The Laughing World Issue #3: December 2001 (comes with bonus 18-track compilation: Laugh At The World) AUD$8.00 (roughly US$4.00) + AUS$2.00 shipping. Contact: 19 Alexandra Circuit Alexandra Hills Queensland, Australia, 4161 thelaughingworld@hotmail.com

"Geez, I've been listening to a lot of so-and-so recently."
"Huh, never heard of them. How 'bout such-and-such? Ever listen to them?"
"The name sounds vaguely familiar...but no."

"So, whaddya think of Radiohead?"
"Aww, they're great!"

The Laughing World is an Australian fanzine distributed by the newly-formed Infomercial Recordings label. It's unlikely that this issue will make you an Australian music aficionado, but it's a damn good place to start. It is neatly divided into three large sections: interviews, CD reviews and concert reviews (along with a few miscellaneous articles and a couple short zine reviews).

Most of the interviews were done via email, with mixed results; it's obvious from the many one-sentence answers that some bands simply weren't into it. Editor Andrew Tuttle (probably for the sake of his Australian customers) also focuses on a bunch of non-Australian bands, including Sebadoh, Mogwai, Preston School of Industry, Bis, CROONeR and The Salteens. As most of the interviews are fairly short, hardcore fans of the featured bands probably won't learn anything new. However, the Austrailian features are a lot more interesting. Not only did each of these bands get into the Q & A session, but they're also bands that you probably won't come across in any American zine. "Local" acts range from synthesized power pop bands (Genshen and Cunningham) to slower, ambient-leaning acts (I/O and Cartwheel).

Next come the CD reviews -- which, once again, are somewhat hampered by their brevity and lack of detail. Tuttle seems overly positive in this section, appearing to be more of a fan than a critic. However, he makes up for this by reviewing a variety of CDs -- some from bands you've probably heard of (like Lambchop and Mogwai), and others that are completely unknown to American readers (like Nice Wig Ted and Squipplepuppy).

Surprisingly enough, the concert reviews are the most interesting portion of the zine, as they're all accounts of huge Australian festivals. Tuttle's nonchalant writing suggests, to me at least, that he spends a lot of time at such events -- Australia must have a lot of these festivals. In each review, we learn a little about the atmosphere of the event, followed by a sentence or two about each band's set. The reader's imagination is also tickled by "How To Survive Your First Alternative Music Festival", which would probably elicit a few chuckles from your average Australian reader, but also gives a good hint at what goes on at these festivals. It includes brief, stereotypical accounts of the indie-music side stage, the main stage and everything in between.

The compilation CD is the best part of the deal. Like the zine, it focuses on the Australian scene, though it also includes some international acts. The first half of the disc is mostly melodic, chunky power-pop bands singing honest, straightforward, emotional songs. Freezepop's "Plastic Stars" kicks it off well with cute lyrics and plenty of sugary synthesizers. Cunningham's "Giant Steps" is a rhythmically enticing number with an addictive hidden baseline, while both Genshen's "Floating (October 2001 Mix)" and The Salteens' "Crash the Market" feature loud, obnoxious and memorable vocals. Twelve24's "A Minute Away" and Canvas' "Dimmer" employ heart-on-sleeve lyrics, creating two short, worthwhile gems.

The second half of the compilation demonstrates Tuttle's more experimental tastes. Module Control's "Ten Steps to Theoretical Happiness" is a brief, soft piece, consisting of an atmospheric sample under a light piano melody. Squipplepippy's "Sleeping Past Your Station" is a cinematic guitar build-up, which Tuttle appropriately likens to Godspeed You Black Emperor! and Mogwai. And I/O's "Kit 4" is a light, ambient piece jabbed by bass guitar and puffy beats.

All in all, some parts of the zine are a little shallow and more advertisement-like than informative. Its price, however, can be justified by the included compilation. I'd recommend it to someone who's stuck in a music rut and can't find any new bands that he or she likes. Or just buy it so that we (that's right, you and me) can have a coherent music conversation.

-- Josh Kazman