Fuzzy takes over Sounds. So does that mean it’s now more than ever going to be filled with thong clad jocks drinking beer and passing out in the sun? Apparently not, if last Sunday was anything to go by.

It just wouldn’t be a Fuzzy event without an oversized banner hoisted over the main stage advertising the event, and this of course was the first thing I noticed when arriving at the Greenwood Hotel. And of course, in spite it being winter, scores of people were lining the courtyard dancing to the hip-hop/house mashup stylings of the Bag Raiders, not to mention the four or so bag raiders dancing around behind the decks.

After finding out that beer does not necessarily constitute the ‘standard’ on drink cards anymore, I went to quietly fume in the pokie room whereby I came upon the newly refurbed Breaks Room, which along with the adjoining room had been stripped of its old turntable setup. This has allowed the area to be utilized for a direct sound link to the Courtyard, and hence create a much better flow of punters. Bumping out the tunes in the side room was the big man Kato, the newest ‘fad-DJ’ that so far I’m yet to buy into, which is not to say he isn’t great. I just haven’t been motivated enough to see him yet.

As my interest in architecture and rude bartenders soon waned, I left the focused Kato to his devices. Accompanied by a small clan of people behind the turntables I found Ember in the Chapel (aka the old ‘Trance Room’) banging out the oldies, from the Ghostbusters Theme to Skitzo Disko to Sweet Dreams, it seemed like he was more mixing than man: a sophisticated mixing robot sent from the future to destroy dance floors!

Over to the Courtyard, where the ITM50 #1 DJ for 2006 Ajax was throwing down some wicked tunes, but the bouncy vigorous style in which (prior to winning the accolade) the lively DJ usually mixed with seemed to be amiss (matter of fact, I think the same goes for Kid Kenobi, last time I saw him). Which is a shame. I certainly hope he hasn’t cashed in his chips yet, but is rather focusing on a solo singing career or something cool like being in the Big Brother house. Doubtful, but at least he was surrounded by a small group of well-wishers on stage, isn’t that nice?

Hey, by the way, how many members of a mashup crew does it take to mix a record? Twelve. One to actually mix the record while the other eleven dance around like dickheads playing cowbells. Seriously people, this isn’t a G-Unit concert; get the fuck off the stage.

That reminds me of someone else who should be exiting the stage post haste, and that is Sam La More. Seriously dude, who cut your hair? I mean I know you are ridiculously handsome, but do you have to resort to funny haircuts just to mock the rest of us average looking people?

There are a lot of things I could discuss about Sam La More, like how he co-wrote that Gwen Stefani track What You Waiting For and more importantly, why. Or why he is doing a solo tour instead of with GT as the sadly defunct Tonite Only. Hmm. Instead, let’s talk about his track selection or mixing, which was uninspired at best. Instead of loading up Ableton with a tonne of new productions, remixes, loops and goodies test on the eager new crowd, he insisted on playing a ceaseless unexciting mix of exhausted electro-house favourites from the previous year. Far from the invigorating style that we heard from Tonite Only, he dropped the overplayed hands-in-the-air hit All This Love. But at least he had a go.

Fuzzy takes over Sounds. About fucking time I would say. I love the rejuvenation that they continually inject into their events: right about the time you think it’s going to get old, it doesn’t! The original success of SOS wasn’t based on any particular music policy, it was a new and different way of clubbing. Getting munted on a Sunday afternoon in the Sun, who wouldn’t love it, right? Well Fuzzy, keep it new, keep it fresh and remember… Everyone likes getting munted on a Sunday afternoon, but everyone loves getting munted on a Sunday afternoon with a strawberry milkshake.

Their mission of supporting up and coming talent is commendable, but if a predominantly up-and-comer policy is to be implemented at Sounds, I think they must insist on pre-approved track selection, because at times it was eerily like when you change radio stations and both stations are playing the same song. However, due to the new layout and lineup, the Greenwood on a Sunday is the closest you’ll get to a Fuzzy New Year’s Day all year!