Cyclic Issue 13 14

TUNNG AMANDA HANDEL & GL SEILER
Mother’s Daughter & Other Songs FM21 Ghosts And Angels FM25
Tunng’s stunning debut album is now available Cutting edge electronica meets spacious
in Australia with custom packaging and bonus haunting piano.
track. Coming September 2006.
For a preview hit www.feralmedia.com.au
“It’s very different though also quite brilliant work
unlike anything else around.” Also available
www.feralmedia.com.au Bob Baker Fish, Inpress Tunng - The Pioneers
www.myspace.com/feralmedia Cover of Bloc Party as heard on Triple J.
“OK - it’s been found, the album of the year.” 3 track EP & bonus video
Demos: Send to Feral Media, PO Box M187 Tim Ritchie, Sound Quality, ABC Radio National.
Missenden Rd, Camperdown,
2050, NSW, Australia.
ISSUE 13
Contents
4 TRAIANOS PAKIOUFAKIS
by Mattew Levinson
Cditorial
There has been a lot of change here in the past few months at Cyclic Defrost.
Dale Harrison, our long time designer, editor and co-founder has sadly resigned.
7 JAMES HANCOCK Dale has been a key member of Cyclic Defrost and we are sad to see him depart. Bim
by Bim Ricketson Ricketson has taken over as designer and will be introducing his own style over the
We welcome your contributions and contact:
12 TOYDEATH next few issues. Bim has been involved with Cyclic Defrost since Issue 1 as a writer
PO Box A2073 by Bob Baker Fish and has a background in design and film making.
Sydney South It has been a long time since our last issue so Issue 14 is a bumper double issue. As
16 STEVE LAW a result we have a double cover – the front cover by Traianos Pakioufakis from the
NSW 1235 Australia by Andrez Bergen
Meupe label in Perth, and the back cover by the Sydney-based artist James Hancock.
[email protected] 19 SAFETY SPARROWS There are stacks of interviews with local Australian producers and artists – Toy
www.cyclicdefrost.com by Dan Rule Death, Steve Law, Scissors For Sparrow, Faux Pas, Moving Ninja, Textile Audio,
ISSUE 15 deadline: September 15, 2006 22 MOVING NINJA Cleptoclectics, and a broad overview of the state of improvised music via coverage
by Sebastian Chan of the Now Now Festival. From overseas there are interviews with Matmos, Tunng,
Publisher & Editor-in-Chief
Jimmy Edgar and supergroup Battles. Legendary Newcastle DJ and producer Mark N
Sebastian Chan 25 FAX PAS
by Matthew Levinson delivers an exhaustive rundown on the records that have shaped him in our regular
Art Director
piece, Selects. On top of this are our sleeve design reviews and music reviews.
Bim Ricketson 27 NOW NOW Not only that, you are probably also holding in your hands a copy of the free CD,
Sub Editor by Bob Baker Fish
Emergent, that comes with this issue. Produced in conjunction with the Noise Festival
Aparna Khopkar
33 JIMMY EDGAR and ABC Radio’s Sound Quality, Emergent features music by young Australians 25
Reviews Editor by Dan Rule years and under – including many of those interviewed in this issue.
Sebastian Chan
36 BATTLES All this content in the magazine means that there is even more online – more
Advertising interviews, stacks more reviews and don’t forget to keep up to date with all our latest
by Jon Tjhia
Sebastian Chan
reviews at the Thermostat blog. Between issues it is the place to visit for all the latest
Advertising Rates 38 TUNNG
content - generally updated daily!
download at www.cyclicdefrost.com by Anna Burns
Issue 15 should be out around October.
40 EMERGENT
Distribution 42 MATMOS Sebastian Chan
Inertia Distribution (www.inertia-music.com) by Dan Rule Editor
Printing 45 SONAR
Empire Printing by Chloe Sasson
Stockists South Australia: Muses, Big Star, B Sharp,
Website
Giv Parvaneh and Sebastian Chan
47 SELECTS: MARK N NSW: Victory Music, Plum Music, Market Music, Troy Chatterbox, Uni Records
Horse Rock Shop, Hi Fidelity Lounge, Salamander Tasmania: CD Centre, Ruffcutt, Wills Music, Aroma
Web Hosting 57 Sleeve reviews Sound, Spot Music, Redback, Spank, Music @ Byron, NT: Casuarina
Blueskyhost (www.blueskyhost.com) Hum on King, Hum on Miller, Hum on Oxford, Leading
62 MUSIC REVIEWS Edge Warriewood, 360 Sound, Leading Edge Penrith,
If your store doesn't carry Cyclic Defrost then get
Guest Cover Design them to order it from Inertia Distribution
Traianos Pakioufakis and James Hancock Plus online at Mall Music, Electric Monkeys, Fish – Newtown, Fish
donors
– Glebe Music, Bizarre, Euphoria, Freestyle, MCA,
Issue 13/14 Contributors
www.cyclicdefrost.com Metropolis, Recycled, Explore Music, Disc, Reefer,
Donors* who made major financial contributions to
Alex Crowfoot, Ali Burge, Andrew Chuter, Andrez Bergen, more music reviewst Record Store NSW, So Music, Red Eye
the printing of this issue :
Angela Stengel, Anna Burns, Barry Handler, Bec Paton, Bim Victoria: Licorice Pie, Slap, Readings Carlton, Hopscotch Films, Preservation Records, Feral Media,
Ricketson, Bob Baker Fish, Chloe Sasson, Dan Rule, Daniel More articles Northside, Kent St, CC Geelong, Recycled, Missing Mark Gowing Design, Chris Bell, Maude Brady,
Jumpertz, Daniel Spencer, David Lappin, Emmy Hennings,
Link, JF Porters, Boston Sound, Voyager Port Richard & Cam, Jeff Coulton, Stephen Cox, Eve Klein.
Guido Farnell, Jon Tjhia, Lawrence English, Lyndon Pike, mp3 downloads Melbourne, Record Collectors Corner, Second Spin (*see page 79 to see how to subscribe or donate to
Mark N, Matthew Levinson, Max Schaefer, Peter Hollo,
Renae Mason, Ron Schepper, Scot Cotterell, Sebastian
Tech, Voyager Ivanhoe, Greville, Sister Ray, Polyester, assist Cyclic Defrost Magazine remain in print)
Synaesthesia, Central Station Melbourne, Substrata,
Chan, Simon Hampson, Thomas Whitehead, Tim Colman.
Gaslight, Raouls, Kriskay
Thank You ACT: Impact, Landspeed The views contained herein are not necessarily the
All our donors both large and small, advertisers, writers views of the publisher nor the staff of Cyclic Defrost.
and contributors. Dale Harrison for all the hard work over Queensland: Skinny's, Rockinghorse ,Butter Beats, Copyright remains with the authors and/or Cyclic
the years; Nick, Justin and Lucy at Inertia; Hugh at Empire Sunflower, Toombul Music, Alleyway, Cosmic Music, Defrost.
Printing; Giv Parvenah (good luck stateside!), and Chris Leading Edge, Music Scene
This project has been assisted by the Australian
Bell at Blueskyhost. Government through the Australia Council, its arts Western Australia: Dada's, Mills, Central Station
funding and advisory body. Perth, Planet Video, Chinatown Records
CYCLIC DEFROST ISSUE 13/14 [07.2006] page

COVER STORY
Cover designer: Traianos Pakioufakis

Interview by Matthew Levinson
TOOT SUITE
Perth is a long way from anywhere, as cities go. Pakioufakis learnt piano and guitar growing Stina to play the show. Apparently, Pakioufakis
up but never really pursued them. At 14, he played a signature five-minute set of riotous
It is so isolated that bands simply do their own
started making music with his computer and got noise and pop that the crowd loved. The label
thing, or else they up and move to Europe. That interested in noise, self-releasing a rash of tapes soon became part of the Aesoteric crew. He has
is the generally accepted truth at any rate. and CDs to high-school friends, which spun out since collaborated with Chris Cobilis, Manuel
into the FuckFace CD-R noise label. In 2001, Bonrod and M. Rosner (aka Pablo Dali), and is
22-year-old Traianos Pakioufakis, known to he played his first show and simultaneously working on a commission for a dance project
his cronies as T-pak, grew up in Edgewater, a stopped making new tracks, instead recording choreographed by Sam Fox, titled `Run'.
safe northern Perth suburb with a beautiful new material to use in an improvised manner Early in 2004, Meupe released Stina's Pocket
lake. `Perth is great,' he says. `The typical on stage. He was soon sharing bills with Songs, a lovely piece of music packed in a
complaint is the isolation, which seems to be a hardcore bands such as AIDS, and post-rock basic jewel case with a badge, and enclosed
big deal for a lot of artists and so they move, but favourites The Tigers and Adam Said Galore. in an envelope of cutely printed tracing
I think it's probably had a reverse affect on me. Moving on, the nascent record boss started paper. Releases from Pimmon, Inchtime,
Nothing's ever going to happen in a small town indie electronic label Meupe after discovering Qua, Lawrence English and Pivot that couple
Clockwise above: unless you do it yourself, so leaving to join an Aesoteric, a regular club night at the Velvet individual design and sound have followed
portrait of Traianos already established scene never really made any Lounge (since that venue shut, Aesoteric has in rapid succession. It is a unique thing to
Trakioufakis by Rob sense to me. I guess that's why it was natural for bounced between the Bakery, the Rosemount be able to package somewhat difficult music
Simeon; Muepe CDR me to start a record label and put on shows.' Hotel and Hyde Park). Dave Miller, one of the in a manner that instantly disarms listener
release of Pablo Dali; Small cities usually mean less hierarchy, less guys behind Aesoteric, who recently released prejudices.
Inchtime flyer; people and more personal connections. You can a remix EP on Meupe, says he stumbled across `The packaging and artwork of a release has
Aesoteric flyer. just try things and make them happen. the FuckFace website and booked Traianos and always won me over in a record store,' says
page CYCLIC DEFROST ISSUE 13/14 [07.2006]

ìt's especially important for a label such as Meupe to have a
strong visual identity so that people appreciate and purchase
releases rather than burning or downloading.'
Pakioufakis. Ì think it's especially important for a label with a Nikon F100 and 35mm film, as well as a Canon
such as Meupe to have a strong visual identity so that EOS-1Ds Mark II digital, he's pursuing a minimal
people appreciate and purchase releases rather than aesthetic that ties into a history of design, which stops
burning or downloading. Not that I think that those off in Norway with Kim Hiorthoy's sleeves for Rune
things are killing music, but it's nice to have the option Grammofon, and to a lesser extent Reid Miles's work for
of owning a well-designed product you'll happily put Blue Note.
on your shelf over an encoded audio file you can't even Ì've always been interested in the printing process,
touch.' but didn't really think much else about it at the time,
Three-inch CDs, unadorned jewel cases, and other until a year or so after [the design course finished] when
unique uses of packaging tie Meupe into a historical Aesoteric asked me to do some flyers and posters for
thread of iconic record labels. Ìt makes the release their events. From there it's just been word of mouth
collectible and personal,' he says, `which is important and I do as much as I can between my full-time job at a
for recordings. It shows that the release hasn't just been photographic studio and running Meupe.
put together to generate money but so that it exists as a Ì'm not usually that specific with graphic inspiration
documentation of sound. though any minimal design and innovative packaging
Ìt should be seen in similar light as a book; you never will do it for me. Right now, I'm a big fan of using
see a novel or art book hastily put together. Binding lines, dots and black and white photography like Heidi
and printing plays a huge part in the package especially Specker, Lee Friedlander, Irving Penn and Rankin.'
those that are unique to the format.'
Pakioufakis undertook a photography course that
included a basic graphic design component. Now, armed

Pakioufakis designed the stark cover of this month's issue of Cyclic
Defrost. `The photograph was taken on Murray Street in Perth in
winter last year,' he says. `The cover probably indicates my love of
simple black and white design and yes, those old ECM sleeves!
`Nowadays people seem to be weary and aware of retouching, but
it's played a huge role in photography for many, many years. People
seem to forget that there were manual printing techniques used in the
darkroom, which enhanced photographs. The fact that we now have
more options whilst effectively doing the same thing on a computer
screen makes people question a photographer's skill. I really don't know
why! We live in a very visual society that relies on post-production,
there's no going back.'
Despite the obvious demands of designing a music magazine cover,
Pakioufakis felt no great pressure to follow any particular creative
direction. Aside from the shape, of course. `Having the cover of Issue
13 on the back of this issue made me think about it a bit more, in that
it's such a cool and colourful design,' he says. `But I decided to run
with my original idea, which is super-minimal. I took the invitation
as a compliment to prior output and just created something that was
typically in my style. Anything else wouldn't have seemed right.'
'I took the invitation as a compliment to prior output and Clockwise from left: portrait of
James Beck; portrait of At Waugh
just created something that was typically in my style. With Gieles .
Anything else wouldn't have seemed right.'

FEATURES / local
Interview with James Hancock

by Bim Ricketson
HAND ON HIS ART

You may have seen James Hancock around and not realised who he was. It’s quite possible
that it was him ruffling through the skip bin in your street last night. Or the one
admiring a crusty piece of paper fished from the gutter. Or while you were skimming
second hand records at a flea market he could have been next to you, haggling for an
antique book on magic tricks.
Hancock’s art and design – to him they’re racing between meetings – he’s wandering,
inseparable – is built from the layering and looking over fences and picking up junk; it’s
recontextualising of everyday objects that the rest where his all inspiration comes from. ‘Everything
of us would either ignore or appreciate but not and anything takes interest,’ he begins ‘It can all
collect and obsess over. His work is a distinctive be used at some stage. Though I'll also just collect
collage of fabrics, printing, drawing, painting things in my head if I've got a job on. Or if I'm
and found objects. And while he is as at home doing a series of works, you can walk around and
on his laptop as he is with canvas, all his work find colours or shapes or other inspirations in the little moments.’ Some objects are easier than
maintains a tactile and homespun feel. most random things - the edge of a chair, the lick others to collect, but there’s always a way to make
Hancock graduated from a degree in Visual of paint on the gutter, the shadow on the wall. I them your own in some way. ‘It sucks sometimes
Communications six years ago. Soon after he don't know, there are so many things to look at. when you see something you really want to take
moved into an old bank building in the Sydney’s I love getting obsessed about some little piece home, something you really want to pick up,
inner-city suburb of Redfern with two friends of crap. One old pencil, a piece of wood, I have but it's too big, or it's on someone's house or it's
and together they began the artist-run initiative a small wooden ball I quite like at the moment. totally festy in the gutter on a rainy day (though
Space3. He has been involved in a wide range Power tools, pencils, mouse, scissors, speakers, I have picked up dodgy wet pieces of paper in
of projects across a number of media – from cogs, paint, wood, print. I had this magic trick the street to cut up later). Sometimes I've gotten
website design, VJing, album designs, animation, book from the ‘20s with beautiful illustrations around this; I remember there was this billboard
Above: detail photography and graphic identity, through that looked so weird de-contextualised: guys on Parramatta Road that I really liked, it was
from 'Artkerchief' to his mixed media artworks. The creative blowing smoke into their sleeves, or shaking made up of all this old sheet iron and I would
illustration for Third and personal relationships formed through hands in really suss ways. have loved to have had it but it was about 30m
Drawer Down; the gallery in which he lived has led to a wide ‘Collage and cut out has always been important x 15m and on someone's shop, so I just started
'Insert' silkscreen, network of creative types to collaborate with. As to me as a way of exploring relationships and of telling people it was mine. Whenever I drove
acrylic, photocopies well as just finishing compiling a compendium building narratives between images and objects. past with someone I'd say that the billboard was
and varnish on of Space3 shows into a hardback, he’s co-running One thing next to another thing can be really mine, so I'd sort of picked it up and collected it.
canvas, done in the Indonesia/Australia art festival gang. amazing. Photos side by side, old bits of paper, I just didn't have it at home in my pile of stuff to
Indonesia He’s a busy guy. But you can be sure he’s not plants, it all can be built like blocks into poetic be cut up later on.’

‘Space3 became very well known as a place for
artists, musicians and creatives to have the
opportunity to collaborate and exhibit their
work in a very free environment.'
Artists like the Dada reject Kurt Schwitters and

hallucinatory painter Francis Bacon are an inspiration
as much for their process as their works. ‘I really love
chaotic artists’ mess, their studios, a total involvement
in process,’ he says. ‘I love the idea of letting your
creativity totally take over your surroundings. ‘I love
how Kurt Schwitters went crazy on his house: from a
collage, he infected the walls, then building structures
and sculptures until the whole house becomes the work,
the philosophy surrounding a bit of personal madness.
And I love the idea of artists like Francis Bacon standing
in all this crap of layered images and collected junk and
paint, living in it, sleeping in it. Then picking out bits of
finished work. It’s the ultimate collage process, things
actually falling onto each other, paint spilling accidentally
but perfectly onto an image. Such great potential for
serendipity.’
Living in your studio, which itself is inside a gallery is
certainly one way of getting absorbed in the art-making
process. And that’s how James lived in the Space3 gallery
for two years. ‘Space3 started in 2000. It became very
well known as a place for artists, musicians and creatives
to have the opportunity to collaborate and exhibit their
work in a very free environment. There have been some
pretty massive shows. Futura, for example, packed the
place out, purely through word of mouth, there was no
promotion at all. He left a huge painted sticker on our
fridge which someone reckons is worth a million bucks.
I think we left it behind though, so its probably still in
there rotting away!
‘The early NOWnow improvised jazz nights were really
romantic. There wasn’t a scene for that at the time so
they were really trying things out. I had certainly never
experienced anything like it. Now there’s quite a scene for
it and their festival keeps getting bigger, it’s great to see
something grow like that. There have been some really
From top: 'Mechano' poster, intimate shows too; what made them all special was that
photocopied drawing; 'Bule Pramuan' it was always about showing the work and hanging out.
ink, charcoal, pencil on paper, done The first show we did because we wanted to have a show
in Indonesia. Over page: Josh Pyke of our work and be able to sit around with our friends
record sleeve artwork; stills from and new people, have music, have it informal, but all
animated videoclip. work together.
‘After years of threats of re-development we finally got
'It’s really stimulating to be amongst piles of
creativity, in music, in visual, in words – to sleep
amongst it, but also having the space to be able
to walk away from it all.'
kicked out of the building after years of successful events - the almond rice and shish kebab smells wafting up on
and being a major part of the artist-run initiative scene religious holidays. It’s great knowing that we are living so
in Sydney. But we were all getting a little frustrated with close to such a different culture. We probably don’t really
the reliance on a space - it is so draining to keep a space know what they’re doing and I don’t reckon they really
running, to teach each new artist or performer how to know what we’re doing up here. It’s so interesting seeing
look after the space and inevitably cleaning up after them each other’s culture pass by. It’s pretty funny too ,seeing
– so we now operate as a project group. We organise trains of white HumVees rock up for a wedding, or super-
shows and other opportunities for the network of artists cute tiny kids in tuxedos being hassled by big mommas is
we built up over the years. Opportunities such as the great. It’s all part of the juxtapositions.
visual catalogue we recently put together with the help of ‘The presbytery is a bit different to Space3 as it’s not
funding from the NSW Ministry for the Arts. so much a public space. Space3 was a gathering point
‘The book is there to promote both the history and for people; there were always people hanging around
future of Space3, to allow people to see what happened chatting. This really bred collaboration and interaction,
over the years. So much amazing stuff goes on in little discussion and growth, both personally and in our work.
galleries around the world that never gets seen, so with The presbytery takes this idea and integrates some of the
the funding we had we really wanted to document some comforts of home.
of our events. I was the main producer, project manager ‘It's really important for me to have other creative
and designer of the book. It was a really stressful project, people around doing other creative things. Different
having to hassle people so much to get the content creative people, old “squat space” people, video artists
together and try and get them to understand how and audio engineers and musicians. Since I work mostly
amazing the end product was going to be. I lost a lot of from home, and spend lots of hours in the studio making
sleep over the printing, the amount of money, whether it things, it’s great to have other people coming and going,
was going to work, and what all the artists involved in the to be able to chat at random hours, to sit amongst their
space were going to think. Having such a massive project creativity, to have them show me things and to be able to
in your life for what was probably about one-and-a-half run ideas past them that I’m working on. It’s really like
years is pretty intense. At some stages I felt like it all a very, very, very free studio, with everyone working on
weighed really heavily on my shoulders, but the Space3 their own projects. It’s great also that we sometimes call
crew we’ve built up is so supportive and that helped so on each other to help us out with certain parts of our
much. We’re basically starting off by self-distributing it projects; I might get someone to help with some music,
through local and national bookstores, working up to or they might need help with some graphic thing. It’s a
international. If people want a copy they can go to our really stimulating environment.
website: www.space3.org.’ ‘It’s great to be in an interesting physical space too,
With the close of the building James moved into a more which enables us to do interesting things like having
regular living environment – a shared terrace house. This really big dinners. We just hosted the annual Imperial
was short lived. ‘It drove me mad,’ he says, ‘There were Slacks (an old artist-run initiative) Xmas cabaret,
students and professionals and we all lived separated where a group of us sat around eating and drinking
lives.’ There was no daily creative interaction. and performing for each other with readings of poetry
He moved next to an unusual shared studio space in written when we were four, nipple tassel dances, solo
nearby Darlington. ‘I’m living in an old Presbytery at music performances, and aerobics classes. It’s really
the moment,’ he says ‘It’s interesting; the church we rent stimulating to be amongst piles of creativity, in music, in
from is Melkite (Arabic-speaking Catholic), which means visual, in words – to sleep amongst it, but also having the
all their hymns are in Arabic, which is pretty beautiful space to be able to walk away from it all, sit outside, talk
to wake up to on Sundays. And it’s pretty nice smelling to someone in their creative space, outside of your head.’
His work is a distinctive collage of fabrics, printing, drawing,
painting and found objects. And while he is as at home on his
laptop as he is with canvas, all his work maintains a tactile
and homespun feel.
On another level James has done the same thing with photocopying, trying to explain double-sided in another
his extended travels overseas. ‘It seems every couple of language was pretty hard! From a Sydney perspective, it’s
years I get itchy feet,’ he admits. ‘So I've travelled quite interesting to pull together all these artist-run initiatives
a bit. Travelling frees me into new ways of seeing, and it – that usually work independently but all know each
is also is a great way to collect imagery. I usually travel other through the network – for the festival. This
overland, trying not to use planes. It's a romantic way to solidifying of relationships has been a learning curve.
travel, more process driven, seeing countries change into For example, dealing with the relaxed and fluid nature
each other over borders - cultural gradients. The biggest of artist-run initiatives – having spaces close as we were
trip I did was overland from Sydney to London, via south organising the festival, moving dates and shows around
east Asia, China, Russia, Scandinavia and Europe. at the last minute.
‘Some of the travelling I’ve done has been a total step ‘My role in the whole festival is mainly as designer,
away from art and design - complete time off, but I have curator and residency artist. I went to Indonesia with
also worked while I travelled, which has taught me to work I curated here with fellow artist Alice McAuliffe.
use whatever material I can find, being inventive with And we both curated shows from Indonesia. I also made
what I have. It means I am actively using and recycling some new work while travelling. I expected to find a lot
things from my environment - this is important, this of craft-based, naïve sort of work in Indonesia, but was
constant collection and re-interpretation of objects, from really surprised to find a very strong contemporary art
pieces of paper to little plastic cogs. I always have a box scene and language. There were great organisations doing
of source material to work from. A recent art project amazing project works with the community and also
involved pulling apart a photocopier to source materials really strong graphic work from individuals.
that I layered with drawings of these found objects (like ‘In some ways it was interesting to see how free they
a botanist draws their discoveries as they go, losing were allowed to be. In setting up some parts of the Gang
drawings along the way amongst rotting plants and Festival in Sydney we’ve had to consider sometimes
animals). pretty crazy public liability and health issues, which can
Recently the Gang Festival project has required an be stifling sometimes. In Indonesia they just do stuff;
extended stay in Indonesia, an opportunity he relished. if you want to set up a shop in your house, go for it; if
‘After travelling so much, I really wanted to do some you want to build a castle in the backyard of your mum’s
work in another country, to really become part of the place, no one is going to stop you. That freedom seems to
culture and not pass through as a tourist. A grant came generate great potential for projects and opportunities for
up from the Australian Indonesian Institute, so we got a artists to take part in the community on a daily basis.’
team together to apply to do an exchange festival, and we Despite drawings no distinction between his art and
got the funding. We decided to do an exchange where a design, James admits that some clients are better than
group of Australians from artist-run initiatives went over others on commissioned design. And some of the best
to Indonesian artist-run initiatives with a touring show clients of all are musicians. ‘They are typically the best
, showcasing work from Sydney artist-run initiatives. type of client because they come from a similar creative
Then we would bring back a number of Indonesian head space,’ he says. ‘So they are genuinely interested
artists and a whole lot of Indonesian art work from in what you are doing as an artist. It is much more of a
artist-run initiatives and have shows, discussions and collaboration, where you are each responding to each
collaborations. other’s work to make the whole thing work together. It’s
‘It was a really exciting trip, and it was amazing also exciting to work with artists whose music you engage
finding ourselves travelling through the night in bicycle with. For example a big recent project was a whole visual
taxis to shows we’d set up, stapling the room sheets package for Josh Pyke (www.joshpyke.com). I did all the
together as we went. And trying to get things done, like illustration for Josh, and designed the CD artwork and
page 10 CYCLIC DEFROST ISSUE 13/14 [07.2006]
merchandise. These illustrations were also integrated into ‘I think I find myself in a really great community of Clockwise from over page:
the video clip for the single “Middle of the Hill”. people in Sydney. From Space3 and all the artist-run 'Mechano' posters, photocopied
‘The final design involved illustrations of animals initiative networks, I've been able to have a community of drawings; 'Twist and Shout
where you could see the interior of their bodies. It was such like-minded yet different people. It's great being in - silkscreen, acrylic, photocopies
a romantic sort of anatomy, where there were too many Sydney for that reason, that I know so many people here and varnish on canvas - as part
hearts, buildings infecting the lungs, and heaps of having spent the better part of 28 years here, that you of a series of work done while
entrails (you’ll see these pipes have lingered onto this are in people's heads; it's hard to build that up overseas in residence in Indonesia; book
magazine cover!). I've found. But overseas opportunities start to build a bit cover illustration 'Powerscape'
I did these illustrations while on the artist in residence more also.’
program in Indonesia. I brought ideas and illustration Pressed on what his works might mean, James finds
techniques from that artistic experience over into Josh’s he only discovers meaning as he goes on – it’s all about
final designs. the process. ‘Most of the time I'm making things and
‘With Josh’s work I started with the lyrics. I got a have no idea why I'm making them,’ he admits. ‘They
lot out of them and built up a story that I connected just happen out of a drive to be creating. But then I
with from them. Then, with the melodies, I took these look back and see that I really was communicating
ideas of stories into a style and context. Because of this something I was working out in my head. I look back
dialogue and shared experience, it can be a really natural and can see that I actually knew more about what I was
rewarding process. I have also done some covers for thinking about than I thought at the time. I love this
Dsico, which used a process of collage that I was working use of creative process to work though thoughts, ideas
with at the time. I was loving putting together tiny bits of and emotions. I can see this happening with musicians
paper, like little colour chart puzzles, the pieces getting around me. Building little moods and poems from words
smaller and smaller in repeating pastels. and melodies, explaining things to oneself. I seem to be
‘I’m constantly seeking new methods of construction. explaining personal confusions - for example working
Technique and process are constantly developing. I out how the body works, not how it actually works,
embrace whatever methods my process takes me to. I am but how you feel it working. Like the Josh Pyke work
constantly looking and playing with what I find. There with hearts all over the body and intestines in the head.
are of course consistently relied upon techniques such Working out how machines work, how you can construct
as collage and drawing, but even the ‘core’ methods are mood and moment. Note taking, machine design, cogs
constantly evolving, one method never stays the same and interconnectedness, the romance of things, little
very long. beauties in moments.’
For more on James and samples of his work -

www.jameshancock.net
‘I’m constantly seeking new methods of

construction. Technique and process are constantly
developing. I embrace whatever methods my process
takes me to.'
CYCLIC DEFROST ISSUE 13/14 [07.2006] page 11

features / local
THIS Toy Death

Interview by Bob Baker Fish
MATTEL COIL It’s a deluge of colour and craziness, a strange, evil,

energetic pantomime. The sounds ricochet around
the small, dimly-lit room. It’s all quite thin though
chaotic, fuelled by too much red cordial and a zany
sense of the surreal.
Toys are stuttering, wailing and exalting strange, something’s wrong. The Barbie spits high- to circuit bend,’ he offers with a sly grin. And
nonsensical sentences and it is crazy, beautiful pitched, garbled nonsense alongside inane drivel it’s with this that we are offered the keys to the
and oh-so-wrong. The performers, Toydeath, about trips to the mall, whilst the giant hulk fists Toydeath kingdom.
are a Sydney-based three-piece who appear make a punching sound that ends in a burst of Circuit bending is about short-circuiting
even wackier than the sounds, seemingly like cheap electronic feedback. It seems these toys electronic instruments. It is predominantly done
action figures themselves, colourfully costumed, have been tampered with! on small, battery-operated toy instruments to
with some kind of outer space rocketeer with a It’s the next day, when my head is reeling from reduce the likelihood of being shocked and is
strange alien visor, an angelic looking Barbie, inhaling too many solder fumes and from four relatively easy for anyone to do. Primarily it
and well, I’m really not too sure, some kind of hours of intense concentration, that I find out involves forming new connections between
dreadlocked orange doll-like creature that I’m how. In my hand, I’m holding a doorbell that I circuits, rewiring the toy at specific points to
frightened to focus on for any length of time have constructed and soldered myself, learning cause strange unexpected fluctuations and
in case flashbacks begin. It’s all very peculiar. from scratch about resisters, capacitors and all distortions in the sound. Simple electronic
We’re at the Empress Hotel in Melbourne’s other electronic jargon. I’m in a class with eight toys can quite easily be transformed into quite
inner-city suburb of Fitzroy on a warm night others. Two of them are under the age of six and complex, chance-based musical instruments,
in mid-December. Local improvisers Pateras they’ve done a better job than I have. My solder where pitch, tambour and tempo have been
Baxter and Brown have just delivered another is lumpy and erratic and it’s taken me double altered considerably. In short it can be a world of
consummate set of eclectic improvisation and the amount of time to construct as my primary limitless possibilities.Or not. Finally, long after
were preceded by the very dodgy Casionova school cohorts. God I hate kids, smugly playing everyone else, I finish my doorbell. Proudly I
camping up his technical problems, farm lifestyle with their buzzers and alarms whilst I struggle plug it into the small testing speakers. Nothing.
and obsession with Casios. But nothing could on attempting to assemble my Dick Smith kit. ‘Tomorrow we bend some toys,’ offers Wishart,
prepare the audience for Toydeath’s onslaught It’s nearing the end of the first day of a two-day handing us all a toy. Mine is a cute little white
of childish mayhem. And it’s so much fun, we’re course in electronics for the uninitiated taken by guitar with a series of notes down the neck and
in hysterics, marvelling at the talking Barbies, Toydeath member GiJoe’s alter-ego Nick Wishart. small buttons that play nursery rhymes.
chattering, flashing Japanese cameras, hulk fists Grabbing one of the kid’s buzzers he looks up at My doorbell doesn’t work. I’m in trouble.
and an over-the-top double-axed toy guitar. Yet the class smiling. ‘Now I want to show you how ‘I think my fascination with toys started
when I was working on a kids theatre show,’
says Wishart later at a nearby pub where I try
At the time Toydeath were content to simply
mix the sounds of different toys, which were
‘The first original thought was to make
to drown my doorbell sorrows. ‘We needed a wacky enough, just adding amplification, heavy metal music on toys,’ he laughs.
prop for a scene where the animals came out to
play as the humans left the house. There was a
though with a very different bent than today.
‘The first original thought was to make heavy
‘And our characters then, we all dressed
drumming rabbit, but we needed a guitar for metal music on toys,’ he laughs. ‘And our like metal gods, black AC/DC t-shirts,
the cat to play. So we went shopping around characters then, we all dressed like metal gods, studded belts, really long wigs and
Canberra and in a toyshop we came across black AC/DC t-shirts, studded belts, really long
this little guitar called a Microjammer. It was a wigs and masks.’ masks.’
perfect size but it also had six buttons that had ‘A few years later I met Tim from Casionova
eight bars of heavy metal on each button, and I and he put me on the path of a bit more bending
was so excited and I thought we could make a them and letting them go a bit crazy,’ he reflects.
band out of this.’ And then the fun began.
This was back in 1995, around the time when The next day we all take our toys apart and become part of the circuit. All you have to do
electronics were becoming cheap enough to go marvel at the myriad of wires and bending is attach a wire to the point and connect it to a
into mass-produced toys. So after learning from possibilities. The doorbell failure is in the back screw on the outside of the instrument. Then
a friend how to amplify them, Wishart began of my mind so I make sure to ask Wishart for whenever you touch the screw the instrument
collecting toys, and Toydeath officially began. assistance every step of the way. We are shown freaks out. Of course to find these wonderful
At the time he was already a musician with a some of the choices we have. Pitch bending, distortions of sound you need the batteries
history of playing sax. ‘I’d had this period where placing buttons between resisters to trigger in and the sound up. And with six different
I had been a classical musician,’ he begins. crazy new variants of sound, buttons triggered toys on the go we have a table of demented toy
‘Then I looked for something more freer and I by light, and my personal favourite: body melodies, pitching up and down, and freaking
started getting into more improvised music and contact, which you can get if the sound really out in the way their manufacturers never
eventually got into composing electronic music, freaks out whilst you are pressing down your intended. Throughout this mayhem Wishart
into the production side, which I still do.’ fingers on the circuit board. You actually is in his element. Every variation in sound
causes a wicked giggle, and though he must ‘There was a group with a bigger political replacing his toys. A song called ‘Froggy’ has
have heard it a million times before, you can see agenda who were going around swapping GI Joe recently been retired, as the toy is no longer with
the genuine enthusiasm on his face when the voice boxes with Barbie,’ he laughs. ‘The best us. ‘They’re pretty robust really,’ he reflects. ‘But
circuits begin to bend. thing I ever saw was I was going through Toys I do a lot of maintenance. But there are songs
‘I see myself as an instrument maker,’ he R Us and there was a Britney Spears doll and we can’t do that have fallen by the wayside. We
says, ‘making new instruments that you can the poor person who put it in the package, their throw them in suitcases and travel halfway
play. Instruments that are also really cute and political act was to put her in the package with around the world or they fall and get beaten
unique.’ As a result Nick does all the circuit her skirt lifted up.’ around on stage and stuff. They are pretty robust
bending in Toydeath and also most of the ‘We’re not really trying to say “Fuck you, though – they have to survive kids.’
purchasing. ‘I can’t walk past a two-dollar shop,’ Mattel”’, he continues. ‘We only use two or three Toydeath have released two albums. 2001’s
he laughs, ‘but also Toys R Us and Kmart.’ He Mattel toys and we have been using Super Talk confusing, chaotic Pokey as Shake and 2005’s
prefers buying toys new and you get some Barbie. Mattel brought out a Barbie that can more overtly song based, yet still crazy Guns
very strange variants in the two-dollar shops. talk and it can say 100,000 different sentences. Cars & Guitars. Though the music is only half
‘When the Spider-Man movie came out all this It’s quite sophisticated; each sentence can be a the Toydeath experience. Live they are a frenzied
imitation Spider-Man stuff came out. I’ve got combination of four parts. So they go “lets”, “do”, assault of silliness, colour and chaos.
this toy, the packaging is called a Spader-Man. “on”, and “with” and you press a button and it will ‘It’s about creating a whole show,’ reveals
The toy is covered in Spider-Man graphics and go, “It will be great to go to the mall on Saturday Wishart. ‘Ideally, I’d like to have a month of solid
you press the button and they’re farm animals. with Ken and Allen.” So there’s quite a lot of rehearsals and develop a real show. There’s a lot
It’s a guitar with a little keyboard and when it’s possibilities all about going to the mall or playing more stuff we can do, a bit more chorography
bent its an awesome bass machine.’ tennis and listening to music and she’s bossy too! and stuff. We really want to keep adding to that.’
Despite subverting the intent of the She’s got lots of great ideas about having fun. I ‘My costume, that’s the second show,’ he
manufacturers, something that may be viewed guess we are subverting Barbie and there’ll be continues. ‘My character’s GiJoe. For a long
as a political statement, Toydeath don’t view times when we have her blabbing on about inane time I’ve been this combat version, camouflage,
their actions as malicious in any way. In fact, things and then we punch her with a Hulk fist. a helmet and some spiky straps and things. I
you get the sense that Nick is almost thankful to But she’s broken at the moment.’ wanted to have a bit of a change. So we got a
the toy manufacturers for the sonic possibilities And therein lies one of the problems of cheap costume designer, he was working on Farscape at
offered to him. electronics, with Nick constantly repairing and the time, and we got the helmet from that.
'I’m the outer-space GiJoe. We’re trying

to develop toy-like characters that
play toys. The pink character is called
L’ Booby.'
So now I guess I’m the outer-space GiJoe.
We’re trying to develop toy-like characters
that play toys. The pink character is called L’
Booby. We approached this costume designer
and gave him a brief and he said “What about
a pink gollywogsexdoll?” And Barbie, the other
character, she started off as Trailer Trash Barbie,
but she’s now become Princess Barbie.’
‘We have had a few people who have come
and gone,’ he continues. ‘We also have another
character, the nurse, so when the Barbie can’t do
the gig we get the nurse in and when the nurse
can’t do the gig we get the nun.’
So amidst of a table filled with bits of
electronics, wires, and soldering irons I’m
feverishly working on my toy. I’ve gone for a spot
of pitch bending, soldered a knob to the circuit
board and drilled a hole through the plastic so
I can mount it on the outside and adjust it at
will. I’ve also got two body contacts that will
surely help me rock out. The problem is that
as I attempt to put everything back together it
doesn’t fit in. Despite my planning my wires are
too short, the hole is in the wrong spot and I
seem to have ripped the wires out that go to the
speaker. Memories of the doorbell come flooding
back. As Wishart wanders past I latch on and beg
for help. Within five minutes all my problems
have been surmounted and I’m plugged into the
test speakers and belching out some of the most
horrible, high-pitched electronica you’ve ever
heard and following it up with deep slow bottom
end. It’s ‘Mary Had A Little Lamb’ pitched
low and slow, taking so long to move between
notes that it’s almost incomprehensible. I am in
heaven. I look over and see Wishart grinning
proudly at me. I am now a bender.

features / local
Zen Paradox
Interview with Steve Law
by Andrez Bergen
UNIVERSAL JUSTICE
It seems that erstwhile Melbourne-based Do you even vaguely recall what you were wave radio, and kitchen utensils. After dabbling
connoisseur knob-twirler Steve Law lurking doing 12 years ago? In my case I had my head with an ambient-electro outfit called Guild Of
stuck in the quagmire of a post-grad history Fire, in 1990 Law helped form the guitar-
behind the machines under the alias of Zen
thesis at Melbourne Uni, trying over those 12 industrial band Foil and, by 1992 – now more
Paradox isn’t so difficult to comprehend after months of 1994 to come to grips with, analyse, influenced by the sounds of Detroit and acts like
all – and in fact he resolved a swag of residual compress, chew up and spit out 10,000 words Underground Resistance – had kick-started his
underlying quandaries during the course of a on Britain’s industrial music putsch in the ‘70s. solo project under the alias Zen Paradox.
recent rant with Cyclic Defrost. In the time since then I’ve conducted a wad of ‘I was reading a book called Valis, by Philip K.
interviews with Steve Law, but the first took Dick, at the same time that I was trying to think
place that year. It was for a long-defunct little of a name for my techno project,’ Law recalls.
goth/industrial/electro magazine called Dark ‘The term “zen paradox” was frequently used
Angel. As it turned out, my specific history in this novel, and I thought it was appropriate
angle came in useful – Law just so happened due to the often paradoxical approach I take to
to have a hankering for industrial bands like making music.’
Cabaret Voltaire and Throbbing Gristle, the very Law’s studio had conveniently developed
same guys I’d recently interviewed in the course somewhat over the intervening years. ‘At
of researching my thesis. that time I was using a Roland MC-500 as a
While fellow Melbourne artist Voiteck sequencer, controlling a bunch of MIDI synths
Andersen is the will-do enforcer you get to go – Roland Jupiter 6, Juno 2, JX-8P, D-110, E-mu
hassle the party promoter who hasn’t paid up, Emax. I was borrowing things like the TR-808,
Law is the shy, unassuming guy that Voiteck 303, 202 and 101 until I bought them the
probably defers to most in the Melbourne scene. following year.’
All good yarns begin at some specific point, It was in this upgraded studio set-up that
and the Zen Paradox superhero origin story Law produced the baptismal Zen Paradox
goes something like this: album Eternal Brainwave, which was first
Rear-vision mirror yourself to 1983, when released in 1993 through Ollie Olsen’s new label
a young Steve Law – age 16 – discovered Psy-Harmonics, then internationally through
industrial music, Kraftwerk, Brian Eno and John Kk subsidiary label Nova Zembla in Belgium.
Cage; he bought his first synthesizer (a Realistic/ ‘I think it still stands up okay,’ Law says of that
Moog MG-1), and started producing an array work a dozen years down the line.
of experimental tapes in the confines of a home 1993 was also the first time I caught a Zen
studio that included two ghettoblasters, a short- Paradox live set. It was a 3PBS benefit gig in

‘I think the biggest development, not necessarily a good one, has
been the gentrification of electronic music. Back at the beginning
of the ‘90s it was simply “techno” or electronic music, but since
then a huge number of sub-genres have developed'
May that year, where he played second fiddle In April ’94 Steve Law and Voiteck got imprint Nova Zembla had ended. ‘Unfortunately
to better known acts (at that time) Snog, This together for a bit of a live jam at an otherwise they were becoming more trance-focused,
Digital Ocean, and Screwtape. To my mind, this forgettable rave party called Mayhem, and while my music was going in a totally different
diminutive solo artist hiding behind a stack of their Sonic Voyagers collaborative project was direction,’ Law reflects.
rack-mounted gear was the definitive highlight whelped. The outcome? Two studio albums, a ‘[Melbourne] has developed enormously over
of a night in which the music was great, and the couple of memorably searing live reunion jaunts the past ten years or so,’ Law assesses of the city’s
amber fluid flowed rather nicely too. fronting the Zoetrope gigs at the Punters Club electronic-attuned independent music scene.
A year later, 1994 was a banner-year for a few years later, and a mutual respect that lasts ‘More experimental and improvised music has
creativity in Melbourne on the techno- to this day. ‘I know that music … is a necessary been flourishing in Melbourne over the past few
electronic front, with people like Voiteck, form of expression for both of us. I think I have years, with festivals like Liquid Architecture,
Arthur Arkin (Hi-Fli), Dave Beattie (Q-Kontrol), perhaps the most intuitive partnership with What Is Music? and Anthony Pateras and Robin
Adam Raisbeck (Soulenoid), Derek Shiel and Voiteck out of all the people I’ve collaborated Fox’s excellent Articulating Space events - as
Dan Woodman from TR-Storm (nee-VOID), with,’ assesses Law now. The list of collaborators well as regular nights like Make It Up Club. It’s
Scott Armstrong (Guyver III), and the M.P.I. isn’t one to be taken lightly – over the past a great city – I’m not sure why, but there has
and Lung UPC posses all making their own decade Law has worked with Atom Heart, always been a great artistic vibe here.’
signature inroads in a constantly morphing Speedy J, Monolake, Tetsu Inoue, Bochum Welt There have been drawbacks, however.
scene. ’94 was also the year that local label and Ollie Olsen. ‘Ten years ago there was a ton of techno
Dorobo released the excellent (if chronically Whilst many other Melbourne producers happening, but very little on the electronic
underrated and abysmally titled) Melbourne of the mid 90s had disappeared or relocated improv/experimental scene. Unfortunately the
compilation Trance/Tribal, which featured overseas by 2000, Law was still making stuff live techno scene itself is not as healthy as it
Paul Schütz, Garry Havrillay, François Tetaz (as as Zen Paradox without the archetypal deejay was. Lately at the bigger parties – and in clubs
Shinjuku Filth), and Snog/Black Lung illumine hype or techno live act fanfare – albums like – things have gotten a lot more commercial,
David Thrussell, with Pieter Bourke, as Soma. From The Shore Of A Distant Land (1995), and that doesn’t leave much room for live
The downbeat Zen Paradox inclusion ‘Between Catharsis the following year, and more performers who are pushing their own unique
the Apo Kayan and the Infinite’ hinted at a more recently Experiments In Emotion (1998) sound.’ The result has been that, while Steve
cerebral artist who was prepared to lock horns and Chromium Dance (1999) through his Law has no problem finding more abstract
with electronica away from the dance floor. own label Solitary Sound – as well as cutting electro gigs for himself, there’s been a dearth
Even the title was a little out there. ‘The Apo a diverse swath of material under new aliases of opportunities for Zen Paradox – a situation
Kayan is a jungle basin on the island of Borneo,’ like Mutagenic Mind, Mr. Suspicious, Retreat Voiteck also recently complained about.
Law reports now. ‘The “infinite” part of the Syndrome, and just plain Steve Law. He was ‘Hopefully it’s just a phase, though; these things
title was a reference to Kubrick’s 2001: A Space playing live at the big techno parties like tend to happen in cycles,’ Law adds in his usual
Odyssey.’ Of course. Hardware, but his relationship with Belgian optimistic fashion.

'It’s mind-blowing what you can do with a computer
these days, compared to a studio full of hardware
back in 1993.'
He does, however, perceive another emergent was the first time we’d done a one-on-one gig
problem. ‘I think the biggest development, together since the Love Parade in 1993. Ollie and
not necessarily a good one, has been the I have been recording a few things together since
gentrification of electronic music. Back at the late last year, and we’re hoping to record an album
beginning of the ‘90s it was simply “techno” or in the near future.’
electronic music, but since then a huge number Late last year Law also released the most recent
of sub-genres have developed, each with their Zen Paradox long player, an album called
own dedicated following. I think this tends to Numinosum, through new label EEM. It was
fragment the scene quite a bit, and unfortunately another esoteric title that Law says refers to
people have a blinkered approach towards any Carl Jung, to describe “the heightened state of
music outside of the particular sound they’re into.’ consciousness as a result of a spiritual experience
For Steve Law, the biggest change over the past – the sensation of the unknown and the
six years has been the studio he works with. ‘I’m mysterious,” as he puts it. I’m not prepared to
always learning more about music production,’ argue with that one.
he admits. ‘It’s mind-blowing what you can do The soundscape therein is another matter – this
with a computer these days, compared to a studio is a body of work you can hardly call straight-
full of hardware [back in 1993]. I got a laptop a down-the-line techno. ‘The album is a pretty
couple of years ago, which has had a huge impact diverse exploration of contemporary electronic
on my music production. Ableton Live has music,’ says Law. ‘I think you can still see some
revolutionized my live performance, and it’s also elements of Eternal Brainwave in the new album,
a fantastic tool for coming up with new ideas for and it’s a pretty good reflection of my approach
compositions in the studio. It’s also great to be to techno/IDM, perhaps. I do see each album
able to use the sounds of the analogue machines as a snapshot of where I’m at, at that time.
and then push them further with computer Unfortunately the promotion has been a little
processing.’ slow up to now, so it’s really hard to gauge what
The music he listens to has more or less remained people think. Hopefully things are going to start
consistent, but whereas a decade ago he was moving a bit more this year. Frank G., who runs
tuning in to Nurse With Wound, more recently the label, has limited resources but I know he’s
he’s espoused the virtues of Cristian passionate about the album…’
Vogel’s latest album Station 55 and his work While electronic music in general is all too
with Jamie Liddell as Super_Collider. In terms obviously Law’s own passion, he readily admits
of own music, Law is as diverse as ever. Aside that an oral fixation comes in a close second
from ongoing solo projects, he’s a member of the – and his taste perfectly reflects his audio
Terminal Quartet (with Ollie Olsen and Andrew preferences. ‘There’s so much amazing food in
Garton) and Black Cab, and occasionally jams this world,’ he raves. ‘I like things that have an
with High Pass Filter. ‘I’ve been doing a lot of live impact - so bland foods definitely don't do it for
improvisation with other musicians in recent me! I'm very partial to a really good vindaloo,
times, something that I absolutely love doing. but then there's Sichuan hotpot, Cambodian
There really is a certain kind of magic.’ raw beef salad, fish and chips from Huskisson in
Back in December Scorn played at the Distorted Jervis Bay (with the wharf in Cooktown coming
party in Melbourne, supported by a live act a close second!), mature, washed-rind cheese,
calling itself The Mutagen Server – a newer mulligatawny soup, kim chi … ahh, the choices,
collaboration project Law shares with Olsen. ‘It the choices.’
features / local
Scissors for Sparrow

Interview with Jon Tjhia
by Dan Rule
SAFETY SPARROWS
The idea of pop music doesn’t exactly hold connotations of elaborate musicality. To most minds, pop walks
hand-in-hand with elementary instrumentation and rudimentary composition, with notions of achieving
beauty in simplicity; perfection in imperfection, if you will. From this perspective, Jon Tjhia’s Scissors For
Sparrow project represents something of a coup for the pop underground.
A vaguely rotating group of musicians, working back lawn, we clear leads, amps and abstract in the space. ‘The fireplace actually has a
under Tjhia’s conceptual and compositional pieces of ‘furniture’ from what will be our chimney that makes whooshy noises,’ he urges.
guidance, Scissors For Sparrow melds interview setting in the lounge. But it’s not ‘Sometimes I think it would be great to make a
supple, beauteous and endearingly clumsy that Tjhia’s disorganised, there are just some multi-track album that is completely laden with
pop aesthetics with a more experimental, extenuating circumstances. ‘I hate moving,’ he artefacts, so you can hear when a tape track is
heterogenous and developed sense of groans, waving a disconsolate arm in the general being put on half way through a song to record
musical process. Recording in home-studio direction of the mess. ‘There’s still a lot to do.’ an extra vocal, you can hear a dog barking or
environments and playing rare, raw, but Nevertheless, he is excited about his new something. I think that would be a cool idea.
rehearsed shows, the project harbours no set-up. Having shifted out of Northcote, in As long as the instruments sound good, then
ambitions of mediocrity. To put simply, Tjhia is Melbourne’s inner northern suburbs, Tjhia has whatever else comes is fine.’
a perfectionist – there are no half-measures, no migrated two suburbs further out, to quieter, It’s a statement that’s somewhat indicative of
untried ideas – but simultaneously, perfection cheaper Preston. ‘I’m still largely operating in Tjhia’s approach. While consistently open to new
is hardly the point of his music. His interests lay fear of the neighbours,’ he laughs. ‘I just met and ever-changing ideas, his music possesses
in searching out and navigating the potential Francis from next door today. She was really a strong, unyielding sense of purpose. Scan
of writing, recording and performing within a nice; she said she loved music and that her your way through the Scissors For Sparrow’s
progressive pop context – in using an imperfect daughter plays music, and that I should go for it: Oh…Hello! EP (released in late 2005) or
medium to explore much grander ideas. “Go play now! Go play loud!”’ appearances on Sydney independent label Feral
Jon Tjhia’s new house is a shambles – sparse, Indeed, his studio is the only room in the Media comps (Southern Winter) Northern
relatively furniture-less, but a shambles all the house with some vague sense of order. And Summer and Plastic Cotton Tree, and you’ll
same. We sit on milk crates for our introductory talking me through its various equipments, it’s find yourself traversing everything from washed
tea and biscuits, we take a tour of the unmown clear that Tjhia sees some interesting potential out instrumental passages and blocky pop

'The best pop music is sparser than it needs to be and has things the actual recording, I’ve tracked that and removed
parts that didn’t work, or redone parts, or changed my
that no one can really go and do spontaneously as a group. mind about some notes and got rid of them. So I’m
It takes a bit of control.' still producing the recordings, and so ultimately, the
decisions are mine.’
Yet he’s fully aware of his circumstances, and is wary
melodies, to spacious atmospherics and densely layered, can take stuff that you love – you know, stupid sounds of the potential for their misuse. ‘I mean, it sounds really
textural guitars (not to mention a brief bout of stinging, and whatever things you hear – and kind of try to put fucked, and I know it sounds really fucked and really
off-kilter electronic beat craft). Yet, despite Scissors For that into a context which is pop in a looser sense. It selfish,’ he says. However, as with everything Tjhia does,
Sparrow’s stylistic divergence, there’s barely a tune that doesn’t have to be a pop song, but it helps.’ there’s a well-considered thought process behind the
feels inappropriate or out of place. And as Tjhia explains, He understands US group Radian to be model project’s make-up. ‘The thing is, you can dick around
there’s a strong reason for this. proponents of such an approach. ‘Have you heard them?’ with pop bands and shit,’ he says, ‘because everyone
‘Scissors For Sparrow is quite controlled actually,’ he he gasps. ‘They’re kind of like a very experimental band, has these nutty ideas about what music should be, and
offers as we take our seats back in the lounge, ‘because who have come form jazz and they’re now very weird, no-one can agree, and it becomes all about submission.
all the other bands I’m in are largely centred around kind of pulled-apart, kind of minimal electronic. But The best pop music is sparser than it needs to be and has
improv, or at least the idea of it; like, things come out they’re just amazing… Radian are kind of a really, really things that no one can really go and do spontaneously as
of it. Whereas I pretty much don’t have any jamming in experimental band – they’re incredibly good at pulling a group. It takes a bit of control.
Scissors For Sparrow. weird sounds form things – but they’re also just pop ‘I try and be as upfront as possible about it. I’m
‘I mean, the big idea behind it, I guess, is playing music. They’ve got little features that you can identify actually going to write a bit of a manifesto, just because
around with sound and getting really excited about on repeat listens that come around at certain times, and people have tried or wanted to do certain things certain
sound in the context of loosely termed ‘pop music’. I they’ve got rhythm even though it’s not a beat as such. ways, and it’s not like a don’t respect these people’s
think in that sense, I want to introduce the ideas of some It’s textural pop music or something. It’s brilliant.’ opinions – they’re great and they’re all fantastic, and
of my more experimental stuff into pop, but because that Forming as a loose, quasi-group in early 2005 – and that’s why I want to play with them – but if you don’t
can go so wrong, it has to be quite tightly controlled. So garnering glowing praise for their genre-bending live agree then it becomes really awkward. It’s not about
yeah, there’s no jamming and I’m actually a little bit of sets – Scissors For Sparrow has drawn from a vast disliking people’s ideas, but it’s just that they might not
a tight arse about getting people to play certain things; collection of floating musicians. While the core line-up be right for what you’re actually thinking in your head
and if people get a note wrong… I don’t mind mess, consists of Melbourne artist and musician Nadia Combe, about what you want to do. But I guess it can be a little
but mess is not the same as noodling, you know. I don’t Mark Gomes (a.k.a. Barrage), Tania Smith and Daniel bit tricky and, especially because they’re all your songs,
actually like noodling.’ McLuskey, additional members have included Jacinta you feel like you’re asking favours from people. I mean,
It’s not that Tjhia, a drummer and multi- Plucinski, Danny Jumpertz, Dale Harrison (The Herd) they enjoy it … well, I hope they enjoy it, but in the end
instrumentalist, is overly fastidious about the project. and Sonia Tsai and Mel Ratliff (Sparrow Hill). ‘It’s so you still feel like it’s a favour.’
It’s just that, unlike so many other musicians, he has much fun to have up to nine or ten people to play with Tjhia’s life has always oriented itself towards music.
a well-defined set of creative ideas that he’s unafraid on stage,’ says Tjhia. ‘It’s kind of like a little community Growing up in Melbourne’s outer east, he took to playing
to articulate. ‘I think there are three strains of it,’ he thing – not a community, but like a family thing. The musical instruments at an early age. ‘I started playing
states. ‘Bringing more experimentalism to pop music, people I like playing with are dorks, like me, who hang when I was in Year One, I think. I really wanted to play
bringing more enjoyment to interesting music, and… around talking about stripy tops,’ he laughs. ‘I’m really piano because everyone else was, it was as simple as
um, what the fuck was the third one? Yeah, something lucky.’ that really. And I eventually hated piano, but it was
like broadening the idea of what can be considered He’s not just being polite; Tjhia is fortunate. For such such a good foundation. I took guitar lessons too, for a
enjoyable,’ he laughs. a large group of musicians, Scissors For Sparrow has really short time, then did a whole host of instruments
‘Say, I really enjoy the sound of someone getting two an unusually singular and vehicular dynamic. To put through high school – violin, clarinet, sax, guitar, bass
clubs and banging on a rubbish bin, but I don’t really simply, Tjhia is the man at helm. ‘Most of the recording … Fuck, everything … trumpet. But I always wanted to
want to record music like that and put it out, and let is done either completely by me or … a couple of the play drums.’
people just go “This is just some guy…” I think that you recent ones were done as a band in the studio. But It wasn’t until late high school that his music started
finding a more experimental course. ‘I recorded an
album when I was in Year 11. I called myself Yoke and
the album was called Sofa, and it was basically 25 tracks
of whatever I recorded on my PC, which I did after
school – I’d do a song every couple of days. It’s kind of
funny; some of it is really embarrassing, like, I sang, but
again it was a really weird thing because it was spastic
electronic and kind of really earnest stuff and kind of
dorky guitar screw-ups.’
At only 23, Tjhia has been involved in a number
of music, sound and multimedia-based projects –he
recently worked on sound and music for a narrative
digital art installation, ‘Underexposed’, and editing and
postproduction for a short film. Indeed, Tjhia’s decidedly Gig photographs by
prolific in all areas of his life. Aside from working two Dan Conway
different jobs – with Mac Help and the Australian
Centre for the Moving Image – he is in the middle of a
Masters degree in Multimedia at Swinburne University
and has just finished a month-long stint working as
producer/editor at ABC’s DIG Internet Radio. Then, of
course, there are his other band projects, experimental me, but maybe it just needs to be split into different anything, but I think that if you put a show together in
duo ii and improv quartet Fibonache. records. It’s really hard to play those sorts of things live, the right way, you don’t have to have any big names. It’s a
But considering Tjhia has such a multitude of projects because they require more technique. When I pulled matter of explaining things to people properly.
in full swing – breaching all manner of styles and together a live band I wanted to start writing songs that ‘We don’t want it to be a chore,’ he continues. ‘Like, it’s
approaches – where does Scissors sit in the scheme of – like blocky pop tunes – anyone, almost, can play; so not, it’s fun, and hey, maybe we do want to queue-jump
things? Indeed, with it’s manically diverse aesthetics that people who are really dumb at guitar and shit at and maybe we’re just fucking snobs, but fuck, I’m not
and vast hotchpotch of musicians and instruments, is keyboard, you know, you could write numbers on the going to play at a pub full of old men. Like, what’s the
Scissors For Sparrow even viable as a long-term band keys and they could play them in time and it would be point? You’ll just wear yourselves out and you won’t get
project? fairly easy. And that was partly because I thought maybe excited about playing anymore. We’d like to get some
Tjhia thinks so, but is conscious of the potential need I’d like to travel some day, and it’d be nice to be able to international supports that would let us go on tour,’ he
for compromise. ‘It’s that terrible choice that has to have easy songs to teach people who really don’t know pauses, glancing towards his cluttered studio. ‘None of
be made between being diverse and being cohesive,’ much.’ my stuff is great yet, but I want it to be.’
he posits. ‘It’s really hard to think, “Well, can I make a That’s not to say that Tjhia and his flock of sparrows will
snazzy little pop record, or will I chuck in some of that settle for mediocrity – far from it. With their debut long-
other stuff?”. I’d like to think that we could do more than player in its early stages, and solid label interest from POSTSCRIPT:
one thing. It’s a shame to see bands who only do rock, or Feral Media, Tjhia and his group are aiming high. Tragically, in the time between the story being written
can only rock out … It’s really important to have more ‘One of the things we started off saying ages ago was and the magazine going to print, Scissors For Sparrow
than one thing in your imagination – they inform each that we weren’t going to play crappy shows,’ he explains. band member Daniel McCluskey passed away. His
other. You can try an idea out in a soft way and it might ‘We weren’t just going to play around the traps and do band-mates pay him this tribute:
sound shit for the whole song, but it might have sounded tiny shows that nobody comes to, in hopes of paying ‘He was the most sincere, humble, funny and perceptive
really good for these two bars here or something. the right dues and all of that. I think that we want to friend, a rare confidant and collaborator. Daniel
‘I love doing textural and more ambient stuff,’ he do really tight, good shows, and we want to do them to McCluskey left us on January 20, aged 24. It breaks our
continues. ‘I guess that stuff ’s really important to people. It doesn’t mean we’re trying to queue-jump or hearts; we love him.’
features / local
Moving Ninja
Interview with Paul Jebanasam
by Sebastian Chan
SILENT STEPPA
Paul Jebanasam, or Jabba, is one of the largely unknown Australian talents starting to
break through into the very London-oriented dubstep scene. With a tasty 12” under his
belt for UK label Tectonic, Jabba has recently started to play live at a few select events
around Sydney, intent on building up his local reputation. His sound, heavily influenced
by the sound design techniques of sci-fi cinema, rumbles with subsonic bass frequencies
and a glistens with a cold alien sheen. Hardly dub influenced, there are more parallels
with late ‘80s American industrialists like Skinny Puppy and early Nettwerk Records.
Like most microscenes in Sydney, it is through of South London that were similar to what
the work of a few largely unheralded people I was doing, but more dub oriented. People
that particular musical styles take root and like El-B, Zed Bias and Hatcha were really
grow. In the early years of the millennium a inspirational and were pushing a sound I had
crew called Garage Pressure started putting on never heard anywhere else. One of the great
one-off nights and spinning in the back rooms things about linking up with Garage Pressure
of larger clubs and events. Although beginning was they were already in touch with a lot of the
playing UK garage they quickly moved into the main producers and labels behind the scene. I
early precursors to the current dubstep sound, was lucky enough to hear tunes that probably
eventually hosting live sets from seminal UK weren't going to be released for at least a year
producers Zed Bias, Kode9 and Oris Jay. More and some never. The early Garage Pressure
importantly though, they were determined parties were Sydney's answer to [founding
to push their sounds to as broad an audience London monthly dubstep night] Forward and
as possible, happily taking up residencies at it was really the only place that you could hear
superclub Home as well as small underground this sound. Farj was producing as well so we
events. It was through Garage Pressure that worked on a lot of stuff together that could be
Jabba started producing. He explains, ‘It would played at these nights. We'd be in the studio
have been around three years ago now but it's finishing off a track then an hour later, it'd be
hard to say really. [Back then] it was more just playing in the club off CDR. For me, the parties
dark 2-step garage for a long time but without were important both to have an outlet and also
any vocals; just beats and bass lines. Around for people to hear music by a whole community
that time I was introduced to Paul and Farj of unreleased artists that was pretty different
from Garage Pressure through a mutual friend from the stock breakbeat that was coming out
and started hearing a lot of tracks coming out at the time.
page 22 CYCLIC DEFROST ISSUE 13 [07.2006]
‘Nowadays though, the Sydney the sound, and in some way acts to ‘amplify’ the signal
of the pirates. Jabba explains, ‘The net has been super
dubstep scene is a strange one, I important, especially now that a lot more people are
think more people in the UK know playing tracks off CDRs. Artists from all over can
exchange their music and have their tracks played at
about it than people here.' events on the other side of the world even before the
words “label” or “release” are mentioned. And in terms
of my current vinyl releases the net also played a part in
that all the tracks were originally hosted on the Garage
Pressure website though they had also been circulating
for a while on either dubplate or CD. The label that put
out the last 12” (Tectonic) I've only spoken to on the
phone a few times; it’s been all email really. Contracts
were sent back and forth and the tracks themselves were
transferred via an FTP server. The net has had an impact
on pirate radio as well, now that there are people who
religiously record the radio streams and then host them
on either their own site or a public file hosting sites like
YouSendIt. Rinse FM, which operates out of London,
is a perfect example of this and has become one of the
main stages that a lot of dubstep artists present their
music from, and now its starting to happen in other
cities as well. People like Joe Nice in New York, DST in
Budapest and Conspira in Portugal are now all regularly
disseminating recorded sets to anyone with an internet
connection [which has massively increased the effective
broadcast ‘range’ of the pirate stations].’
Currently studying film and sound design at College
of Fine Arts in Sydney, Jabba has been diversifying his
studio work further away from the dancefloor. ‘Sound
‘Nowadays though, the Sydney dubstep scene is a Eli of Southern Steppa fame and the nights they've for film offers a really different perspective when dealing
strange one, I think more people in the UK know about been putting on for a while now. It seems as though a with sound. Everything has a lot more gravity than you'd
it than people here to be honest. It definitely has grown whole stack of new people are being introduced to the expect at first so even a scene that seems simple can
though from when (UK producer) Kode 9 played to an sound with a really good response even when it has have a huge amount of planning and thought behind
almost empty room a few years back. Kode's sets were been pure dubstep; tunes that aren't really being played it, especially if you're working with a director who
so skunked out back then, all the stuff out on Tempa anywhere other than the London’s seminal Forward and has a very particular vision for what he or she wants.
[Records] by people like Horsepower and Hatcha went DMZ nights. Then there is the weekly radio show on FBi At the moment I'm working on the script for a film.
down a lot better at Frigid than at the Garage Pressure 94.5, that has been recently moved to 9pm on Fridays, Myself and the others involved decided from the very
night. I think then it was the strong dub influence in which is really great. [Perhaps as a result] there is a lot beginning that the music score would be written in
a lot of the tracks that helped it crossover, but now the of stuff that's being written now that is really going off unison with all the other initial ideas. That's turning out
stuff by Vex'd, Pinch and Boxcutter is something all on different tangents so it's a perfect place to experiment to be a really epic project which will hopefully involve
together different. It's easily as heavy as drum’n’bass in a bit with the less dancefloor, more minimal sounding parts played on a cello and violin alongside some pretty
its engineering, but the slower tempo means that there is tracks.’ complicated sound designs compared to the work I've
enough space to really explore some interesting sounds. Garage Pressure also set up a critical website (www. done previously. It's offering a whole new way of looking
All of those artists have stuff out or coming out on garagepressure.com) not only to promote their events at sound, so I'm just really glad to be involved in it and
Planet Mu which is great, as its means the sound is really but also to promote their productions and mixes. For can't wait to get in the studio with people from a more
starting to spread further than a lot of people thought Jabba, the hosting of a few tracks on the site ended up classically-trained musical background to record the
it could. It's now not as rare to see “dubstep” on a flyer in their eventual release on vinyl. Dubstep is one of a score.’
once in a while and the nights seems to have a regular few recent styles that has been driven internationally Dubstep, like jungle and drum’n’bass before it, and
following. Grime hasn't really had much movement almost exclusively by internet promotion and online dub before that, has been a studio culture: producers
though, its an MC-led thing in my opinion, and without media – key websites, message boards and forums, creating alchemical combinations of sound and rhythm
them, it's just not grime . Recently the big contribution blogs, P2P and streaming radio. Indeed the net has impossible with ‘live’ musicians, productions that are in
to the scene locally has come from Scott (Kodama) and played a role similar to pirate radio in terms of spreading turn ‘performed’ to an audience by the figure of the DJ.

Studio musics have been notoriously difficult to move to up a bit more [on the DJ front], so you can really just do and taking the sound in all different directions. Given
a live setting with ‘live PAs’ being rare events, even rarer produce what want and DJs will find a way to play it. the way people are going to look back on those nights
are those that end up being more than the producer I recently finished a track that was in 6/4 that dropped though, it's still exciting enough just to have a track
simply DJing their own tracks end to end. In the last with no intro, and one DJ just faded out the previous played there [from a 12”].'
five years though, a lot of development in computer track and pressed play on mine to drop it in his set. I
software and hardware has focussed on creating new was pretty chuffed with that. Dubstep, with its stop/start
interfaces for these ‘studio’ musicians to take their work polyrhythms is a notoriously difficult genre to beat
to a live setting whilst retaining the flexibility of a studio mix though, so I can imagine a lot of DJs who are still
environment. Jabba continues, ‘Putting together a live learning wouldn't mind having some kind of reference
performance has been the real focus recently. I've had to point at the start of a track to help them out.
think a bit differently about how the tracks are written. ‘The current tracks I've been working on aren't really
If you stay in [the studio] headspace for too long it's a 12” material and I'm liking that at the moment. I'm
bit hard to get out of it. With things like automation, it's writing them as if I'm going to be playing them live
really easy to do mixdowns of parts that are impossible rather than them being played by anyone else, though
to pull off live and it ends up being a trade-off between I'll still send mixes over to a few DJs for feedback once
complexity and interactivity during the first few goes in a while . And the possibility of putting something
at it. For me the process that’s involved in trying to out independently is actually becoming a lot more real
section off different parts of a track is similar to the way feasible now, which gives me more options to do my
[computer] code is grouped into functions. own thing. I’d like to head to the UK when I’ve finished
That way you can keep certain parts arranged as studying. That way it can be a bit more of an open-
tight as you want and others are left open to interactive ended trip but there's a bit more preparation required
manipulation . I’ve been trying to explore [the use of for something like that. It would be awesome to play at
Ableton Live] outside of just sound and synth design so a night like [Brixton’s] DMZ night. The sound system
hopefully that'll be up to speed enough to start testing alone there is legendary and it's those kinds of artists
it out soon, [and compositionally] things have opened who are really paving the way forward at the moment

SHORTS / local
Faux Pas
Interview with Tim Shiel by Matthew Levinson
OOPS I DID IT AGAIN

Ì'd be lying if I said I wouldn't love to see my music analysed,
scrutinised and put into some kind of context by the really
intellectual music bloggers'' says Tim Shiel. 'Athough I suspect I
might be disappointed about what they have to say about it.'
Shiel is in an internet cafe in Salzburg his wife is away audiences everywhere, seems to be making for a more, when they hear that, but I just see it as another way of
on a Sound of Music tour and we are continuing an rather than less, homogeneous international music adding texture to a mix. If I really like a sample then I
email dialogue that has been running for months as the experience. Ì guess what makes hip circles `hip' is am probably going to use it even if the sound quality
couple do the around-the-world circuit. everyone agrees on what's cool and what isn't, or that at is poor.
He employed the name Faux Pas at first for DJing least while there is enough variation in a given hipster Ì don't fetishise sound quality. I appreciate good
purposes `No beat mixing, no effects, no nothing, as if population to give the impression of diversity. sound, but I put my music together at home using a
I was doing a radio show (which I used to do)' down at Ì don't like the idea that obscure music is good computer, a combined sound card and keyboard that
the Espy Public Bar in St Kilda on Monday nights. Those because it is obscure. I like discovering new music cost under $500, and a pair of speakers that my uncle
sessions were soon followed by the self-released debut and I am always looking for things that interest me in made himself in the `80s. I don't fetishise lo-fi either,
EP Faux Feels> in late 2006, and the Entropy Begins At ways that I might not have thought of before, but I am I just get the job done with whatever gear I can afford,
Home> album in January this year that Shiel describes definitely not one of these people who thinks that any which really isn't much.'
as `sample-based' music similar to `Caribou, Minotaur
Shock or even Mountains in the Sky'. A week later he
got on a plane, leaving Wally de Backer from Gotye
to field calls from eager music journalists (the album `When I am putting tracks together I'm not really thinking about an
was playlisted on Triple J, US college radio, and most end result, and in particular I'm not trying to illicit a particular
Australian community stations).
Ì listen to so much music and I even make it myself,
emotional response from someone.'
but I don't feel particularly articulate about it. I'm
jealous of the way some bloggers and music critics can
so artfully put music into historical or political context, band that more than five other people might have heard
and I feel like as a supposed àrtist' I should be able of is instantly shit. I wonder if some people listen to
to have the same level of insight. Arguably I should be obscure or inaccessible music just to be difficult.
even more connected to what I'm doing, more aware Ìt's a matter of scale though, I suppose, because a
of the levels on which it operates or on the context lot of my friends would probably categorise me as the
that it depends on, but the fact is I tend to just slam person who only listens to weird, obscure shit, and
music together almost by accident until I like the way instantly dismisses all popular music, when really I
it sounds. don't think that I am,' he says. `But I still don't like
Ì think comments like `waiting for baile funk to blow Wolfmother.'
over' [his myspace site is emblazoned with the quote] Sound quality is shaping up as a big question
come out of being frustrated about that, but it probably mark around the internet only a decade old, at least
has something to do with me not being particularly in mainstream terms the web's instant delivery is
interested in some of the most recent hipster obsessions changing the way we look at music, taking us further
like grime, baile funk, Baltimore, micro-house, or and further away from the hi-fi dreams of the `70s.
whatever. I just can't get into a lot of that stuff.' Shiel is ambivalent: `Most of my samples come from
The buzz created by influential blogs and online MP3s I have downloaded, so the source quality varies
magazines, and their huge influence over hipster wildly. Audiophile types always roll their eyes and gasp
Ì would absolutely love to be in a real band. I
would be absolutely pathetic and I may not last
very long, but I would love to do it.'
His cut-and-paste antecedents, say, the computers. He swears he is not a PC

Avalanches, DJ Krush, Coldcut, and geek, but it does seem to come quite
Shiel's friend Gotye, invariably dwell easily, especially when you consider
on the darker, melancholy end of the the leap in technical aspects of his
aesthetic range, but Faux Pas seems production over the relatively short time
much more optimistic. Ìf anything I between last year's EP and this year's
probably swing further the other way,' album.
Shiel says. `When I am putting tracks Ì got into grunge when a lot of my
together I'm not really thinking about friends did in high school,' he says. Ì
an end result, and in particular I'm not learnt how to play guitar by getting
trying to illicit a particular emotional a friend to teach me the chords to
response from someone. I don't go into Nirvana songs. A few years later I
a track thinking `Let's make one about completely disowned all of the music
loneliness' or Ì want to make a song I'd been listening to in high school, I
that makes people feel contemplative'. burnt Eddie Vedder's effigy and made
Ì don't listen to much downbeat or voodoo dolls for each of the members of
melancholic music, if any, because I Soundgarden.
don't really have any use for it. So I guess Ì would absolutely love to be in a real
my stuff is going to end up sounding band. I would be absolutely pathetic and
upbeat and optimistic, because that's I may not last very long, but I would love
the kind of music I listen to and enjoy. to do it. Playing live music is something
I'm also obsessed with rhythm and that I fantasise a lot about, having never
percussion at the moment, so it's hard really done it before. I'd love to play
to make percussive music that isn't by drums, even though I am obscenely
definition upbeat, or it's hard for me uncoordinated. And I would love to
anyway ... Just don't call me a happy work together with other people to
person, I'm complex, and brooding!' create something. I haven't been at this
Although Shiel has had no formal particularly long, but I'm getting very
training in music, he did grow up with tired of working alone.'

features / local
Bob Baker Fish explores the

2006 Now Now Festival
YOUR TIME STARTS NOW

'It's about now and the fact that now is only going to happen once, and it's irreplaceable and
irrecoverable. Of course there'll be another now along shortly, but it won't be the same now. It
won't be this now; the now now. There is no other activity that is as well equipped to deal with
the recognition that the present is absolutely unique as playing is.'
Derek Bailey, 1930-2005
This famous quote appears on the Now Now find something new, something for now.
website and is something of an underlying 'Clayton workshops the program for nine
modus operandi for this annual Sydney festival, months,' offers an exhausted Clare Cooper the
a celebration of spontaneous and experimental day after the festival. 'He’ll start with a list of
music. In unfortunate timing, the man who groups that he thinks will be great. And then
wrote these words and in doing so provided the will send it to me and I’ll throw some ideas in.'
name for this festival, and over the last 40-odd There’s actually a degree of perversity in the
years had given so much to the exploration and design, with the duo often forcing performers
understanding of improvised music, passed into uncomfortable realms, where they have
away a couple of months before. to move beyond what they have become
This year's festival was cast in the shadow accustomed to, and hopefully find something
of the great man's death. Though there was new and unexpected. Otherwise it’s also
little ceremony, an acknowledgement on Cooper and Thomas, the music fans themselves
opening night, and then the music flowed thinking up dream combinations of artists they
out, unpredictable, frightening, seductive, believe will complement each other.
challenging and frenzied over the following 'I think with most of the groups in the festival
three. There were seven sets each night, we try to program things that haven’t happened
encompassing numerous techniques and before,' she continues. 'Most of the groups it’s
approaches, drawing upon diverse genres the first time they’ve played together and we
and palettes from participants from around find you can generally tell in the audience if a
Australia and across the world. It was music group is trying to find their way when on stage.'
that celebrated the now - strange couplings of And unlike most musical forms, which are
performers courtesy of organisers Clare Cooper, more about flourish and polish, presenting a
Clayton Thomas, Jim Denley and Dale Gorfinkel finely honed ensemble, improvised music is as
- and an opportunity for artists to be pushed much about floundering as it is about meshing.
outside their comfort zones, to be challenged In fact, listening to artists from disparate worlds
by new approaches, to take on unfamiliar roles, attempts to find equal ground can often be
to reach instinctively within their technique, to more rewarding than a group that hits it off
immediately. And, in this sense, a rehearsal can be a realising what was happening! It’s a good concept that 'I’m not sure what it sounded
negative for the experience. could be refined, I thought, to be quite an interesting
This is a point taken up by Melbourne sound artist architectural performance.' like to the audience but I
Phil Samartzis, who performed in an eight-speaker 'The field recording ensemble I felt conveyed a strong couldn’t hear anything except
surround sound ensemble with the likes of Joel Stern, sense of spatial relations and natural language,' adds
Anthony Magen, Lawrence English, Camilla Hannan, Lawrence English. 'I felt that piece worked well because me, really, as I was sitting on
Inge Olmheim and Matt Earle. Hidden amongst the people had space to let their sounds evolve and there top the speaker.'
audience, each performer had one speaker on which was a common interest in listening, responding and
they interacted with the others, much was to be gained chance interaction.'
by wandering around, and changing perspectives with It was a performance in which many of the performers
the sounds, hearing frogs, water, static, high pitches, and had never even met each other prior, a theme that
birds all come and go from earshot. continued to play out over the entirety of the festival.
'I have great confidence that any musician I perform Melbourne contrabass and electronics performer
with knows what they are doing and I am happy to Natasha Anderson and Sydney’s voice-based artist
follow their lead,' offers Samartzis. 'I really dislike Amanda Stewart would have been in this situation had
rehearsal as it negatively affects the way musicians they not opted to meet up the day before to acquaint this rigour comes across in her performances. 'I have
approach improvised performance. The searching and themselves with each other. consciously worked on developing a bank of gestures
questioning that occurs in an improvised exchange is 'Well, I’m an uptight, tooth-grinding classical musician and sounds, and means of electronic processing
replaced by the anticipation of events that have been really, so yes, I like to rehearse,' offers the Berlin-based that reflect my interest in a language of playing and
predetermined in the rehearsal. One is active and the Anderson. 'But not necessarily make a game plan, as performing that originates in my training as a classical
other is reactive. Also all the rough edges and awkward often you do this and then, from the very first sound, musician, but which goes much further into ideas of a
moments are of particular interest to me as a listener.' it has to be thrown out, or else suffer a completely kind of framing of sound production in performance,'
This particular performance, however, seemed to have constipated horrible 30 minutes in your life. But I do like she offers. 'I have tried to create a language that shifts
few moments of searching and questioning, as many of to play with the other people prior to the gig, to have an quickly between dialectic extremes of frequency and
the performers, who all worked with field recordings idea of how your language interacts with theirs, and also dynamics, the digital and the bodily, and the processed
of natural and constructed environment, seemed to be to talk about form and means of formal development, and the instrumental so that often, hopefully, the
very much in their own world, concentrating on their even if you don’t actually fix this in a game plan.' provenance of sounds becomes unpredictable and
own space. Much like the real world. In fact, thanks to Though they weren’t to know this beforehand, they confused.'
their disparate positioning, it was likely that many of discovered that they shared similar interests and 'This language then becomes the basis for interaction
the performers never even heard some of those they concerns, not least the desire to possess a well-developed with other players. Of course whether this is
were playing with. It did, however, transfer the onus of understanding of the approaches and ideas of the person "improvising" is highly debatable, but also a question
the interaction to the usually passive listener, providing they collaborate with. that I’m not that interested in. I wouldn’t particularly
them with the opportunity to affect their own mix of the 'When I am working with other improvisers I see our claim for myself the title of "improviser".'
performance by moving around the space. music, first and foremost as a collective act where all Their performance on the night was jaw dropping.
'I’m not sure what it sounded like to the audience the people involved should have equal input into the With Stewart using her voice and Anderson on her
but I couldn’t hear anything except me, really, as I was collaborative process,' adds Stewart. 'I tend to feel very amazing contrabass recorder and electronics, it began
sitting on top the speaker,' reflects Melbourne sound uncomfortable if this does not occur. The first thing, quite frenzied, exploding into a series of spasmodic
artist Anthony Magen. 'It would have been great if the for me, is to try to hear and conceptually appreciate squeaks and vocal growls squawks and flourishes. As
audience wandered around a bit or were right in the the unique qualities of the people I am working with they continued they went from two separate entities,
middle getting bits and pieces of sound like in a pseudo through listening, thinking, talking and, sometimes, into one unique organism, as, without utilising any
real world. It fucked with the organised performer reading.' perceptible rhythm, they began finishing each others
audience concept a little too, which I like. I mean, one Anderson is very clear and somewhat rigorous about sentences and morphing sonically together to the point
person asked me to move out of the way at one point not her approach when playing with other musicians and where you couldn’t tell where one ended and the other
It felt like we were watching some kind of high pitched
chemical reaction.
began.It felt like we were watching some kind of high suddenly making lots of short, abrupt gestures so that amplification set up that highlights really deep tones
pitched chemical reaction. 'Well, that’s the benchmark,' this spatial aspect was highlighted. We also explored and shimmering high tones that he pulls out of the
said Rod Cooper beside me as he stood up to applaud. areas of convergence, so that the listening fields kept metal. Mark Harwood on Mark 2, a Cooper-constructed
'Natasha and Amanda, I feel like it’s still stinging shifting. It seemed to me that Natasha had created a new instrument that is based on thumb pianos, except the
my brain,' says Clare Cooper. 'I was saying that to instrument or series of interlinked instruments and it percussion are round stainless-steel rods welded to a
Natasha yesterday. She came up to me and was saying was fascinating to engage with her. It took me to places hollow, stainless-steel sound chamber. Dave Brown on
improvisation is so hard. I think you can hear that in I hadn’t been before. We plan to do more together in the the Mongrel, an industrial lap-steel with three thick
that set that there is this difficulty, but also everything future.' piano wires strung across a hollow metal girder. Dale
they shot out was so sharp and the timing was Anderson also played in one of the more unique Gorfinkle on micro tonal vibes, a vibraphone he built
incredible. They were inhabiting very similar sound ensembles at the festival, eschewing her contrabass himself, adding extra bars and using motors which
worlds - they were like these shards of glass. I hadn’t and electronics for ‘This is not an exhaust pipe’, a Rod activate the tuned bars, bowing the bars and dampening
heard Natasha on electronics before and I really enjoyed Cooper-constructed instrument that extends the length them with soft objects. Then there’s Cooper himself on
that.' of a recorder mouth piece to over two metres to create the Highly Resonant Object. It looks like an industrial
'When we did our gig we played totally differently a deeper, breathier tone. It was part of Rod Cooper’s strength BBQ with spikes, but it was actually built based
from the way we had the day before,' reflects Stewart. otherworldly music ensemble, a surreal collection of on his own body measurements.
'In both instances, we worked with no specific instruments crafted by him and performed by some 'There is a manhole over a bridge in Melbourne,
predetermined strategies (except for our conversations of the best improvisers in the country. Cooper is a which has the smallest opening,' says Cooper. 'It just
and agreement on an approximate duration). What renowned Melbourne musician/ sculptor/composer who fits through. I was doing a lot more urban exploration
emerged was constantly surprising for both of us.' constructs his own instruments and regularly performs back then. The HRO is about eight years old and I'm
'When I first worked with Natasha, I saw that she in subterranean locations around Melbourne. His only just learning how to play it. It’s my largest portable
was using these wonderful ideas of working inside and debut 2005 release on Room40 Friction features many construction, though I can't take it on a plane. It’s a
outside her instrument [placing mics in different spaces] of his self constructed instruments and is an amazing beast. I wanted an instrument that incorporated many
and moving between different electro-acoustic and collection of textures and drones, which uses silence and sounds into the one complex interface. It’s ideal for
electronic environments [through the additional use of space as a compositional device. improv. I have produced countless objects in my life,
her computer],' she continues. 'It was as if space itself His personnel were as follows: Rory Brown on sculptures, furniture, buildings and paintings. The HRO
was being stripped away by sound and vice versa. I loved prepared double bass, in which Cooper assisted with the is something I mark my existence against.'
what she was doing and this inspired me. So when we preparations that work on weight gravity and altered The ensemble opened proceedings on the Saturday
came to play together at the Now Now, I found myself string tensions. He plays it lying down with a unique night. Whilst the music was surreal, it had links to
the previous few days but somehow it was also like 'That was amazing because everyone was trying to encompass was the Splinter Orchestra, a Sydney-
nothing else. The strange-looking instruments offered figure out who was playing and because it was Rod based collection of musicians that numbers 20
a real performative aspect; no one could be sure what Cooper's ensemble everyone was looking for him to performers. They are made up of some of Sydney’s
was going to happen. Everyone was watching Cooper, give the signal but it was like he was being reverent best improvisers including Clare Cooper, Jim Denley,
yet he was intently watching Brown on the Mongrel, or something,' remembers Clare Cooper. 'He was and Chris Abrahams. On the last performance on the
standing almost at attention giving nothing away. Of so serious. He was so focused, just staring at his Friday night, they expanded their ranks by a further
Brown, Cooper is especially reverential. 'He was a bridge instrument and everyone thought that he was doing 35 introducing the likes of Tony Buck, Lawrence
between all of us. Some musicians have that instinct to it. It was great. Everyone’s looking around, Dale folded English, Jeff Henderson and Anthea Caddy into the
allow enough space in a complex arrangement, which his arms, and Natasha got up.' fold. So 55 musicians were seated in the centre of
only comes from years of improvising.' 'That was one of the sets that showed some of the the Petersham RSL at Newtown, around an omni
The music was subtle, brooding, and metallic. And problems in improvising but also some of the things directional microphone, leaving barely enough room
Cooper just stood there with his aggressive-looking BBQ that are quite unique,' Clare Cooper continues. 'If there for the audience to surround them. Spearheaded by
producing highly resonant metallic sounds, Natasha was a composition there for that whole piece and it Clayton Thomas, the group was arranged into various
Anderson blowing her strange thing that is apparently finished on a very neat stroke of a bow and everyone sections or sub-groups. Before the performance Clare
not an exhaust pipe actually walked off midway, clapped, it may not have worked so well. I think it Cooper could be heard marshalling the troops. 'Who’s
overcome by plastic fumes from the instrument she had really set the tone for the night. No one expected it; no section C?' she asked. The audience braced themselves
only been introduced to two weeks earlier, Brown kept one knew what the hell it was. It just turned up and for chaos, yet every time they played it was apparently
going, and the audience, not unlike the performers, took over the whole room. If people hadn’t applauded different, working off a new set of directions. Despite
were filled with the confusion and uncertainty about it could have gone on for ever. the multiple instruments they managed to evolve
when the set had ended, thanks to Cooper inadvertently 'Rod’s one of the characters. Imagine going to slowly and subtly with incredible care and beauty,
putting one of his instruments down on the keyboard Elvis Costello’s Sydney gigs supported by the Rod hardly the lumbering sonic beast you’d expect with
behind him, leaving a warm steady tone to continue Cooper ensemble instead of playing with the Sydney so many cooks. This night’s performance was entitled
once the performers seemed to have ceased. It was symphony. How much better would that have been?' Stamen and worked from the inside out, the initial
strange chaotic bliss and one of the highlights of the Another ensemble that defied expectations and group of musicians beginning an improvisation and
festival. challenged the notion of what improvisation could the outer group slowly picking up where they left off. It
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was a composition that only dictated where the
sound started and where it moved to, nothing Bob Baker Fish goes Soundwalking by one we all looked in the box. It was empty.
Ì don't know if I should say this,' continues Magen,
more.
'The idea was that the audience surrounded with Anthony Magen `but I took a wrong turn at one point and we had been
them and felt the music moving towards them,' walking about 10 minutes and we're due to have a
We're standing in front of Petersham RSL at Newtown. respite moment. A park with a big old fence appeared
explains Cooper, who played her distinctive
It is 1am on a balmy Friday morning in summer. All the and I thought that the size of the trees compared to
Chinese harp in the ensemble. 'But you weren’t
performances at the Now Now Festival have finished for the surrounding architecture was interesting. It wasn't
to vary. The group that started was electric bass, my plan but I thought we needed to have the first not-
trumpet, synthesizer, and laptop, and the group the night but a group of about eight of us assemble on the
footpath and wait. moving-but-listening experience, which, from experience,
outside was Chinese harp, laptop, to Saxe’s cello, is the most profound (as it brings every sound into clear
`When was the last time you went somewhere just to
and singing saw, and we had to somehow keep focus).'
hear the sounds?' asks Melbourne-based sound artist
going what the first group had going. It wasn’t Fruit bats, possums, the distant din of traffic were
Anthony Magen. The sound walk is a simple exercise.
supposed to feel like it was happening in stages.' It is free! It requires no additional paraphernalia other all audible, then these frogs (most likely white-striped
In an interesting mixture of improvisational than your ears and some walking shoes. There is only marsh frogs) piped up - one in a stormwater drain and the
approaches, the core group of 20 had been one rule: no communication within the group. Talking or other behind a wall in a pond. They were chatting away,
working on the piece for a few weeks, cramped otherwise. This helps to allow the sounds to become the invisible to see but echoing each other in a very beautiful
in Cooper’s Newtown lounge room, whilst the focus. Magen is the facilitator of our sound walk. A chance way, creating a frog room stereo field that was good to
additional 35 played it for the first time that to walk through the streets of Sydney and experience the listen to from a distance or standing in between them. It is
night. Whilst a large improvisational group is diverse sounds it has to offer. a moment when I wished I had binaural recorder going.
not new, it is for Sydney and presents its own `The group is one unit, he says, and it is best to stick Ì remember the highlight being those amazing frogs
together through visual contact, especially at night as chirping in indeterminate rhythms from beneath the
challenges for artists who may be more adept at
it can be easy to get lost or separated from the group. road,' reflects Joel Stern, who programmed the film
improvising with smaller numbers.
Whether experienced as private meditation or as collective component of Now Now and was also on the walk.
'It’s hard to listen to more than two people at Transfixed by the beauty of the sounds, the two of us held
a time when you’re improvising and playing,' silence, soundwalks can refresh your ears and reset your
sensual awareness to where you are, live or work. As the back when the others had moved on, almost unwilling
suggests Cooper. to let go of this incredible sound. Yet when we finally
facilitator of the walk I do reconnaissance before the walk,
to determine the route to follow and it will take roughly relented, within minutes we were amazed by the next
one hour to complete.' He then proceeds to tell us about sounds, these semi-industrial buildings that possessed
World Forum for Acoustic Ecology, an international amazing drones and rhythms.
association of individuals who share a common concern Magen reflects: `Just the change in sound fields that
with the state of the world's soundscapes. And then we were constantly shifting I found really beautiful on this
walked. occasion; perhaps emphasised by the clean night air and
There is something incredibly strange and empowering the lack of urban hum that exists during the day. The top
about walking in silence with a group of people, many of of Sydney Park also contrasted so much with the earlier
whom are strangers, for an hour. Once communication dense suburban streets of St Peters and Newtown, sounds
had been removed we were free to tune in our ears on coming from every direction and from variety of distance.'
that which we normally block out. As we walked through After an hour of aural feeding it was over. It felt too
the abandoned streets it felt like the sounds had been short. We could have easily walked for hours, devouring
prepared specifically for us. Our collective footfalls; the sonic landscape. We all felt a wave of gratitude for
a woman screaming to her husband as she puts her Magen for sharing such an amazing experience with
rubbish out, only to stop dead in her tracks as the eight us, and also with each other. `What he is doing is very
of us silently pass; the whoosh of a bat's wings; possums; special,' offers Rod Cooper, who first introduced me to
crickets; far-away cars; even some bogans cranking out Magen earlier in the night. `The sound walk is an ancient
some metal on their car stereos in the parking lot; all felt idea. How powerful is it to walk as a silent group through
like they had been placed there specifically for our benefit. the urban environment and soak up its sonic offerings?
'Sonically there were some fascinating moments, and I'm glad he introduced to me the quiet places of Sydney.'
serendipity is one of the joys of soundwalks,' offers Magen Ì like sharing the walks with others,' offers Magen. `To
in retrospect, 'when you forfeit control (or the desire me it's natural. I do them all the time alone so it is fun
to control) to just be present in the moment. Stuff just to share. It is easy to dismiss such a simple act but those
happens. As the facilitator I can't make things happen, that say that to me "I do them all the time'' are the ones
all I can do is guide them along and hope something who generally will get the most out of it. Because focusing
interesting is going on.' on listening and concentrating - it takes some practise.
At one point we walked down a deserted suburban We are good at blocking out sounds and tuning out, but
street. On the nature strip sat a large box. Attached, a listening can actually be hard too sometimes.'
small handwritten note: `Free Macintosh Computer'. One

'I felt a little bit worried...
thinking that they were just
'You hear everything but to actually focus on sounds 'They were joking with me about the whole drum going to drown me out with a
my brain can’t focus on more than two or three events sandwich thing and how they’d try not to get over beat-off and I told them they can
at one. So when you’ve got 55 people contributing to a excited,' she continues. 'I felt a little bit worried, but we
piece and everyone’s supposed to be sensitive to every didn’t talk in terms of what we were going to do. I think beat off at home.'
sound, it’s pretty difficult. We do these exercises [called] they were just getting me worked up; thinking that they
Nemesis: you pick an enemy in the room and you just were just going to drown me out with a beat-off and I the failures as much as the successes all contributing
know that you’re not allowed to play when they play; and told them they can beat off at home. What ended up to making the Now Now one of the most unique and
experiments to make you listen in different ways. I think happening was quite unexpected for me. We know each important music festivals in Australia.
most of the time its spending time as a large group trying other's playing, all three of us have seen each other in 'There’s definitely a blurred line, the people playing
to figure out ways to listen to ourselves differently.' very different circumstances and all three expressed we in the festival don’t feel like they’re putting on a show,
In a strange twist of fate entirely consistent with the were excited about the group.' they’re here playing because they want to,' says Cooper.
festival's approach Cooper found herself the victim of And the anticipation was shared by the audience, 'They’re excited about playing and collaborating. Jim
the perverse sense of humour that characterised some of though it didn’t turn out to be as violent as may have Denley was saying it’s like a special kind of conference.
the programming decisions. Billed to appear alongside been expected. It turns out that Cooper's textural You get together and you workshop, it’s like, "Okay,
percussionist Tony Buck (The Necks) and percussionist scrapings on her guzheng were much more gnarly and what’s happening this year improvising music?" During
Sean Baxter (Bucketrider), it appeared that with just her frightening than anything the two the festival they spend their days playing with each other.
Chinese harp for protection she would be crushed in an boys could conjure up. There was much rickety The Melbourne/Sydney thing has broken down with this
avalanche of percussive testosterone. plonking scraping and banging, as the three circled each generation of artists. I think it's so important being so
'You can’t fight testosterone,' she laughs. 'I don’t other, Buck shimmered his bells and Baxter up-ended far away; if you live in Berlin, a different person comes
have enough. I guess I’d be lying if I didn’t admit that I a trail of sticks over his kit. Cooper then began some through every day. Here, [when] someone comes out
thought about that set before we played so much and repetitive plucking which afforded Buck and Baxter to go they’ll try to play every city but often miss out on playing
really was thinking I could jump in there with a whole to town, call-and-response style, that came off as a junk with local musicians. I think local musicians really make
heap of stuff. Tony [Buck] said "How’s anyone going to shop drum'n'bass. Later, Buck pressed his stick down the most of each other.
hear you?" and I said "I’m friends with the sound guy firmly on the skin, stroking it to get a beautiful, warm, 'It’s so weird that it’s over again,' she continues
I could just turn you down". I gave them a few tastes. bottom-end sound. wistfully. 'A guy came up to me and said ‘" got a festival
You get a few improvised music sets where you can hear 'I’ve never played with two drummers before,' reflects pass and it’s like Christmas for me. I get four nights
people competing with each other. Sometimes that can Cooper. 'Quite a few people came up to me and said they where I get to listen to the music that I’ve wanted to
be good, in some ways it's almost like a sport, but a lot of were really glad they were put with this person because listen to all year". It’s a bit like a Christmas for all of us
the time if you hear people trying to one up each other they were really scared about it and it made something too.'
with ideas it ends up being a bit ... I think also having happen that had never before. That’s how I felt about this
four nights in a row with seven sets every night - what trio. In that way, it is just as exciting for musicians as it is
happens before you, before you even get on, the set for the audience.'
before you has such an influence on what you do in the Yet these kinds of challenges are what makes the Now See www.thenownow.net
next one so you can’t really plan your attack. Now so great. The exchange of ideas and approaches, for more info

features / INTERNATIONAL
Interview with Jimmy Edgar

by Dan Rule
SCENE NOT HERD

Ever since slicing onto the big- Despite far more low-key earlier releases a stir in both underground techno and
time electro landscape in 2004 including an album for Merck as Krisuit hiphop circles. But Edgar sees himself as
with twin EPs Access Rhythm Salu & Morris Nightingale, the dense synths, very much detached from any sense of scene
and Bounce, Make, Model, young razor-sharp chop-ups and stuttered beats of or community in Detroit.Ìt's all kind of
this year's debut full-length Color Strip saw mysterious,' he says of his hometown. Ìt's
Detroit resident Jimmy Edgar has
the 22-year-old on the receiving end of equal pretty separated - it's not like all the Detroit
been the source of much debate, doses of admiration and admonition. But just techno dudes are all hanging out at the bar,
and even more record label hype. who is Jimmy Edgar? And as a self-admitted you know. So no one ever really sees anyone
According to whom you talked to, fashionista, digital artist, photographer and around.Ì feel like I was never really part of
the dual EPs - released through all-round chic-droid, is this Motor City kid any scene here in terms of music and stuff,'
Warp Records - represented either just too cool for school? he explains. Ì don't think there ever really
a fascinating trip into scything, Jimmy Edgar acts his age. It's neither an was one, I guess. The raves came around, but I
reference-heavy techno and insult, nor a compliment; it's just the way it don't really know much about scenes. I guess
is. Talking over the phone from his Detroit I never really paid attention, so I guess I could
hiphop, or a mere exercise in over-
apartment, he employs a deep, detached really only relate to the urban style of Detroit
hyped, unimaginative pastiche. drawl; he name drops casually; he does his and the city and kind of what music came out
best to obscure an apparent yearning to of here. I mean, a lot of people have an idea
impress. `Yeah, I used to play with them of what Detroit is and what it stands for, and
when I was younger in Detroit,' he offers they're not necessarily the same thing, which
indifferently when asked of his teenage shows is fine. I mean, I have ideas about what Sydney
with native Detroit techno legends Jeff Mills, is like, for instance, and it's probably a lot
Juan Atkins, Derrick May and Carl Cox. Ì farther than what it actually is.'
didn't even know who they were,' he laughs. Ì
just played with them, like, "Oh cool''. I was so
young that I didn't really care, you know. They
weren't my heroes at the time.'
His nonchalance can be forgiven. Edgar is
young, and has received some heavy plaudits
and label attention for a guy so young. Signed
to Warp at just 19, he was championed by Ì feel like I was never
the underground press as a new leader of really part of any scene
the Detroit electronic scene, his self-taught
melodic and rhythmical nous, and strange, here in terms of music and
sex-soaked lyrical direction causing quite stuff.'
'All of the instruments were played by hand
- whether it was controllers or whatever it
was - so it was all sort of done by a human,
instead of a mouse,' HE LAUGHS.
Edgar understands much of the city's character as the past.Ì made it mostly while on drugs, so it was
stemming from its expansive suburban sprawl and kind of about just getting in a different zone and
bleak, decaying urban environments. Ì live sort of just letting things flow out. I just got sick of orking
right off the red-light district, so I'm kind of in a little on computers and really wanted to give it more of a
bit of the outskirts of Detroit,' he says. Às far as the human touch. All of the instruments were played by
city goes, the whole place is kind of really spread hand - whether it was controllers or whatever it was
out, so it's a little bit weird like that. In some ways - so it was all sort of done by a human, instead of a
Detroit doesn't really directly inspire me too much any mouse,' he laughs.
more because I'm so kind of inside of it, but it is my Color Strip resonates with human sensibilities, with
environment so I respect that and I think it comes out Edgar creating a sound that's equally raw and precise.
in my music.' Wielding a lithe, razor-sharp sound, the record
Music was always a large part of Edgar's life. exhibits a full cache of stuttered beats and basslines,
Growing up under the guidance of a single mother, he pulsing synths and chopped-up vocals. Tracks like
was introduced to techno and hiphop at the earliest of `Pret'a'porter' and Ì Wanna Be Your STD' burn with
ages. `She was very young when she had me, and you crystalline techno energy, while the wildly fractured
know, really into dance music,' he says. `She definitely R'n'B of `My Beats' and `LBLB Detroit''ooze sexuality
exposed me to hiphop and stuff, you know. She always from every bass-heavy pore. Nevertheless, perhaps
had the radio on and stuff, so I heard tonnes of old the record's strongest sonic moment - `Personal
R'n'B and techno and stuff like that.' Information' - is it's most unoriginal. The track,
Despite his early taste for electronic music, the with its blocky, segmented beats, handclaps and
interest lay dormant throughout his teenage years synthesised bass, feels like little more than a prickly
as he experimented with playing numerous acoustic throwback to early Madonna or Nina Cherry.
nstruments. Ì started out playing rhythm, so my But this doesn't worry Edgar, who also sees his
background is all in that; playing drums and stuff like stylistic direction as an exploration of his own
that. I did that for 15 years and that kind of led childhood. Ì mean, you've got to remember that I
me into making electronic music. I played other grew up on that stuff, so it's what comes naturally,'
instruments, not seriously, but just kind of figured he offers. `My mum was always listening to it when I
them out and kind of had a mind for music from was young, so it's more about going back to my roots.
there.' And I always heard music in my head - actually, this
Edgar's history goes some way to explain the almost album - I always heard in my head even when I was
nostalgic early hiphop and techno sensibilities of younger. I remember lots of the parts from then, and
Color Strip; an aesthetic he broaches with an almost it's just sort of flowed out this way. So it's almost like
innate ease, but an aesthetic for which he has been I kind of foretold it before it happened. That's why it's
widely critiqued. a very personal album and kind of important to me
Indeed, while Edgar has managed to harness the in that way.'
washy synths and pronounced beats and basslines of He does have a point. Rather than trying to stake
an era past, many have written off his explorations a chic claim on the '80s - a decade he is barely
as nothing more that of derivative pastiche. He has old enough to remember - perhaps Edgar, in all
other ideas. Ì think it sounds kind of retro because innocence, is merely traversing the domestic musical
it was just me on retro equipment,' he explains. Ì experience presented to him as a kid. Indeed, maybe
was just doing my style on dusty old equipment, so I he's just acknowledging his mum's good taste. Ì
think it just sort of came out that way. It wasn't really don't know man,' he pauses. Ì guess so. It's kind of
intentional, I guess ... I'm not just trying to recreate funny because I often wonder what it will be like
THIS IS AN Kerrier District
Kerrier District 2
Luke Vibert alias #1. The second
album of his Metro Area inspired
‘house’ alias. Drawing on disco and
Ì like to keep the creativity flowing in lots ‘80s funk elements Vibert’s take on
of different things, and not just music. I house is guaranteed to be cheddar free.
like to just keep my hands in other things.' Amen Andrews

Amen Andrews Vs. Spac Hand Luke
Luke Vibert alias #2. The return of his
jungle-tech-spaz-whathaveyou project.
Breakbeats sped up to god knows what
BPM, but still retaining that unique
Vibert swing and sense of humour.
in the future when people listen to it, things, and not just music. I like to just Triosk
because the time will have already been keep my hands in other things. I treat The Headlight Serenade
past. It will be weird for somebody to my music like a graphic design and Sydney three piece’s second album on
go like, `Ìt sounds a bit '80s but it was I treat my fashion design like I treat renowned UK label Leaf. Their use of
made in early 2000s, so what the fuck?'' music. If I get inspiration I'll kind of space and electronics has made made
I wonder if it will stand the test of time, seek one of those mediums in kind of
them globally recognised as one of the few
I guess.' creating that certain feeling I want.'
It seems as though Edgar views his And as long as Edgar's still creating genuinely innovative forces in jazz today.
INERTIA AD
potential future success in the music that `certain feeling', it seems he'll be
world as fairly inconsequential. To put it happy enough. `You know, I've got
simply - juggling fashion design, graphic tonnes of emails like, "Oh, your new
design, photography and digital art - he album's fucking trash!'' and then I've got
has a lot on his plate.Ì'm concentrating people who are like, "Oh my God, I love
on fashion design right now,' he says it'',' he pauses. Às long as people either
offhandedly. Ì actually spent all day love or hate it, I'm fine with it. If people
today doing a fashion shoot. It was for were just kind of mediocre with it then AVAILABLE ONLINE AT
ID magazine,' he urges. Ì like to keep I'd be really upset.' www.inertia-music.com
the creativity flowing in lots of different

SHORTS / INTERNATIONAL
Battles
Interview with Battles by Jon Tjiah
BROOKLYN BATTLE BOYS

`The man's voice echoed between the walls of my room. Aw, shit!' The first time I
ever heard Battles, in 2004, I'll admit to being a little confused. After all, I had
anticipated the moment for months: a fresh collaboration between a handful
of respected musicians with cutting-edge instrumental approaches, drawn from
the pool of American math-rock and metal.
Several months after I heard the Battles Mixtape fan of Ian's work, so I just kind of agreed to check out cramming scores of riffs into each song, but also for his
Sampler, the band brought out their first releases- what he was doing. And that was that. It pretty much
proper, entering the arena with both Tras/Fantasy completely happened out of nowhere.'
and EP C, on Cold Sweat and Monitor respectively. Battles members are typical of many musicians
Soon followedB EP on Dim Mak which, combined today, balancing time between various projects and
with Tras/Fantasy and EP C, would form their debut locations. Stanier himself spent January of this year
release on the infamous Warp label. in Australia, playing shows as a member of seminal
Comprising Ian Williams (Don Caballero, Storm + Adelaide band The Mark of Cain. `The writing process
Stress), John Stanier (Helmet, Tomahawk, Mark of is much different now after we've been a band for `We're definitely not like
Cain), Dave Konopka (Lynx) and Tyondai Braxton three years, and everyone knows each other's style,' a jammy kind of band, so
(an accomplished avant-jazz multi-instrumentalist),
Battles was eagerly awaited by trainspotting indie kids,
he explains. `We do a lot of writing at home, emailing
each other little parts and stuff like that. All of us have, everything's pretty much pre-
metal heads, and experimental music fans alike. Even like, three other bands, so we're kind of bouncing ideas written. It's starting to change
so, nobody could have calculated the groups sound
from the sum of its parts. A blend of flitting guitar
back and forth. We didn't really do that before. Before,
we just sat in a dingy little basement in Brooklyn, sat
a little bit'
notes, twinkling melodies, ever-complicated loops and there and wrote on real giant paper on the wall, and
the lumbering muscle of Stanier's drumming, the band wrote down every particular little engineered part
have already birthed a wholly distinctive sound. of a song. `We're definitely not like a jammy kind of
The group formed in Brooklyn, New York, in 2003. band,' he continues, `so everything's pretty much
Williams had moved there from Chicago fresh from pre-written. It's starting to change a little bit. Before it
the spectacular demise of Don Caballero, following a was very, very engineered from the inside out, but now
serious accident involving their tour van (bombastic we're more comfortable playing with each other, so it's
drummer Damon Che has since reformed the band of definitely morphing a little more to just a typical way
his own accord). He began playing with Ty Braxton of writing songs.'
(son of legendary avant-garde woodwind player Williams has likewise hinted that, despite the central
Anthony Braxton), after the latter repeatedly urged role of structure in Battles music (from which, he
him to make a solo record. Thinking they needed explains, improvisations hang), they are allowing
something extra, Williams invited Konopka to join themselves to branch out a little to keep older songs
them for a show. Stanier's involvement came a little fresh. Those familiar with Ian Williams' guitar work
more by chance: Ì ran into Ian, and I was always a big in Don Caballero will remember his penchant for

It's pretty cool, very chaotic, growling, cyclic figures (around which Che would
frenetically whack everything within reach).
It used to be even more complicated when the band
started playing, they incorporated a small choir of
and with zero directions it's It is these which come to the fore in Battles. Some girls. `That was the very, very original idea from day
very loose.' patterns have demanded multiple outings to facilitate
fuller exploration of their harmonic content so there
one, to have that choir,' says Stanier. Ìt sort of worked,
until we realised ``Wow, that's a lot of people''. It's
are three different versions of `Tras'. For instance, pretty cool, very chaotic, and with zero directions it's
`Tras' is based around a series of muted power chords very loose.' But while Stanier seems excited by the
and brittle keyboard melodies, shuffling effortlessly idea, he's well aware of its limitations.
through almost four minutes. `Tras 2', on the other Ìt sort of is an impossible thing to organise that in a
hand, is all swerving forwards-backwards guitar loops, constructive way and bring it on tour; it becomes like
grumbling polyrhythmic synth bass, tambourine the Polyphonic Spree. It's hard enough to get everyone
shakes, and sparring guitar whimpers unrecognisable at the same time in the same room. For now, its just a
from its sibling as it peters into a lone 90 seconds of local show and recording phenomenon.'
Stanier's drum pattern. One of the hallmarks of Battles Offstage, Battles have been busy preparing new
is their ability to multi-task, with both Williams and material, as well as dabbling in other projects. Ì just
Braxton turning out crushed-up melodies on both played on the new Prefuse 73 record,' says Stanier,
guitars and keyboards (occasionally simultaneously). ànd Battles as a band have just remixed Four Tet.
While tracks like `B+T' trade on lightly overdriven Every month there's something else.'
looped harmonics and missed beats, `Dance' employs Braxton was already a regular collaborator with
squawking, stuttering keyboards on the back of Prefuse 73, who has paid for Battles to tour with him
Braxton's beatboxing. Beguiling guitar and keyboard so the kids who didn't get guitars might see things
loops shift in and out of time signatures, ably framed from a different perspective.
by Stanier's drumming.
See www.myspace.com/battlestheband
for more info
SHORTS / international
Tunng
Interview with Mike Lindsay by Anna Burns
FORKED TUNNG
It’s a wet Wednesday morning in Tunng started about three years ago when Mike have become a bit of a collective.’
England and Mike Lindsay has got up Lindsay and Sam Genders met by chance, through a After a significant time playing a bunch of live shows
early to chat about his band Tunng. mutual friend. Sam, as singer/songwriter was looking they’ve come back with another album, Comments of
Mike has finished his breakfast of for someone to work with and as chance would have the Inner Chorus. The experience of performing live
it, Mike is a producer and he was also on the look has somewhat affected the process of making an album.
melted cheese on toast, topped with
out for people to work with. It sounds almost like a ‘We have less chopped up guitars and that sort of thing,
tomato sauce, as in ketchup. He set up: ‘mutual friend took me to see a show of Sam’s because live they’re quite tricky to do,’ says Mike. ‘[But]
humours me as I ask perhaps too many conversations turned to music and we started playing the studio is one thing and playing live is another and
questions about the details of this. You around in a dark, grey basement studio in Soho’. The we didn’t want to change things too much – we didn’t
see, it’s my favourite question to warm songs come together when Mike ‘tinkers in the studio’, want to be thinking “Oooh we shouldn’t do it that way
up a phone interview; make sure the making beats and pieces, and when ‘Sam comes in because playing it live might be tricky to play”. We
levels are working fine for recording with lyrics and guitar tinkers and they see what fits. Or just wanted to make a really good record. It’s always
and all that. But I’m also genuinely sometimes Sam writes the songs, and then brings it to at the back of your mind that you’ve got to perform it
me and I add the finishing touches and bring it together.’ but … you’ve just got to make the best songs and then
fascinated – cheese on toast with
They rarely sit down and write together, although that come to the question of how to translate this into a live
tomato sauce. Interesting. What does does sometimes happen. The making of Tunng music performance later.’
this tell us about one of the major seems to be a rather relaxed and organic process. The Tunng has more than doubled in size – they’ve gone
masterminds behind Tunng? I’m not sure. mystical worlds, the tales of murder, robberies and from a duo to five strong – which, surprisingly, didn’t
intrigue portrayed in the lyrics of Tunng songs mostly cause too many changes in the production of the new
come from Sam’s imagination. Who would’ve thought record. ‘[It] was quite similar to the process of Mother’s
someone so quiet could come up with songs that are at Daughter; I still sit in the studio and makes beats and
once so beautiful, but sometimes so dark and twisted. samples and bring everyone in at certain points to add
The other remarkable thing about Tunng is these same their ingredients to the pot. There are more people
worlds are also always so charming, sweet, light and involved and there’s been an evolution of Tunng but
picturesque, not dark and depressing, more light- we didn’t all sit around and decide to write an album,
hearted and quaintly innocent. it happened over the course of the year, much like
After a period of all this creating and collecting, Mother’s Daughter, between gigs been doing stuff in
they ‘sent around a bunch of demos to various record the studio.’
companies,’ says Mike. ‘Static Caravan came back Some of the samples used on the new album are
with an enthusiastic response’, which gave them more the ‘results of a trip to Belgium with a mini disc where
momentum. This is how Mother’s Daughter and random recording bits and bobs were cut up, other
Other Songs came into being. But how did a basement samples are random noises and sounds created on the
studio project grow into a five-piece live band that has computer and a few old poetry record samples have
recorded a couple of live sessions for One World, (the been thrown in … for good measure. It was an obscure
BBC 1 show that’s taken over from John Peel), supported old record that in a day gone by had been used for
some high-profile people, played a stack of their own educational purposes in schools, featuring headmasters
impressive shows, and landed at SXSW this year? and headmistresses reading things and talking. I loved
Although they’d never intended to be a band and play their voices, they have such a wonderful texture and
live, Mike says they kept getting asked to play live, so parts of this featured heavily on the new album.’
eventually what was a studio project took on another Now back to those casually mentioned BBC Live
dimension. ‘We got a band together, spilt some tracks sessions, in Maida Vale. That’s a pretty huge step for any
down to make things work, combined more traditional band. Mike agrees it was a kind of ‘crazy experience, all
instruments with things like sea shells, bits of wood and that history’, but it’s also eerily normal. ‘The producer
'random recording bits and
bobs were cut up, other
samples are random noises
and sounds created on the
computer and a few old poetry
record samples have been
thrown in … for good measure.'
that worked with them has been we decided to. Apparently Bloc Party
there 20 years, you spend a few hours have heard it and liked it, which is
recording and then mixing, and after good because briefly we’d been worried
go to pub. It’s all very normal until he that die hard Bloc Party fans would be
casually starts rattling off some of the offended or something, but they seem A NEW ALBUM OF WORDS & BEATS FROM
other bands he’s had beers with in this to be okay.’
COOK N KITCH
same pub put after a similar process!’ And, finally, the name. The story is
I’ve interviewed other bands about short and sweet: one day Mike and
recording BBC Live sessions and one Sam were sitting at the pub, writing
& MONK FLY

of them mentioned a mythical ‘menu’ out words and this just stuck. ‘Some
of sorts, where you can choose things people have suggested that it’s a little
like the Ringo Starr drum kit seat, for onomatopoeic, like pow or splat;
example. But, if that’s true, Tunng tunng, like a note or something, that’s
weren’t given the opportunity to order. nice. It’s also funny, no one can spell
‘[There are] big orchestral rooms, and it, it seems to scramble in your head …
something like seven different studios It’s something people can find some
but we didn’t get the mystical menu,’ deepness in it if they want.’ Tung (with
says Mike, laughing. one less ‘n’) is also Swedish for heavy
Earlier in the year, their remix of you see. They obviously have a sense
Bloc Party’s ‘Pioneers’ caused a fair stir of humour as their music is anything
across the world. How did this come but heavy, no death metal sounds on
about? ‘At one stage Wichita (Bloc this album, no, instead it’s all light and Available
Party’s label) were going to sign us for
the US and they asked us to do a cover
thoughtfulness.
Autumn 2006
of ‘Pioneers’ to be released as a B-side
to the single,’ Mike explains. The deal
with Wichita didn’t eventuate and Release date & launch parties:
www.the-frequency-lab.com
they decided not to release the Tunng
cover. ‘But we liked it and so thought See www.tunng.co.uk
fuck it, it’s a waste to not release it so for more info
ABOUT EMERGENT
Hopefully with your copy of Cyclic Defrost #14 you
found a CD titled Emergent. If you didn't, well some
Cleptoclectics
cheeky blighter probably scarpered with it. Anyway,
Emergent is a compilation made made in conjunction Instrumental hiphop producer Who are some people in your life you admire, and
with the Noise Festival and ABC Radio's Sound Quality. Cleptoclectics is 22-year-old why?
The compilation brings together young artists from Thomas Smith, from Sydney. Tom is Alto saxophonist Ornette Coleman is a hero of mine. I
around Australia who all submitted tracks via the web. respect his persistence, and that he played in his own
currently studying at the University
way despite intense criticism.
Klara Leander, project manager for Noise, ran of Technology, Sydney, where he’s
two question & answers with Textile Audio and writing an honours thesis using Gilles Do you have a creative highlight to date?
Cleptoclectics. Elsewhere in this issue you can read Deleuze’s ideas on the refrain to Every time I finish a tune I imagine it to be my best
full interviews with Scissors For Sparrow and Moving conceptualise sampling as a creative work, for about a day … and when that day has past I
Ninja, who are also on the compilation. process. don’t think I’ve achieved anything. I’m hoping that will
change.
Tell us something about where you come from.
I originally come from Canberra, where it was very cold. What has been the biggest challenge for you so far?
I gained a taste for gloomy weather ... I could see for Networking, meeting the right people; I’m not an
miles, and there weren’t many people around. extrovert.
Tell us your three favourite things: What’s the next thing on the cards for you and
Music, food and interesting people, in no particular your music? Any big plans: exhibitions, gigs,
order. My needs are fairly basic. collaborations, exciting things?
Getting a full-length release is my first priority. I’ve got a
How would you describe your work? small, weird gig coming up for the DKDC performance
For convenience I usually say something like beats or collective in Sydney. I’ve been asked to interpret Charles
instrumental hiphop. I prefer sample-based music, but Bernstein’s 'logrhythm’ poetic format, in the form of nine
it tends to illicit blank looks; people need a point of 30-second sound poems, which I’ll bash out on an MPC.
reference, so I name stuff like Four Tet, DJ Vadim, DJ
Spooky, Prefuse 73, DJ Krush, Madlib, Daedalus, Amon How do you imagine yourself in ten years time, and
Tobin, Manitoba, etc. Ideally, [I’ll] let them listen and what challenges do you imagine you’ll face along the
make up their own mind about which generic buzzword way?
they’d like to apply. I try not to be determinist in the way I think about my
life. Challenge is inevitable.
Cleptoclectics's' 'Profit Killer' is featured on the CD

compilation Emergent - Sounds From The Petri Dish,
which comes free with Issue 14 of Cyclic Defrost.

NOISE IS AN AUSTRALIAN GOVERNMENT INITIATIVE MANAGED BY THE AUSTRALIA COUNCIL.
TextileAudio
TextileAudio is a new project by How would you describe your work? Do you have a creative highlight to date?
electro mezzo soprano and opera Pretty varied. I’m working on a particular style at My creative highlight so far would be the staging of a
singer Eve Klein. Klein lectures the moment that I’ve described on my website as: short multimedia opera performance I wrote, entitled
in electronic music at Macquarie “Between ambient electronica and classical music lies 'Her Song', in Canada last year as part of a conference
TextileAudio. Working with scores, field recordings, and event called Techno-Feminisms: New Cultural
University, Sydney, and is completing
operatic-pop composite vocals to weave rich melodic Mediations. It was an amazing experience, performing
a doctoral thesis in electronic- soundscapes and textures, this music is unashamedly in another country, but particularly in that kind of
multimedia opera. romantic.” So perhaps I’m a little obsessed with melody environment. After the performance I was able to take
at the moment – that’s the vocalist coming through, but questions and gain feedback from a really diverse and
Tell us something about where you come from. I’m also wanting to work with much more noise than is international audience.
I was born in a rather sedate middle class suburb of featured in the Emergent compilation track ['Ebbtide'].
Seaforth, NSW. Other than that I’m a product of a What’s the next thing on the cards for you and
rambling university arts degree who messes around with What has been the biggest challenge for you so far? your music? Any big plans: exhibitions, gigs,
sounds. Finding the time to develop as an artist, but also finding collaborations, exciting things?
people to listen to my music who don’t think that it’s just I’m writing an electronica opera with projected
What do you do for fun? plain weird. backdrops, and am hoping it will be ready by mid 2007.
I have an obsessive sweet (vegan) tooth. I bake
enormously decadent cakes, make chocolate truffles and 'Ebbtide' is featured on the CD compilation Emergent
recently I’ve started creating my own ice-cream. Other - Sounds From The Petri Dish which is available for
than that I’m never separated from my computer! free with Issue 14 of Cyclic Defrost.

FEATURES / INTERNATIONAL
Matmos
Interview with Drew Daniel and M.C. Schmidt by Dan Rule
SIGNAL TO NOISE
Drew Daniel and M.C. Schmidt – the oddball San Franciscan pairing behind acupuncture meridians under your skin, and it’s this
the exploratory sound worlds of Matmos – have long been something thing that you sort of slide around your skin and it goes
of a drawcard in an increasingly crowded electronic community. Over ‘eeeeee’ and buzzes when you hit the different points. So
eleven years and five albums, their music has traversed history, human I play this thing live, Drew samples it, and we build a
song out of that.”
function, high camp, humour and hyper-surrealism, delving into sonic and
Somewhat unsurprisingly, Daniel and Schmidt met
conceptual depths previously untouched by the electronic scene’s vast in less than conventional circumstances. “When we
tendrils. Drawing sounds from the most extraordinary of sources, the pair met music was a point of mutual interest,” says Schmidt.
have managed to create music at its most abstract, lithe and boundless. “But seriously, I met Drew while he was go-go dancing
on a bar and I was putting dollars into his underwear,
and when he climbed down off the bar and I was able
Drew Daniel is in a good mood today. In fact, it’s preoccupation with the notion of paradigm to actually speak to him, it was one of the first few
hard to imagine him otherwise. He’s chirpy, talkative shift; a sensibility that has allowed them to things we talked about.”
and cracks bad jokes. “I not only have Cat Power create some of the leftist electronic world’s most “Well, honestly, it wasn’t that pure,” he laughs. “The
evenings, but Black Sabbath mornings,” he offers simply. bold, unique and often absurd sound works. guy I was standing with – looking up at Drew in his
“Listening to music, to me, can definitely be about From the start, their output was recognised as underwear – said ‘Oh, you know he makes really cool
feeling introspective and melancholic at some points, different to what was going on in the UK dominated electronic music’, and that’s not generally something
and feeling kind of satanic and powerful at other times,” underground scene. Removed from the synth-heavy you’d think about someone who’s go-go dancing on a
he says, breaking into laughter. aesthetic of the time, the duo set about defying the bar in front of you. So it gave me a great chat-up line. I
His creative partner Martin C. Schmidt, too, is hardly dance-oriented margins of the time, taking a newly was like, ‘Soooo, you make music? What kind of music
in a serious frame of mind. “Do you feel satanic and artistic and deconstructive view of sound and music. do you make? Blah, blah, blah’. Thank god I could be
powerful today, Drew?” he jibes. They released their self-titled debut in 1997 through more specific than ‘Do you come here often?’”
But Daniel, who along with Schmidt is today chatting their own Vague Terrain imprint to a flood of critical “So we started talking about this French musique
from their home in San Francisco, does have a point. praise. Daniel a then Ph.D. student, and Schmidt, concrete guy, Pierre Henry,” he continues. “We had
That being that for him, the simple emotions and a visual artist (he now manages the New Genres both heard this piece Variations For a Door and a Sigh,
gratifications of listening to music exist on a different department of the San Francisco Art Institute), were which is entirely this music made out of not music; it’s
plane to that of his own creative processes. doing things differently. The record’s aforementioned made out of an object. So I proceeded to step up, in the
“I’m the same as anyone else as a listener to music,” he crustacean neural activity, plus the sound of freshly cut pick-up procedure, to ‘Would you like to come see me
explains. “But as a creator I don’t really see music as my hair and human breath, only seemed to drive home sometime and learn how to use a computer to edit?’
chance to finally express buried emotions.” the point. This was, like, 1991 so having a computer was a much
Instead, he sees his own music as an attempt at 1998’s Quasi-Objects and 1999’s West followed, bigger deal. It’s like, how do I pick up boys? I know, I’ll
changing the terms of reference. “I think there’s a lot before they released perhaps their most infamous buy a computer! This was the only time it worked out,
of emotional impact that comes along as a result of recording, 2001’s A Chance to Cut is a Chance to Cure. but it worked out really well.”
people’s associations with sounds, and part of what Composed almost entirely from the recorded sounds Daniel soon moved to London, and after exchanging
Matmos is hopefully doing is letting people notice that of surgery and medical technology, the record set a tapes through the post for the next couple of years,
there can be something fascinating and emotional about new precedent sound recontextualisation, with the they eventually reconvened in San Francisco Bay Area,
the sound of a typewriter or the squeak of a door. It isn’t duo (both, conveniently, the sons of doctors) shaping founding Matmos in 1995.
just about a D-minor chord meaning ‘cry now’. There’s medical procedures into a remarkably accessible cache Since that time, and unlike many who inhabit the
a lot of emotion in everyday life, so making music of experimental electro tunes. As Schmidt explains, the oft-intellectual world of experimental music, Daniel
out of everyday life is taking a gamble on that fact.” pair still use some of the ‘instrumentation’ from the and Schmidt have managed to retain a sense of humour,
His explanation says a lot about Matmos and their album in live shows these days. understanding their music as a vehicle for playfulness
approach. Over their eleven years together as an “We do the acupuncture point detector,” he says. “In and experimental frivolity as much as the sober,
ensemble, the pair have maintained a healthy Chinese medicine they use this box that detects your intellectual exploration ideas. Their new record – the
“it always starts orderly
and ends in chaos, and..
every Matmos song is kind of
the same in that sense.”
follow-up to 2003’s mergence of 16th Century

medieval music and 19th Century American folk in
The Civil War – too, follows these jointly cerebral
and comical paths. The Rose has Teeth in the Mouth
of a Beast, sees the duo examine the realm of sound
portraiture, with their most admired historical figures
serving as subjects. The list includes the likes Austrian
philosopher Ludwig Wittgenstein, Valerie Solanas,
Patricia Highsmith, Darby Crash and William S.
Burroughs to name a few. But as Daniel explains, the
idea originally came, not from their idols, but from an
interactive art piece they had worked on previously.
“It actually came from doing portraits of just everyday
people,” he says. “We did a residency in a museum
where the first person to walk in the door each day… I Highsmith’s work. But you know, it was appropriate with Antony’s whirring vocals in Semen Song for
would interview that person about their lives and try that we rolled with it.” James Bidgood, a heady combination cigarettes
and make a song about them that day, and in many Their music proved very much suited to the burning Daniel’s skin and a swathe of fractured beats
cases try and make it with them as an on-the-spot biography process. “I guess one thing that our friend and bottom-end signal Germs Burn for Darby Crash.
collaboration. It was a really fun process and it kind Matthew Herbert said when he was sort of teasing us Other moments of note are the detective-surf-rock of
of got us thinking about treating a life as though it about our music,” says Daniel, “is that it always starts Solo Buttons for Joe Meek and the melodic plod of
was the subject of a song – structuring a song around orderly and ends in chaos, and that every Matmos Snails and Lasers for Patricia Highsmith. In all, the
someone’s life in some way. It got us going.” song is kind of the same in that sense.” record proves perhaps their most listenable piece of
Yet, Matmos’s notion of biography is fairly supple one, “I think when you look at lives of the people that we music thus far – with or without the far-flung contexts.
as Schmidt explains. “When we did that installation tried to represent, very frequently there was a kind of Daniel attributes this musicality to the record’s
with the people off the street, we tried to do a much tragic marker within their life story that ended often interplay with genre. “I think it makes a big difference,”
more literal biography type thing where it was, like, we with suicide. So these lives actually lent themselvesto he says. “It [the record’s accessibility] is because there
would make a part of the song for their us sort of staying exactly in our rut of going from are certain genre exercise pieces, like the Larry Levan
childhood and a part for their teenage years and a part order to chaos – the end of Joe Meek’s life, the end of track is us trying to do, you know, disco and the Meek
for their adult life, and if there were dramatic instances Darby Crash’s, the end of Valerie Solanas’s life was, you track is us trying to do a twangy, sort of 60s, guitar
we would have a dramatic instance in the music. And know, street prostitution after her incarceration – and rock instrumental. So there is a kind of genre hand-
we sort of started off with that idea for the r ecord frequently there is this kind of upward and downward hold there.”
but ended up more object oriented, which we always arc. And I don’t think real lives are generally like that, The Valerie Solanas cut, Tract, is a prime example.
seem to wind up doing no matter how hard we try to but some of the people we were writing about were “When you think about the pop music of now and
avoid it.” sort of aestheticising their lives to take on that shape. where are the women who are completely sexually
“So we ended up like, ‘Patricia Highsmith, she was You know, like Joe Meek decided to kill himself on the frank and who don’t take any shit, and I thought
super into snails. Snails are like French horns, so we exact day that was the anniversary of Buddy Holly’s immediately of somebody like Lil’ Kim, you know, or
should get French horns, and we should also use snails death, you know, and there was a very clear kind of Peaches – people that have a really strong female voice
literally’. It’s very much free association and one thing aesthetic program that drove him even in his madness. in what’s usually tough, booty bass-type music. So that
leads to another… We got someone to record and play And so, in a way, their lives were already art-like.” was kind of on my mind when we were assembling the
French horns, and we layered it upon itself and it fed Re-enacting and representing moments from their Valeria Solanas track.”
us this sort of film noir kind of mood. Once we heard subjects’ lives, The Rose sees Matmos pair abstract But despite this new sense of listenability, Schmidt
that we were like ‘Aha, it should go in this direction’, collage with an often thrilling and evermelodic is realistic. “I think our accessibility is still definitely a
and it even ended up being a bit of a cliché for Patricia musicality. While micro recordings of semen oscillates relative thing,” he laughs.
“I’d like to believe that it’s clear
that there’s something weird
going on with this music.”
The album also featured a visual art project, where

Schmidt and Daniel commissioned several visual artist
to complete accompanying portraits of the subjects.
Valerie Solanas again featured prominently. “Jason
Mecier did a portrait of Valerie and he built it entirely
out of cigarettes and snail shells,” explains Daniel. “And
it looks like a photograph of her smoking a cigarette, but
when you look up close you see that it’s entirely made
out of snails. Some of the artists work in a similar way to
us, so there’s quite a tight link.”
Nevertheless, Daniel’s not entirel convinced of the
project’s success in terms of its biographical value. “I
guess there’s always that question of sort of the ethics of
representing someone else, and whether you’ve earned the
right to deploy someone else’s life for material for your art.”
“But you know, we’ve just got a letter from James
Bidgood’s manager, because he’s still alive now… so
when we go to New York hopefully we’re going to try
and meet him. It’ll be really interesting to hear the
response of someone to one of these compositions, you
know, and I’m kind of keeping my fingers crossed about
how that encounter goes.”
But as with any form of experimental art media,
Matmos’s sonic explorations are bound to encounter
as many problems as they will accomplishments.
And for now, their ambitions are simple. Conceptual
preoccupations aside, they would like their music to
be interesting whether we realise its source – be it a
reproductive tract or otherwise – or not.
“This might sound a little like a cop-out,” says Schmidt.
“But I certainly hope that the music works with no prior
knowledge at all, and that when and if they read the
liner notes it opens up further and becomes something
more. I mean, I’d like to believe that it’s clear that there’s
something weird going on with this music, you know,
when you listen to it with no knowledge. There are all
those strange sources of things and we try to make them
– you know, some of them at least – not completely
modified, crushed and destroyed by computers and
effects and so on,” he pauses.
“So hopefully an uninformed listener is at least like, The Rose has Teeth in the Mouth
‘Why does that sound so strange? What is that weird of a Beast is out through Matador /
squishing sound?’” Remote Control
EVENT REVIEW
Reviewed by Chloe Sasson and Tim Colman
SONAR 2006
Monday 12th June character who they can move around the town via performance was the minimal, but wonderfully effective,
Arrival in Barcelona SMS, and receive messages back regarding their health,
World Cup score: Australia 3, Japan 1. whereabouts and state of play in the
town. We adopted Kiki.
While the number 13 is unlucky for some, Sonar 2006
celebrated its first teenage year in style. This year, the Message One: Kiki is dropped off at the edge of town.
focus was on the multiple facets of black music and Where would she like to go? GOTO Rat Research Centre.
an exploration of Japan's rich, yet often unrecognised,
musical scene. Spread over eight stages in the shadows Hype Band of the Festival: The Knife
and within Barcelona's Museum of Contemporary Art, There's always one band whose name is whispered visual display from Nicolai. A single fluorescent strip at
SonarDay attracts one of the most wonderful crowds through festival crowds as THE act to catch. This year it the back of the stage threw up simple geometric figures,
you're likely to find at an arts and musical festival. As was the Swedish brother and sister duo The Knife, their explosions of chainsaw fireworks and classic LED
one local surmised, Ìt's the sneakers and sunglasses reputation for dark electro and stunning visuals had The patterns; the mostly yellow on black triggered perfectly
set from around the world'. It's a mix heavy with trendy Hall Stage was at capacity and closed to punters within by Nicolai to create a visual imagery of the night’s
Spaniards, the sunburnt English (sans the lager louts), minutes. Opening with throbbing sine-wave pulses performance.
an impressive contingent of Japanese, a sprinkling of and ghostly Bjorkish vocals, The Knife certainly was
Americans; plus a dozen or more so other nations; all promising. However, half way into their two-hour set,
with their 20 to 40-year-old delegates mixing together in the duo's electro vibe became more of the same old. No June 16. SonarDay
the latest Adidas, coolest T-shirts, and even a few tutus. doubt they will be huge, even if their on stage get was Update on Kiki: Still at the edge of town.
As in previous years, Sonar's musical performances reminiscent of our own TISM. Realising that Kiki had not moved in 24 hours, an
were backed by a dizzying plethora of non-musical investigation revealed that none of our SMSs were being
events; from technologically inspired art, interactive received. Kiki is stranded.
demonstrations, and more traditional exhibitions ... June 15 - SonarNight
Alva Noto and Ryuichi Sakamoto at Insen Richard Chartier
Bizarre Beer Administration: Line up for beer. A walk away from Sonar Day is Barcelona’s L’Auditori. From the Raster Norten label, Richard Chartier’s DJing
Then told to line up for beer ticket. Then go back and Built in the late 1980s as part of Barcelona’s ‘urbanistic of minimal ambient drones was barely audible over the
line up for beer. Alternatively; line up for beer ticket, reorganisation strategy’, it is the home to many of the boisterous Sonar Dome crowd. It was a problem many
then flag down mobile beer pourers in crowd. city’s classical and contemporary musical events. A Dome performers suffered, including Australia’s Inch
welcome change from SonarDay’s astro turf and fun- Time, who performed the previous evening as part of a
in-the-sun crowd, Insen provided the perfect setting Static Caravan showcase. Your best bet was to visit the
June 15 - SonarDay for Insen’s experimental collaboration of electronic record fair and pick up a copy of Chartier’s work from
Standard IDM Opening : Basscadet and visual artists Carsten Nicolai (Alva Noto) and Raster Norten stand. Exceptional packaging!
Slotted in as the opening SonarDay act this Spanish composer Ryuichi Sakamoto (best known for his work
laptop DJ paid perfect homage to his UK influences in Japanese techno pop outfit Yellow Magic Orchestra). Exhibition of Destruction:
Autechre and Aphex Twin. Set at opposing sides of the stage, Sakamoto’s piano Once Upon a Time Chernobyl exhibition
work moved from the highly experimental (fingers An example of Sonar’s deeper commitment to art and
Gaming Participation: Day of the Figurines inside the strings, manipulating metallic strains like an understanding was the inclusion of the exhausting and
As part of Sonar's exhibition component, this year's eccentric car mechanic; tuneless childlike thumping of quite disturbing exhibition about the Chernobyl disaster.
exhibitions were based around `the concept of territory discordant plonks), to classical melodies. Across from Highlighting the darker and highly destructive side of
in the modern world'. One of the more intriguing him, Nicolai’s simple laptop set-up provided equally technology, this extensive display detailed time from the
exhibitions came from the UK's Blast Theory collective experimental electronics, from clicks, cuts and fuzzy point of the explosion, through the clean up and ugly
and their IPerG (Integrated Project on Pervasive static to the piano-like mimicry in one of the night’s aftermath, with hundreds of pictures, videos, drawings
Gaming). Set in a fictional town, users adopt a most captivating movements. Rounding out the and excerpts from government memos.
the crowd slowly left, not warming to tracks totally
devoted to ecstasy use. Shadow didn’t totally alienate the
crowd though, pulling out 'Organ Donor' towards the end.
As part of the Schematic showcase, Otto Von Shirach and IDM from the UK’s Expanding Records were the
Surprise Pop Act: Scissor Sisters took to the stage splendid in fake nose and breasts. In a outstanding attraction; and two from the set quickly
Britain’s White Diet pulled out at the last minute and set of brutal, depraved electro noise he stalked the stage made it into our bags.
were replaced by an unannounced Scissor Sisters. ripping through demented covers of 'I’m Too Sexy' and
Perhaps an odd choice but their Bowie-esque glam went 'When Doves Cry', even inspiring violent, crazed dance Perfect Stoner Moment: Fat Freddy’s Drop (www.
down well with punters in the afternoon sun. moves from one overexcited punter. fatfreddysdrop.com)
The ever-popular Kiwi reggae band provided the perfect
June 16. SonarNight DJ Shadow setting for Sonar’s final sunset. Playing on the main
DJ Krush There was a certain buzz around the DJ Shadow SonarVillage stage, the Drop’s Rasta vibes had the crowd
Performing in the massive Sonar Park, Japan’s DJ Krush show and the ‘hyphy’ sound with Bay Area MCs Keak smoking their stash dry in what was a feel good contrast
spun an epic instrumental, often cinematic, hiphop set. Da Sneak, Turf Talk and Nump. Those expecting a to much of the colder, experimental music of the past
Despite precise and intricate mixes the downbeat nature laidback trip-hop affair were in for a shock as they three days.
was lost on a crowd wanting something more energetic. ripped through an up-tempo hiphop set featuring hard
Perhaps a more intimate SonarDay set would have been electronic stabs and R'n'B synths rather than warm
more fitting? jazz samples. It showed too, as the crowd slowly left, June 17. Sonar Night – Rupture Off Sonar
not warming to tracks totally devoted to ecstasy use. An hour’s walk to the outskirts of Barcelona, in an
Chic Shadow didn’t totally alienate the crowd though, pulling industrial wasteland, where heavy metal bars and
As the familiar bassline of the disco classic 'Le Freak' out 'Organ Donor' towards the end. teenage drinking dens were surrounded by construction
emanated from the Sonar Club, it was surprising to sites and scaffolding is where DJ/Rupture chose to throw
see a full band performing rather than a DJ dropping an off-Sonar party. The hard-to-find warehouse was
a crowd favourite. With the only surviving member, June 17. SonarDay a door behind a non-descript wall and it cost just one
Nile Rodgers, leading a massive entourage they ended Update on Kiki: Still at the edge of town Euro to enter. Inside it was a classic warehouse party,
with a marathon version of 'Good Times', complete Apparently the town is at war and disease has spread with kids in black, trippy visuals and horrible toilets.
with a Sugarhill rap and beatboxing from former Roots through the population. Kiki is still stranded. It just goes There was even homebrewed beer… that tasted like
member, Rahzel. to show that you can’t always trust technology. tuna. Along with Rupture, Planet Mu’s Shitmat and new
Soot Records signing, Filastine, performed, dropping an
Jimmy Edgar Music Without People: Raster Norton in the Essential often overlapping mix of drum'n'bass, hiphop, breakcore,
Considering his album on Warp was somewhat Room ragga and grime, though it was so packed though it was
disappointing, Jimmy Edgar proved to be the surprise Set in the MACBA Audiori, record label Raster Norton hard to tell who was doing what … great fun!
of the evening. Performing with a laptop and various created a solitary environment where sound was the
gadgets, he ripped through clinical set of Detroit- only focal point. Set up with four surround-sound Time of filing story: Tuesday 27th June.
inspired electro. Crisp beats over robotic rhythms. speakers, visits to the space ended with an audience World Cup score: Australia 0, Italy 1. The dream is over.
reduced to total silence as crystal-clear pieces from a
Jeff Mills number of commissioned artists such as Alva Noto and
As Edgar’s last beat sounded, a back curtain fell Richard Chartier were played.
revealing Detroit icon, Jeff Mills. His first beat dropped
with such force the audience was literally thrown back Most Irresistible Purchase: Expanding Records
a step. Setting the standard for the next two hours, he Like a kid in a lolly shop, Sonar’s record fair was a
expertly mixed a set of relentless four-to-the-floor dangerous place for buyers on the Australian dollar.
techno over four decks. A crowd favourite - just trying Over the 50 stands dedicated to festivals, DJ equipment
to exit the venue required deft manoeuvring. and vinyl, most of the customers seemed to be the
serious European DJs. However, the delicious set of
Otto Von Shirach colourful 7”s covering the spectrum of electro, techno
features / local
SELECTS:
MARK N
Mark N is one of the under- His ‘take no shit’ attitude and deadpan, self- rightly, as an outsider and a threat. Original
appreciated renegade figures deprecating humour have been responsible Nasenbluten records trade for ridiculous
in Australian electronic music. (together with Aaron Lubinski and Dave figures on eBay, and every release from
Melo) for Nasenbluten’s noisy, grating and his Bloody Fist label is a collectable. Mark
Immensely hard-working and
harsh music, which has been released on ceremonially closed down Bloody Fist on its
driven, he has more notoriety labels all over the world, including Industrial 10th anniversary and moved interstate. He
overseas than locally, having Strength. Becoming frustrated with putting vows to return to Newcastle to retire, and
toured extensively through music out on other people’s labels, Mark set when he does maybe the Newcastle mayor will
North America and Europe up Bloody Fist Records - a name that still gets present him with the keys to the city.
first with his now defunct trio him strange cold calls from telemarketers.
Nasenbluten, and later solo Bloody Fist steadfastly refused to release Mark was given the task of choosing ten
as Overcast and as a fierce DJ. music from anyone outside of the Newcastle records that have defined him over the years.
region. His later solo productions as Overcast He approached the task with such relish
Growing up and running things
are for the most part dark, menacing relentless that we’ve decided to run the whole thing in
from Newcastle, a city two drum’n’bass, but also explore cut ups and interests of complete-ness.
hours drive north of Sydney once other tempos, whilst his highly technical
famous for its now-closed steel DJs skills, including wins at the DMC and Here are his choices in his own words.
works, he has enormous pride in ITF championships, have irritated many in
his roots. the local hip hop community who see him,
I ran across new tracks that I liked the sound of, I
would listen to them on repeat, paying extremely close
The simplistic use of multi-track
attention to the edit points, structure and scratching recording had... stepped up the
techniques, scrupulously studying every aspect to death.
One of the first cut-up records that I became really
overall impact and density of
excited about was Coldcut’s debut 12” ‘Say Kids’, which the collage
sounded exactly like it had been assembled using
nothing more than records, turntables, a mixer and
four-track tape recorder. The all-encompassing sonic
collage, slightly rough edits and primitive scratching
gave the track a ‘live DJ’ feel. Although it came off far been entirely discarded - the Zeppelin break regularly
more dense and compact than an actual live DJ set gives way throughout the track to extended drop-ins
– and it wasn’t like a regular scratch showcase track on a from several other records. At one point a bold eight bar
hip hop album either. slab of Chubukos’ ‘House Of Rising Funk’ is scratched
This record consisted of actual slabs of other records in twice, then further on through the track four bars of
- specifically, huge chunks of Kurtis Blow’s ‘Party Time’ ‘Soul, Soul, Soul’ by The Wild Magnolias is roughly cut
- rather than purely manipulated fragments. It would back and forth, extending it into a sixteen-bar chunk.
COLDCUT: Beats + Pieces even be fair to say that Coldcut’s ‘Say Kids’ sounded I still think that the sample and breakbeat selections
(Ahead Of Our Time : UK 1987 : CCUT1A/B : 12”) like a tightened-up, thrill-a-minute version of ‘The featured in this track put it a notch above the many
Adventures Of Grandmaster Flash On The Wheels Of other cut-up tracks of the time. Coldcut seemed to take
Music by so-called ‘non-musicians’ was something Steel’. The simplistic use of multi-track recording had, a slightly more cerebral approach - their aim being to
I became interested in as a direct consequence of in effect, stepped up the overall impact and density of continually excite and surprise the listener with a clever
growing up throughout the ‘70s and ‘80s in the the collage, thus restyling the slightly cumbersome and cut-and-paste sound collage, rather than boring them
suffocating cock-rock guitar hell of suburban Newcastle. rough ‘quick mix’ technique that Grandmaster Flash with a dull six-minute scratchathon. And by crikey, they
As far as I was concerned, the notion of people had employed on ‘Adventures’. I also found that I much nailed it.
making contemporary music without using traditional preferred Coldcut’s style over Double Dee & Steinski’s Following this, Coldcut went on to put together one
instruments (especially guitars) was akin to ‘thinking ‘master mix’ collage technique that, although remarkably of the most legendary and best selling hip hop remixes
outside the square’. Unsurprisingly, collecting records clever, was more about clean and tight tape edits rather of all time – the ‘Seven Minutes Of Madness’ version of
composed of fragmentary portions of pre-existing than the ‘live DJ’ feel. Eric B & Rakim’s ‘Paid In Full’. After hearing their remix,
records became a nerdy obsession of mine, and during Later on in 1987, Coldcut became affiliated with Eric B famously dismissed it as ‘girly disco music’ but
this period I was always on a keen lookout for these ‘cut the UK label Big Life, and they released a cracking 12” was obviously more than happy to collect the royalties
up’ or ‘DJ’ records regardless of their origin or quality. by the name of ‘Beats + Pieces’. On this single, they on its sales. Coldcut cheekily replied by re-releasing
Sample-based records seemed to be in abundance had actually taken more of a structured and focused the seven-minute remix independently on their own
throughout the late ‘80s, as new production techniques approach, basing the track around a looped drum break label - with Rakim’s vocals removed - and calling it ‘Not
were slowly being discovered, developed, and samplers with slightly more emphasis on sound manipulation Paid Enough’. (Legend has it that Island Records paid
became more affordable. Even some of the more and scratching. The scratching itself is very primitive, Coldcut a measly one-off fee of £750 for the remix).
commercially successful UK sample-house records old-school, and a little sloppy compared to what was In any case, a veritable flood of pedestrian ‘girly disco
appealed to me during that time; particularly ‘Pump Up going on in the US and elsewhere in the UK at the time, music’ then followed from Coldcut as they went on to
The Volume’ by M/A/R/R/S and the ‘Beat Dis’ follow-up but it works in the context of this track so damn well. collaborate with and produce records for both Yazz and
‘Megablast’ by Bomb The Bass – both which have, in The drum break that ‘Beats + Pieces’ is based around Lisa sodding Stansfield, spawning a handful of chart-
my opinion, dated rather well. The actual story behind is the famous first bar of Led Zeppelin’s ‘When The soiling pop singles throughout ’88 and ‘89. Obviously
‘Pump Up The Volume’, the controversy surrounding Levee Breaks’, from their fourth album Zoso. I had the record company game was well and truly in full
its release and resulting legal action by Stock, Aitken & heard rumours about how these particular drums were effect by this stage. Nonetheless, back in ‘87 when
Waterman is fascinating enough in itself. originally recorded and I eventually read that they were Coldcut were apparently looking for a record deal by
But another thing that seemed peculiar to the ‘80s recorded in a three-storey concrete stairwell. shopping ‘Beats + Pieces’ around to several labels, they
was that any hip hop album worth its salt would feature [Drummer] John Bonham sat at the bottom of the were told by one label in particular: ‘Sorry, but this just
a ‘cut-up’ track where the artist or crew’s DJ would go stairwell hammering away in his distinct ‘muscular isn’t music’. The quote immediately became Coldcut’s
solo and showcase his cutting and scratching skills. drumming’ style and a single microphone captured catchphrase – and when ‘Beats + Pieces’ was finally
These were always the highlight of hip hop albums for the performance from above, creating the ultra-heavy, released the catchphrase appeared on the 12” sleeve,
me, and not only would I skip forward to those tracks muffled but immense resonance that makes the break and regularly in large bold type on their record sleeves
whenever my attention span had been caught short by so distinct and dynamic even when sped up. Although for a long time thereafter. Even if ‘Beats + Pieces’ wasn’t
the rhyming, but I used to rate hip hop albums on the the Led Zeppelin break formed the backbone of ‘Beats + ‘music’ – it’s still one hell of an incredible six-minute
strength of their cut-up tracks alone. Each time Pieces’, Coldcut’s original collage technique had not racket almost 20 years on.

also turned out that the radio station I had locked onto
was 2NUR-FM - Newcastle’s only community radio
‘HOLY FUCKBALLS!! It’s got Art Of
station at the time, based at Newcastle University. What Noise in here!!’
I couldn’t quite grasp at that tender age was that there
were people making music outside of the mainstream
stuff that I heard on the AM radio stations. The ‘music’
I had just experienced was creepy, unsettling and sort of
unpleasant – but above all had not resembled anything
I had heard on the radio before. As an 11-year-old it
really scared me and I distinctly remember having
difficulty getting to sleep that night. After a week of The group itself originally consisted of five members,
trying to forget about it, curiosity got the better of me most of whom came together initially to work on
again and I found myself back at the radio the following Malcolm McLaren’s ‘Buffalo Gals’ in 1982 under the
Sunday night – unsuccessfully trying to find more of direction of Trevor Horn – who also ran their London
the same. based label Zang Tumb Tuum (ZTT). [Music journalist]
It wasn’t until almost 18 months later, during my first Paul Morley was also an early member of the group,
year of high school that I saw a kid who had ‘ART OF but had more to do with controlling The Art Of Noise’s
THE ART OF NOISE : (Who’s Afraid Of?) The Art NOISE’ scrawled across his school bag in black texta. non-image than anything musical. Their record sleeves
Of Noise! I approached him and found out that his name was were drenched in Morley’s cryptic ramblings alongside
(Zang Tumb Tuum : UK 1984 : ZTT-IQ2 : LP) Anthony, he was two years older than I was and had all somewhat drab photography of spanners, statues and
The Art Of Noise records including their new album of whatever else. They steadfastly refused to appear in
In late 1984 I was a fresh faced 11-year-old. My parents the time called In Visible Silence. He was miffed that photographs or on their record sleeves, preferring
had just bought me a small AKAI radio/cassette player someone else at his school even knew about this music instead to maintain a degree of anonymity – in effect
for my birthday. The radio fascinated me as it had and I told him of my unusual discovery on that rainy letting the music speak for itself.
shortwave bands 1 and 2 which meant hours locked Sunday night in late ‘84. Some time during 1985, three of the band members
in my bedroom twiddling the dial listening to static The next day he brought me a tape copy of the full split from Horn and Morley over creative differences,
ridden broadcasts from as far away as Russia and South Who’s Afraid album and as soon as I came home that leaving ZTT and taking The Art Of Noise name
America. afternoon I played it over and over and over again. It with them. Novelty pop singles ensued, including
One rainy Sunday night I was idly twiddling the dial turns out that what I had heard on 2NUR-FM eighteen collaborations with Max Headroom, Duane Eddy and
when I decided to see what was on the FM band. As I months prior was in fact the final three tracks of the Tom frigging Jones. By the time all of this happened I
turned the dial around the 104 mark, a station locked album in sequence: ‘Memento’, ‘How To Kill’ and had reluctantly bailed on The Art Of Noise as a band, as
on which seemed to be broadcasting footsteps and ‘Realisation’. The music didn’t exactly creep me out this I longed for a return to the more experimental sound
thunder. The footsteps were panning from one speaker time around – I was growing up and had begun to and amazing presentation of the ZTT releases they
to the other - FM stereo was incredible the first time gradually learn about, and further investigate, things produced in cahoots with Horn and Morley years earlier.
I experienced it! I was dead impressed but wondered that were outside of the norm – especially in the music Fast-forward to early 2005 – I am tarryhooting around
why a radio station would be broadcasting this. The world. I played the cassette Anthony had dubbed for me London with an old friend and associate from my
combination of thunder and panning footsteps was until it wore out, at which time I also became a rabid Bloody Fist days named Dan. He is working in London
creepy as hell to my 11-year-old ears, but I persevered. collector of Art Of Noise records. as a motorcycle courier risking life, limb and sanity on
After a while came what sounded like church bells The Who’s Afraid album was interesting for a number a day-to-day basis. We are sitting in a Stoke Newington
and organ music. Following this was a weird loop of of reasons. Firstly, the entire album heavily relied on cafe poring over a Rock Landmarks Of London book.
a voice saying ‘It stopped’, accompanied by a strange the use of the Australian-developed Fairlight CMI. The Dan is keen to visit some of the important locations
synthesizer arrangement and what sounded like some album was mostly 8-bit sample-based as a result, and where musical history had been made. I was along
sort of wounded monster groaning in pain. At this some keen trainspotting revealed several sound samples for the ride with only a mild interest in these so called
point I freaked right out and almost switched the radio taken from one of the group member’s other bands: Yes. ‘landmarks’. We continually thumbed back and forth
off, but curiosity won out and I persisted. After a while Secondly, the track ‘Beatbox’ which appeared on the through the book, making a list of things we wanted to
some strange sounding drums began, underpinning album also existed in an earlier version on The Art Of see and slowly nutting out the order in which we wanted
a repeated fragmentary voice sample that I could not Noise’s first EP entitled Into Battle. Legend has it that to see them. I turned to the index and cast a lazy eye
understand for the life of me. This was by far and away because so little was actually known about the members down the list of A’s… Almond, Marc / Animals, The /
the weirdest thing I had heard on my radio since my of the group, The Art Of Noise were actually voted ‘Best Ant, Adam / Arden, Don / Arriva / Art Of….
11th birthday, and I was scared. New Black Act’ by several US publications following the ‘HOLY FUCKBALLS!! It’s got Art Of Noise in here!!’
As the music faded, the announcer shed some light successful 1984 release of ‘Beatbox’ as a separate 12” in The café went dead silent. Everyone turned to look at
on what I had just been listening to. It was some weird the USA – not an altogether bad result for five pasty me. I felt like a bit of a bell-end but my embarrassment
band I’d never heard of called The Art Of Noise and it white Londoners. was short lived once I found page 82. There it was

I had wasted so much of my album was remarkably dense, unpredictable, industrial,
sonically unusual and spectacular all at the same time.
life listening to the Who’s Even the band name ‘Severed Heads’ seemed to be a
Afraid album that I desperately firm ‘thumb in the arse’ of the 1980s music scene. And
why were we so excited? Well, we were young, looking
wanted to knock on the door for trouble and surrounded by an endless barrage of
at Sarm West and tell someone boring, predictable ‘traditional’ pop music – Boom
Crash Opera, 1927, Cold Chisel, INXS, Noiseworks,
about it. Screaming Jets, Bon Jovi, Motley Crue, Testament,
Pseudo Echo, The Doors, Manowar, Bros, Def Leppard,
Red Hot Chili Peppers, AC/DC, Megadeth, Metallica,
Midnight Oil, Guns ‘n Roses and The Angels were the
most often scrawled band names found on our school’s
dunny walls, playground seats, textbooks and classroom
desks. (One of the funniest misspellings I remember
was when some deadshit had actually scrawled ‘The
Angles’ instead of ‘The Angels’ on the back of one of the
toilet cubicle doors).
– Sarm West Recording Studios on Basing Street in SEVERED HEADS : Clifford Darling Please Don’t Apparently all these bands were to be the ‘soundtrack’
Notting Hill. I scanned the page and found out that this Live In The Past to our collective youth. Fuck that. I disapproved. In fact,
location was where Trevor Horn ran his ZTT label, and (Ink Records : UK 1985 : INK016D : 2xLP) my new friend and I both disapproved. Strongly. We
recorded stuff by loads of artists including all the early wanted more of a challenging soundtrack ... perhaps
Art Of Noise material. Suddenly I revised my interest in Near the end of my time at high school I met a dude in something that we would not easily forget. And on a
this whole ‘rock landmarks’ visitation bollocks. my year that had relatively unusual taste in music. After purely personal level, the best possible spanner in the
So off we went – visiting The 100 Club which was the a few conversations with him I discovered that we had a works was perfectly represented (at the time) by hip
hub of the punk scene circa 1976, Gerrard Street near few things in common, including being fans of Severed hop – which to a Newcastle cock rocker’s ear was the
Leicester Square in Chinatown where Led Zeppelin Heads (although he was more of a fan than I was). Prior absolute antichrist of music – drum machines instead
formed, The Samarkand Hotel off Ladbroke Grove to meeting him I had only been familiar with a couple of real drums, shouting instead of singing, and record
where Jimi Hendrix popped his clogs, Vivienne of Severed Heads releases on Volition – Hot With Fleas, scratching sounds instead of guitars.
Westwood and Malcolm McLaren’s Kings Road Sex Greater Reward and the like. Being more immersed in I was also on a keen lookout for anything else which
clothing store where The Sex Pistols formed – and a hip hop at the time I had a limited appreciation of them made long-haired precious ‘muso’ types fly into an
bunch of other famous locations along the way. All but knew that they were Australian, based in Sydney over the top dignified rage, spewing forth ill-informed
mildly interesting I suppose, but I knew where I wanted – and had the best band name on the planet. Ever. tirades in passionate defence of ‘real music’. I’ve always
to be. After spending a bit of time with this new-found high detested ‘musicians’ and their fucking persistent ‘holier
45 minutes later I was there, standing outside the school friend, he introduced me to a number of Severed than thou’ whining about somebody else’s form of
amazing Sarm West complex on Basing Street just Heads’ pre-Volition releases including one which expression. Back in 1980’s Newcastle I was surrounded
off Portobello Road. The building was originally had the most impressive title as far as I was by many of these people and it wasn’t unusual for me
constructed as a church and looked rather menacing concerned: Clifford Darling Please Don’t Live In The to often wake up in a cold sweat - heart beating wildly
in the day’s fading light, what with its security Past. This Severed Heads album in particular was not - having just vividly dreamt of dragging a kicking and
cameras dotted above the windows and doors. Dan entirely ‘musical’ – and certainly not ‘musical’ in the screaming ‘muso’ out of his ivory tower, removing
waited patiently as I did the whole sad trainspotter traditional sense – a lot of it seemed to be composed his ponytail with a blunt knife and stuffing it down
photography routine. For me, this building was the with tape loops and other bits of found sound, some his fucking throat. On the other hand of course, I
place where the most important record in my collection of it quite jarring and uncomfortable to listen to. The was probably just an arrogant and elitist little prick
was conceived, produced and recorded 20 or so years experimental pieces on the album were interspersed who liked to think of myself as being above my peers
earlier. I had wasted so much of my life listening to the with pieces that sounded a little more like left-of-centre because I had now discovered something which no
Who’s Afraid album that I desperately wanted to knock synth pop. I found out soon enough that the album one else could (or wanted to) understand . . . pffft . . .
on the door at Sarm West and tell someone about it. was a compilation of sorts released by the UK label INK whatever…
However, the fear of being met with a steaming wall of Records in 1985, and consisted of older Severed Heads What I am 100% sure about is that the Clifford
indifference by whoever happened to be there working material from 1979-1983, recorded while [sound artist, Darling album of early Severed Heads material stood
late was too much for me. Over the years I’ve never later of mid-‘90s experimenters Size] Garry Bradbury as one of the lonely beacons of intrigue amongst the
really given a fuck about Jimi Hendrix, Led Zeppelin or was still a part of the band. steaming quagmire of musical dogshit that I found
The Sex Pistols – but I left Basing Street that evening in My friend and I were amazed, amused and inspired myself wading through during my final days of high
silent reverence. by everything this record represented; to our ears this school. Clifford even became the proudly touted

We kept up with Ellard’s Severed Heads activities
but became increasingly disillusioned, particularly
when [the seminal] ‘Dead Eyes Opened’ was remixed
and reissued in the mid-‘90s. It had been turned into a
horribly effeminate little affair...
soundtrack to my entire [Higher School Certificate] study Someone at the Newcastle Uni Student Union HIJACK : Hold No Hostage / Doomsday Of Rap
sessions. As a whole, the album also opened my ears up thought it would be funny to book Nasenbluten as (Music Of Life : UK 1988 : NOTE21 : 12”)
to other sonic possibilities beyond the realms of cock the ‘warm up’ act. Needless to say we dived at the
rock, unchallenging pop and ‘metal up your ass!’ – all of opportunity to warm up for an act that had meant so This 12” was probably the be-all and end-all of
which my largely insipid peers seemed enthralled by. much to us during a certain period of our lives (even hip hop for me. The unmistakable sound of late-‘80s
And the high-school friend who introduced me to all though we were in the advanced stages of Clifford-style Britcore. Fast, heavy, uncompromising, didactic and
this? That was one Aaron Lubinski, with whom I would disillusionment). We arrived for sound check sometime furious. Kamanchi Sly spitting his (rightfully) elitist
go on to form Nasenbluten a few years later. late in the afternoon to witness several big heavy-duty and perfectly calculated lyrics over fast breakbeats is
Over the years we both maintained an interest in road cases full of equipment being hauled backstage something that totally mesmerised me when I first
Severed Heads, particularly the early material that Garry and unpacked. heard it, and still gives me goose bumps every time I
Bradbury was involved in. We also learnt of Tom Ellard’s We casually strolled in with a couple of Amiga 600s drop the needle on it. Kamanchi’s sharp tirade against
amusing disdain for what he referred to as ‘Cliffords’. wrapped in ratty bath towels and plastic shopping bags. the competition is delivered at breakneck speed, and
These were people who apparently only liked the ‘early’ Aaron may have even been using a picnic basket as his he only comes up for air to make way for the insanely
Severed Heads stuff. That definitely described us and we road case at the time. Our warm up set was booked at fast and technical cuts of DJs Supreme and Undercover
(somewhat childishly) revelled in it. 8:30 and we made a point of playing our least palatable – which are also beautifully executed, amazingly creative
We kept up with Ellard’s Severed Heads activities but and most extreme pieces – to a slightly miffed and and still untouchable to this day.
became increasingly disillusioned, particularly when [the largely indifferent crowd of drinkers. Before we did I was a big fan of Hijack’s first single, but this 12”
seminal] ‘Dead Eyes Opened’ was remixed and reissued this we made quite a dent in the Severed Heads/Snog totally nailed things for me – the tempo, attitude and
in the mid-‘90s. It had been turned into a horribly ‘refreshments rider’ which was backstage – much to elitism all being turned up a notch since ‘Style Wars’.
effeminate little affair with its limp-wristed skipping their chagrin. By the time we finished, all of us were I realised at the time (perhaps stupidly in hindsight)
percussion; all of the gritty elements that made the extremely drunk and keen to try and stir up some shit that this record embodied exactly what I wanted
original 1983 version so quirky and interesting had been with the headlining visitor and his predictably aloof and everything I needed from hip hop as a whole
well and truly strained out. Even though the remix was entourage. – calculated tirades, fast, heavy breakbeats and precision
not directly Ellard’s doing, I guess we were pissed off that There were a few friends who had come along with us cuts. I didn’t give much of a fuck about anything else in
a much revered track had been turned into exactly the to the show (also proud Cliffords), and one had brought hip hop and I still don’t – much to the chagrin of the
sort of wimpy unchallenging fruity dance music that we his copy of Clifford Darling Please Don’t Live In The many scene purists.
(as Nasenbluten) wanted to pulverise. Past to try and get Tom to sign it. We knew that Tom There were some great records which followed this
After this particular remix of ‘Dead Eyes Opened’ probably wouldn’t take too kindly to this request and Hijack 12”, but none quite managed to harness the raw
hit the Australian charts, Severed Heads went on tour we were keen to see how he would react. After plucking power of Kamanchi’s delivery and Supreme’s production
around the country. The live act consisted of Tom up the courage, we approached Tom with the album on this specific release. Over the years I remember quite
Ellard and Paul Mac playing keyboards on stage with and made the request. a few people going berserk at Kamanchi Sly’s affected
video accompaniment. They were booked to play with Amazingly, Tom regained our instant respect without American accent, but again this failed to really bother
[Melbourne industrial band] Snog at the Newcastle saying anything. He simply rolled his eyes, snatched up me as his amazing vocal delivery far outweighed any
University “Bar On The Hill” on some lost Thursday a black marker and wrote on the back of the cover in ‘faux accent’ criticism.
night in 1994. very small letters: ‘I Disapprove’ T.Ellard. Back in late-‘80s Newcastle, word got around my

school that I was into ‘that poofter rap shit’ and I As you might expect from this, Thug’s live
would occasionally arrive home bruised and bleeding, performances were apparently quite the spectacle – gigs
lock myself in my room and put this record on. Upon would often degenerate into the members belting each
listening closely to this record again and further other up on stage. Legend also has it that the entire
reflecting on those days, I can now confirm that this 12” audience at one particular gig were somehow covered
alone was worth every punch and kick I received. completely in flour. A colleague of mine introduced me
As the ‘90s started to wear on, the hip hop records to this record only recently and upon hearing it for the
I was hearing had generally relaxed quite a lot – gone first time I laughed so hard I think a bit of piss came
were the precision cuts and shouting tirades over out.
up-tempo breakbeats. Instead what graced my ears When this same colleague unexpectedly bumped
was an unstoppable wave of wafer thin fragmented into Tex backstage at a gig some years ago, the
drum samples, R’n’B style production with sing-a-long opportunity to broach the Thug topic was not wasted.
choruses, whole albums about getting stoned and a Tex apparently downplayed a lot of the Thug material,
glut of uncharismatic MCs rhyming so loosely that it brushing it off with the comment that a lot of it was just
sounded like a bunch of half-asleep arseholes reading ‘unlistenable noise’. Maybe so, but to these ears Thug
out their fucking shopping lists. To be fair, there was remains infinitely more interesting than any other Tex
probably a lot of amazing underground hip hop going Perkins related project – and more genuinely amusing
on throughout the ‘90s that I missed out on, and these than almost all of the Australian ‘dickhead music’ which
days I’ll occasionally hear a good underground hip THUG : Dad/Thug continues to limp around in Thug’s wake.
hop record that gets me all excited again, but I don’t (Black Eye Records : Australia 1987 : BLACK4 : 7”) And when [English confrontational noisemakers]
necessarily go looking for them as they seem to be few Whitehouse released their new album recently, I
and far between. A lot of time is instead spent with my The year is 1987 and Tex Perkins (yes, that Tex Perkins) couldn’t help thinking to myself that even those sad
collection from the late-‘80s period – rediscovering is obviously bored. Tex has a couple of mates named old bastards could probably have learnt a thing or two
things I had forgotten about or marvelling at some of Peter Read and Lachlan McLeod who are also obviously about confrontation from our Tex back in the late ‘80s.
the primitive production and (still) amazing cuts. bored. And probably drunk. Very drunk. Hence, Thug
And what of Hijack? It’s a great story – it apparently is born and becomes the ‘only way to live’.
ended in complete bitter acrimony with DJ Supreme Most of Thug’s recorded output was apparently
parting company from Kamanchi Sly, Undercover and produced on the cheap and primitive electronic
the rest of the crew in 1992 or thereabouts. Amazingly, equipment that (as I understand it) one of the band
Kamanchi Sly and Undercover went off and a few years member’s flatmates had lying around at the time.
later made a dodgy chart-topping house record that Most of the sounds are completely overdriven and
they maliciously released under the name DJ Supreme. the recordings are rough as hell, which adds to their
Rumour has it that they still haven’t spoken to each charm. At some stage or other during 1987, Thug’s
other since the break up, despite all the retrospective collective boredom and drunkenness culminates in the
attention Hijack are now receiving. Kamanchi Sly did obtuse electronic pulsating racket entitled ‘Dad’ - which
release a hip hop 12” in 1996 titled ‘Death Before Sydney’s own Red Eye Records sub label Black Eye
Dishonor’ under the name Mr Blonde, which tells his thankfully immortalised on 7”.
side of the break up, and this year DJ Supreme released What Tex and friends also didn’t realise (or care
a DVD called Turntable Trixters which virtually tells about) at the time, was that this particular two-and-
the whole story of Hijack from his perspective, despite a-half odd minutes of idiocy was possibly one of the
a lot of unnecessary and annoying commentary by defining moments in Australian ‘dickhead music’
people who obviously had nothing to do with Hijack at history – flattening anything of a similar nature which
the time. Kamanchi Sly is also releasing solo hip hop either preceded or followed it (TISM, Mr. Floppy, EUROMASTERS : Alles Naar De Kl--te
records again, of varying quality. And while there seems Lubricated Goat, Painters & Dockers, etc). (Rotterdam Records : Netherlands 1992 : ROT009 : 12”)
to be a large internet community continually shouting If you listen closely to the first minute of the track
and begging for a Hijack reunion, I for one hope that it you can just make out these lyrics under the crunching I was sick of hip hop by 1992. I hated what it was
never happens. Nothing is ever as good as it used to be. rhythmical distortion: He’s over there / He’s looking turning into and everything about it – especially
May the legend never be diminished! good / Do it now / Fuck your dad! the people who were becoming part of its scene. In
Charming. The remaining ninety seconds of the hindsight all I really needed was a bit of a break from
record continues in the same fashion, but with the it, but at the time I desperately wanted to react against
shouts and screams of ‘Fuck Your Dad!’ becoming it and if there is one record in existence that saved me
more and more intense, frenzied and insistent. Then as from becoming a bong smoking, head nodding, hip hop
abruptly as it began, it’s over and done with. cliche-gurgling deadshit – it was this one.

‘Everything is bullshit’ is the based almost entirely on an insanely overdriven TR-
909 and mixer feedback. And it had a load of Dutch
it being minus-18 degrees outside at one point. In the
small two-room apartment we had a shower, toilet,
rough translation of the Dutch gobbledegook shouted throughout. After that day the three beds and a telly. Nothing else. As the apartment
title, and the sheer fuck-off- guys at that store never looked at me the same way. To
make matters worse, the cartoon-style cover featured
was devoid of a fridge, we had to utilize one of the
outside-window sills as our makeshift freezer for any
ness of the record remains a crude caricature of Rotterdam’s famous Euromast food we wanted to store, as well as using it to make
unsurpassed to this day. driving a tractor along the road away from Amsterdam our beer cold after lugging cases back from the local
and towards Rotterdam. In the path of the tractor is supermarket. We were all bored as hell – homesick,
a house DJ running for cover, his records spilling out skint and pissed off at the waiting time between shows
everywhere. Behind the tractor is being towed what (sometimes two weeks).
‘Everything is bullshit’ is the rough translation of the appears to be Amsterdam’s severed penis and testicles I distinctly remember Aaron killing time by creating
Dutch title, and the sheer fuck-off-ness of the record on a trailer. ridiculous cut-and-paste collages out of all the German
remains unsurpassed to this day. I had read about this I later found out that this record was a by-product junk mail that was pushed through our door – some of
underground ‘gabber’ scene emerging from Holland of the Amsterdam/Rotterdam rivalry that was rearing which went on to form the sleeve artwork for a couple
in the early ‘90s, based around the working-class kids its head around this time. The difference between the of our later records. We were so sick of each other’s
in the Dutch industrial city of Rotterdam. It was a musical scenes was quite apparent, with Rotterdam company, living on the smell of an oily rag and not
while before I heard any of the music though, as the flexing its heavy industrial sounds in response to being able to communicate with the landlord or anyone
record store I was frequenting in Newcastle at the time Amsterdam’s effeminate snooty house scene. In my else due to the language barrier. To make matters worse,
refused to stock it. The first time I did hear the music head something clicked. This record had to be a joke the telly in our flat was one of the old GDR-issued TV
properly was on a pair of crusty headphones at Disco but I didn’t give a fuck. sets that had been in use since before the Berlin Wall
City in Crown St Sydney. I was unemployed at the time All I knew was that year zero had finally arrived, had fallen, and it could only receive certain channels
and had less than ten bucks in my pocket, so I couldn’t and with the help of some friends it was time to get broadcasting on the VHF band. One of the only
afford to buy anything that day. I was gutted. I also Newcastle on the fucking map. channels we could receive with any English language
remember that [store owner and DJ] Lance famously programming whatsoever was MTV Europe. Then
refused to have those records on the shop sound throughout December all three of us became extremely
system as it ‘scared the customers’. ill with what seemed like an ultra-potent combination
Anyway, the week after ‘Alles Naar De Kl--te’ was of every conceivable flu known to man.
released I read a scathing review of it in one of the UK And so there I was on New Year’s Eve 1996, laid up in
dance music mags – describing it as ‘unlistenable 250 bed, my body aching and head throbbing wildly with
BPM noisecore’. Needless to say I was sold on it there some insane East German strain of the flu. The other
and then. I’d never heard electronic music much over two guys were well enough to be outside getting drunk
140-150 BPM ... but 250? I thought it was a printing and helping the Germans usher in 1997 by throwing
error, but I immediately ordered it from C&C Records fucking big and dangerous firecrackers around in the
in Newcastle and about a month later it arrived. snow like mad men. I was gaping at MTV in a totally
Shipment days at C&C Records were total chaos. delirious state while trying to ignore my migraine and
Everyone who bought records in Newcastle – from the absolute chaos erupting outside the apartment
collectors to bedroom DJs to club DJs – all crammed window – telling myself that it would all be over soon.
into C&C Records’ 15-square-metre store to listen I began drifting in and out of consciousness, and
through and fight over the monthly shipments. On this remember coming around at one point and noticing
day when I fought my way to the front and played this a strained guitar drone emanating from the TV’s little
record on the shop system it was met with slack-jawed speaker, accompanied by shots of what looked like a
disbelief, screwed up faces and howls of derision. I bleak wintry landscape on the screen. I drifted off again
had found my Mecca. The things people hated about BURZUM : Filosofem and when I awoke a few minutes later it was still going
this record were exactly the things I loved about it. It (Misanthropy Records : UK 1996 : AMAZON009 : – in what seemed like a dreamy flu-induced slow motion.
was practically anti-everything I had ever heard, and a 2xLP) This time I stayed conscious long enough to notice the
big juicy phlegm ball in the eye of any self-gratifying title and artist as it appeared along the bottom of the
purist. In late 1996 I was staying in a small, cramped screen towards the end of the clip – it was ‘Dunkelheit’
The record was too fast, too distorted, too apartment in Leipzig, in the old East Germany with by Burzum – and to my flu-addled mind it sounded
‘unlistenable’, too harsh, too ‘unmusical’ and way too the two other Nasenbluten guys. We were on a four- amazing.
much to handle. This record also managed to cover month European tour and our between-gigs base was I awoke the next morning and wondered whether I
just about everything which was gravely forbidden in in Leipzig, close to where our distributor operated from had dreamt it or not. I’m still not sure whether the flu
the world of electronic music production at the time, at the time. It was fucking freezing – one of the coldest had heightened my perception of the music that night
being deliciously devoid of any funk element, and European winters on record – and I even remember but I wanted to hear ‘Dunkelheit’ again to satisfy my

curiosity. When I finally arrived home after the tour return at the agreed time the police sent out a search an unchopped break. In fact, most of this musical
I tracked down the album Filosofem. After getting party. Rumours have it that they eventually found him movement sounded as if it had nothing to do with
it home and dropping the needle on the first track in possession of a stolen car and a number of rifles, humans whatsoever – just a bunch of ‘emo’ machines
‘Dunkelheit’, I recognised it straight away. It was a rounds of ammunition, a GPS unit, bulletproof vests revelling in their miserable existence.
melancholic seven-minute masterpiece that featured and a false passport. Unsurprisingly, extra time was The UK music press and discerning hipster scum were
droning guitar, slow-motion simplistic drumming, added to his sentence for that effort. all up in arms about it and I was fucking loving it as one
keyboard and the occasional (barely decipherable) Varg currently spends his time behind bars reading, might expect. I had just been on an extended European
vocal. I still couldn’t understand why it had been on writing books and articles, corresponding with fans, tour with Nasenbluten during 1996/97 and had picked
MTV that night but for whatever reason it had been postulating on what is wrong with the world and up some amazing techstep records, the main one being
the perfect flu-suffering music. Up until that point I spewing forth his highly dubious opinions on racial of course the [seminal] No-U-Turn compilation Torque.
had never been a fan of any metal at all, but this album purity [and white supremacy] to anyone who will Other favourites from that era were Stakka, Skynet
was something that I could tell had a great affinity listen – all from his cell in Tromso, Norway. Whatever & Psion’s Audio Blueprint work, Dom & Roland and
with the environment in which it was created – the happens to Varg once he is released from prison is Technical Itch’s work on Moving Shadow as well as the
Scandinavian winter. anyone’s guess. There are rumours of another Burzum rest of the No-U-Turn stuff from that time.
A couple of other tracks on the album were in the album in the same style as Filosofem, but nothing has Right at the end of the Nasenbluten tour, we were
same vein as ‘Dunkelheit’, but the remaining tracks been confirmed and, all dodgy political leanings aside, killing time hanging around at our UK distributor when
took on more of an ambient/minimal dark atmospheric the man is undeniably talented and has made some a box arrived from Germany full of new releases. One
approach. Although some have categorised this album amazing and beautiful music. Insofar as contemporary of the records was on a label I had never heard of called
specifically as ‘black metal’, I found it to be far removed music history is concerned however, Burzum will be Chrome and was by an artist I had never heard of called
from my perception of ‘black metal’ as a genre. In any remembered by those who know of his antics as one Panacea. According to the distributor this was a German
case, I was never a part of the metal scene in any way, bad Norwegian motherfucker who makes Death Row drum’n’bass record that was causing a bit of a ruckus
shape or form – nor did I know much or even give Records’ Suge Knight look like an angel. amongst the UK drum’n’bass purists. Any time a purist
a shit about it – so soon after buying the Filosofem gets the shits with something you know you should
album I learnt quite a few interesting things about investigate it . . . and so I did.
Burzum which knocked me for six. The track ‘Tron’ was a monstrous distorted seven-
Enquiries revealed that Burzum was apparently a minute drum and noise epic that twisted, turned,
one-man musical tyrant by the name of Varg Vikernes ducked and dived in a manner hitherto unheard of. The
who played all parts and instruments on the Burzum record seemed to follow a drum’n’bass template, but
recordings. Filosofem was the last album he recorded I was floored by the immense combination of rough
before being sent to prison in 1993, and it wasn’t percussion and a piercing mid-range bassline, which
released until three years later. He is still serving out a came across heavier, angrier, darker, denser, juicier and
21-year sentence in a Norwegian prison for arson and more challenging than any UK drum’n’bass I had ever
murder. He was convicted of burning down several heard. The record probably had more in common with
Norwegian churches in the early ‘90s, and stabbing German industrial hardcore and early DHR [Digital
to death the lead singer, Euronymous, of [another Hardcore] stuff than with any of the UK drum’n’bass at
Norwegian black metal band] Mayhem in early 1993. the time. I got the same feeling that I had when I first
Footage of his court appearances at the time must be heard gabber five years earlier – and I immediately
seen to be believed – especially his ‘cheeky’ smile as wanted more. ‘Tron’ also received bonus points after I
his sentence is being handed down for Euronymous’ trainspotted a sample of The Mover’s ‘Nightflight (Non-
murder. Also, when police originally arrested Varg Stop to Kaos)’ track – an early record by the German
they apparently found 100 kilos of explosives stored PCP guys.
at his home – the intended use of which can only be When I arrived back in Newcastle I played ‘Tron’ to
imagined. PANACEA : Tron / Torture anybody who would listen, including my flatmate
Since his imprisonment he has (amazingly) recorded (Position Chrome : Germany 1997 : CHROME06 : 12”) Mick who was also a fan of the uglier techstep side
and released two purely electronic ‘pagan ambient’ of UK drum’n’bass. He flipped as expected. Mick was
albums from his prison cell, the first being Daudi Back in 1997 the drum’n’bass ‘techstep’ era was in full also playing various drum’n’bass shows in Sydney and
Baldrs, which would quite possibly rival any big-budget effect. The manic amen break edits and booming 808 Newcastle at the time, and he started introducing ‘Tron’
soundtrack music in substance, feeling and depth alone. kicks of jungle had been strained out and replaced by into his sets. I hooked up a reliable source for a steady
After the following album, which was in a similar vein, a creepy doom atmosphere more aligned with some supply of the forthcoming Chrome releases over the
the prison authorities took his synth away from him of techno’s scarier elements. The overall sound was following twelve months.
and his Burzum project has remained on hold ever cold, clinical and machine-like with obsessively tight I found that most of the Chrome releases that followed
since. In 2003, he was granted a short leave from his percussion almost completely starved of syncopation, were in the same vein but none quite attained the
(at the time) low-security prison and when he failed to save for the occasional understated appearance of fierceness and overbearing mid-range damage of ‘Tron’.

most of this musical movement the intended force. In effect the kick drums had no time
to ‘breathe’. A good speedcore record (and there were
sounded as if it had nothing to some) would usually be centred around a distorted kick
do with humans whatsoever drum with a good, low-frequency punch and a quick
but forceful decay – tight enough to be retriggered at
– just a bunch of ‘emo’ machines speeds largely in excess of 250bpm and still maintain
revelling in their miserable an unhealthy serve of bottom-end brutality. Not a lot of
producers realised this and as a result the production of
existence. good speedcore became a black art.
Down here in Australia at the time there were a
bunch of us who were active in the speedcore domain.
A handful of the Bloody Fist roster were experimenting
with extreme bpms as were a few guys in Sydney
– namely a pair of German immigrant brothers who
went under the name Rage Reset. The thing that
set Rage Reset apart from the Bloody Fist guys was
that their production was always a cut above. With
Panacea also released an album on Chrome titled X : Dyslexia most of the Bloody Fist stuff we were just taking the
Low Profile Darkness that was probably a defining (X : Australia 1997 : X-2 : 10”) piss – exploring, experimenting, being reactionary
moment in anti-drum’n’bass. ‘Drum and noise’ was a and putting harebrained theories into action without
much more appropriate description of the album as Sometime during the mid- to late-‘90s, gabber split giving two fucks - but the Rage sound usually came
the percussion at times sounded like people bashing off into a bunch of sub-genres – one of them being the off bolder, more austere, more focused and with much
metal garbage lids with truncheons. The reaction amusing microcosm of speedcore. In the same way more attention to detail. As a result, their records dated
from the UK purists was enormous, delicious and jungle fetishised the amen break to a certain degree, far more gracefully than most of the Bloody Fist stuff
thoroughly predictable. My flatmate Mick and I still speedcore fetishised heavily distorted square-wave kick from that time.
both enjoyed a lot of the UK drum’n’bass – particularly drums at comparatively ludicrous beats-per-minute. To Rage Reset ran three labels; Rage Records being the
the colder, scarier more clinical records – but we could my ears this appeared to be a reaction to the predictable main one with UHF and X being the sub-labels. Their
also see the bigger picture. Any action (even musical and relatively ‘safe’ speed of gabber, which had started main output was on Rage Records, with a few unknown
action) has an equal and opposite reaction – and in to slow down to around 180bpm towards the end of the and other guest artists appearing on their UHF imprint.
1997 Panacea stepped up and proved the theory once ‘90s. Not only had gabber slowed down, but it had also Their X label however, was something special indeed.
again. become nothing more than another form of polished Overall there were three releases on X - two 10” releases
One of the funniest things in the drum’n’bass scene formulaic dance music – all the early ‘90s rawness, and an 8(!)”– all of them existing in painfully limited
is when producers and DJs crap on about ‘pushing experimentation, ‘loose cannon’ antics and aggression pressing quantities. I suppose their idea was to ‘hide’
boundaries’. This became quite an amusing scene had been strained from it as the big wigs of the scene behind this label as the releases have very little (if
cliche at the time and it still is. Mick was booked to slipped into comfortable formulas, European chart any) information on them, and shipped in clear
play a Sydney drum’n’bass gig towards the end of 1998, success and fat royalty payments. plastic sleeves. Although there were a few rumours
and decided to act as the cat amongst the pigeons, Speedcore emerged during this time when a small about who was involved with the third X release, the
putting together a set of his ugliest UK tunes alongside amount of disgruntled renegade producers, labels and second one was definitely a Rage Reset record through
a rather large helping of the German releases. When he distributors broke away from all the fanfare. These and through. This record also came and went quietly
had finished his set, one of the self-appointed Sydney producers wasted no time in removing a lot of the – nobody in the scene seemed to take much notice,
drum’n’bass scene ‘dons’ waddled up in his fucking ravey and more accessible elements of gabber, focusing preferring instead to pay attention to some of the more
puffer jacket and asked Mick what he thought he was their attention instead on increasing the overall tempo, gimmicky and idiotic speedcore records doing the
doing. Mick (being the eternal smartarse) told Mr abrasiveness, brutality, mood and confrontational rounds at that time (a few of which Bloody Fist were
Don that he had just ‘pushed the boundaries’. The Don aspects of the music – all with wildly varying degrees responsible for). But the first time I heard X-2, I knew
thought to himself for a moment and then fired back: of success. Of course the most difficult thing with that it single-handedly blew every other speedcore
‘Look mate, I know what ‘pushing the boundaries’ is the speedcore micro-genre was to always maintain record – and our entire back catalogue – out of the
and you didn’t push ‘em – you fucking smashed ‘em! forceful rapid-fire low-frequencies at immense speed water. One track in particular clocked in at 270bpm
We’re not here to smash boundaries mate … that’s not – and keep it interesting. (Any dickhead can run their and made use of an amazing sample that I could only
what drum’n’bass is about!’. When Mick arrived back sequencer at 300bpm – but it takes a creative dickhead describe as some sort of humungous growling monster
in Newcastle the next day and informed me of this to justify it). – the volume of which strobed between the heavy quick-
particular sequence of events we laughed ourselves flat. Usually as the tempos increased, the rapid fire kick drums at various points throughout the track.
Mick was never booked to play in Sydney again. Ever. retriggering of the kick drum prematurely cut off any of The other thing that set this track apart from many
God bless him. the preceding kick drum’s decay, thus removing a lot of others in its genre was its amazing ebb and flow. Over a

four- to five-minute period the mood morphed between
creepy, ambient, tense atmospherics and an immensely
they thought they could turn their hands to. The main
in-house producer was The Mover (Marc Trauner/
The track ‘Nowhere’... turned out
thunderous and violent 270bpm rage. The balance and Acardipane), and he was later joined by Stickhead to be one of the most amazingly
impact was perfectly devastating – especially when
played on huge rigs with massive subs.
(Miroslav Pajic). Although a dab hand at programming
many styles, The Mover specialised in what some
sombre and morose pieces of
And so, it was time to hang up the boots – Rage Reset people termed ‘Phuture Techno’ or ‘Doomcore’. This music I had ever heard and it
had nailed this speedcore bollocks in one fell swoop. X- style was characterised by a dark, melancholic or immediately put a downer on the
2 was well produced; extremely heavy, sharply focused sometimes menacing atmosphere – often programmed
and scary as fuck – perfect soundtrack music – and at slower tempos and sometimes having very little in entire evening.
everything ‘gabber’ could have been but would never common with other techno music of the time. Original
be. As far as I was concerned this record was the new pressings of records by The Mover are well sought after
yardstick … nothing I heard after it even came close to by PCP fanatics worldwide – and rightly so – much of
its beautiful apocalyptic intensity, and I gradually lost his distinct ‘doomcore’ style has not been matched since.
enthusiasm for the speedcore genre as a whole. I still I became an avid collector of PCP and related records
play this record out when time and place permits – and after hearing The Mover’s beautifully miserable Final
was playing it in Europe as recently as last year when I Sickness LP in 1993/94. There was also an in-house
was touring. PCD label called Kotzaak which catered for their
This is probably one of the most underground and heavier industrial hardcore output – most of which
slept-on Australian records in any genre of electronic came courtesy of The Mover’s protege, Stickhead. acknowledged normal human experience of grief,
music – but it can still take heads off almost 10 years Although mostly known throughout the 90s for his mourning, sadness, bereavement and sorrow. The
after its release. Hell indeed hath no fury like X-2. cracking hardcore records, Stickhead (in true Mover record was obviously for listening to only in times of
style) was also well-versed in the creation of incredibly quiet contemplation or solitude – and without a fucking
austere doomcore. A few notable records were recorded dance floor in sight.
and released on several PCD labels under various And so I left the record alone, as I had no need to
monikers such as Rat Of Doom, Frozen and Reign. In go there. That is, until six years later at the beginning
1997 PCD started yet another in-house label called of October 2004 when I found an occasion to play it. I
Narcotic Network Recordings. There were only to had decided to move onto pastures new after spending
be three releases on this label before PCD dissolved 31 years in Newcastle. Everything I knew and loved
completely in the late ‘90s. The second release on was there but I was about to leave it all, possibly for
the label was under the name Destination (another good – for no other reason than ‘life being too short’
Stickhead alias). This record featured two tracks, the to stay there any longer. Oh … and the shitty hot
first side being somewhere between illbient, electro weather. During one of my final evenings in Newcastle
and experimental techno and the second side being a I was alone and busy packing everything up in my
remarkably encapsulating beatless 10-minute dirge. apartment when I found this record and noticed that
When I initially obtained the record in 1997 it was the turntables still hadn’t been packed away. It was the
just another new PCP related release for my collection end of an era in my life and I knew what I had to do.
– I quickly skipped through the A-side before filing the So I dropped the needle on it and sat there crying like
record alongside the others and forgetting about it. A a little girl for fucking ages.
year later a friend and I were having a couple of quiet That was the very last record I listened to before
drinks one night and listening to some PCP records bidding Newcastle farewell – and happily, I haven’t felt
DESTINATION : The Trip / Nowhere from my collection when I finally paid close attention to the need to listen to it since.
(Narcotic Network Recordings : Germany 1997 : what was actually on this record. Side A was quirky and
NNR02 : 12”) kind of interesting but was easily forgotten. The track
‘Nowhere’ on side B however, turned out to be one of the
Throughout the 1990s there existed a small and most amazingly sombre and morose pieces of music I
legendary dedicated group of German guys who went had ever heard and it immediately put a downer on the
under the name PCP (Planet Core Productions). They entire evening. At the end of the night I apologised to
had their own distribution company PCD (Planet my friend and filed the record away.
Core Distribution) and countless in-house labels, all I remember from that point on I couldn’t bring myself
based in Frankfurt. A large majority of the records on to listen to the entire piece again. Why it was on the
these labels were also produced in-house. Their labels B-side of what amounted to an experimental techno
variously covered techno, gabber, industrial hardcore, record was anybody’s guess. This was a serious example
trance, hip hop, acid, drum’n’bass and whatever else of powerful music that dealt with the seldom-

SLEEVE REVIEWS
Interview with Rebecca Paton
NOSREP when you reach in for the record.

Just Don’t One could be forgiven for thinking
(S&M) it is the cover of a breakcore or glitchy
Format: LP electro record, however, it is actually
Designer: uncredited decimated hip hop, ravaged R&B and
crunk rap. The artwork fits but has
BAM! This design takes ‘Sit on my face probably made more than one hardcore
and tell me that you love me’ absolutely fan look when they shouldn’t! Irreverent,
literally! On the back cover is a zoomed- humorous and highly graphic, this
in halftone image of a bald fellow with design is truly unique and attempts to be
a kooky, simple line illustration of a innovative, succinctly—‘pulls it off ’ too.
strap-on over his face. Despite the
explicit nature of that particular image, Jackson and His Computer Band
the humorous treatment and unique Smash
illustration style give the artwork an (Warp)
edgy yet warm appeal. The imagery is Format: LP
made more punchy by being entirely Designer: Egospray
black and white, but for a fluoro orange
spot colour. If they hadn’t used coated stock, this
The front cover has two beasties cover would be perfectly recyclable
in hoodies, with American college because it is completely sans glue,
typography brandishing ‘Just Don’t’ staples or other pulping machine foes.
(the album title) with the Nike logo on This is not advanced paper mechanics,
the barking beast and the artist name, but simply a huge elliptical sheet that
NOSREP, on the bugging out beast, folds down the long bisector and then
(love the anti-capitalist sentiment). The perpendicularly, the two outer thirds
illustrations are reminiscent of Jeremy fold inwards to create a luxurious
Pruitt from Think Mule—simple but gatefold sleeve.
then becoming delightfully detailed When folded out, one side acts as
in areas that really matter, such as the an alternative format poster for a
inside ear veins, eyeballs and brain-like multimedia collage of flamingos, gimps,
background pattern. guns and other unrelated miscellany
The two colours are used to great which is made cohesive by the overall
effect. The fluoro is used exclusively aesthetic. This is incredibly appropriate,
for decorative elements such as the as it parallels the cut-up, microsampled
brain pattern, the hinges wrapped over approach of the music. The other side
the spine and ink spots on the back holds the cover graphics, with the two
cover. Black is used for the beasties and rounded panels and the two squares of
the romantically-minded chap on the space between them treated as separate
back… Printed on uncoated stock, the pages.
orange fluoro is overprinted by the black Predominantly greyscale, there are
ink and the inside of the sleeve is solid tints of red, pink and brown used
fluoro, which makes for a ‘tah dah’ thrill sparingly. The front is Jackson in a
dinner suit and top hat, glaring from a Désormais
table with a tizzily decorated cake that Dead Letters to Lost Friends
sports the album name, Smash, written (intr.version)
in the icing. The photo has a silent Format: CD
movie aesthetic and although completely Designer: Desso
static, the temptation to smash the cake
and see all the buttery icing erupt, gives Riding on a wave of whimsy, the
it a sinister dynamic. The back has a freeform approach to the graphics and
photo of a beautifully creepy installation form of this CD is delightful. All the
of relief paper cut outs, LEDs and some text is pewter and hand lettered in a
pantyhosed mannequin legs. It seems loopy but legible cursive hand—even
to allude to Jackson’s creative space on the CD itself. The lettering reverses
with a computer, electronic music gear, out of black waves that look as if they
collaborators and ladiez represented. were fashioned from cut paper, and are
The two rounded panels are greyscale layered upon french grey and russet
texture collages that reference electrical waves. A proud mariner with full
diagrams and graffiti. They are low billowed sails glides in from the left side
contrast and are pretty much just of the cover and the wind that fills them
uninspired graphic wallpapering—a lost is represented by hand drawn swirls
opportunity for the inside of the gatefold with a flock of terns riding them. The
sleeves. back cover continues with the wave
The type is set in almost exclusively imagery and curly wind representation
Copperplate Gothic, but for an abysmal and the track titles radiate from a solo,
typewriter font for the release details soaring tern. The inside cover continues
and the Warp barcode. It interacts with the wind swirl motif but changes
badly with both. Copperplate Gothic to the russet and pewter of the limited
is awful to read for more than a few colour palette.
lines—especially if it is a murky brown Printed on a strip of matte laminated
reversing out of black! The designer card, the back cover is machine sewn
decided a tacky drop shadow was the with pale blue thread at the edge to hold
way to get around readability issues for the plain white paper pocket that houses
text of any length, but would have been the CD. Not only is this an incredibly
better off changing the colour of the utile solution, but it adds a real tactile
type and adding some extra tracking. experience to the package, as it is a true
The form and extra functionality of pleasure to feel the stitching break the
the sleeve are clever and the imagery smoothness of the laminated card. It is a
is interesting to ponder over. The shame that the card chosen is only about
typographer, however, should cop a poke 280gsm, (less than a standard business
in the eye with something spiky, or at card), as the package lacks robustness
least be subjected to type101—for all of and will probably not fare to well.
our sakes! A sense of adventure is instilled and
there is a beautiful interplay between the
‘ye olde’ motifs and post modern design
sentiment. A beautiful album sonically
too, instrumental washes are punctuated
by electronic sparks and folkish, lilting
melodies. The voyage metaphor isn’t
shoved down one’s throat but aptly
hints that the music within will take the
listener on a beautiful, escapist journey.

Broken Hands + Lucky Rabbit Inverse Cinematics
lucky hands Slow Swing E.P.
(TwoThousandAnd) (Pulver)
Format: CD Format: EP
Designer: MR Designer: uncredited
This London release manages to give an With this sober but lavish treasure, the
evocative sense of place, the feel of the cover is treated as packaging proper. It
music and becomes a treasureable object is a series design, and from the care and
because of its simple, elegant and unique expense incurred by the label, one can
form. Two sheets of matte board the only conclude that its contents contain
colour of frosted glass are inoffensively something precious and covetable. The
taped from the inside to form the cover. package is essentially a cover with an
This frames the front and back cover inner sleeve, but it is how they are
photographs as if being exhibited. treated and interact that makes the piece
The front cover has a square, much more than that.
movement filled photo of a London Thick, unbleached, lacquered card
park with a frenzy of pigeons taking forms the cover and is printed with
off. The only warmth in the otherwise diagonal repetitions of the label name
desaturated colour palette is a woman in wee, black, Trade Gothic type to
in a red coat, ducking from the sudden pattern the space. The inside is printed
flight. The back cover has a photo of a with orthogonal, lined shapes that create
brown, depressing apartment complex dark patches where they overlap. Three
but in the foreground strands of brightly unevenly spaced lines are embossed
coloured flags flutter in the wind and and Pulver is debossed next to a die cut
contrast the otherwise bleak scene with window that reveals the soft blue metallic
their mirth. The CD is printed with a print of the inner sleeve. A small
photo of crystalline fountains plashing in trapezium shaped die cut sits at the edge
front of a compressed concrete corporate of the cover to allow easy removal of the
structure. The drone of everyday scenes inner sleeve, which has the information
is made joyful by playful contrast, much and graphics for the album.
the same way as the music drones and The background of the inner sleeve
resonates with experimental guitars and is solid metallic ink, with schematic
fire crackle. diagrams of various electronic music gear,
The only type is on the back from an MPC through to the inputs at the
photograph panel and is all red and set back of an amp. Tone is achieved by using
in charming old Avant Garde. Clean and thin lines with various spacing. Clean and
slick, the logo is used as a dinkus and stylised, these graphics sedately claim that
the overall design is used for all of the the broken beat and deep house within is
albums on the label, but for changing of high quality and to be taken seriously.
the colours and photographs to suit. A white band braces the sleeve aligned
with the thumb hole of the jacket, and
the information is set within this space
in Euromode—almost as if it were as
specification sheet for a designer product
created by an industrial designer. This
treatment interacts and resonates with the
slick imagery of the technical equipment;
the inner sleeve interacts with and
redefines the outer sleeve; and even the
graphic device of the instructional diagram
approach allows the cover to speak of the
product as a desirable ‘tool’ to have handy.

Moderat
Russian Courier
(BPitch Control)
Format: 12”
Designer: Gema
They only made 900 of these covers, and

it is damn diligent of the artists involved
that they made even that many of the
hand screened and painted time suckers!
Chances are they got a production line
of people together with some German
beers and painted and printed the day
away, (it’s probably apt, as my copy is
number 57 and the painting is daubed in
the way painting gets after a few).
The uncoated card has a highly
stylised Germanic flag hanging from
two hooks, although one of the cords
has snapped, giving the device to
apply the print on whatever angle the
print template falls. This contains the
album details with major headings
in a Blackletter typeface and track
details in DIN. The proportions of the
two typefaces work well together. A
medicine bottle frames information
about the two collaborating groups’
(Modeselektor and Apparat) upcoming
releases and logos are incorporated into
the print template design as if they were
dinkuses. The graphic elements from the
cover print and those typefaces are used
on the record sticker, which is printed
with grey and orange.
The cover print is made with watery
ink with large pigments which gives the
surface a rough feel but the charcoal
colour becomes inky. The reversed out
type is then screened over in white
gauche with loose trapping to further
mute the print appearance. Orange,
red, blue and white gauche is dribbled,
scraped and blotted on after the print
has been made to give the object a real
sense of being individually created by
someone. It really adds a sense of action
and each time the sleeve is encountered,
different visions of the people, time and
place that it was made sputter through
the mind.

Various Peeping Tom
Room 40 (Wire Magazine release) Peeping Tom
(Room 40) (Ipecac Recordings)
Format: CD Format: CD
Designer: Rinzen Designer: Martin Kvamme, Mike Patton
and Lady T
This mix CD was produced as an
exclusive giveaway for the April issue The kind of pervert referred to here
of The Wire magazine, celebrating obviously likes panties of the stinky
Room 40’s 5th birthday. All 10,000 were kind because the graphics for Mike
lovingly hand folded, and although the Patton’s newest offering are stale and
paper mechanics may have rued their 70s smelly. The concept is cute, if not
design decision at the time, it is the a little literal—as you pull out the tab
simple and clever approach which makes on the right side, the CD pops out of
this package such a breath of fresh air. the left side, switching the image of
The design uses one sheet of card, a the naked woman through the die cut
teal ink and no glue. The card is die keyhole to that of a creepy male eye. It’s
cut so that the four panels coming off a playful device, although it is doubtful
the central square interlock such that that the package would withstand years
the package seemingly blossoms open, of listening, as the sliding mechanism
(think of the way you might close the seems a little flimsy. Thankfully, the
top of a moving box). When closed, album only warrants a couple of plays
there is a circle that goes from the front, before it gets tired, so it’s unlikely that
right through the centre of the CD to this will be a problem for many!
the other side. It begs for finger poking The flatness of the album’s sound is
action and leads the user to open the echoed by the graphics which allude to
package intuitively. the 70s porn aesthetic but have none of
The front is solid teal but for four the charm. Silhouettes of sexy women
panels of thin parallel lines within undressing are blatantly made with the
each square panel, thus the package Adobe Illustrator auto trace tool; cop
graphically becomes the Room 40 logo. a bad perspective drop shadow and a
The CD itself is printed with the same red radial gradient. This is the sort of
white lines, but for some minimal type realisation that I would expect from a
with the album details. The track listing first semester design student who’s just
is printed on the three inside horizontal learnt about computer graphics. The
panels, with simple, modernist gloss finish does nothing to help with
typography. Rather than using the flatness, and further reduces the
different weights, colours or sizes for package’s retro impact.
the hierarchy of type, the information ‘Peeping Tom’ uses a thick, sans serif
is divided in the three spaces and is typeface with a slightly eroded edge
completely homogenous. which is reminiscent of a poster screen
There is something incredibly satisfying print. Rather than a solid fill, a rising
about a design that is so slick and sun is revealed, making the type one
eloquent but doesn’t even appear to be of the more interesting and effective
trying. Bells and whistles are impressive elements of the design. Even the liner
and fun, but nothing can beat a beautiful note typography is nicely handled,
concept. Rinzen has done many of the revealing the radial gradient from the
Room 40 designs and also did the cover graphics. This could have been quite a
design for the second issue of Cyclic treasure, but missed the mark—possibly
Defrost. It’s definitely worth looking out due to a ‘design by committee’ approach
for other design offerings from Rinzen where the idea got diluted. Cute but not
who is based in Brisbane. perve worthy!

the maturity and resonance he evokes
Chronic Electronics: within these 14 instrumental works.
GAIN
Nothing is overplayed and repeated
listens reveal quiet counter melodies
and field recordings floating away in
the murky background of several of the
tunes. The way Palmer is able to bring
Detritus and grace to encourage a peaceful out such strong emotions via his simple
Origin drifting off. Yet, his skill as a craft and head for minor key melodies
(Ad Noiseam ) percussionist is evident here, with gentle, make this a nostalgic listen, transporting
David Dando-Moore’s 2003 debut well placed beats providing enough us to an imagined past, perhaps a 1950’s
album as Detritus ‘Endogenous’ clearly punch to draw attention back to the black and white romance film set in the
music showed the UK-based producer’s

electro-industrial roots, the contents
leaning predominantly towards
music. In this sense, it very much ebbs
and flows as a sojourn in intensive
listening.
Mediterranean. This is intimate music at
it’s finest. Lyndon Pike
reviews
hard-edged drum and bass, balanced Some compare his work to his fellow Doddodo
with a sweeping orchestral approach Scottish counterparts the Boards of Sample Bitch Story
reminiscent of Dead Can Dance’s gothic Canada, which is not an entirely unfair (Adaadat)
Looking for the new zydeco atmospheres. Intended as a statement analogy but I do wonder if it is made Osaka-based noisecore / plunderphonic
bluegrass-micro house crossover against “the parodic and saddening more because of a common geography artist Namin Haku apparently takes
reviews? In the interests of avoiding low quality of many electro-industrial rather than a common sound. His style her alter-ego name Doddodo from her
infinite micro-genres we've created releases”, this follow-up ‘Origin’ inhabits of composition with a concern towards obsession with dots (‘dod’ in Japanese)
our own classification. Here's your considerably more downbeat terrain, a gradually evolving sound continuum and this eight-track mini-album follows
guide: with Dando-Moore building emotive draws upon the heritage of C20th on the heels of a steady stream of ultra-
atmosphere amidst frequently harsh composers like Steve Reich and Harold limited CDR and cassette releases on
gain and jarring rhythmic elements. Slow
armour-plated tracks such as the forlorn
Budd but the interwoven melodies and
textures on this album make it more of a
underground Japanese labels including
Space Moth and G2. Taking equal cues
Chronic electronics: ‘Dead Daffodils’ certainly manage to cinematic experience, a soundscape for a from fellow Japanese experimentalists
including every imaginable conjure lush cinematic atmosphere, the film (or a dream) that exists only in the Boredoms (particularly their ‘Chocolate
software-based permutation from sweep of vaguely Eastern European inner mind’s eye. Renae Mason. Synthesiser’ period) and the lo-fi
electro to clicks and cuts. orchestration counterpointed effectively sample-based barrage of Alec Empire’s
highs by sparse, distorted industrial beats.
‘Tinsel’ meanwhile represents a descent
Directorsound
Tales From The Tightrope Vol.1
DHR, ‘Sample Bitch Story’ actually
comes across as far more accessible than
Culture, dahling, culture: into humming walls of droning (Powershovel Audio) its somewhat ferocious title suggests.
Sound art, contemporary classical, electrical substation noise punctuated A dusty, creaky sound full of melancholic While there’s certainly the odd
jazz, improv, world and elsewise. by menacing electro rhythms that calls minor keys made by classical guitars, concession to all-out sonic violence
mids to mind Techno Animal and Dalek’s
explorations into swaggering industrial
pianos, accordions, mandolins and a
sparse drum kit is the introduction to
(witness the fantastically-titled
‘Whitehousedisco’, which resembles
Strummed, stunned & shunned: dub-hop. Chris Downton this gorgeous album from Directorsound. Kid606 going head-to-head with the
From post-rock swankery to metal- What sounds like a quartet sitting in cast of ‘Riverdance’), much of this
solo wankery; from folk to farked, Dextro a warm room playing these late night record appears to poke its tongue
it’s pop n rock in all its forms. Consequence Music paeans to real emotions is in fact the knowingly at the established cliches
lows (16K Records)
Consequence Music is Glasgow based
work of one man – Nick Palmer, a
literary student who hails from Dorset
embedded in commercial hiphop.
Opening track ‘ABCDOsaka’ layers
Rumbling and mumbling: Ewan Mackenzie’s debut full-length in the UK. buzzing industrial feedback over a
Hiphop, drum’n’bass, reggae and the album. He evokes a quietly introspective Evoking the sounds of obvious crunked-up backdrop of distorted
odd broken beat and/or leg. late-night listening mood, where long parallels including Ennio Morricone’s turntablism and wall-of-sound
mute tracks lull at a consistently languid BPM.
The emphasis on sustained synthetic
quieter moments, Ry Cooder’s Paris
Texas soundtrack and Calexico circa
screaming augmented by toy samples,
while a stray fragment of Ice Cube even
Silence and the absence of it: notes, repeating melody lines and the their Black Light album, Palmer began rears its head on ‘King Of Tomorrow’s
Ambience, field recordings, use of voice as a textural rather than recording in 2001 on a borrowed quarter eerie fusion of Hammond organ,
outsider, noise, and everything lyrical device draws the listener in to an inch reel to reel machine at the age overdriven synth-bass and relentlessly
that’s unclassifiable. ethereal realm, providing enough space of 22. Remarkable really, considering clanking beats. Like a more hiphop-

fixated Boredoms locked down with a The Kilimanjaro Darkjazz Ensemble Martin Brandlmayr), Mapstation’s activities. With an approach that mirrors
room full of budget gear – Doddodo (Planet Mu) oddly-titled Distance Told Me Things Matthew Herbert’s thematic sampling
brings the noise. Chris Downton Kilimanjaro Darkjazz Ensemble is a To Be Said—To Rococo Rot member explorations such as Plat Du Jour, Dixon
project of Jason Kohnen, a.k.a. Bong-Ra Stefan Schneider’s fourth album and has drawn upon field recordings from a
John Harte amongst other things, and Gideo Kiers. ~scape debut—at first seems a less variety of different recreational venues
Misono Days Bong-Ra’s specialty is nasty breakcore than dynamic outing compared to the including dojos, weights rooms and even
(Book/CD - Studio Warp) – 250bpm broken beats and more bass Berlin label’s previous output, yet its a childrens’ daycare centre. Amassing
John Harte is an Australian than any reasonable artist would put on subtle charms insidiously grow with a large sample library that includes
photographer who lives in Osaka. Since a record. Opening track The Nothing each listen. Mapstation (not a new tennis balls being struck, ice skaters
moving there in the 90s he has become Changes is downbeat ambient jazz given project, incidentally, as the Düsseldorf gliding on a rink and dancers learning to
intertwined with the Osaka music scene, a menacing overtone while follow up resident has been performing under tap, he’s then stuck the results through
eventually settling up Cafe Q with his Pearls for Swine begins as a lesson in the name since 2000) merges Jamaica all manner of complicated digital
wife Yuka and friend Yoko who is also a glitchy electronica, before launching and Africa into a nu-dub hybrid, processing and editing, reshaping the
contemporary dancer, as well as touring into an aural assault verging on noise combining the faded aromatic vibe of sounds of martial artists practicing into
many Western musicians to Osaka. John terrorism before returning to the sedate the former with the hypnotic pulsations spastically-twitching breakbeats and
and Yuka also write music and perform electronica. With this as a beginning my of the latter. Nominally referenced house in a manner that certainly calls
as Pig & Machine, a noisy sample-based expectations were confounded: Kohnen by ‘Loin d’Afrique,’ the fusion is to mind Aphex Twin’s tweaked-out
electronic punk duo. almost seems to want to shake off his literally realized in ‘Constant’ where trickery on more than a few occasions.
Misono Days is a collection of 30 A5 reputation as a man who’s listened to Brandlmayr’s thrumming toms merge Perhaps a closer comparison still in
sized postcards in a book that document too much hardcore. What works on with the evocative wheeze of Schneider’s terms of similar producers would be
the last few years of crazy performances these tracks, and indeed what makes melodica. Despite an overall unified The Rip-Off Artist, with the scrunched-
and happenings at Cafe Q, with a CD up the majority the album, is the slow, sound, individual songs differentiate up sampling of Dixon attempting to
neatly stuck inside the back cover downbeat jazz which at times reaches themselves: bulbous synth tones become play a trombone for the first time on
featuring some of the many bands who moments of minimal beauty. a tribal anchor for undulating melodies ‘Music Room’ particularly calling to
appear in the photos. John’s photography In the context of this Kohnen’s in ‘Sororities,’ Rhodes chords and synth mind his pranksterism involving toys
captures the completely otherworld throwbacks to his alter ego seem out of whooshes slither into view accompanied and sonically-mutilated instruments.
experience of some of these bands and place, ripping through the atmosphere by Annie Whitehead’s trombone bluster Extremely impressive on its own
the anarchic and comic atmosphere that of that around it. It is the atmospherics in the skanky ‘Horns Version,’ and conceptual level. Chris Downton
permeates the scene. The vivid dayglo that drive this album and it is perhaps Jelinek-styled crackle coats insistent
colours of some of the photos match not surprising that KDE began life burble in ‘The Sinuous Ribbon.’ Warm Sofalofa
the bright noisy hyperactive red cordial scoring the classics of silent cinema. For and topographical, the album’s sense of Mellifluous
music that is on the CD. Splatterings of all the credit I give to Kohnen, KDE place is enhanced by the incorporation (Bathysphere)
chipcore, breakcore, noise and gaudy are a genuine ensemble: they have real of city-based field recordings within Inspired by the recent birth of his
samples frenetically mashed in a way people playing real instruments, not ‘Listening To Stockholm’ and ‘Valencia two children, this debut album as
that only Osaka-based musicians seem just a man and his sample archive. This Was Asleep’ (harbour creaks and water Sofalofa shows Bathysphere Recordings
to be able to do - without seeming cinematic starting point informs the sounds audible amidst the becalmed co-founder Chris Cousins’ ambient
concern for the original source material album, and you can’t help but wonder electronic wavers in the former, street electronic soundscapes imbued with a
- and simultaneously celebrating and what film they’ve dreamt that this is noises in the slumbering latter). ‘widescreen’ sense of wonder that recalls
parodying melodies and chaotic beats. scoring. Weaving between dark ambient Sometimes what at first seems too ‘Not For Threes’-era Plaid. Anchored
Amongst the acts featured include the jazz, electronica and back again, KDE is understated ultimately proves more thematically around the topics of birth
reasonably well-known like Ove-Naxx, an album that is perhaps not what you rewarding. Ron Schepper and childhood, tracks such as the
Gulpepsh and DoDDoDo through would expect from label such as Planet gorgeously delicate ‘Florence’ place
to those you need to hear like Pig & Mu, more commonly associated with Secret Mommy minimal IDM rhythms beneath treated
Machine, Zuinosin and the amusing Ichi the industrial drum n bass of owner VeryRec samples drawn from such sources as
Bang Boshi Crew. μ-ziq but very welcome none the less. (Power Shovel Audio) a baby’s mobile, resulting in a deep
Pick up a copy via Amazon Japan Ali Burge Vancouver-based Andy Dixon (aka listening experience that’s touched by a
before its strictly limited print run Secret Mommy) has previously released distinctly personal approach.
disappears. (yes, they will deliver outside Mapstation albums through Orthlong Musork and Cousins’ parallel film and theatre
of Japan if you can blunder your way Distance Told Me Things To Be Said his own Ache Records label, and this soundtrack work also exerts a
through the language issues). Sebastian (~scape/Inertia) latest effort on Japanese imprint Power discernible influence on sweeping
Chan Low-key and bereft of virtuoso displays Shovel Audio takes its title from the cinematic moments here such as
(not that there couldn’t be so, given conceptual theme Dixon has developed it ‘Heartwarm’, which slowly builds
the presence of Radian drummer around – namely sports and recreational treated cello drones over a backdrop of

a beatless counterpoint to the rhythmic Jelinek is typically minimal in remixing label, reveals a rather unexpected for the persistent glitch percussion.
trickery explored elsewhere on this jazz trio Samadha. It is a shame these fullness. Instead of a sparse, cold and The standout track is from none other
record. Alternately melodic and two comps aren’t combined on a double mechanical world - the 12 tracks from than Wink. His Have To Go Back is all
sweetly contemplative, with the odd tilt CD, because many listeners will probably Hawtin’s acolytes are a whole lot more futuristic deep space techno, complete
towards darkly buzzing electronics (see find a few tracks they love on both and a than tics, pops and pulses, subtle with radar pulses that build into a
‘Counterbalance’), ‘Mellifluous’ certainly few they don’t particularly care for. Still, texture and variance. Basslines swing disorienting maze of reflections. This
lives up to its title, and shows Cousins they’re both solid compilations from a and analogue synth tones bubble and is music that for the most part could
forging a distinctive mark amongst the very fine label. Peter Hollo shake, Heartthrob’s opener is bouncy really be anywhere from 15 years to 15
increasingly-crowded IDM scene. Fans electro-influenced techno whilst Troy minutes old, and that’s a shame because
of the likes of Plaid, Adam Johnson and Various Artists Pierce’s GRVL is effectively modulating coming from Hawtin’s stable I had
Proem should definitely give this a listen. Idol Tryouts Volume 2 acid techno and the trance-like end of expected more depth and, to be frank,
Chris Downton (Ghostly International/Inertia) Loco Dice’s Orchidee could be 1992 (and proper minimalism. Sebastian Chan
One of the best compilations so far this Hawtin’s +8 label) all over again - except
Various Artists year, Idol Tryouts 2 showcases a label at
History is Bunk Parts 1 & 2 its prime. The Ann Arbor-based Ghostly
(Hefty/Inertia) International label has swiftly become
Hefty Records are spending much of the label to best represent the diversity Culture, dahling, culture:
HIGHS
this year celebrating their 10th birthday, of North American electronic music
and these two compilations cover much - from techno and house to electronically
of that history, albeit in a somewhat enhanced futuristic hip hop , modern
revised form, as the subtitle would imply. industrial, lush ambient and
Hefty can be a difficult label to pin experimental tones. This label diversity
down, covering all the bases of Chicago has been helped by an impressive Badawi drift across the tune’s desert expanses
music, from modern jazz to post-rock design aesthetic, right from the earliest Safe like a nomadic tribe. Elsewhere, the
and “future roots music”, a term label releases. Idol Tryouts 2 expands the (Asphodel) exotic hoedown ‘I Said Oblivion’ affords
boss John Hughes III coined for his 2004 roster further with a retrospective of Ably abetted by a stellar cast of the violinists an ideal vehicle for trading
Slicker album We All Have A Plan. In some previous releases, some ring-ins, musicians associated with the New York infectious lines while Shahzad Ismaily’s
something of a coup, each CD features and new material. Disc one, subtlted jazz scene (string players Eyvind Kang, electric bass animatedly rumbles
a remix by a Yellow Magic Orchestra avant-pop, opens with the sweet electro- Mark Feldman, Jane Scarpantoni, tuba through ‘Ocean of Tears (2005 remix).’
member: on Part 1, Ryuichi Sakamoto pop melodies of Solvent before settling player Marcus Rojas, guitarist Marc With Ribot’s stirring guitar work a
turns Telefon Tel Aviv’s ‘Sound in a Dark back into the rubbery techno funk of Ribot), the Israel-born composer Reuel focal point, ‘The Bedouin Walks Alone’
Room’ into something like minimal Matthew Dear and later the classic ‘Raz’ Mesinai (aka Badawi) conjures strongly aligns the Middle Eastern
dub, while Haruomi Hosono’s work on stripped back funk of Dabrye’s Magic the deep mysteries of the Middle East dimension of Mesinai’s sound with the
Slicker’s ‘God Bless This Mess, This Test Says. Some of Ghostly’s recent signings and Arabia on his second Asphodel ambiance of his adopted New York. Safe
We Pass’ is almost invisible at first — a have been ‘proper’ bands and their latest full-length Safe. Though his guests impresses as a meticulously crafted and
strangely unradical interpretation of Skeletons & The Girl-Faced Boys is a predictably dig into the aromatic thoroughly accessible presentation of
the original, although nicely minimal. chaotic jittery freak-out soul fusion jam, material with impassioned ferocity, exotic soundscaping. Ron Schepper
Daedelus, on the other hand, is in and Benoit Pulard’s The Depths & The Mesinai’s no slouch as a player either, his
radical form in his reworking of Savath Seashore could have been pulled from aggressive piano attack in the feverish Diaspora
+ Savalas’ ‘Paths in Soft Focus’ doing his 1991 shoegazer indie. Disc two is full of ‘The Avenging Myth’ more than equal to Let’s Hear It For The Vague Blur
stumbling jungle thing - lots of fun. ambient delights - Loscil’s subaquatic the broil stoked by Feldman and Kang, (Half Theory)
Elsewhere on Part 1, Perth resident pulses, Cepia’s widescreen haze, Greg the 14-minute epic also a showcase for Audiovisual duo Lloyd Barrett and Joe
Victor Bermon presents ‘The Lonely Davis’s unravelling guitar spindle, Tim Mesinai’s percussive talents (apparently Musgrove have conspired here together
Tired Dance’, a track that is very pretty Hecker’s processed fuzz and feedback he was introduced to Middle Eastern for a dreamy piece of psychedelic
with its guitar chords and subtly clicky are the standouts. Sebastian Chan drumming as a child and spent time in wallpaper. Still images almost smudge
sampled percussion, and STS9, Slicker drumming circles with Yemenite and into each other, into vague almost
and Retina.IT collaborate with some Various Artists Moroccan Jews, where he learned how perceptible blurs of colour that gently
minimal hip-hop with guitars. Japan’s Min2Max to play instruments like the Zarb, the fragment and burst into another
Spanova open Part 2 with the lovely (M_nus) Darabuka, and the Bendir). On ‘Sound ill-defined image just before you
layered vocals on ‘Absentminded’, which Minimal is back. Apparently once again on its Eccoing,’ his flute lines undulate think you’re staring to get a handle
eventually turns into a kind of funky a dance genre in vogue, Richie Hawtin’s hypnotically over a funereal drone, with on what you’re seeing. All the images
ambient electro. Telefon member JLE M_nus label releases Min2Max. This Mesinai’s dub influences coming to the are still, garnered from the internet
remixes Slicker in familiar style, and compilation, the second on the M_nus fore in the echoing string plucks that then processed and abstracted into

the aforementioned blurs. The illusion On album opener, ‘Ferrari En Feu’, collected in Belgium – and whilst are doused in a sleek veneer, and come
of movement comes from the camera screeching electronic tones frantically the volume and dynamic of the work across as simply spray-on. Kept afloat for
slowly sweeping in a different direction rub up against one another, kindling an might not be ‘dense’, the personality minutes on end by the incessant thud of
across each image, the superimposing array of sparks that continue to burn and character of the sounds (even a drum machine and gaseous, long-held
of one image over another. The semi more fervently until the piece suddenly when quiet) carry with the a probing organ chords, such songs do not hold
improvised music begins dreamy and morphs into an angular post-rock quality. This added to the submerged up against the majestic sonic cloak of
ethereal, offering little more the a march, replete with monstrous rising and compressed nature of the bass the previous works, and remind only
spaced out bed for the images, thought guitar lines, lurching drums, and a rumbles creates an effect not unlike of the cookie-cutter carboard images
things becomes a bit more erratic about cluster of digital groans. The next track, being trapped in a submarine being which might grace the set of a junior
fifteen minutes in, moving away the ‘Mademoiselle Gentleman’ is of like depth charged – the pressures around school play.
sweeping washes of ambience, which mind insofar as the waves of buzzing you shifting as bass bombs erupt with More often than not, though, the dark
although it works is a bit like shooting electronics attempt to establish their irregular frequency. As this initial froth of piano, guitar, and electronic
fish in a barrel. It’s when they begin own system which itself serves only to phases passes, Lopez unleashes a more texture manage to escape this cloying
utilising high-pitched drones, heavy incite an uproar of strangled, spiraling full band noise assault with trademarked sweetness. ‘Halving The Compass’,
reverberant delays, increasingly textural guitar patterns. In this way, it is not the shifts in volume. In the later part of displays a mournful economy with
tools and providing plenty of space to unbroken continuity of these pieces, but the composition a wonderfully rich its use of the piano, letting it murmur
the compositions that the relationship their dispersion and restlessness that rhythmic texture emerges creating underneath a ringing guitar motif,
between the audio and vision seems to carries them impressively throughout an interesting and in many ways and only near the later portion of the
change and become more interrelated. these some fourty-minutes. unexpected sense of urgency to the piece allowing it to chime in an almost
Whether this is intentional or even Whereas the saxophone swells and conclusion of the work. A complete celebratory manner. Other works,
necessary is another matter, this ever- eerie harmonies of ‘L’homme Avec sound universe as usual – crafted with namely, ‘For Years And Years’, are
evolving montage of colour and lethargic Coeur Avec Elle’ harken back to some of care, imagination and a determined largely beatless, freeflowing streams of
movement is impossible not to get the material found in the earlier efforts rigour to evoke emotion from the most crackling, lukewarm analogue synths
caught up in. Thanks God it only goes from Constellation, ‘Ce N’est Pas Les abstract of sources. Lawrence English which carry hanging bass chords in its
for 40 mins, otherwise you could lose Jardins Du Luxembourg’ is a dense hive current, and conjure rather affecting
yourself for days. Though there are 4 of tribal drums, clanging chimes, and Helios dreamlike moods. In like manner, the
other experimental short films from the unruly, insectile squeaks and chirps. Eingya slightly doleful, slightly gratified smile
Brisbane based Half Theory family. Bob Given the number of aberrant, often (Type) that is written across the lazily agile
Baker Fish overlapping, lines that are at play here, Caught at the waist, two sweater-clad guitar picking of ‘Emancipation’ lies
either piece could have easily been a youths of pasty complexion clasp hands, in a nether-region between sleep and
Feu Thérèse mangled, aimless patchwork of passing looking out onto a fallow landscape, wakefulness. Here and elsewhere,
Feu Thérèse fancies. That these raucous, flamboyant dotted by limping clouds. This image a poised, often richly nuanced
(Constellation) tendencies do not destroy themselves, which adorns Eingya, the second environment is presented, rife with
Feu Thérèse threaten to overload the but actually give rise to a document that fledgling from Keith Kenniff under nostalgic melodies that glow like white
circuits with the bevy of instruments is complexly layered, approachable, and the Helios moniker - who also crafts stones underwater. Ron Schepper
they cram into these equally rabid adorned with many appealing shades somber piano vignettes in the guise of
arrangements. Synthesizers, drums, comes as high praise indeed. Goldmund - proves indicative of the International Peoples Gang
organs, and harpsichords are but a sentimental, though focused palette Action Painting
small sampling of the weapons enlisted, Francisco Lopez of textures that are organized into (Em:t)
which Jonathan Parant (of Fly Pan Am), Untitled #164 finespun, agreeable skeleton. Stately, It’s argued by many, that the time for
Alexandre St-Onge (Shallabi Effect), (Nsounds) almost ceremonious piano chords, sloshy collage as a primary means of expression
Luc Paradis, and Stephen De Oliveira There’s an alarming rate with which beats, and the winsome puddling of has passed or at least it’s heyday has
channel into structures that are coherent Francisco Lopez can realise quality chimes are couched in steadily swelling expired. Interesting then to come across
and complete enough that fully formed materials and have them issued. This drones. It is an arrangement that is a record like this that brings to mind so
details are there to be picked out and year alone the iconic Spaniard has deceptively simple, and it is a credit to many echoes of sound work from the
engaged with. At the same time, though, somewhere in the vicinity of 5-7 new Keith Kenniff ’s compositional ability early to mid-nineties [and on a label
rather than crafting a unified form by releases – all of which document his that these pieces, which at the surface whose history begins in that period too].
sanding away rough, jagged edges and feverish quest to uncover sound worlds seem to be doing very little indeed, are International Peoples Gang create an
seeking equilibrium, the conflicting that exist at the very edges of our below brimming with slowly evolving album of juxtapositions here – most
elements of this bands sound remain perception, or equally those we rare have detail and blooming melody. Nearing of them melodic and beautiful, never
in close connection with each other on the chance to come in contact with. the end of the album, specifically on straying into any kind of dangerous
account of their volatile, antagonistic #164 is a powerfully dense piece of ‘The Toy Garden’ and ‘Paper Tiger’, these or unexplored terrain and quite often
character. work spilling out of source materials hesitant, slowly flourishing textures stepping foot into areas of deep cliché

and expired musical inspiration (‘Stop’). always teetered on the dangerous side Matmos concepts it would hardly matter as the
As much as there are several musical of twee, a little too sugary and sweet The Rose Has Teeth In The Mouth Of music is beautiful, diverse strange and
short comings here, there’s almost an natured to allow you to fully engage. The Beast groundbreaking in its ability traverse
interesting reminder of the simple His Late Night Tales mix cd however (Matador/ Remote Control) genres. So it’s kind’ve ironic in that
pleasures of ‘expected’ electronic music, revealed another side, a young man well Well we know this San Franciscan perhaps their most dense conceptual
visible DSP and collage that seeks to versed in the history of Jazz with some electronic duo love to cloak their albums effort is also their most musically
stir the soul, or at least the ears. For great tracks from Joe Henderson and within large conceptual devices often accessible. Bob Baker Fish
the most part this album does stir Roland Kirk. And he’s drawing upon related explicitly to where they’ve
something – whether it be memories these traditions with his union with located their sound palette. Their last Pateras, Baxter & Brown
of a past now almost unattainable or legendary percussionist Steve Reid, a album, Civil War was created in part Gauticle
realisations of the simple beauty that man who’s bashed the skins for everyone using civil war memorabilia and imagery. (Synaesthesia)
can be reached with the most simple of from Miles Davis, James Brown and A Chance To Cut Is A Chance To Cure Separately they are three of the best
source materials. Lawrence English Fela Kuti amongst a myriad of others. utilised sounds of plastic surgery being improvising musicians Melbourne
Whilst Reid’s improvised percussion conducted. has to offer. Together they’re a force to
John Hegre & Maja Ratkje is simultaneously dense with much This album however is a little be reckoned with as whilst they each
Ballads cymbal work and a steady beat, Hebden different, creating sound portraits of develop their already experimental
(Dekorder) really does shine, offering vague wisps historical figures they admire. And it’s techniques on their weapons of
Far in the artic circle, the Nordic noise of sound alongside some blatantly more like their sonic reimaginings of choice (Pateras prepared piano/Baxter
and improv scene has produced some electronic almost science fiction zings the characters world, though they also percussion/ Brown prepared guitar),
impressively divergent sounds over shudders and modulations, and when acted out specific events in the person’s they’re simultaneously doing the same
recent years – sounds that reflect very he’s out the front battling alongside life and utilised some of the objects with the trio relationship. They’re
much on the nature of the landscape, the Reid that the sparks really do begin to involved as sound sources. Thus we operating in a more textural realm here,
lack or overabundance of light during fly. Decades of improvised music have have this cheeky rickety ragtime piece where the materiality of the instrument
various parts of the year and other taught us that it’s not what your sound for William Burroughs that is brought is increasingly important. Where instead
factors orbiting these two issues. Here, is, it’s how you play it, and perhaps to a halt by a gunshot, referencing his of notes, chords and melodies they’re
Hegre (of Jazzkammer fame) and Ratkje more importantly how you listen to your William Tell experiment where he shot working with shadows and tones, with
(best known as one half of fe:mail) team collaborator. And in the listening stakes his wife in the head. This is followed nervous shifts and rising swells of
up to explore the more gentle and sparse Hebden really does well, unlike his solo by some strange indescipherable music density, delighting in a nervy cluttered
sides of their musical interests. work he’s not hamstrung by melody, he’s concrete sounds wrestled around a funk of purposely disjointed, atonal and
Thankfully steering clear of the willing to let things get uncomfortable typewriter that becomes a percussive unnerved sound.
expected turf of outright blasts of noise (within limits) and more importantly Arabic (Master Musicians of Joujouka) At times it feels like a field recording,
and sonic debris, the pair realise a he is not trying to sync up with Reid’s influenced hallucinatory stomp, as the disparate parts almost meld into
wonderfully open and personal vision syncopations. referring to his time in Tangiers. Yet the one organism or imaginary sound
of what the title ‘Ballds’ may suggest. Totally improvised without edits or you get the feeling that it all goes much source, other times they’re like a low
Open passages of melodic guitar are overdubs, yet still divided into three deeper than this. Digitalia and assorted rent scratchy Gamelan orchestra, and
washed out, hung and dried, then mixed (longish) tracks, at times you suspect sounds are skittering around wildly and others they’re like exactly what they
together via gentle but firm dsp. The he’s mentally replacing a frantic freejazz you get the feeling that every sound, are - an improvising trio. And this
results are both highly listenable and horn sound with frantic freejazz the way that it is layered, and even the slippage is very prevalent on Gauticle.
remarkably individual. Looping tones electrics, yet this is still a strange and manner in which it progresses is loaded Working with sounds this unusual (and
interlock in unexpected ways, fragments difficult proposition and he executes it with multiple meanings. There’s a piece over the length of time they have been
of kalimba poke through and strummed well. Reid’s percussion places this union for philosopher Ludwig Wittgenstein playing together live) they have become
notes float above gritty handmade resolutely within a (free) jazz tradition, in which they’ve used the sounds of increasingly adept at constructing their
percussion. Here lies a wonderful which actually makes Hebden’s work cows eating, manure, roses, teeth and own unique world, where they are
exercise in the finer edge of Nordic noise seem incredibly daring, particularly if geese, for Darby Crash they’ve had the only ones privy to its nuances and
music. Lawrence English artists like Kammerflimmer Kollektief, Drew Daniel crying out in pain as he internal logic. Yet strangely enough this
Triosk or Supersilent are new to your is burnt by the Germs Don Bolles, and is not alienating to the casual listener,
Kieran Hebden & Steve Reid lexicon. Ultimately it’s a great jam record, the Kronos Quartet provide mournful but it does require an element of trust.
The Exchange Sessions listening to these two individuals from strings for Joe Meek. It’s an album At times things happen suddenly and
(Speak & Spell/Inertia) separate worlds interact, circling each that can broadly be linked to Mathew are rarely telegraphed, where you
Hebden is widely regarded for his other in an attempt to find common Herbert’s Plat Du Jour, in its strict get the sense that all it took in the
sweet electronic excursions as Four ground is nothing short of fascinating adherence to the conceptual idea, often studio was a vague nod or a meeting
Tet. Tremendously popular within and at times even exhilarating. Bob ahead of the musical, yet it’s still very of the eyes for the trio to choose their
electronic music circles, his sounds have Baker Fish musical and if you weren’t aware of the direction. This kind of unpredictability

is refreshing on Gauticle provided perhaps the album’s best cut. While not of these works is taken together with Seaworthy
you’re willing to sit back and allow wishing to overemphasize the Prefuse the fact that these songs are long and Distant Hills Burn Bright
them to dictate. The good news is that connection, it’s hard to overlook when meditative, remaining engaged and (Black Lodge Audio)
this keeps contemporary structures ‘Spectral Robbery’ could easily be taken attentive throughout these some sixty- A highly refined sense of texture is
at bay, including the unimaginative for a One Word Extinguisher outtake four minutes becomes a trifle difficult. partly what makes Seaworthy such
plinks and plonks that improvised and ‘On Rooftops,’ ‘Of Light,’ and ‘Leave The instrumental pieces in particular a striking ensemble. Though their
music often finds itself submerged What You Came With’ all evidence stand in something of a peculiar instrumentation is minimal - guitar,
in. Recorded in London (in a studio Prefuse-styled beat business and sparkle. position in that they are too complex quietly crackling noise and piano are the
Napalm Death recorded in no less) and That Reminder sounds similar isn’t and active to suffice as background primary components - the subtle, ever-
Vienna, Gauticle feels like it possesses necessarily a bad thing, however; if music, but also too placid, pastoral and, shifting terrain that they create is at once
more space than its predecessor 2003’s anything, Herren could learn a thing at times, saccharine to command the intimate and panoramic. Distant Hills
Ataxia, allowing more sparse moments or two from Abrams about restraint, as constant attention they require. Burn Bright is sparse in both mood and
of near silence or minimal activity to Reminder’s tracks never buckle under This is not a state of affairs that spills atmosphere, but it lets you in. The guitar
exist alongside the chaos and bluster. the weight of too many ideas. Ron over the entire work, however and, sound is melancholy and hesitant, full
Bob Baker Fish Schepper indeed, for the most part, Francesconi of gaps, and reminiscent of Mick Turner
succeeds in sketching mature, in his more pastoral moods. The curling
Reminder RF stirring arrangements that tickle the refrain that runs through almost all
Continuum Views Of Distant Towns imagination and encourage a wealth of eight tracks is like a sentence that never
(Eastern Developments) (Plop) interpretations. ‘A Vacant House’ is one quite completes itself, yet in affect it is
Having contributed bass magic to In one of his last poems, Rainer Maria such song - a field recording of a family far from abstract: each pause and return,
releases by Town and Country, Tortoise, Rilke imagines that nature crafted talking and laughing opens the piece pause and return serves as a reminder
Godspeed You! Black Emperor, Sam human love as a way of enjoying its own and reappears on a handful of occasions that someone is playing an instrument,
Prekop, and others, Chicago/Thrill beauty through the joyous perceptions to punctuate and unify the song. When and that the melody is therefore neither
Jockey fixture Joshua Mikah Abrams of the lovers. In this regard, human the instruments come in, what most arbitrary nor fixed, but a decision made
steps out with his own album under awareness becomes the wax thumbprint amuses is that the muffled guitar melody, from moment to moment. Each listen to
the alias Reminder. That Continuum which seals the world and affords it murmuring voice of Moira Smiley Distant Hills Burn Bright reinforces this
appears on Eastern Developments is some measure of completion. This is and somber organ tones serve to only sense of immediacy - as if the listener
telling, not so much because it’s Scott an outlook which proves helpful when encase and make apparent the rather were sitting in upon the process of the
Herren’s label (Abrams also appeared approaching the third full-length from melancholy near-silence that encloses music’s becoming.
on Surrounded By Silence) but because multi-instrumentalist, media artist the young family. This is not to say that Distant Hills
its style is so kin to Herren’s own. and programmer Ryan Francesconi. Given that the original inspiration Burn Bright is shambolic or necessarily
More precisely, Continuum sounds Aided by a flock of other musicians, for this work was a book by Haruki improvisatory - it is quite a carefully
like the kind of down-tempo album a Francesconi adopts an impressionist Murakami named, The Wind-Up Bird sequenced suite. Framed by a brief
Prefuse-Ammoncontact collaboration stance towards this canvas, using a Chronicle, this silence or emptiness snatch of noise (Part 1), the instrumental,
might yield, and exudes a smoky vibe palette of string and horn instruments which underlies all human attempts lost-highway atmosphere is slowly
reminiscent of Inner Current’s delectable alongside chirping and gurgling at fullness or satisfaction is quite developed through Parts 2-3 with
offerings. Its faded, home-made feel electronics to paint short, decisive understandable. Indeed, this interplay drones and stark piano, before the disc
comes from stitching together dusty brushstrokes that are valued for their between desire and disappointment is is neatly cleaved in Part 4 through a
jazz samples into fresh instrumental individual sonorities as opposed to well articulated in several compositions. series of loops. Sonar-like pulses and
hip-hop head-nod with warm vocals their relations to one another. The Songs like ‘Messenger With Keepsakes’ high-frequency squeaks turn the sonic
by Tyondai Braxton, Akin, Thaione focus of these strokes, moreover, is on and ‘End Of The Line’ are characterized geography from something idyllic to
Davis, and Nicole Mitchell added for vague harmony and rhythm, which by faint queries of piano, stutter-step something otherwordly, before the
extra sweetening. It’s not a bass solo develop mood and texture more than programming, and feathery, yawning guitar (and what sounds like a piano
showcase either, though Abrams doesn’t anything overtly definitive and concrete. string and horn sections which are accordion) returns, allowing both forms
shy away from putting the instrument Especially on some of the earlier tracks keenly aware of a certain loneliness. of landscape to bleed into each other.
out front on the Eastern-flavoured such as ‘Despite The Time’ and ‘Ladder When enough of these cues are planted, Resolving itself on a stark piano line,
‘New Spells’ and ‘Telepathic Part 1.’ In Place’, Francesconi works with soft, these understated arrangements prove Distant Hills Burn Bright is an extremely
Throughout this sometimes jazz-tinged billowing string arrangements, clean, quite seducing, encouraging the listener well-crafted, very beautiful recording.
collection, Abrams concocts a beat- snapping electronics and the vibrato to lean in and pick out the many well- Emmy Hennings
based brew within which thumb pianos, trills of Sonja Drakulich, which sketch shaped, blossoming details which make
saxophones, clarinets, horns, and cellos indistinct forms that the listener must up this album. Max Schaefer
swim. A lovely melancholy theme flows then blend with their own faculties.
through ‘Now I Disappear,’ making it When the sparse, undefined nature

Takagi Masakatsu Triosk updated. But he started getting zines in also a bunch of singing on a few tracks,
Journal For People The Headlight Serenade his early teens and was mail-ordering which seems to come from Dijf himself,
(Carpark) (Leaf/Inertia) records from Guy Blackman’s Chapter drawing upon the gravel of Tom Waits
Originally released in Japan in 2002 Sydney group Triosk's third album Music by the time he turned 14. That or even countrymen Deus. In fact if
on Harumi Hosono’s (ex-Yellow Magic The Headlight Serenade is far more explains a lot, because musically he’s a Deus were electronic they’d probably
Orchestra) Daisyworld label, Takagi charged and directed than their previous long way away from Chapter’s usually be Dijf, sharing a similar dark pop jazz
Masakatsu’s lilting glitch/pop/ambient recordings. Laurence Pike's drums fantastic, but often earnest fare. This is groove. It’s a lot of fun, though his skills
album Journal For People finally gets flutter, skitter and skip over Ben Waples definitely not earnest! Imagine a capella are hidden so carefully under the songs
wider international release through warm bass. Adrian Klumpes piano lines chanting “Freedom, freedom, freedom, that it’s possible it might just pass you
the Carpark label. Takagi is probably casdade and synths drone. With such power, power, power” until it sounds like by before you realise you’ve hit kooky
better known as a video artist than as a instrumentation there are immediate an ejaculatory climax and you can pretty clunky electronic jazz fusion gold.
musician and packaged as a CD/DVD lazy comparisons to be made with that much replicate the experience of this Bob Baker Fish
combo, the DVD showcases Takagi’s other Australian group The Necks, but seven inch long player. It’s closer to the
core work of the period capturing and Triosk are far more lively and their wonderfully amateur lo-fi exuberance Drowsy
digitally processing poetic sequences and compositions full of energy spilling off of mid-‘90s riot grrls like Huggy Bear, Snow On Moss On Stone
patterns he observes in everyday life - a multiple directions. With the organic despite the results being more radio-play (Fat Cat/Inertia)
water, merry-go-rounds, crowds, blurred nature of these tracks aquatic metaphors than indie-rock. Matt Levinson One has the suspicion upon listening
firework explosions - the beautiful seems most apt - the muffled piano on to this new album Snow On Moss On
from the mundane. Accompanying Lost Broadcast shimmers like swimming Dijf Sanders Stone by Finnish artist Drowsy (Mauri
these video works is his melodic, underwater looking upwards at sunlight To Be A Bob Heikkinen), that he inhabits a private
shimmering electronic soundtrack, reflecting through the surface; Laurence (Dub/Creative Vibes) world of his own. Much like fellow Fatcat
with tight digital editing synchronised Pike's drums pitter patter and sparkle Dijf is a young Belgian electronic labelmates, Animal Collective, Drowsy
to the flicker of the vision. On the CD like rain in a sunshower on Intensives producer who is producing kooky music exists in a different place to most of
are thirteen tracks that mirror and Leben. A drone sways and oscillates that seems to fit somewhere within that us, a place where straw is spun into
expand on the soundtrack to the DVD. drunkenly on Headlights. The only oddly home studio crafted glitchy/jazzy/idm/ gold and magic potions are imbibed to
Takagi plays quiet contemplative piano placed track is the closer, Fear Survivor, folktronica world. You know the one, create a magical forest of sound. It’s cold
over backwards drones, electronic which rudely breaks the mood. This is where everything is possible - yet it all and dark today, but not where Drowsy
pulses, glitches and tones. Despite the a remarkable instrumental album and still sounds like everything else. There’s exists. Slightly unhinged (think Animal
sometimes hyperactive pace of digital deserves much praise. Sebastian Chan lots of fun, lots of energy and lots of Collective, Gorky’s Zygotic Mynci and
ticks - which make more sense after cool jazz moves, all mashed together in bonzo British folk such as the Incredible
seeing them synchronised to video edits the real spirit of fusion, and although String Band) melodic sounds, all
on the DVD - this is a lovely meditative electronica has the stranglehold, here’s acoustic and rusty, with a gentleness
album. Sebastain Chan the kicker: Dijf has broken out of the underpinned by a psychedelic edge.
straightjacket. It seems most of these Drowsy is an apt name. The album’s
bedroom producers have been blinded opener “Bakery” grabs your attention
by Warp, and are pumping out the with it’s jaunty airs and singalong
Strummed, stunned and shunned: same preset sounding crap. Dijf is the chorus. By the time we hit the forth
MIDS
antidote, there is a real confidence to tune, “Go Well”, with it’s xylophones,
his off kilter constructions, yet it’s not acoustic plucking and Nick Drake styled
technical wizardry, rather he conjures vocal, we have moved to another place
up these amazing sound worlds – he altogether. Shifting it’s moods from
makes you believe, then he extricates happy, melancholic, moody to ethereal
Always garbage, stale food, fart spray, ‘90s USA himself from them with a quirky and more, Snow On Moss On Stone is a
Bear Pride + Gross Odour teenage tape labels and old fashioned devilishly clever logic. This is a guy who rewarding album that keeps you coming
(Chapter Music) hamburgers. It comes through. ‘Cruising isn’t being played by his computer, the back for more. A folk album proper, it
Coming straight outta the NSW/Victoria + Body Odour’ is John Waters-gone- song is king and the song is fucked is a mature sophomore effort from this
border towns of Albury-Wodonga, homo sleaze, zine culture and cut up up. A guy who previously played with Nordic singer songwriter. Lyndon Pike
Alex Vivian has to be the only tape production. It’s stupid, but cool. Young Beck plays trumpet, and there’s also real
loop producer celebrating bear pride enough to have grown up with the double bass. These considerably add Faux Pas
and gross body odours. The art/music/ Internet, even in Wodonga (Albury’s to the real world jazz elements, though Entropy Begins At Home
prankster plays stupid techno as Slam poor cousin, apparently), Vivian’s been Dijf is also tinkering on the piano (Self-released)
Dunk and used to go under the name nipping out of class for years to keep and he plays it with a noticeable jazz Last year Tim Shiel self-released a
Viviano. He likes jockstraps, percussion, his blogs and myspaces and livejournals sensibility and sense of space. There’s nice little EP called Feels. Since then

he has significantly honed his sound, Final Fantasy Gotye dust all over Plans Drawn in Pencil
added denisty, depth and new structure He Poos Clouds Like Drawing Blood and the mood is as becalmed and the
to his recordings. Drawing together (Tomlab/Inertia) (Creative Vibes) sound as ultra-detailed as one might
very audible influences including Owen Pallett made his name in the Let me be straight up with my biases expect. Antony Ryan and Robin Saville’s
Caribou/Manitoba, the DFA stable, and Toronto music scene doing string here - my previous encounters with vignettes teem with sing-song melodies,
Timbaland, Faux Pas pulls together arrangements for bands like The Arcade Gotye’s work are limited to a single track gently clicking beats that scurry like
some very sophisticated moves for a Fire, but as Final Fantasy his music (a remix at that) of the 80’s hit song ‘I mice, and warm synth tones that
second release. Each track glistens and has never quite had the pomp and just can’t get enough’ by Depeche Mode. glow like fireflies. In keeping with the
bubbles, the picks being the fantastic earnestness of that brand of indie. On Now, even Depeche Mode refuse to play album title, the duo’s sound exudes a
chugging Dorothy’s Finger which his first album Has A Good Home he this song live these days but, Gotye’s light touch, not to mention a retiring
climaxes in a cascade of drums, Water made good use of looping pedals, and reworking of a simple pop song is character and sonic quality sometimes
Into Wine which recalls the voice and established a style all his own:; string something approaching the divine. I’m reminiscent of Eno (the elegiac synths in
production of New Zealander SJD, and arrangements more classical than rock swooning like a teengirl just thinking ‘Corundum’ wouldn’t sound out of place
the jittery beats and flute-ish Timbaland- or folk, despite generally having the song about it. I literally can’t seem to get on Another Green World). Ambient
meets-Madlib opener Tema De Cristina. and melody structures of indie, and the enough of this track and it has tainted jewels like ‘Immoral Architecture’ glisten,
Hot and fun. Sebastian Chan pieces themselves combining passion my impression of what Gotye’s sound while the pitter-patter of an old drum
and utter silliness in a bewildering is all about. I prefer to think of Gotye machine chugs alongside soft keyboard
Fax fashion. A recent interview in Toronto’s as, above all, a romantic lyricist with a sparkle in ‘Ship.’ In another group’s
Primario Now Magazine cleared things up a synthesiser driven alt-pop sensibility. hands, ‘Roadrunner’ might violently roar
(Static Discos) little for me: “As far as whether the So how does ‘Like Drawing Blood’ at breakneck pace; Isan’s treatment, not
Fax (Ruben A Tamayo) may be best music I make is gay or queer, yeah, it come off against such a strong first surprisingly, unhurriedly murmurs. The
known for his work as a DJ/producer of comes from the fact that I’m gay, but impression? Well, it certainly does not group deviates subtly from the template
discrete techno and micro-house sets that doesn’t mean I’m making music disappoint. He’s simply dreamy when on a couple of tracks, adding a funk
but his latest offering Primario signals about it.” Positioning these works in singing “Love Ain’t Fair” on ‘Hearts rhythm to ‘Amber Button’ (what seems
an alternate sound path. His third a queer perspective, in the company A Mess’ or sharing his hopes of a lost a radical gesture in this ultra-controlled
full-length album with the Mexican of contemporary artists like Matmos lover’s impending return in ‘Coming context) and a more robust keyboard
based Static Discos label, rekindles and Antony, somehow makes these Back’. Similarly, ‘Night Drive’ is presence in ‘five To Four, ten To Eleven.’
the memories of his early musical seemingly awkward lyrics and weird another sad song that offers the most Ultimately, critics who dismiss Isan’s
influences and the joys of his first juxtapositions click into place. warmth in the intimacy it reveals. But sound as twee and overly pretty will
principal instrument – the guitar. The This time round the sound pallet here’s the twist – Gotye possesses an (dis)like this album as much as any
opening track, ‘Soulsong’, is a gentle is broadened to take in piano and (unexpectedly) mixed bag of musical other in the group’s discography, while
mix of crunchy minimal beats, samples harpsichord, and the arrangements are tricks up his sleeve. His melancholy those who deem Isan’s material too static
and lullaby guitar loops. Alex Ayuli even more skillful taking cues from the moods are disrupted occasionally with will find ample evidence of that quality
(of AR Kane) brings what he has entire history of classical music, baroque a jolt of happiness – like the catchy, too. Those more receptive to the group’s
famously coined his ‘dreampop’ style of to 20th century. There are some utterly swinging homage to Northern Soul understated charms, on the other hand,
soft, reverberating vocals to the track beguiling pieces on this record, such in ‘Learnalilgivinanlovin’. ‘Thanks for will find the finely-crafted new work on
as he croons, “does anybody choose as ‘If I Were A Carp’, which combines Your Time’ is playfully sarcastic and ‘A a par with its previously-issued material.
to keep, their soul asleep?” This sets looped, reverbed percussive textures Distinctive Sound’, is a quirky slice of Ron Schepper
the emotional pace for the rest of the with the trademark strings. ‘Song Song retro turntabilism reminiscent of Mr
album, which slides and meanders Song’ is perfect pop from a parallel Scruff or Kid Koala. With these tracks Innaway
effortlessly on its abstract slow-rocking dimension where Sir William Walton Gotye demonstrates his versatility but Innaway
journey till the end, finishing upbeat and Percy Grainger are megastars. This it’s going to take me a while to accept the (Speak n Spell/Inertia)
with ‘Paracaidas’ where subtle layers of album has everything a fan of the first fact that he’s not heartbroken all of the For lovers of Space Rock and modern
percussive elements, dubby loops and could want including all the silliness time. I will be sobbing at home about psychedelia, all the right elements are
lazy bass create an atmospheric space for with themes drawn from epic fantasy it whilst Gotye celebrates the success of here on the debut from Californian 5
resonant guitar melodies to float, verily. and role-playing games, and lyrics at his new album, and so he should, this is piece, Innaway. Shimmering underwater
The spirit of his early work remains but once ridiculous and profound; “Now his most promising work. Renae Mason guitar refrains, multi-layered vocal
overall Primario represents a deeper massive genitals refuse to co-operate/ harmonies delivered in a hazey bliss,
engagement. There is a warm sense of And no amount of therapy can hope to Isan coupled with steady snare drops (and
intimacy, introspection and maturity save his marriage”. A heady mix for sure. Plans Drawn In Pencil drum machines on several tracks).
throughout. Renae Mason Peter Hollo (Morr/Inertia) Imagine if you would, the very fist
In a style not radically different from Verve album A Storm In Heaven if it
its past releases, Isan sprinkles fairy were mixed by Tortoise’s John McEntire

then given a modern production twist, ballad, before evolving into a improvised Josephine Foster raw and resounding, as on the eleven
and you’re onto a really heady listen free-for-all that is defined by restraint A Wolf In Sheep’s Clothing minute ‘Auf Einer Burg’, when patches
that will appeal to the more cerebral and a psychedelic spirit, an acoustic (Locust) of howling guitar, low-pitched drums,
sound lovers out there. The tunes here cousin of Matmos’ YTTE from The Elegiac and understated, the opening and mercurial splashes of soprano sax
deliver constant surprises. “Tiny Brains”, Civil War. Country tones and an easy notes of ‘An Die Musik’ mark a journey augment the shimmering chimes and
contains a mean fuzz bass and a haunted steel-string pace put Rockaway and Hey back to nineteenth century German woody guitar line, the underlying shape
choral voice crying out underneath Mr Sky into Neil Young’s orbit. They folk balladry. Fosters birdlike vocal lines is never blurred or altogether disfigured,
the band’s vocalist, Jim Schwarz, unfold deceptively simply, and are hang exposed and fragile, lightly shaded but remains sharp, and caught from a
who’s repeating the refrain “losin’ my beautifully recorded in a naturalistic, by sinewy weaves of multi-tracked number of different angles. The elastic
tiny brain in my tiny room” before warts-and-all way that leaves a place for trumpet, and the odd spell of pastoral voice of Foster mirrors this progression,
breaking down into a dub coda. Nice the room and the people in it. But hell, flute and rippling percussion. For all that, too, shifting from operatic wails, to
stuff. Elsewhere, we hear blues harps, this is no Harvest. There are some wild this piece, as all others in this collection, sudden hiccups, and deep bellows. In
stretched out instrumental passages and and crazy moments captured here too, gradually takes flight of this minimal so doing, Foster and company do not so
guitar lead breaks that are never showy quarter hour jams that exude texture backing, and traipses through lithe, much spawn a garish melange of styles
or annoying. and passion, build then collapse in a supple rhythm sections, droning metal as they disclose the depths of these
What makes this album so tuckered-out heap. At times it’s a drifty hoe-downs, and barbed tonalities. Foster charming songs by revealing how they
immediately likeable is the combination campfire strum, at others it’s a tumbling is careful not to treat these German art call for interpretation still. Max Schaefer
of the production (the electronic space rock jam. There is a refreshing songs are mere artifacts, though. At the
elements always appear as a real experimental edge to the tracks on Flags same time, as is most clearly illustrated Leafcutter John
surprise), a vocalist who can actually Of The Sacred Harp. It was (re)mixed through Brian Goodman’s murky, dive- The Forest and The Sea
sing and is never overbearing, and by LFO’s Mark Bell, and his touches bombing guitar chords, rather than (Staubgold/Fuse)
enough psychedelic sounds and are subtle and important. The solos simply displaying these songs, there Anyone familiar with Leafcutter John’s
structures to encourage repeated spins. in Hey Mr Sky, the epic soundscaping is a desire to transfigure them, but to astounding previous album The
To be absolutely fair, this release is of Spirits and the breakdown of Nice transfigure them by grasping what is Housebound Spirit on Planet Mu will
best considered “space rock” in spirit, One, are all indications that this is a essential to each respectively. realise how far he’s come since his first
as most of the tunes are around the 3 band just as interested in the use of As such, although connected by a experimental electronic releases. On this
minute mark and it is a rather short and space and recording/mixing, as well as certain undertow of archaic elegance, new album, the main body of the album
mellowed affair, but a very strong debut extending the parameters of the listening each piece has its own disguises, is comprised of morose folk ballads,
from an interesting outfit. Lyndon Pike experience and the limitations of genre. ploys, and struggles. Works such as so authentic they’re almost classical.
Most songs feature a twin vocal attack, ‘Verschwiegene Liebe’ and ‘Wehmut’ Folk revivalists like Akron/Family are
Jackie-O-Motherfucker male and female, sung in unison, and slowly wake from waltzing piano lines inevitably called to mind, or indeed
Flags Of The Sacred Harp the feel of the album is organic and and finger picked guitar to bass clarinet quieter Radiohead.
(ATP/Inertia) open spaced, more a Southern rural burrs and murmurs, and the bleary There are some utterly beguiling
Jackie-O-Motherfucker’s Flags Of The texture than any big city vibe. This noise of a guitar. It is a movement which moments on this album, beautiful
Sacred Harp is a welcoming album; Portland, Oregon trio plays real well exhibits the groups ability to deftly processed guitar textures, field
you’re drawn into it’s mesmerising together, relaxed and disciplined, and incorporate a variety of dialects in such recordings, cut’n’paste cello. ‘Let It Begin’
soundscapes like a tired bushwalker here they’ve been captured like a nature a way that the arrangement seems both sets the tone, starting acoustic and colla
stares at a campfire. Nice One, the documentary – in the raw, in their eclectic, and yet necessary. Even when voce, but lone cymbals and low rumbles
album’s opener, begins as a dreamy folk natural elements. Daniel Jumpertz moments pick up steam, and grow more lead into an extended middle section

of granular delays and electronic pulses he is very much constructing the music Yorke, but it is really more akin to the medium-paced atmospheric groove that
before returning to the song anew. ‘Seba’, also, the duo previously playing together aforementioned Swedes, Dunger and is seductive and catchy. Cymbalbow is
on the other hand, starts with piano and in Signals in the early eighties. Morpho Dune. A rewarding listen for fans of this another slow builder, (with the feel of
drones under acoustic guitar textures, comes across like a series of rock music style of modern pop. Lyndon Pike a Hitchcock thriller), while Dogloop
and seamlessly mutates via some slide cues for film, regularly touching upon successfully combines location-specific
guitar into something almost alt-country, elements of late 60’s exotica, with Pepito environmental sound recordings (birds,
vocals underpinned by bass, guitars and theremins, heavily reverbed guitars The New World wind, trees), deep groaning string
very subtle kick/snare. It’s the best song swirling around strange sounds, (Static Discos) pulses and a waves of racey piano
on the album, and the sound palette samples and compositions that often The New World is Madrid based motifs. Like Cornelius’ Drip, H20 (For
suits it perfectly; when glitchy delays give the illusion of movement without electronic pop band Pepito’s third album. Cello & 4 Dripping Taps) has some
and abstract washes return, it seems necessarily providing any. It’s very much And it’s a light and gentle affair that fun in the water. Oralie is a bold and
totally normal, and the strange spectre a loving homage, playing with the spirit melds electronic techniques to pop’s succinct track, a real grower (over too
of early-to-mid Pink Floyd benignly if not the instrumentation of some of the melodic smoothness. Interestingly it’s soon), that combines cut-up spoken
asserts itself, as it does over a surprising classics like Vampiros Lesbos, Suspiria, also their first release that features an word and precise tuned percussion. It’s
amount of the recent postrock/folk and even the Trip, which gets a roasting even split between English and Spanish the album’s poppiest moment. Sodacake
crossover material. in the liner notes by Philip Brophy. vocals. Vocally the duo of Ana Machado have composed these tracks with a real
Much of the rest of The Forest and The Track titles are as classy as you’d expect: and Jose Marquez come across with the feel for space and instrumentation. The
Sea works in a similar manner and it is Burning Rubber and Cheap Perfume, same impassioned urgency of Sonic album is a beautifully recorded and
fascinating to hear how the disparate Mondo Freaky Wonderland and It Looks Youth, yet their sound palette owes mature release. Everything’s Always
elements are integrated. Leafcutter John Like the Avalanche is Coming. Can’t wait more to a significantly more electronic is probably more a solid collection
works in a way not quite like anyone else. to see the movie. Bob Baker Fish Architecture in Helsinki. Though of tracks than a great album, but it is
Peter Hollo there’s a certain earnestness to their obvious there is real compositional talent
Patrick Torsson approach, a certain twee nature to the within its ambitious and well-realised
Morpho Statments Of Facts electronic sounds they use, yet there’s sonic confines. Daniel Jumpertz
Morpho (Powershovel Audio) no cheekiness, if anything it’s a sweet
(Dr Jims) Patrick Torsson is Swedish, and like sense of nostalgia. The experimentation Tooth
In something of an unexpected left turn fellow musical Swedes, Nicolai Dunger is blanketed in such a warm glossy Mudlarking
Melbourne experimental guitarist Dave and Andre Hermann Dune, he displays sound, in such confidence that its (Soft/Fuse Distribution)
Brown (Bucketrider/ Pataeras/Baxter/ a fragility and warmth that seems to possible to listen to an entire track Sydney three piece Tooth create the
Brown), has wrenched the alligator clips be a common denominator within the before you realise it was constructed kind of music that you can’t believe was
and springs off his guitar and decided Swenska sound experience. These are with fractured beats, strange bleeps constructed by humans. Possessing a
to rock out. Though it’s not in the way not big, swelling tunes that demand to and shifting frequencies. And it’s the confident, almost stately grandeur, their
you might expect. There are links to be noticed. They are personal, multi vocals that enable such sweet subterfuge, sounds on 2001’s Sirens From Here To
his days in the Dumb and The Ugly, layered tunes reminiscent of balladry, impassioned emotive cries of warmth Titan seemed to exist in the past, the
with a big booming sound driven by longing and observation. Staccato and assuredness. Bob Baker Fish soundtrack to a late fifties “Boys Own”
repetitive riffing, though a roll call of the electronics layed under a simple drum nautical adventure serial. It’s scope felt
thank you’s on the liner notes provide pattern with acoustic and reverbed Sodacake huge, yet it has positively been eclipsed
more of an indication of his direction, guitars. Back masking, muted keys, Do You Read Me by Mudlarking. This double disc album
with everyone from legendary Warner harps, low-key production values, and a (Red Ears Music) is an epic, not just because it consists
Brothers cartoon composer Carl Stalling, wavering vocal all encompass the music Sodacake are an Australian duo with of eighteen tracks, but because of the
Godzilla, John Barry and Italian prog that Torsson has made on this album. a penchant for classical and electronic way Tooth have extended their styles
rock band Goblin all getting a mention. For the listener, Torsson’s vocals and music, and on Everything’s Always and approach in the interim. It’s a
Brown has always been interested in lyrics appear as almost a secondary these two loves are brought together strange swirly mass of sound that exists
the space between high and low art focus, considered yet another layer in with precision and grace. The most like a giant fun rollicking soundtrack
and with Morpho he’s using B movie this rich (albeit lo-fi) recording. The successful tracks on Everything’s where you can throw around words like,
soundtracks as the springboard. Morpho album does progress in a subliminal Always merge the two influences most Krautrock, psychedialia, downtempo,
is a duo with David Waddleton, an manner, and by track 7, “The Void overtly. A good example is the title prog, and not ever get remotely close
artist and former collaborator who’s Within You”, you realise that he has track and the album’s opener, Do You to the canvas. It’s a hard record to
work adorned Brown’s first solo record introduced sections that are reminiscent Read Me, a gentle builder that adds consciously listen to as you keep floating
as Candlesnuffer. Waddleton’s artwork of old-school house rhythms and layers and loops in the same way B. away. Its very groove based and it
appears here (and there is a more turned the album into something Fleischmann does on his recent album emphasises that Tooth are operating in
expensive limited edition of this record new altogether. His vocal will be The Humbucking Coil. Like that release, a different time zone than the rest of
released with a signed print), though unfairly compared to that of Thom delayed guitar lines bubble away on a the world, such is their patience and

restraint. At times it verges on fourth song. Tunng’s aesthetic is made perfectly volcano! Plus Interest’ and ‘Red & White Bells’
world thanks to a few faux world music clear in moments like these, and when Beautiful Seizure are grand epics, homage to Pink Floyd’s
ingredients, though these are only you go back to the start for the second (Leaf/Inertia) ‘Dark Side of The Moon’ and Radiohead’s
hints that appear alongside samples listen, they’ve tuned your ears just right. Beautiful Seizure is a most apt title for ‘OK Computer’. There are experimental
or an impossibly funky bass line. It’s Peter Hollo volcano!’s explosive debut album. It noise moments like ‘Larchmontt’s
probably an electronic record yet it’s opens with bells, xylophones and gentle Arrival’ or the atmospheric ‘Before
imbued with a vaguely cluttered sense Tunng strums that are abruptly punctuated the Suburbs’. Then there’s ‘La Lluvia’
of soul that propels these incredible Mother’s Daughter & Other Songs by Aaron With’s tortured falsetto and flowing like a Spanish serenade injected
tunes. It feels like it exists in the past (Feral Media/Static Caravan) soaring psychedelic guitar riffs. Soft with equal parts suffering and self-
referencing earnestly jammed out 60’s Tunng is a collision of worlds. Between interludes are rich with audio artefacts loathing. ‘Apple or a Gun’ fires a catchy
psychedelia, yet these are linked into folkish singer songwriting and of the music recording process. These two-chord progression reminiscent of
current day beats and sample techniques, experimental electronica. A duo, they imprints of clunks and crunches remind contemporaries like Arcade Fire, Franz
which somehow gives it an instant yet manage to make their music accessible that music is a live experience and that Ferdinand, Interpol or Spoon. ‘Hello
ironically somewhat dated credibility. without being cute or folktronica, digital mastering can be cold but not Explosion’ creeps in unannounced with
What’s more they’ve teamed up with which is no mean feat. Clearly Tunng necessarily clean. There is a hook of the dawning realisation that the album
legendary weirdo experimentalist have an infinite respect for melody, yet unpredictability established upfront, is nearly coming to an end. I wake out
Daevid Allen, co founder of the Soft this doesn’t outweigh their desire for an aesthetic of carefully orchestrated of the dream with a dandy little song
Machine and leader of Gong who guests. experimentation. On this, their debut chaos channelling a raw current of called ‘Pulling My Face In And Out Of
There is not a single misstep. Each song album, repackaged and reissued with a emotion. And while such art/post-rock Distortion, I Blink Too Much’. Here With
is an opus. Bob Baker Fish bonus track by local label Feral Media, may risk lending itself a little too easily slips into his freak-folk rap voice, further
movies are sampled, breaks cut up, and to pretension rest assured that these demonstrating his incredible range. He
Tunng obscure noises layered around the traps guys are never trying to be clever, they pauses in the chaos for a few gulping
Comments of the Inner Chorus yet then there are these cute plucked simply are. breaths, drowning in the musical
(Full Time Hobby/Spunk) acoustic guitars and this violently The subtle diversity of Beautiful equivalent of a riptide till it’s silent. I’m
Now that the initial impact of their English crooning folkish vocals that Seizure demonstrates not only the bands left with encouraging thoughts - just
glitch-meets-English folk sound has are nothing short of enchanting. The talent, but also a refusal to be restrained breathe, don’t lose control, and don’t ever
worn off, Tunng’s success is to a large off kilter elements prevent the more by neat categorisation. Songs like ‘40,000 stop . . . time to hit repeat. Renae Mason
extent dependent on the strength of melodic songwriter elements from
their songwriting not just their sonic becoming tedious or predictable and
ideas. ‘Woodcat’ seemed strangely some of the more erratic elements are
demure as a first single but the refrain employed specifically in reference to Rumbling and mumbling:
LOWS
got pretty quickly stuck in my head, and song. In fact the song is very important
it is a decent opener on an album with to Tunng. You can hear vague elements
some even stronger songs. The strongest, of Icelandic heroes Mum, Nick Drake
such as ‘Jenny Again’, could easily or even Grandaddy, yet Tunng are very
survive a straight folk performance, clear, confident and accomplished, not
but the subtle electronic treatments to mention unique in their vision. The Ellen Allien & Apparat follow a steady 4/4 structure, shaded
serve to enhance them. Best of all is opening track on the album is enough Orchestra of Bubbles by warble-like ringing tones looped to
Sweet William’, another murder ballad to make you sit up and realise that that (Bpitch Control) infinity; at other times the squelchy
with dark cello and diminished chords Tunng are very different. A female vocal Orchestra Of Bubbles is life-affirming thuds and pops murmur softly just
in the guitar picking; here the innate cries ‘stay,’ and is electronically treated music in the most wide-eyed of senses. below a dusty ambient glow.
experimentalism of the folk scene and and elongated into a strange disjointed Sweaty, throbbing electro pulses flirt ‘Retina’, in particular, is wound tight
the concrète and cut’n’paste aspects of wail, whilst some whispering rapping with fat analogue beats, swim through like a coiled spring. The aquatic pads
electronic influences seem to walk past female vocals appear over an acoustic gleaming ambient pools, and ride on the and high-necked baseline fall into
each other, not entirely interacting until bed of guitar, some jittery percussion wings of Ellen Allien’s sprightly voice. a repetitive pattern that is infected
the cello gets caught up beautifully in and bizarre explosions of fragments of Pieces such as ‘Way Out’ are essentially by a plaintive string refrain. Further
a glitch delay at the end. ‘Engine Room’ sound. Then after a couple of minutes about overflow: one’s ear is clipped by a songs continue to fashion sleek, robust
concludes the album with some more the smooth vocals kick in. It’s very bevy of different voices, some restrained rhythms that constantly replenish
of William Blake’s dark satanic mills, different though also quite brilliant and in the background, some flying themselves, gorging themselves, as it
and again the folk singalong, the techno work unlike anything else around. Bob sharply just over one’s head. Similarly, were, on the ever-changing relationships
thump and the synth pads somehow Baker Fish the perambulating atmospheres are rife in which they are thrown. Yet these
remain as separate elements at the same with numerous cadences and moods. relationships are not wholly random.
time as holding together as a complete Now and again, the glassy electronics Although songs like ‘Metric’ skirt off

into dance floor realms, the aberrant, Apartheid Capetown, South Africa, and Booka Shade minimal technology. Featuring a few
flighty nature of the beat programming the sounds of his homeland profoundly Movements tracks from the South London Boroughs
and the fizzy, hallucinogenic character permeate his work to this day. What (Get Physical/Stomp) 12” of last year, the album takes those
of the effects bring this otherwise makes his Portable and now Bodycode During the last few years, German ideas further ending up sounding
erratic album together and house it music so remarkable, however, is electro-house duo Booka Shade have as much like early dubstep/2-step
under a unified concept. Put simply, the how marvelously Abrahams merges certainly built upon their burgeoning producers like El-B as Maurizio and the
persuasion at play here is that of travel. African rhythms, microhouse, trance, reputation on several different fronts at other early Berlin Basic Channel/Chain
With this in mind, these songs are fit for and minimal techno. After hitting his once – co-running uber hip label Get Reaction sound. In Burial’s beats there
moments when the unknown no longer stride with the Portable releases Cycling Physical, remixing the likes of The Juan is a swing that has disappeared from
seems daunting, but an invigorating (Background) and Version (~scape), his McLean and touring Ibiza alongside the newer dubstep sounds, but as they
invitation. Max Schaefer more insistently danceable Bodycode Mylo and Royksopp. This second artist are produced unsequenced they move
upholds, if not elevates, that high album from Booka Shade ‘Movements’ in and out of time, and they sound
Barrington Levy In Dub standard. With the tracks six to eight follows on the heels of their acclaimed muffled and sad. This atmosphere of
The Lost Mixes From King Tubby’s minutes in length, Abrahams gives the 2004 debut ‘Memento’ and shows the bleakness and grey skies overshadows
Studio club-oriented material ample opportunity duo pushing their icy, electro-laced the whole album, giving every track a
(Auralux/MGM) to gather steam, and succeeds brilliantly productions into some quite diverse mournful quality – tracks like You Hurt
This is just the kind of mystery in at fashioning multi-layered arrangements areas ranging from near-IDM listening Me should be energetic with bass drops
which the golden era of dub thrives. that are both rhythmically infectious and right through to more dancefloor-fixated and jittery beats but end up sounding
Misinformation, confusion, legendary compositionally sophisticated. explorations. If streamlined moments contemplative and melancholic. Most
lost relics and reissues of dubs so rare Bodycode’s mesmerizing sound design such as ‘Shimmer’ and ‘Darko’ suggest tracks revolve around a simple motif
that unless you were part of a sound is showcased in ferociously grooving perhaps a more pared-back, austere or vocal sample and instead of being
system back in the day you probably tracks like ‘Nanotechnology,’ where but still bassgroove-fixated Tiefschwarz, packed full of sound they echo with
haven’t heard of them. That’s all in the panning voices slur the title while robotic voices flitting over retro breakers’ space, emptiness - a simplicity akin to
liner notes for this unearthed nugget whirring percussion patterns stoke rhythms, deeper offerings such as the that of early jungle then the result of
from the late 70’s early 80’s. No one furious broils, and ‘Equidistant,’ where a juddering ‘Pong Pang’ call to mind technological limitations, but now a
knows who actually created these similarly panning voice becomes merely more the sorts of minimalist future radical voluntary aesthetic. The hiss
dubs. They come from a Jamaican only one transfixing element within a mass Detroit territory stalked by Matthew and crackle that permeates everything
release of the Big Showdown, which of bumping rhythms and mechano Dear under his recent Audion persona. sounds alternately like rain, mist, fog,
featured totally different tracks from chatter. The funky ‘I, Data’ marries With some densely metallic Villalobos- pirate radio static, tape hiss, and old
the UK release in 1980. In this sense tribal rhythms and acid, with Abrahams esque polyrhythms wandering their vinyl all together, adding another layer
they’re a little rawer, with much more adding (presumably) his own robotic way beneath cold sounding analogue – much like those first Basic Channel
space, aimed squarely at the Jamaican monotone. Whether intentional or not, synth blips and moody bass swells, it’s records that really emphasised the sense
market. Mixed in King Tubby’s studio the tune, a dizzying amalgam of voice certainly metal machine music indeed. of loss and lack. This is an amazing
it’s assumed by Scientist or Prince swirls and entrancing rhythms, pays Excellent stuff from a duo to seriously album and even though in the Southern
Jammy, dancehall vocalist Barrington tribute to Kraftwerk with Bodycode’s watch in 2006. Chris Downton Hemisphere we are far from the
Levy’s vocals appear intermittently, with ‘Am I data?’ query a seeming riff on internalised grey skies ‘no futurism’ of
the emphasis on the bouncing bass the German group’s ‘Man-Machine’ Burial London it is perfect for our impending
lines, punching often heavily reverbed concept. As per African tradition, cuts Burial winter. Sebastian Chan
or echoing horns, fuzzed up guitars, a like ‘Local Traffic’ build hypnotically (Hyperdub)
smattering of keys and of course the through increasingly feverish repetition, Kode9’s Hyperdub label can seemingly Deepchild
steady beats. It’s sparse hypnotic stuff, while multitudes of percussion, voices, do no wrong. Arriving in the mail in Lifetime
it feels gritty, it feels somehow more and digital flourishes weave into early April was the first full length (Future Classic/Inertia)
authentic, which means the liner notes intricate, trippy mazes in ‘Hands Free album release on the label, coming from Rick Bull (aka Deepchild) has spent
have done their job well. Regardless the Computer Interface’ and a veritable the rather mysterious figure of Burial. the last few years moving towards this
music is great, absolutely addictive, and percussion battalion charges alongside Apparently put together entirely without latest album. He has been DJing eclectic
whoever made it did one hell of a job. a Doppleresque tonal wave in ‘Bounce sequencers and just using the wave sets embracing funk, soul, and dub,
Bob Baker Fish Back.’ While not wholly different from editor software Sound Forge it is the delving deep into the treasures of these
his Portable style, the magnificent missing link between early dubstep and styles. At the same time, though, he has
Bodycode Bodycode arguably represents the most late era garage and the new futuristic travelled to Europe, spent some time in
The Conservation Of Electric Charge perfect realization yet of Abraham’s 21st- half speed dubstep of labels/production Berlin, and brought back a considerably
(Spectral) century Afro-house (perhaps Afro-trance crews like DMZ. It is records like this subtler but also edgier production style
Though now Lisbon, Portugal-based, is a more accurate label) style. that remind me of the radical potential that now much better incorporates his
Alan Abrahams grew up in post- Ron Schepper of simplicity and making the most of funk and soul inspirations. Where on

his earliest work he was clearly coming releases like 2001’s Bodily Functions by the time the heat of summer hit and the beats. If so, this is a hell of a
to terms with his equipment and far than experimental excursions like last properly and the sun shone down on debut. Dipping, then steeply ascending,
ranging ideas (Chocolate Dubs), and year’s Plat du Jour and 2002’s Radio Boy the garden Multiply became an album Muldrow’s sharp voice boastfully soars
then working with his brother, singer project The Mechanics of Destruction, that got played a lot and it grew and from one song to another. At times, her
Andy B, on his rather syrupy coffee-table- Scale presents sumptuous fusions of grew on me. Lidell’s lyrics almost defy voice is exuberant like Bjork, elsewhere
ish last album (What’s Going Wrong), vocal house, jazz, disco, and soul that their bright summery delivery - it is it has the caramelised warmth of
this new album is far more complete strike a convincing balance between dark introspective record in bright Erykah Badu. The flighty vamps rarely
and satisfying. intricacy and sensuality. extroverted clothing - much like Lidell give much of her lyrical concerns
Opening with a collaboration with Whereas Herbert didn’t use a single himself one presumes. Anyway, as a away, though where they do peek out
Gauche, the album begins in broken traditional instrument on Plat du Jour, filler between the next album or even it is generally disconcerting. Witness
beat/vocal territory familiar from his he perpetuates Goodbye Swingtime’s the long promised ‘live’ DVD which was the suicidal consideration of standout
last release. It isn’t until really takes opulent sound on Scale with the initially supposed to come with Multuply, ‘Nothingness’. For such a warm record
off mid way through with Always & luxuriant potential of a chamber Warp has decided to issue an album of little is easy about ‘Worthnothings,’ an
Forever, a deep glitched up electro orchestra fully exploited. It takes mere remixes and live recordings - almost, but EP whose very title suggests an internal
workout. Greifswalder Strasse is mutant seconds for the album’s smooth vibe not quite, track for track. Most remix dialogue rarely covered on the soul-
chopped up electronic funk whilst No to declare itself when Siciliano, Neil albums are great for DJs to pick the eyes obsessed Stones Throw. Matt Levinson
Disgrace, the album’s standout track, Thomas, and Jade Fox member Dave out of but not much good for the average
with Ras Roni on vocals is deep in Okumu weave vocals—separate and listener. Multiple Additions succeeds for Root 70
Rhythm & Sound dub techno territory. unison—over a string-kissed groove the most part but still feels disjointed Heaps Dub
Although the influences come through in ‘Something Isn’t Right.’ A soulful despite high points. The live recordings (Nonplace/Inertia)
clearly, Lifetime is the most interesting pulse drives the horn-laden ‘The Movers capture Lidell’s amazing live voice and New Zealand-born jazz musician
Deepchild album so far and offers some and Shakers,’ a remarkable example re-arrangements, whilst of the remixes Hayden Chisholm has played as part of
new directions for future developments. of Herbert’s arranging talents, though Luke Vibert’s slowed down analogue Burnt Friedman’s live formations and
Sebastian Chan admittedly there’s a good amount of funk remix, Freeform Five’s typically recorded with him for several years
extraneous noise that could’ve been floor filling electro-disco version of now. Now Chisholm’s Cologne-based
Matthew Herbert excluded. On ‘Those Feelings,’ Herbert When I Come Back Around, Four Tet’s jazz quartet reconstructs and re-records,
Scale bridges the experimental with the squiggly Krautrock freakout version Hayden’s favourite Friedman selections.
(K7/Inertia) accessible more convincingly, the listener of The City and Matthew Herbert’s Taken from Nu Dub Players, Flanger and
Matthew Herbert’s fabulous Scale is less aware of the song’s subtle patterning humourous country square-dance solo albums from the last five years the
elevated by two things in particular: his when entranced by Siciliano’s silken reworking of Multiply are probably the re-interpretations traverse dub, latin and
talent for dressing songs in marvellous, vocal. Elsewhere, her multi-tracked best. That said, if you didn’t dig Multiply jazz originals - each taken off in new
full-bodied arrangements (sometimes chirp enriches a funk groove in ‘Moving then there is nothing here to convince directions by the quartet. What makes
evoking the rich string sound of Like a Train’ and turns torch-like during you otherwise. Sebastian Chan Friedman one of my favourite artists is
‘70s Philly soul, but more often the the jittery strut ‘Harmonise.’ Though his combination of deadpan humour
splendor of lush Hollywood scores the song’s enticing “up and down” hook Georgia Anne Muldrow (carried in musical ideas, track titles and
and Broadway musicals) and, secondly, is captivating, you’ll be even more won Worthnothings EP pseudonyms) and his aesthetic journey
his full deployment of secret weapon over when this remarkable chanteuse (Stones Throw/Creative Vibes) which has seen him explore the notion
Dani Siciliano (who sings on all but later croons “You are the world / I New Stones Throw signing Georgia of a digital band for the past decade
one song, Herbert reserving the piano am your people” at song’s end. Ron Anne Muldrow’s debut EP, apparently or more. Chisholm’s reinterpretations
ballad closer ‘Wrong’ for his own self- Schepper released to prime fans for a forthcoming return the source material to its ‘artificial
described ‘croak’). Of course, this being album, leaves me with more questions real’ roots - ‘real jazz’ interpretations
a Herbert project, it shouldn’t surprise Jamie Lidell than answers. It could have been so of sample arrangements, samples that
that beneath the immaculate veneer lies Multiply Additions different if the EP had arrived sans themselves were employed to reinterpret
troubling subject matter (meditations (Warp/Inertia) vocals. I would have filed it with all the ‘real’ genres. The highly accomplished
on mortality, global suffering, and the Jamie Lidell’s Multiply album was one other Madlib records – voice stripped quartet of Chisholm, Nils Wogram,
end of the oil age) and unusual sound that took a while for me to warm to. away this does that slowed down Jochen Rueckert and Matt Penmann
sources (meteorites, golf swings, cars, Perhaps I had wanted it to be obviously techno breakbeat thing Otis Jackson recorded these tracks live with Burnt
breakfast cereal, coffins, petrol pumps, ‘experimental’, perhaps I wanted a rehash Jr has his signature on; a fluctuating Friedman then doing the final mix and
and an RAF Tornado bomber are of his antics as Supercollider. The last canvas somewhere between Domu and edits, drawing each track to exactly 5
among the 723 objects sampled, not thing I had expected was a white soul Theo Parrish, at hip hop tempo – but minutes long each. Saxophone, clarinet,
to mention the 177 phone messages Motown/Stax tribute album, at least the collected evidence says the entire trombone, double bass and light touch
worked into ‘Just Once’). But the that’s what it sounded like on the surface. project was put together by 22 year old drum work combine with Friedman’s
songs! More reminiscent of accessible Whatever the reason for my tardiness, Muldrow; vocals, background vocals subtle post-production effects, revealing

the strength of Friedman (and Atom interludes between tracks to a some of music together during high school, and up early Buck 65 or Sage Francis. Yet
Heart’s) original compositions even his friends like Mouse on Mars, Burnt, this debut self-released album represents where Sage’s flow is violently dynamic,
when freed from their digital roots. Towa Tei and Schneider TM who do the culmination of more than seven Time tends to keep the delivery pretty
Sebastian Chan some explicitly electronic cut and paste, years of determined perseverance. constant. Large and fast. His rhymes are
perhaps emphasising once and for all: Comprised of sixteen tracks, Find like gymnastics, extraordinary feats of
Senor Coconut and his Orchestra This is not real. But who wants real Me A Pen certainly takes in some verbal endurance, and it works albeit
Yellow Fever when you’re having this much fun? Bob labyrinthine territory over its entire breathlessly. His interest seems to be not
(Essay/Creative Vibes) Baker Fish span, and producer EOS lays on a dense breathing, long streams of content, yet
If you’ve ever trawled through op shop and foreboding blend of samples and still retaining comprehensibility. You’d
record bins and bought something Sinner DC beats that acts as a suitably cinematic think he’d be more than at home in the
because the cover looks wrong you Mount Age counterpoint to Orbit and Snail’s tension- Anticon stable. Particularly in terms of
understand Senor Coconut. Occasionally (Ai) stricken lyrical imagery. content, capitalism, the state of hip hop,
your find is pure kitsch gold and Senor Mount Age, Sinner DC’s second album With a swirling, unpredictable sonic television, white trash stories, destructive
Coconut seeks to provide this every time. and first for Ai Records, merges the palette that calls to mind the likes of relationships painted very real and
His approach owes a lot to the golden age sleek propulsion of Kompakt techno Anticon’s Odd Nosdam or Music vs. incredibly vivid. Bob Baker Fish
of the cover version, the reinterpretation, with Ghostly’s stylistic finesse. While the Physics, to name a local comparison
the Switched on Moog, the Baja Geneva-based trio’s sound is as polished point, Find Me A Pen is certainly an Winduptoys
Marimba Band (to whom he owes a lot), as its Ai counterparts, Sinner DC (Julien impressive debut offering, but the dense Double Exposure
and the countless orchestral renditions Amey, Steve Mamie, Manuel Bravo) opts and unrelenting nature of the verbal (Clan Analogue/Creative Vibes)
of pop standards. In a strange confusing for an atmospheric shoegaze-techno delivery may be the one thing here that If you’re expecting straight up electro
turn German Atom Heart best known hybrid that distances it from its label puts some listeners off. With Orbit’s dub, you’re in the wrong place because
for his work in Flanger with Burnt kin. In ‘On & On’ and ‘Lady March,’ the tension-packed, on edge verbal style local duo Winduptoys love to tangent,
Friedman moved to Chile and adopted group anchors songs with dub-techno sitting more or less in the same gear to establish their heavily reverbed beats
the uber kitsch Senor Coconut persona beats, then builds multiple layers of right throughout this album, Snail’s and skittering electronics and then
for an album of Samba, Latino, Mambo blurry monotone vocals (sometimes contrasting tones frequently offer a disappear into some strange electronic
infused Kraftwerk covers, cheekily vocodered), shuddering guitars, and welcome respite of sorts, coming across sound scape territory. Of course they
revealing the song writing behind the wavering horn melodies overtop until as more smooth and considerably less eventually return to the groove, and
technological fetishism of the German tracks become dense masses of pumping booming. Despite these points, Find when they do it’s with a euphoric
electronic pop icons. Of course the irony electro-intensity. Representative of Me A Pen certainly represents a very intensity. Maybe it’s because they are
is that he did this using electronic cut the trio’s style, the spectral opener promising debut. Chris Downton proudly adverse to midi and soft synths,
and paste techniques himself, but that’s ‘Everything Is Sand’ drapes aquatic the textures of these electronics, seem
fine, there’s plenty of humour and irony piano chords, nosedive guitar swoops, Time somewhat grander, crunchier, squelchier,
flowing through Senor Coconut’s milky and monotone murmurs over languid Litterture more tactile than everything else around.
veins. And now he’s turned his attention techno beats, while breathy vocals in the (Dirty Laboratory) These are synthesized and electronic
to Japanese electro synth pop band hypnotically looping ‘Wintertown’ exude Time is a 21-year-old Denver based sounds that you can taste. And its clear
the Yellow Magic Orchestra. He’s even a David Gilmour-like softness. Deviating MC. He’s got a lot to say and he crams that a lot of care has gone into crafting
managed to rope three of them in to from the predominating style, ‘Afterland’ an almost endless torrent of words these larger than life bubbles, skips,
provide vocals and piano. And you’d be merges Gas-styled orchestral ambient on the 14 densely packed tracks here. basslines, these strange synthesized
surprised how well their synth pop tunes and Kraftwerk beats, after which Musically it’s pretty stripped back, gentle fragments of sound that somehow
transform into faux Latino big band ‘Babycat’ breaks from the aggressive melodic loops, often classical, something remain chilled out, yet quite busy
numbers. On Behind the Mask he’s done attack with a submersive foray that soundscapey or equally diverse hemmed careering energetically around the space.
away with the vocoder and replaced glimmers with crystalline sparkle. Like in by basic drum machine beats. This In fact it’s quite dense, a cavalcade of
it with the sexily accented Venezuelan last year’s Built In Anger by Confutatis minimal aesthetic pushes Time’s rhymes electronics falling onto a smooth groove
Argenis Brito adopting big band swagger (Bernhard Pucher), Mount Age is a and vocals firmly up front and lyrically if and those repetitive bangin’ beats. Yet
above sharp stabbing horns, marimbas departure of sorts for Ai yet a distinctive there were any other elements it would there’s also plenty of live instruments
and vibraphones, which is great because catalogue addition nevertheless. Ron be overwhelming. It’s almost like the incorporating flutes. Glockenspiel, and
now you can actually understand the Schepper music has parted to allow him space tablas. They cover Oublic Image Ltd’s
lyrics. Beneath the kitsch and the to move. And Time is a mile a minute; ‘The Suit’, providing perhaps one of the
humour however, Atom is hard at work, Symbolic Fantasm each verse seems to be an opportunity most hypnotically violent moments on
carefully constructing these amazing Find Me A Pen That Works to cram in as many words as possible. In Double Exposure and also team up with
tunes, crafting imaginary genres that (Independent) this sense there are some real links with Psyburbia and Koshowko. It’s a dense
sound like they’ve existed for years. Sydney-based hiphop outfit Symbolic Canadian crooner Josh Martinez, yet the hypnotic world, part experimental, part
He’s also handed off a bunch of short Fantasm apparently first started writing lo fi aesthetic is reminiscent with sped dub, all encompassing. Bob Baker Fish

Various Artists new breed of Mu artists that makes sure to delight heads enamoured with and Method Man’s ‘Release Yo’ Delf ’.
Clan Analogue In Version: Dub this budget priced double CD set really Solid Steel or DJ Rupture’s sweeping Above all, the focus here is upon
Selections shine. New signing Tom Burbank mix sessions. In fact, there’s so damn maintaining a room-shaking level of
(Clan Analogue / Creative Vibes) contributes ‘Gnats’ and in doing so much going on in this mix (at one bass-heavy groove – something that ‘Up
It’s been awhile since Clan Analogue marks himself out as a very promising point, virtually every classic sampled The Anti’ accomplishes with perhaps
turned their attentions to dub, since talent. Pinch has produced another hiphop callout seems to rear its head) more style and substance than any other
the release of the ‘Jaunt’ compilations standout track in ‘Punisher’, having I was hard-pressed to spot individual mix session of its type I’ve encountered
at the end of the nineties, in fact. This wowed the world with the Qawwali tracks, apart from suitably dub-heavy during the last year. Chris Downton
latest compilation release operates 12” earlier in the year.What is most dancehall reworkings of Missy Elliot
in a manner similar to Clan’s recent striking about this compilation is how
‘Doppler Shift’ electro collection; rather consistent and whole everything seems;
than claiming to present a ‘definitive’ Sacred Symbols of Mu really does
examination of dub, it casts its net form as good a manifesto for a label Silence and the absence of it:
MUTE
around the individual takes on the as you could possibly hope for. With
form being explored by the collective’s this release, Planet Mu really show the
members. While there’s a steady focus breadth and depth of their roster, and
throughout on the defining elements of can legitimately claim to (still) be one
dub – cavernous bass, heavy drums and of the leading lights of the electronic
echo-delay, the tracklisting overseen underground. Ali Burge Tim Coster which weave bend and exist under and
by executive producer Scott McPhee Landing around all manner of electronic and
(Nerve Agent / X-Ray Sound System) Various Artists (Half Theory) electric instruments. They are songs,
takes in diverse terrain. Dsico offers Up The Anti mixed by Mr. Trick & On Landing Tim Coster works with but the structures have been lovingly
one of this compilation’s few vocal Waxfactor ambient drones, with indiscernible distended and experimented upon,
moments as well as a previously-unseen (Needlework) fluttering sounds and gentle barely where the internal logic of the sounds
glimpse of his dub-selector skills with UK-based listeners and the internet perceptible fluctuating melodies, informs what happens next rather than
the woozily laconic ‘Over And Out Dub’, radio-savvy may have already come offering a simultaneous feeling of stasis any notion of form or expectation. And
while conversely, Koshowko set the across Mr. Trick and Waxfactor’s and progression. Apparently garnered this freedom makes for some really
controls for the crashing heart of the Rhythm Incursions radio show on from processed field recordings, interesting and agreeable compositional
echo-chamber on ‘Promise’, stretching London’s Resonance FM, which for processed instrumentation and decisions. And though initially it may
vocoders out over a treacherously- two years has seen the duo throwing electronics, it’s an exercise in patience seem to the contrary, it really has
shifting rhythmic backdrop that sits anything from glitch remixes of Usher and subtlety, in the delicate integration been carefully and quite subtly crafted
somewhere between broken IDM and to The Bug’s violent dancehell into of material almost under earshot. It’s all as it can not be possible to layer this
pulsating dub. It’s also worth moving their unpredictable live mixes. Billing quite low key, the warmth of the drones amount of disparate sounds and textures
swiftly for the limited extra CD, as it their show as ‘picking up where hiphop anchoring the pieces as multiple sound together even if you are some sort of
nicely caps off an already impressive stops’, this second in a series of mix sources converge and entwine together slacker Brian Wilsonesque slacker genius
compilation. Chris Downton CDs reflecting the content and style of to form one rich tapestry of sound. It’s –which no doubt these guys are. So
the show follows on the heels of recent really quite beautiful and subtle work alongside the odd moments of difficult
Various Artists guest mixes for both Ninja Tunes’ Solid with mannered and soothing tones that music concrete weirdness you have the
Sacred Symbols of Mu Steel and XFM. With the duo apparently still manage to retain an experimental whispering vocals over gentle acoustic
(Planet Mu/Inertia) reaching a point where they felt it was edge. Bob Baker Fish guitar. Yet before long their mischievous
Originally intended to mark the time to unleash their ‘definitive’ mix, nature takes hold again and you’re back
label’s 100th release, Sacred Symbols ‘Up The Anti’ represents the fruits of Greg Davis & Sebastien Roux in the realm of gentle furtive spurts of
of Mu has suffered a similar fate to an entire year of work by Mr. Trick & Paquet Surprise electrics. Bob Baker Fish
the much delayed Planet Mu DVD. Waxfactor and shows them throwing a (Carpark)
Now fully complete, mastered and headspinning 130 tracks into a one hour American Greg Davis and Frenchman Ferran Fages & Will Guthrie
pressed, this label overview compilation long party mix session (with absolutely Sebastien Roux have thrown everything Cinabri
demonstrates just what has changed no track information to tell you what’s but the kitchen sink in together and (Absurd/Antboy)
at Planet Mu in the three years since coming next). crafted a quite beautiful, occasionally Melbourne experimental percussionist
Children of Mu, and what hasn’t. There In this case, Mr. Trick & Waxfactor off kilter suite of glitch folk bastard Will Guthrie has increasingly moved
are of course tracks from label stalwarts have fashioned a heaving, multivaried electro acoustic pop oddities that if they beyond the kit, redefining the concept
like owner Mu-ziq, as well asVenetian mashup mix that rolls with the force could assume human form you’d want of percussion with all manner of objects
Snares, Luke Vibert, Shitmat, Leafcutter of an earthmover through alternating to hug them. Most prominent on their and junk, even a strange purpose built
John and Dykehouse. However it is the hiphop, dub and dancehall styles and is list of ingredients are acoustic guitars, percussion machine by local instrument

maker Rod Cooper. Guthrie’s motto that never quite recedes, imbuing much you’re missing out on some fantastical ‘Steam,’ yet the newly-added sounds (the
seems to be if you can hit it, scratch of the material with an intangibly dark visual theatre, too. Nobody could accuse gleam of Josh Lindstrom’s vibes and
it, rub it, or indeed make any external edge that prevents proceedings from it of being at all ‘poppy’, but Shortwave xylophone, for example, and the delicate
sound with it then its percussion. And drifting into ‘lava lamp’ ambience. Children is catchy in its own way; a glow of Jason Zumpano’s Rhodes piano)
it’s an incredibly freeing notion that ‘Radiant Blue’ meanwhile introduces well-crafted document of an intriguingly have brought the material up to the
has allowed Guthrie to truly extend sparse metallic-sounding percussive unconventional outfit. Jon Tjhia open air, rendering it less hermetic and
his already extended technique. He tones and dubbed-out echoes into an more expansive. With its gentle stream
uses contact mic’s to amplify these ebbing backdrop of ambient warmth Hurra Caine Landcrash of aquatic pitter-patter, ‘Chinook,’ for
sounds and on this collaboration with in a manner that beautifully contrasts Moving instance, unspools in characteristic
Ferran Fages, it’s difficult to determine delicate and harsh elements and also (No Ground r) Loscil manner but, the moment
where he begins and Fage’s acoustic betrays Hoefler’s classical training. A Hurra Caine Landcrash is an intriguing Lindstrom’s vibes appear, the piece is
turntable begins. It’s quite a dense strong second album from Hoefler, work from the always-interesting not only warmed but invigorated by his
textural metallic suite, filled with odd topped off with a typically meticulous experimental UK label No Ground humanizing presence; believe it or not,
bottom end thumps and thuds alongside mixing job by US ambient/space music R. The solo work of Dan Hopkins and there’s even a slightly funky feel to the
roaring droning pitches and fluttering figurehead Robert Rich. Chris Downton recorded between 2002 and 2004, it rhythm, maybe the first time the words
squeaks. Recorded in two sittings in seems to exist somewhere in the ‘Loscil’ and ‘funky’ have appeared in the
Paris and Barcelona and assembled later Hi God People netherworld between ambient music same sentence.
by Guthrie at his base in Nantes France, Shortwave Children and bedroom experimentation. It’s In general, though, the fourth full-
it’s a dense at times difficult and quite (Shame File) charm is that it never really explicitly length from Vancouver-based sound
performative take on music concrete Melbourne’s Hi God People are defines itself and you’re just left with artist Scott Morgan doesn’t depart
traditions. At times it feels like the something of an enigmatic quartet, its gentle low key warmth and a lack of radically from the established Loscil
duo have stumbled onto an old rusted having floated about the edges of the certainty of how, or even if the parts fit sound—it’s still serene (‘Halcyon’
decayed engine and are attempting to garden state’s psych, experimental and together. There are moments of inspired pushing it to its meditative extreme) and
fire it up as the machinery protests on indie scenes for a handful of years. Sure, idiosyncratic genre bending, such as there’s still a sense of carefully-calibrated
being wakened from its slumber, whilst the group’s members have been involved Seminar 4, which seems to want to be flow and development. As he did with
on others there is an almost obscene in other more journalised projects (such an ambient guitar scape, yet an insistent the material on First Narrows, Morgan
close mic’d feeling of skittery perversion. as Panel of Judges, Snawklor, Spill label), electronic almost house pulse forms and creates loose structures for Plume
Bob Baker Fish but as Hi God People, their music has disparate sounds begin to collide. It’s over which live players improvise but,
been hard to come by in great volume. quite simply constructed yet its desire unlike before, he largely refrains from
Chad Hoefler Luckily, then, for Shortwave Children to move between ill-defined genres editing the live passes. Consequently,
Quiet Glow – part 6 in Shame File’s Terra Australia results in a number of expectations the material flows more naturally
(Lotuspike Records) Incognita MP3 EP series. The disc, to form, and then be reassessed as and registers as a collection of live as
Ohio-based ambient producer Chad which features four tracks, was compiled they are consistently thwarted by opposed to constructed takes. Among
Hoefler’s debut album ‘Twilight In in typical HGP style – over two hours of strange new unexpected and unusual the guests, Krista Marshall drapes E-
The Offing’ was released last year on material (recorded at Melbourne’s 3CR elements. It’s quite inspired yet still bow guitar across the softly churning
Californian ambient label Hypnos to radio station, and live at the Rob Roy) emotionally affecting; and whilst ‘Rorschach’ while Stephan Wood does
significant critical acclaim, and this was edited down to a mere 22 minutes. Hopkins compositional decisions and the same in ‘Zephyr’ and ‘Charlie.’ The
follow-up on Pennsylvania-based What made the cut is a mixture of intent remain somewhat of a mystery, its latter is especially lovely, particularly
imprint Lotuspike seems certain to cavernous, echoing chimes, clanks and impact does not. Bob Baker Fish when Wood’s No Pussyfooting-styled
develop his reputation further. As scrapes; muffled communal utterances; Frippertronics bleed across Lindstrom’s
its title suggests, ‘Quiet Glow’ is skeletal guitar fragments and dark Loscil glimmering vibes patterns. Ron
thematically centred around light drones. The editing is seamless; perhaps Plume Schepper
moving over objects and through space, a task more easily managed in the (Kranky/Inertia)
and perhaps one of the biggest (and context of such disjunctive music, but The material on Loscil’s 2002 release DJ Olive
probably intentional) ironies is that it’s done well nonetheless. Submers seems to quite literally Sleep
one of the best albums to listen to in Mood-wise, the music rarely strays originate from the ocean’s depths, the (Room40)
near-complete darkness I’ve heard in from a curious darkness, but it’s not listener made to feel as if the recording’s It’s rare that you’ll come across music
some time. Opening track ‘Incipience to be confused with gloom. This is a blurred transmissions are being picked explicitly designed not to be listened
Electric’ counterbalances blissful ringing record you could spend a night in with up by sonar from some mysterious and to. Yet Sleep is much more about what
harmonic tones, insect-like buzzes and – if only it lasted longer! – and though long-undiscovered location. A similar it can do for you than how it sounds or
washing ambient pads with a veiled it’s ever-meandering, it moves on when submersive quality infuses 2004’s First the techniques Olive puts into practice.
sense of underlying menace generated it has to. The best thing about it is its Narrows and re-emerges on Plume too, Sleep is a sleeping pill, constructed in
through the use of yawning bass chords playfulness – you can’t help thinking specifically on tracks like ‘Motoc’ and the aftermath of September 11 and

given to his friends in New York on cdr earlier on in the piece, where one feels technique that makes The Universe an incredible feeling of serenity and
to help them sleep. Or perhaps more as though Pure is merely finding his is a Long Time so interesting and warmth. The easiest link would be
importantly to help them when they feet. Once he does, however, the results evocative, where you can move beyond some of the gentler moments of his
woke up and couldn’t get back to sleep are beautiful. For example, around the the approach and focus on the emotion recent Lisbon effort on the Kranky
Its genesis however goes back further 20 minute mark, a lone female singer resonating through his gentle tinkering. label, yet it’s also a very different
to the late nineties when the New York moonlights for a moment before being Bob Baker Fish creature. There doesn’t seem to be any
based Olive was Djing ambient sets at ushered offstage, leaving a rambling bed easily identifiable trajectory per se, yet
sleeping parties, where people would of gently humming snap/crackle/pop. Scott Sinclair & Clinton Green the piece does move, albeit under the
bring a bunch of food, sleeping bags Over this emerges a razor-esque sound With Doors Open radar. With washes of atmospheric
and just crash out listening to ambient which eventually cuts the piece down (Half Theory) tones wrapped around some repetitious
tunes all night. And it’s a very peaceful again. This harsh harmonic ambience An improvised guitar collaboration digital hicupping, it shouldn’t work, but
outing, an ethereal wash of ambient is as effective as similar moments heard between Brisbane based Scott Sinclair there’s a certain peaceful assuredness
atmospheres poking gently around. It’s in the work of Terre Thaemlitz, though and Melbourne’s Clinton Green that carries it through. Released to
not particularly musical, freed from more patiently administered. Track (Undecisive God), the recordings on coincide with his earlier April tour this
melodies, chord progressions or beats, two, from the Send + Receive Festival this CDR were crafted over a three- is a ridiculously limited release. Bob
and the sounds seem to be moving in Winnipeg, more plainly recalls Pure’s year period and utilise a number of Baker Fish
without developing per se, despite excellent 2003 release Noonbugs in its interesting approaches. These range
possessing the illusion that we’re getting crisper, smoother, white-noise-happy from the abrasive though strangely Various Artists
somewhere albeit slowly via a series of sound. This piece flows more serenely rhythmic and quite powerful Tamas, Incidental amplifications
suites. Only one track clocking in at 48 from idea to idea, with a much more which at 1.30 sounds like the arrival of (Room40)
minutes, it’s virtually impossible to listen subtle approach to tweaks. From its hazy impending doom, to the more textural In a welcome challenge to muzak,
to the whole track, even when you’re not beginnings, it draws back to a clean splinters, scuffing and jagged stabs of happy inoffensive classic hits, and
in bed. Doctors should be prescribing set of light bleeps, before rising again sound of Medi Hiss, that no longer seem music designed to make you purchase,
this disc to insomniacs. Sleep actually to a spacious sampled-voice crescendo. remotely related to guitar, melding the Brisbane based Room 40 offer sounds to
predates Buoy, another sleeping pill Then, beneath this, shifts build until difficult textures with a slight ambient occupy the spaces for shopping. In July
issued by Olive on Room40 a couple of the ambience is again replaced by rough atmosphere. These pieces have been and August 2005 Brisbane based sound
years back, and is actually more subtle, twists, eventually dying in a brilliant compiled and remixed from hours of artist Lawrence English curated a spatial
more stripped back and in a sense more digital hiss. For its consistency alone, it’s recordings and nowhere is this more sound installation in various malls
effective. Sleeping with sleep is incredible, the better of the two pieces. evident than the title track, which clocks and shopping centres across Brisbane.
its ability to lull you back into slumber The notion of a live recording of in at eight minutes, beginning subtly Putting a call out to experimental
via its warmth and patience once you completely computer generated/ before building with a searing power. musicians, this disc is a documentation
have woken is unparalleled. This is a very processed music may seem irrelevant, Often working together they sound like of some of the more interesting
special work. Bob Baker Fish but it does place the audience a single sound source, a searing ambient submissions that greeted shoppers.
immediately into the scope of the work. drone, where they dip and surge ahead Whilst some bigger names such as
Pure And with this live audience in mind, as one, their sounds interweaving, before Chris Watson and Terre Thaemlitz
Home Is Where My Harddisk Is Vol.2 it’s certainly an engaging, absorbing breaking away to give detail to the work. offer submissions, it’s the locals such
(Feld Records) experience. Jon Tjhia One moment they’d happily sit alongside as Camilla Hannan who provides some
Frankfurt-based experimental label Caspar Brotzman, the next Derek Bailey of her factory sounds from her lyrical
Feld is responsible for this record by Chris Raneir and later Thurston Moore or even the More Songs About Factories (Cajid)
techno-exile-turned-digital-sound-artist The Universe Is A Long Time drones of If Thousands, such is diversity release, Joe Musgrove (Botborg) who
Pure, featuring two live sets recorded (Independent) of terrain covered. Bob Baker Fish gets high pitched and Thembi Soddell
9 days – and an ocean – apart. The Australian based South African Chris who flirts with silence and doom ridden
first was put to tape (or, more likely, Raneir offers a gentle though quite a Keith Fullerton Whitman textural noise who provide some of
disk) in Brussels, while the second was varied range of textural guitar work on Track 4 (2 Way Superimposed) the more interesting efforts to fill the
captured in Winnipeg, and each differs The Universe is a Long Time. Incredibly (Room40) consumerist void. So whilst it doesn’t
widely from the other. The Brussels adept at establishing a mood, Ranier He’s recently left our shores but make you want to buy shoes Aaron
set (recorded at the Argos Festival, unlike many experimental guitarist/ US experimental artist Keith Ximm’s sales pitch will confuse with
October 2004) is 26:13 of digital squips, composers is willing to move beyond the Fullerton Whitman’s Track 4 (2 Way its multiple indecipherable vocals and
whirrs and hums, interspersed with drones, beyond the digital manipulation Superimposed) will have you begging M Roesner’s wonderfully crafted field
brief glimpses of its classical-choral and work with the resonances of notes, for his return. A single track clocking recordings would’ve no doubt wrenched
source material. For the most part it’s which occur regularly throughout this in at just over twenty one minutes, he shoppers from their feeding frenzy and
a good listen, though some of it hints album, in sparse two or three note operates predominantly in the bottom had them scratching their heads with
at aimless manipulation – particularly runs. It’s this refusal to pigeonhole his end of the frequency spectrum, offering confusion.Bob Baker Fish

online
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TUNNG AMANDA HANDEL & GL SEILER

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Cover designer: Traianos Pakioufakis

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Interview with James Hancock

HAND ON HIS ART

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Artists like the Dada reject Kurt Schwitters and

For more on James and samples of his work -

‘I’m constantly seeking new methods of

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THIS Toy Death

MATTEL COIL It’s a deluge of colour and craziness, a strange, evil,

'I’m the outer-space GiJoe. We’re trying

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Scissors for Sparrow

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OOPS I DID IT AGAIN

His cut-and-paste antecedents, say, the computers. He swears he is not a PC

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Bob Baker Fish explores the

YOUR TIME STARTS NOW

ALL INDIA RADIO

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Interview with Jimmy Edgar

SCENE NOT HERD

like to just keep my hands in other things.' Amen Andrews

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BROOKLYN BATTLE BOYS

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& MONK FLY

Cleptoclectics's' 'Profit Killer' is featured on the CD

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follow-up to 2003’s mergence of 16th Century

The album also featured a visual art project, where

Reviewed by Chloe Sasson and Tim Colman

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NOSREP when you reach in for the record.

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They only made 900 of these covers, and

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