All posts in Published Writing

  • Rolling Stone story: ‘Building A Better Brain: Wired on Nootropics’, November 2012

    A 4,000 word feature story published in the November 2012 edition of Rolling Stone Australia; my first non-music feature for the magazine. Click the below image to view a PDF version, or scroll down to read the article text.

    Building A Better Brain: Wired on Nootropics
    By Andrew McMillen / Illustration by Amanda Upton

    A new generation of “smart drugs” that promise to enhance cognitive ability are now available, but are they the key to the human race’s next evolutionary leap or merely 21st century snake oil? Rolling Stone finds out…

    Before he swallowed the designer drug NZT, Bradley Cooper was having a shitty day. Scratch that; he was having a shitty life. Cooper was an unproductive, depressed writer with few prospects and fewer friends. His long-suffering girlfriend had recently left him. His unkempt appearance implied that his deep apathy extended to his body image. Here was a man broken by the accrued stress and malaise of living a seemingly pointless, joyless existence in modern day New York City.

    Moments after taking the transparent, odourless NZT pill, though, Cooper’s world changed dramatically. His visual and auditory perceptions sharpened significantly. His brain could instantly summon previously forgotten snatches of glanced-at facts and figures. His empathy and charm were suddenly amplified to the point where he was able to bed a woman who previously loathed him. A burst of inspiration saw him cleaning his apartment for the first time in years while forgoing both food and his usual addiction to nicotine. Within a few hours, Cooper produced a hundred pages of brilliant writing, which pleased his editor like never before.

    As his interior monologue put it, “I was blind; now I see. I wasn’t high, wasn’t wired; just clear. I knew what I needed to do, and how to do it.”

    This isn’t a scene from Bradley Cooper’s actual life, of course. It’s the life of a fictional character named Eddie Morra, which Cooper portrayed in the 2011 thriller Limitless. Right now, I’m psyching myself up for a Bradley Cooper moment of my own. My version of the make-believe NZT is a little, white, very real pill named Modalert. Produced by Indian manufacturer Sun Pharmaceuticals, the drug’s generic name is modafinil and it costs around $2 per 200mg dose. In Australia, it’s only prescribed to narcoleptics and shift workers who have difficulty staying awake. I’ve acquired some through an online retailer and at 5pm on a Monday, I take the drug for the first time.

    By 10pm I’m wide awake, and aware that my resting heart-rate is higher than normal. By midnight my mind is racing around like an agitated puppy: “Hey! Here I am! Play with me!” I occupy myself with the normally tedious task of transcribing interviews; when I next look at the clock, it’s 3.30am and I’m finished. I’m washing dishes to take a break from work, when I realise that my randomly chosen soundtrack has taken on an eerie parallel to real life. In the classic Nas track ‘N.Y. State of Mind’, he raps: “I never sleep / ‘Cuz sleep is the cousin of death.”

    For as long as I can remember, my answer to that age-old ‘just one wish’ hypothetical has been ‘to never fatigue’. To never need to sleep. To be able to learn, create and achieve more than any regular human being because I’m no longer confined by the boring necessity of a good night’s sleep.

    Thanks to modafinil, I’m closer to this long-held dream than ever before. And I feel incredible. Not high, not wired; just clear. The computer in my skull is crunching ones and zeroes while the rest of the world sleeps. I yawn occasionally, but my mind feels focused, at capacity, even as 5am approaches.

    It’s a kind of cognitive dissonance I’ve never experienced before; I know I should be feeling fatigued by now, but everything’s still working well. At 8.30am – roughly fifteen hours after taking the drug, which corresponds with its stated half-life – its effects wear off, and fatigue sets in. I take a three-hour nap, then pop another modafinil upon waking. I’m back on the merry-go-round of sleeplessness, and loving it.

    Giddy at the near-endless productivity possibilities that I’ve suddenly unlocked, I confess my off-label use of Modalert to a Sun Pharma spokesperson via email in a moment of clarity (or, perhaps, over-earnest honesty). The reply arrives in my inbox a short time later, and I’m briefly quietened by its ominous tone.

    “You’ve seen Limitless?” the Indian drug rep replies. “The cost is too much. Please evaluate what you are doing, even for test purposes. Neuronal circuitry is not to be messed with.”

    ++

    Modafinil is the brightest star in a galaxy of drugs and supplements called ‘nootropics’. The word was coined by a Romanian doctor in 1972; in Greek, its definition refers to ‘turning the mind’. More commonly known as ‘smart drugs’ or ‘cognitive enhancers’, nootropics work in one of three ways: by altering the availability of the brain’s supply of neurochemicals; by improving the brain’s oxygen supply; or by stimulating nerve growth.

    Smart drugs are not a new concept. Last century, both cocaine and amphetamine were considered to have enhancement potential. As researchers at the University of Queensland wrote in a 2012 paper, “…their use for this purpose was regarded in a wholly positive light. [Cocaine and amphetamine] were seen as safe and effective ‘wonder drugs’ that increased alertness and mental capabilities, thereby allowing users to cope better with the increasing demands of modern life.” These views became unpopular once both substances were found to be addictive: cocaine became a prohibited substance, though amphetamine is still widely prescribed as a treatment for attention deficit hyperactivity disorder (ADHD) under the brand name Adderall.

    The Therapeutic Goods Administration (TGA), Australian drug regulation authority, does not yet recognise nootropics as a class of drug, as “the information available on nootropic products provides a very broad definition.” A TGA spokesperson tells Rolling Stone that they are unable to comment on the matter, as “the issue here is that the definition of nootropics goes from nutritional supplements all the way through to prescription medicines, so depending on what the product is and its claims, it might be considered as listable, a registered complementary medicine, or a registered prescription medicine.”

    So regulation is a murky topic, then. But nootropics aren’t illegal, either. Admittedly, taking modafinil off-label is not a smart thing to do. I am not a narcoleptic. I sleep just fine, if begrudgingly. I am a healthy 24 year-old male who exercises regularly and eats well. My recreational drug use is occasional. I’ve never been addicted to anything, and I intend to keep that clean sheet. I would like to be able to concentrate for long periods during the work week, though. I’d like to be able to instantly summon previously forgotten snatches of glanced-at facts. In short, I’d like to be smarter. Who wouldn’t?

    In the fictional account of Limitless and its inspiration, a 2001 techno-thriller by Irish author Alan Glynn named The Dark Fields, the universally appealing idea of self-improvement through minimal effort is explored by a guy taking a designer drug to boost his brainpower to superhuman levels. In reality, nootropic enthusiasts claim significant cognitive benefits with few, if any, side effects from taking these supposedly non-addictive, non-toxic substances.

    Sounds too good to be true? You bet. With my bullshit detector cranked up to eleven, I’m wading into this contentious field with the goal of separating science from fiction. Are smart drugs the snake oil of the 21st century? Or am I about to become a better man just by taking a bunch of coloured pills?

    ++

    After Eddie Morra tires of writing while under the influence of NZT, he turns his attention to the far more lucrative stock market. When I tire of writing on modafinil, I waste away the night-time hours by shooting terrorists in Counter-Strike: Source online, trawling internet forums, and reading about nootropics.

    With a newfound surplus of time arises an interesting dilemma: how to spend it? I chose to alternately work, read, and play games. What if every night was like that, though? What if I had all that time? How soon would I become accustomed to operating on little, or zero, sleep? What would be the side-effects of this for my health, my relationships, my career? Would I become a kinder person? Would parts of my personality become amplified, or atrophy? Obvious productivity gains – or productivity opportunity gains – aside, would less sleep make me a better person?

    All Tuesday night, I’m keyed into a writing task with laser-like focus. By sunrise, I’ve produced an article which, at the time, feels like some of my best work yet. (When it’s published online, weeks later, I read it with fresh eyes and I’m pleasantly surprised to find that I still feel the same way.) On Wednesday, I choose to take a break from the drug, but I’m still up until 4am. My sleep cycle has been totally disrupted.

    Thursday just feels like a regular day. I’m yawning more than usual, probably due to the sleep debt I’ve incurred this week. But it does feel a little… boring to be operating at this level, rather than on modafinil, where I feel like I’m connecting all of the dots all of the time. I suddenly find myself weighing up the costs and benefits of taking a pill right now. I have nothing in particular that needs to be completed for the remainder of the week, but there’s an internal argument happening: “Being awake is so much more enjoyable than sleeping. Who needs sleep, honestly?”

    I dose another 200mg, and within the hour, I again find myself making connections in music that I’d never previously noticed. The Black Rebel Motorcycle Club song ‘Stop’ aligns with my current mindset: “We don’t know where to stop / I try and I try but I can’t get enough…

    I feel like an outlaw; as though I’m in on a secret to which everyone else is oblivious. I know how to subvert sleep; that knowledge is in the shape of a small white disc containing 200mg of modafinil. I feel as though taking this drug might be one of the best decisions I’ve ever made. I want everyone around me to take it, too, so that we can share our experiences and revel in the euphoria of the unclouded mind.

    That night, I drive to and from a rock show. I meet friends and strangers at the venue; as I talk, I feel as though I’m not making sense, and that those around me are acutely aware of this. I feel in control, but my mind is racing faster than my mouth can keep up. I buy one beer and feel a little drunk, but I don’t come close to crashing my car on the drive home. Around 2am, I note that I’ve got an impending feeling of doom going on. Like I’m riding this too far, and it’s about to start doing some serious damage. I turn in at 3.30am on Friday.

    My first nootropic odyssey whimpers to a close, after beginning with a giddy bang at 10am on Monday morning. I’ve taken three 200mg doses of modafinil during that time – 5pm Monday, 1pm Tuesday, 2.30pm Thursday – and napped for around 11 hours total. In all, I’ve been awake for 79 out of the last 90 hours.

    I arise at midday, refreshed, having effectively reset my debt with one normal sleep. I reflect on how my views toward modafinil have veered between utter devotion to, now, in the cold light of day, a realisation that it’s probably not a good idea to be taking that shit on consecutive days. I was feeling so fucking average the night before. I couldn’t bear the thought of continuing to stay awake. The body and the mind aren’t made for it.

    ++

    Next, I purchase some homemade nootropics from a vendor named Tryptamine on Silk Road (SR), an anonymous online market where illicit drugs are purchased with virtual currency and sent through the international postal system. Tryptamine’s vendor profile states, “I am a biologist who develops nutritional supplements to improve your health, sleep, and cognition. I use only natural or orthomolecular ingredients, and no adverse effects have been reported from my products.”

    Tryptamine makes and sells three nootropics. I order two 24-pill bottles of MindFood (“designed to optimize brain function, protect against stress- and drug-induced neurotoxicity, prevent/alleviate hangovers, and reverse brain aging,” among other alleged effects), and ChillPill (“designed to promote relaxation, attenuate stress, calm excess brain activity, enhance mood, and promote dreaming”). The seller kindly includes a bonus five-pill sampler of ThinkDeep (“designed to stimulate brain metabolism and glucose uptake, improve memory formation/recall, expand attention span, prevent mental fatigue and enhance blood flow”), too.

    The total cost is around AUD$100. As I pay this seemingly exorbitant amount, I’m reminded of that old aphorism about fools and their money. The package lands in my mailbox via the state of New York around two weeks later. The pills are brightly coloured and strong-smelling. I try all three nootropics in isolation, one or two at a time, on different days.

    After swallowing a ThinkDeep for the first time, I realise that I just took an anonymous black and red pill created by an anonymous internet seller who claims to be a biologist. They’ve got a 100% feedback record from over 400 transactions on SR, which counts as a sort of social proof, but still: bad things could happen to me after taking this pill, and the person responsible would never be caught out. (Tryptamine denied Rolling Stone’s request to verify his/her identity, or scientific credentials. “Whatever image you have in your mind’s eye from reading this, that’s how I look,” the seller wrote.)

    “Silk Road allows me to sell my products anonymously, and provides me with hundreds of thousands of potential customers who already take pills that aren’t made by pharmaceutical companies,” Tryptamine tells me. “On the other hand, it is a bit off-putting to see my products listed beside bags of heroin.”

    As it turns out, ThinkDeep doesn’t do much for me, even on another day when I double-dose. In fact, the only significant effect I notice from these three products is when one dose of MindFood eradicates a hangover much faster than my regular methods of paracetamol and/or ibuprofen. Perhaps ThinkDeep and ChillPill are so subtle that I don’t notice their effects; perhaps they don’t work at all. Potential hangover cure aside, it’s difficult to recommend these products for cognitive enhancement purposes.

    At the other end of the nootropic spectrum, far from secretive biologists and solo recipe-tweaking, is an Austin, Texas-based company named Onnit. Their flagship product is named Alpha Brain, which is slickly marketed as a “complete balanced nootropic”. Their biggest public advocate is the comedian, podcaster and former host of Fear Factor, Joe Rogan; they also have a few World Series of Poker players hyping the product on their website. I ordered a 30-pill bottle of Alpha Brain for around $40.

    Each green pill includes small amounts of eleven impressive-sounding substances, from vitamin B6 and vinpocetine, to L-theanine and oat straw. The serving size on the label suggests two pills at a time; as I discover, taking one does nothing. With two Alpha Brain pills circulating in my system, though, I feel an overall mood elevation and a heightened ability to concentrate on tasks at hand: reading, writing, researching. These effects last for between four to six hours.

    Alpha Brain worked for me, but it also feels like a triumph of marketing, too. As there are no clear estimates about the financial side of the nootropics industry, I ask Onnit CEO Aubrey Marcus whether it’s a lucrative field. “Absolutely,” he replies, though he won’t comment on Onnit’s annual turnover. “It’s something that everybody can benefit from. Whenever you tap into something [like that], there’s ample opportunity to make good money.” Marcus says that Alpha Brain has been purchased by around 45,000 customers across the world since launching last year. The company currently employs 13 full-time staff.

    He acknowledges that nutritional supplement manufacturers are met with their fair share of critics. “The pharmaceutical industry has done a good job of telling people that synthetic drugs are the only things that have an effect on the body. There are plenty who’ve never tried our products who’ll swear that they’re snake oil,” Marcus laughs. “We encounter that, and we just do our best to show as much research behind all the ingredients that we have.” He mentions that Onnit are intending to commission a double-blind clinical study on the effects of Alpha Brain, which he believes “will go a long way to silence the critics.”

    ++

    Perhaps nootropics aren’t a mainstream concept yet because the people most enthusiastic about their potential benefits are all scientists, marketers out to make a buck, ‘body hackers’, and other weirdoes. There are few ‘normals’ taking these drugs and supplements on a daily basis, so it all looks too strange and confronting for outsiders to try. As a society, we’re taught by our peers and the media that if something sounds too good to be true, it probably is.

    There’s also the possibility that nootropics will never become mainstream because their effectiveness is difficult to qualitatively measure, or alternatively, they don’t work at all. In this regard, Australian researchers are world-class sceptics of cognitive enhancement. When I visit the University Of Queensland’s Centre for Clinical Research (UQCCR) in Brisbane, I’m greeted by Professor Wayne Hall, who was first published on this topic in 2004. His essay, which appeared in a European biology journal, was entitled “Feeling ‘better than well’: Can our experiences with psychoactive drugs help us to meet the challenges of neuroenhancement methods?”

    Hall has studied addiction and drug use for over 20 years. “There’s been a fair amount of enthusiasm for cognitive enhancement [in scientific circles], but it hasn’t looked critically at the evidence on how common this behaviour is,” he says. The professor and his peers argue for “taking a step back, and not getting too excited or encourage unwittingly lots of people to experiment with stimulant drugs for the wrong sorts of reasons”.

    “If you look at the lab studies that have been done on whether these drugs [work], the effects – insofar as there are some – are fairly modest and short-lived,” Hall says. “To be jumping from that, to saying it’s good idea for people to be using these drugs regularly to enhance their cognitive performance, is a bit of a long bow.”

    Dr Bradley Partridge is another UQCCR academic who specialises in investigating “the use of pharmaceuticals by healthy people to enhance their cognition”. I bring along my bottles of Alpha Brain and Tryptamine’s homemade nootropics for him to cast a critical eye over. “I have never used any of these things,” Partridge says. He peers at the labels with bemusement. “And I’ve never heard of most of these ingredients.”

    He places the bottles back on the table. “The thing is, a lot of these supplements are touted as being ‘all natural’, and for some people, that implies that they’re perhaps safe. But it’s very hard to evaluate exactly what’s in it. Aside from safety, where’s the evidence that they actually work for their stated purpose?”

    “There’s no scientific literature on some of this stuff; for others, the results are very mixed. Also, there might be a really strong placebo effect.” He holds up the Alpha Brain bottle, which mentions ‘enhancing mental performance’ in its marketing copy. “You take this and you do an exam; maybe simply taking something makes you feel like you ought to be doing better, and maybe you convince yourself that you’re getting some effect.”

    Hall and Partridge co-authored a study which analysed media reports on “smart drugs”. They found that 95 per cent of media reports mentioned some benefit of taking a drug like Adderall, Ritalin or modafinil, while only 58 per cent mentioned side effects. “I tend to be very cautious about this stuff,” Partridge says. “I don’t like to see this getting portrayed as a widespread phenomenon, as a fantastic thing, that it works, that there are no side effects. That runs the risk of encouraging people who hadn’t thought about it to take it up, which could cause problems for people.”

    I offer to leave some of my nootropics with Dr Partridge for him to conduct his own research; he laughs, and politely declines.

    ++

    Underscoring this entire discussion is the threat of one-upmanship. If I’m taking these drugs and they markedly improve my performance, am I nothing but a filthy nootropic cheater? To address this question, I spoke with Dave Asprey, who has used modafinil constantly for eight years and describes himself on Twitter as a “New York Times-published Silicon Valley entrepreneur/executive/angel who hacked his own biology to gain an unfair advantage in business and life.”

    Asprey has a prescription for the drug, after a brain scan showed a lack of blood flow at the front of his brain – a common symptom of attention deficit disorder (ADD), he says. “Modafinil is actually used commonly as a treatment for ADD,” he tells me. “It’s an off-label use, but it’s accepted; it’s even reimbursable by some insurance companies.”

    Asprey takes modafinil most workdays, upon waking. “It’s not like it’s a great secret out there, it’s just that people don’t talk about it because there’s some feel as though it’s ‘cheating’,” he says. “My perspective is different: if you eat healthy food, then you’re also ‘cheating’, because that impacts brain function. Surprisingly, the only people who’ve ever given me shit about taking modafinil are like, ‘but how do you know it’s not hurting you?’ I’m a bio-hacker; I’ve done all sorts of strange things to my body and mind in the interests of anti-aging, health and performance. I look at my body as part of my support system.’”

    Asprey says that he considers modafinil to be on the healthier spectrum of drugs. He’s also a fan of aniracetam, a fat soluble version of piracetam, which itself was the first-ever nootropic discovered in 1964. “It’s longer lasting [than piracetam],” Asprey says. “I recommend it as a basic biohack. I’ve been using it for a very long time.”

    Though Asprey has never met anyone who bluntly considers nootropics to be bullshit, he hears another argument reasonably often – and he has a clever rebuttal ready. “People say, ‘[nootropics] are evil, because if you take them, then everyone else will have to take them!’ I don’t think that’s a very fair argument, because from that perspective, fire is evil. Back when there were two cavemen, and one had a fire, the other said, ‘you can’t use fire, that’s unfair!’ Well, we know who evolved.”

    ++

    Whether or not I’m qualitatively smarter after experimenting with nootropics for this story is difficult to measure. I feel slightly wiser, and more aware of the limitations of both mind and body after that week of bingeing on modafinil. I certainly appreciate the restorative value of sleep better than ever before, after staying awake for the best part of a full work-week. I found that Alpha Brain is useful for focusing for a few hours, but considering that a two-week supply costs $40, it seems a touch on the expensive side.

    I did order a few dozen additional pills of modafinil, but I intend to use these only when emergency deadlines necessitate long hours. (I’ve read it’s good for combating the effects of jet lag, though, so perhaps I’ll try it on my next international flight.) Ultimately, the nootropic I found most useful – and intend to continue using regularly – is aniracetam, which Dave Asprey told me about. Its mind-sharpening effects are subtler than Alpha Brain, but it’s much cheaper – around $40 for a month’s supply if purchased online – and its effects taper off much more pleasantly than Alpha Brain’s comparatively sudden drop-off in concentration and energy levels.

    Late one night while researching this story, modafinil coursing through my body, I watched Limitless for the second time. It’s not a brilliant film, but it’s entertaining and thought-provoking enough to make the viewer consider seeking out smart pills of their own. It’s easy to see why the nootropic industry’s shadier sellers have attempted to draw parallels between their products and the fictional substance of NZT. After viewing the film, I contacted Alan Glynn, the author behind the 2001 techno-thriller The Dark Fields, which Limitless was based on, via email.

    “The original idea of NZT – called MDT-48 in my book – came from the idea of human perfectibility, of ‘the three wishes’, of the chance to re-invent yourself, of the shortcut to health and happiness,” Glynn tells me. “This is why the diet and self-help industries are so huge. Hold out a promise like that and people will respond. The fact that most of these products and therapies don’t work, or are bogus, doesn’t seem to matter. The real magic here, the real dark art, is marketing. I think that if nootropics ever go mainstream, they’ll be fodder for the marketing industry.”

    I send Glynn a link to the Alpha Brain website and mention that I’ve been taking it while researching this story. “Look, I’m just as much of a sucker as anyone else and when I look at that website, I’m going like, ‘Woah, gimme some of THAT!’” he replies. “And I’m actually seriously considering ordering some. So, from a marketing point of view, I’d say it’s a total success. It’s shiny, professional-looking and stuffed full of ‘the science bit’.”

    “But it’s the massaging of the science bit that is the marketer’s real dark art. The truth is, I couldn’t argue with someone who can talk about ‘GPC choline’ and ‘neurotransmitter precursors’. My instinct is that it’s all bullshit… On the other hand. I don’t know. Have you taken Alpha Brain? Does it work?”

    I reply in the affirmative, and describe my findings in some detail. Alan Glynn, author of the book that inspired the movie that inspired me to write this story in the first place, writes me back immediately: “That’s interesting indeed. I’ve ordered some Alpha Brain, and I’ve just got an email to say it’s been dispatched. I’ll report back to you – in the interests of science, of course.”

    Note: At no point should any of the products mentioned in this article be ingested without first consulting a health professional. An earlier version of this story incorrectly identified Ritalin as an amphetamine; it belongs to the methylphenidate class of stimulants.

    To read more on nootropics, I recommend that you continue your research at Smarter Nootropics. Good luck!

  • The Weekend Australian book review: ‘Trust Me, I’m Lying’ by Ryan Holiday, November 2012

    A book review published in The Weekend Australian on November 3. The full review follows.

    New media’s Machiavellis

    “My job is to lie to the media so they can lie to you,” 25-year-old Ryan Holiday writes on the first page of his first book. “I cheat, bribe, and connive for bestselling authors and billion-dollar brands and abuse my understanding of the internet to do it.”

    It’s a frank admission from the marketing director of Los Angeles-based clothing company American Apparel, and one that sets the tone for an explosive insight into new media manipulation.

    Trust Me, I’m Lying documents Holiday’s consistent exploitation of online publishers – from small-fry blogs to the websites of national media outlets – in the name of publicising his client list, which also includes Tucker Max, a popular American author whose stories centre on binge drinking and sexual debauchery.

    By revealing his tactics and explaining his strategies, Holiday exposes the blog-led model of “pageview journalism” as a vapid and desperate sham.

    Though this book concentrates on American websites such as the Huffington Post and Gawker, its message is relevant to all online publishers. Holiday describes his mission “to rip back the curtain and expose a problem that thus far everyone else has been too intimidated or self-interested to discuss openly”. Namely, the web is “hopelessly broken”:

    The economics of the internet created a twisted set of incentives that make traffic more important – and more profitable – than the truth. With the mass media – and today, mass culture – relying on the web for the next big thing, it is a set of incentives with massive implications.

    This economy – in which websites and blogs simply need traffic to sell advertisements, and where a perusing reader and accidental click are one and the same – leads the incessant hunger for new content. By design, this is a situation ripe for exploitation, as the income of many bloggers depends on their page views.

    “It’s a great time to be a media manipulator when your marks actually love receiving PR pitches,” Holiday notes.

    The first half of this book is devoted to how blogs work or, as Holiday describes it, “feeding the monster”. In an apparent nod to his mentor Robert Greene, author of The 48 Laws of Power, Holiday outlines nine tactics, such as “give them what spreads, not what’s good” and “use the technology against itself”.

    These are all valid tactics that Holiday has used when promoting his clients. However, he notes some readers may be tempted to use them as an instruction manual for manipulation of their own. “So be it,” he writes. “You will come to regret that choice, just as I have. But you will also have fun, and it could make you rich.”

    In the second half of the book, “The monster attacks”, Holiday ruminates on what blogs mean. He takes a blade to press-led online extortion, iterative journalism (one top blogger is quoted as saying “getting it right is expensive, getting it first is cheap”), the sad truths of “snark” writing and “online entertainment tactics that drug you and me”.

    This book is essential reading for anyone working in the media, online or off, and also for those who want to understand how the PR industry influences what appears on screens, in newspapers and magazines, and over airwaves. Marketers and the media are increasingly on the same team; this book is something of a wake-up call.

    “The world is boring, but the news is exciting,” Holiday writes. “It’s a paradox of modern life. Journalists and bloggers are not magicians, but … you must give them some credit. Shit becomes sugar.”

    Similarly, it is a credit to the author’s writing style and analytical abilities that this book never becomes weighed down in media theory. Every point is backed up with penetrating personal anecdotes.

    The narrative is tied to a rich understanding of media history, all the way back to the street vendor “cash and carry” innovation of New York newspaper The Sun in 1833, which is eerily similar to the gaudy, attention-grabbing media model of 2012.

    Holiday is incisive and merciless. It is clear he has the perceptiveness and wherewithal to turn his still-nascent career into a fortune from advising the rich and powerful, yet this book is a step back from that dark art. In the introduction, he writes of his hope that, by exposing these vulnerabilities in the media system, they’ll no longer work as well. We’ll see about that.

    Trust Me, I’m Lying: Confessions of a Media Manipulator 
    By Ryan Holiday
    Portfolio, 272pp, $26.95 (HB)

    Andrew McMillen is a Brisbane-based freelance journalist.

    For more on Trust Me, I’m Lying, visit its website. You might also be interested in my interview with Ryan Holiday from October 2011.

  • The Weekend Australian album reviews, October 2012: Collarbones, Tame Impala, The Key Of Sea

    Three album reviews for The Weekend Australian, published in October.

    ++

    Collarbones – Die Young

    What we have here is an original and compelling take on pop music viewed through the lenses of electronica, R&B and hip-hop.

    Duo Collarbones – Adelaide-based Travis Cook, and Sydney local Marcus Whale – don’t care much for genre constraints. It’s the best thing they’ve got going for them. Musical innovation is truly rare; there’s no one in Australia writing material like this. Their point of difference is technology-enabled: each track is built on intricate collages of instrumental samples cut, copied and pasted on laptops. Whale’s voice, by turns soulful and ethereal, narrates these stark soundscapes.

    It’s a concept album, of sorts: the lyrics focus on adolescent love and fallen pop idols. The title track is a fine example of the unconventional Collarbones songwriting style: over a lazy backbeat, what sounds like stringed instruments are sped up, slowed down and mashed together to beguiling effect. A verbose verse by Melburnian rapper HTML Flowers contrasts well against Whale’s clear voice.

    The following track, ‘Too Much’, is backed by Cook’s booming, bass-heavy beat; Whale unironically embraces a big, melodic, 1990s-era boy band-style chorus. It could easily be a radio hit. The approach would be a gimmick if the songs weren’t so good.

    The duo’s debut album, last year’s Iconography, was an intriguing introduction but an unsatisfying collection in whole: too many half-sketched ideas, too few proper songs. Die Young is a fully realised follow-up, one that sees the pair living up to their potential. It may be one of the stranger pop albums you’ll hear this year, but you won’t regret your time spent with these 10 fine tracks.

    Label: Two Bright Lakes

    Rating: 4 stars

    ++

    Tame Impala - Lonerism

    The trouble with releasing a killer debut album is that it’s much harder to impress with the follow-up.

    This is the situation in which Perth-based quartet Tame Impala finds itself, two years after Innerspeaker, a standout collection of retro-tinged rock songs written and produced almost entirely by singer Kevin Parker.

    That formula hasn’t changed on Lonerism: the young maestro again handles vocals and all instrumentation (in concert, he’s assisted by three bandmates). The main point of difference is that these 12 tracks were recorded in several locations while the band toured the world. And it shows: compared with Innerspeaker‘s lush, enveloping production, there’s much less cohesion between ideas here.

    Stylistically, Parker has added swaths of synthesisers to Tame Impala’s celebrated psychedelic rock tones. These sounds fill out the space between intricate basslines, clattering percussion, psychedelic guitars and Parker’s spaced-out, aloof voice. Heavy piano chords form the basis of first single ‘Apocalypse Dreams’, while follow-up ‘Elephant’ is built on a pulsating rhythm that leads into a glorious, snaking guitar solo.

    Although Innerspeaker was stacked with stand-out tracks, the same can’t be said for Lonerism, which contains just a handful; ‘Mind Mischief’ and ‘Keep on Trying’ are among the best here.

    There’s the aforementioned trouble again: once a reputation for strong songwriting has been established, anything less than great is disappointing. Lonerism doesn’t elicit that particular emotion — it’s a good record, after all — but it does hint at better things to come. With Parker’s brilliant imagination, musical abilities and resourcefulness, it seems that anything’s possible.

    Label: Modular

    Rating: 3.5 stars

    ++

    Various Artists - The Key Of Sea Volume 2

    Some might say rock musicians are more readily associated with egotism than altruism, yet this collection is the second in a series that seeks to buck that stereotype.

    By pairing well-known Australian artists with refugee musicians, the project’s organisers, civil rights advocate Hugh Crosthwaite and Nick O’Byrne from the Australian Independent Record Labels Association, hit on a winning idea with the release of Key of Sea Volume 1 in 2010.

    Like its predecessor, Volume 2 is a fine snapshot of contemporary Australian music. Pop, rock, hip-hop, jazz and folk musicians rub up against one another; disparate musical ideals working in tandem towards a common goal of sharing untold stories.

    The Australian collaborators are names Triple J listeners will recognise, with a handful of elder statesmen (Paul Kelly, Kim Salmon, David Bridie) thrown in. The refugee collaborators add their cultural influences to each composition: traditional Kurdish stringed instruments, bouzouki and Filipino choir masters all make delightful appearances.

    Darwin-based electronic soul duo Sietta teams with Pacific Island group Sunameke on ‘Open Hands’, which explores the concept of mixed races and cultural diversity; at the other end of the musical and thematic spectrum, Salmon pairs with radio presenter Waleed Aly to write ‘No One Cares’, a noisy rock tune with sardonic lyrics featuring the bureaucratic doubletalk associated with seeking asylum in this country.

    All 11 songs work well: there are a couple of bona fide pop hits in ‘Silence of the Guns’ (led by Jinja Safari) and Clubfeet’s ‘Islands’. The diversity of sounds and stories is reason enough to lend your ears to The Key of Sea. That the songs are compelling and polished is a bonus.

    Label: MGM
    Rating: 3.5 stars

  • Qweekend story: ‘Goal Mining: Minecraft and education’, October 2012

    A story that was published in Qweekend magazine on October 13, 2012. Click the below image to view as a PDF (link opens in a new window), or read the article text underneath.

    Goal Mining
    Story: Andrew McMillen / Photography: David Kelly

    A video game that uses collaboration and communication to engage children online has inspired a new method of teaching.

    The first thing we need to do is collect wood. We do this by smashing our fists into tall trees until the wood disintegrates into small blocks, which then become ours to keep. Curiously, punching out the tree trunks makes no difference to their structural integrity; they continue standing tall, trunkless, while we pilfer their wood.

    The second thing we need to do is make sticks. “Using the crafting table, put one wood block on top of the other,” says James Keogh, who acts as group leader and instructs our gang of five as we navigate this strange world.  Easier said than done. Under the clear blue sky, I can’t interpret his instructions to make the most obvious and essential item.

    Sticks are the basis of the pickaxe, the shovel and the sword. I need all of these things to survive and prosper in the world of Minecraft, a computer game set in a randomly generated landscape of mountains, valleys, forests and deserts. Minecraft is unlike any game I’ve played – there are neither clear objectives nor clear instructions. The player is left to his own devices in this virtual playground, to spend his time however he wishes.

    My fellow adventurers – four 11-year-old boys who attend West Moreton Anglican College, west of Brisbane – try time and again to explain the simple process of creating sticks. I’m sweating as oblong clouds pass across the square sun. The blocky mountains surrounding us seem to be frowning at me. Dark squid float idly in the lake nearby, indifferent to my crafting struggles.

    I feel stupid and inadequate, especially in the company of these four well-travelled friends. Darcy Keogh, James’s twin brother, takes pity and gifts me a stone pickaxe, short-cutting the process considerably. It’s a relief. Without my companions, I’d be clueless; come nightfall, I’d surely be dead.

    James and Darcy have been busy using their pickaxes to excavate dirt out of the side of the nearest mountain for our “hidey-hole”, while their friend Liam Catlan patiently attempts to coach some success into me. Torrin Beverley has taken it upon himself to begin digging deeper into the earth in search of precious resources like iron, gold, and – if he’s lucky – maybe even diamond. Mining tools in hand – just a pickaxe and a shovel for now – I climb partway up the mountain and stand at the entrance, admiring their handiwork.

    James warns us that it’s almost night time. I step inside the hidey-hole, shutting the door behind me. Foolishly, Liam stays out and attempts to fight a giant spider. Anguished howls echo across the landscape as he dies at the fangs of his eight-legged foe. His now-itemless character respawns beside us. “Did you have anything worthwhile on you?” James asks. Two stone pickaxes, his friend types. “Not really much, then,” replies our leader nonchalantly.

    Torrin asks if anyone wants a sword. “Yes,” I type, before opening the door and stepping outside. It’s snowing. Pretty, digital snowflakes criss-cross the night sky, falling lazily to the ground. “Whoa,” I say to no-one in particular. It’s a beautiful sight.

    I check my inventory and find Torrin’s gift. All four boys have joined me outside, just beyond the light cast by the flames of our farthest torch. The square moon passes slowly overhead. I wonder aloud whether it’s a good idea for us to be out here, given that one member of our gang of five was so recently slain. “Not really,” says James, swinging his sword defiantly at nothing in particular.

    The boys tell me that there are zombies, skeletons, Creepers, spiders and Endermen out here, prowling the dark landscape. Horrible creatures all. We head back inside and close the door behind us. I turn and stare through the window once again at the mesmerising snowflakes, reflecting on the wide range of emotions I’ve experienced during my first 20 minute-long day/night cycle: confusion, frustration, satisfaction, wonder and, finally, fear.

    ++

    Minecraft is fun because it’s so divorced from reality that minds run free with possibility. Key attractions include its detachment from the responsibilities of daily life – school, work, parenthood, traffic, taxes – and the ease with which the digital world bends to your will. Want to dig a hole in real life? It’s bloody hard work, for starters. Then there are property rights and land ownership to consider, as well as the high likelihood of your dad going off at the sight of his well-tended lawn transformed into a crater.

    In Minecraft, though, it takes just seconds to carve into the ground, or a mountain, and begin exploring what’s beneath. (Once you’ve conquered the admittedly tricky first act of crafting your mining tools, of course.) Likewise, it’s just as easy to create solid structures in-game. Two of the most impressive mega-creations include a 1:1 scale model of the Starship Enterprise, from Star Trek, and a current project involving a few dozen people working on crafting the entire Westeros realm, from the fantasy series Game Of Thrones. Put simply, it’s Lego in a limitless virtual world where the only impediment is your imagination.

    Created by 33 year-old Swedish game programmer and designer Markus Persson, best known by his online handle “Notch”, Minecraft is an international phenomenon. Notch self-published the first “alpha” version of the game online in May 2009, charging a one-off fee of about $12 (€9.95) and updating Minecraft with new features until version 1.0 was released in November 2011 for $24.50 (€19.95). More than 10 million players have bought the game across both the PC and Xbox 360 platforms; it also boasts 42 million registered users, a figure still growing by around 140,000 new players per day.

    Few are immune to its charms, even those who struggle with the game’s mechanics at first – which is essentially everyone, as the PC version of the game offers no in-game assistance. (Minecraft Wiki – a popular first destination for the clueless – contains more than 2,000 detailed articles.) This is the kind of unorthodox design decision that few gaming studios or publishers would allow, yet since Notch created it all himself, he was beholden to no such orthodoxy. Evidently, it hasn’t hindered the game’s popularity.

    “Younger gamers are completely enthralled by Minecraft,” says Janet Carr, series producer of ABC TV’s Good Game, which screens Tuesday nights on ABC2 and attracts an average weekly audience of 108,000. “Since you create your own fun, it gives you the freedom to play it the way you want to. It’s personally satisfying because you have that feeling of discovery, and of creation. Normal game design theory would say that making it hard to play is lethal to your game. Minecraft is the complete opposite: because the kids have to work quite hard at getting a handle on it, they get invested in it really quickly, and very deeply.”

    Carr’s team also works on Good Game Spawn Point, a program aimed at gamers aged 8-12 watched by 80,000 viewers on ABC3 Saturday mornings. She estimates that half of the 10,000 emails sent to the show’s presenters each week are from younger gamers seeking answers to Minecraft gameplay questions. “It’s not even just the number of emails we get about the game that’s surprising, it’s the sophistication of the information they’re seeking,” Carr says. “It’s not, ‘how do I build a pickaxe?’ It’s ‘how do I set up my repeater units so that my mine cart will travel a few kilometres?’ Engineering questions.”

    ++

    It’s impossible to discuss Minecraft without acknowledging its potential to become truly consuming. Since the game world is randomly generated and limitless, it’s unsurprising that those who fall for its charms tend to invest serious hours in the never-ending process of day and night, mining and crafting, exploring and expanding. “A lot of parents are concerned their kids are spending too much time on video games,” says Carr, whose youngest son was obsessed with Minecraft but has since moved on. Unlike most other games, though, Minecraft is undirected. Players must use their own intelligence, intuition and inspiration to derive enjoyment from the game, rather than relying on objectives and rewards predetermined by game designers.

    “A large issue for parents is that they don’t understand what their kids are so enthusiastically raving about,” says Luke Bennett, a 49 year-old ecological consultant who lives in Castlemaine, Victoria and is the father of 11-year-old twins. “When our son first started playing, my wife and I discovered that if he played up until he went to bed, he was so mentally wired that he could not sleep. I’ve responded by letting him play, but not in large chunks of time. Minecraft is a valuable part of a complex lifestyle. You need to leaven it with the other stuff.”

    Recently, Bennett and a friend set up a private online server where about ten children aged 7-12 play online together most nights. “This means my own gameplay is now more of a moderator role, rather than just purely building,” Bennett says. “We’ve set up a blog for the kids so that they can discuss differing playing styles, and resolve conflicts. The biggest issues in the game are virtual urban and environmental planning. The kids’ default response is to ask me to intervene, which has resulted in some very odd conversations at afternoon school pick-up,” he laughs. “But I think it’s great,” adds Bennett, who now tends to play late into the nights with his middle-aged friend after their kids go to bed at 9pm. “Minecraft is a game that encourages players to think, create, solve problems, engineer, train reflexes and socialise. It’s almost education-by-stealth, in the guise of a video game. It’s like hiding cauliflower in mashed potato.”

    Janet Carr agrees that playing with children, rather than observing their behaviour from a bemused distance, is the best way to appreciate their enthusiasm and set limitations around gameplay. “If everyone in the household understands the rules, it doesn’t become an issue,” she says. “If you’ve got a child who’s really wanting to spend all their time talking about Minecraft, you’re almost beholden to get a great understanding of it yourself so at least you can have high levels of conversation about it, and talk about how to manage that time.”

    Steven “Bajo” O’Donnell is co-host of both Good Game shows. “I hate the word ‘addictive’, because it has a negative association,” he says. “I like to use the word ‘compelling’ instead. Minecraft compels you to go back into it, and keep playing it, and keep building.”

    His co-host, Stephanie “Hex” Bendixsen, agrees. “I don’t think it’s necessarily addictive in the way that [online role-playing game] World Of Warcraft is addictive, because that game offers you constant rewards for ‘X’ amount of hours that you’ve put in. Whereas Minecraft doesn’t really have any kind of reward system; it’s really about what you get out of it personally. It may be hard for people to stop playing, but that’s really due to their own experience rather than something that the game is doing.”

    The Good Game hosts regularly hear from teachers who’ve had to ban the game from their schools, or allocate specific times when kids can go into the computer labs at lunchtime to play. “Some teachers use it as a system of reward: if the students get through a computing studies class, then they’re allowed to play for 15 minutes at the end, because they just can’t stop kids from playing it,” says Bendixsen. “They’ve had to try to find ways to work it into school life. Since it’s a game that doesn’t have any kind of guns or shooting, and encourages kids to be imaginative to work cooperatively, it works quite well in the classroom.”

    ++

    High above the clouds, I’m standing on a transparent platform bathed in the orange glow of twilight. At the edge of one horizon, a square sun dips; behind me, a square moon rises. Underneath the platform is an enormous mass of blue-green. It’s the kind of view only an astronaut would see in reality: star-speckled blanket of infinite space above, stable blue marble below. Suddenly, a man in a white labcoat appears next to me. The glowing yellow text above his head reads “Elfie”. He begins giving me a virtual science lesson while showing me around his greatest Minecraft creation – an animal cell he built for his biology students.

    “The whole idea of these first platforms was to give the kids an overall picture of the cell, because it’s very hard to imagine what it looks like from the outside once you’re in there,” says 32 year-old Stephen “Elfie” Elford, who teaches science, maths and humanities at Numurkah Secondary College (enrolment: 300) in north-eastern Victoria.

    As we travel between observation decks by right-clicking on teleportation terminals, we’re getting closer to the giant blue-green mass. Its curvature is reminiscent of the human brain. On the fourth and final deck, I’m presented with the option of teleporting to four unfamiliar, scientific-sounding stations. I choose “Golgi”, the first option. Now I’m inside the giant mass, and before me is a roughly rectangular prism that represents the Golgi apparatus. Right-clicking on an information block at the edge of the platform gives a text overview of its function, written in the same straight-talking language Elford would use while standing at the head of his classroom. “This is an animal cell,” says Elford. “As my biology students tour the cell, they fill in a booklet. I wanted to deepen that understanding and give them a good visual representation they could call on, when needed.”

    So Elford invested six months, on and off, in creating this three dimensional, to-scale replica of how he understands the inside of an animal cell might look. He estimates that he’s moved two million virtual blocks during the 50-hour building process. The brightly-coloured textures of this fascinating structure bear little resemblance to the lifelike shades of the world I explored with the four 11-year-old boys.

    Elford’s animal cell is a remarkable, inspired piece of work from Australia’s foremost expert on MinecraftEdu, a modification (or “mod”) based on the existing game engine. Developed in collaboration by teachers in Finland and the United States, the mod’s disparate but growing network of Games-Based Learning practitioners see efforts like Elford’s as a way to engage the next generation of “digital native” students. (Elford runs a blog called “MinecraftEdu Elfie” where he shares his learning experiences with teachers throughout the world. He has also uploaded dozens of videos to YouTube showing how his classes have interacted with the game.)

    For the last eight years, Elford had taught Nurmurkah’s science students about animal cells from the textbook, two or three times a year. “I was kind of over it,” he reflects. “I don’t know if it was a seven-year itch a year late; I just didn’t feel like I was enjoying myself. And then this came along, and now I’m enjoying my job again. It’s given me that little bump to keep going.”

    Rather than learning through Elford’s descriptions and the biology textbook, it’s much more engaging for students to see his scientifically accurate representation of an animal cell with their own eyes. I didn’t take any science subjects in senior high school, partly because it all seemed so dry and dull. Had MinecraftEdu existed when I started year 11 in 2004, though, I could well have been drawn in by the technological lure.

    Elford is the first to admit that fanciful creations like this won’t entirely replace traditional teaching methods. In fact, he has used this incredible virtual environment in-class once so far, for a total of two hours. He has plans to upload the map so that other teachers can use the animal cell in their own classes. “The time and effort I put in is far outweighed by the students’ immersion in this cell,” Elford says. Using the game, he’s also led students through reaction time experiments; he’s explained the transformation between solids, liquids and gases (by setting his students on fire, in-game, of course); and he’s run an assignment wherein students built energy-efficient houses, then recorded video tours of their new creations. Despite these breakthroughs, MinecraftEdu is only used on occasion at Nurmurkah, when it’s appropriate to the learning at hand.

    “Personally, I think it should be in every school,” says Elford as he wraps up his tour of the animal cell while we stand outside, gazing up at the monolith. “The opportunities it provides for students to create, and to be creative, is something I haven’t found anywhere else in my time as a teacher.”

    Meanwhile, 15km north-west of Cairns at Kamerunga in far North Queensland is Peace Lutheran College, a prep-to-year-12 school of 585 students. Andrew Wright, 40, is eLearning mentor at Peace. He’s the one who drove the college’s IT department to adopt MinecraftEdu for the first time this term, across two classes of 25 students. “It’s been fantastic,” says Wright, who also teaches Year 7. “We’re studying Ancient Rome at the moment. We found a MinecraftEdu map of that, where the pupils started off in the Colosseum, then partnered up and walked around Rome to have their photographs taken outside iconic landmarks such as the Pantheon. They then went away and researched what that real building would have been used for, and made a presentation about it. You walk around [the virtual] Rome yourself and you think, ‘wow, someone must have spent years doing this!’”

    Though a classroom of 25 kids running rampant in MinecraftEdu sounds chaotic – despite the availability of teacher-only crowd control tools that can instantly freeze, mute or teleport students – Wright assures me it’s quite the opposite. “Because the students want to be learning, and they want to be engaged, they’re very respectful of the game and of each other,” he says. “That’s what we try and teach them – within the game, you have to cooperate, you have to use all the skills that you’d need in the real world. Collaboration, communication; it’s all there. There’s a real learning curve going on because the Year 7s are teaching the Year 1s.”

    Wright, who is now in his fifth year of teaching at Peace, says that “addictive” is “a strong word” when used in the context of Minecraft. “As a teacher, if you’ve got something that the students are keen on using, and you can use it in an educational way, you’re on to a winner. It can be seen as taking up a lot of time, but as with anything, you have to manage that time. When parents see their children coming home and working on this stuff after doing their homework, I don’t think you can put a value on that.”

    ++

    James and Darcy Keogh are showing me around their virtual world one week before my first in-game experience. It’s the first time I’ve seen Minecraft in action. James walks through their well-tended farm of pumpkins, melons, wheat, sugar cane and cacti while playing on a laptop that’s connected to a widescreen television in the living room of a house in Chuwar, about 6km north-west of Ipswich.

    Parents Robert and Grace, who are separated, watch intently from the lounge as their 11-year-old sons walk them through a world they understand a fraction as well as their youngest children do. Throughout the 90 minutes the twins spend pumping me with information, they chatter constantly, challenging one another on which elements of the game to demonstrate and how best to describe its complex functions. It’s a dizzyingly detailed language spoken by twins fluent in Minecraft-speak.

    “There are different ranks of tools,” James explains. “You start with wooden, which is the worst, then upgrade to stone, iron, gold and diamond.”
    “But you’ve got to mine all that stuff to make it,” says Robert, who has himself dabbled with the game.
    “You’ve got to chop down the trees to get the wood,” Grace adds. “That’s the first thing you do – punch a tree. I never got past wooden tools,” she says, with a hint of regret.
    “When you play, you just muck around,” James gently cajoles her, “putting blocks down anywhere …”
    “You’re not fanatical like some!” Robert interjects. The Keogh family laughs together.

    Countless hours sunk into this intriguing world built on blocks, mining and crafting. Millions of players absorbed by the limitless promise of what this game represents better than any before it – a tangible, tantalising sensation of freedom. Two 11-year-old boys who have been playing video games as long as they can remember, and who have played this particular game practically daily since their eldest brother, Brendan, first showed it to them in 2009.

    “So why do you guys play?” their father asks.
    “Because it’s creating, and you can basically do anything you want to,” replies James.
    “Where most games are just, ‘you do this, then you do that …’” says Darcy, “and you don’t get to …” James interrupts by finding the right word for his twin.
    “Most games are linear,” James says. “Minecraft isn’t linear.”

  • Album biography: Grinspoon – ‘Black Rabbits’, September 2012

    An album biography I wrote for the Australian rock band Grinspoon as part of the press pack that was sent out with their seventh album, Black Rabbits, released 28 September 2012. Click the below image to view as a PDF.

    Grinspoon - Black Rabbits

    Bad habits. We’ve all got ‘em. Some are more public and less healthy than others. As far as Australian rock bands go, Grinspoon are more readily associated with that phrase than most. It’s fitting, then, that they’ve chosen to name their seventh album after Cockney slang for bad habits: Black Rabbits.

    These twelve tracks are the sound of a rock band experimenting with power-pop aesthetics, and succeeding. Following the heavy rock barrage heard on the East Coast quartet’s last album, 2009’s Six To Midnight, singer Phil Jamieson and guitarist Pat Davern were both motivated to write “lighter, more melodic” material.

    “We were going for big choruses and major melodies,” says Jamieson. “Lyrically, I was writing on themes that weren’t too downtrodden, or too angsty. Musically, we wanted tighter arrangements all ‘round.”

    Davern agrees. “I’d describe it as more ‘songy’ than ‘riffy’. I didn’t want to do another Six To Midnight, which had a lot of aggression. I didn’t feel like writing that kind of music.”

    “I was listening to a lot of four-on-the-floor,” continues Davern. “We hadn’t really done any of that driving beat, groove-based stuff, which has more forward-motion than sideways-motion. I definitely had that in the back of my mind when I was writing: ‘I want this to be up.’ I didn’t want there to be any kind of negativity or anger going on musically. I don’t feel that way, and I don’t want to feel that way musically anymore. I think you can hear that in the music that came out. It’s different for us.”

    Emphatic lead single ‘Passerby’, at radio and available August 13th, acts as both album opener and a lens onto the band’s newfound emphasis on melody and groove. It’s the foundation song of Black Rabbits; the artistic breakthrough that the songwriters had to have before they could build the proverbial walls and ceiling.

    “’Passerby’ was a point of difference, and it didn’t sound like we were treading water, or being lazy,” says the singer. “It didn’t sound like we were hangin’ out, smokin’ cones in Lismore – not that that’s a bad thing” he laughs. “It sounded like we were doing something.” Davern concurs: “It’s a statement of intent that we weren’t going to be doing the same shit we’d done before.”

    Los Angeles-based rock producer Dave Schiffman – whose past credits include Weezer, Red Hot Chili Peppers, Black Rebel Motorcycle Club and The Bronx – was chosen to handle the recording sessions, after all four members of Grinspoon fell in love with The Bronx II.

    “As history shows us, Los Angeles makes excellent rock records,” says Jamieson. “I think Led Zeppelin worked that out a long time ago. They’re just really good at rock there. They’re really point-to-point about it, so we felt that we needed to get over there this time to make this record.”

    Visitors to Schiffman’s studio included Tim Rogers (You Am I), Chris Cheney (The Living End) and Scott Russo (Unwritten Law), who all contributed back-up vocals; Cheney even lends some tasty lead guitar licks to ‘Another Sun’, which Davern describes as the album’s “Black Crowes-y, bluesy” track. ‘Casualty’ is a tale of “unrequited love, and the desperate measures one goes to, in order to feel adequate again,” says Jamieson, while ‘Branded’ is inspired by the zombie-themed television series The Walking Dead.

    The Lismore-born quartet – Jamieson, Davern, drummer Kristian Hopes and bassist Joe Hansen – burst onto the national music scene in 1995 via a string of hits which later appeared on their 1997 debut album, Guide To Better Living. The band’s six albums have sold a combined total of over 450,000 copies in Australia, including multiple platinum certifications and an ARIA Award in 2005 for Thrills, Kills & Sunday Pills (‘Best Rock Album’).

    “The reason we haven’t repeated the debut album is because we can’t,” says Jamieson. “And I don’t know whether we should, because we already did it. You just don’t want to repeat yourself, ever. The body of work you’ve released is laughing at you, going, ‘yeah, fuck you, you can’t do that again! You were awesome in 2002, dickhead!’” the singer laughs. “You’ve got to change the game for yourself, and challenge the band as to how and where you want to be.”

    The chorus in penultimate track ‘Tightrope’ is the key that unlocks the album, and moreover, the quartet themselves after seventeen years together: “You’re getting closer now to what you’ve always wanted in your life,” sings Jamieson.

    Reflecting on whether that memorable line can be self-applied, he says: “I’m not sure of what I want in my life; I don’t know whether anyone does. But this is a fucking fantastic gig, and I love it. I’m not sure where I want to be, but here’s pretty fucking good.”

    -  By Andrew McMillen

    The music video for first single ‘Passerby‘ is embedded below.

  • The Weekend Australian book review: ‘Gaysia’ by Benjamin Law, September 2012

    A book review for The Weekend Australian, published on 8 September 2012. The full review appears below.

    Revealing journey through gay Asia

    After exploring his upbringing in the 2010 comic memoir The Family Law, Benjamin Law turns to another topic close to his heart. An Australian of Chinese ancestry, he sets out to explore attitudes to homosexuality in seven Asian countries.

    Gaysia is Brisbane-based Law’s first attempt at book-length journalism and it consolidates him as one of the most surprising and entertaining voices in Australian nonfiction writing.

    On the first page, he writes: “Of all the continents, Asia is the gayest.” Given it’s populated by close to four billion people, he goes on, “doesn’t it stand to reason that most of the world’s queer people – lesbians, gays, bisexuals, transgender and transsexual folk – live in Asia too, sharing one hot, sweaty landmass and filling it with breathtaking examples of exotic faggotry?”.

    This balancing of of blunt humour and interesting information is one of Law’s strengths. Each chapter deftly combines reportage with historical facts.

    For example, Law strips off at a clothing-optional gay resort in Bali while interviewing the owner, who discovered this gap in the tourism market in the 1990s. The result is a strong narrative with one foot in the present, the other in the past.

    Given the topics at hand – nude resorts, prostitution, Thai ladyboy beauty contests, to name three – there’s lots of room for graphic descriptions, and Law revels in it. He’s clearly at home writing about our sexual urges and bodily functions.

    From male hookers in Burma begging him to share his penis size to witnessing an awkward threesome through his neighbours’ curtains, he has masses of material to work with.

    There is a serious side to Law’s investigations. The Burma chapter is particularly affecting. Law interviews widely while exploring the prevalence of HIV. The final anecdote is brutal: a desperate, 22-year-old prostitute – who had no knowledge of the virus until she tested positive – asks Law whether he can help her. To the author’s shameful realisation, his answer is no.

    Gaysia is more a window on to a troubled world than a travelogue. The stories Law tells, the problems he discusses, are ones rarely explored in-depth by the Australian media. Some solutions are simple – cross-cultural sex education and widespread distribution of condoms, for example – yet many are not.

    Much of the tension in this book comes down to differing social mores. In Japan, where drag queens are a constant fixture on television, Law notes that “so much of queerness seemed to be a performance for straight people”.

    Yet he contends few seem to understand that homosexuals exist in reality, away from TV cameras. “As long as they’re invisible, they’ll be tolerated,” a gay bar owner tells him.

    Several chapters highlight those who view homosexuality as a “bad mental habit”, to quote Baba Ramdev, a yoga instructor whose Indian followers number more than 80 million people.

    In recent times in China, homosexuals were prescribed self-flagellation techniques (a rubber band on the wrist, to be snapped whenever a homosexual thought was had) electroconvulsive therapy and even, in one sad case, a cocktail of conflicting psychotropic drugs that resulted in irreversible neurological damage.

    Law presents these instances of misunderstanding, persecution and outright homophobia matter-of-factly, without drawing his own conclusions.

    In Malaysia he meets Christian and Muslim fundamentalists who treat homosexuality as “an affliction that can be cured”. When questioned by them, Law plays the neutral journalist, perhaps a little too well: he doesn’t reveal his sexual identity.

    Yet by keeping quiet and quoting his sources faithfully, Law certainly gives them enough rope.

    Highlights of this book include Law’s account of the madly detailed lengths Chinese lesbians go to when arranging fake marriages, so as to please parents on both sides; his immersion in the hysteria surrounding an annual ladyboy beauty contest watched by 15 million Thais; and a chance meeting with an excitable yet closeted Indian man on a 30-hour cross-country train trip. (Law generously transfers his gay porn stash to his new friend’s laptop.)

    Gaysia is a book of powerful, enlightening stories on a fraught topic, told with care, empathy, grace and good humour.

    Gaysia: Adventures in the Queer East
    By Benjamin Law
    Black Inc, 288pp, $29.95

     

  • The Weekend Australian album reviews, September 2012: The Presets, We All Want To, Sugar Army

    Three album reviews for The Weekend Australian, published in September. The first is a feature review of 490 words; the other two are regular 260-worders.

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    The Presets - Pacifica

    Four years between albums is plenty of time for younger competitors to snatch the crown from Australia’s electronic music kings.

    The Presets’ top spot was earned after 2008′s Apocalypso, which spawned multi-platinum sales, ARIA awards and one world-conquering single in ‘My People’.

    Now in their mid-30s, Sydney-based Julian Hamilton and Kim Moyes have exchanged nightclubs for parenthood. One may assume they’ve lost touch with the culture that spawned this synth-and-drums duo and their stunning 2005 debut, Beams.

    All doubts are vanquished within the first few bars of the first single, ‘Youth in Trouble’. The six-minute track is built on an insistent bass pattern, on top of which Hamilton – in typical piss-taking vocal style – parodies the media-led hand-wringing on behalf of Australian parents.

    “Up out all night in bright-lit wonderland . . . With a music taste abominable / Man, I’m worried sick for youth in trouble.” The layered irony is wonderful: moments later, the track fills with the kind of electronic noise and subterranean bass that’d piss off parents when played loud. As it should be.

    This track is a departure from the clear, concise vocal hooks that have characterised the Presets’ past hits. It’s a perfect album opener because Pacifica bears little resemblance to their previous two releases. These 10 tracks are more electronica than dance music; to use an obvious party-drug analogy, it’s more 5am comedown than 1am peak. At first, Pacifica‘s incongruity is a tough pill to swallow.

    The lack of obvious singles is troubling — the sea-shanty-like ‘Ghosts’ is the most accessible track here — as is the apparent dearth of vocal and melodic hooks. This jars with popular understanding of who the Presets are, and what they represent. It takes me about six listens to accept this record for what it is, not what it could have been if they had continued to follow their own songwriting formula. Impatient, dismissive fans will miss out on the Presets’ most accomplished and mature album yet.

    Pacifica sees the pair bower-birding from a wide range of aural sources: shades of dance titans Underworld and Sonicanimation are occasionally detectable, as well as more modern electronic acts such as Crystal Castles and the Knife.

    The latter influence is particularly strong in track seven, ‘Adults Only’, which sees Hamilton pitch-shifting his vocals to a deep tone, as if trying to obscure his identity. This song is the album’s emotional and artistic peak; a punishing acid-house pastiche led by stuttering, hornet-swarm synths.

    Inspired by John Birmingham’s Leviathan, Hamilton’s dark lyrics take in Sydney’s murderous past and uncertain future: “Children don’t you know that we’re living in a city that’s built on bones?” he sings in the chorus; later, he mentions frail old ladies dying afraid and alone while surrounded by yuppies, small bars and coke.

    Ultimately, Pacifica is the sound of two men who understand Australian pop culture better than anyone. ‘Zeitgeist’ is a dirty word, but there’s no doubt the Presets have produced a record that sounds simultaneously of-the-moment and futuristic. The crown remains intact.

    LABEL: Modular/UMA
    RATING: 4 stars

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    We All Want To – Come Up Invisible

    This is a messy album in the best way possible. The music created by Brisbane four-piece We All Want To swings back and forth between charming indie pop and rock with jagged edges.

    Led by a pair of singer-guitarists in Tim Steward – who also fronted 90s-era Brisbane noise-pop act Screamfeeder — and Skye Staniford, the interplay between the two is the chief highlight here. Both are accomplished writers with a knack for clever wordplay and memorable melodies.

    They opt for some artistic decisions that simply wouldn’t work in less capable hands – like opening the album with a sprawling, seven-minute track that features an off-key recorder solo — yet these four pull off such curiosities with style. The band’s self-titled debut, released in 2010, was a solid set containing a pair of stand-outs in ‘Japan’ and ‘Back to the Car’.

    It’s a similar story here: special mentions belong to Steward’s compelling, life-spanning narrative in ‘Where Sleeping Ends’; and ‘Shine’ by Staniford, which begins with subdued instrumentation and ends with a whirlwind of beautiful harmonies. There are no ongoing lyrical themes to speak of, nor is there much sense of cohesion between these 11 tracks, but these absences don’t matter: there’s not a weak track here. This collection is accomplished, unpretentious and unassuming.

    We All Want To is no spring chicken. Steward has been playing live for more than two decades and this is the 11th album he has been involved in. Come Up Invisible is a nod to the virtues of banking on earned musical wisdom and experience.

    LABEL: Plus One Records
    RATING: 3 ½ stars

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    Sugar Army - Summertime Heavy

    Through change comes artistic progress. On its second album, Perth-based rock act Sugar Army has streamlined the sound out of necessity: the band’s bassist joined fellow Perth group Birds of Tokyo, reducing the quartet to a trio.

    Yet this departure has helped to hone Summertime Heavy into a set of compact, driving rock songs. Sugar Army’s 2009 debut, The Parallels Amongst Ourselves, was memorable but a touch overlong; half the tracks were great, the others less so.

    Here, the band has scaled back the atmospheric production in favour of muscular songwriting, and the results are impressive. Sugar Army’s sound evokes Los Angeles act Silversun Pickups in that the guitar phrasing, bass lines and drumbeats are all independently interesting.

    This clever musical interplay, coupled with Patrick Mclaughlin’s distinctive voice, ensures they’re a near-perfect unit. Mclaughlin has a unique turn of phrase, too: “Once the mind’s made up / Nothing comes in, and nobody gets out”, he sings in ‘Small Town Charm’, which nails the realities of some regional mentalities.

    In standout album closer ‘Brazen Young’ he continues his fascination with female-led narratives first noted on their debut. These are lean, well-written songs delivered forcefully and urgently.

    The band is versatile, too: the title track is built around a pretty acoustic guitar progression and a chanted motif (“Summertime heavy is taking its toll”), while the appearance of a wood block in ‘Hearts Content’ is both unexpected and welcome. As the Go-Betweens’ Robert Forster has said, the three-piece band is the purest form of rock ‘n’ roll expression. That holds true here.

    LABEL: Permanent Records
    RATING: 3 ½ stars

  • Rolling Stone album review: Die! Die! Die! – ‘Harmony’, August 2012

    An album review for Rolling Stone, published in the September 2012 issue.

    Die! Die! Die! - Harmony 
    (Inertia)

    Kiwis hone their brand of noise-punk to a sharp edge

    Since forming in 2003, this Dunedin noise-punk trio has gone from strength to strength. Their last album, Form – released in 2010 on Flying Nun Records – was a muscular mix of rock aggression and pop smarts. Die! Die! Die!’s fourth LP, Harmony, is another leap forward, and their finest work yet. The formula is simple – guitar, bass, drums and vocals – yet these three continue to make thrilling new breakthroughs. Their career represents an ongoing tug-of-war between noise and melody, and on Harmony they excel once again: a pair of slower, melancholy tracks contrasts well against the gripping flurry and bluster of the remaining eight songs. Highly recommended.

    Key tracks: “Erase Waves”, “Seasons Revenge”

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    Elsewhere: an interview with Die! Die! Die! singer/guitarist Andrew Wilson for The Vine in 2010

    Elsewhere: a review of Die! Die! Die!’s 2010 album, Form, for The Vine 

  • The Weekend Australian album review: Dappled Cities – ‘Lake Air’, August 2012

    An album review for The Weekend Australian, published on August 11.

    Dappled Cities - Lake Air

    Four albums into a career that blossomed with the release of second LP Granddance in 2006, Sydney quintet Dappled Cities here present their most accomplished collection. Granddance brought the band into the national consciousness via a string of outstanding singles; Lake Air is a complete work, one so good it deserves to take Dappled Cities much further.

    This is indie pop at its best: an extension of the songwriting heard on 2009′s Zounds, yet twice as remarkable in every way. Dappled Cities opt for a lean 10 tracks, 42 minutes’ worth, and not a moment is wasted. The first six tracks – bookended by singles ‘Run with the Wind’ and ‘Born at the Right Time’ – are of such a high quality that the remaining four sound merely good in comparison.

    Lake Air is the sound of a band at the peak of its creative powers. Instrumentally, lyrically and melodically, this album is one of the best you’ll hear all year. There are many moments of pure pop joy, yet these are tempered by a subtlety and nuance that eludes many of their peers.

    The title track is masterful: underscored by a chorus wherein dual vocalists Tim Derricourt and Dave Rennick sing in uncharacteristically low tones. Both of them usually prefer higher registers. It’s the best single song they’ve recorded. Penultimate track ‘Waves’ is a sparse piano-and-vocals affair that sticks out like a sore thumb yet also acts as a contrasting reminder that Lake Air is, at its heart, a stunning set of songs. It’s an inspired release from one of Australia’s best pop bands. They’re only getting better.

    LABEL: Hub/Inertia
    RATING: 4 ½ stars

  • ZDNet story: ‘The Digital Beat: policing social media’, July 2012

    A feature story for ZDNet; excerpt below. Click the image for the full story.

    The Digital Beat: policing social media

    Your business may not have to deal with issues of life and death in social media, but there are lessons for everyone in how Australia’s police forces interact with the public.

    If you were in Queensland during the floods of January 2011, Kym Charlton’s iPad may have saved your life.

    The device itself has since been superseded and effectively retired, yet its weathered, black leather case still features a hastily scrawled note, which, at the time, acted as both a mnemonic and a reality check. Two words in thick, white text: DON’T PANIC.

    As executive director of the Queensland Police Service’s (QPS) media and public affairs branch, Charlton [pictured above, centre; to her left, senior digital media officer James Kliemt] was bunkered down in the State Disaster Coordination Centre while then Premier Anna Bligh and her team of emergency-services specialists alternated between internal briefings and live-streamed press conferences.

    The matter at hand? How best to deal with an uncanny series of weather events that would ultimately leave 90 per cent of the state declared a disaster zone.

    iPad in hand, Charlton was responsible for posting live updates to the QPS social-media accounts — vital information which, for some Queenslanders, meant the difference between fight or flight; home ownership or homelessness; life or death.

    Having convinced the deputy commissioner to sign off on a six-month social-media trial in mid-2010, Charlton and her media team had grown the QPS Facebook page to a respectable following of 6500 by the end of the year. As rain saturated the state throughout December, QPS was in the ideal position to establish itself as the state’s singular, trustworthy news source in a time of need.

    “It was quite an organic thing for us,” Charlton said from her office in the QPS headquarters just outside of the Brisbane CBD. “We’d been using social media for six months, so we immediately moved to get the information out through those channels, because time was so critical.”

    Charlton is a calm and confident narrator, having had plenty of time to reflect on this topic both in private and public — including a presentation at the Global Initiative to Combat Nuclear Terrorism in Marrakech last year — yet it’s clear that the urgency and quality of the work that her team produced in January 2011 is never too far from her mind. The numerous framed awards hanging on her office walls make such matters difficult to forget, in any case.

    The QPS social-media presence meant that Charlton didn’t have to waste time with the clearance processes that ordinarily hamper police news dissemination. “Rather than me sitting in a disaster-management meeting, listening to the premier being briefed, taking notes, going out and giving it to someone to write a media release, then spending the rest of the day chasing around incredibly busy people to clear the information, I started to post status updates as I heard the premier being briefed,” she said. A self-imposed limit of 140 characters per update meant that the news could be bounced from Facebook to Twitter with ease, and without diluting the message.

    “We were able to pump out a whole lot of information that we knew wouldn’t make the mainstream media; they just wouldn’t have picked up that volume of information. It was quite low level, but it was really important if it was about your area,” she said.

    “For example, the day that the Lockyer Valley flooded was the same day that Brisbane and Ipswich realised there was going to be a major flood. All of a sudden, you had the entire population of both cities desperately trying to work out if their houses were going to flood. A lot of people weren’t here in 1974; also, there are way more houses [now] than there used to be. We saw a huge jump of people coming to the page to find that information.” On that particular day, 10 January, Charlton sent her first and last tweets at 4.45am and 11.45pm, respectively.

    The numbers surrounding 10 January are astonishing. The QPS Facebook page received 39 million individual story views — the equivalent of 450 page impressions per second — while being updated by staff every 10 minutes or so. (“That amount of traffic would have crashed both our public website and our operational website,” Charlton noted.) Their Facebook audience grew from 16,500 on 9 January to 165,000 within a fortnight; many of those joined the page during the 24-hour period following the Lockyer Valley torrent. Overnight, the QPS social-media accounts had become a lifejacket to which many Queenslanders clung.

    Though neither QPS staff nor their newfound legion of followers would have realised it at the time — it’s fair to say that there were far more pressing matters to consider, like whether their houses would go underwater — this confluence of events exemplified the great big promise of social networking that Zuckerberg et al proselytise: to connect humans with one another, and to share meaningful information immediately.

    Charlton’s decision to establish and nurture the QPS social-media presence the winter before that unforgettable summer was fortuitous. “We were in that wonderful position where we knew enough to be able to use it [during the floods],” she said. “It wasn’t a decision where anyone said, OK, we’re going to focus on social media’. We just started doing it because it worked.”

    For the full 3,700 word story, visit ZDNet. Above photo credit: Andrew McMillen.