BIGSOUND Day 2: Michael Chugg said “fuck”… only once this year

“Morning everyone, I’m so hungover! Hello Billy Bragg, good to hang out at Black Bear Lodge last night. How did you go getting home? Don’t you have a keynote speech tomorrow?”

These are just some of the conversations you might be having whilst out on the town in Fortitude Valley.

The day starts with nervousness about my panel at 3.30pm, and also Billy Bragg as the first official keynote to begin the madness that is BIGSOUND. And what a keynote it was!

“Billy, good work on the panel mate.” — Me.

“Go away Will, we only said hi once last night.” — Billy Bragg

For a renowned activist/singer/song-writer with a career spanning over a few decades, Mr. Bragg, did not just brag about his amazing career, but provided everyone insights and opinions on modern day politics, his approach to writing… and some other important things. As I said, I was hungover…

The audience then experienced a great follow-up panel, with the likes of Michael Chugg (Chugg Entertainment), Millie Millgate (Sounds Australia), Nick Findlay (Triple J), Andy Kent (You Am I/Love Police), Kathy McCabe (News Corp Australia) and Paul Barclay (ABC Radio National) speaking at ‘The Future Of Australian Music‘.

The topic of discussion was focused mainly on the current state of the Australian music industry, and where it is headed, with a few key quotes made by Chuggie in relation to the success and awareness that the current music from Australia has had internationally. All in all, I am very hopeful that the Australian music industry is growing rapidly and Australian music is being noticed around the world much more than it ever has before.

ABC were able to record the panel. Listen here.

It was that time again when all attendees would head to the cafeteria (a rock venue) for lunch, and whilst eating the gourmet food that included tandoori chicken, rice paper rolls, and noodle boxes, we sat and enjoyed listening to The Audreys and Tkay Maidza. Dancing with your lunch in hand is fun!

It was getting closer and closer towards the time that I was to sit in front of all my friends on a panel with highly experienced industry professionals. I was slowly getting more confident over the few hours leading up to it and once I officially met all of them, I quietly thought, I might be the loudest and maybe most relatable person on the panel?

Joining me were Hazel (Pandora Radio), Steve (, Jacki (Digirascal), Danny (Foxtel), and Anthony (YouTube). We spoke a lot about our experiences and ‘wow factors’ whilst working in the industry, mine coming from Josh Pyke’s Live Chat with Fans, where I stayed in the office till 9pm watching Josh answer questions from his most hardcore fans and then finally seeing him play a unreleased song on guitar for everyone — that was huge for me!

Overall, I highly enjoyed being on a panel with so many experienced minds in music. I was level-headed and only spoke out of turn twice… three times. It also became apparent that my favourite band to mention is Dune Rats — they may have been mentioned by me about ten times throughout our panel?

After a long day, it was time to drink, listen to awesome live music, and meet some cool new people. Starting with the NZ Showcase that included acts such as Eden Mulholland and Clap Clap Riot, we then moved on to see King Gizzard and the Lizard Wizard, who were (I AM GOING TO SAY IT) the best band I’ve seen in twenty three years (keeping in mind I am currently twenty three years of age). They were NUTS!

It was time to leave the rock bars, get my hearing back, and reassess the day and again: WHAT A DAY!

By Will Barton
Guest writer

Four Tet makes debut in Singapore, far ahead of Laneway Festival

Making his debut in Southeast Asia this November, Four Tet will be showcasing his intergalactic brand of folktronica for the very first time in Singapore at Zouk, alongside local producers Vandetta (Syndicate) and Cosa Nostra (Darker Than Wax).

Born Kieran Hebden, the Londoner is known for his work in the band Fridge, but has been performing solo as Four Tet since the late ’90s. In that time, he has collaborated with a diverse array of artists including Madvillain, The xx, Kings of Convenience and, more recently, Thom Yorke and Burial.

His library of samples is indicative of his ability to bring forward rhythm and unity from seemingly disparate sources: he has sampled from Ja Rule, German Krautrock band Amon Düül II, Xzibit, Black Sabbath, Tori Amos, Jimi Hendrix and French composer Claude Debussy, amongst others.

Four Tet’s seventh studio album, Beautiful Rewind, will be released later this year, marking his second album for 2013. And as a strong contender for the second round of announcements for next Singapore’s Laneway Festival this January, fans will be happy to hear that the producer will be here, months before we had expected him to arrive.

Four Tet (live)
Thursday, 28 November 2013
$40 (limited early bird, Zouk members), $50 (regular)

Tickets are available now from EventClique and Zouk.

By Katherine Pollock

Lomography’s Blue Hour Sessions to put spotlight on Singapore music and art scene

Lomography Singapore has just announced the Blue Hour Sessions, a 6-part series featuring collaborations with local bands and graphic artists with an aim to document ground-breaking work in the local music scene.

Drawn from the French expression l’heure bleue, ‘The Blue Hour’ refers to the time before nightfall when the sun slips from sight and the sky falls into a deep blue – traditionally, this hour of day is seen to hold special significance because of the possibilities for unexpected collisions, liaisons and delirium.

From 13 November to 14 April, the Blue Hour Sessions will take place on the last Saturday of the month, with each session turning the spotlight on collaborative efforts between some of the most exciting bands and graphic artists of our generation.

Expect live sets with visual and audio installations, as well as the launch of special edition EPs (limited to a first-run of 36 copies) featuring rough cuts, unreleased demos, analogue prints, and zine artwork by the bands and graphic artists themselves.

Other Sounds is proud to be official online media partner of the the Blue Hour Sessions as it aims to put the spotlight back on local bands and graphic artists.

Blue Hour Sessions schedule

23 November
Tiramisu x fFurious
.gif x M-D-R-N
7nightsatsea x Heider of SSYSTM x Allison Marie Low

21 December
MUON x William Chan of TMRRW
Bani Haykal x Kristal Melson x SUSEJ

18 January
HEIZENBERG x Brandon Tay of Syndicate
Dream State Vision x StudioKALEIDO

22 February
sub:shaman x Marc Gabriel Loh
Space Days x Afiq Omar of Syndicate

29 March
Pleasantry x FROMPAMM
ANECHOIS x Izyanti Asa’ari x Wu Jun Han
Ellipsis x Ban-Fam

3 May
Astreal x MAKE
MONSTER CAT x DO NOT DESIGN x Afiq Omar of Syndicate
Chöd x Philipp Aldrup
Zirconia (feat. X’ho + Yeow of Zircon Lounge) x WHITELABEL x Lasse Marhaug

Update (17/12/13):

The Blue Hour Sessions exhibition and live showcases will now be held at Home Club:

27 December
MUON x William Chan of TMRRW
Dream State Vision x StudioKALEIDO

17 January
HEIZENBERG x Brandon Tay of Syndicate
Bani Haykal x  Kristal Melson

21 February
sub:shaman x Marc Gabriel Loh
Space Days x Afiq Omar of Syndicate

28 March
Pleasantry x FROMPAMM
ANECHOIS x Izyanti Asa’ari x Wu Jun Han
Ellipsis x Ban-Fam

2 May
Astreal x MAKE
MONSTER CAT x DO NOT DESIGN x Afiq Omar of Syndicate
Chöd x Philipp Aldrup

*Dates and line-ups are subject to change

By Katherine Pollock

Priya Dewan worked really hard and so should you

Other Sounds recently caught up with the thoroughly self-aware Priya Dewan, brainchild of Feedback Asia and the woman who took Warp Records “from relative obscurity in the United States to a position as one of the leading indie tastemakers,” who laughed when she told us how she made the “weirdest” jump from receptionist to label manager.

Now, after acquiring ten years of experience in the music industry in London, Boston, and New York, Dewan has finally embarked on her own in Singapore, where she had spent her years growing up listening to “straight up pop”. Representing one of her favourite artists, Manu Chao, along with dozens of other artists in Asia, Dewan shares how she built her career and dishes advice to our local talent.

So, tell us — how did you do it?
I literally just came here and started talking to people, then they put me in touch with other people, who put me in touch with other people. It’s just like building a network from scratch.

Could you maybe simplify your relationship with music for us?
Growing up here [in Singapore], everything was basically pop music, straight up pop. It was before the internet had really taken off, before we had exposure to anything else. There were three radio stations and I wasn’t really that interested in music at all. I went to college wanting to study Theatre.

I did Theatre my whole life. I played trumpet and I played trombone — I definitely did a lot of musical things but I never thought of music as an industry until I went to Boston and my friend had me join the local radio station, WTBU. Boston is such a great place to discover music because it’s got such a rich indie music history and a scene. And it’s small. It’s not like New York. New York would have been so overwhelming. Boston is a really good way to get introduced to indie music.

“My thing is to get more people to take a more pro-active approach to Asia, instead of think of it as an afterthought.”

Because it’s small?
Yeah, I got there and I was like: There are genres of music? And there are sub-genres of music?

How old were you at this point?
Seventeen. I had a really late start in the music industry. Most people know at the age of five that they want to work in music. They remember their very first concert. I think mine was Sting — I don’t even remember. Then my friend and I started following local bands and got really into it. She was German-Colombian, but knew all this underground stuff. She really introduced me to a lot of stuff and I thought wow, this is really cool.

What got you more involved?
I started this event, which I believe still goes on and is huge now, called WTBU Days — live music events. We started bringing in local artists and interviewing them at the station and from there I thought, this is amazing. I love this. I think part of it was that I was so naïve and all of it was so fresh.

You meet a lot of people in the industry and they’ve heard it all. They’ve been listening to music since they were little kids. So that was something advantageous to me. Everything was a fresh sound to me. And I’m still learning about older stuff. But I know what I like and I’m not ashamed of what I like, even if it is pop or cheesy. There’s nothing wrong with that. And that’s what I love about music — there is no right or wrong to it. It’s so personal but can be also so communal.

When people start working in the music industry, it’s usually super hands-on, interning here and there.
Oh yeah absolutely. Stuffing envelopes. Stuffing envelopes for a good year.

Did you go through that?
Oh, a lot. I definitely put my time in. You meet people now [who tell you] I want to do what you’re doing. First, do all of this. If you want to do it the way I’m doing it, then do it the way I did it. These are attractive industries to work in, right? Art is the same way, fashion. I feel like that’s kind of the initiation process that weeds out the people who are serious about it.

“I tell people here who have been doing this the last ten years: thank you. I can’t imagine how frustrating that would’ve been.”

You’ve got two kinds of interns: one who is listening and paying attention while stuffing envelopes and realises that just the fact that they’re in that environment is this huge learning experience and will jump in and offer to help out more, when they see a need or an opening — that’s how you build.

In Warp, I started as an office manager, literally the receptionist. It was a combination of right-time-right-place and seeing every little thing as an opportunity and building on it.

That will give the rest of us hope! What happened?
When Simon [Halliday, who now runs all of 4AD] decided to leave — again, it was a great-timing situation. Steven [Beckett, co-founder of Warp] didn’t want to be label manager, he wanted to be a creative, and when they asked me, I said ‘Yes, really?’ I made one of the weirdest jumps from receptionist to label manager.

Now that you’ve been living in Singapore, what are your impressions?
I moved here in January of last year. It’s still home for me. My parents never left so I would come home here every year. My sister is in Hong Kong and my dad spends half of his time in India, so whenever I would come back I’d spend three days in Singapore, three days in Hong Kong, and three days in India, so I never really had time to see how the music scene was going. And also, I’d be on holiday which means just going out and eating my favourite food.

What exactly prompted the permanent move then?
One year, [while still working at Warped] I felt like I needed to do something else. Basically, I felt like I was just doing and not building anything. I’m that kind of person when there’s a plateau and I start getting stir-crazy. Ultimately, I just wanted to start something on my own. My dad is an entrepreneur and he has been encouraging me since I graduated. And then finally, I was ready.

“It’s got its difficulties, but the potential and the excitement far outweigh the frustration. It’s so exciting to be part of something growing so rapidly.”

It has been so great to have that support. I timed my trip back to Singapore during the first Laneway Festival. More and more artists started coming here and I would hook them up with my mom and she would take them out. She was like a little artist liason, personal artist liaison. I saw stuff happening in the periphery.

I came for Laneway festival when !!! [Chkchkchk] was playing and also Beach House, who I represent now for Asia, and a bunch of artists I knew directly — I felt that there was something happening here. This could be it, the idea I was looking for. And it was. From there I went back to New York, told Warped I was leaving, and I told them what I was doing.

You’re on your own. How has that been?
It’s great. It’s got its difficulties, but the potential and the excitement far outweigh the frustration. It’s so exciting to be part of something growing so rapidly. I tell people here who have been doing this the last ten years: thank you. I can’t imagine how frustrating that would’ve been.

If I had come a couple of years later, I would have missed the boat. Already a lot has popped up since I moved here, which is great — that’s kind of the idea. My thing is to get more people to take a more pro-active approach to Asia, instead of think of it as an afterthought.

And what should we be looking forward to in the future?
A general building of communities, and it’s happening already. I’m just excited to be a part of it. SGMUSO invited me to be on their advisory panel. I love that whole thing of “let’s get together and build something together”. And even if we’re technically competitors, there’s enough to go around and we all benefit from shared ideas.

“I felt that there was something happening here. This could be it, the idea I was looking for. And it was.”

One of the limitations in Asia, is that it’s been quite fractured. You lose a lot of opportunities. It’s happening more and more that people are working closely and we’re going to be stronger as an Asian music community, than as a Singapore music community or a Hong Kong music community or a Philippines music community. I think that’s something to look forward to, and also getting the world to take notice of what’s happening here.

You are in touch with a lot of international acts, what kinds of conversations have you had with local bands?
In a lot of conversations I have with local artists, they seem to think that it’s especially hard being here because they don’t have support. But in reality, it’s hard to be an independent artist anywhere in the world, you know? By the time we see them here, they’ve struggled through that with three jobs and getting in the back of a van with no money, five times before they get to the point where they’re profitable, if they ever get there. Sometimes it’s a bit of a reality check. If it was easy, everyone would be doing it. So how badly do you want it?

And your advice to local musicians?
Work really hard. Be really good. That’s it. Be proactive. You can’t sit around and wait for somebody to come and find you. Especially, yes — especially when you’re in Singapore. That should give you more reason to be proactive.

By Cat Cortes

King Gizzard & the Lizard Wizard release third album in twelve months

Float Along – Fill Your Lungs is the new album from Melbourne’s King Gizzard and the Lizard Wizard, the scuzzy septet showcasing a psychedelic re-awakening in the new release, the band’s third album in twelve months.

Float Along – Fill Your Lungs presents a transformative new direction for the band, who pieced the album together in early 2013 through recording sessions that took place in home-made studios, sheds, and garages around Melbourne and country Victoria.

Several members of the band wrote and contributed to the song writing process, and they experimented with new recording processes and different instrumentation, interchanging their line-up between recording takes earlier this year.

The gang’s previous album, Eyes Like The Sky, was released in February this year and was a bizzare-o Red Dead Redemption-influenced audiobook — read by Broderick Smith (of 70s band The Dingoes) and scored by KGATLW. And, with the band’s insane work ethic and creative drive, it comes as no surprise that this latest album has been released to widespread acclaim.

Watch the video for first single ‘30 Past 7‘ here:

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1. Head On/Pill
2. I’m Not A Man Unless I Have A Woman
3. God Is Calling Me Back Home
4. 30 Past 7
5. Let Me Mend The Past
6. Mystery Jack
7. Pop In My Step
8. Float Along – Fill Your Lungs

Float Along – Fill Your Lungs has been released in partnership with the band’s own label Flightless and Dot Dash/Remote Control worldwide, and is available now.

By Katherine Pollock

The Other Sounds: September

Finding out your favourite band has done a cover of a great song, always feels like getting that bonus strand of Kway Teow in your bowl of Fishball Bee Hoon Soup.  It’s even more awesome when said favourite band releases a song that’s completely different from their usual sound – then, it feels like finishing your Bee Hoon and discovering a bonus meatball at the bottom of the bowl.

It just goes to show that sometimes, not playing by the rules can really lead to pretty amazing stuff.

Here are our favourite out-of-the-ordinary music from our favourite bands.

1. Nation of Ulysses / Depression III
2. The Beach Boys / Wild Honey
3. Brian Jonestown Massacre /  Detka, Detka, Detka
4. The Strokes / One Way Trigger
5. Depeche Mode / Somebody
6. Tegan & Sara / I Was A Fool
7. Blur / Out Of Time
8. Superstar / Sonic Youth
9. Queens of the Stone Age / I Was A Teenage Hand Model
10. Skream / Rollercoaster ft. Sam Frank
11. Primal Scream / Accelarator
12. MBV / New You
13. Pavement / 5-4=Unity
14. Squarepusher / Stadium Ice
15. Andre 3000 / My Favourite Things

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By Zixin Lin

Laneway Festival returns to Singapore in 2014!

Coming into its fourth year running, the highly anticipated St Jerome’s Laneway Festival is set to return to Singapore at The Meadow at Gardens By the Bay on 25 January 2014.

The forward-thinking festival has always been ahead of its time, bringing the freshest up-and-coming indie acts to music lovers in Australasia and beyond, with its first foray into Detroit this year.

Next year’s festival will be no different — the hype of speculation that spurred on the back of Australia’s full line-up announcement on Tuesday can finally be put to rest, as the festival confirms 14 acts to appear in Singapore next year, out of the 35 that will be heading to Australia, including CHVRCHES, Daughter, Jamie XX, Savages, and Youth Lagoon; and Australian bands Vance Joy and The Jezabels; and our predicted Singapore (and New Zealand) exclusive, James Blake.

CHVRCHES and Savages had let slip about their Singapore appearances prior to this morning’s announcement, but organizers promise that there is “more to be announced” in the coming week — perhaps the remaining two Singapore-exclusive acts that we were promised for last year’s festival?

Laneway Festival returns to Singapore in 2014!

Laneway Festival Singapore’s offering, despite presenting less than half of Australia’s intimidating full line-up, is a testament to the festival’s dedication in bringing quality music to the region for the potential of long-term development. One has to appreciate the effort that is taken in putting together a line-up that has so carefully considered the ripeness of the region’s (increasingly adventurous) music tastes, and the risk that that involves.

This said, it is not only festival organizers that need to take risks — if punters want to continue to see growth (and maybe eventually the full Australian line-up) of the touring festival in Singapore, then we will also need to step up and take a chance on new, less familiar music to show promoters that they can continue to take these risks in investing in the region’s currently relatively unpredictable market.

2013’s festival saw a turnout of more than 9000 music lovers at brand new venue, Gardens By the Bay, and an even bigger number is expected to make a beeline for the 2014 gathering of indie’s rising stars.

Keep your calendars marked and playlists updated, we’ll see you at Laneway Singapore 2014!

Laneway Festival Singapore 2014 full line-up:

Frightened Rabbit
Jagwar Mar
James Blake
Jamie XX
The Jezabels
Kurt Vile
Mount Kimbie
Unknown Mortal Orchestra
Vance Joy

Youth Lagoon
+ more to be announced

Laneway Festival Singapore 2014
The Meadow, Gardens By the Bay
Saturday, 25 January 2014

Tickets are available from 1 October 2013. Visit and SISTIC for information on early bird promos for tickets and food & beverages.

By Melissa Yong

Trentemøller – Lost

Trentemøller has always been a fascinating musician. With The Last Resort, he was able to display his multi-instrumental genius, often relying on his overlapping skills and bass-heavy influences. On Into the Great Wide Yonder, he experimented with a minimal, synth-centred sound. Both worked incredibly. Even more fascinating are his compilations and EPs – all chalking up enough street cred to propel him to international success.

With Lost, he attempts to fuse his influences from both albums together — and it works, almost spectacularly. The first thing that strikes any fan of Trentemøller’s when looking at its track listing is the number of famous guest vocalists that feature on the album, including members of The Drums, Ghost Society, Blonde Redhead, The Ravenoettes and Low.

Tracks like ‘Never Stop Running’, ‘The Dream’ and ‘Come Undone’ will be clear favourites for a new Trentemøller fan as they are catchy, dreamy and possess enough pizzazz to wow even a difficult critic. ‘Never Stop Running’, in particular, a collaboration between Trentemøller and Johnny Pierce of The Drums stands out, backing melodies providing a solid base for the smooth harmonies of Johnny’s voice. There is a morose but stunning feel to it. Everything blends in perfectly and it could even pass off as a pop hit.

Another outstanding collaboration is with American indie rock band Low on ‘The Dream’. Its heart-wrenching melody and dazzling sound scape, provided by the littlest of effects by Trentemøller , is perhaps Trentemøller at his most raw — it’s so uncharacteristic of him that you might even actually have to listen to it a few times before actually hearing his influence on it. It becomes the beautiful ballad on the album and rightfully so.

However, for old Trentemøller fans, it will be the purely instrumental tracks that will draw you in. ‘Still on Fire’, ‘Morphine’ and ‘Trails’ are electronica-focused and back to his bass-heavy predisposition. They are sensory masterpieces, embodying his force as a producer. They are intricate, but well-connected. They are independent but interwoven. This is song-writing and electronic music understanding at its best. The industrial pulse of all his instrumental tracks only work because he combines them with an array of percussions, strings and genres. On ‘Constantinople’, there is a very distinct Middle Eastern vibe, as its title suggests, but the industrial beats that make us all love Trentemøller are still very much present.

Lost is perhaps Trentemøller’s best studio album to date. If you’ve not heard of him at all, I suggest you listen to ‘Never Stop Running’ and get your hands on all of his work right after.


Listen to: ‘Still on Fire’, ‘Never Stop Running’, ‘The Dream’

Never Stop Running:

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By Alyson Lopez

Phoenix announce debut performance in Singapore

On the back of two successful shows by The xx — who were in such high demand that they performed two consecutive shows — Singapore-based concert promoters Now/Live are back with Phoenix, who will be performing in Singapore for the first time on 15 January 2014.

Despite having been around for more than a decade and having had their music featured in Sofia Coppola’s films and five albums released to date, the French four-piece only shot to fame in 2009 through their fourth album Wolfgang Amadeus Phoenix which won ‘Best Alternative Music Album’ at the 2009 Grammy Award and has been certified Gold in the US, Canada and Australia.

Their fifth and latest album, Bankrupt! was released in April 2013 and has received strong reviews across the board, the band embarking on an extensive tour throughout Europe, with Mac DeMarco as support.


This show announcement has come with a slew of comments once again about Singapore’s high ticket prices. And while we all wish for more affordable tickets and better venues, is it not all a matter of supply and demand in the end?

It really is just a matter of perspective: would punters rather have the band in Singapore, and be given the opportunity to catch the band live; or not be given the chance, with no one willing to take the risk of booking the band for a show in Singapore?

The xx shows here have proven that music fans would rather have the former than the latter, and we predict that Phoenix will do the same, with many fans having waited years to see them finally land on our shores.

The Star Theatre
Wednesday 15th January 2014
$148, $128, $108, $88, $68

Tickets will be available 11 October 2013 at all authorised SISTIC outlets.

By Cindy Tan

Red Bull Music Academy & Home Club present Syndicate feat. Africa Hitech

Audio visual collective Syndicate will return to Home Club on 5 October with a Red Bull Music Academy (RBMA) special event featuring renowned electronic act, Africa Hitech.

Consisting of long-time electronic dance music fixtures Mark Pritchard (Harmonic 313, Global Communications, Jedi Knights) and Steve Spacek, the duo are best known for their contributions to the vast borderlands of hip hop and ambitious electronic music. Having met over a decade ago, they quickly began to collaborate sporadically, before finally starting Africa Hitech in 2007. Since then, they’ve dipped their toes in everything from grime, UK funky and juke, to field recordings and jazz.

Joining Africa Hitech and making his debut on the Syndicate stage will be local emcee/producer Mean from The .XS Collective. Fresh from dropping the In Flight EP earlier this year, the versatile artist generates his own distinct brand of hazy hip-hop with both ethereal beats and rhymes.

And, completing the line-up for the night will be residents from the Syndicate stable Max Lane and Kiat, who will be playing a special set with Vandetta he collective’s visual specialist, Brandon Tay, will pilot the visuals throughout the night.

The Beat Invitational showcase is also set to take place on the same night, warming the crowd up with their discoveries of local nuggets and gems. Covering a wide spectrum of sounds, the showcase will feature Heizenberg, .gif, FuturaHelvetica, Mont Berg Kingsmen and Vandetta, who will be playing tracks from her upcoming self-titled EP.

Red Bull Music Academy & Home Club present: Syndicate feat. Africa HiTech
with Africa Hitech (WARP), Mean (The.XS Collective), Kiat ft. Vandetta, and Max Lane

The Beat Invitational showcase
with Heizenberg, .gif, FuturaHelvetica, Mont Berg Kingsmen, and Vandetta

Visuals by Brandon Tay

Home Club
Saturday, 5 October 2013
11pm – 4am
$20 (including 1 drink)

Prior to kicking off the party, Africa Hitech will speak to 40 members of Singapore’s music scene at an exclusive RBMA info session, whose past speakers have incuded Shabazz Palaces and Pharoahe Monch. The duo will share insights from their dynamic musical careers, from their formation of their ground-breaking partnership, to their tenure at Warp Records.

Red Bull Music Academy info session
with Africa HiTech, facilitated by Vandetta

Admission to RBMA info session is free, but spots are limited. Interested parties are encouraged to register here.

Successful applicants will be notified by email no later than 30 September 2013. Info session attendees will gain free entry to main event. Club rules apply.

By Cindy Tan