Professional Documents
Culture Documents
HELLO EVERYTHING
We welcome your contributions and contact: 8 DEEPCHILD fossil fuel rich Qatar whilst laying out the issue. This issue also features interviews
with Sydney’s Deepchild and Astronomy Class, Melbourne’s Post and Winduptoys,
PO Box A2073 by Chris Downton
Hobart’s Matt Warren, Rebel MP from Lismore, and Shannon O’Neill guides us
Sydney South 11 WINDUPTOYS through his formative record experiences. On the international front we speak to
NSW 1235 Australia by Dan Rule Kid Koala, Nico Muhly and Rune Kristoffersen from Norwegian independent label
info@cyclicdefrost.com Rune Grammofon. We have had to cut a stack of album reviews from this issue and
www.cyclicdefrost.com 14 POST those that missed out can be found on online.
by Simon Hampson If you haven’t noticed, Cyclic Defrost has been running a small ‘music club’ a bit
like a book club for the past 18 months. The music club is another extension of the
16 ASTRONOMY CLASS magazine and aims to expose interested people to new music. To this end readers
by Bec Paton can subscribe to a 3 or 6 CD mail out and we will select music to send to you over
a short period. If you can make it to Sydney then we also have a an occasional live
18 LISMORE DUBSTEP performance and ‘meet the artist’ dinner. In the last year we have had live sets and
by Matthew Levinson discussions with Keith Fullerton Whitman, Deadbeat and Burnt Friedman, and
some serious ‘book club’ style discussions. If this sounds like your thing check it out
20 MATT WARREN at www.cyclicdefrost.com/club and get in touch.
by Scot Cotterell Since the last issue we welcome on board a new sub-editor, Chris Downton, as
well as host of new contributors. If you dig what you are reading and think you’d
21 RUNE GRAMMOFON like to contribute by writing for us then make contact.
by Oliver Laing Otherwise, enjoy the issue and consider making a donation (see page 47!)
EAST WESTERNER
Designer Bim Ricketson wears so many hats he could start a shop - film director, animator, exhibition
designer, packaging and graphic designer and – since being commissioned to create this issue’s cover
– Cyclic Defrost Art Director. Currently embedded in Qatar working on the Asian Games, he files this long-
distance report from the world of sparkly ‘I Heart Saudi’ stickers and artificial reefs made from toilets.
Bim’s subject matter for the cover, complete the set. I also got a bit freaked on a
commissioned before he became Cyclic’s Art lone highway where I was ‘tagging’ cars and a
Director, is one that seems particularly topical car full of locals stopped and cursed me. I don’t
for an Australian magazine – water. know what the punishment is for graffiti in this
“On the back is a series of photographs of country, and I’m glad I didn’t find out.
the backs of water trucks and the type is a “Getting all the shots has probably been the
handwritten Arabic translation of the English,” highlight of my time here – I head out with my
explains Ricketson. “The front is a collection of backpack, water and a paintbrush and wander
photos showing my ‘graffiti’ around Qatar, of around the streets taking photos and looking for
the magazine cover text, written in water on abandoned vehicles, coming across all sorts of
dusty objects. I am living and working in Qatar interesting stuff I would not have otherwise seen.
at the moment, where it’s extremely hot and To me the cover is a true reflection of design
dusty, water is a major concern and there is an and culture here – it’s design done by non-
abundance of fuel guzzling vehicles. I wanted designers, with a loose set of rules, and whatever
to incorporate all of this into a concept related comes out is acceptable. This is not one of the
to the title of the mag, and stay away from the countries in the region which holds onto its
design tools I usually work in. These water past with great vigour, and is in a state of rapid
trucks are the main source of drinking water for development. Some of it is just as ‘wobbly’ as the
the country and you can’t go anywhere without painting on the trucks.”
seeing them. The concept has taken several left turns
“I’m also a graffiti tragic, and I don’t have the during its development, however.
balls to do it myself, especially here, but the “The idea for the cover has been a long time
back cover shows a non-permanent version, so germinating and taken all sorts of directions.
I get the thrill and the photo without the risk,” I’m really into randomness in design, in the
he continues. “My intention was to spell out all Dada style of ‘cut a bunch of words out of the
the type of the cover on dusty windshields of newspaper, put them different pockets of your
abandoned vehicles (there are lots), but after clothes, then pull them out at random and
a few weeks I ran out of time and couldn’t you’ve got a poem’ type thing. I like accidents
and being able to see the working behind the art. A lot Conceptually it has also started to become loaded with a graphic designer. In Sydney I worked as a toy and
of what I work on in design has to be very precise and new meaning; as I mentioned, water is something at packaging designer, then as an exhibition designer for
accurate, so breaking out of this is a great relief and the front of your mind all the time in a place like this. two years until I went freelance last year.
something I seek more and more now. I’m also very It’s one of the hottest, driest countries in the world, you “Freelance is great because you have the freedom to
interested in film, so I wanted to make a cover that can easily suffer heat exhaustion after just a short time take up the interesting opportunities that arise, like
involved film in some way. I was hoping that I could outside without water and everything is covered in a fine animation, this gig in Qatar, or using the downtime
have the cover as stills from a film that you could then layer of dust. And on the one or two occasions in a year for personal projects. I’ve also taken over the directing
jump on to the Cyclic site and watch in its entirety.” that it does rain, every roof leaks (no gutters) and every mantle of the Reelife Short Film Festival for young
“The other major angle I had wanted to incorporate, road floods (no drainage). It’s madness, the country is Australian film makers with something to say about the
and this is fairly obvious given the title of this dear built for sun, not rain, and certainly not ice. issues that affect them. Promoting our local young talent
mag, is ice. My girlfriend has drawn a lot of inspiration “The ice idea became water when I found I couldn’t is a huge thrill. Especially when our grand prize winner
from Andy Goldsworthy in her set design lately and get the ice out the door for more than a minute before this year was a 15 year-old from Canberra!”
I’ve become fascinated by his work. He’s an English it melted. And the canvas became anything interesting The variety in Ricketson’s work comes from being
environmental artist who makes sculptures/installations that was covered in dust, which is anything that’s been open to opportunity, he says, but this can also have
in nature from leaves, stones, twigs or ice etc. He outside for a few hours. its down side. “It’s a blessing and a curse – being able
often has photographs of the degeneration of his work, “So there you have it – a series of photographs of water to turn your hand at lots of different things means
showing nature ‘reclaiming’ his creations. From these trucks and the letters of the magazine written in dust all you’re available for lots of work. Not being dedicated
three ideas my concept was to go down to my Dad’s the way from Doha, Qatar.” to one area probably means clients can’t pin you down
farm, create the letters that make up the title of the Ricketson’s work across several disciplines had its in their mind as being the guy to go to for a particular
magazine and film their melting. I would do something genesis in his early training. task. I find working on 3D spaces more interesting
interesting with time lapse and use stills from the film “I graduated from industrial design in 1999. I started than straight graphic design because you’ve got the
for the cover.” the course as a sneaky way to move across to graphic added element of space. You might also be able consider
“I moved to Qatar for work before I could execute design. But I loved industrial design and stayed on. You lighting, sound and movement. Write and direct a
this, and it’s developed further. In a practical sense, get a pretty good grounding in all sorts of design areas, film and you get all of those things, plus actors, a story,
not having a video camera with me means it will be so I’m glad I did stick with it. I moved to Perth just after editing and most importantly, a strong emotional
a series of photos rather than a film. And with the graduating; having a wider range of skills was helpful response. So film is where it’s at for me. It’s like design
limited resources I have at my disposal I’m finding in a small city. My first design job there was as a junior cubed. And I’m just a beginner, so I look forward to
it quite difficult to create the ice ‘letters’ that I want. interior designer, and most of my other work was as everything there is to learn about film making.
Deepchild
Interview with Rick Bull
by Chris Downton
DANCEFLOOR DEEPNESS
Sydney-based (at least for now) producer Rick Bull (aka Deepchild) is someone likely to need little
introduction to Australian Cyclic readers, having maintained a distinctive and steady presence amongst
this country’s downbeat / dub and dance scenes over the last six years.
Since the release of Bull’s debut Deepchild Europe amongst peers such as Luomo and Akufen dance big names M.A.N.D.Y. and Booka Shade)
album Hymns From Babylon back in 2000, dis- being particularly apparent. With a new album on certainly represents a more club-based focus than
tinct trends of development and change have a new label, in this case the Sydney-based Future he’s perhaps enjoyed previously in Australia. His
been evident in his music, which has progressive- Classic and potential relocation to Europe on the response is one that’s particularly revealing of his
ly shifted from the digi-dub atmospheres of his cards in the not-too distant future, it seemed like own perception of his current position within the
early Clan Analogue-affiliated releases towards a perfect time to talk to Rick about all the change Australian electronic / dance scene.
a more dancefloor-oriented incarnation increas- he’s experienced recently. “The whole Get Physical connection is a really
ingly incorporating guest vocals and a distinct One thing I’m particularly keen to ask him good example of the club divide between here
move upwards in BPM. about is the particular appeal that draws him and Europe. I mean, acts like Booka Shade are
While the incorporation of pronounced house towards Europe and whether he really is planning still on the fringes of popular dance culture here,
and soul influences evident in 2003’s third to relocate there permanently. “At the moment, I’m yet are clearly the hipsters of the electro-dance
Deepchild album What’s Going Wrong received a in Berlin every year over (their) summer, but long- scene across Europe at the moment. Here, I often
mixed response from some quarters at the time term I do indeed intend on settling down there, feel like I’m a niche act that lies on a somewhat
of its release, it was perhaps most importantly at least for a year or two,” he replies, adding that; ‘risky’ faultline for promoters. I’m interested in
a record that showed Bull following his internal “I’m spending a lot of time particularly in Berlin. risking failure as well as success in a performance
creative compass, rather than paying attention I like the fact that it’s a culture constantly in a sense. I found playing in Europe, there’s more
to what fans and critics expected of him. In state of flux – the best and the worst of change. It of a sense that risks are what make things more
many ways however, viewed from a retrospective doesn’t pretend to be a place that it’s not, because exciting…even going somewhere like Weekend
vantage point, What’s Going Wrong feels perhaps the scars of history and barbs of capitalism club in Berlin and hearing Jurgen from Jazzanova
now like a transition point that had to broken still stick out from street corners…it’s an go from hiphop to house to techno in three tracks
through before he could undergo the further intellectually rich place that also has the dubious was wonderful – you got the sense that he was
considerable stylistic shifts characteristic of his honours of being one of history’s most derided doing this because his selections were important
latest fourth album, the recently released Lifetime political failures. Paradoxically, it’s Germany’s to him, not because he was trying to adhere to
– arguably his strongest effort yet. It’s also awareness of ‘failure’ that is its greatest strength.” secondary restrictions of tempo or style.”
conversely an album that couldn’t have happened I’m also keen to hear about Rick’s experiences While I don’t doubt that Europe is certainly
in the absence of the significant changes both in terms of touring and performing in Europe, able to sustain many more divergent musical
creative and personal that have recently taken and suggest that his current link up with Get scenes simply perhaps through sheer population
place in Bull’s life – the influence of time spent in Physical / Playkula (the agency behind current density, I wonder to a certain extent whether this
acceptance is at least partly due to the increased ‘club more critical attitude towards art itself. This makes for
friendliness’ of more recent Deepchild material. ‘Yes, I’d more considered work, and a general attitude that’s more
say that I’ve met things at somewhat of a halfway point,” interested in ‘good electronic art’ as opposed to celebrity
Rick responds. “My production tastes and realms of status. Of course, this is also a real generalisation,” he
exploration continue to change subtly – for several years adds. “In Australia, there’s still the sense that artists
now I’ve been intently focused on moving music from need to adhere to some romanticised vocational vision
an ‘internal / cerebral’ experience to a shared / popular – preferably poor or possessing some kind of addiction. We
one. I’ve really found that focusing on internal space is like to keep our ‘talent’ under control here, for the purpose
counterproductive to living a life that’s helpful to others of some sort of ‘safe’ vicarious experience. In Europe, I
– or making non-shit music! Despite what others might say, didn’t find (people had) so much time for this type of
you can’t ‘dance on the inside’ to music. You just can’t. One attitude. Art less as a luxury and more as a part of life.”
of the joys of exercise / dancing / sex is that it intentionally Several times when I’ve chatted to Rick informally at
subverts your rationalisation of the experience. In our live shows and interviewed him, he’s been more than
culture, that’s a pretty neglected part of culture.” forthcoming about his love of hiphop, particularly West
Rick goes on to argue that; “I’ve found in Australia, a Coast g-funk and crunk, and I’m curious to find out
didactic and ridiculous polarity exists between notions of whether the US holds any of the same appeal for him as
‘underground’ and ‘overground’ or old / new school – these Europe, in terms of creative opportunities. I also point
are false histories. Non-concepts. I’m drawn to places like out that while he’s certainly worked with a diverse range
Berlin because I feel a little more room and support to of vocalists, he hasn’t tackled a track with an MC yet. “I’ve
mess around with musical forms, and because there exists actually just finished a rework of a track featuring The
an undercurrent of ‘club culture’ that is interested in club Real Fake MC – best known for his work with Stereotyp,”
experience as an evolving story. In Australia, I find that it’s he replies. “I like the elasticity of vocals in a hiphop
often more a case of ‘what’s hip?’ than ‘what’s good, what’s context and I’m fascinated, in particular by a lot of West
challenging. More minimal music is also a little alien to Coast hiphop. As theatre, as social commentary, as a
our climate, whereas in Europe it’s an extension of the form that is so immediate and danceable. A lot of the
urban experience,” he concedes. new stuff on Raw Fusion like Up Hygh and The Boom
On that particular note, I’m curious to find out whether Lucy is stunning – raw, bold, exciting. For some time now,
Rick has experienced any overarching differences in I’ve really felt like the production advances in electronic
regards to social attitudes towards creative output and music have been springing from hiphop – producers like
artistic exploration whilst working in both Europe and Madlib, J. Dilla, Dangermouse. The fact that so much of
Australia. “I’ve felt that there’s a lot less hype about being this music sits so firmly in the popular music domain is
an artist of any kind. It’s a more acceptable vocation in really exciting for me. To be honest, I’m a little intimidated
general, which makes for an environment that’s a lot by the idea of working in the US, though I’ve been invited
more ‘straight up’ about artistic critique and progress. I there for some shows early next year. I admit to having
feel a sense that my art grows in Europe, because there a whole heap of preconceptions about the place and its
is a little less focus placed on the cult of celebrity, and a people, which I’d love to have challenged.”
Winduptoys
Interview with Robert Boehm and Jeremy Smith
by Dan Rule
vocals and instrumentation, and wildly skewed beats. ocean slowed right down – like slowed right down so lot of the time we don’t know what the other is doing.
Indeed, the album traverses signatures as diverse it’s really bassy, like the sound of a truck idling – and We’ll just look at each other, like, ‘Who made that
as nineties IDM, menacing electro dub and lilting with our hard disk recorders you’ve got these joggle noise?’ So there’s that mystery as well, which is fun.”
Eastern flavours. things, like video editing machines, and so just by It’s little surprise that Smith and Boehm became so
“I’ve always really been into collecting sounds,” says changing that you actually get a bassline.” fascinated by experimental music and sound. They
Boehm. “Just with our album, there’s six CDs worth of Outright mistakes, too, are a huge part of the duo’s both have extensive and diverse musical histories.
outtakes of just sounds, which we can probably go back creative process. Says Boehm: “You’re constantly Boehm spent much of the late 70s playing surf
to and just pull out at a later time. A lot of our beats looking for the artefacts and the mistakes, because instrumentals and covers in garage bands before
come from the sound of a door slamming or something when you get that stuff it’s like getting a new piece of discovering local independent radio broadcasters Triple
like that, and we’ll use the groove boxes – which are equipment. It’s like, ‘Nobody else is going to get that R and PBS, where he eventually met Smith. Suffice to
traditionally used for the beats – to trigger rubbery sound because it was a really stupid way how we got it’.” say, his first experience of community radio was an
effects sounds or something like that.” Adds Smith, “If we have a rehearsal, which we incredible learning experience. “It just changed my
Indeed, it’s these unconventional and often barely ever have, it usually ends up being a recording. world completely,” he gushes. “Hearing all this different
unintentional sound sources that make Winduptoys’ And we record absolutely everything. Like, there’ve music was just mind-blowing.”
recorded material so interesting. “Like, we might use been a couple of times when I’ve been fiddling inside Diving headlong into sixties psychedelia and post-
the sound of frying chips or something like that as our something, like a delay unit – trying to fix it or punk – he later played in bands such as Too Much Air
synth sound. One of our basslines is the sound of the something – and Bo’s been recording it. Even live, a For The BBC and Clowns Smiling Backwards – Boehm
also began acquainting himself with so much – it was just before I’d heard Clowns, who was living in London at make things a hell of a lot easier for
early electronic music. “Some of the Kraftwerk’s Autobahn – and it was one the time,” he recalls. “So I spent the themselves? Well, perhaps that’s not the
earliest electronic stuff I was listening of the first electronic things I’d heard. early part of the eighties hanging out point. According to Boehm, the kind of
to – because I’m from Germany It’s still in my top half-a-dozen albums with him, and he worked in a studio, precision afforded by such technologies
originally – was some early seventies of all time.” so we’d sneak in after hours and record isn’t what they’re trying to achieve.
German stuff,” he says. Smith, who grew up in the London, all night. A couple of albums came out “It sort of ties in with the spontaneity
But as you might have already spent his twenties travelling between of those sessions, actually. They really involved. We kind of like the idea
come to expect, his pathway into the UK and Australia, learning the taught me a lot.” that some of our backing loops aren’t
electronic music didn’t lay itself out via ropes as a producer and live mixer, The idea of mixing and producing necessarily perfect loops,” he states. “It’s
conventional means. “It was totally by between bass playing stints in sound proved enthralling for a young a bit like Tricky actually, you know
fluke because my brother, when he was The Killjoys amongst other bands Boehm as well. “When I got into college how he has slightly wonky loops and
young and reckless, broke into a school (and more recently in The Fergs in ’77 and was seeing bands every skips? You know, it’s like ‘Hang on,
and stole these three German records,” and Tugboat). Yet, it was always lunchtime, I’d see the person up the something’s not quite right’.”
he laughs. “One was Time Wind by behind the mixing desk that back at the mixing desk and be like, “We use really basic equipment, you
Klaus Schultz, one was Neu!’s second he felt most comfortable. ‘What’s that? It’s got lots of knobs!’ Then know, because it’s more about collecting
album, and the other was a Tangerine “I started learning about recording eventually I figured out what he was really interesting sounds. If you start
Dream single. I loved the Neu! album with Leslie Miller from the Laughing actually doing and why he was doing off with interesting source material
it, and I knew it was the sort of thing then you don’t have to do too much to
that I’d be into. You didn’t necessarily it… And there’s a lot of chaos in older
have to understand how the equipment technologies; I think things are getting
ticked, but it was just like an extension a bit too precise and human beings
of your hi-fi at home.” aren’t precise.”
It’s this sensibility – this push and Smith agrees. “If you’re doing a mix
pull between understanding and and you’ve got a desk with knobs, one
mystery – that informs Winduptoys thing I like is that you can go on a
so much. “Between the two of us it’s a different tangent. You can change a
good balance,” says Boehm. “For me setting and then you can never quite get
it’s a balance of liking the mystery of it back to where it was, because it’s not
how things work – I’ve always sort like a computer set-up where you can
of liked the science fiction side of save that mix and save this mix. You
things – but not knowing everything have to do it on the spot.”
about it. Whereas Jeremy’s a bit And the idea that they might be
more about getting in the guts and getting left in the past really doesn’t
fixing things, you know. Electronic bother them. “It was funny,” chuckles
music is a whole new language all Smith. “I bought myself a synthesiser
the time; things are being superseded the other day and I was really proud
all the time. So there’s always that of myself, and our friend Nick was like,
battle of knowing the equipment ‘Oh Jeremy, you’re finally stepping into
that you use, and not knowing.” the eighties now, two decades too late’.”
But surely, if Winduptoys were
to utilise contemporary software Double Exposure is out through Clan
and computers, they’d be able to Analogue
Post
Interview with James Wilkinson
by Simon Hampson
GONE POSTAL
For James Wilkinson his new
project Post marks a distinct
break with the past. “I was happy
for many years playing the
trombone and collaborating
with my friends, but once the “I was happy for many years playing the that infuses Post, the long journey that Wilkinson
social scene moves on and your trombone and collaborating with my friends, but started three years ago. “I spent many months
friends find something else to once the social scene moves on and your friends learning how to use my computer as nobody says
do with their evenings it’s very find something else to do with their evenings it’s ‘you need to know how to use a computer to write
hard not to ask yourself, ‘What very hard not to ask yourself, ‘What am I doing?’”, music on it’ when you’re handing over your cash!
am I doing?’”, he explains. “I he explains. “I had always collaborated and Then I wrote a few tracks for fun and therapy
had always collaborated and thought now it was time to try and compose my before deciding to make an album. This all took
thought now it was time to try own music, on my own.” about a year. I then wrote more and asked my
and compose my own music, on Wilkinson has been a regular feature of different friends to be involved. I think of it really
my own.” Melbourne’s music scene since the early to mid as a grand bedroom project that has much more
nineties. He first came to my attention through light and shade added by other people’s input. It
the live dub stylings of High Pass Filter, but I was a process that depended on the track, and
quickly found him popping up in a variety of asking people to play and then going from there,
places - from his musical partnership with Peter depending on their ideas and enthusiasm. Some
Humble in Snuff Puppets, an outfit where he tracks are now completely different from the
continues to combine live theatre and music, the original idea because of somebody else’s creative
band Bucketrider, where he pushes the envelope, input.”
giving audiences a run for their money, through Kate Neal contributed the string arrangements
to his many improvisational settings outside and arranged musicians to play them. Other
those groups. Wilkinson’s musical output is as friends on the record include Anthony Pateras,
varied as it is frequent. Robin Fox and Steve Law. Their contributions
Post marks a new start. “It has several create a heady sonic brew.
meanings, firstly as a reference to being post- a “Once the live instruments were recorded the
particular period of music making, then as a sessions were now too big for my computer to
way of describing the music as a creation which handle,” says Wilkinson, “so I had to hire a larger
comes in the wake of its many influences, and rig to edit and start mixing the tracks. From that
finally, the fact that my wife just started working stage on I wasn’t able to work in such an ad hoc
at the post office this year,” Wilkinson explains. bedroom fashion as I really needed to get the
It is this straightforward, no-nonsense attitude job done, and it cost money. Francois Tetaz was
generous enough to let me finish the tracks at Caetano Veloso or Os Mutantes it’s all there; the
Moose Mastering in the studio’s down time. He past, the future, their cultural musical history
has these huge Duntec Sovereigns (speakers) that amalgamated into a new form of music that
are very dynamic and transparent, so mixing is distinctively their own. The music’s political,
in his room changed the sound of the record radical, virtuosic. It has humour and sadness. It
considerably.” has got it all as far as I’m concerned.”
There is a real drive to the first, self-titled Post These influences and contributions weave
record (out through Sydney label Preservation). a complex sonic tapestry. Wilkinson explains;
It contains a certain electronic playfulness, “I approached things from a compositional
reminiscent of German group Mouse On Mars, perspective. The starting point was to try and
but crosses it with the live instrumentation of a write music coming from the pop music form
rock band. of verse, chorus, verse etc. as I’d never done
Wilkinson continues, “I used to listen to a that before. Then to blend that form with other
lot of jazz, European improv., metal, American influences like improvisation.” November in Sydney and Melbourne,” Wilkinson
folk and electronic music. Mouse On Mars are a “I wanted to create an instrumental record that replies.
big influence, as they are able to weave so many didn’t appear to have a distinct cultural flavour. Considering the wide variety of his output
layers of melody and rhythm in to their tracks I know that sounds like arty crap, but I wanted I wonder whether Wilkinson sees Post as
that always defies the dance music convention of a record of diverse sounds without lyrics, no an ongoing project. “I’m going to do it again,
bass, beat, melody and the frustrating formality dominant language. That way listeners can create although more along the lines of beats and
of composing music within your computer. I their own sense of the world and where this strings. I’ve got lots of ideas, but there’s a lot of
reckon they’re the best at it really, although music came from. The tunes themselves were different things that take up my time and occupy
the latest influence for the last six years, and intended to be three and a half minutes long, the different parts of my brain, so it’s hard to
probably my greatest has really been Brazilian and a lot of them were trying to imitate popular focus on just the Post project.”
music in all its forms. MPB, hiphop, funk, samba, styles like dub and rnb, but I got sidetracked It is this constant need for movement and
foro - I love it all.” along the way!” freshness that makes Post so magnetic.
“MPB in its early years had this great crossing So how will Post translate live? “I would love to
over between folk traditions and popular music tour, but I am in the process of making the music
and I wanted to do something of the same with “tour-able” and also busy with other projects.
this record. If you listen to Jorge Ben, Tom Ze, The idea is to have a launch round the end of Post is out now through Preservation.
Astronomy Class
by Bec Paton
TELESCOPIC VISION
Astronomy Class is the result of friends sharing their dreams, their
experiences brushing up against and bouncing off each other and
music as a way of life. Sounds heard, collected and whisked to a jam
session interact and make something incredibly human.
Astronomy Class is the result of friends sharing Task Force, Jehst, Roots Manuva, etc., plus the
their dreams, their experiences brushing up odd US hip hop release. We all love still Wu Tang
against and bouncing off each other and music as Clan and its many spin-offs very much, and
a way of life. Sounds heard, collected and whisked some dancehall and contemporary reggae (not
to a jam session interact and make something all reggae coming from JA is ‘dancehall’—that’s
incredibly human. The debut album, Exit a common misconception). People like Bounty
Strategy, is the result of three talented musicians Killer, Beenie Man, Tanya Stephens, Anthony B,
and mates coming together and making the Sizzla, Ward 21, Vybez Kartel as MCs, (or ‘DJs’ as
reggae-laden hip hop that they love. they’re confusingly called in JA), then producers
The three lads who make up Astronomy Class like Dave Kelly, Sly and Robbie who are still
are a stellar swathe of Aussie musicians. Chasm the dons of riddim after all these years. From
and Frigid’s Sir Robbo have both released their there, our personal tastes just go everywhere, but
fair share of tubby hip hop. Sir Robbo is also a they would be the kinds of sounds that inspire
member of the prog, downtempo and Krautrock Astronomy Class as a whole.”
band Tooth, (whose album, Mudlarking, he was It was a mutual love of hip hop, dub, funk
working on at the same time as writing for Exit and reggae that brought the three together—
Strategy). Add to this Ozi Batla, one of Australia’s independent of past projects and groups. The
premier verbal mechanics as well as a member album began to form from hanging out, making
of The Herd, and you can see the potential of the music and the thrill of sharing an appreciation
alliance. of dope tunes. As Ozi explains, “Sir Robbo and I
Elefant Traks’ newest release is smattered with had a psychic, astral moment at the same time, on
samples that hark back to sixties/seventies roots the same night. We both dreamed of an ark, like
reggae and Motown amongst other things. As Noah’s one, escaping through an inky blue sky
Sir Robbo explains, “Obviously we all dig old from a dead or dying red planet. In the foreground,
soul, funk, reggae, ska and dub music—that’s a we saw a baby spinning off into space, attached
thread common to all of us. I guess contemporary to the ark by an umbilical cord! We turned up at
things that inspire us would be some UK hip hop the studio for a session, and were finishing each
artists, Rodney P, Lotek—obviously! Skinnyman, other’s sentences as we described the dream!”
This gave way to the quirky album art designed the album more diverse and breathe life into it, as each people smile while they’re driving up the coast with the
by KTC, which is somewhat like Tintin on a moon guest brought their own twists. One experience stands windows down, and heaps of people make sweet, sweet
adventure. The dream also helped to lock in the band out to Ozi in particular, “I don’t think he would find it love to it. Apart from that, we think the reggae flavour
name, which had been kicked around for a while and funny, but due to my chronic lateness, Ben Ezra had to and overall package could do well OS, particularly in the
finally stuck. The space theme doesn’t stop there, with hang around at Marrickville Metro before his session. UK and NZ, so we’ll send a few out there and see what
Ozi traversing polar coordinate tangents, daydreams, This put him in a very bad mood that finally translated happens. We’ll be touring the album through November
astro adventures and a slightly stream-of-conscious into the hottest verse on the album. Sorry man, but it and ideally it will get banged on radio until you are sick
approach to the lyrics. sounds sick!” of it. Some major label will [then] offer us a $1 million
“There’s a strong sci-fi, comic book thread running Even though Astronomy Class started out chilling publishing deal and the mothership will arrive to take
through a lot of the lyrics, and it’s all jam packed with in the lounge room, Exit Strategy is set to be one of us to the planet made of buds!”
references to late eighties/early nineties hip hop, so the soundtracks this summer, already on high rotation
there’s a bit of fun for the trainspotters. I’ve tried to load on Triple J, FBI and 2SER. It’s a no-brainer as far as
every phrase as much as possible, to layer meanings Ozi is concerned. “Well, obviously (I hope) it makes Exit Strategy is out now on Elefant Traks.
and references and similes to the point of saturation—
so it’s really impossible to take it all in during one listen,
and hopefully each repeated listen will reveal another
angle. There’s some of my usual pinko politics, but
I’ve tried to avoid theming whole songs, (apart from
Fight Club and perhaps Brink of War pt. III), around
a political issue. Lyrics include my thoughts on the
music industry, the planet, the universe, parenthood,
adolescence, rude people from Bondi, bouncers, hip hop,
industrial relations, you name it!”
The studio sessions for these guys are like a swap
meet, with ideas jammed, collaged and filtered between
group members. The set up is fairly minimal, with
an Akai MPC 1000, turntables, Pro Tools and in true
astronaut style, a Space Echo delay unit. The deep, thick
dubbiness is explained by the way they master their
music, as Chasm explains. “We take our sessions down
to Tardis Studio in Marrickville and mix the tracks with
Mike Burnham down there. He has an old seventies
analogue Neve desk and some quality analogue
outboard gear, which we run our beats through. It
makes such a difference to take the production away
from digital and hit it with some analogue fatness!”
Extra breadth was added to the album by the
impressive range of guests including Lotek (Big Dada),
Hau (Koolism), Urthboy and Jane Tyrrell (The Herd),
BVA (Mnemonic Ascent), Ben Ezra (ESL), Gina Mitchell
(FBI’s Basslines) and DJ Skoob. Due to short attention
spans, the cameos were included by the trio to make
Dubstep is one of the murkier sub-genres DJs, playing to packed houses in Sydney and pure trial and error,” he says.
in a world of obscure music. The sound’s Brisbane, it’s the next step from breaks, house Macpherson moved to Mullumbimby in the
difficult to find records were slow to take hold and drum’n’bass, or even hip hop. It’s just good middle of 1999 after he and his partner (and
in Australia, but in the past year the bottom dance music. Although in many cases their their new child) were offered a free house site.
end sound has shifted into gear. First and practical aesthetic is quite removed from the They moved north and built on the site, before
foremost, dubstep is an instrumental music. It roots of the sound, original music has started being told the property was on the market – “It
is thick pulsating rhythms and repetitive rifle- to emerge from the local scene; club music seemed too good to be true, and it was” – they
shot sharp snares that weigh down the air with with ups and downs, and it’s shifting away ripped down the house and moved to Lismore,
overbearing pressure, while Jamaican, Chinese from the original coterie of UK beat makers. where Macpherson set his mind to mastering a
and Middle Eastern samples offer texture, but Julian Macpherson, 26, works at Music CD of ripped applications.
little respite. Each snippet of sound is cut away Bizarre, the only record shop in Lismore “By its nature, Lismore is a grimy town – it
from its source, stripped of meaning, layered stocking dance music. He’s worked at the floods annually - I started making new styles
with sparse riddims and tonal calls to arm such shop since arriving in the Byron area from influenced by my surrounds here,” he says. “The
as a siren’s industrial wail or a woman’s howl Melbourne seven years ago. However, it sound seems to resonate with the vibe of the area,
of pain. Like the development of dub itself, was the booming soundtrack of jungle and making it a good base to produce from. There is
dubstep strips prior forms back to their basics, drum’n’bass at huge dockside parties like a good electronic music scene here, with lots of
empowering the producer to stress alternate Global Village and Every Picture Tells a Story underground warehouse and bush parties.”
elements in the studio mix. that set him on the road to a life involved in
Like techno, dubstep makes most sense music. Macpherson had always tinkered with
in the long form of a DJ set rather than the computers. In late high school he worked on
sketched minimalism of individual tracks. developing a radio modem and, in 1999, he
The pressure never lets up. At least that’s completed a TAFE diploma in electronics and
the way it felt from the start, but the mood computer systems. Before leaving Melbourne
has begun to change. Martin Clark wrote in he hung out with Roland 808 and 909 disciples
Pitchfork recently that the sound is dying – to Live Funk Organism, taking advantage of their
funky house, no less – but at pretty much the studio at every opportunity.
same time dubstep has begun to take hold “I made little tunes every time they walked
on Australian dance floors. To many of these out of the room and learned the gear through
BROKEN TINY
generally informed by a theme or concept,
depending on the piece at hand, but I
love playing with deep sub-bass, ambient
drones and sampled voices.”
Influential artists to Matt’s sound
practice are Brian Eno, Mick Harris (Lull),
I had been aware of Matt Warren’s quiet but prolific presence amongst Hobart’s small but Jean-Yves Theriault (Faux Pas/Holy Body
active alternative music/art scene for a few years now. Matt makes music in a number of Tattoo/Voivod), Mark Spybey (Dead
different projects that range from Krautrock through to dark drum and bass and creates Voices on Air) and Justin Broadrick
sound, video and installation work with a distinctive personal style. (Final/Techno Animal/Godflesh). Broken
Tiny is Matt’s solo electronic music project
My conversation with Matt begins with their own sense of reality. It’s not really trio Bodies Drawn Backwards. After this informed by psychedelia, drones, electro-
some background on his cross-discipline a political motivation, but I do feel that came solo project TIMEOFFICE, initially a acoustics and beats. “I started in 1998 with
art practice. “Around year 12 growing up too many people are ready and willing to metal-tinged industrial music project with an ancient two track reel-to-reel machine.
in Burnie, I began to take art-making accept ‘this is good’, ‘this is bad’, ‘this is Matt on guitar and backing tape, which I would use a cheap mic inside an acoustic
pretty seriously, painting and taking right’, ‘this is wrong’ type attitudes.” became a trio with fellow artist Felix guitar, overdrive it and record at high
photographs in a cheap surrealist knock- “Very often, these kinds of absolutes Ratcliff on guitar and keyboards, Matt’s speed so it would play back as a deep
off kind of way. I got to see Dali’s Un Chien lead to fundamentally blinkered attitudes brother Nick on bass and Matt overseeing drone. Over time, it has become more beat
Andalou and realised that the moving that can lead to conflicts, small or large. drums, programming and vocals. driven and electro influenced. I love deep
image need not be strictly narrative and On the other hand there are a lot of TIMEOFFICE later went on to become a sub sound, though I’m not real keen on
could be closer to painting, perhaps even superficial, wishy washy attitudes, very duo format with Felix Ratcliff and became techno or doof, there’s not enough space.
more abstract. I made my first short cursory ‘pop video’ ways of living which predominantly a studio project. When rhythm comes into play, I like to
videos on a VHS camera, editing on two can lead to a life where again, nothing is “Both Bodies and TIMEOFFICE existed have abstract/minimal beats with a touch
domestic VCRs. I’m an ex-painter that questioned or wondered about, deeper pretty separately from my visual/media of dubby delay, influenced by Mick Harris’s
likes to paint with light and sound now. subjects don’t even come up. Trying to arts practice. More closely related, I’ve Scorn and Quoit projects.”
I’m also a musician in a more traditional/ be non-didactic about what I do, I hope made sound work for headphones and Matt first performed Broken Tiny works
pop sense, in that I’ve played in bands as a is a way of achieving this environment CDs under my own name, performed at the Moonah Arts Centre in 2003 and
drummer, guitarist and vocalist.” in my work. Maybe conjuring up more live soundscape work alongside Sydney- recently for the closing party of CESTA in
In 1991, Matt undertook a BFA at questions than presenting answers is what based video artist Sean Bacon as Caffeine Czech Republic.
the University of Tasmania, followed I like to do with my work, because I’d Broadcast, as well as one-off When quizzed about the very recent
by a Graduate Diploma of Art Craft and rather the audience be moved emotionally self-published recording projects Zero past and the future, Matt responds; “I
Design. He muses that, “The big change and wonder why they are moved, than Point Zero and a collaboration with Art just returned from Europe, presenting a
came after my mother passed away. I be told why. In 1999 I received a Samstag Writer Edward Colless called Project work with D Group, “BUG” at CESTA; the
conceived ‘The absence project.’ That gave Scholarship allowing me to study my MFA Airsheet making exotica/exploitation Cultural Exchange Station in Tabor. I was
my work focus and a personal, somewhat at Simon Fraser University in Vancouver, soundtrack works. fortunate enough to meet and interview
cathartic standpoint that I think others Canada where they encourage and expect Locking onto two main audio projects; a personal musical hero, Mick Harris,
could relate to. For a long time I’ve been you to cross over media and disciplines TIMEOFFICE and Broken Tiny I attempt for an upcoming radio documentary.
interested in the concepts of memory, during your study, as well as encouraging to dissect these a bit. “TimeOffice was There’s also been recent exhibitions at
the beyond and the paranormal. I like to collaborative practices.” initially a kind of industrial metal project Devonport Regional Gallery, The Long
make works that are informed by these Since his return to Hobart in 2001 when it was solo, when we became a trio Gallery, part two of a collaboration with
ideas in some way. I’m always trying to Matt has continued to exhibit throughout it became more rock, but it eventually Deborah Pollard at Inflight in November,
present an environment with the work Australia and New Zealand, has travelled became more ambient/post rock, a label I more Broken Tiny and TIMEOFFICE
that allows the viewer or listener to have to Germany to research Krautrock and really hate, using loops and drones along performances and then there’s the PhD!”
an experience that might be considered German expressionist cinema, and is now with vocals and the odd hard-edged
profound, as pretentious as that sounds. I undertaking a PhD at the University guitar. Both Felix and I are Hawkwind
like the idea that my work could give an of Tasmania. fans so it’s kinda ‘spacerock’ at times. Broken Tiny has a small discography of
audience member an opportunity to muse Matt’s audio practice began taking I listen to a lot of Krautrock and the made-to-order CDRs that can be obtained
on incorporeal subjects, perhaps question shape in Hobart in 1993 in punk/metal repetition/loopy/minimalist approach has through Matt’s site: http://matt.vkool.com.
Rune Grammofon
Interview with Rune Kristoffersen
by Oliver Laing
FJORD FOCUS
Rune Kristoffersen spent the eighties playing bass in Norwegian pop outfit Fra Lippo Lippi, signed to Virgin
and had an album produced by Walter Becker from Steely Dan in LA. As Fra Lippo Lippi’s popularity waned
in the nineties, he returned to Norway to teach primary school children, before embarking on a career as
a label owner with a purity of vision. Welcome to the world of Rune Grammofon.
In the transient world of the independent 1-3 and Arne Nordheim’s Electric were almost
record label, how does a small-scale transmissions from another galaxy. I had been in
enterprise that at its inception may have thrall to electronic music emanating mostly from
been pessimistically envisaged to last as long the UK, Germany and the US. In 1998, other than
as the summer flowers of the arctic tundra, Motorpsycho, I would have been hard pressed
become an institution? An independent music to name a Norwegian band. Dense improvised
enthusiast’s record collection would certainly jazz (and I use that term loosely) and reissues
contain a percentage of releases from labels of electronic compositions by Norway’s greatest
that showed great potential, but were ultimately living composer seemed to be coming even
short-lived. Likewise, some of the bastions of further out of leftfield than I was used to.
the independent, such as 4AD, Drag City, Mille These first two releases seemed to be a
Plateaux and Touch would be represented in the statement of intent. Supersilent 1-3 was so
same collection. Labels that started out on a hope new and foreign, almost as if it was erasing
and a prayer and through a heady concoction of all that had come before. Arne Nordheim’s
inspiration, hard work and good luck have gone work, sounding vaguely reminiscent of early
on to become almost greater than the sum of Nurse With Wound to these ears, had a more
their releases. recognisable frame of reference. The tension
In the eight years since its inception, between disparate elements has been employed
Norway’s Rune Grammofon label has managed by Rune Kristoffersen to amass a substantial
to metamorphose into an institution. I body of work.
hijacked label boss Rune Kristoffersen Rune ‘We didn’t have a very long term plan at all.
Kristoffersen’s lunchtime in Oslo to fire off some There was sort of a hope that I would be able to
questions about one of the most vital and eclectic actually produce a substantial catalogue, but if
labels for contemporary music to emerge in the you start out with marginal, experimental music
last decade. from a small country like Norway, you don’t
The label’s debut releases in January 1998 really have any idea that it can last and what it
were, in retrospect, a perfect way to introduce can amount to. I felt I’d had a really good start
Rune Grammofon to the wider world. Supersilent with the first two releases, really strong releases.
finding time to paint, write, make movies and also a couple of songs, I will ask them if they have something the half-century.
produce his own music, which has been released else. If they push strongly, then they will be able to keep ‘It’s essential for a label such as Rune Grammofon to
predominantly on Smalltown Supersound, another them; it has happened only a couple of times. But of do these things. We want to reach the record-buying
Norwegian label. I have often wondered why Rune course, some of the artists, like Supersilent, I will trust public that is really into the physical product, as well
Grammofon has not released an album of his electronic them to come up with the goods and basically, what as the music,’ says Kristoffersen. ‘We want to fight a bit
inventiveness. ‘Kim is friendly with the owner of they say is the finished album is the finished album. I’ve against the whole download issue. That’s because I like
Smalltown Supersound; he presented him with music never had any problem with that. With others, if I know records myself, I like vinyl and I like good packages.
before we started working. It was natural for him to stay them well and we have worked together before, they will Economically it doesn’t always make sense, but it’s
with that label. Since we have this close relation with the pretty much have artistic freedom to deliver the album strange how expensive, non-format things can sometimes
sleeves, it might be wrong to do the music as well. Having they want. Sometimes if the artist needs to be in the grab the attention of people. It obvious that there are a
said that, if he came to me and asked me to release his studio, it’s happened that I have been there with them. I lot of people out there that are interested in the same
music, I would definitely do it, because I really like have been with Scorch Trio both times, also with Moha!, things and when they get a chance to get their hands on
his music.’ I’ve been twice in the studio with In the Country, they something that is outside the norm and a bit special and
‘I would say that artists on Rune Grammofon have a pretty much do what they want, I will only come with beautifully made, then they will grab it.’
lot of artistic freedom. But of course, I have agreed to minor suggestions.’ I’ve listened to a lot of electronica, and it’s something
release them beforehand, so I know what they do.’ It’s a Things really started to fall into place in August that if it’s done moderately, it can annoy me (melodic
fait accompli in a way, Rune has asked them to record, 1999 with the release of Love Comes Shining Over The electronica/IDM rage, anyone?). If an artist is putting
he wouldn’t have asked them if they were a death metal Mountains, the label’s first compilation. Rune wanted together sounds in a way that is truly their own, rather
band. ‘Well, at least not until I know what they are to document the momentum of the burgeoning than aping what others are doing, it wouldn’t matter what
about musically, that would never happen. Because I experimental electronica/improvised music scenes in palette of sounds were being used. Definitely falling into
need to work with people that I like musically, that’s the Norway. Rune Grammofon is a label that celebrates the later category is Alog.
first thing that needs to be in place. That’s how a small extravagantly; with the book/album Money Will Ruin ‘I contacted Espen, who is Phonophani, because I
independent record company works anyway.’ Everything commemorating thirty releases and the 10” knew that he had released his first album on Biophon. I
‘Sometimes I will have a dialogue with them regarding Box Set ‘Until Human Voices Wake Us and We Drown’ for have recently re-released this album. Espen said that he
Kid Koala
Interview with Eric San
by Tim Colman
Also known as Eric San, the Montreal is it going to be hot in Canada? Probably. For
turntablist, producer and illustrator instance, Fosters lager.”
obviously doesn’t take his art particularly Well no one actually drinks that in
seriously. Which would explain his latest Australia, I reply. “Yeah I heard, which is
idea. funny. Oddly enough, I’m actually named
“I’m not sure I’m going to do this in after a drink, Koala Springs, that was
Australia, but on the North American leg I’m supposedly from Australia but no one there
pitching a new show for the Canadian Food has ever heard of it. People are like ‘what
Network,” says San. “I’m actually doing this are you talking about?’ There was a little
thing where the two worlds of DJ culture picture of the country and everything. I
and cooking and culinary culture are actually didn’t really read the fine print, maybe it
coming together. They’re both similar, it’s didn’t say ‘from Australia.’ It had the shape
all about timing and fresh ingredients and of the continent though.”
flavour by the end of it. Basically it’s a couple While he may have been inspired early
of routines where I have to bake something on by Australian fauna, it was the UK that
or prepare something to be baked while I’m first picked up on Kid Koala’s enigmatic
mixing. There’ll be a little toaster oven or and innovative turntable style. In 1995 San
mixing bowl, something like that and we’re became the first North American artist
going to see how it goes. It’ll be like the signed to the iconic Ninja Tune label after
DMCs meets the Iron Chef.” Coldcut’s Jon More heard his cassette only
It’s a pity you won’t be cutting vinyl and mix, Scratchcratchratchatch. After touring
ingredients locally, it could start a new DJ/ extensively and remixing for the label, he
chef movement, I respond. “It’s the Canadian dropped the highly anticipated Carpel
Food Network so they want to see how a Tunnel Syndrome in 2000. Musically it set
North American audience would react,” the eccentric tone for ensuing San releases;
replies San. “We have to test it at the shows. warped jazz and blues melodies sit beside
Maybe Australians would like it. Is that a drunken horns over wobbly hip hop breaks
good gauge? If something’s hot in Australia with obscure vocal snippets.
He further fleshed out his quirky jazz Harking back to his seminal Scratchcratchratchatch songwriter,” says San. “We were talking about this
arrangements in 2003 with his second album, release, Your Mom’s Favorite DJ deftly moves DJ, a friend we both knew, who hadn’t left his house,
Some of My Best Friends are DJs. Covering Basin between Dixieland, jazzy breaks, witty oneliners he’d just broken up with his girlfriend, he hadn’t left
Street Blues, the jazz classic made famous by Louis and even metal guitars. It’s clear San found the his in two years actually because he was working on
Armstrong, the album was created via a time recording process liberating, a lot like a romantic these drums. No one’s heard it, he won’t play it to
consuming, painstakingly assembled sample process. Spring fling. “It’s kind of like one of those really anyone. It got to this point when we were discussing
Not wishing to banish himself to the studio again, turbulent Spring romances,” says San. “It’s a good it. I was like, ‘You know sometimes I wish I could
his latest release, this year’s Your Mom’s Favorite analogy. Carpel Tunnel Syndrome was one of those sing and play the guitar, because when girls break
DJ, is a much simpler affair. “The actual recording things where I had to keep leaving town and up with you, you can just write this poem, get all
process was relatively short and painless, it took coming back. Just like a relationship, I had to get your feelings out, get the chords to fit and belt it
about three weeks,” says San. “Which is great, reacquainted, but you’ve kind of changed because out’. If you’re a scratch DJ, you’ve got to lock yourself
because if you think about my last album (Some of you’ve been on a trip, then you have to get back in in a room, listen to 8,000 spoken word records
my Best Friends are DJs), Basin Street Blues alone the headzone but you’re different and all of sudden and then try and get that off your chest. It’s a really
took six weeks. The album before that, Carpel you have to make something coherent. It’s kind of masochistic way of expressing yourself.”
Tunnel Syndrome, took four years, mind you I had to a headache. This way it was
do five tours in between. This is definitely one of the like we have all this stuff, 30
pedal to the metal full gas let’s just do this kind of minutes of tape, let’s go.”
thing. It was a very kind of inspired studio session; it Romance, specifically
all came together quickly.” the tragic kind, has been
Not specifically looking for a quicker creative a recurring theme in San’s
process, it was thrust upon him thanks to a glut work, especially in the comics.
of previous ‘silly’ recordings and a new reel to reel He’s lamented in a previous
machine. “All my silly records that were orphans and interview that the impetus to
couldn’t find a home, were getting to that critical master the turntables at age
mass kind of thing,” says San. “They were screaming 14 was to get invited to parties
‘We need to go somewhere, make me!’ because and meet girls. The tragedy
things were busting at the seams. The second thing being that it never actually
that happened was I bought this 24-track reel to turned that way. New Year’s
reel machine and I wanted to try it out. The album Eve gigs are still a lighthearted
was the first thing actually recorded on it. The thing bone of contention. “Everyone
with the reel to reel is, once I’d spooled up the tape thinks it’s so romantic, you
I realised you only had 15 minutes worth of tape. get to fly somewhere and DJ.
To some people that might be annoying, but to me But you’re there and it’s the
it was kind of familiar because that’s how I used to stroke of midnight, everyone is hugging, kissing Even in a positive frame of mind, San has found
work on my old four track.” and tinkling champagne glasses and you’re just that just capturing a particular sound or style is not
Is this why the album is only two 15 or so behind your turntables like you always are. It’s kind an easy task. “Back on the last album I wanted to
minute long seemingly stream of conscious tracks? of tragic, but in a funny way, I always look at it in a do a ska track,” he says. “That was something that
“Exactly, that’s exactly it. I didn’t make a bunch of funny way.” took like several weeks to find all the notes and then
separate tracks and try to sequence it into an album The problem he’s found is it’s a lot more difficult bend them into the harmonies I was hearing. Then
afterwards. I literally started rolling on a reel to reel to express these sentiments on turntables then I realised, ‘You know what, you can just get a reggae
tape and the first thing you hear is the first thing say with a guitar. “I was actually talking to Win band and do that in one afternoon’. So let me just
I recorded. It just kind of fell into place like that.” [Butler] from The Arcade Fire, who’s a phenomenal put it this way, it’s the most tedious way of working
ever. The only more tedious craft would be animated easier to juggle four turntables. There’s something thing to do,” says San. “I realised that title was
film. Sometimes I’ll go and see some guy who just about turning your fingers to lock those chords. already taken by other DJs. So I was like, what other
plays a wine glass for his show and then I’m just Guitar players tell me they’ve tried scratching and titles haven’t they gone for? You know what, no one’s
green with envy.” So why put yourself through this can’t figure it out. But again, some people have gone for your mum’s favourite DJ title. No one’s done
torturous style of production? “We’re hoping the tendencies to certain skills.” the survey yet.”
ends justifies the means but who knows? At the end Anyone who has witnessed San perform with In its infancy, San is currently conducting just
of the day if that’s the craft you chose, that’s the craft three or four decks would not dispute his turntable such a survey, although he may need to widen his
you chose. I could easily have chosen a guitar at 13, skills. His twisted rendition of Moon River is a sample frame. The results though are promising. “So
but I opted for the mixers for some reason.” particular crowd favourite and a track he regularly far I think there’s about six to eight and they’re all
Are you regretting not picking up the guitar? dedicates to “all the mothers out there”. Was the title Canadian mums, actually one’s in Scotland. They
Heavy guitar moments are scattered throughout of his new release an attempt to reach an untapped have officially gone on the record and said I am
Your Mom’s Favorite DJ. “This is true, but all of market or just Kid Koala’s warped humour? “It indeed their favourite DJ.”
those have been cut up on vinyl,” says San. “I was very trendy to say you’re your favourite DJ’s Is your mother one of those? “I’m actually not my
tried playing guitar, but that’s difficult. I find it favourite DJ - a nice sort of hip hop braggadocio mum’s favourite DJ, that would be my brother.”
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Nico Muhly should be a pop star. The 25 year old New Yorker started
having piano lessons when he was thirteen, is friends with people in Grizzly
Bear and has worked on films and with international rock stars.
But he’s actually a contemporary classical and it was really fun to work on. I wouldn’t say sweet and quiet in a good way – for instance,
composer, already with a long list of we have similar working styles but we have very I’m not quiet. The two of us working together
achievements to his name. He has played mutually agreeable working styles.” is generally me insanely jabbering on and him
piano on Björk’s album Medúlla, performed Speaks Volumes would be considered listening and nodding and culling that into
and collaborated with Antony of Antony and contemporary classical over any other genre, but something beautiful, leaving the rest as kinda
the Johnsons, orchestrated The Manchurian its recording style, among other things, draws just decoration.”
Candidate for Rachel Portman and has for more from popular music than classical music. Born in Vermont and raised in Providence,
many years worked with composer Philip Glass. There are moments where you can imagine it Rhode Island, Nico has spent a fair amount
His latest achievement is releasing his own with delicate beats clicking away underneath, of time in interesting places. At thirteen he
album, Speaks Volumes, which was produced by and others where you feel it’s going to take off moved to Rome with his mother, a painter, and
Valgeir Sigurdsson, whom he met while working into a groovy Plaid-like track of a few years his father, an academic. It was here that his
on Medúlla. back, or something more recent and folktronic. knowledge and love of music really grew. He
“Because I’m sort of naïve about the ways However, it always comes back to its classical had a studio mostly to himself and took lessons
of the world, I never actually had any studio roots, often in painfully beautiful ways. from a great pianist. While his first trips to
recordings,” says Nico. “I only had pieces Despite working closely with Valgeir during Iceland were to work on other people’s projects,
recorded with one minidisc in the back of the the recording and other projects, Nico is unsure he returned there for six weeks (in two separate
hall with someone holding it and a student of his musical background. “I think everyone in stints) to record his own album.
orchestra playing 50 yards away. The quality of Iceland has the same background, which is that “First of all, it looks like the moon,” he says of
the recordings was really poor. When Sigurdsson they were in a thrash band,” he says seriously Iceland. “It really does look like outer space, but
had asked to hear how my stuff sounded he said, for added effect. “I think as a nation they have I’m told that the outback is similarly desolate.
‘This is insane. The quality of the material is a really good, informal musicianship. There’s There’s a sense of desolation there which is quite
good, but these recordings are just unacceptable.’ something very DIY about their musicianship. severe. As is the case in desolate places, there
He basically said, ‘Why don’t you just come to my There’s a fetish of the unpolished. Valgeir’s is a cosy ‘small town’ warmth to it. To be there
house in Iceland and record it?’ I was like, ‘Oh, ok, production is based on all of these noises and for music is to be there for the right reasons.
that sounds like a pretty good idea.’ We emailed intimate details of sound. I think he just had a Everyone is like, ‘What are you doing here? Are
back and forth and we worked on this project lot of experience working with Björk and, before you touring?’ ‘Oh no I’m working on some music,’
through the mail. It wasn’t that long a process. It that, with a lot of different bands. He’s wonderful and they’re like ‘Who are you working with?
was a huge success for both of us as musicians and he’s also completely unassuming and very Where are you doing it?’ and you tell them and
music
the futuristic visions of Detroit techno
bunch of other names (Funckarma/ and the space-age synthesiser music of Severed Heads
Quench/Cane) in other styles, though the 70s, Shapes is rich with astral pulses, Viva! Heads!
here are intent on existing somewhere in warm string pads, and bustling electro (LTM Publishing/Inertia)
reviews
the dreamy ether that separates jazz and rhythms. Fonk (Flower), the opener, UK-based label LTM were recently
electronics. Drawing upon ambient jazz, could almost be mistaken for a track responsible for reissuing Severed Heads’
post rock, and soundtrack influences the on Artifical Intelligence II, whilst the 1989 commercial sales high-watermark
duo craft some incredibly atmospheric dystopian synths on Zephyr (Pentagon) album Rotund For Success, and this Roxy
Looking for the new zydeco tunes, dark drifting evocative sonic
bluegrass-micro house crossover recall those radiant twin sun sunrises Music-punningly monikered collection
worlds -music that effectively creeps, over an abandoned alien city you find Viva! Heads! acts as a live retrospective of
reviews? In the interests of avoiding albeit in a heavily reverbed manner, on garish 70s science fiction bookcovers. various festivals, shows and radio sessions
infinite micro-genres we've created under the radar. Utilising saxophone, Cobalt (Scope), one of the bonus tracks recorded from 1998-2005. Except it’s not
our own classification. Here's your clarinet and electric bass alongside has a similar atmosphere, punctuated by exactly a ‘live’ album per se; in this case
guide: some very tastefully (read sparingly) laser bursts and with a skittering beetle the 13 tracks here are in fact the rehearsal
used downtempo electronic beats, the rhythm that breaks down into a lovely recordings for events such as What Is
gain music feels quite loose, possibly partly
improvised and as such seems to posses
floating melodic synth. Shapes is a timely
reminder of the quaint futuristic impulses
Music?, Electrofringe and Antwerp’s
2005 Bimfest, meaning that you’re not
Chronic electronics: a certain elongated sense of freedom. It’s of post-Detroit electronic listening music, exactly going to get the sounds of baying
including every imaginable the kind of music that you can put on and and in comparison the tired predictability crowds and thrown beer leaking through
software-based permutation from forget you’re listening to music. That’s not that the more recent post-glitch and post- here. While crowd-pleasing favourites
electro to clicks and cuts. to say however that their purpose is solely Boards of Canada ‘IDM’ has sunken into. Dead Eyes Opened and Greater Reward
to appease. Whilst their palette and mood
highs do manage to achieve this, structur-
Recommended. Sebastian Chan certainly make appearances, the tracklist-
ing takes in a diverse cross-section of
Culture, dahling, culture: ally it’s all quite bold, often remarkably Clark Ellard’s post-major label output, meaning
Sound art, contemporary classical, experimental. And it’s this unique ability Body Riddle that Viva! Heads! represents the perfect
to marry these two worlds that proves fas-
jazz, improv, world and elsewise. (Warp/Inertia) primer compilation for anyone unaware
cinating. In fact much of the Digil Parker The first thing you notice about Chris that Sevs continued to release albums
mids Project is about merging seemingly
disparate worlds, such as the analogue
Clark’s third album, Body Riddle, is that post-Gigapus. As well as featuring tracks
Strummed, stunned & shunned: and the electronic or the atmospheric and
it is loud. On the very edge of distortion, from Haul Ass and Op 1.2 (both released
From post-rock swankery to metal- Clark manages to craft some amazingly independently through Ellard’s www.
the electro funk. Recorded over the space spacious tracks around sampled live sevcom.com website in 1998 and 2001
solo wankery; from folk to farked, of three years the music is deceptively drums and overwhleming rushes of bass. respectively), the tracklisting also man-
it’s pop n rock in all its forms. simple, yet it reveals itself over time and At its best in a good set of headphones, ages to pack in a suitably twisted remix of
is one of those obscure finds that you’ll
lows find yourself continually drawn back to.
Chris Clark has moved in a new direction,
filling the collection of eleven tracks
Your Kidneys from last year’s Illustrated
Family Doctor soundtrack and even a
Rumbling and mumbling: Bob Baker Fish (and three bonus free downloads from handful of tracks previously released
Hiphop, drum’n’bass, reggae and the his Throttleclark site) with lush string under Ellard’s Cok*La*Coma alias. You’ll
odd broken beat and/or leg. Bola arrangements, 70s jazz breaks, and intri- also get to hear a prominent retailer of
Shapes
mute (Skam/Inertia)
cately programmed electronics that lurk
in the background. Whilst Herzog is vin-
electrical appliances get digitally mashed
up over buzzing electro-house rhythms
Silence and the absence of it: Darrell Fitton’s earliest work appeared tage electronic Warp, it is tracks like the thanks to Go, recorded at last year’s
Ambience, field recordings, on Warp’s venerable Artifical Intelligence opener Herr Bar, Matthew Unburdened Electrofringe, a moment sure to prick up
II compilation from 1994, and Shapes
outsider, noise, and everything and Vengeance Drools that offer the more the ears of Australian viewers of com-
was recalls this era in electronic listening exciting vision of Clark’s highly electrified mercial television. In many ways Ellard’s
that’s unclassifiable. music. Originally released anonymously beat science lurking beneath sweeping openly-expressed ambivalence towards
CYCLIC DEFROST ISSUE 15 [11.2006] page 31
his commercially successful early nineties biz hatemongering during some of the Tujiko Noriko all-sort Sean Taylor (aka Mute-til-late aka
electro-pop period comes across as curi- instrumental moments. It’s classic classy Shojo Toshi Prince Nod) for Datum Contemporary
ous in the light of the fact that it’s clearly stuff. Bob Baker Fish (Mego) Arts and Research Society, the Pikadon
left an indelible imprint upon his later Blurred In my mirror saw Tujiko Noriko Nights compilation was released as part
work – as this retrospective collection Squarepusher mucking it up in the grimy material of this year’s Straight Out Of Brisbane
neatly illustrates. Chris Downton Hello Everything realms of dub and house, two realms festival, and represents something of a
(Warp/Inertia) which tantalized the senses with a coup for the Brisbane’s small but diverse
Snog Except for Squarepusher’s debut Feed barrage of ragged arpeggios, grinding, IDM, electronic and experimental hip
The Kings of Hate Me Weird Things (Rephlex) his albums persistent techno beats and Noriko’s sly hop community. A fascinating showcase
(Psy Harmonics) have been ultimately disappointing. Of vocal quips. Initially released in 2002, of our northern neighbour’s underground,
Whilst local outfit Snog are creating course each album has had some amazing Shojo Toshi is more loosely structured Pikadon Nights taps into a wealth of
controversy with their lyrical finger tracks and his EPs have been consistently and pretty, opting for a fluidity of mood raw and rugged instrumental hip hop,
pointing and politically charged video reliable but with such a strong and genre- and dynamic range over the inclination of abrasive electro and razor-sharp IDM.
clips they are also working at a freakish breaking debut reaching that early height the latter towards all things rhythmic and Taylor kicks off proceedings himself – in
rate. Their album of a few months back again would be difficult. So, now, a dec- disorienting. Endless End floats breezily, the guise of alter ego Prince Nod – with
Snog Vs The Faecal Juggernaut of Mass ade later comes another album, the eighth its brittle programming and sensuous the eerie, hard-hitting hip hop of A Fair
Culture featured 10 or so alternate ver- - Hello Everything. Hello Everything has keyboard tones ensnared only slightly by Appraisal; blending Eastern-influenced
sions of tracks on MP3 and this 20 track a bit of everything old - chopped beats, the metal coil of the tightly sequenced inflections with rock-hard beats and
offering is their second single. Of course virtuoso bass - but the overall mood, drum patterns. In fact, numerous pieces film-noir dynamics. The heavily textured
there’s a number of remixes of The King this time is different. Previous albums display a frail brightness. Beginning with beats and rhythms of sQwurm’s aL.teR.
of Hate including Ipecac recording artists have swayed from ADHD manic-ness to a prelude of dizzyingly syncopated synth nate-oR make it an early highlight, while
End who bizarrely go big band Louisiana depressive noise, but on Hello Everything stabs set against a bank of murmuring the crunching beats and almost playful,
swing which is pretty unexpected, whilst these moods are tempered by an overall flutes, compositions grow lighter and Plaid-esque melody of Xanpha’s Peru are
Thrussell’s dark tech outing Black Lung brightness. Unfortunately it opens with ascend into plodding pulses and stately another strong point. The record winds
take it to a tense yet surprisingly jaunty the weakest track - the pseudo rave-y ret- rhythms - all the while, Noriko’s vocal coo down with quieter, more organic efforts
area and the Spyweirdos mix feels like roism Hello Meow which sets up a false reaches for the heights as well, adding from Dempefka, Sweet Sweet Lo-Fi and
the track is trying to break through faulty impression of the rest. Planetarium is full another shimmering layer to the subdued Aubyn, which are brilliant, contemplative
equipment and a demented programmer of chopped amens but rather than being a and whimsical proceedings. Still, pieces points of conclusion. This is surprisingly
to impose itself though a dark ambient nutty pisstake evolves into a lovely pano- do shift focus. Tokyo may start with solid and aesthetically cohesive collection,
piece – offering probably the most ramic and melodic jungle track recalling clusters of light vibraphone and deep which works flawlessly as a record. While
experimental piece on the disc. There Aphex Twin’s Polynomial-C (from 1992’s clicks and bass tones, but the track still it’s a credit to Sean Taylor’s curatorial
are two new tracks: Shopping Man an Xylem Tube EP). Circlewave 2 is close to spills over into a turgid atmosphere of work, it also says a lot about the quality
electro synth work out, and the suggestive the most exquisite Squarepusher track alien effects and a bitter disharmony of the artists. At only eight tracks and
Sedition is lust collaboration with Italian yet even with its noodly jazz jam in the that illuminates the underlying melody. 39 minutes, Pikadon Nights is compact
Industrial outfit Pankhow that earnestly latter third, bumping Iambic 5 Poetry Similarly, when the deformed beats and and succinct, and no track is wasted. I
harks back to the 1980’s. With 20 tracks from Budakhan Mindphone of its perch. slinky bursts of static that dominate Bebe may be out of it, but I’ll tell you what, the
there’s plenty of ground covered, with the Rotate Electrolyte is more amen junglism follow the joyful rhythm, droning horns Brisbane electronic underground is one
remainder made up of mixes of tracks meeting reminiscent Detroit techno, and wafting bell tones of White Film, loop I want to be part of. Dan Rule
originally on the album. It’s quite over- and then there are two 1960s academic their appearance is easy and surprising.
whelming, perhaps Snog are attempting avant-electronic-styled experiments At times, such as on I Love You and Girl Various Artists
to bludgeon the listener into submission - Vacuum Garden and Orient Orange. Meets Boy, these airy cooings float a bit Refashioned 007 - The James Bond
by the sheer volume of their output. They Vacuum Garden is a disturbing droning too free and waft their way right into a Themes Go Undercover
need to do something pretty dramatic to ambient piece that sounds like a dark fey sentimentalism that is not altogether (Groovescooter)
face up against the Faecal Juggernaut of void of a black hole from some science becoming. In a sense, then, Noriko is The Groovescooter HQ is at it again.
Mass Culture as they claim to be doing. fiction movie. Orient Orange starts of most enticing when she floats somewhere They’ve summoned the musical family
Yet it’s not hard going at all. Snog have as musique concrete but slowly melodic in between the worldly and otherworldly, together to refashion a theme and this
chosen their remixers with diversity in chords enter the frame before fading to and on this work her various trips and time it’s all about espionage as classic
mind and hearing six different versions of tones. Although seemingly awkwardly entanglements prove quite stirring. James Bond tracks go ‘undercover’. Each
King of Hate is actually quite fascinating. sequenced, the eclectic mish mash of Max Schaefer artist received a top secret brief with the
Hearing how the artists have attempted styles works well together. Skip the instructions, “You each have a licence to
to rap Thrussell’s distinctive lyrics around opener and this is a the most interesting Various Artists kill! Liquidate if necessary, but remember,
their vision is also pretty damn funny. and most enjoyable Squarepusher album Pikadon Nights these were some of the biggest pop songs
Dr Tooth’s Re-Invention highlights this in a long time. Sebastian Chan (Datum) of their day.” Indeed. The result? An
superbly, where the King of Hate has Perhaps I’m just out of the loop, but I had intriguing mix of interpretations from
become a smooth jazzy cabaret number, no idea that there was such quality com- local and international musicians fusing
where Thrussell takes on the role of the ing out of the Brisbane electronic under- electro, beats, jazzy dub and danger-
entertainer, indulging in a spot of show- ground. Compiled and curated by digital ous liaison. It’s impossible to decide on
page 32 CYCLIC DEFROST ISSUE 15 [11.2006]
who the best assassin is on this album singles the label released between 2003 recordings made by Handel while visiting tion moment’. Queenslander Andrew
as they’ve all done their research. Don and 2005 – more or less, runs this course. Spain, the creative collaboration that lead Tuttle’s debut album as Anonymeye on
Meers has revived the James Bond Theme, The stripped back, melody-embellished to Ghost And Angels began in earnest Scott Sinclair’s Half Theory label is a
Gotye’s vocal lashings force the listener groove of Flotel’s Bowd sets the scene, with Seiler sampling and manipulating fascinating first album. Based around
to Surrender while Fatt Dex has his back and New York’s Praveen further solidifies the recordings and the pair working a rough concept of a roadside motel
with the beats, Inga Liljestrom summons the comp’s direction with the stark beats, together to introduce textural elements - the CD packaging design is based on a
an arctic chill with a melancholy rendi- washy synths and subtle melodic inflec- that would enhance Handel’s original roadside diner menu - Anonymeye Motel
tion of ‘From Russia With Love’ whilst tions of Circle Song. Holkham’s Samphire compositions. The result is certainly one is a thoughtful exploration of wide open
Tina Harrod bravely tackles ‘Goldfinger’. throws a slightly different light on things of the most enveloping and frequently spaces and the open road. Although it
Most of you would agree, I am sure, that at the halfway point with its dark, opaque disorienting collections that I’ve heard opens with the weakest track, Suburban
it takes balls to tango with that tune bass lines and brooding undertones, as amongst the ‘contemporary classical’ Shopping Centre Carpark which suffers
and she executes it rather convincingly. does Vs_Price’s Birthday 026, which also sphere, with apt comparison points being from its dull rhythmic backing and beat
Mothloop’s version of Drax’s Gambut treads a lightly more abrasive path. Yet, Coil, Murcof and the sweeping Middle production, it soon hits its stride with a
is dripping with the smell of cold sweat both tracks make for a refreshing change Eastern atmospheres of Peter Gabriel’s series of Fahey-inspired guitar processed
whereas the Ollo boys increase the heat of pace – shifting the paradigm a touch, Passion as much as any immediate figures pieces that transform into intricate fuzz
with Peta Morris (of Paul Mac). As they without bending the record out of shape. from the ‘classical’ arena. Throughout, it’s in the vein of Fennesz. Life In Suburbia
‘dance into the fire’ you can hear the The dense bottom-end and crisp break the extraordinary sense of complimen- revolves around around a ribbon-like
seductive flames flicker all around. Finally, beat of Monocero’s Bells make for one tary balance between Seiler’s electronic guitar loops that unfurls underneath
just when you thought you couldn’t of the record’s strongest cuts, as does elements and Handel’s compositions that layers of field recordings. Pacific
handle another remix of Burt Bacharach’s Maps + Diagrams’ Impte Datae, while makes a particular impact here. Opening Highway, 3pm is the most Fahey-like
famous, The Look of Love along come the tripped up polyrhythm of AM/PM’s track ‘Bewitchment’ certainly sends chills piece employing lovely guitar work that
Lake Lustre and Dorit Chrysler to tar this The Ends remix – where he literally uses up the spine from its very beginning, becomes heavily processed on its sister
old classic with a refreshing gloss of inter- the end of each 7” in the series to craft with ominous piano notes descending track Pacific Highway, 3am. The closer,
est. Mission accomplished? I think it’s safe a strong, multi-layered cut – proves a into a yawning void as eerie metallic bell Reception, is another heavily processed
to say there’s something here for everyone, brilliant moment of asymmetry, and one tones trace a path akin to a medieval guitar piece which dissolves into drones.
but it will definitely have a greater appeal of the record’s best tracks. When it comes cathedral and disembodied-sounding On another track Tuttle introduces his
to dub fans, James Bond devotees or just down to it, you can apply a couple of dif- Spanish vocal samples flit through. ‘The own vocals and there is a clear sense that
those looking to hear more from some ferent schools of thought to The Condition Passing’ meanwhile conjures up sweeping he is experimenting with several genres
of Australia’s understated musical talents. of Muzak 2. While you certainly know Middle Eastern atmosphere, with the at once and there is a pop musician
Renae Mason what you’re getting – the record does distant sounds of a military band emerg- lurking somewhere beneath. Although
feel like it’s perhaps lacking a certain ing from a fog of treated crowd samples, referencing its influences very directly,
Various Artists dynamism – the consistency gives the a melancholy lone trumpet adding an there is plenty of interest and those who
The Condition of Muzak 2 collection more of an album-like strength underlying sense of almost wounded enjoy Greg Davis, Keith Whitman and
(Expanding Records) than most label comps. And this fact on weariness. Stunningly executed and Fennesz will appreciate the skewed pop
Expanding Records – London’s purveyors its own makes The Condition of Muzak 2 realised, Ghosts And Angels represents take. Sebastian Chan
of spectral, minimalist electronica – have all the more enjoyable. Dan Rule one of the most inspired collaborations of
certainly nurtured a distinctive sound its type to emerge for a long time; it’s also Gail Priest
throughout their 30-plus-release history. an album that rewards beautifully upon Imaginary Conversations In Reverberant
Releasing a high-quality body of work Culture, dahling, culture: repeat listening. Chris Downton Rooms
from a growing roster of artists, they’ve (Metal Bitch)
crafted a sonic aesthetic that oscillates
between spare, ambient electronics
and discreet, instrumental hip hop.
HIGHS Anonymeye
Anonymeye Motel
(Half Theory)
Gail Priest’s work over the past five
years has covered some fairly divergent
territory. As if seeking out key areas of
When it come to label comps such as Late last year I was sitting in an apart- interest for her sonic pursuits, each of
their new, self-deprecatingly titled The Amanda Handel & G.L. Seiler ment in Berlin. My friend had put on her performances and recording projects
Condition of Muzak 2, such relative Ghosts And Angels a record picked from our host’s vast in recent times have marked out a
stylistic consistency works both for and (Feral Media/Fuse Music Group) collection. A series of spindling guitar potential field for further exploration and
against them. While it would be unjust Greg Seiler is certainly already well- tones sprang from the stereo, creating an eventual development into a full blown
to equate Expanding’s approach with known for his solo electronic explora- endlessly rolling, a kind of drone-meets- presentation. In some respects the debut
label pragmatism – surely no one who tions as Comatone, but Ghosts And Angels blues effect. At the end of the first side I release from Priest continues this modus
releases ostensibly obscure, ambient shows him collaborating with classical discovered that we’d just been listening operandi. Teaming up with a number of
electronic music can afford to be overly composer Amanda Handel to create an to John Fahey. Fahey is the kind of producers from Sydney, Priest weaves her
pragmatic – you do tend to get a feel for evocative and frequently cinematic col- musician that you read about in The ethereal vocal deconstructions (crystal-
what you’re getting yourself into after lection of tracks that veers far away from Wire Magazine and file away for a time lised most clearly in ‘Dreamwinch’)
just a couple of tracks. This latest comp the glitchy electronics of his previous when you chance upon an album in a and textural sonic works into a shifting
– the second instalment in a serious that albums One Into One Out and E-50. With specialist record store and actually take range of sound fields from essential IDM
collates work from a bunch of limited 7” its starting point apparently being field a listen - a kind of ‘canonical realisa- rhythms to more static states of tone
CYCLIC DEFROST ISSUE 15 [11.2006] page 33
and aural intricacy. It’s perhaps Julian received and enjoyed. Lawrence English bubble and pop aimlessly. Though water with ‘almost circus-like frenzies’,
Knowles’ production that lends the generated via feedback these are quiet the splish splash of pebbles in fishponds
majority of shape to this record – partly Grundik Kasyansky sounds requiring active listening, possibly and my personal favourite, Ian’s descrip-
through the sheer number of pieces he’s Light and Roundchair best with headphones to block out any tion of the The Waking Woods as “trees
involved in and also through his unique (Creative Sound Recordings) extraneous environmental sounds, as singing at night, stars falling into a
reconstitution of Priest’s aesthetic. Jasper Grundik Kasyansky is a sound artist com- otherwise it would be easy to lose some green ocean.” There’s even a track called
Streit’s pieces lend a sharper edge to the poser and sound designer who apparently of the subtlety in Grundik’s composition. ‘Dragon’ that seeks to emulate the sound
record with slow burning fuses of digital divides time between Moscow Tel Aviv Bob Baker Fish of giant wings slicing through the air in
electronics and reverberant spaces, whilst and New York City. In 1995 he formed flight. Yes I am a big kid at heart and I’m
Peter Blamey’s coda production finishes Grundik and Slava with Slava Smelovsky Ian Cho really enjoying Ian’s delightfully humble
the record with a wonderfully provocative in Israel. Their 2005 concept album Frogs The Waking Woods and wondrous aesthetic. The inclusion
slow blur of melody and broken hums. was the most compelling example of (Tovian Records) of an animated film-clip for ‘Flying Fish’
Perhaps the title of this record reveals electro acoustic avant garde electronica If a forest could sing, what would it sound adds further insight, allowing his ideas to
something of the process, and indeed that this writer encountered last year for like? This is the question that Ian Cho, a soar in the synthesis of sound and image,
the results. These ‘imagined conversa- his solo project however Grundik has 20- year old composer/animator from creating something truly fantastical. Visit
tions’ speak to a kind of collaborative stripped things right back. To the extent Queensland set out to resolve. With just a Tovian Records to view some of his ani-
process perhaps – one that reflects on that he is working with delicate pitches, guitar, piano and quirky keyboard effects mations and read more about the album.
the nature of production in the digital fragile textures of static and sharp pin he has managed to bend traditional Renae Mason
age, the passing of files back and forth pricks of sine tones, forming these almost sounds to a state beyond recognition. The
and the meta-conversation that take place intolerable micro symphonies of sound. soundscape is populated with flutters, Lawrence English & Phillip Samartzis
at the creative level. If this release acts His main instrument is feedback syn- tweeters, pops, hisses, clicks, whizzes and One Plus One
the end of an initial state of exploration thesizer, though he’s also working with extended piano loop melodies. It’s playful, (Room40)
for Priest or in fact the beginning of a radios in which he mines the gold barely resonating with a heightened childlike It’s huge, this giant mechanical, pulsating,
lifetime of shifting contrasts in sound the off channel, computer and theremin. sense of wonder about the magical life booming repetitive, skipping electronic
end result is the same – a fine example of There are subtle skips, clips, tiny flutters of the forest and its inhabitants. Imagine beast that blunders along gathering speed,
considered sound states that are offered, of static as the radios and the digitalia shells as ‘horns of the ocean’, songs about wheezing, spurting, moaning before
LOWS (Fatbeats/Shogun)
Another promo CD spoilt by a voice-over
on every track. Each one kicks off with
album immediately attracted breathless
reviews from hip hop critics – primarily, I
assumed, because people want to like the
on anywhere, fill the room with, and not
feel like a populist hack for doing so - The
Myspace blurb reads “This is the perfect
Nashville rapper and musician Count music these eminent heads produce – but album for dat dreamy summer on your
Blue Sky Black Death Bass D reading the album title and asking despite obsessively old school production super-yacht”, which is pretty spot on, but
A Heap Of Broken Images listeners not to burn the CD – “Please and MCing, and a pervading sense that it’s just as good for those with less glamor-
(Mush Records/Stomp) don’t copy, seriously, we need every sale” Australian hip hop owes them something, ous transport. There are no cutting-edge
San Francisco-based producer Kingston - which is kind of funny, but what’s the this is a great record. A string of guests pretensions here, and its obvious he
has cultivated a considerable reputation difference between this copy sent out to including Bonez, Murda1, DCE, Sing, thoroughly enjoyed making this album,
over the past couple of years with his music writers and the ones in the shop Katch, Paul Johannesen, Jeremy Glover which I think a lot of people will enjoy
work on albums by Boston’s Virtuoso, Jus next week? Can’t they be burnt just as and Blunted Stylus rarely undermine its hearing. Tom Smith
Allah and Chief Kamanchi and A Heap Of easily? More to the point, don’t labels cohesion, a striking vision that comes
page 38 CYCLIC DEFROST ISSUE 15 [11.2006]
Drop The Lime and gives it a very unique twist. Utilising zooming in and out as he constantly debut on the Hyperdub label, that mines
We Never Sleep the talents of Mexico’s most recognised moves and glances about whilst deliver- the rhythmic ticks and syncopation of
(Tigerbeat6/Valve) MC, Boca Floja, as well as MCs Dimitri ing his dialogue. Peanut Butter Wolf also these early garage/dubstep hybrid years
NYC native Drop The Lime (real name Pollok, Bookless, Vektor, Broadband gives a wrap up of the label’s history, and especially the production of El-B. Martin
Luca Venezia) has certainly become Star, the Columbian singer/producer the ethic which he’s employed in getting Blackdown who has been responsible
the toast of that city’s breakcore scene Lucrecia and minimal techno producer where he is. Included is a show at South for sorting out the digital distribution
since the release of his debut album This Fax, Martinez creates the most sonically by Southwest in Texas headlined by of many current dubstep labels through
Means Forever on Tigerbeat6 last year, dense and warm tunes, heavy on the dub Madvillain. The Madlib solo set is inter- Bleep.com is behind what is hopefully
and this highly anticipated follow-up echo and never straying into predictable esting if only to see how such a multifari- just the first in an ongoing series of com-
comes across as slightly less furious than territory. Glitches sit along side disjointed ous character handles himself on stage, pilations re-releasing some of the most
its predecessor (though that’s a term drums, synth pads and warm washes, and the Madvillain set raises the roof. It’s important and, for newcomers, unheard
being used relatively here). Swinging with the vocals treated as an extension of unfortunate, and a little mystifying that key tracks. Martin has made some
between electro-cabaret pop and furious the instrumental colourings, rather than Georgia Anne Muldrow is omitted from great choices, opening with a trilogy of
hard-edged club bangers,We Never Sleep sitting inside of the groove in a sensible the DVD, given she’s a recent signing, and absolutely essential tracks - Steve Gurley’s
certainly seems infused with same sort of fashion. Martinez really bends your mind her music is brilliant. The Koushik tune Hoyboys, and El-B’s Express and Buck &
visceral rave atmospheres recently paid in sections and becomes very cerebrally is lovely - his sugary vocals floating over Bury. These three tracks capture a sound
tribute to by compatriot Kid606, but in kinetic, forcing the listener to disconnect huge swinging drums. The Madvillain at its birth - the jittery, itchy syncopation
this case there’s a level of attention to the normal listening structures and to tune is excellent - it’s been popping, of 2-step being pulled and stretched and
catchy hooks that ensures repeat listening allow each small sound to exist in the cracking and bouncing between my syn- drained of light by darker atmospheres.
well after the clubs have closed. While the moment rather than trying to pin down apses for days now, and the Georgia Anne On Buck & Bury the beat is so hurried
incorporation of some of the grime ele- each noise in a logical sense. It confuses Muldrow tune is like a little teaser, a small that it almost feels as if it skipping, chased
ments comes across as slightly unwieldy at times sure, but all the while this album taste of her slightly awkward, stilted neo- by the dark. Horsepower Productions
and self-consciously cool, some of the grooves and moves constantly. Even on soul, which is strangely affecting. J Dilla delivers their finest moment with Gorgon
biggest thrills come towards the middle this giddy ride, it’s no abstract pony – it’s shines posthumously, with his beautiful Sound, a long time favourite, and some
section of this disc, where Venezia really got the funk through and through. The vocal cut Nothing Like This, and Percee P of the other early vinyl-only Tempa
loses himself in the hedonistic pleasures surprises keep coming when the female and Quasimoto add a touch of practiced releases also feature. introducing the
of the dancefloor – as in the case of the vocals make an appearance midway braggadocio with Raw Heat. It’s a great ‘tribal’ period of dubstep with Highland
rattling, conga-laden Hot Sauce Grillz. through the album, delivering yet another intro to the label for newcomers, and Spring and Sholay. Menta follows with
There will undoubtably be some out side to this already diverse producer’s there’s plenty of brand new exclusives for his super stripped back Snake Charmer,
there disappointed that Venezia’s slightly sound. Taking us from a stoned dub long time fans. If you like quality music, an example of orientalist tendencies
mellowed his tone on this second album, setting to a gorgeous soul tune and into check out Stones Throw. Tom Smith which probably can be traced back to
but in this case the increased variety of drum and bass seems effortless for this Timbaland’s early production work which
exploration has certainly resulted in a super talented young Mexican producer. Various Artists impacted virtually every urban style for
more interesting ‘whole album’ listen. Seek it down and you’ll be thoroughly The Roots Of Dubstep years. Artwork’s Red, a long lost classic
Chris Downton rewarded. Lyndon Pike (Tempa) on Big Apple Records (of the now defunct
Dubstep has suddenly become huge. South Croydon record store) finally gets
Jack’s Son Various Artists Maybe not massive, but big enough for reborn - a track that crossed broefly into
Everyone Has A Kid Inside Chrome Children the average subcultural junkie to know breaks circles; and other lost Big Apple
(Abolipop) (Stones Throw/Basement Digs/Adult what you are talking about when you productions from Digital Mystikz, Benga
Wow! Where the hell did this spring Swim) use it as shorthand for a sound. It is even and Skream demonstrate just how long
from? Literally from Mexico - metaphori- Stones Throw have teamed up with car- starting to appear with regularity on fly- these key figures have been putting out
cally from the cavernous dub station on toon network Adult Swim for the release ers and gig posters, and demo CDs from music. Although some of this music has
the fringe of hip hop, soul and glitched of this compilation. It contains 19 tracks local Australia producers are starting to dated - particularly the tribal-influenced
out funk riding high with a mescalin from all the label’s stalwarts, a few lesser land in my letterbox. So, this little com- tracks - this compilation reveals much
milkshake and a touch of sunstroke. known signings, and a re-issue of Pure pilation from the seminal Tempa label of the innovation that occured under
Diego Martinez started recording as Essence’s Third Rock, from 1976. Stones is most welcome especially as back in everyone’s noses and laid the foundations
Lumenlab and then in 2005, he became Throw have been around for almost 2001/2, when some of us started hearing for what is now a sound and style on the
Jack’s Son, a purveyor of hip hop cut ups, exactly 10 years, steadily growing in about a new kind of garage sound, deeper, rise. Interestingly it also shows just how
skittering vocal samples and flourishes strength and diversity, always maintain- darker and more dub-oriented, we’d under-explored a lot of the rhythmic
of drum and bass, funk and soul. The ing sincerity and integrity in what they have to order in, almost blind, 12's from impulses of 2-step still are - and how the
comparison to the work of Scott Herron’s do. This release reflects that, and has mail order services in the UK (I’ve since secrets of beat producers like El-B still
Prefuse 73 cannot be ignored, so I’ll the tone of a well deserved homage. The realised I’m sitting on an eBay goldmine remain unknown, and offer potentially
dispense with it now. However, whereas DVD feature produced by Adult Swim of almost mint vinyl!). Much of the best fertile ground for future music.
Prefuse lost the beautiful (seemingly) is a nice little addition - the very short material was released on tiny labels in Sebastian Chan
simplicity and warmth of his earlier work interview with Madlib is as trippy and even smaller pressing runs. There is also
on later albums, Jack’s Son takes the entertaining as his incredible music, due an interest in these early years because of
mantle of Herron’s Uprock Narative sound to his odd distracted manner, and clever the enormous success of Burial’s self titled
CYCLIC DEFROST ISSUE 15 [11.2006] page 39
Utilising found objects the sounds ingly arising from and returning to its four parts of Harmony In Blue and the
Silence and the absence of it: of this perplexing duo are a series of consistency. There are sounds which are epic Whitecaps of White Noise through
squelches, bangs, taps, creaks, rumbles probably effected guitars, but the benefit which a subtle piano melody emerges.
In stark contrast, you have the perceptions of major this misstep, failing to convince many new to the band
international festivals like Sónar, which instantly conjures that all those plaudits were justified. Stretching the folk
up images of sophisticated music lovers enjoying the classification slightly, Mexican flamenco guitar pairing
bleeding edge of contemporary aural art, possibly while Rodrigo y Gabriela wowed the crowds, undoubtedly
sporting a mullet. The organisers of the Big Chill have buoyed in number by the late cancellation of flamenco and
clearly learnt from the mistakes of their UK-based rivals scratching act Ochos de Brujo.
- the weekend of the festival is traditionally one of the Perhaps the one notable omission from the Village
hottest of the year, there were ample toilets on site (and I’m Green was Vashti Bunyan who, presumably because of her
pleased to report that none of them were in flames) and popularity, appeared to rapturous applause on one of the
they even had masses of showers in each campsite. major stages. Looking terrified at the size of the crowd
Set in the beautiful countryside of the Malvern Hills, staring expectantly at her, the situation was not helped
the Big Chill locates itself in a deer park in the grounds by persistent feedback from her acoustic guitar. At times
of Eastnor Castle. Thankfully the deer all take a holiday confirming most preconceived ideas you might have about
while the festival is in full swing, leaving behind their lush folk artists by introducing songs with epithets like “I wrote
surroundings to make way for 30,000 revelers. The Big this song sitting in a field that was once owned by my
Chill’s nine stages take in a diverse range of music that grandfather,” she nonetheless played a blinding set that
should satisfy those of a chilled nature. Those expecting convinced all but the most stubborn of her talent. Bunyan
five hours of pounding hardcore each night will be left was not the only folkie to go AWOL from the Village Green
sorely disappointed, but that’s not to say that the harder though, with Lamb’s Lou Rhodes appearing a few hours
side of the musical spectrum is ignored – Funkywormhole beforehand. Rhodes’ solo project is a long way from the
(aka the reggae tent) included a fair bit of jungle and, as drum n bass origins of Lamb, with her stunning voice now
expected, the Club tent bore witness to some pretty full-on able to explore a different musical terrain. She knows her
beats. audience though and had pretty much everyone on their
The main changes to the musical programming of this feet for one of the most heartfelt performances of Lamb’s
year’s event were the introduction of a dedicated folk stage standout track Gabriel I’ve heard.
and the return of jazz to the festival. With folk having The lack of jazz was one of the major bugbears of
achieved critical mass in British consciousness of late, the last year’s festival, but all was forgiven this year with the
Village Green stage provided the likes of Tuung, Martha appearance of the Esbjorn Svensson Trio and Hanne
Wainwright and Adem with a low key, relaxed venue for Hukkelberg. EST put in one of the performances of the
their music, conveniently situated next to the Strongbow festival, wowing a sadly rather small crowd on the main
cider tent. Tunng got off to a rocky start, struggling to get stage as the sun set. The double bass of Dan Bergland
their electronic elements in harmony with the remainder at times managed to steal the limelight from the titular
of their acoustic arsenal. They sadly never recovered from Svensson’s piano, overwhelming the crowd with the
Do you remember tangrams—the ancient Chinese If you printed the word ‘clean’ in white ink on white
moving puzzle game where you can create silhouettes paper, you’d be close to achieving the minimalism of
and patterns? The new Post album is half tangrams Transparent Things’ design. There’s nothing printed on
meets light play, plus Post is a poster too! the front, inside or back of the jewel case inserts and
On a white background, tangram-like geometric they’re all simply brilliant white uncoated card. The CD
shapes in deliciously soft and harmonious lolly gradients itself is printed with matte white ink, except for three thin
of pink, lemon, aqua, turquoise and indigo are laid out concentric circles of bright purple, cyan and fluoro red
so that they slightly overlap. Where they overlap, they are at the centre of the CD. That’s not to say it’s nothing—it’s
multiplied so that it seems they are film cells on a light really something!
box, interacting in both colour and form. The interplay of The front insert has two thick and thirsty sheets of
shape, colour and negative space gives the graphics their card with a die cut in the centre, about the size of the
dynamism. This is perfect for Post, because the graphics clear section of a CD. These can slip and shuffle relative
are as smart and fresh as the eclectic electronica within. to each other and reveal the coloured rings which are
The type is clean, small and simple. It’s set in a font printed on the CD. Eyeball jumping and an entirely
somewhat like Interstate in cyan for the CD specific pleasant brain glitch ensue because a strange depth
information and charcoal for the label details. The title perception of the rings of card with the rings of colour is
is still small and is rotated 90 degrees in black type. I perceived. This is super-dooper fantastic for a pop meets
would have liked to see it in the charcoal, as it seems a krautrock album but this is also one of those covers that
little odd to default to black type for such a delicate and will been seen first in a shop and picked up in most cases
fresh design. because people are none too bright and are attracted to
The paper is bright white and uncoated, which seems negative space. Also, few can resist something so punchy,
to be a refreshing new trend for album packaging at the simple yet trippy! (A CD in the hand is worth… maybe
moment. The CD itself is naked, but for a yellow triangle. a sale?)
The poster is the size of six CD covers, three by One can’t help but wonder if the concentric circles
two panels, and folds to enclose the CD in its semi- don’t reference Loony Tunes even a little bit too…
transparent sleeve. The whole package is protected by The tracklisting, copyright hoo-ha, barcode and
a clear cellophane envelope, which combined with the recording details are therefore relegated to the spines
candy colour palette, makes it all seem very much like and are set in microscopic, lightweight capitalised type,
a treat! This package is somewhat flimsy, however, and (something like Bernard light). This is awesome in its
I would be concerned about how long it would last irreverence but pretty much ensures you’ll never bother
without being treated with extreme care. It’s almost to learn the song names unless you must for some
like it is assumed that the poster will be hung up and specific reason —way too much of a struggle! The back
the CD relegated to a CD wallet. Nevertheless, the piece cover could have been used for this and the design would
is delightful and makes you feel that you’ve scored not have lost its power.
something quite precious.
SHANNON
O'NEILL
Shannon O’Neill has always been fascinated by outsider music and art,
sampling and the friction between art and intellectual property. I
first met him at high school, he was always into different things and
was amongst a group of folk who, through perhaps being in the wrong
school at the right time, built up a fiercely individual character as a
resistance to the hegemony of the school. For the last 15 years he has
explored and expanded the possibilities of radio with his own seminal
Sydney broadcasts, first on Radio Skid Row and later for 2MBS-FM – a
station known mainly for its highbrow classical programming.
Also intimately involved with the Brian Eno & David Byrne – My Life in Severed Heads – Since the Accident sublimely beautiful and unique music,
experimental music community in the Bush of Ghosts with tracks from Blubberknife such as A Million Angels, with its
Sydney, he has been a director of (E.G. Records, 1981) (Nettwerk, 1989) signature looped choirs. It’s impossible
Electrofringe and has contributed Growing up in the seventies and This is a re-release of Sevs’ 1983 to imagine Australian electronic music
much to the development of genuinely eighties, radio was a doorway into album, adding some tracks from without Severed Heads, and their
new music in Australia. He also set infinite realms of the unknown. I never its predecessor. To me it’s their influence goes well beyond these shores.
up Alias Frequencies, an independent knew what I was going to hear, but with quintessential album, as it includes a
label which allowed Shannon to release a turn of the dial there would always wide range of styles and contributions Negativland – Escape from Noise
some of the amazing music he and be something interesting. Double J from the three key early members: (SST, 1987)
his friends discovered. Recently Alias was in its prime and there was lots of Richard Fielding, Tom Ellard and In this era of digital mashups it’s
Frequencies has become a netlabel, great community radio, but I was also Garry Bradbury – all of them hard to imagine that sound collage once
giving away its music and acting as a fascinated by shortwave radio; those creative visionaries. Sevs were often seemed like such a radical idea. No one
hub for likeminded folk. He is currently strange drifting sounds coming from categorized as industrial, but despite did it better than Negativland. They’re
writing a PhD on experimental music the other side of the world. Brian Eno & some superficial similarities, such as a perhaps best known these days as
in Australia, works at the University of David Byrne were also inspired by these fondness for distorted drum machines, advocates of copyright reform, in the
Technology, Sydney as a lecturer, and sounds, many of them from religious synthesizers and tape loops, they’re wake of their unfortunate encounter
organises the Sydney leg of the Liquid and political broadcasts, and made a very different. Severed Heads celebrate with U2 and the litigious corporate
Architecture festival.Over to Shannon musical collage of them over avant-funk absurdity, and are often hilarious. It’s music world. But it’s their 80s recordings
Sebastian Chan and African-inspired beats. My Life... obvious on this album, with titles such that I love the most. They invented
changed my life when I heard it. It was as Brassiere, In Rome, Adolf a Carrot? their own universe populated with
the music I’d been waiting for, and it still and Exploring the Secrets of Treating characters such as The Weatherman
sounds both futuristic and timeless. Deaf Mutes. But they’re also capable of and Pastor Dick, while exploring the