden, stripped-back, after-hours mix and they all chipped in for a very informative Kick on Kids interview.

mantra group

Let’s open the Mantra history books. When did you guys become one organism? How has that organism mutated since its birth?

We first started to amalgamate our brain stems in 2012, since then we’ve slowly grown into one being, one single entity on a mission to spread the underground love universally until the end of time. 

Who’s the boss? Given that Telly radiates such a threatening business demeanour, I assume it’s him.

The regal demeanour of Space Junk

Despite ‘Space Junk’s’ mad suit skills and dominant delegating finger… we have no boss. We all keep each other in check; it’s quite refreshing. We all have different roles and responsibilities relating to different aspects of the brand, events, artwork, marketing, theming, etc etc. It works well!

DJing as a collective, is it tough to maintain a consistent, naturally evolving groove? Are there any members of the team that mix in game-changer tracks and try and steer the set into uncomfortable waters?

It does take ninja ear and finger skills to maintain the groove throughout our sets, something that we work on daily. Fortunately for us, we are getting booked for much longer sets these days, making it much easier to flow through the night. Each of us could potentially drop a curve ball and change the direction of music as we all have quite diverse collections, it’s then up to the next selector to either dig deeper or look somewhere else in their bag.

The fact we get together regularly to mix helps massively. DJing as a collective does certainly keep us on our toes.

What’s the collective mantra of Mantra Collective? I like to think this is repeated over and over in a private group meditation session each time before you perform.

How did you know that!?

I thought this remained a secret but obviously not *sighs*. We actually have pre & post gig rituals, pre DOES consists of group meditation but our goal is ‘meditate to levitate’ – we actually want to be the first collective to levitate whilst spinning the vinylz.

Post gig we have an ‘appreciation ceremony’ consisting of us paying homage to the vinylz and the punterz. We sometimes retreat to our Villalobos shrine to finish the night/day/weekend. It’s a special place.

Dance music has a rich and vibrant history, in many ways born and raised in marginalized communities such as LGBT and African-American, as well as being cross-fertilized by hip hop and krautrock. It’s seen peaks and troughs throughout that time, leaving behind many no doubt insane cultural moments. So, if you were to hop in the Mantra Collective Clubbing Time Machine, what moment in dance music history would you visit?

2 jacks
Often one aboutjack is not enough…

aboutjack – Would it be too cliché to say 1983 Paradise Garage, New York!? I’d love to jet back to see Larry Levan carve the foundations for our scene today. There’s something about a club that doesn’t serve booze but is open (not to the public but I’m sure I’d get in) all weekend that is very appealing. STRONG music focus.

Whitecat – It’s a coin toss between “Studio 54” [New York] in the mid 70s or “The Warehouse” [Chicago] in the late 70s. Both were truly epic spaces and time periods that have irreversibly shaped popular music for the better, without a doubt. The hedonistic excess of Studio 54 would have been something that cannot possibly be re-created in today’s society. While the pure essence of The Warehouse in Chicago, watching the creation of house music, would have been a really special place.

Space Junk – You would definitely catch me lurking in East Berlin in the first few years after the Berlin Wall was torn down. Having incredible ex-Soviet spaces which were formally symbols of repression and misery become beacons of freedom and musical expression would have been just insane… Although Detroit was on the other side of the world, there was a certain connection of urban decay that shone through and influenced this amazing city for 25 years. What a time to be alive!

Warehouse crowd 1

Playing off that last question, dance culture has always provided a liberating and meaningful space for those in alienating circumstances, which I think sometimes gets forgotten. With this in mind, it seems that Sydney’s trend towards Nanny-Statism has made these musical spaces even more important. As a party brand, you guys are continuing to do great things – and survive. How have you guys managed to overcome the challenging circumstances?

As always, you need to improvise adapt and overcome. Since the ‘nonsense’ has been introduced to Sydney we have just been fueled to strive and put on bigger and better parties. There have been venues dropping like flies, which is a huge shame and devastating to owners and the scene in general BUT the show must go on! Using non-club venues has been an angle of ours and the kidz love it. It brings a bit of freedom back, which the government seemed to have stolen in recent months.

As Madonna once said “music…brings the people…together…YEAH”.

You’re setting an encouraging example. In fact, our DJ of two weeks ago, Tyson Bruun, actually quoted a Facebook post of yours that he thinks embodies the correct attitude – “Keep on going out and doing what you love.” What do you foresee for the future of the Sydney club scene? And what does Mantra have planned for the future?

Cool, calm, collected – Antoine Vice.

Ahhh the future is bright, we just have to keep our heads held high and continue to support each other as promoters, DJs and punterz. The actual ‘club’ scene is hurting right now in Sydney but, like we recently posted on FB, we are hard at work in curating some serious parties in some cool spaces, so stay tuned!

What’s a Mantra kick-on like? Who’s the one in the group that simply refuses to sleep?

The last time I (aboutjack) kicked on was many moons ago. Now that I’m a father, my kick-ons consist of changing shitty nappies, getting punched in the throat and having body hair ripped out by my daughter. The boys still go all the way and end up swimming on living room floors in between extended b2b sets.

You’ve recently started pushing a vinyl-only party called Black Gold, with its third installment on the 12th of September. Vinyl has made a modest comeback in recent years, which contextually, given our tech-based society, seems odd. What is it about wax do you think is getting people excited again? 

Whitecat having a dig
Whitecat having a dig

Unless you play or collect records it’s hard to describe the love for them, but what excites us in particular is the sound quality (sometimes not so quality) that comes from the black gold medium, the warmth. The snaps, the crackles and the pops is such a rich organic sound that we thrive off. Another biggy for us is the fact that most of the records we buy are limited vinyl only releases, 300 copies sometimes less, so there’s an appeal for us to play these rare presses to the masses J This hopefully encourages the young cats to dig a little deeper in discogs rather than worshiping the Beatport charts.

What producers are you guys vibing at the moment? Any awkward moments when you’ve all packed the same record to a gig?

aboutjack – Archie Hamilton, OdD, Vid, Octave, Vinyl Speed Adjust, Romar, Barac are all on heavy rotation throughout my sets.

Whitecat – Melodie, iO (Mulen), Archie Hamilton, Barac, Moratu, John Dimas, Mandar, Seuil, Ion Ludwig are all burning holes in my record bag currently.

Space Junk – Djebali, Point G, John Dimas, Franck Roger, Barac, Diego Krause, Italojohnson, Mr G, So Inagawa and iO (Mulen) feature heavily in my sets.

Haha yeah a few of us own the same records, when we started to notice that we were buying the same records it was a moment of realization that we had gelled musically, Amen.

We’re vey excited to get stuck into the mix you’ve whipped up. Want to tell us a bit about it?

The mix we’ve recorded for you is a selection of records we see fit for the day after the night before. You’ve left the club, you’ve moved on to kick on central and now your ready to start again! 

Besides your upcoming Black Gold party, are there any other dates we need to put in the diary?

MANY! But let’s leave you with Black Gold on September 13, and some biggies on OCT 31st and 12th of DECEMBER and every weekend until then and after 🙂

Black Gold

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Artist of the Week: Flinter

Flinter make music that will whisk you away, evoking emotions you probably never knew you had. Mesmeric and delicate, the Brisbane folk band effuse immersive soundscapes using sparse instrumentation and Michael McGahan’s stirring voice. Flinter will be contributing their track “The Garden” to Kick on Kids and were keen to sit down for a chat.


Your Triple J Unearthed profile describes Flinter as an evolving project, originating as a solo endeavour and picking up members along the way. Can you take us through the history of Flinter up until the present? 

I suppose it started back when I was a teenager – playing dodgy cover versions of my favourite punk/rock songs. I came to the realisation that playing guitar and singing was considered rather cool with the ladies, so I kept at it and by the time I was about 20-years-old I had worked up the skills and courage to showcase my own original songs as part of a Queensland singer/songwriter showcase called ‘FretFest’. I was gifted some studio time for my 21st birthday, and I wanted to record a full band sound even though I had no band mates! So I got in contact with an old primary school friend of mine, Matt D’Mellow (a multi instrumentalist wizard) got involved for what was supposed to be one day, and he’s been around ever since! Next on the bandwagon was rising Brisbane producer/sound engineer and keyboardist James Angus – who was looking to record new bands as part of his sound degree. James ended up sticking around, too, and has not only produced all our songs, but plays keys on all of them too. As for bass and drums, we kind of hire (or ask favours of) several talented Brisbane musicians; namely Kirsten Bade, Declan Kelly, Danny Zullo to name a few. 

Are all these members present for a live Flinter performance? What’s the set up like?

The make up or our live shows vary according to the occasion. Sometimes it’s just me with my acoustic guitar. Or me and matt on guitars and vocals. The full live band show is for special occasions like an EP or single launch! The smaller set up is great for cafe or bar gigs – we also do a lot public of outdoor events!

You released the stunning EP “Moments in History” in 2013. Where was this recorded? What was the recording process like?

It was recorded in several different places – and none of them were state of the art recording facilities, which is a testament to James’ skills as a producer. I was living with my parents at the time and they went on an overseas holiday. So for two weeks we turned our house into a studio. My bedroom was the recording booth and our rumpus room was the ‘control room’. We used a lot of pillows and blankets for sound proofing and had a hell of a lot of fun. We also had access to a teaching room at one of the big Brisbane universities and we snuck in their in the dead of night to record and edit – as their gear was slightly better than ours.

Haha. You may have just invented a guerilla folk movement.

Through sparse instrumentation and restrained vocals, you guys manage to evoke stirring, often profound, emotional states. That such absorbing tenderness can be cultivated from such simplicity is not only a testament to Flinter, but also the power of music in general. Is it the intention to arrive at these destinations? Or does it just kind of happen like an unplanned pregnancy?

The emotion is certainly not planned, if it was it wouldn’t be real! Emotion and expression has always been something that I communicate through music much more naturally than with words – and I have to say it just comes out in the songwriting! I’ve tried writing ‘happy’ songs but they never seem to flow. The songs are raw and simple which is what a lot of people seem to like about them. 

There’s often a lot of focus on the listener’s response to music, but what do you guys get out of your tracks when you hear/perform them? Where does your own music take you?

For me, it’s a crazy roller-coaster of extreme self-doubt followed by ecstatic enthusiasm and confidence. Listening back to older songs can be such a euphoric experience sometimes – like “hell yes I created this and it ain’t half bad!”. But then I’ll be at a small gathering of friends and someone will put a Flinter song on and it’s like 1000 nails on a giant chalk board – sometimes I can’t stand it. As a group, we listen to the songs and we can’t help but hear all those little imperfections that are really not imperfections to anyone but us!


So much of today’s music treats the voice as more of an additional instrument and less of a conduit of meaning. Are you deliberately injecting meaning into your songs? Or is the priority rather creating an evocative mood? 

This is something I’ve always struggled with – writing a song that directly tells a particular story. I admire the song writers who can do it – but I don’t think I’m one of them. For me it’s more of a theme or mood – as I start with the music and add the lyrics later. Sometimes I write words to the music that I think just fit – and then I find meaning in them later. I always find it very hard to explain what a particular song means – even if I know what it means – it’s hard to articulate. 

A lot of our artists are Sydney-based, so it’s good to expand our borders into new territory with Brissie. What’s the live music scene like up there? 

Brissie is going strong! The live indie scene is kicking, with not only heaps of great up and coming bands, but also lots of young, enthusiastic music industry professionals – like managers, bookers and promotors. We also have some really cool new venues popping up in West End and The Valley. 

Great to hear! What local artists get you excited?

Check out a guy called BANFF, as well as O’Little Sister, Meredith and Jye Whiteman!

Where can we catch Flinter playing in the coming month?

I’m sorry, you’ll have to stay tuned. I’m currently living and working in the UK for a bit. Don’t worry, I’ll be back soon 🙂

We’ll be on the lookout. Thanks for the chat, Michael.

To breathe the breath of life into Kick on Kids, click here and contribute!

Kick on Kids Teaser Scene

A couple of weeks ago, a small contingent of the Kick on Kids family surged round and shot a teaser scene to whet the appetites of potential contributors. It was a fast and furious shoot with a budget of precisely zero – imagine what we’ll be capable of if we get fully funded!

Left to right: Kurt Goehner Winter, Ryan Light, Ellie Gall, Matt Castley

We managed to lock down four of our five cast members – Ryan Light, Kurt Goehner Winter, Ellie Gall and Matt Castley – and managed to jag established standup comedian, Lou Pollard, to play our lead character’s semi-oblivious mum. Oh and we got Rex the bunny to play Rab.

Rab. Killing it.

It was a cold, dark 6am crew call with a lot to do. So with a couple of ham and cheese croissants expanding our waistlines, it was straight into it. Jesse Jaco stepped up to shoot for us and was not only unintimidated by director Andre Muller’s fast-pace, he was bloody leading the charge by the end of it! Art Department rep Kendi Pascoe was kept busy with the props side of things and costume sorceress Caitlin Lee was dressing, undressing and frittering about keeping things consistent on-screen.

Ryan Light as Ali Wilde. He’s our hero. That’s why he wears a cape.

Behind the scenes, James, Jessica and Kelly were pulling strings, tapping watches and generally keeping up morale – including having to deal with a couple of tree loppers who decided to start work 10 meters away from our set! But the positive attitude and adaptability of the crew reduced this issue to a mere, nondescript, barely audible blip on the Kick on Kids’ radar.

And so without further ado…

Creator James Cripps considered the day a huge success. “This was our first time on set with the cast and it was hugely encouraging to see them all so effortlessly inhabit their characters.” Dre shared James’ sentiments, “I couldn’t be more pleased with how well each of our cast and crew already understand the world we’re trying to create. The journey has been great so far and I’m thrilled to be sharing this taste of what’s to come.”

Ellie Gall talking about stardust as Stacey.

And to add the sonic icing on the cake, the homie Pham delivered the pitched-down piece of space boogie you hear in the background. It’s called “Movements” and you can listen/download from his soundcloud.

Kurt Goehner Winter as Jake, doing his best to wig out Yogi.

Cast & Crew:
Ali – Ryan Light
Jake – Kurt Goehner Winter
Stacey – Ellie Gall
Yogi – Matt Castley
Ali’s Mum – Lou Pollard

Director – Dre Muller
Producers – James Cripps, Jessica Giacco
Writer – James Cripps
DOP – Jesse Jaco
Costume – Caitlin Lee
Standby Props – Kendi Pascoe
Production Coordinator – Kelly Anderson

Lou Pollard as Ali's Mum, oblivious to the party habits of her son and his mates.
Lou Pollard as Ali’s Mum, oblivious to the party habits of her son and his mates.

If you’ve liked what you’ve seen, please contribute! Your support will help expand this into a 7-part web series. We’ve only got 2 weeks to go!