Good Music, Proper Culture, Real History Issue One, August/September 2002 CONTENTS

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good music, proper culture, real history issue one, august/september 2002 CONTENTS

4 COVER DESIGN PROFILE Tom Phillipson

6 ARTIST PROFILES Betaville Orchestra Quark Kent Lucas Abela Pivot

12 LABEL PROFILES In the last few years the music scene around here Frigid. The New Audiences pro- CYCLIC DEFROST MAGAZINE Bloody Fist PO Box a2073 has been dying. The venue crisis that began with ris- gramme assessed our application Sydney South Monotonik NSW 1235 Australia ing property prices and the development bonanza and we were successful. Although leading up to the Olympics has forced Sydney into a this nowhere near covers the full www.cyclicdefrost.com 16 SPECIAL black hole of house djs, glamourous vacuousness, costs of the magazine we figure [email protected] Frigid Retrospective We welcome your contributions and contact and the marginalisation of anything left-of-centre. that its a fantastic opportunity to For young people trying to find out about new publish a magazine that doesn't Publisher & Editor-in-Chief 22 GENRE OVERVIEWS Sebastian Chan music the options are few and far between. A few have to rely solely on advertising Commodore 64 Sound Designer & Co-Editor listen to community radio stations to get an ear on or party promotion to hit the Australian ‘Electronic Dale Harrison the new sounds, and many others still try to distin- streets. And we're guaranteed to Listening Music’ Sub Editor guish between the adverts and the music content in be around for at least six issues. Aparna Khopkar what is left of the music press. As for finding out It's an opportunity for us to make 26 OVERSEAS Advertising about the people making music in their bedrooms in an attempt at resuscitating elec- Luke Dearnley Montreal Sebastian Chan your street, forget it. tronic music so there are more events going on that don't just Advertising Rates 28 DESIGN For us, being into music means tracing back musical involve bad DJs playing bad download at LP Sleeve Art Distribution trees. Finding all the records produced by a certain music. And, most of all, its an Inertia Distribution producer; the band that they used to be in; the track opportunity to build a strong net- 30 REGULARS that is sampled in this one. Yes, it's a pretty rockist work of people who care about Reviews Printing way of thinking for a certainly un-rockist age. And in music and music cultures. Judgement Jury Torch Publishing a world of too much music it's getting increasingly This first issue is our first timid Degrassi Web Programming hard to do this. The internet was supposed to be an step into the water. There’s a lot of Giv Parvaneh, Qbique infinite resource, yet if you don't know what you're words about local producers and Web Design Luke Elwin, qbique looking for it is next to useless. labels you may only have heard of Electronic music is especially slippery. There is in passing; some stories on music cyclicdefrost.com Web Hosting Blueskyhost just so much of it. And so much crap. And so much from overseas you may like; some log in...stay frosty Guest Cover Image hype. Maybe the best record of a genre was one that humour; some reviews; and the Tom Phillipson only 250 copies were ever made of. And yet it may first in a series of guest covers by Contributors never have been reviewed in a magazine and thus designers who are also working + Lucinda Catchlove, Hillegonda Rietveld, never stocked by the shops and it's still sitting under with sound and music. And it Extended articles Andrew Maher, Peter Hollo, Bim a bed in some nondescript suburb. doesn’t end with the magazine you Ricketson, Chloé Sasson, Jordan Spence, Angela Stengel, Tom It worries me that there may not any longer be an have in your grubby hands either. easy way for people to find out about new music. No, get to an web browser and go Phillipson, Adrian Ferra, Melinda Music downloads of Taylor, Alex Crowfoot, Barry Handler, Sure, there are plenty of parties going on purporting online and read extended 12" ver- Lawrence English featured artists to play earth-shattering new sounds, and, yes, there sions of some of the articles, some Thank You are the real new music festivals like the fantastic web-only articles we couldn't fit in Penny Boddington at the Australia What Is Music, Electrofringe, Liquid Architecture and the magazine, and listen to music Council; Nick, Ash and Ruby at Inertia, EXCLUSIVE CONTENT Natalie at Torch Publishing, Giv and our own Sound Summit, but what about for the rest by the artists you haven't heard of! Luke at Qbique, Chris Bell at of the year? How does the 18 year-old kid that goes to We hope you like it. Additional reviews Blueeskyhost, all the advertisers and big parties because ‘their friends do’ ever find out contributors to this inaugural issue about good music? Or discover that the ‘history of Sebastian Chan & Dale Harrison Exclusive Broken Beat breaks’ might be more than just the name of a party? Editors feature (online only) If your store doesn't carry Cyclic Defrost then Maybe we’re just getting old. But getting old has A New Audiences project, Exclusive on-line get them to order it from Inertia Distribution its perks. assisted by the Australia Council, the tour diaries from Federal Government's art funding The views contained herein are not necessarily Last year we decided to put in a grant application and advisory body, through its thug & clue to kalo the views of the publisher nor the staff of Cylic to the Australia Council to see if they would fund Defrost. Copyright remains with the authors Audience and Market and/or Cyclic Defrost. the publication of a music magazine closely tied to Development Division. Exclusive online giveaways 4 Cover Design out there without having to sell out and sell their an instrument, but learning a machine. You learn had worked so tirelessly on. “I soul to do it. They can have exposure without hav- the parameters of what it does and however you get really attached to one-off Interview with Tom Phillipson ing to compromise what they do.” interact with it is what the music is. I still don’t pieces of art, like paintings. It’s by Angela Stengel Tom is currently working on DumpHuck’s latest know how to play an instrument or read music. I do strange, I think producing CDs release which is an Alphatown live cut-up CD everything from hearing stuff. It’s not as if I start has done that to me. You know… recorded at Frigid. “The learning process hasn’t with a sound in my head and I think I want to make spending hours compiling a CD stopped, but we know enough to be able to do that. I find things and put them together and mess and then four weeks later having everything without really making a mistake. We’re them up.” He remarks that he creates his artworks, 500 of them – all exactly the not saying that mistakes don’t happen because we which often incorporate mixed media and an same. It makes you look at single actually like the mistakes. We try to endeavour to unknown outcome, in the same random way. “I’m piece of work totally differently.” have a mistake on every product. At first it was just not actually sure what is going to happen when, for Being an instigator of many ROBOT LOVE spelling mistakes because we’re all appalling instance, I paint something and put crackle medium things creative and being a nice spellers. There has always been a defect in the on it and then set it on fire.” guy has given him a few prob- product in some way – generally speaking. We try Some of his recent graphic design work includes lems, especially when it comes not to make them too big – we hide them. We don’t layout of the Soundbyte and Virtual Museum sites to passing opinion on other peo- actually put them in intentionally but we don’t look for the Powerhouse Museum. The Virtual Museum ple’s music. “I try as much as too carefully either.” site allowed him to get down and dirty with Flash possible to be straightforward Despite seeming like a creative-project-producing to make a behind the scenes panoramic tour of the with people. We often get demos machine, Tom admits to being bad with deadlines museum. This site has an industrial and mechanical and people wanting feedback, and creating things on demand. “If someone can aesthetic behind it with a high level of interactivity. but it’s hard. If you’re not going give me a project just by saying ‘XYZ’ then I can “It was really fun actually. I love working on proj- to get on the compilation then create ‘XYZ’. But if they say ‘pick a letter’, I don’t ects where I know it’s not just to sell a product. And the feedback is probably some- have an idea what they’re talking about. Creatively while the museum is on some level a product, it’s thing you don’t want to hear. I everything I know has just been stuff I’ve learnt also one that is educational and helps people. I hate don’t mind giving feedback, but I myself and it’s partly the reason for it.” When he porning myself out, especially when it involves my learnt long ago that I don’t like DumpHuck releases to date: was asked to design a cover image he felt it was the creativity.” The Soundbyte site on which he worked lying to people and telling them perfect opportunity to pull out a recent creation that is a music network which links schools and sound- their music is great.” He men- Various Artists was without a home. “I had a brand new robot and houses to allow them to share information and cre- tions that he has rejected materi- Beat & Squelch 1: Dancing on the Clouds nothing to do with it – so that’s how the robot came ate music together online. al from all of the contributors to Beat & Squelch 2: Fire in the Bassbins to be on the cover,” he said. He may make it sound The problem with leading a multi-faceted creative Qubit, and that’s all part of being Beat & Squelch 3: The Future Was Yesterday easy, but he also notes that the ideas usually have to life is that it doesn’t always amount to a career, but professional in part of a collec- Beat & Squelch 4: Chansons D’amour Pour Mon Robot be further worked through with whoever is solicit- Tom thinks this suits him perfectly. “I’ve never had tive. “I kind of feel bad because I Sonic Professa ing the project. a career and I don’t think that all the things I do never reject what I do, but I Digital Kitchen His obsession with robots started with Astroboy. make up a career – I don’t have superannuation. I guess that’s the thing. The thing Alphatown Collective, Deep Child, Funkenbubble, Meem “I would watch it religiously every day when I was don’t think I’d really be into a career. I know that is that I’ve never actually asked Qubit Tom Phillipson was a creative boy long before he Tom is a graphic designer, a radio presenter and an a little kid, then we got a video recorder back in the sounds weird. I get bored really quickly. I get bored them what they think either. It’s designed the cover for this issue of Cyclic Defrost. electronic musician as well as being a founding early ‘80s and it meant I could record them. So I doing the stuff that I do.” So it really is a good thing bad. I should,” he discovers dur- Deep Child “I guess it really all started because my Grandma member of the DumpHuck collective. He stresses did. Then I watched them over and over and over. that he is interested in many areas because it allows ing our conversation. Chocolate Dubs used to paint flowers on porcelain plates,” he that DumpHuck is not a record label even though From that I started watching other mechanical stuff him to switch between creative media when a block It is this sort of democracy that muses. “I never really did learn how to draw flow- music is a big part of it. He sees it as a group of such as Transformers. I know it’s daggy, but I have sets in. “I’m not constantly always creative. I can’t he believes is missing from the ers, but she did teach me how to draw. From there designers that are not out there to brand the world always loved robots. I wouldn’t say I’m fanatical be a designer 24 hours a day and I can’t be a musi- mainstream music industry ‘How can I make a living from it?’ You don’t if you’re in Australia. You I always tried to be creative.” with a DumpHuck logo, but to push the DumpHuck about them, but I would have to say that one of my cian 24 hours a day. It’ll be late at night and I’ll get because many of the people can do it if you’re extremely lucky or if you’re willing to do a lot of way of doing things. His designs can be seen on favourite things to watch is Neon Genesis an idea and I’ll sit down and do it for four to five involved in the mainstream are things that you don’t like. Or if you’re willing to really change what DumpHuck album covers, his voice heard on 2SER Evangelion.” Yet Tom is not won over by all robots. hours, but after that I run out of steam and when I only looking for a way to make you do to fit what record companies want and know that at the whim radio and his music heard on both. He divulges that real robots, such as the armed ones come back to it the next day it’s not the same”. money out of it. “So much of the of a label you might be cut off.” One of DumpHuck’s major projects has been the built for combat that the US has been experimenting Working in a corporate environment doing graph- music industry is based around Tom also feels that a major attraction to underground music scenes release of four compilation CDs entitled Beat & with disturb him. “That sort of shit scares the crap ic design would give him not only a regular job, but bullshit. The industry is part of is the intimacy with which one can know many other people in the Squelch. These albums are brimming with out of me. A couple of months ago I saw some news also an environment where someone would specify what we do, but the mainstream scene, including the musicians themselves. “I think the Sydney scene Australian electronic artists who have donated their footage from Israel of a robot checking out a suicide ‘XYZ’; yet this idea has caused him most concern. is so much about bullshit and is relatively healthy. It’s smaller than everywhere else so you can form tracks to the compilation, with profits going to bomber, and it was armed with a M16 rifle. There is “I’ve always feared becoming an advertising whore talking and no action. It really a personal relationship to those you work with. You can talk to acts Amnesty International. “It was around the time of enough violence in the world - I don’t need my – a graphic designer who doesn’t care who they drives me insane sometimes.” after they finish on stage. It kind of makes up for not being able to Freedom so we thought we should do something to toaster oven giving me shit.” work for as long as they get paid” he says, adding For Tom the underground make a living out of it – you make a lot of friends”. raise funds. We just thought ‘Yeah, let’s do it for Another creative project that Tom amuses himself that he doesn’t have a problem with people that do music scene is about people cre- Amnesty because they’re good kids.’” A broad range with is creating music under the name of – it’s just that he could never do it. But he strikes ating music for their own person- of artists have featured on past compilations, Funkenbubble. He drifted into the music industry me as the type of person who is better skilled at al satisfaction – after all, there’s including Quark Kent, Tim Koch, Superscience, through his involvement with community radio sta- roaming free within the creative process. Being an no money in it. “People who are See cyclicdefrost.com for exclusive mp3 downloads Telemetry Orchestra and Purdy. “With Beat & tion 2SER but had always been interested in music, advertising whore wouldn’t work for him because outside of what would be termed of some of Tom’s more recent musical output Squelch we’ve always wanted to allow artists who particularly hip-hop, before he started creating it. he confesses to not wanting to sell any of his work the underground structures look as well as www.dumphuck.com for news about haven’t been over-released or over-exposed to get “With new music technology it’s not about learning as he just couldn’t bear to part with something he at music as being this thing of the label 6 Betaville Orchestra the Betaville shredder . . . notice i don’t say ‘real 7 Quark Kent instruments’ . . . . [but] I love vocals. When I first turn everything off and go to bed. So I guess in a Interview with Andrew Maher started DJing people used to always ask why so lit- Interview with Giv Parveneh sense I am helped by the limitations of my gear. I tle of the music I played had vocals. Now when I may not be able to have a broad range of sounds but by Sebastian Chan drop a vocal people look at me strangely . . . . We by Sebastian Chan at least I can quickly compose an idea without get- all use our voices and I can understand the skill ting bogged down with technical details like load- that goes into a good vocal – they’re great for stating ing samples into the sampler … I don’t know what’s things explicitly when you want to, especially in going to happen when I do finally decide to use soft love songs.’ synths but I’d say it is definitely going to change the Using the snatches of the vocal from Aaliyah’s way I think about music composition and therefore pop hit ‘Try Again’ and Beats International’s ‘Dub it will no doubt change my sound. But spontaneity Be Good To Me’, Andrew is not coy about having is the most crucial element for me and as long as A FILMIC DIALOGUE broad tastes. ‘I think a lot of people create their SUPERMANICURED I’m able to get that first note out of the PC while I’m music taste, indeed much of their character, around still inspired then I don’t think making the switch Over the last eighteen months CDRs have been passed around Sydney what they don’t like – rather than what they do like. My first contact with Quark Kent was when a demo drifting over soft touch beats, a kitsch electronic to soft synths is going to affect my ability to create containing deeply atmospheric, sparse beat experiments containing For instance the idea that ‘pop music is lame and it tape arrived in the mail from the leafy northern lounge sound. Naïve melodies and a paired-back music.’ snatches of film noir dialogue, tiny Stockhausen samples, and cut ups uses vocals so I won’t because I’m a cool guy’ or Sydney suburb of Berowra. It was 1997 and Berowra simplicity is the over-riding theme in Quark Kent’s In the time since Me, You & The Moon, Giv of pre-1950s jazz. Under the name Betaville Orchestra these CDRs something. It is obviously a moronic and woefully was about as likely to be a hotbed of electronic music music and one that revels in a minimalist studio moved has further from music taking up hard work- contained some striking moods and cleverly arranged samples, dark adolescent attitude and I’m convinced as an artist as Tamworth. Trapezoid Amoeba, at the time, was setup. Totally eschewing trends towards hyper- ing day jobs for large IT companies and travelling. interludes, slight dub effects, subtle DSP, and vocal snippets. But in you should build your ideas around what inspires Giv Parvaneh’s first musical project and one that rhythmicality or glitch, Quark Kent records are per- The new album, Sixteen Neptunes was scheduled amongst making what now number over 30 individual moody tracks, and delights and seduces you. Purely reactionary wore its influences on its sleeve – the electronic lis- haps the electronic music equivalent of the indie for release, then re-scheduled, again and again. Now Betaville Orchestra’s Andrew Maher has been busy with his other movements in art are useful but rarely have much tening music of Warp and the pre-Squarepsuher-era folk revival.The second album, Me You & The Moon it is available as a free download on the web.’I had more well-known project, Alphatown Collective. Alphatown depth to them’. Rephlex. It was a demo tape that showed a lot of followed in 2001 after a gear trade in. ‘I get to a 16 tracks ready for release as my third LP but due to Collective, widely known for their supa-rocking house, techno and Andrew elaborates; ‘Like everyone, I grew up on promise and eventually it led to the Quark Kent stage where I just don’t enjoy what I’m writing any- work commitments and lack of interest in the whole electro mix of DJ set and live electronics, are fast moving forward as pop music, thanks largely to a hip older sister. I also being born, Giv and his friends setting up a party col- more and that has a lot to do with my equipment. business aspect of music production, I kept putting prime innovators in their field in Sydney with regular appearances at mucked around with loads of classical instruments lective and record label called Fromage, and the There’s only so much you can do with a synthesiser. it off. Now it’s been over a year since those songs Mad Racket and Technikal. So how does a producer keep up these and the mindfuck that that whole thing is. Then release of his debut album Cosmiccaress. were recorded and they are not so new anymore, so two almost opposing sound roles? there was a lot of metal – of all the varieties – thrash, I figured there’s no point in keeping these songs on doom, death – and playing in bands … and then the ‘There is a stage for every musician where they my hard disk and thought it would make more ‘Alphatown consists of me, Luke Mynott and Adam Zielonka. We all bright, shining, mind-blowing revelation that was become inspired by their favourite artists and labels sense to just give them away and share the music went to high school together and shared a similar musical background. rave and all the possibilities it offered hit me in 1992 and then try and mimic what they love. I think this with people. Releasing a CD requires a lot of energy Early on we had a primarily live focus but that has changed now with a … I ‘ve always thought that musical taste should be is a natural occurance but eventually you develop and dedication and at the moment I don’t have few compilation releases and our first vinyl release which will be com- like a pebble thrown into a pond, rippling outwards your own sounds and move toward a different either one of those. Call me lazy but when you have ing out on [Sydney DJ] Biz-E’s label Cliq. We try to draw a lot of influ- and encompassing more and more ideas but still direction. Artists like µ-Ziq, Aphex Twin and that the option to bypass distributors, pressing plants, ences into our sound and maintain a high level of floor energy with the top 5: retaining the early influences. But for many people [it whole Warp/Rephlex sound inspired me to start mastering studios and every other formality that emphasis on innovative techno, electro and house… The collaborative seems that] music is like fashion, and you throw out making music and you could clearly hear those comes with releasing a CD, you bypass them and get Betaville Orchestra’s rec- process with Alphatown is wonderful, but I found myself making these last years’ clothes I guess, or you cynically re- influences in my music at the time. I guess you still Once you’ve used all the sounds, your songs start to your music out there without even leaving your ommended top five film sad, quiet little tracks late at night which didn’t really fit into the embrace them to show how ironic and retro you are. can but hopefully it’s just a subtle influence rather sound very similar. So every now and then I go bedroom … My new/free album reached more peo- noir and noir-influenced Alphatown approach… The Betaville Orchestra project came about This is an appalling concept to me … I like re-assess- than a direct rip-off … Fromage was just an excuse through a cleansing process by getting rid of all my ple within a week of putting it online than my other cinema: because I wanted to do something that was a bit more personal and I ing music I used to listen to. And it is interesting for a few school friends to put on parties in Sydney equipment and starting anew. Of course I always 2 releases combined from the time of release. I had found myself drifting towards doing stuff that wasn’t so much dance- D.O.A (1949 version) what still holds up and what doesn’t; how my ear with good music and to give not so well known end up losing a lot of money this way. So I guess about 1000 downloads in just 5 days from all over the globe including Canada, USA, UK, Portugal, floor oriented. [Unfortunately] a lot of people think that somehow The Maltese Falcon has improved; how production techniques have musicians and DJs a chance to perform. This also soon I’ll go down that same path as what many dancefloor music is less important and that non-dancefloor music is moved on – it’s all very educational and reveals a lot gave me a chance to take things one step further and other musicians are doing these days and start using Japan and Spain. This is what I wanted to achieve. I Bladerunner somehow more worthy or cerebral… and a lot of artists shy away from … I do still listen to the odd bit of Belgian hardcore co-release my music through Fromage as a label. a laptop and softsynths to create music. At least that wanted to share my music with people and this has doing work that is very personal in electronic music. [Instead] they talk LA Confidential techno – PCP Records especially, and acts like This is not a unique experience in Sydney, I can way you don’t really have limits on what sounds certainly allowed me to do just that, without spend- think of a dozen other organisations who were and ing a cent. If I had done it the traditional way my endlessly about processes and equipment as a way of dodging the issue. Chinatown Mescalinium United. It still has a feel that is so you can create and it’s all so nice and compact so Rather than that, I deliberately set out to make stuff that reflected my uniquely compelling. And I’m also right into eastern still are doing the same thing so we were by no you don’t need to worry about cables and moving CDs would still be in Glebe somewhere and I would inner life and the way I was seeing the world at the time; to express European lullabies at the moment, they are so keen- means pioneers in that field. In fact it was events your entire studio around when playing gigs … I be trying to work out how to pay off my debts … utter personal desolation, emptiness. All the beauty I saw seemed frag- ‘I don’t consider anything I’ve ing, sad and lovely. [At some point] I’d love to do an like Freaky Loops, Frigid, Cryogenesis and the have always been a big fan of mini studios like the But that said, I have a lot of respect for other musi- mented and isolated in a loveless world dominated by self-interest and done so far to be finished in any album of lullabies in that tradition. I devour music Kooky parties that inspired us to start up Fromage. Groovebox or the MPC and I think the reason why cians who take their music seriously and are trying savagery . . . People seemed to be just acting out these sad, fetid melo- real sense and I’m building on constantly, and I live for that moment when you hear But we have way too many small labels in Sydney prefer to work with them is that you can go from to develop a career out it and I hope I’m not setting dramas and I found myself drawn to film-noir and began getting right some elements of what I’ve something so evocative that it causes a physical reac- with one or two releases each and all pretty much sitting on a couch watching TV to playing that first a bad example for them, but like I said my goals are into that whole feel, as well as a lot of music from that era, specifically recorded for Floating Point. My tion, that intoxicates you … I find the whole concept doing the same thing. It is so easy to release music note within 15 seconds. There is no need to boot up very different and I’ve discovered a way to reach early tape-based art-music and jazz, chaotic, sad stuff… this was [proba- early stuff is like a series of of safe, calming come-down music repulsive.’ these days and almost anyone can start his/her own your computer and all your gear so you are able to those goals. So don’t be surprised if I decided to do bly] all fuelled by a very nasty case of insomnia.’ preparatory sketches, and what record label but to do it right you have to be be a lot more spontaneous and therefore more likely all my releases this way in the future. I’m trying to do now is more like extremely dedicated.’ to produce something you had intended to create Andrew has recently signed a deal with new Sydney label Floating Betaville Orchestra’s new album Quark Kent’s web only album is a painting. I would like to use a After the release of SCSI Serenade the Warp influ- when you got that sudden burst of inspiration. I Point music. The label, run by the recording studio of the same name, should be out soon on Floating available now at quarkkent.com lot of session musicians and ences slipped further into the background. To the remember when I had a lot of equipment, by the is due to launch in early 2003 so there is an inevitable wait before any Point records. Meanwhile check You can also hear some tracks at vocalists, but put them through fore came a slinky smooth melodic synth warmth time everything was ready to be used, I was ready to of the Betaville material reaches commercial shelves. cyclicdefrost.com for mp3s cyclicdefrost.com 8 Lucas Abela While skewers or metallic saws may seem like a my stylus glove were never really documented, but I noise to avoid rather than enjoy, Lucas feels that his like that. I’m here for the moment and I don’t care Interview with Lucas Abela performances do offer something to his audiences. about prosperity. I want the seven people in my ‘I’m not trying to drive people out with my noise. audience to experience something now, not later at by Chloé Sasson I’m more interested in engaging people within the a controlled volume.’ physical aspects of sound, not – ‘I’m loud take Recorded in 1994, A Kombi – Music to Drive By this!’.’ Besides, audiences have more than just harsh was Lucas’ debut release. Harking back to his surf noise to avoid. ‘My latest [instrument] is a deck roots, it was an album composed by a Kombi Van, made from a sewing machine motor with a top with Lucas insisting that he was merely the record- speed of 2850rpm. I bolt down a stack of records ing observer. ‘My old van simply made extraordi- like a wedding cake and play it with my skewers. I nary sounds! Bad earthing with the car stereo played this recently at Imperial Slacks and by the caused the entire vehicle to become amplified kets, with reviews and tours resulting. It has also AUDIO TERRORWRIST time I was done, chunks of vinyl jutted from the through its speakers most evidently when you attracted interest from some overseas producers walls as if they were throwing knives.’ turned the wipers on – the screech would fill the whose work, for various reasons, has been refused ly unstimulating work of an artist hidden behind Some may say that it was the Gold Coast skegs who Performances like these come with their own ‘Don’t speakers!’ Apart from being Lucas’s most recognised by other plants. Without going into too much detail, screens and buttons tends to take away from the helped steer Lucas Abela towards experimental Try This at Home’ tag, as even the self trained album, the release of A Kombi was the catalyst for as it is still a sensitive issue for Lucas, the existence sounds being produced on stage. How often has an music. Having moved to the city of surf and sand at experts suffer for their art. After a 1999 show in the the creation of the Dual Plover label and his subse- of the operation did mean that the Kid could still audience wondered whether a DAT machine could the age of 12, it was rashies and wax that first held UK, Lucas told Sound Projector that ‘apparently quent venture into CD manufacturing. get his freak on Down Under. be as equally effective? It is this aspect of experi- Lucas’ attention. Less than two years later and [the turkey stylus] has caused some damage to my After recording the album, Lucas found himself Uncomfortable from the beginning with the idea mental music that Lucas overtly detests. Describing after being roughed up by the local toughs, Lucas mouth – everyone says it’s bruised. The inside of facing a hurdle familiar to most new artists: a record of running a label as a vehicle to release his own himself as an entertainer, Lucas appears to ensure found that strange and experimental sounds were my cheek is torn apart every time I play a show and with no outlet for release. Having already knocked music, Lucas used the opportunity to mine some of that his audiences can all watch and enjoy his sets captivating his interests more than the point break; I have to leave a couple shows before I can play on the doors of virtually all the existing Australian Sydney’s many untapped resources. Avoiding any on a number of levels. But he is quick to dismiss Teenage Jesus, The Jerks and Foetus, strange early again without intense pain.’ And then. ‘There was experimental labels, and at a loss for any other local definable music policy, Lucas instead took on artists the tag of performance artist: ‘If moving while play- 80s experimentalists. ‘I found myself searching this one time in band camp, I lacerated my right or overseas options, Lucas decided to set up Dual that would have otherwise remained untouched by ing makes one a performance artist and not a musi- import stores for new sounds. I don’t know why, so wrist with a blunt drum cymbal, which was mount- Plover. After a relatively successful release that other labels. As he told No Frills magazine in a pre- cian, I better sit down. [Because of my unconven- I guess my quest for this bore my need to create ed to a high powered motor. I was playing it with prompted positive responses from both within vious interview: ‘No cohesion exists between the tional instrumentation] I am too often written off as new sounds after the well ran dry, so to speak.’ an amplified spring device that managed to catch on Australia and overseas, (Merzbow thought it was artists on our roster, except maybe a certain sense of a conceptual artist when conceptually I’m far more These ‘new’ sounds were soon a regular part of the cymbals jagged edge before forcing my arm ‘fucking great’, Bananafish wanted an interview) otherness. As a label, our main concerns are audio versatile. I produce sounds, a wide array of them, Lucas’ Sydney radio show he started hosting 1992. down. Much damage to nerves and tendons as a Lucas found he now owned a record label. works by people whose work is outside of current but people can’t seem to get past the performance Describing his on air playlists as encompassing a result.’ With virtually no financial base and with the dole trends.’ element of my shows to actually listen.’ If they get style of violent turntablism, the subsequent and It is easy to assume that the free noise and unique as his only source of income, the harsh financial Making a home available for music that most the chance. inevitable equipment breakages lead to modifica- instruments Lucas uses to create his decibel- realities of pressing up the record emerged. Letting local labels wouldn’t touch, Dual Plover has put its Standing by the philosophy that the medium he tions that made his noise making contraptions even demented pieces are best suited for a live setting. his fingers do some walking, Lucas made contact name to a healthy number of releases including the works in demands short performances, and for the sturdier. Pins, rings and razorblades. Two years of Spinning motors and flying shards of vinyl don’t with a local CD manufacturer, striking up a deal now (underground) acclaimed Rebirth of Fool com- simple reason that he gets bored with long winded noise saturated airwaves later, local act Phlegm easily translate to headphone listening. But three that promised substantial business. ‘I was doing pilation series as well as a number of other artist sets, Lucas’s gigs rarely reach the 10 minute mark. located the dial and invited Lucas to do his first albums have been spawned from this experimental Jerker, Sigma, Psychojama, and averaging one disc a releases, including Funky Terrorist’s 5!5!5! and the ‘My shortest show was 40 seconds and my longest live gig. Maybe it wasn’t the skegs. beast. ‘I believe music is for the moment,’ agrees month. Then word of my prices spread overseas and self titled debut from Alternahunk. As an amusing 15 minutes, I find that so much more interesting Lucas, ‘and it’s always better live. That’s why of my the orders started flooding in. Eventually the work- aside, Deano Merino, who released his Baby than a thundering PA for 60 minutes.’ Today Lucas has unrefined his craft to the point of three albums in seven years, two have been unrelat- load was enough that the factory reduced my prices Crocodiles CD through the label was voted by the Engaging his audiences with the physical aspects being one of Sydney’s most inaccessible artists. DJ ed to my live music.’ These include an album com- further, then further still, to the point where it now women of Australia as the new Diet Coke man back of sound, Lucas has entertained listeners around the Smallcock, Justice Yeldham and The Dynamic posed by a car (A Kombi), a second played on a subsidises my Dual Plover label.’ in the late 1990s. Dual Plover is very proud to have world with his unique collection of instruments. ‘I Ribbon Device have all been guises that Lucas has high powered turntable (his live project) and a third While still a small scale operation, Lucas’s CD him aboard. used over the years to deliver both recorded and don’t make what is traditionally considered electron- of real time tape manipulation (Peeled Hearts pressing business has definitely been a boost for ic music. To me, truly electronic music exists only live versions of a style that he calls ‘free noise’. Paste). ‘I could have made many more albums based local artists. Albums that would normally never Dual Plover can be found at in machines, which play people. What I do is ulti- ‘Essentially I’m an improviser in the jazz tradition on my live shows,’ he concedes.’Instruments like have been released are now reaching overseas mar- www.dualplover.com of free jazz, however the instruments I use create mately a tactile way to produce sound. Any sound noise, hence free noise.’ Continually pushing the created during my shows is born from physical sonic envelope, it seems that Lucas has dedicated cause an effect, its created there and then, nothing is his time to creating the most obscure noises and hidden away in drives or chips.’ Instead it is mouth sounds possible, using whatever implements are at held styluses and spinning motors that form the hand, mouth or foot. Favourite noise: ‘The sounds foundation of Lucas’ sound structures. Everything of computers crashing during a laptop performance from circular saws and vegetable cutters through to interest me most, but when it comes to an aural aes- Tibetan Humming Bowls, all spinning at high thetic, I prefer abstract dynamic noise pieces to the speeds, are used as part of his unique take on wall approach to which some adhere. I like to get turntablism. The real fun starts when the turkey loud then quiet – then all over the shop!’ skewers come out. As he explained to Sound Live experimental music, particularly with the Projector Magazine a few years back: ‘I stick a turkey increasing presence of laptop-tronica, has unfortu- skewer connected to a phonographic cartridge in my nately created an audience/performer dynamic that mouth and play that. I really like the mouth work, I is often very static and non-interactive. This visual- think it is a lot more dynamic and changeable.’ 10 Pivot/Triosk ing, I want to make jazz music that reflects what’s PIVOT SATELLITE BANDS actually happening today.’ The busy multi-talented members of Pivot also Interview with Laurence Pike, Richard Pike With a few years to hone their skills and a grant belong to some pretty special orbit bands. from the Australia Council’s Buzz initiative, they by Bim Ricketson have begun recording an album. A mixture of Triosk: improvisation and pre-written tracks, they are Laurence Pike put together Triosk with Pivot key- recording overdub guitars, keyboards, samples, board player Adrian Klumps and bass player Ben vibraphone and percussion. ‘A similar recording Waples. An acoustic/electronic jazz-based piano approach to bands like Tortoise, Trans Am or trio, Triosk has come together with another recent Flanger,’ says Richard. Citing Burnt Friedman’s German visitor, Jan Jelinek. But their meeting was a band Flanger is not surprising; both bands combine little more unusual. Pike was taking random frag- jazz rhythms and electronica. ‘Burnt’s project ments from the radio late at night to make loops PIVOTAL PROJECTS Flanger has probably had a direct influence on me,’ which later became the basis for a few Triosk tunes. says Richard, ‘ ‘Glitch’ music with improvisation is Pike later learnt that he had sampled ‘Loop- Drums scraped away in triple individual players add their flavours to the boiling a very exciting concept to me. It’s musical aim, in Finding-Jazz-Records’ by Jan Jelinek, who himself time. The guitarist picked out broth. With their combined musical talent, a grant terms of the mix of jazz impro and electronic explo- had sampled fragments of jazz records to capture jazz notes and ground them like to record their first album and interest from influen- ration is very inspiring, it’s very forward thinking.’ its textures. The fact that Pike was sampling a rockstar. Xylophones floated tial European musicians, Pivot may be on the brink The compliment was returned when last year Jelinek’s album in an attempt to make jazz is a away. The crowd was swaying. of big things. Friedman invited Pivot to jam over some of his pre- beautifully ironic musical moment. The band was sweating. A bloke ‘The philosophy of Pivot is to create a seamless recorded loops after seeing them play at Frigid. The During the subsequent tour Pike approached yelled ‘I’m a rock pig’ with a mixture of sounds without it being ‘fusion’ music,’ outcome will be a Nu Dub Players vinyl-only EP Jelinek and explained how he had come across drunken smile. No, this wasn’t says guitarist Richard Pike. ‘This has a lot to do release on German ~Scape records. Richard will Jelinek’s music and what he was using it for. Jelinek pub rock and it wasn’t post- with the instrumentation we’ve chosen too – that is also be providing some Django Reinhardt inspired was flattered and after listing to a Triosk demo sug- rock. It was Pivot. drums/bass/guitar/keys/turntables. They are the five guitar improvisation to the next Flanger record and gested they record a collaborative EP. ‘I can’t imag- of the most common modern instruments. So it’s Friedman has remixed a Pivot track, ‘The DLF Faces ine a more ideal artist than Jan to work with Triosk,’ Pivot have been playing around jazz, it’s rock, it’s glitch, but it’s not at all.’ The Flux Modem God.’ Quite a coup. says Pike ‘It’s amazing to have someone of his cali- Sydney for a few years now, their Citing influences as diverse as Aphex Twin, The Pivot are a band with everything. Huge talent, a bre to act as the fourth voice in the group. Artists reputation steadily growing as Police and John Coltrane, Pivot commit themselves musical vision, topshelf international connections. such as Jan are pushing things in new directions, imaginative live performers to mastering a range of genres and combining them All that’s left is to record the album, save music and which is really inspiring. What’s most exciting for straddling a number of genres. into focused and concise improvisation. While rule the world. ‘It’s exciting,’ says Laurence ‘and me is the rare opportunity to realise my vision in Based in the discipline of free many jazz musicians do try and pursue a more con- hopefully our album will be too good to ignore.’ I terms of this project, and potentially share it with a improvisation, the five-piece temporary sound, ‘inevitably it ends up sounding think he might be right. wider audience. I think the results, regardless of combine rock, electronica and like Weather Report or drum n bass with a saxo- what genre it may qualify as, will be some really jazz into a beautifully building phone solo,’ says Richard. ‘That stuff is all valid I unique music.’ and thudding opera. Songs build guess, but it doesn’t do jazz any favours in terms of up from a single phrase and progressing it into the 21st century. As much as I Laurence Pike Trio: swerve off in any direction as love and respect its history, and the art of improvis- Laurence Pike, Adrian Klumps & Ben Waples. Acoustic jazz trio. top 10 albums Night on Earth: Richard Pike, Laurence Pike and Neal Sutherland. Boards of Canada Autechre The Police Aphex Twin Tortoise Songs written by Richard. Like Pivot with singing. Music Has The Right To Children LP5 Regatta De Blanc Richard D. James album Millions Now Living Will Never Die RP: Best analogue keyboard work on the planet. RP: A thesis could be written on this album! It’s RP: The greatest rock band of all time. Sting’s LP: I can clearly remember the first time I heard RP: This album blew my mind progressively Eduardo Santone and This stuff is poetry that speaks to you more with totally pure computer music. It’s faceless and inhu- songwriting is clear and succinct, yet the energy this album when it was released. It was like I with every listen. It’s intricate soundtrack The Velvet Fog: every listen. Like any good poem should. These man, but at the same time darkly emotional. The CD of the band is so raw and adventurous. was listening to something from 20 years in the music. Everything is thrown in there without it Eduardo Santone, Richard Pike, Laurence Pike and guys have an incredibly intense and acute sense artwork communicates this feeling too. If you listen future, or perhaps another planet. A truly amaz- sounding like a hybrid. Great headphone music. Neal Sutherland. Folk rock. More singing! of texture and sounds. Sick ass beats too. to it alone late at night you feel like Autechre is a Squarepusher ing and visionary album. computer struggling to communicate with you. Feed me weird things The Necks Homebrand Miles Davis LP: Tom Jenkinson’s approach to drum program- Radiohead Piano, Bass, Drums Deyell’s Missile Kind of Blue John Coltrane ming is amazingly organic, as if he was actually OK Computer RP: The Necks have developed this organic and Survival of the Fiddes LP: It’s almost cliché to include this one, as so A Love Supreme improvising like a jazz musician, at a million RP: This album re-instilled my faith in rock totally improvised concept into a well-mastered much has been written about it. I’ve got maybe LP: A landmark album. Coltrane’s classic quartet at miles an hour. Burnt Friedman is the other master music. It proves that 2 guitars and keyboards art. Creating music from nothing but their own 50 of Miles’ records, and perhaps there are other its peak. You will struggle to find a more spiritual, of this style of programming (check out can live in wondrous harmony together. Thom collective unconscious – that’s been a real inspi- albums that may be more relevant to Pivot (Live- intense and uplifting record in any genre. A meaty ‘Templates’ by Flanger). I guess that’s why this Yorke’s lyrics paint this amazingly perceptive ration for me. Lloyd (Swanton, bass player of The Evil, On the Corner etc), but discovering this breakfast album. album makes so much sense to me and it’s one of picture of modern life. Lyrics, of course, bear no Necks) came down to see us play once, which I album was such an important and influential the many things I love about it. With an extra limb direct relevance to Pivot (as we don’t have a thought was very cool of him, as I’m such a fan. turning point. or two, I reckon I could play the drums like him. singer), but the artistic and modern awareness is LP: This or any of their albums is an obvious Pivot mp3s can be found at definitely important to me. influence for Pivot and also Triosk. cyclicdefrost.com 12 Bloody Fist Label Profile on samples and reprocessing them through archaeo- logical 8-bit Amiga computers and antediluvian Interview with Marc Quinn, ‘Young British Artist’ software. The result is difficult, uncompromising and varied. Releases like FIST06 Appetite For by Adrian Ferra Destruction (Syndicate, 1996) are typical of a hard- core and jungle influenced sound, while FIST16 No Copyright! (Overcast, 1998) showcases Marc’s cut you were any good, you could get by. “The most and paste DJing technical ability. Other releases on important thing is if you can sell your work and carry the Bloody Fist catalogue range from hard gabba on doing it. And there’s always been people buying techno to hard drone – basically anything that is the work.” Indeed there is. Bloody Fist is recognised hard and abrasive. across Europe and the US and Marc regularly tours Quinn observes a bodily commitment to art. His internationally. Like his Y.B.A. contemporaries, DOG CONTROL, BITCH latex whole-body moulds offer a negative three Quinn’s work sells for astronomical amounts on the dimensional image of the artist, prised open for London art scene. His most infamous work, Self was Bloody Fist has just celebrated its 8th year of releasing hard and abra- After so many years of neglect end of the World’, and I thought Newcastle, escape like a broken , empty chrysalis. His amputee purchased by Brit-Art impresario Charles Saachi for sive music. In those 8 years, Bloody Fist has barely registered as a and misinformation, a recent Australia would be a perfect metaphor for my ideas sculptures continue this bodily obsession. ‘The an undisclosed amount. Rather ironically, it was blip on the radar of Australia’s so-called ‘specialist’ media despite Quinn retrospective celebrating at the time, I was thinking a lot about shit and the idea,’ says Quinn, ‘came from being in the British recently destroyed by mistake when it was defrosted continual international support and recognition. On the other hand, Bloody Fists’ 8th year was result of these processes can be seen in works such Museum and watching people looking at fragment- by construction workers in Saachi’s kitchen who the output of Marc Quinn is internationally infamous. Quinn is the assembled for the Tate Museum as ‘Shithead’ and ‘Shit Painting 28/8/97’.” ed sculpture. I thought, if someone came in looking accidentally unplugged his fridge. Quinn characteris- A bowl by bowl description Young British Artist enfant terrible who shot to fame with his spectac- in Liverpool, England. This Newcastle and shit are obvious themes in Bloody like that in real life, they would have a completely tically sees the humour “I think its great!! Imagine of the artist’s work? ular sculpture Self, a cast of his head using five litres of his own offered the perfect opportunity Fist, repeated across the back catalogue. The roster different reaction.’ Quinn’s challenging yet detailed spending that amount of money on something and blood. Later works have seen him taking the concept into new and for a meeting with Marc Quinn is a register of asocial misfits with names like and pristine amputee sculptures refer to the classi- then have to mop it up off the floor. I nearly pissed exciting dimensions with Shithead consisting of a headcast filled with (or if you prefer his Kafkaesque Memetic and Embolism, nearly all of whom live in cal tradition of sculpture, yet also subvert this by myself when I heard about it!! I mean, I literally had the artist’s own faeces, and most recently Baby – a cast of his baby alter ego Mark N). We had the immediate Newcastle area which radiates from questioning the notion of the heroic and the beauti- to race to the bathroom because I’m saving my piss son’s head using his puréed placenta. But where artists’ shit and arranged to meet in his studio the north of Sydney to the outback. The city was ful. The artificial perfection of the superwhite mar- for one of my next works.” Comments like this raise blood have taken the world by storm, Marc has continued his Bloody apartment overlooking the beau- originally built on industry and the remains of fac- ble adds another layer to this complex examination my suspicion. “No, really! I’ve won a commission for Fist project in relative obscurity. Few in the art world have recognised tiful Newcastle beaches, on the tories and mine shafts pock the town centre and of human perfection. This diametric of heroic and a water feature on the site of the towers in New York. Quinn’s other output or the elaborate context that he has created. But northern coast of Australia. It surrounding suburbs. These mining scars partition beautiful, deformation and degradation are contin- It will consist of a number of whole body casts swim- the connections are obvious really – a fixation with biology and was exactly as I’d imagined it the community as well; the new economy has ued in Bloody Fist cover art, a typical example is ming in a pool of my own piss. It’s a huge undertak- bodily fluids underpinned by topical ruminations on the nature of art behind the anonymous frosted developed Newcastle from a steel city into a student FIST15, the Fraughman E.P. (Fraughman, 1988) ing and a suitably sombre project.” an artist at the height and death. glass door on the side street: town. That fissure between turbulence and atrophy where we are presented with images of deformed As a social document or testament to the 21st cen- of his powers? clean, white, stainless steel lends itself to Bloody Fist. The closure of the last foetuses, filtered through the undiscriminating eye tury, how are future people going to interpret this? kitchen, huge book shelves, BHP facility in 1998 was celebrated by Quinn with of a Xerox machine. We are detached from the sick- But then isn’t that what art is all about? Preserving comfy leather sofas and the infa- the Newcastle Who Gives A Fuck EP constructed ening subject matter, and can almost view it in a present possibilities. We can never know what makes mous chest freezer containing solely from the sampled machine noise of the plant. comical light - a grotesque oversized forehead and us modern, our modernity can only be translated ‘bits and pieces’, as Quinn mys- Unfortunately the project was halted at the last squinty misconstructed eyes peer out from this car- from the future. It’s still a hoary old chestnut though: teriously put it. While the studio minute with a BHP injunction on the record, sur- nivalesque freak show. Frankly, its funny. what makes art and what doesn’t? We live in a secu- was exactly as I’d expected, rounded by claims of intellectual theft and sample Life, mortality, decomposition and disintegration lar world with a state sponsored avant-garde and a Quinn the artist wasn’t. I thought clearance. The same year, legal problems also scup- are big themes. The quick and tragic nature of beau- metropolitan elite. Quinn is not an apologist for his he would be cocky, even laddish. pered the Hello Bellybutton - Goodbye Arsehole ty can easily be accidentally captured in a photo; work: “You could say that I’m one of the people who Instead, he is confident and tribute album. Thankfully, ‘Steelworks Requiem’ from this pathos a blunt and almost political power made it happen. I mean, the time was right, but it funny but with a quiet manner has resurfaced on Nasenbluten’s Dog Control (2002) can exceed any personal meaning in the image. wasn’t conferred from above. It was: ‘fuck it, I want and hypnotic dark eyes to match album – Goodbye Arsehole will unfortunately never Quinn’s custom freezing techniques seen in Eternal to make this thing, so let’s go and make it. So it was the head-to-toe black he wears to see the light of day. Spring preserve not only the beauty of flowers, but more of a kind of guerrilla attitude.’ But surely any- protect him from the hot Issues of theft and copyright are not unknown to their structure as well. Viewers are greeted with a one can freeze blood? Anyone can make noise? “Yes, Newcastle sun. Quinn. His video installation ‘The Origin of the refrigerated glass case and witness the flower beds but you don’t.” he explains “You don’t have to be Locating Bloody Fist in World’ showed a video loop of a hand caressing and as a frozen cadaver. Bloody Fist’s Dead Girl project into conceptual art to appreciate my work, it’s all Newcastle was an easy choice for penetrating a vagina – a sly wink to the famous 19th goes further – it could even be seen as a thoughtful blood and shit to some people, but ultimately, people Marc. ‘After graduating from Century French artist Gustave Courbet and his revo- meditation on the cult of death and celebrity, but will buy any old shit these days.’ Cambridge I returned to London lutionary ‘L’Origine du Monde’. Bloody Fist output Quinn refuses to be drawn into conversation on the but wanted to do something as is similarly built on recycled sounds, breakbeats topic. “You either get it or you don’t. People are far away conceptually as possi- and audio vignettes raw; unprocessed excluding the more open-minded these days about art. It should ble. The furthest place I could inherent static coating multiplied from outdated be totally accessible - you may know nothing about Dog Control is Out Now. Look for think of was somewhere like computers and broken audio equipment. While the it and still get something from it.” FIST28 from Epsilon and FIST29 Manchester or Newcastle. sound of Bloody Fist is not easily pigeonholed, this What drives an artist? Quinn says he always from Guyver Out Soon. The 8th Imagine my surprise when I bleary insulation is its trademark. Some have wanted to be an artist, but had been worried that it birthday celebrations for Bloody heard that there was a Newcastle labelled it cunt-core, which is not entirely a mis- would be impossible to make a living. Then, at Fist take place throughout in Australia! Australia was once nomer. Quinn’s visual reference to Courbet echoes boarding school in his teens, he found out that there August. Check bloodyfist.com.au famously described as the ‘Arse- the Bloody Fist aesthetic of basing releases entirely was such a thing as contemporary art and that if for details. 15 Monotonik Net Label Profile Interview with Simon Carless by Melinda Taylor

NET WONDERS

Next time you are bored at work bored and are wondering the best loaders to our current amount of Tune has Ntone (for the electronic stuff) and Big way to utilise that free high speed internet connection that your work downloads (over 250,000 this Dada (for the hiphop), we have Monotonik (for the is kindly providing – head over to Monotonik . year already) … Anyone can sub- idm + videogame-ish stuff), Mono211 (for the break- Monotonik is an mp3 label that releases exclusive ‘idm’-ish influ- mit material to Monotonik … and beat-ish stuff), and even Mono-Rave-Ik (basically enced music from around the world, for free, online. But be careful, as much as possible we try to lis- Subi’s label, for the oldskool rave action!) We think once you hear all the good music that is on offer on this site, you may ten in detail to every single per- it works well, because people understand what not be able to stop downloading and you better hope that your ever so son who submits. Obviously, we they’re getting on each label. friendly systems administrator isn’t logging your internet usage! do this in our spare time, and There are also a growing number of Australian- since we’ve been getting up to 50 based artists on Monotonik, notably from surgery submissions a month recently, Records and Aural Industries. Simon continues, “it we’ve been getting a little behind, started with Tim Koch and his background in the PBXO but we still release from unso- .MOD scene – he submitted to us a long time back, licited submissions regularly - and we got to be friends. Since then, we’ve found probably about a third to a half of that our tastes are quite similar, and a lot of the the releases come that way. great-untapped artists on the Australian electronic There’s definitely a thrill to ‘dis- scene (Thug, Sense, PBXO, Superscience) ended up covering’ people who haven’t got releasing tracks through Monotonik.” as much attention as they should, Like for many internet-based music projects the but often, lots of other people are issue of royalties, licensing and copyright are discovering them at the same becoming key issues. In the USA, Congress has time, so we can’t really take any moved towards a policy of introducing licensing credit for their subsequent releas- fees to reign in internet radio. “We pretty much run es and ‘fame’… a number of those under the radar with regard to any concept of copy- superscience who are more well known now rights, royalties, and suchlike. We unofficially tell started in the .MOD scene, such our artists that the ‘copyright’ for their songs contin- as Bogdan Raczynski (Rephlex) or ues to reside with them if they release them on Lackluster (Merck), and so we Monotonik, since everyone is doing it for fun, any- ended up releasing things from how. Perhaps this wouldn’t be the best approach if them early on, before they started we were the biggest website ever with the most pop- releasing CDs and vinyl. Since ular artists in the world, but for a niche site like we don’t pay and don’t release ourselves – we think it works … It’s going to be very physical product, we don’t expect difficult to do Internet radio – my own station that I was lucky enough to catch up with Simon Carless, from Monotonik artists to release tonnes of albums was hosted on live365 is now down, since I would who has given me the low-down on all things Mono; with us alone, but it works well, have had to pay them to host it. It’s very, very dis- “Monotonik is a net.music.label that was formed in early 1996 under because they often give us stuff appointing – because it’s great to have a big choice the name Mono. Originally, it was a Commodore Amiga-based music ahead of it being on their real- of music to stream from online. group, which released .MOD, tunes, but we expanded to start releasing world releases, or have things Simon finishes, “probably my favourite releases MP3s in 1999. All of our releases are freely downloadable and distrib- which fit best with us and are on Monotonik are - Sense’s Bubble Blower, utable. We do this for fun. Music is great, and giving great music away still really unique, such as Idmonster’s The Force May By With You, and for free is even better. Mono/Monotonik was pretty much started as my Lackluster’s One-Offs EP… We Radix’s Counting Stars. reaction to my friends in the Amiga ‘demo-scene’ who weren’t getting decided in 1998 or so to split Keep an eye on Monotonik. For something as free the exposure they deserved. It’s still pretty much run by myself, with Mono (as it was called) to con- as it is the quality is extremely high. help from a bunch of people with FTP space and suchlike… We’ve centrate on particular genres of changed focus a lot, from a multi-genre .MOD label, to a specifically music as separate labels, like real Monotonik is at monotonik.com ‘idm’-ish .MP3 label, and from releasing to only a very few BBS-down- record labels do. So just as Ninja 16 Frigid Retrospective Seb continues, ‘After about six months it became nights mixing up all kinds of stuff and up in SIR ROBBO’S ULTIMATE Ward 21 increasingly expensive and tiring to run the recov- Newcastle quite often, where we were introduced to Interview with Sub Bass Snarl & Sir Robbo FRIGID MIXTAPE ‘Ganja Smoke’ ery. Sometimes we’d be playing at a party the previ- the darkmaster himself , Mark N, and started to put (John John/Greensleeves) ous night and then have to go straight down and on our own events. An early one was at the Golden by Sebastian Chan Sir Robbo has put together a Ahem! This tune rocked our start lugging furniture. And we were both at uni at Ox straight after a Vibe Tribe style party – that was set of memorable Frigid 5th birthday celebrations at the same time which didn’t exactly help. And then interesting – we played all day!” tunes from the last few Newtown RSL…a personal the pub decided to close down … The turning point came with Vibe Tribe’s years. Seb and Luke’s selec- anthem of sorts. ‘The idea of a recovery lay dormant for a while Carmageddon in 1995. Unlike their other free par- tions are on the Cyclic until in early 1995 we felt it was time to try doing a ties in Sydney Park, Carmageddon was a fundraiser Defrost website along with top ‘Boof N’ Baff N’ Biff ‘ and generator down to Cooper Park, Bondi and got Vibe Tribe events to be held in a warehouse, and the + fives from Ollo, Prince (Fila Brazillia Remix #1) the word out. It was a magical day and even the only one to be held right next to the Federal Police COOL MEMORIES Valium, Sleepy Robot, Clark (Quango ) ranger who appeared at the behest of some angry offices. Ju Ju Space Jazz and a host of techno DJs Nova and Kid Calmdown. One of my favourite bands tennis players [‘that “noise” is putting us off our played in the main area and in the ‘other room’ it This month Frigid, Sydney’s weekly electronic BEFORE FRIGID, CRYOGENESIS. We would recommend you remixed by one of the game dahhhling’] was suitably impressed with the was Sub Bass Snarl, Atomic HiFi and Nasty Tek. music night turns six. Established in July 1996 by Before Frigid the earth was without form, and void; and darkness was put them onto your own mix nineties classiest production relaxed and uncomplicated nature of the event. It Shane continues, ‘Carmageddon was a pretty pivotal Sub Bass Snarl (Sebastian Chan & Luke Dearnley) upon the face of the deep. Well no, actually. Frigid started in July 1996 tape and listen to them certainly wasn’t a rave. moment as I recall – Atomic were in the ‘chill’ and Sir Robbo (Shane Roberts) Frigid has played but long before then Luke and Seb were involved in a similar project when you grow old. DJ Krush ‘After that we started to think about other places space alongside you guys and Nasty Tek and it just host to hundreds of young local producers, DJs and called Cryogenesis. Luke explains, ‘We got sick of always playing hard- ‘A Whim’ to do a similar thing and we ended up at Peacock turned into a totally wild separate party of its own – a selection of the more interesting electronic acts core techno and started getting interested in chill out music as an aside to Cutty Ranks (Mo Wax) Point in East Balmain. The PA arrived late and the a mash up of dancehall, dub, hip hop, ‘trip hop’ (as from around the globe. Four venues and six years our regular gigs. Around the same time [1993] a local crew called Punos ‘Cool Down’ A tune of swirling beauty punters who showed up ended up dancing on the it was known), jungle and old reggae – it was very down the track we piece together a three-way inter- (‘sound’ upside down) had moved from putting on raves to focussing on (Declic, France) from Japan’s ever-humble rocks above us facing the harbour. It was there that exciting and totally new for Sydney at that time – view between Seb, Luke and Shane as they remi- chillout events, and they would be hired by rave promoters to take care An upful rudeboy anthem breakbeat maestro Dale [Prince Valium] jokingly suggested we should people just responded in the biggest way and I nisce about what’s happened. of the whole production of chillout rooms for big parties. that’s rocked Frigid as far look at the islands in the harbour … the first island could certainly feel a shift in peoples’ tastes for new ‘Our interest in that music and our frustration that other people’s so- back as I remember.… Howie B chill adventure happened in 1995 and has been a music at that time.” called recoveries were just micro-raves in disguise, lead us to want to ‘Birth’ regular Sydney fixture each year since …’ During the latter half of 1995 and early 1996, Sub do a proper recovery chillout on a Sunday. The idea was to create a The Sugarcubes (Pussyfoot) Bass Snarl and Atomic Hi Fi did a few collaborative space for people who were still ‘up’ from their Saturday night rave ‘Birthday Simply lovely – an Atomic BEFORE FRIGID, ATOMIC HIFI events. The Journalists Club behind Central Station adventures to come down in, with relaxing, interesting music and (Justin Robertson remix)’ Hi-Fi staple Sir Robbo was a member of reggae sound system (now also a block of units) hosted two events – one comfortable surroundings. It was a fortnightly event in a pub in the (One Little Indian) Atomic HiFi in the mid-90s and before that the with Renegade Soundwave and another as a Rocks called the Dumbarton Castle [now a towering block of units]. A long time favourite… The Beta Band drummer for seminal Sydney ska band The Cryogenesis fundraiser. This was an incredibly Every Sunday morning we would lug all the pub furniture down a nar- takes me way back… and ‘Won’ Latenotes. In the years between The Latenotes and vibrant time in Sydney. DJs were experimenting row staircase and fill the room with massive velvety cushions courtesy one dropped by Renegade (Regal) Atomic HiFi, Shane’s life was impacted by with new styles, jungle and ‘trip hop’ had shaken of Punos. It used to run midday till 10pm and the sun would set over Soundwave back in 95. Vibes! psych/pop/ragga/rnb Madchester and rave. Although the Frigid crew did- things up considerably. Both Atomic HiFi and Sub the water right in front of us – the perfect visuals for a Sunday chillout for the new millennium. n’t meet each other until 1995, we’d all been to Bass Snarl started playing beyond their previous gig. It was pretty much the first time we’d ever put on a regular gig and St. Ettiene many of the same events. Shane explains, ‘Jason niche crowds. Basscode and All Funked Up started without the encouragement, support and resources of Punos it would ‘Nothing Can Stop Us Now’ The Pharcyde Willo and I had talked about putting a sound system series of events that took their DJs’ normal crowds never have happened … (Heavenly) ‘Runnin’ thing together for quite a while – we wanted to into new sounds. Gemma and Seymour Butz had Still lifts my heart - an emo- (Delicious Vinyl) present our musical selections of reggae, dub, funk started up Club Kooky down in the Club 77 space tive modern pop classic… The sound of summer 1996 and hip hop in a different way, incorporating live on William Street and it was packed out every Those flutes! in Bronte singers and players, effects and sampling into the Sunday night. All Funked Up’s Bernard deBroglio mix along with a revolving team of selectors – ini- (Kid Dolphin) started a design business called Soul Fourtet Rhythm And Sound tially there were about 8 of us DJing! My old ska Pacific and began to put out a fabulous zine called ‘Glasshead’ w/Tikiman band, The Latenotes, had gotten back together for Head Shots which Shane started doing work on (Output) ‘Never Tell You’ two reunion shows in January 1995 and we trav- from a warehouse space in Chalmers Street. During A Globe-era rumbling post- (Burial Mix) elled to Melbourne for one of them. On the way this period too, the Vibe Tribe riot police raid hap- psych breakbeat monster - Taking roots to the next back Willo talked our fill-in keyboard player pened, Anna Wood happened. The old ways were watch your head! dimension. Florsch [Sonik Professa] into being our sample guy. cast aside and in 1996 when things should have Our percussionist Bongo Caveman was recruited as been looking pretty grim, a new vibrancy had Space Pimp The Happy Mondays well and we picked up Sloth on trumpet and occa- emerged. Not too much later we got an offer from ‘The Pimp’ ‘Bob’s Yer Uncle’ (remix) sional keyboards along the way. We’d also have Kinselas to fill their vacant Sunday afternoon slot. (Clear) (Factory) MCs doing stuff every now and then. Our old mate Sexy electro nuttiness Who’d have ever thought six, Lyndon and a guy called Andrew brought the more THE BIRTH OF FRIGID such un-sexy blokes were abstract downtempo stuff to the mix like early Mo’ ‘The Frigid name came about as a wordplay on Future 3 capable of producing one of Wax and Ninja Tunes, and we were all kinda inter- chillout. We were throwing around words one night ‘Top 1000’ the steamiest pieces of wax ested in the jungle stuff that was coming out at the – Stiff (too promiscuous), Rigid (too much like stiff), (April) since ‘Je T’aime – moi non time. We did a couple of straight-up reggae sound- Fridge (too boring) – until we came up with Frigid A recent Danish nu-dub plus’ clash things with NastyTek, Soulmaker and the like which has stuck ever since. I still like it because it classic but from there things started to get more diverse. implies that we have nothing to do with so-called We would play down at Crucial D’s ‘Phat Chalice’ ‘sexy clubbing’ or ‘sexy house’’ Seb explains. It was 18 WHAT DO YOU LIKE? FRIGID PARTICIPATION IN THE ARTS CYCLIC DEFROST 18 Last 3 books you read: Have you ever been to Frigid? Which of the following have you been to in How many people have read your copy of yes no the 12 months? Cyclic Defrost? 1.______Theatre If yes, how often do you go? ______Opera 2.______every week Ballet Favourite 3 parts of the magazine? once every month 3.______Symphony orchestra once every couple of months 1.______Last 3 films you saw: Art gallery once every year 2.______QUESTIONNAIRE Museum 1.______What are the 3 things you like best about Cyclic Defrost wants to deliver the best possible THE IMPORTANT STUFF Sydney Opera House 3.______Frigid? magazine experience and help Frigid be the 2.______Sydney Festival event Sunday night out you need it to be. Back in 1999 Name: ______If you had to choose would you: we handed around a questionnaire at Frigid and 1.______Fringe Festival event 3.______want a fatter magazine were inundated with responses which then ______Community festival informed our decisions regarding which acts to 2.______want a full colour magazine book, who to tour, and what you wanted. Now, Last 3 albums you bought: Dance party/rave three years later, that time has come again. Postal Address: ______want us to print more copies 3.______Rock concert 1.______have a cover CD There are three ways you can complete the ques- ______What are the 3 things you dislike most Outdoor festival tionnaire: 2.______about Frigid? Have you read the online version of the ______Other (please specify) 1. Complete it online at magazine ? 3.______1.______yes no . This will make you Suburb: ______eligible for CD prize goodies. Favourite radio station: 2.______Have you downloaded any of the music from Postcode: ______Which 3 arts events have you enjoyed 2. Complete it and post it to us at Cyclic Defrost, the online version of the magazine? ______most in the last 12 months? P.O. Box A2073, Sydney South, NSW 1235, 3.______yes no Australia. You will also be in the running for Country: ______1.______some tasty giveaways. 3 websites you visit regularly: Which 3 local acts would you like to hear Email address:______Is there anything in particular you would at Frigid? like to see added to the print version of 3. Or simply complete it and return it to us at 1.______2.______Frigid on Sunday night. We will give anyone Are you on the Frigid/Cyclic Defrost email the magazine? 1.______who fronts up with a completed questionnaire mailing list? 2.______3.______on Sunday August 25, September 1 or ______yes no September 8, free entry. 2.______3.______How much money do you spend on going ______If not, do you want to be added? to arts events each month? 3.______yes no Favourite ever event (rave, festival, party) ______Which 3 international acts would you like Age: ______1.______to hear at Frigid? How much money do you spend on CDs or ______5 tracks you couldn’t live without: vinyl each month? Gender: ______1.______1.______GENERAL Occupation: ______2.______Is there anything else you would like to 2.______Are you a member of a community radio 3.______station? tell us? 3.______yes no What is the most you would pay to hear ______Privacy: Cyclic Defrost respects your privacy and any information submitted to us will be held in the international acts at Frigid? strictest confidence and not supplied to any third party without your explicit consent. We may, however, 4.______perform statistical analysis on your answers and this may be provided to third parties including the ______Australia Council for the Arts in a non-personally identifiable summarised form. No personally identifying 5.______details will be passed on to any third parties. ______every Sunday and the idea was to have guests each door ourselves in shifts and real- rates, ‘Luke and I were both working at the university at the time and The Orb week and alternate the organisation of the lineups ly got to know our crowd Neil Sparkes And The Last Dale [Prince Valium] had taken over doing our flyers from Bernard. Palmskin Productions ‘Towers Of Dub’ between Atomic HiFi and Sub Bass Snarl. Shane through that. I remember it was Tribe Dale and I had worked together on the university newspaper several ‘Beethoven Street’ (Wau Mr Modo) remarks, ‘I can’t remember for how long we did very friendly, you could just go ‘Achtung Salaam’ years before and were old mates from going to raves back in 1991/2. (Hut) Where would we be without alternating weeks, but before too long Atomic Hi-Fi up and sit at a table with a group (2 Kool) We thought that making a simple photocopy magazine would help us A Cryo classic – drift off gen- the orb eh? sort of fell apart and I was hosting the night with of people and chat to them, ask Eastern style live reggae get a bit more information out to our punters because there were all tly on a stream of cello and you fellas every week’. Luke adds, ‘I seem to them what they thought of the house soaked in strings and these people coming along and leaving without ever really finding out piano – just sublime… David Holmes remember we were only planning to do four weeks music, the films, and what acts percussion, served on a bed about a lot of the music we were playing, the guest acts, or the history ‘My Mate Paul’ of gigs at Kinselas as a way of getting the deposit they’d like to see in the future. of killer bassline.. behind some of the film choices. The first issue was preceded by a sur- Dr. Octagon (Go Beat) together for another island event. Back then I was of You must remember that this was vey we handed out at Frigid’s first birthday party – a riotous affair ‘Blue Flowers’ (Prince Paul Freak-au-go-go! the opinion that weekly clubs are really hard to sus- the Dendy before anyone knew it Missy Elliot with a birthday cake that had everyone unable to walk. A few months Remix) tain and it was therefore one of the last things I as a club. Back then it wasn’t ‘Get Ur Freak On’ later we were posting copies of the magazine to over 600 addresses (Mo Wax) Aphrodites Child would have chosen to do.’ one, it was just a swish bistro for (Universal) across Sydney and printing up more to hand out at the club. Cyclic in Yes Chad, they’re growing by ‘Loud Loud Loud’ Bernard from Soul Pacific lent his excellent a cinema. The place was very A truly historic moment in its original form lasted 15 issues and remains archived on the web the purple pond. (unknown) design skills to the first series of flyers which were plush and that was its charm; a pop – this tune (along with where it still gets a surprisingly large amount of traffic’. Thanks to the Ollo boys for always done in one month blocks. Seb explains, ‘the very comfortable place to relax countless bootleg remixes ) By the end of 1997 the Dendy was going very smoothly and Frigid Funky Porcini this Greek psych-pop gem.. idea was to make collectable sets of flyers where the with friends on a Sunday shook the world and Frigid organised a New Year’s Eve event in conjunction with Gemma and ‘Dubble’ front image from each week would fit together to evening.’ Shane adds, ‘I think was no exception.… Seymour Butz called Dung. It was an incredible night which probably (Ninja Tune) D*Note create a meta-picture. I was thinking about my old changed things for the worse…Well over the legal capacity crammed A Kinselas era smoked-out ‘Coming Down’ cricket cards from the 81-82 series I had at primary Prop into the venue for two rooms of crazy music ending in a remarkable classic. (Dorado) school. You used to collect all 300 or so of the cards ‘Magnetic Highway/Remora’ three-way back to back set between all three Frigid DJs mixing across a Music from a funny little and then put them together in order upside down (Silent) palette of early 90s sounds. Luke continues, “[Dung] turned out to be Ed O.G And Da Bulldogs British film we showed at and you’d get this aerial shot of the MCG…Of I first heard this played live the blueprint for what the Dendy has now become … promoters were ‘I Got To Have It’ the Dendy which I think we course, the Frigid cards never got bigger than a set at Frigid and it pinned me to suddenly asking ‘Wow, where did you guys find this venue – its amaz- (Pwl) all found something in – the of 4 … Shane, Bernard and myself started to con- the wall – post millennial ing’ and from that point on the venue management were inundated Early 90’s hip hop will title says it all… ceive of them around themes – black revolutionar- motoric madness from one of with requests to do Saturday night allnighters. By the end of 1998 the always have a seat at the ies, cult film actors. People started collecting them Sydney’s finest groups Dendy changed management. The new bar manager pushed towards Frigid musical table. Tino Corp. as we had planned, and it was very effective promo- turning the venue into a proper club and told us ‘You know, you guys ‘Toasted Dub’ tion. The first six months of Frigid happened to be The Left Banke could have a really successful little night here if you just played some Masta Ace Inc. (Tino Corp.) at just the right time: Metabass & Breath were in ‘Dark Is The Bark’ more top40 stuff.’ It was definitely time to leave.” ‘Slaughterhouse’ A sampledelic dubwise hip their infancy, Raised By Wolves had started to move (Smash) (Delicious) hop treat from Jack Dangers from hip hop into instrumental productions, and we A slice of dark yet dreamy THE GLOBE “murder, murder, from Meat Beat Manifesto got Mark N down from Newcastle to Sydney to do a psych-pop from New York’s In 1999 Frigid moved to the Newtown Globe. A two level band venue murder…and kill, kill, kill!!!” and friends – comedy-dub – hip hop trick set. He blew everyone away. Of course answer to the Beach Boys plagued by noise problems it was managed by the ever friendly Mark now there’s a genre! even then Frigid was not without its detractors. Lambert (later of the Newtown RSL). The Globe provided an opportu- Yabby U Famously, one guy announced to us that ‘maaate, Minotaur Shock nity for us to reunite with our sound guy from Kinselas, Richard ‘Conquering Lion’ ( Smith The Jamayka Boyz this night’s like an RSL club’. And our farewell to ‘Motoring Britain Caravan Of Austin (formerly of Raised By Wolves). The Globe’s two floors took a And Mighty Remix ) ‘Rastaman’ (Dub From Creation) Courage’ (Blue States Mix) (Select Cuts) (Junior Boys Own) Kinselas was an RSL-themed night where everyone while to get started but the extra space and the passing Newtown (Melodic) Big tune alert! The Prophet Sublime reggae-house from played in their dressing gowns watching the TV and crowd allowed Frigid to blossom into a pretty diverse live music night. Gentle, pastoral folktronica in meets Bristol’s finest bass- the Ballistic Brothers and a playing Atari 2600.’ There were big events with Elefant Traks and touring internationals swing time – mixes so sweet- heads inna dubwise break off bass-line that causes planes including Tom Middleton, Neotropic, Cylob, Baby Ford, and Mike ly with the Left Banke I can’t – done with the right balance to drop from the skies.. ENTER THE DRAGON, our musical ideas really started Dred from Rephlex, and an amazing spoken word/film night with THE DENDY & GLOBE YEARS to gel during this time too and have one without the other. Kodwo Eshun. of respect for the spirit of the original tune and a determi- Ultramarine Frigid lay dormant over the summer of 1996/7 until we developed a strong sense of Gescom nation to take reggae into ‘Saratoga’ two of our friends from the Dendy Cinema decided identity albeit based on a fairly FRIGID NOW – THE HOPETOUN ‘Go Sheep’ new spheres – a masterful (Brainiak) they needed to bring some quality entertainment eclectic palette of sounds. The Frigid moved to the Hopetoun in early 2000 after hosting a night at the (Clear) homage… One arvo in 1993 I woke and into their bar. The bar, previously a cocktail lounge, film soundtrack remix nights Sydney Festival in January at the Opera House. Again a new beginning The Clear label could do no moaned ‘last night a DJ saved offered an excellent venue with an in-house projec- were a big challenge and very for Frigid, the last two years have seen Frigid slowly adjust to the wrong for a while there – R.I.P Tooth my life’ – the night was a tor, comfy seats, a former Olympic marathon cham- rewarding. These were nights smaller, more intimate space of the Hopetoun. As Frigid’s reputation ‘Dreamland’ (Wake Up Punos ambient party in pion as chef, and some of the best coffee and bar where we’d pick a film and then overseas has grown there have been more internationals coming Trinity Danny Mix) Campbell street, the DJ was staff we’ve ever had. add our own score culled from through, perhaps reaching its peak with the Squarepusher 5th birthday ‘3 Piece Suit’ (Cryogenesis) Seb, and this was the tune... Shane remembers, ‘I think the Dendy was when our collections whilst still trying in 2001. we really hit our stride; we had a clear idea of what to maintain the dialogue of the (Belmont) But that’s a story for another issue. A self-indulgent choice A late 70’s reggae classic – maybe – but this song was DJ Crystl we wanted to do by then and it was a space that film – they’ll always stand out in offered a host of new possibilities. The film idea my mind as special nights … I’ll always remember Ras written with Frigid in my ‘Perpetual Motion’ Or perhaps the web – The Frigid History, including really kicked off there and that was brilliant – an Frigid at the Dendy became a real Ronnie and Ras Iyah tearing heart and mind and will (Payday) the Hopetoun Years and the Globe times will be early cult film and then music from about 9 ‘til late social event.” it up over the version at the always bring back the sweet- A Kinselas favourite – ambi- continued at cyclicdefrost.com. There you will also with visuals running all night. I was always running The first incarnation of Cyclic first ‘Version Excursion’ est memories of happy ent jump-up jungle done find top 5s from Sub Bass Snarl, Kid Calmdown, around frantically on Sunday arvo trying to get Defrost was born of the Dendy night at the Hopetoun ... Sunday nights surrounded with style and grace. Prince Valium, Sleepy Robot, Clark Nova and Ollo fresh films together!’ Luke continues ‘We did the during this period. Seb elabo- ‘rewind me selecta!’ by wonderful friends... 22 Commodore 64 Sound trolled by corporate software, and the DIY spirit of investigation and Interviews with the following artists can be found learning about computers that existed so much within the early home- online at www..cyclicdefrost.com by Barry Handler computer scene is all but gone. DJCS: Ask the 2000+ people who bought the first record - yes. And it Bodenstandig 2000 will become more relevant. Dragan Espenschied is one half of Bodenstandig 2000, whose album Maxi German Rave Blast Hits 3 CD : What was your favourite C64 game tune? was released on Rephlex. DJCS : Aztec Challenge, followed by the “Mystery” demo on Music Maker. Elektron RS: Hard to pick. I’m a Rob Hubbard fan (of course) and particularly Elektron is an electronic synthesizer developer like Crazy Comets and International Karate. The tunes for Last Ninja 2 established in Gothenburg in 1998, and they manu- + (Matt Gray) are also awesome...some tunes that never get mentioned factured the SIDStation synthesizer which presents REMEMBERING 8-BIT which I really like are Legacy of the Ancients and Epyx Super Cycle the original C64 sound chip in a new midi capable (classic Epyx sound – I don’t know the authors). box with tweakable controls and a powerful operat- Back in the mid 80s, The Commodore64 computer was the dream item In 2000, Zombie Nation had a ing system. Daniel from Elektron speaks. on every pre-pubescent boy’s (and many girl’s) Christmas list. Once massive hit with Kernkraft 400, a CD : How much of an inspiration was the old game music from C64 unwrapped and firmly planted in front of the family TV, this little tune that utilises the main melody days? Bochum Welt beige box was the tool responsible for sparking the imaginations of from David Whittaker’s theme for DJCS : Some of the old game music is pretty bad. Some of it’s great. Gianluigi Di Costanzo has recorded as Bochum Welt ten-year-olds around the world. Now it was possible to see Samantha the game Lazy Jones (Terminal What’s inspiring is the way that the programmer/musician has to for many different labels including Rephlex, Fox’s body in glorious 8-bit colour before she converted to Christianity; Software, 1984). Labels such as understand the machine - the 6502, the SID - to write the music. The Hymen, Sony Music Japan, Darla, and is also work- be an ancient Ninja Warrior, fly a World War II bomber, as well as an Beige Records, Erkrankung Durch features and limitations created a unique style of composition impos- ing for Thomas Dolby’s Beatnik Inc. enormous amount of other scenarios - all from this revolutionary little Musique, Enduro Disks, and sible in other media. machine with only 64kb of memory. Unlike other home computers of Monotonik, have all released RS: Yes, the imagination of the good game composers who were forced 8-Bit Rockers the mid 1980s, an enormous number of C64 games stood out for the products which they hope will to be as creative as possible within the constraints of their technology Finnish producer Sami records as ‘8-Bit Rockers’ striking quality and original nature of sound effects and music. both expose the sounds from the is an obvious influence, but what was more inspiring for this record and has a 12” on Bunker Records. Although quite crude initially, gradually the quality of in-game sound C64’s past, and present them in a were the machines themselves and the way in which they were asked effects and music improved, and composers such as Rob Hubbard, manner which is relevant to elec- to be used. You have to remember that the first thing a person ever Vim! Martin Galway, David Galway and Ben Daglish began to push the tronic music as it currently saw when they booted up their C64 or Atari 800xl was the BASIC com- Keith Baylis records as Vim!, and has had numer- boundaries of what was possible with the early sound hardware. The stands. Similarly, Elektron mand line. If you take a step back and think that the built-in interface ous releases on net-label Monotonik as well as a MOS6581 SID-chip, a three-voice subtractive synthesizer with proper Industries’ SIDStation is a com- to the machine was an actual programming language, it’s so much full-length album, Linden : Home Of The Hits on filters and variable amplitude, was the chip responsible for the distinc- pletely new synthesiser that uses more conceptually attractive and computationally efficient than Australian label Surgery Records tive C64 music that was, and still is, loved by so many. By scouring the actual MOS6581 SID chip. THE 8-BIT CONSTRUCTION SET today’s Windows crap...asking the user to use and understand the com- numerous fan web-sites of this revolutionary home computer, it Elektron Industries have repack- www.beigerecords.com puter instead of being used by the interface or suckered into clicking Sub Bass Snarl becomes quite obvious that the majority of its users remember most aged the tiny sound processor on ‘sign up for AOL’ icons. Luke Dearnley is one half of Sub Bass Snarl. vividly how affected they were at the time by the captivating game within a midi-enabled drum- The 8-Bit Construction Set is DJ Cougar Shuttle and There are a number of records out now that are trying to capitalize soundtracks since until that point, the most that could be squeezed out machine styled case, complete Rick Stryker. They have recently had a 12” released on the sound of the SID or the nostalgia of that period without really Téli Sándor [ Hard Software ] of home computers and game machines were singular blips and sim- with real-time control functions. on Beige Records (BEG-004), and forthcoming is the understanding what they’re doing...like there’s some big C64 record Téli Sándor has recently released a hardware card ple melodies. Other hardware projects based Bodenstandig in America 10” (BEG-005) featuring that uses SIDStations and other 8-bit style records that are just samples for PC computers called the ‘HardSID’ around the SID chip include Hard both the 8 Bit Construction Set and also and people messing about in Pro Tools or something. To us, these Software’s Hard SID card for PC Bodenstandig 2000. records are very fake and only deal with the surface of the time and are Couchblip computers, and the SIDsyn, not very interesting. The 8-Bit Construction Set record doesn’t care www.couchblip.com which is similar in nature to the CD: What was it about the C64’s music that made it about surface for its own sake, it just cares about being true to yourself Luke Killen and Melinda Taylor record as SIDStation. Audio software devel- so special? and your machines. Disjunction Reunion and Robokoneko respectively opers reFX have also recently DJCS: The sound of the SID chip, the way that it’s for the Australian label Couchblip. released the QuadraSID 6581 VST controlled and the fact that millions of people had instrument, which enables Cubase high-quality synthesizers in their homes. and users of a vast array of com- RS: Yeah, the implementation of a dedicated sound puter-based sequencers and soft- chip in a home computer system was rare at that synths to incorporate the sounds time. of the 6581 chip into their music. Barry Handler sent emails to a CD : Do you think the sounds of the C64’s SID chip number of people active in today’s are still relevant today? electronic music scene who still RS: What is still relevant today is the process of cre- hold the sensibilities and the ating music on a C64, i.e. assembly language/track- memory of the old 6581SID ing/low level control and communication with the sounds close to their hearts, and machine. Now everything is hidden behind Flash 5 who still attempt to incorporate timelines and VST plug-ins and whatnot, and peo- some of these sounds into their ple fail to understand the aesthetics of the very work, about their experiences. medium within which they work. They are con- 24 Surgery, Couchblip, Aural Industries SURGERY RECORDS / TIM KOCH Label Profile Tim Koch also runs his own label, Surgery seeing what exists in the way of distribution and 2000 ______Records from his base in Adelaide. Tim tells the opportunities for exposure overseas. The internet Various Artists story, “We began around 1999 with three mutual by Sebastian Chan has been crucial both for my own music and with Initial Release surgery friends, James Reid, Ian Hamilton, and myself toy- Surgery, providing a quick and usually reliable way ing with the idea of starting an electronic music of communicating with other artists, distributors, Super Science label promote local Adelaide electronic artists to a shops, print publications. Love Like Life In Miniature wider audience. Later Yvonne East came on-board ‘I think [my releases overseas are an] indication of 2001 ______AUSTRALIAN ELECTRONIC to keep us silly boys from misbehaving. That ini- the friendships I have made with other musicians Modula tial aim grew to taking on board overseas artists and other networks overseas. My upcoming full Audio Dismantle with the release of the then New Zealand-based length minidisc on US label n5Md came about Aspen LISTENING MUSIC Aspen (Bevan Smith). We have since released UK- because a friend of mine, Richard Bailey (Proem) Are You That Retail Snob based Vim! although we are now looking at more recommended my music to Mike Cadoo who runs Pretty Boy Crossover Intelligent dance music is an annoying term. Aussie acts due to the fact that there is so much the label. And Proem is a graphic designer and did The Building And Formation Originally coined by UK ambient DJ and producer AURAL INDUSTRIES / JOHN BUS music being made locally . . . The label is an the artwork for the upcoming Please Don’t Tell Me Vim! Mixmaster Morris (The Irresistible Force) circa Aural Industries is a Sydney-based label that estab- attempt to get a steady flow of local electronic That’s Your Remix CD of mine - and also has a recent Aural Industries label Linden – Home Of The Hits 1992, it is one of those ‘nothing’ genres like ‘intelli- lished itself in 1998 and began by signing Adelaide showcase and CD launch was artists’ material coming out with a view to expo- remix on it too . . . this all works nicely and creates 2002 ______gent drum & bass’ or ‘progressive house’ or ‘pro- producer Tim Koch under the alias Thug. John Bus, heavily promoted through sure overseas while at the same time keeping the a smooth environment to collaborate and swap new who runs the label explains, “Back when I set it up design and packaging elements up to standard music as opposed to larger labels where there is so Various Artists couchblip gressive trance’ – which are really neither intelli- columns in two of Sydney’s 2002AD Analogue To Digital / gent nor very progressive. It was supposed to mean in 1998 there weren’t as many micro-labels around street press mags, Radio 2SER with the music.” much more money involved and therefore more Adelaide Fringe Festival Sampler dance music that wasn’t, back in 1992, hardcore and certainly none in this country. We operate in a and the internet. Even so it Despite living in Adelaide, Tim Koch has man- people get disappointed in some way or another breakbeat. And it was used to bring music from the niche market which is probably the major factor only got about 120 payers aged not only to run Surgery on a global scale but with what happens. Qua Warp label who had just released their seminal why the label is now fully self-funded and has sur- through the door which was also release his own music on many overseas ‘[Back in Australia], there really isn’t enough Forgetabout Artificial Intelligence compilation under a banner vived, as we can’t compete with the majors in not enough to cover the two labels and even start up a new label in collabora- support locally in Adelaide to hold regular nights Epoq that united it with the early work of other labels terms of marketing, market saturation or economies return airfares. Still it was defi- tion with a US-based friend. Internet friendships that are themed around more unusual electronic Scintilla like Rephlex, R&S’ ambient (anti-Dionysian) off- of scale. The bloatedness of the current music nitely worthwhile for raising play a large part in the behind the scenes dealings music. At this stage Melbourne probably has the shoot Apollo, and even Germany’s Fax. This was at industry, along with the internet, allows niche the artist and label profiles and with this sort of electronic music. “ It can be diffi- most healthy scene in that respect. [And despite a time when Sesame’s Treat, Altern-8, and all those players like Aural Industries to become quite suc- for the fact that we sold over cult living so far from the market where this style the silent computer nerd stereotype] live gigs are chart-topping predecessors to happy hardcore were cessful, and being based in Australia is not as big a 40 CDs on the door that night.” of music thrives and has a healthy scene, like in still sometimes the best form of promotion in that taking over the UK charts. problem nowadays as it was ten years ago. The Europe or to a lesser extent in the USA, but I people who like what they hear can usually buy world has become a smaller place with much 1999 ______guess it is just about putting the feelers out and material at a gig and talk to the artists first hand.” Ten years later, and successfully turned into an cheaper and faster, sometimes instantaneous com- Thug acronym – IDM, it lives on. Where early music in munication between far-flung places. The recent Isolated Rhythm Chock Thug:Remixed CD which started life as an idea I this broad genre was influenced by basic electron- 2000 ______COUCHBLIP! / MELINDA TAYLOR & LUKE KILLEN had to provide the elements, up on the Aural ics, the sounds of mid-late 1980s Detroit techno, Tim Koch Sydney-based Couchblip! Records started in 2001 with a compilation fortune to get your stock to distributors and as a 2001 ______Industries web site, necessary to remix five tracks. Kraftwerk, and classic electro, towards the late Please Don’t Tell Me That’s release featuring tracks by its founders, Melinda Taylor (Robokoneko), small label we can sometimes spend as much Various Remixes came in from Finland, Sweden, NZ, USA, 1990s IDM’s second-wave emerged. Led by Your Volvo Luke Killen (Disjunction Reunion) and Jim Dodd (Bloq). They have money on postage as we do on the actual CD pro- Couchblip! Autechre’s influential third album Chiastic Slide, Canada as well as Australia. Now the internet plays since released solo albums by Disjunction Reunion, Bloq, and Pellarin duction run. It’s also hard as you can’t tour to your 2001 ______Disjunction Reunion Squarepusher’s Feed Me Weird Things, continuing a vital role in allowing the label to communicate (from Denmark) as well as a second compilation fundraiser CD for the major market in Europe. We obtained distribution Sense hyper-rhythms from Aphex Twin and crossbleed directly with artists and other labels in far off coun- Humane Society called Other Animals. It has been a very busy time for deals in Japan, UK and the US over the internet and Computer Dead Reckoning Fourier Transformations from jungle and drum & bass, the second wave of tries. It’s also important in terms of getting informa- Couchblip! with both Melinda and Luke running the label on top of we make a large proportion of sales through our Various IDM moved away from the serenity and cleanliness tion about our releases out there and obtaining Sense holding down ‘regular’ jobs. Melinda explains that rather than release own online shop as well. About 70% of CDs we sell Other Animals Goodbye Mr Henderson EP of earlier works, utilising the newly available soft- overseas sales . . . [especially as] Australia only their own music on someone else’s label, “the quickest way to get it go overseas and the majority of our press to date has 2002 ______ware synthesisers and, later, DSP effects. accounts for a small part of the sales, which just 2002 ______out there was to set up another record label. Based on the number of also been internet based.” As for Surgery and Aural Pellarin In Australia it is works by Aphex Twin, Autechre, comes down to the small size of the population Various excellent demos a small label like us receives, I would say that there Industries, the local scene is not strong enough Tangible Abstractions and Squarepusher that have been the most influen- here.” Interestingly Aural Industries’ two key sign- Thug:Remixed are still not enough labels to release all the good music that is being alone. “ In Sydney at the moment the live scene is Bloq tial. These are all artists who had their most innova- ings are both based interstate with Thug in Various made. [But] getting a CD out is a long process, I think if we had more not as good as it could be. Without places like Life From the Outside tive years somewhere in the mid-1990s. Warp, Adelaide and Sense in Melbourne. “It’s a hard slog Please Don’t Tell Me That’s time we would be releasing a lot more” Frigid and Drop, you could almost say the live Rephlex and the many related labels and artists that and working with artists from other Australian Your Remix Melinda and Luke’s musical paths crossed a long time ago and the scene is dead. However there are a few things on Robokoneko followed had a broad influence across Australia and cities means that the profile of the Aural Industries influences they bring to their label are very diverse. “We both met in the margins - Disjunction Reunion played an inter- TBD by the end of the 1990s several Australian labels through live performances is somewhat lacking – it high school when my record collection only included Smiths records. esting gig the other week at Speak Easy in Erskine had sprung up to support a new field of artists costs a lot to bring them to Sydney and the Sydney Luke has a broader background pre-Smiths with a heavy interest in Street in the city which runs every month. This inspired by those mid-90s sounds. scene for this type of music is quite small. The early hiphop. From The Smiths we moved into bands like James and night has been described as a David Lynch-ian the Manchester scene (1989/90), Inspiral Carpets and the great musical event with acts ranging from folk music, aural industries Madchester raves. The Madchester raves led us onto ‘real’ hardcore Bulgarian music, punk improvisation and noise, raves which is where we first heard Aphex Twin’s ‘Digeridoo’ and the and electronic music. It was a fantastic night and For mp3s from electronic link started there. good to see quite a different and diverse regular the labels see “The major difficulty I find [with being in Australia] is that it costs a event springing up in the city.” cyclicdefrost.com 26 Montreal Rundown Kristian or part of the CocoSolidCiti crew at the Casa as you are at an artistic side of music and digital technologies along thetics in Montreal. Local post- event produced by the Mutek crew. And “rock” music – from industri- with some shaking of ‘bonbons’. The rise of rock musicians are increasingly Overseas profile al to trashy metal – also has an influence on many of the locals. Just Montreal’s creative community has much to do with experimenting with laptops and check out Tim Hecker’s dirty ode to Van Halen on his recent release local investment in community by both individuals laptop artists want to get their by Lucinda Catchlove ‘my love is rotten to the core’ (substractif) which proves that humour is and the government, a DIY aesthetic and local fingers dirty and indulge in a lit- appreciated even in the most ‘arty’ aspects of Montreal’s electronic artists’ willingness to share contacts and resources tle sonic pollution. Akiyama community. with both other locals and on an international level. says, “I get the feeling that the “We loved Cabaret Voltaire, Throbbing Gristle, Chris & Cosey who The effect of international festivals based in whole lone producer/DJ thing were always beat-oriented,” explains Martin Dumais. “I think when Montreal on both the production and dissemination won’t hold up because it seems people figured out you could make experimental music and make peo- of local artists and labels cannot be underestimated. like everyone I know has started ple dance at the same time instead of having people sit down in awe or Alain Mangeau who curates Mutek alongside Eric to collaborate or at least preach bored out of their skulls. I think that sort of shaped the sound. Mattson says, “I think it probably points to the fact the values of collaboration.” C’EST QUOI LE GLITCH ESTI? Montreal’s always been a big dance city. I think that still prevails, even that Mutek created a context for something to hap- Berry thinks there’s an interna- in the more experimental music by older musicians like Akufen. pen and that context kind of provided a conver- tional trend afoot as well as a

It’s always tempting – especially for music journalists, fans and those akufen, photo by Maryse Lariviere or out to try to push some new variable. They’re Akufen’s music is partly experimental but if you take out the samples gence point for some artists to get their act together local one. “I think everyone in on the business end of music – to place the creative output of a geo- never seemingly satisfied with staying in one area; it’s basically Todd Terry. Marc knows how to make a good groove and to start with.” He sees international festivals which electronic music is looking for graphical or aesthetic community into a neat little consumable pack- they’re really trying to push the notions of whatever add layers that make it more interesting than just basic house. I don’t support local artists and bring together international the next change, the next big age or ‘scene’ ready for consumption. Dancing to architecture can they’re working in. I don’t find it very trendy, it’s think he’d be ashamed of it.” artists with converging aesthetics as a form of posi- thing. Who knows what will hap- seem easier when you develop a routine or adapt the moves you almost like anti-trend. The reason I appreciate Akufen’s agenda bridges the city’s dialectic. “I want them to shake tive globalism that strengthens local creative com- pen, the reality is there’s a lot of already know to ‘solid’ structures that fit a recognizable blueprint. working for Force Inc is that the label has always their ass and think at the same time, it’s very important you know. munities and international exchange. “I do believe great music that hasn’t even been And, although ‘scenes’ or ‘communities’ based around common aes- tried to support those tendencies.” You’ve got to stimulate both ends.” Ghislain Poirier, one of Montreal’s that for an art form as marginal as say the electronic tapped into yet. I think a big part thetic interests and geography might be easy to impose theory upon younger musicians who releases with New York’s 12K, Montreal’s music we promote, globalization is a way out of how those elements come into posthumously, while in motion human interactions and creativity are THE HOUSE THAT JACQUES BUILT Intr_version, and is a French language music journalist, agrees. instead of dealing only with a very small niche mar- place will be through the aspect more fluid and abstract , even though creative synergy can make itself Montreal is a somewhat unique city in North “Experimental music and music for dancefloors can go together. You ket here. Mutek for instance addresses publics of melody, looking at it as songs felt in the ‘objects’ or ‘events’ produced. In gathering information and America in the sense that it is a bilingual city in a always have to pay attention for purist who wants to block bridges and across continents so there is that sense of hope that rather than tracks. Everyone’s opinions for this article, it became quickly apparent that Montreal’s predominantly French province on a predominantly stop us from experimenting. Music must stay music… It’s a free thing is linked to the easiness of communications today.” talking about humanity and “experimental electronic” music output couldn’t be snuggly fit into a English continent. “The location of the city is very which floats and we each immortalize it in our own fashion… The As to whether Montreal has a ‘sound’, Mangeau bitching about the laptop live handy little niche like “glitch” and that most people resisted being strategic because the influence comes as much from ‘dance’ scene is very important and the experimental scene is also, and thinks it’s a bit too soon to say. “I think within a show, realistically maybe every- categorized as such. the American side as the European. And the fact on both sides there are good things and crap…” few years we are going to see something that will be one’s looking for something to that it’s a multicultural city means we have influ- associated with a certain sound from Montreal but identify with.” Identity, as any “I think it’s more of a scene than a sound. The more interesting musi- ences from all over the globe,” says Akufen. CONCRETE DANCEFLOORS AND COMMUNITY CENTERS I’m far from certain that it’s going to be glitch. On Quebecer who grew up on local cians in Montreal don’t do just one thing,” says Martin Dumais, head Montreal is a city of dualities and multiplicity, It’d be irresponsible to talk about ‘glitch’ and what it means in the contrary, I think it’s going to be much closer to politics and cultural debate of Montreal based Haute Couture and Hautec labels and one half of Les and this influences the city’s creative dynamic and Montreal without taking off the gloves to sift through some of the city’s an evolved form of tech house because of the sensi- knows, is constantly evolving as Jardiniers. Rather than having one heterogeneous ‘scene’, Montreal’s aesthetic. Both French and English universities have history of dirty, experimental music in the non-digital realms. bility there is in Montreal. Everything’s pointing in the past interacts with the pres- music community is formed of pockets of interests that sometimes strong experimental music and digital art depart- Montreal has a pretty solid history of experimental music and interest that direction and someone like Akufen is probably ent to create a potential future. overlap and artists who indulge in multiple approaches to music mak- and a compilation called ments the intellectual and theoretical chin-stroking in subverting and converting new and old technologies to aesthetic showing the way, and not just in Montreal but in a Not surprisingly the ‘identity’ of ing and work in a number of different ‘scenes’. Someone who makes Montreal Smoked Meat. Force aspects of audio exploration are well represented ends. FIVA (Festivale International de Musique Actuelle de more global way.” Though there are certainly some Montreal’s electronic music com- ‘dance’ music is just as likely to make ‘art’ or ‘experimental’ music. Inc also released the influential and funded. Victoriaville AKA “Victo”) is a festival dedicated to the less digital ‘scenes’ that tend towards hermeticism, current munity is as polymorphic as the “Most people in our entourage call it techno or house. Minimal is Clicks and Cuts compilations Conversely Montreal is also a huge disco city. side of experimentation booking artists like Sonic Youth, I8U and The local tendencies seem to indicate that there’ll be diverse range of people and cul- something you will hear but not ‘micro glitch bionic whatever’,” that helped establish the concept During the 70s the city was part of the Studio 54 Necks as well as local artists of note. ACREQ (l’Association pour la increasing collaborations and cross-pollination tures that compose the city itself. explains Dumais. As is probably true of musicians across the globe, of ‘glitch’. “What we tried to do circuit and still boasts a strong connection to the US création et la recherche électroacoustiques du Québec) has been between both digital and acoustic mediums and aes- local artists would rather leave the name calling to journalists, publi- with the Clicks and Cuts series and international house and ‘commercial’ dance around for 23 years. In the past couple of years ACREQ has broadened cists and fans. Akufen (AKA Marc Leclair) is one of Montreal’s more was encourage people to use scenes through labels like Bombay and Turbo. their mandate to include digital experimentation and their yearly established producers; his release My Way on Force Inc has helped unessentialist sounds whether it On the experimental hiphop tip, Ninja Tune’s Elektra festival books acts like Oval and Granular Synthesis. For bring the local experimental ‘dance’ music scene to global prominence. be the whir of a fan or the sound North American offices are based here, as are world artists interested in making music that pushes the boundaries of cate- “The technology I see more as a tool than an issue really. We’re talking of someone tapping their plate class turntablists Kid Koala and A-Trak. Martin gorization, Montreal offers a wealth of opportunities. It can be easily about electronic music but more and more I tend to just talk about on the table, you’re incorporating Tetrault mines the outer extremes of turntable argued that the aesthetics of musique concrete have influenced the ‘music’. I don’t want to talk about electronic music, only the tools are that into so-called genres. And experimentalism and all these artists in some form ‘glitchiness’ of music that comes out of Montreal, or local artists will- electronic.” Many artists in Montreal feel the same way. For instance, out of that some people seem to use the ‘cut and paste’ and ‘found sound’ aesthetics ingness to explore ambient and ‘found’ sounds, as much as any con- Mitchell Akiyama who runs the Intr_version label and works as an think a genre of its own has been attributed to ‘glitch’. temporary global movement towards this aesthetic. artist in both audio and visual mediums does work that integrates digi- made. On the post-rock spectrum – where the concepts The increasing critical and practical success of local artists and tal and electro-acoustic means and aesthetics. He sees himself equally, Maybe it’s the Quebecer’s way of ‘glitches’, ‘errors’ and ‘natural’ sounds also play a labels has much to do with balancing out global ambitions and connec- if not more, aligned with the experimental post-rock scene, “What I do of looking for identity,” con- part in the aesthetic – there is the community cen- tions to a larger international community – taking care of the macro- can definitely be considered electronic music but its function, the way cludes Berry. “It seems that many tered around Godspeed You Black Emperor, the cosm as well as the microcosm. And in some ways – the emphasis on it’s made and its purpose is a little bit more organic.” musicians in this city try to find Constellation, Alien8 and Substractif labels, and the ‘small’ details as well as the larger compositional picture – this can hoto by Eloi Brunelle “I find it ironic that the term glitch has become a genre within a way to make their sound very Casa Del Popolo. Located in the Mile End district of be felt in the music. These beliefs have helped to create an infrastruc- itself,” says Jon Berry of Force Inc who moved the label’s North unique, a lot of people I know in Montreal, Casa Del Popolo hosts everything from ture of labels and festivals that have brought Montreal and Montreal American office to Montreal from New York. Force Inc has released the community are very bent on evenings of free jazz to bizarro electro and laptop based artists a certain amount of international attention. Montreal is Poirier. p records by Montreal producers Akufen and Jetone (AKA Tim Hecker), coming up with something new experiments. You’re as likely to see Akiyama, Dave certainly not the hub of the music industry, our festivals focus on the

hislain

G 28 LP Sleeve Design by Alex Crowfoot

Pretty Boy Crossover New Order Richard Devine The Building And Formation Confusion Lipswitch + (Surgery Records, 2001) (Factory Records, 1983) (Warp Records, 2001) COVERING THE COVERS Format – standard 5” CD Format – 12” (local pressing) Format – 12” (UK pressing) Designer – Ian Hamilton Designer – Peter Saville Designer – Designers Republic

Some of the best musical experiences have been listening to a new by punk and the highly stylised using uncoated board have a tactile richness absent Surgery is one of the few elec- This is the unembossed Australian release of the It’s rare that you see a sleeve design that looks unlike anything else record while poring over its creative accompaniment, the sleeve. It cut and paste work of Jamie Reid in glossy or coated stocks, and even minimalist tronic labels in Australia that has Confusion twelve inch, sadly my copy of the you’ve ever seen, but this Designers Republic sleeve is one of them. could be the added depth of conceptual artwork, or it could just be a (Sex Pistols) and Saville’s work design takes on a new character on plain brown or a consistent identity. Each artist embossed UK pressing was purged in a moment of From the most influential design studio of the last decade, it is a beautifully crafted object. If the designer is particularly particular, it for Factory worked in tandem grey board. For example the sleeve for Tortoise’s or release has a distinctive per- temporary insanity. Unlike much of the work of sleeve that has also been oddly criticised for ‘lack of design’ by others. can border on the fetishistic. Colour, texture and text; embossing, die with the label’s aversion to using self-titled debut. And New York-based designer sonality while retaining enough his contemporary, Neville Brody, many of Peter The fine lines which make up the cover image could only have been cuts, special inks, choice of paper stock, imagery, and some great ideas images of band members on their Stephen Byram often uses uncoated board, com- consistency to make the source Saville’s designs of this period have travelled done by a designer who knows how far you can go with print, and add up to something worth owning. Adding to the musical experience sleeves. Although New Order bined with embossing, scratchy illustration and clear. It is a clever balance. Some well. It could have been released yesterday. This how to get the best out of a printer. They really are extremely fine lines in this way is much easier with vinyl releases. The bigger canvas never gave him a design brief, simple use of colour for labels such as Screwgun labels have a monolithic identity is partly due to his more restrained typography. – so narrow and precice. But aside from that it’s a beautiful image that makes for a greater visual impact. The best sleeves can be enjoyed this is just one of many examples and Winter & Winter to match their avant garde – it may be beautifully done but Brody designed a lot of his own typefaces which manages to create something very organic from an obviously digital again and again, much like the music itself. And many musicians, of close design/music relation- content. So-called “undesigned” or “amateur” pack- there is little variation between have become closely associated with early source. This fits perfectly with a music that is similarly abstract, intri- either through collaboration with designers or by designing for them- ships. Buying 4AD records aging also has a lot going for it now too. Whether it artists and it is designed to make Eighties design. This sleeve also predates the cate highly digitally processed and generated. The only mismatch is selves, communicate visually as well as through sound. And with elec- would have been very different be a musician’s doodles or Mr Scruff’s cast of the label instantly recognisable. recent obsession with faux-naïve super-chunky that the music feels a lot heavier than the design. tronic music often the only way to get a less abstract impression of without the designs of 23 wonky cartoon characters or famously the UNKLE The Surgery logo is a fine piece pixels by about 20 years. Interestingly it has some Designers Republic have been said to occasionally design about where an artist is coming from, interviews aside, is through the sleeve. Envelope (Vaughan Oliver and characters made by Nigo and Futura 2000 which of design, a modernist word mark visual echoes of Dutch artist Piet Mondrian, espe- design, something they do here to a degree. The reverse of the cover Chris Bigg), similarly Warp and have ended up being turned into highly fetishised that is not instantly readable, cially his work Broadway Boogie Woogie. I’m not consists of a numbered content listing “Items Used”. The first three Contemporary music history is littered with stories of design and Designers Republic, or even Me and hyper-expensive figurines. And Neville reflecting the more experimental sure if this was intentional but it’s highly appro- of these items tell us how many lines of each in the three spot music collaboration. Of course it is partially about the service of sell- Company and Björk. Garrick’s covers for Bob Marley are a famous exam- nature of their releases. To me it priate. It was Mondrian’s response to encountering colours appear on the front. Next we are told the size, weight and ing products, making one album or cd stand out form the others in the Famously, in the case of ple of covers that addressed racial politics and his- also looks sliced up, like a type- the excitement of New York for the first time – the colour of the board use to make the sleeve, before we are told that racks at the record shop, but there is a growing appreciation of design Factory, design can almost kill a tory congruent with the musician’s intent, contribut- face after surgery, a second com- home of the record’s highly distinctive producer, there is also “2 x 300mm o black vinyl.” At item 6 we reach the that is pushing into the territory of art. This is acknowledged by Sound label. As a 12” release Blue ing to his mystique and iconic status along the way. munication of the name. Arthur Baker. artist’s name and the title, before a track listing. The remaining 60 Design, an exhibition of British music industry design which is cur- Monday was not expected to sell The advent of CDs meant new challenges for Consistent use of a sans serif type- Saville has “confused” the track title and band lines contain one word or punctuation mark each which list the pro- rently touring the world featuring the work of 15 designers including many copies, so it appear to mat- designers and this has arguably led to more creativi- face for the artist name and release name by combining them in one line, the only duction and publishing credits, label details, catalogue number. Item Peter Saville, Malcolm Garrett, Jamie Reid, Neville Brody, Intro Design, ter that Saville’s die cut sleeve ty, especially in recent years, with a seemingly end- title adds a second layer of consis- instantly readable letter being “F”, presumably 63 is the bar code. An interesting piece of design deconstruction that Ian Anderson, Vaughan Oliver, and Mark Farrow. meant that the label lost money less succession of new approaches to packaging the tency. The background imagery is for Factory. Each shape is a fusion of two letters. manages to remain functional? Sleeve design and design aesthetic is often a large part of an artist or on each copy. As it edged up the small silver disc. There is an even greater imperative where artist individuality gets Sometimes the grey shapes read as a character in The choice of monospaced industrial informational typeface remi- label’s collectability. Not only are the British and American pressings of charts, however, there was not to do this in an age of loss-free duplication and ram- communicated, and what a the band name, sometimes the track title, some- niscent of those used on architectural plans adds to the functional feel. many labels sought after for the quality of their vinyl, but often the much celebrating in the Factory pant CD burning. Record labels, however tiny, have diverse bunch they are. From the times neither. Yet it remains readable, or at least Monospaced typefaces hark back to typewriters, on which it was not quality of their artwork is higher, too. For instance, the Australian office and when it went to num- to at least break even, and if they want to fund tours delicately veined, high contrast decipherable. That takes a lot of skill. It was this possible to adjust the amount of kerning – each character had the same release through the local licensee Festival Records of New Order’s ber one in the UK and became and further releases they must make money. Making organic leaf image used for Pretty line of blocky type that was embossed on the UK amount of space between letters. A “w” would fill this space but an “i” Confusion (1983) lacked the embossing on the sleeve and similarly the the best selling 12 of all time – a the CD a special and desirable object means that they Boy Crossover, the abstract pastel version. The large 93 in the background is the would have gaps either side. The inner sleeves are a plain varnished release of Blue Monday (1984) was minus the die-cut. The Peter catastrophe. Even today, Saville may actually sell some copies. No matter how inven- morph of Super Science’s Love catalogue number. The colour bar in the top right white stock with no type or imagery. The label follows though on the Saville/New Order relationship has been long lasting, and has a rich continues to design all of New tive designers become, the trouble with MP3s is there Like Life in Miniature and the hand corner is the colour coding which also rep- sleeve design, with a circular clump of fine lines, and yes, we are told history. Saville’s sleeves enhance the experience, both intellectually and Order’s record sleeves in themat- is nothing to package – which is our loss. In contrast, straightforward shot of a mundane resents the catalogue number. A colour wheel on how many there are. visually. Around 1983, both New Order’s music and Saville’s designs ic styles. the rise of the accessibility of music through down- northern English corner shop on the reverse of the album released shortly after- One last detail too. Both edges of the open end of the sleeve have an were minimal yet complex, and to some degree futuristic. There was Sometimes design communi- loads and the nature of major record labels means the Vim’s Linden – Home of the Hits. wards Power, Corruption and Lies offered the immaculate corrugated die cut out of the edge, making the removal of not a lot of written information, but the sleeve design spoke volumes. In cates an inferred set of values. I humble 7 inch single has become a statement of The twin messages conveyed are solution to the code. And this similar colour code the vinyl from the sleeve a tactile experience. the case of Confusion it seemed the band had bought a production style bought Meem’s Miffy & Yum independence, of belonging to an underground, of of quality control – this label is design was used on the next single of the period, by working with seminal New York electro Arthur Baker (Planet Rock) Yum album on the basis of its dedication and love of music. Ironic, considering that not going to be releasing any old ‘Blue Monday’ with its computer floppy disk that did not quite fit with the rest of their work of the time. It was the handmade wooden cover without this format was once the volume seller, used as a stuff their mates’ have knocked up design. sleeve managed to hold it together as one body of work. thinking of listening first. The marketing tool to boost album sales. on the computer. And artistic free- Apart from Saville’s designs there was not much minimal or mod- packaging is elaborate but unpre- Over the coming months in Cyclic Defrost we will dom – showing the diversity ernist design work around in Britain at the time. His interest in tentious, showing a care and be looking at certain album cover designs and par- amongst their stable of artists Russian Constructivist art was passed on to Factory Records seeking to dedication to producing some- ticular designers and ‘reviewing’ sleeve designs to which will keep the listener inter- make an impact in a post-punk scene. It was visually striking in the thing special and unique. bring to the fore the importance of the visual in a ested for the long haul. context, emerging from a period of the rough and ready style adopted Like Meem’s use of wood, CDs world of audio. 30 Each issue Cyclic pulls together a set of reviews of music we think is worthy of your attention. It’s not particular reviewers and go and seek out new music they recommend because you trust their judge- always going to be the latest, newest, or just the stuff the record companies might send us. It’s not always ment. Of course, you’ll disagree with some reviews and reviewers but that’s all part of the fun. And, going to be local, and sometimes you may even have to hunt it down in some obscure corner of the finally, some may ask, ‘why are there no negative reviews?’. The short answer to this is that we don’t world. Because of the diversity of styles covered and the different perspectives of our contributors each like to waste space and with the volume of new music appearing each week we don’t think we should REVIEWS review is credited to a specific reviewer. We hope that you will build up a trust relationship with waste your time or mindspace with trivialities.

7"s/12"s Hrvatski CDs Dntel, Kim Hiorthøy, Matmos, Savath + Savalas or Decoder Ring Consortium have been working developing this lap- Jonny Phive/Lowrion Raume Epoq even Christian Fennesz; and one does get the sense Spooky Action At A Distance top-age hip hop for the last few years and Musique Tranquille Split 12" (Tonschacht) Scintilla of the ghost of Mouse on Mars’ squelchy organs (Hello Cleveland) Funkstörung have themselves hinted at similar (Mofonics) A-Side ‘Bad Raum’ is a rhythmic (Surgery) overly infecting some of these tracks. Sydney 7-piece Decoder Ring’s debut EP is a mostly designs with their early remix for WuTang Clan and It’s lovely to see a local release hyper programmed piece that Epoq is Sydney-based music stu- Nevertheless, Qua’s music is all his own, in the way instrumental mix of Krautrock, indie rock, and even DeLuca’s robotindustrialfunk here fits a similar appear on vinyl with such spec- recalls the percussion program- dent Jonathon Gage, who creates the disparate elements are brought together. Some of electronica. In these tracks we find instantly classic mould. Slightly disappointingly lyricwise there is tacular and effective cover art. ming of Hrvatski’s previous LP a bizarrely unsettling form of the sounds are truly delicious – strumming acoustic analogue keyboard lines jostling with loose rock nothing here to match DeLuca’s audio tricks on the Musique Tranquille is the first in a Oiuseux. Minor key vacuum IDM. The elements are the famil- guitar, crunchy textures… Occasionally something drumming (and the occasional nicely-EQ’d & dis- beats except from Anti Pop Consortium’s inimitable series of local instrumental hip cleaner chords are paired with iar synth pads and programmed enters that’s just a bit jarring – like the slide guitars torted breakbeats) – even live, when they’re much Beans. Sebastian Chan hop 12"s to be put out by the nice warm bass line and filtered drums (with occasional sampled at the beginning of ‘duet for guitar and fridge’, or more rock, the keyboards are at least as important as Mofonics crew who are party kitchen cupboard door creaking voices), but nothing sits quite the use of crappy drum machines. ‘800x600’ trans- the guitars and bass in this music. All five tracks are Various Artists designers, part b-boys, and part percussion rushes. right: the time signatures are forms from an unpromising drum-machinic begin- excellent, but highlights are the night shift, featur- Bingo Beats II (Zed Bias mix) promoters. On the first of the The B-Side continues in the either very odd or just change all ning into a very satisfying distorted clatter. The ing the glorious vocals of Jodi Phillis (ex- (Bingo/Inertia) series, Jonny Phive drops three kitchen sounds vein – with the time, and the beats don’t nec- crackly ‘sys_environment’ is completely spot-on, as Clouds/Dearhunters), and the huge keyboard glis- DJ Zinc runs the Bingo Beats label as a side project to tracks and let's skip straight to the ‘Eintrag Raum’ consisting of essarily match up with the other is the evocative ‘the air is thin in here’. With for- sandi in the big Krautrock number protein express his more familiar jump up drum & bass workouts. third, Oceanic Jazz. Oceanic Jazz microwave beeps and blender sounds. But you get the sense getabout, Qua has brought a new level of craftsman- (while a sampled voice repeats “and I’m all mixed Nearly two years ago, Zinc’s 138 Trek was heralding was initially released on our own drones mixed with mixing bowl that it’s impeccably constructed – ship to Australian electronica. Peter Hollo up…”). Peter Hollo a darker simpler breakbeat garage sound – a bleep label, Cryogenesis Recordings hits and other assorted kitchen it doesn’t sound random, just driven step sequenced bassline, two thirds speed back in 1999 as part of a limited implements. This track flows into somewhat disturbed. It has the Various Artists Astrobotnia drum & bass drums, and not much else. It has edition 3" cd series. Now, on vinyl ‘Kochen Raum’ which builds ambience of early Aphex Twin or Masonic Parts I, II, III appeared on virtually every 2-step and garage compi- and remastered its simplicity – a some simple synth arpeggios over Global Communication, but it’s (Hymen/Ant-Zen) (Rephlex/Inertia) lation since. This second compilation of Bingo Beats descending piano line, a dusty the aforementioned kitchen drum filtered through something Other. The new double CD and rather lovely quadruple- Astrobotnia is a new project from a secretive mem- releases includes several new Zinc tracks (as Jamin) horn, and a sultry female spoken collages. Overall a very interest- It’s also very well produced, with vinyl compilation masonic, on Ant-Zen/Hymen fea- ber of the Rephlex stable. It could be Aphex Twin all of which are minor variations on the 138 Trek word sample - still make it a ing 7" from Hrvatski and on love- plenty of thought put into the tures most of the Hymen stable and contains a lot of but apparently its more likely to be Ovuca, from theme. More excitingly though, Zed Bias are on the standout track of slow circa-1995 ly 180 gram black vinyl! Also spatial aspects, making for a fully what I’d consider dross – repetitive dark ambient or Finland. Regardless of who it is behind this project, mix. Before Zinc, Zed Bias have been putting out MoWax instrumentalism. The keep an ear out for his Planet µ immersive alien experience. Very dark acid stuff. Hymen superstars Beefcake con- the three Astrobotnia releases, two mini albums on some excellent darker 2-step tracks for a few years other track Inner Universe is album soon. Barry Handler cool stuff indeed. A considerable tribute a characteristically funky and fucked up CD and one 12” vinyl condense the early Aphex now under various names and a host of crazy remix- almost like a re-version of Oceanic number of mp3s are available for number (with gross-out soulful female vocals getting ambient atmospheric sound of Selected Ambient es. Their selections here are impeccable and show- Jazz carrying a different piano, Jonathan Svard download via his website. Peter sent through the shredder), and it’s great to see a Works I, add chopped electro and loose breakbeat case a rough, raw bass heavy sound. Standard dance- horn and vocal sample; and 1,2,3 Hollo number of Australians sitting among some quite rhythms straight out of Luke Vibert’s sampler, and hall samples make a return on Naughty’s ‘Pussy Trak’ Concrete #1, a maniacal and (Irritant) well-known international acts: alongside end up bringing much needed reinvigoration to the and The Henchmen’s ‘Ring The Alarm’ (both DJ amusing cut up condensing bits of This clear vinyl single opens with Qua Funkstörung, Scorn and Venetian Snares, we have genres that Rephlex term ‘Braindance’ and others Hype remixes) and it is the combination of rinsing almost all of Jonny Phive's debut sombre church organ tones that forgetabout Xingu Hill (a loping beat and nice atmospherics reckon is ‘intelligent dance music’ (IDM). In most basslines and jittery beats that make this worthwhile album of last year into a two give way to filtered staccato beats (Surgery) making it one of my favourites), and also a collabo- circumstances ‘straight outta ’92’ would be a term of – particularly on Ras Kwame’s ‘Cum On’ and minute mash-up. On the flip, and tinkering piano accompani- Cornel Wilczek has a background ration between David Thrussell and Darrin abuse but here it is a term of warm endearment. Artwerk’s ‘Red Ride’ a pushme-pullyou rhythm thtat Lowrion drops three similarly ment. A more biting, almost dis- in design, and he is responsible Verhagen as So Fuckin’ Jazz (a kind of weirdly Sebastian Chan surges forward over a relentless bass. Back in 1994 mellow cuts. Sit Back slips a little torted beat arises and then more for the beautiful cover to the Qua attenuated melodramatic soundtrack music). the SOUR label put out a seminal jump up compila- too easily into the background organ musings are sprinkled over album as well as the music. This Lilienthal’s skittering melodic track hero anthem, Chris DeLuca & Peabird tion, Nu Skool Flava, and this Bingo Beats mix with a melodic synth line playing the mix – the side concludes with is, with some misgivings, one of Xanopticon’s manic hardcore drum’n’bass and Deadly Wiz Da Disko updates that very same sound. Sebastian Chan against some deft scratching, an overdriven chord sequence the most exciting local releases k_chico’s splendid slide-guitar-and-glitch-beats also (K7/Creative Vibes) while Massive 97 is all ambient with more piano tinkerings. I’ve heard since the Pretty Boy deserve a mention, as does Red Sparrow’s ‘Les Whilst one end of independent hiphop revives RJD2 space-age 90bpm breakbeat with The flip-side is an energetic Crossover album. Qua’s music Arbres’ (more pretty skitteriness, this time from authenticity in crate digging, lo-fi aesthetics, and Dead Ringer glistening synth. The third track piece with micro sample distorto belongs firmly in the growing France). Fanny closes the second disc with schizo- abstract rhymes; the other pulls looks to digital (Def Jux) is, like the other side, a cut up beat workout with evil musicbox borderland between analogue phrenic hardcore drum’n’bass. The trouble with a technology for new hyper-rhythms and microscopi- New York label Def Jux headed by former Company track Concrete, and is the standout chiming melodies layered ontop. and digital, using acoustic instru- comp of this length (two jammed-full CDs, 30 tracks cally detailed hi-fi sound worlds. Half of Flow producer El-P usually pairs apocalyptic on this side if only for its dj-trick The track unfolds with almost ments and found sounds but in total) is that there’s a danger of losing concentra- Funkstörung, Chris DeLuca moves deeper into rhymes against equally ‘sturm und drang’ beats usability. All up this split 12" is a square wave leads and manic treating them with granular syn- tion somewhere in the middle, especially if a few hiphop territory with this latest album. Clipped, drained of funk. Cannibal Ox and El-P’s own recent release that sounds like it is micro hi hats. This side closes thesis techniques and glitchy cut- tracks aren’t to your taste. Peter Hollo shredded voice samples are patterned into break- solo project rain down nightmare tales of dysfunc- straight outta the mid-90s - with an 8-bit console gone hay- beats; DJ cuts and spinbacks are emulated by DSP tional families and New York tearing itself apart in a ups, and sitting them alongside straightforward slowcore break- wire static beat piece, almost like electronic sounds. Qua is to effects; syncopated beats snap with a mechanical way that makes Wu Tang’s overproduced fantasy beat. Sebastian Chan Mario had one too many bad some extent following in the precision; synth blurts are ruthlessly edited and cut worlds all the more ridiculous. So it is odd that the mushrooms. Barry Handler footsteps of overseas groups like short. Prefuse 73 and more recently Anti Pop Ohio-based DJ-producer RJD2 would release such a A 24-hour liquor license means Alex Davies Deepchild 32 more than simply allowing the Artist, programmer, doll-maker, Rick Bull, or ‘Deepchild; as he’s unhindered purchase of alcohol. and weapons-designer: Alex known to his followers, is a cult It is an assertion of liberty, a Davies is a maverick by anyone’s leader masquerading as a con- REVIEWS refutation of mealy-mouthed definition. He has made his own temporary electronic musician. wowserism, an affirmation of the unique mark on the art world Hidden within his music are vigorous frontiersmen values while never pandering to its pol- backwards-masked subliminal that made this country great. itics. More than once he has messages calling on all that listen record as Dead Ringer on Def Jux. Like Anticon’s Jel UNRELEASED DEMOS phrenic vocals and scratches is cians and DJs producing leftfield electronic material Frequently the clientele of such ruined an occasion by wading to follow him unquestioningly. and DJ Shadow, RJD2 is obsessed with trawling with the Peanut Spell ... check cyclicdefrost.com crazy, but not insane as I’m sure and ambient works can find an outlet. Barbeque establishments have an equally through the crowd drunkenly He spends much of his time at record bins for old rock, funk and soul form the 60s for mp3s from the demos below many critics conclude. Its more Beats: Sunrise On A Rooftop in Brooklyn is the first libertine outlook, and have done brandishing one of his many his heavily guarded compound and early 70s and then recombining their elements real effort from the label to establish links between like a swirling mash of ideas,

with your host am throughout history. From the sabres or flails. His monthly just north of Sydney, where it’s into new structures. In fact, Dead Ringer shares a lot Alf and Munk featuring Mirage and Ed Gee sounds and ‘liberated creativity’ this ever-growing collective of similarly minded spittoon-filled saloons of the newsletter The Gilded Trough is said he keeps a zombie army and with Shadow. Drums covered in a thick layer of Untitled underneath traditional hip hop musicians and from listening to the disc the experi- Wild West and the blood and a confused and libelous rant a retinue of willing nubile concu- dust, offkilter guitar loops, and a cut & paste aes- These lads have been on Sydney’s ‘drum’n’bass and drums. Will Curse blow up over- ment is indeed a success. Lawrence English sawdust pubs in rural Victoria based round his rabid right-wing bines. His latest album, thetic that revels in the audible age and deteriora- anything in between’ circuit for quite some time. seas before people give them where the Kelly brothers bided beliefs and warped sexuality. He Chocolate Dubs, is out now on tion of the sample sources. And like Shadow, too, Joined at the Bass and Sonic Fiction should ring respect here? Probably. Urthboy Various Artists their time, to the Mos Eisley can- divides his time between Dumphuck records and can be there is a very real awareness of song structure – bells for many junglists, and their latest night Communication Problems tina where Obi Wan saved Sydney and Austria for taxation found wherever good music is even when there is no song, and a sense of narrative ‘Airbourne’ happens on Sundays at V-Bar. Symbolic Fantasm (Vibragun) Luke’s ass: taverns such as these purposes. sold. when there are no words. The few tracks with guest The crew has always stuck clear of producing Foot in the Door The third release on Sydney based label Vibragun have slaked the thirsts of the MCs feel as if they are there to please the hip hop angry tearout drum’n’bass, instead opting for the With vocals recorded on a single features both local and international sonic art cre- dangerous, the desperate and the Men Without Hats Stevie Wonder fraternity, which is a bit frustrating but I guess that’s deep rollers. There always seems to be a big focus track program and raw produc- ators. The double CD compilation is entitled foolhardy alike. The Judgement ‘Safety Dance’ (Video juke) ‘Master Blaster’ one of the limitations of being on a New York label in drum’n’bass on the technical rather than the tion techniques, this Sydney Communication Problems and the printing on the Bar, in Sydney’s Taylor Square, “A bit of a Judgement Bar classic, “Summer, sensuality, longing, – expectations. Sebastian Chan musical side of production, but thankfully this CD hiphop crew’s demo is surpris- packaging and the discs themselves echo the theme is such a place. always seems to come on at a hope and faith. Unexpected demonstrates a good understanding of both. The ingly impressive. The flows of of compilations title with text and graphics scram- Frequented by those at soci- ridiculous time of night when Grace. Sounds even better on Various first track from Alf and Munk is a great morning- Orbit and Snail are interesting bled all over the place. In fact one must refer to the ety’s margins, and those who just the alcohol has addled ones gritty vinyl.” Barbeque Beats: Sunrise On A Rooftop in Brooklyn type tune with sweeping pads, classic breaks and a and rhythmic with a refreshingly website to get a decent picture of the track listing! like to watch, its very name is an brain. This was one of the first (theAgriculture) nice sub-bass workout reminiscent of early jungle. humorous outlook while the pro- An absolute wealth of affront to God. But until that pop songs that I remember being Michael Jackson Compiled and mixed by DJ Olive for his new Alf’s work with Mirage and Ed Gee is also a high- duction of Eos shows a capable sounds, styles and durations are waiting to be dis- promised day of reckoning enchanted by. I am still per- ‘Billy Jean’ theAgriculture imprint, Barbeque Beats: Sunrise On light with diva vocal samples over rolling bass ear for sampling. DJ Thunkone covered here with tracks ranging in length from 14 comes, we who hide from the plexed by the bands preposterous “Disco essence in its finest form. A Rooftop in Brooklyn captures the musical experi- lines, more on the dance floor tip. lays down tight scratches seconds to nearly ten minutes. Tracks range in style light will be drawn to it like name and the film clip is a true Zen and the art of beat mainte- mentation of a new grouping of likeminded artists. This demo also exhibits some luscious down throughout. Overall it is worthy from the dark drum n bass of Napalm Death’s ex- helpless mariners to a pitiless classic including medieval danc- nance. Classic, catchy, booty- Suggesting a new sub-genre, Rooftop Music, tempo works with layered keys over some leisurely of a demo release, but with work, drummer Mick Harris to strange mutating morse shore, dashed upon its jagged ing dwarves.” shakin’. I challenge you not to Barbeque Beats also unveils what's in store from hip-hop beats. Sulo this crew will be fellas to look code bleeping of Speedranch vs Jansky Noise, with rocks then washed out onto get excited about all that pop can theAgriculture in the coming year. out for in the future. Urthboy things like the avant hiphop of alleged Jungle Oxford Street – the flotsam and Duran Duran be after listening to this.” Focusing primarily on artists based in and around Magnus Brothers’ muse Sensational in between. Then there jetsam of humanity. ‘Girls On Film’ (Video Juke ) New York, this compilation features sounds from Live & Improvised Betaville Orchestra are the downright bizarre tracks such as Chopper And while we sit there, eyes “This is not my favourite Duran Bob Marley the likes of QPE (Quiet Personal Electronics, whose This group consists of three members operating a Miss You Read & The Blue Flames’ curious spoken word squinted against the pale dawn, Duran track, I would have pre- ‘Is This Love’ album is out on theAgriculture), producer whiz-kid drum machine, guitars, bass and keys. Whilst not a ‘Klaatu’ kicks off this five tracker meets acid techno number. we will listen to what must truly ferred ‘Hungry Like the Wolf’. “The small reminder of the Scotty Hard (who manned the desk and effects on real attention grabber on the first listen, this CD has with some jazz piano stabs over a Brisbane sound artist Andrew Kettle provides a be the devil’s music: the Nevertheless a good catchy pop impact that Caribbean music has the last Medeski, Martin And Wood albums), Once curious 14 second short track – which I chose to lis- definitely grown on me. The sound is always ambi- lazy break, completed by a Judgement Jukebox 01.1 Judgement Bar jukebox, and we song, and more importantly a made on the world. A quietly 11, long time junglist DJ Wally, Lloop and The ent, with dub influences and bass lines that some- cheesy r’n’b a capella that ten to on repeat for a while to get the hang of it. will confront the most challeng- truly adventurous film clip for its subversive hope that in every Ladies Man (aka Raz Mesinai/Badawi). There's a times remind me of Depeche Mode. sounds beautifully out of place, However this caused me to think I was going mad ing question ever asked of one- period in which scantily clad pub, alongside Cold Chisel and great deal of interesting sounds present here, with The standout track here is ‘Transit_a’ which has a if that makes sense. ‘Marla’ is a as the track seemed to sound different each time self: what the fuck am I going to females bludgeon each other AC/DC, is the voice of liberation, 'Old Spice' by The Ladies man and 'Vaus' by real ‘Cure’ type feel with feedback-delayed guitar nice laidback number with warm through! Curious… Also appearing is Sydney’s listen to? with pillows.” longing and unquenchable Sporangia being among the highlights. Lloop's 'Long and a descending 80’s style bass line. It would have keys and filtered saxophone Pimmon who gets in on the communication theme Make no mistake, it’s no easy integrity. Seemingly innocuous, Jumps' is another magnificent piece of work. An been nice to hear the drums come out more in the lines. It has a real housey feel with a track reminiscent, at first, of morse code task. More than one contender The Clash with a deeper current that seeps inclusion from his soon to bereleased Warm album, mix or maybe even change a little more, but overall that moves nicely with low-end being played by a fog horn. Aussie sound art heavy has been moved to tears by the ‘London Calling’ into the consciousness of even it's trickling pianos and soft pads give this track a though this is an impressive demo. Sulo rhythms that never quite kick in. weights Oren Ambarchi and Martin Ng deliver an ordeal. I have resolved, then, to “Sheer dismay has forced this the most cynical piss-head with a discontented feel that definitely marks it as one of The melancholy ‘Miss You’ is my enchanting drone/tone piece where timbres shift use the Judgement Jukebox to track due to the overall decaying dollar to blow on the video- the stand out pieces on the record. Curse Ov Dialect pick, which features a piano and twist cunningly. I must admit though that I probe the darkest reaches of the selection of good music and con- duke.” If there was a theme to this compilation then it Untitled motif carrying it along a simple have become completely enchanted by the track human soul, to test the mettle of temporary plop. Perhaps it is my surely ties back into the aesthetic that Although this demo was distributed around late last break with some ultra-filtered from Thomas Köner (aka Porter Ricks) which hints those who claim some knowl- current grueling sobriety in this Beverage of Choice: Guinness theAgriculture is propagating. Instead of this disc year, it is a worthy CD to look at, if for no other rea- vocals. Keep a lookout for the at beautiful voices floating amongst powerful flut- edge in these matters. In short, to place. Again not one of the most coming off as a record made to collectivize a group son than to check out what preceded their recent album, set to drop early next tering subsonics. Plenum’s track amuses and confus- give them $2 to put in the charming tracks by this group of musicians into a scene, Barbeque Beats more just signing to US label Mush. Those not familiar with year. Sulo es with its disembodied voice and his search for machine then tell me why they but still a delight.” sets up a space in which these artists can connect the frenzied creativity of Curse Ov Dialect, may be religion. Farmers Manual do their data sonification chose what they did and, more and potentially end up working alongside each thrown off by the chaotic and desperately quirky The Peanut Spell can be heard trick – raw data screams past your ears. A strong importantly, how the hell they Beverage of Choice: Laudanum other on various projects. TheAgriculture is essen- musical construction. But rest assured, the clashing on 2SER-FM every monday at release from this young label bound to keep your can live with themselves. tially looking to establish a port or hub where musi- ears surprised for some time. Luke Dearnley of multicultural samples and rhythms, schizo- 12pm. 34 DEAR DEGRASSI As I sit here and write this the television is on THE SOAPS (quel supris) and there’s some 1960s Shirley I honestly can’t understand why Aussie soaps thrive ment upon Britain’s European approach to alcohol MacLaine film on where a short guy wearing a in the UK. They are so incredibly lame in compari- or Australia’s almost comically American approach lampshade on his head saying “cha cha cha” in son. It’s like comparing an Australian after school to responsible broadcasting that Australians would seductive tones while gyrating wildly on top of series made in Perth to Twin Peaks. Summer Bay never see game shows encouraging contestants to Shirl’s bed to some heavily brassed up show tune – and Ramsay Street are so squeaky clean compared mix up large tumblers of rocket-fuel to the recipe it’s 8am on Saturday morning. to the incest, lies, prostitution, drug use and black- they used when they were teenagers, while being mail of Coronation Street and Albert Square. egged on by the host and audience to down it in I know what you’re thinking – Degrassi’s all cashed Considering I have I full time job I truly only have one to win more points for their team and hence a up and she’s got cable again. I realise it’s now time the resources to follow one show religiously, and trip for six of them to Ibiza. to open that bulging bag of Dear Degrassi mail and after the teasing glimpse of the show I received in answer some questions… the mid-80s on the ABC, Eastenders is the one. You DECONSTRUCTING THE INDIVIDUAL could not possibly understand the hours of research Three shows that appear to be shoving two fingers and interviews in the staff room with co-workers I up at the Geneva Convention are Series 3 of Big Dear Degrassi, had to put in so that I was able to make any sense Brother, Would Like to Meet and Fat Club. Where the hell are you? out of the programme at all. Now that it’s clear I sit Several weeks into this series of Big Brother, two Bif in front of the television like a binge eater in front evictees have been subjected to jogging a gauntlet of of a fully stocked fridge! And with Spandau Ballet’s approximately 5000 people mercilessly hurling pro- I too have heard rumours that while loitering Martin Kemp recently leaving with a bang (literally) jectiles, abuse and booing loudly enough for the around Castlereagh Street I was lured by “personali- and Goldie making sporadic guest appearances as housemates to hear – live on television. Now let’s MANITOBA TOUR DATES ty testers” into giving away my fortune in order to and Eastend gangsta, you can understand why! Not hope that production company Endemol’s extensive 27 September: Melbourne psychological screening programme ensures they have alien trace elements extracted from each and to mention the fact it continues to employ British Corner Hotel w/ Ben Frost, every cell of my body using highly questionable comedy royalty in the form of an ex-Are You Being chose the right people. So far it seems to have failed DJ Quokkenzocker,Qua, detoxifying techniques. And, well, that’s not so far Served sex siren and scantily clad Barbara Windsor as two contestants have walked out of their own from the truth. I’m living in London. from the Carry On films. Speaking of which… accord – one in less than a week! Ai Yamamoto, + projections I’ve now been here for two Royal deaths, the Would Like to Meet is just cruel. Basically people 28 September Queen’s Jubilee and the World Cup which, because of are encouraged to dob in their nerdiest, most asexu- Brisbane: Powerhouse the time difference between Japan/South Korea and al-but-not-by-choice colleagues. This person is then 29 September: Melbourne GMT, instigated the passing of a law that allowed torn to shreds by three ‘professionals” who don’t Honkytonks (DJ set) pubs to open at 7am so that no one missed out on the even pretend to have credentials, changing every- true World Cup experience. I thought it couldn’t get thing from their clothes and hairstyle to their very 2 October: Sydney any weirder than this… personality. Forcing unbearably shy men to offer Frigid, Hopetoun Hotel The most striking thing is that British terrestrial women in the street a rose in exchange for a kiss… 4-6 October: Newcastle TV is so far behind Australian TV because every- on film? I just know they’re editing out the bits Sound Summit Conference thing is shown on cable first. Even Big Brother is where they start to dribble and collapse into a foetal shown on cable one day before it’s shown on terres- position on the pavement. trial. (Which, I have to say, is so juicy over here right BENNY HILL LIVES ON! Fat Club. What can I say? Take a pretty, skinny, now – they’re plying half of them with alcohol from You know how people are either Cat People or Dog bitchy Cosmopolitan Nutritionist who has nothing 10am while completely depriving the other half, People? Well I ask a variant of that question: If but disdain for people who can’t control their causing near physical confrontations over warts and someone held a gun to your head, who would you weight, an American Drill Sergeant who is in charge nauseatingly cringe-worthy blow jobs. Eugh!) hold an audience with: Vanilla Ice or Benny Hill? of the exercise programme, a spineless low talking The most frustrating thing about terrestrial TV Even before the big V got his arse whipped by doctor and put them in charge of humiliating 12 over here is the complete lack of music videos. Willis from Diff’rent Strokes in Celebrity Boxing a overweight men and women who must have fucked That’s not to say that there is a lack of music though, few months back, I was a Benny Hill girl, despite Buddha off last life cycle to cop karma of this it’s just that it’s all performed “live”. The problem is his demise last decade. (After all, the highest paid nature and you’ve got Fat Club. The lowest point that in the four to six week lead up to releasing a woman on US TV – Jane Leeves who plays Daphne was when they starved them and then set them on single, you see it performed on 8 to 12 television on Frasier – was once a Hill’s Angel – fact!) each other like it was some sort of cock fight, before shows and you know the choreography by heart! All Benny Hill People are well catered for in this they staged a revolt and escaped the mansion fat very well when you’re eight and you dream of per- country as the PC-free variety and quiz show/vari- farm in their own cars and gorged themselves on forming solo in the Rock Eisteddfod, but not so good ety show variant feature heavily on programme ros- McDonalds. I swear I’m not making this up! twenty years on with recurrent ankle injuries… ters. Somehow the British feel vindicated in their classist, racist, sexist, ageist sense of humour if the Remember – television is your friend! lines are delivered by an outrageously dressed, Love, bitchy queen. I’m also not sure whether it’s a com- Degrassi