ISSUE 9

CDITORIAL
Welcome to Issue 9. It is a bit later and lighter than we promised as
Cyclic Towers has yet again been hit by a maelstrom of ill fortune
CONTENTS which has permeated out to some of contributors as well. Bear witness
4 COVER DESIGNER: to our iPod crunker being bailed up in London after a big night out, an
PAUL DRUMMOND interviewee going AWOL, and my co-ed Dale limping around in an
PO Box a2073
by Bim Ricketson oversized space jandal. The promised articles that are missing will
Sydney South
appear in a bumper Issue 10.
NSW 1235 Australia 6 TWOTONE
Despite this, we’ve been inundated with good music in the past few
We welcome your contributions by Sebastian Chan
months and as a result of this flood we have now set up a ‘music club’ –
and contact: 8 DECODER RING the Cyclic Music Club. The idea of the club came out of talking to one of
[email protected] by Peter Hollo our writers, Chloe Sasson, about her book club, and from all the emails
www.cyclicdefrost.com we get asking where to get some of the music we talk about in the maga-
10 AUSTRALIAN VIDEO ART
ISSUE 10 DEADLINE: 12/12/2004 RESTROSPECTIVE zine. Like a book club the music club is simply a club where everyone
by Sean Healy listens to the same album and then discusses it – however using the
Publisher & Editor-in-Chief resources we have, we’ve taken it the next step – we source the albums
Sebastian Chan 16 DOMU
for you and send them direct to your door! This kills several birds with
by Calico
Art Director & Co-Editor one stone and makes quite a tasty bird pie out of them. All our Music
Dale Harrison 18 MUSIC REVIEWS Club members get new, interesting music sent to them as often as every
Sub Editors 31 SLEEVE REVIEWS fortnight complete with listening notes to help them make those all
Aparna Khopkar by Alex Crowfoot important linkages between what they might be listening to and what
Jordan Spence they already own or know. Members also get to participate in discussions
36 LIVE REVIEWS:DEMF & SONAR
Reviews Editor of the albums with the artists and labels responsible for them, as well as
by Will Tregonning & Dale Harrison
Dale Harrison talk to other club members – thus creating a nice relationship between
40 SELECTS: GAIL PRIEST consumer and producer, voyeur and artist. Since launching the club on
Advertising by Sebastian Chan our email list, we’ve sent out electronica, sound art, hiphop, indie and
Sebastian Chan
42 DEAR DEGRASSI reggae albums drawn from both local and overseas labels. The Music
Advertising Rates Club is about exposing people to new, interesting music in an accessible
download at www.cyclicdefrost.com
painless way, and building up a stronger, more diverse music listenership
Stockists
NSW: Victory Music, Bloody Fist, Plum Music, Market Music,
out there. To find out more check out www.cyclicdefrost.com/club.
Troy Horse Rock Shop, Hi Fidelity Lounge, Salamander Sound, So, on to the stories that are in this issue. We have local interviews
Distribution
Spot Music, Redback, Spank, Music @ Byron, Hum on King, with Sydney post-rockers Decoder Ring fresh from their scoring of Cate
Inertia Distribution
Hum on Miller, Hum on Oxford, Leading Edge Warriewood, Shortland’s excellent award-winning debut feature film Somersualt,
www.inertia-music.com 360 Sound, Leading Edge Penrith, Mall Music, Electric Brisbane dub techno producer Twotone, Sydney sound artist and
Printing Monkeys, Fish - Newtown, Fish - Glebe Music, Bizarre,
Electrofringe director Gail Priest, and an overview of the Australian VJ
Torch Publishing Euphoria, Freestyle, MCA, Metropolis ,Recycled,Explore
Music, Disc, Reefer, Record Store NSW, So Music, Red Eye
scene since the early 80s from Jean Poole. On the international front
Web Programming we have an interview with breakbeat and jazzstep producer Domu as
Giv Parvaneh, Qbique www.qbique.com Victoria: Licorice Pie, Slap, Readings Carlton, Northside,
Kent St, CC Geelong, Recycled, Missing Link, JF Porters, well as rather cynical reviews of the annual Sonar and DEMF festivals.
Web Design Boston Sound, Voyager Port Melbourne, Record Collectors Filling it out are a stack of reviews and a killer cover this time done by
Luke Elwin, Qbique www.qbique.com Corner, Second Spin Tech, Voyager Ivanhoe, Greville, Sister Sydney hip hop producer and graphic designer Macross Matrix.
Web Hosting Ray, Polyester, Synaesthesia, Central Station Melbourne, Sebastian Chan & Dale Harrison, Editors.
Blueskyhost www.blueskyhost.com Substrata, Gaslight, Raouls, Kriskay
Guest Cover Design ACT: Impact, Landspeed
Paul Drummond Queensland: Skinny's, Rockinghorse ,Butter Beats,
Issue 9 Contributors Sunflower, Toombul Music, Alleyway, Cosmic Music,
Jordan Spence, Bim Ricketson, Leading Edge, Music Scene
Vaughan Healy, Alex Crowfoot, Melinda Western Australia: Dada's, Mills, Central Station Perth,
Taylor, Bob Baker Fish, Lawrence Planet Video, Chinatown Records
English, Matt Levinson, Peter Hollo, South Australia: Muses, Big Star, B Sharp, Chatterbox, Extended articles

 Downloads of featured artists

Ron Schepper, Barry Handler, ollo, Uni Records
Guido Farnell, Sean Healy, Calico, Will Tasmania: CD Centre, Ruffcutt, Wills Music, Aroma
Tregonning.
NT: Casuarina
Thank You
Nick, Ash, Justin, Ruby, Chloe @
Inertia, Natalie & Noel @ Torch
If your store doesn't carry Cyclic Defrost then get them to
order it from Inertia Distribution
www.cyclicdefrost.com
Publishing, Giv @ Qbique, Chris Bell at
Blueskyhost, and all our advertisers. The views contained herein are not necessarily the views of the A New Audiences project, assisted by the Australia Council,
This issue is dedicated to Louise publisher nor the staff of Cylic Defrost. Copyright remains with the the Federal Government's art funding and advisory body, through its
Harrison for her love and support. authors and/or Cyclic Defrost. Audience and Market Development Division.
4

,
e net
n TV, th
et , o s p
to
he stre ake me ing
findo n t
u gh to m
, is inspir
ing I n o on e
Anyth cool e was d
ing that’s u t h ow it
anyth k abo
r
M
e
ER
ally thin
and

S FOR
T R A N
BovEer A Tgner ond
Desi u l D rumm
C Pa ith
iew w son
Inter v
never wavered. ‘It really pissed off my lecturers after a while.
t
B i m Ricke From photography to interactive media to video, all had some-
thing to do with hiphop in some form.’ But hiphop is simply the
by filter through which everything passes, as Drummond is inspired
by many others things: ‘Anime movies, Hollywood and B-grade
Paul Drummond is something of one-man cre- movies. B-grade movies are always a good resource to pick up lit-
ative agency to the Australian hiphop under- tle tricks on how to get effects on the cheap,’ he explains.
ground. In addition to his day job as corporate ‘Anything I find on the street, on TV, the net, anything that’s cool
graphic designer and as MC Macross Matrix, enough to make me stop and really think about how it was done,
Drummond designs clothes, flyers, LP artwork, is inspiring.’
websites, is designing a book and directs music Recently Drummond has been testing his adaptability by pro-
videos for a network of Aussie hiphop mates. ducing some music videos. ‘Doing a clip is another challenge
Simply put, hiphop is the avenue into which this (especially with no money) compared to other forms of design. But
issue’s cover designer channels all his creativity. if you’re a creative person you should be able to apply your ideas
and skills to anything.’
‘It all started when I met Dr D (now 13th Son) in Retaining the rough and ready underground approach,
Year 7 at high school,’ begins Drummond. ‘He Drummond’s most recent clip, for Sydney MC Realsitix, took just
was in a group called Industrial Dispute that 50 minutes to film. ‘[And] that includes walking to the location,’
later became Fathom. I was introduced to hiphop he says. ‘Realistix used to be a part of the Blue Mountains group
by these guys. I was never really into music Explanetary, rapping alongside Urthboy. He was working on his
before I was exposed to the raw, underground, album Turf Wars (which is out now) and I was looking for a video
rugged beats and lyrics that 13th Son and the project to play around with. We picked a song and a location and
Fathom boys played me. For better or worse, filmed it in an afternoon. It was a very unplanned, suck-it-and-see
music and especially hiphop music, has mould- type of shoot. We had a portable stereo to guide us and a mini DV
ed me into the person I am: how I see the world, camera. We did about two takes of the whole song in about 4 dif-
how I am seen in the world and how I partici- ferent places and I filmed bits and pieces as we walked around to
Above from top: pate in it. To start to make music and be fill in the gaps. Then I took it home and spent a lot of time editing
Paul Drummond’s layered style involved in the local hiphop scene was just a and treating what was shot in Final Cut Pro, After Effects and
in effect; scenes from the natural progression.’ Combustion. There was no deadline so I fucked around a bit.
Realistix video Good at art and tech drawing at school, ‘I was after a video project but it needed to have a useful end
Drummond ‘lucked it’ into UWS Nepean’s Visual result. If it didn’t have one I would never have finished it. I know
Communications course, and his hiphop focus I could have just wandered the streets to shoot anything that
 moved and played around with that, but then it

52 ENMORE RD
@ NEWTOWN
EVERY SUNDAY 6pm – 11pm
FREE
had no purpose, I wouldn’t have gotten on board
with it and I would have ended up with crap.
‘It was very time consuming; I’m a tough cus-
tomer to please, so I was always redoing pieces.
Funnily enough I’m still not happy with the
final result, but happy enough to let it go. You
have to learn when to say when.’

When in MC mode as Macross Matrix,

Drummond teams up with legendary Sydney
producer Sereck (Def Wish Cast, Celcius), who
also introduced him to Australian graf artist
Atome. Drummond designs clothes for Atome’s
Oneleginc brand, as well as laying up Atome’s
new book Unleaded.
‘The Atome Unleaded book was a project
Atome had wanted to do for a while. The book
COMING UP
is a collection of excerpts from Atome; an exclu- Sunday November 28
sive peek into his inner-workings and style. The Plumbline (Live, UK)
never-before-seen lead pencil sketches are from Snawklor (live)
the birthplace of his style, his black book. Inchtime (live)
Unleaded is about documenting and sharing ollo
Atome’s art with the world. Seb Snarl
‘We originally got together when Atome was
looking for someone to design T-shirts for Sunday December 5
Oneleginc, and Sereck told him about me. We’ve Burnt Friedman (Germany)
been doing things together for about 18 months. w/Hayden Chisholm
I had a hand in the winter range of Oneleg hood- Pivot (live)
ies and zip-ups, as well the new Oneleginc web- Sub Bass Snarl
site. And keep an eye out for this summer range
Sunday December 12

Information for Members and their Guests

of tees; it’s gonna be dope! The hook up has
been great for me cause I haven’t just gained a Lyndon Pike (FBI)
good friend, but we’ve come up with some great Kid Calmdown
projects for me to really get my design out to the Sir Robbo
world on a personal level, not for a company. It’s Prince V
very satisfying seeing someone you don’t know
on the street rocking a tee or a hoodie you did.’ Sunday December 19
Looking into the future, Drummond sees more Clark Nova
well-planned works. ‘My approach to the proj- SleepyRobot

INY♥
ects I take on is something I have been refining of Sir Robbo
late: Making the final work’s purpose clear in my Prince V
mind,’ he explains. ‘Once I am happy with what
I want to communicate, or not communicate, I
clockwise from left:
try to find one strong element that is exactly
Celsius cover and album detail;
what I want and use that as the core. Then I let
poster designed for Pearson’s;
everything else fall into place from there. Also,
Oneleginc t-shirt design
the first creation doesn’t have to be the last,
sometimes I save it and come back the next day
and remix.’ In whatever he does, Drummond is
on a constant quest for what he describes as the

E
‘Oh shit’ factor. Why? Drummond simply states,
‘Dunno, it’s just my thing.’

Paul can be found at

www.bunkadefresh.com. +popfrenzy
New Macross Matrix material is the cheap, local alternative
scheduled for a 2005 release. tickets available soon
6

rom a
a par t f
cen e, lects
is bane s ne ra lly neg
r ge
The B gigs, sor t.
is o lated n s of any
few
elec tr onic m
HITE
usicia

N D W
C K A
+ BLA ieli
be
 woTone/ Ryan Gob
M
T ith
iew w
Inter v t i a n Cha
n
b a s
by Se
‘There is so much you can do now, just within a neglects electronic musicians of any sort. It
computer-based studio, that you could never do does however, have a surprisingly large DJ
so easily before’, Gobbe explains. ‘And now that scene, and a respectable turnover of DJ acts
high-end computers are so affordable, it’s more passing through. I think this DJ culture
accessible than ever before. I don’t need a lot of excludes local acts and people starting out from
hardware/outboard equipment, and I stick to getting a foothold. Venues are rock-oriented
software mostly – programs [like the open and, apart from [the monthly experimental
source] Jeskola Buzz, which is completely free night] Fabrique, I can think of no important
and practically limitless. The online community events that open up the scene or make an effort
that’s attached to this software is incredible and to book interesting overseas acts. My only com-
there are thousands of users constantly improv- plaint with Fabrique is that it is on too rarely;
ing and adding to it. It’s the same with [Native as any events of this nature are obviously val-
Instruments’] Reaktor. The problem now is find- ued by the dedicated crowd it draws. Also,
ing what you don’t want to use! There are more local independent radio station 4ZZZ puts out
options than ever and more ways of doing the a compilation CD of local electronic music
same thing, so you have to set your own limits once a year, focusing on unsigned acts, which
and kind of restrict your interests just to get is a nice move towards forming a scene. On the
things done – it’s easy to get caught within the whole though, the club scene offers little to me
Ryan Gobbe is in an odd position: with two millions of details.’ The very nature of this kind as I find little difference between nights, so I
albums out in the same month on different inde- of patch-based software is that its resultant music don’t get too involved. Instead, home listening
pendent labels, he is unsure which he should be is full of minute detail – microsounds. has taught me a lot about what I want to do.
talking about more. Under the alias of Twotone Based in Brisbane, Gobbe is somewhat sepa- Over the last few years I’ve found a lot of great
he has released Cinecity on Bug Records, and as rated from the wealth of like-minded producers records that I always refer to, artists such as
Mieli he has Version on Feral Media. Despite that are based in Sydney, Melbourne and Perth Sutekh, Twerk and Akufen. But one of the
different pseudonyms, both releases draw on a – the three Australian cities where semi-regular biggest problems electronic music faces is how
similar palette of sound – shifting tones, delay- nights form the backbone of the scene. In fast it can date. These artists have avoided this
drenched pads, itchy high-hats, and throbbing Sydney there is an opportunity to hear micro- to some extent, and I appreciate anyone who
pulses with nods to a lot of overseas producers house and its related genres in small doses at can do this.’
such as Akufen, Sutekh, and Farben. Like these Mad Racket and Frigid, in Melbourne there is
producers, Gobbe is working with a precise Deepchord run by the crew from Slap Records, TwoTone’s album Cinecity is out
computerised sound, the result of detailed pro- and in Perth there is Dave Miller’s Aesoteric now on Bug Records through
gramming, in which the challenge is to make which has formed a cluster of interesting pro- Inertia. Version, released under
things sound humanised and organic, despite ducers around it. Gobbe says, ‘The Brisbane his Mieli pseudonym, is out on
being intensely digital and mathematical. scene, apart from a few isolated gigs, generally Feral Media through MGM
8

A ULT
A S S
+ SOME g rald
c o d e r Rin a t t Fitzge
e D M h
e r v i e w wit
Int ollo
y P e ter H
b
event rather than being seen as music or projec-
as an
at it w tion or a band or DJ, or all those sort of bullshit
o ut, was th d and synth lp things that don’t really matter – what you’re
e ar he
P cam keybo pped in to rs
first E vis Jr (the r ste embe
actually interested in is an experience, and for us
hen their y Da gita to g m
back
w
n Ken
n Regur in
remain esting
it was about trying to strip everything back so
Ring, ce the from e the r
t D ecoder riv en. Sin yer. Ben Ely g this tim m os t inte that the experience was paramount.
u -d in e
th in gs abo k e y board the bass pla work. Dur to one of th ‘When we play live, we see it more like a DJ
ng ally r,
owne gular line
of track
teresti nd, and re eoff T sound
set; it’s always frustrated us how live perform-
f the in ba e
has G ed to his r delivered a
One o ental rock d , a s ance is conducted, it’s so stop-start. We try and
instru
m e ban return t and have e).
left th since e in Tim move it around so that hopefully you don’t get
laye r) has ft, but has n d th eir fe
n a review those in-between-set lulls that are so frustrating;
p le fi o
Geoff ged to menti
when ietly mana ears (not to ‘The original vision of the band was the death of when one band finishes and you stand around,
e q u in y
hav a n film
s the band, ultimately,’ says Matt Fitzgerald, who rush to the bar, and wait for the next band to
a li
Austr plays guitar, keyboards and synth. ‘We’re anti the start again.’
notion of any idolatry of musicians, which is Although one thinks of Decoder Ring as an
quite funny in these times of fashion-led hype instrumental band, all their releases have featured

c e r n ed machines. It was also a statement against gentrifi- vocal tracks, usually utilising the vocals as just

e ’r e con ic cation and pigeonholing. And at its highest level, another instrument. Lenka, who sang on the first
fa r as w m a g net it was even an assault on demarcations between album, appears again on the Decoder Ring sound-
as ll e le ctro r t s audio and visual,’ he explains. ‘Simon, who does track for new Australian movie Somersault.
st a pa
it’s ju t d if ferent the projections, likes to say that as far as we’re The album has been getting healthy airplay

v e s , jus concerned it’s just all electromagnetic waves, just and really does manage to meld Decoder Ring’s
wa t r um . rock-meets-electronic aesthetic with something
sp e c different parts of the spectrum. For us it’s always
of the been about trying to create something that’s all- really quite pop.
encompassing in terms of music, but also in ‘We found it a quite exciting and challenging
terms of destroying the demarcation between thing to do, especially the closing song – you
audience and musician. All of us are both pas- know, the classic film closer; it’s a bit more overt
sive and at the same time active in creating a than what we tend to do. It’s an area which we
context or an environment, and an emotional never expected that we’d get the opportunity to
sensation within that. do, but you’ve got such a hilarious – sometimes
‘That all sounds quite cold and theoretical, but fantastic, sometimes appalling, but always very
we wanted to create something that, when you effective – lineage of closing song in a movie.
enter a room, would be all-encompassing, a huge You know, you’ve got your Beaches, Officer And
and emotional wave that you got caught up in, A Gentleman. We were like, ‘This is a really
that was almost disorienting. A full sensory weird place in music to be,’ so we wanted to do
something which was us, but at the same time pay a ‘This album is more electronic than before, but
bit of homage to the tear-jerker closing song. it’s also more organic. It’s not over-the-top synthy
‘And the soundtrack to the film is rarely placed sounding; more organic synths, and some sequenc-
under any dialogue, so it stands alone. There’s sort ing and cutting up of found sounds – but there’s also
of three types of film score you can have: back- accordion, vibes, cello, glockenspiels. Two genres I
ground music, which is under dialogue; really over- really like but really hate the name of are post-rock
the-top, tugging your emotions music – like a dan- (which often they turn around and use as an insult)
ger theme, Psycho being the classic example; and and cicadas and crickets in the background, and and IDM. If I’d like to see us as anything, it’d be the
then the third is where the music is a different per- other things like that which just all had the mood same territory as Eno – you can see it as ambient,
spective, a layer of the film that’s integral to it – nei- that we wanted, which is that gentle innocence. but then there’s his working with Talking Heads, like
ther overt or underneath but a component in itself. ‘We worked very closely on the soundtrack with Remain in Light, which is also really funky and live.
‘Our brief was that it’s a movie where the heroine Sam Petty, who’s the sound designer on the movie, Whatever they were called back then, it was ulti-
of the film has all sorts of encounters; she’s just left and who worked with The Necks on The Boys mately a form of punk, a no-wave response, as they
home and she’s trying to step out by herself into the soundtrack. He did amazing atmospheres, so we called it. The genres have all been torn down now
dangerous world of male testosterone as a beautiful worked very closely with the music and him. We really, so nu-rock no longer really has the spirit of
young girl, and finding the difference between sex actually have some of his sound design on the rock, and so on: there’s ‘chuckle-punk’ now – all the
and love. We were about her inner naïveté, because album. You really get a sense of the journey; it goes punk bands stopped being punk, and the rock bands
on the outside she was pretty street-smart, but she in an arc similar to the film, but independent of it at stopped being rock bands; it’s all so fucked-up it
had a really beautiful, innocent view of the whole the same time. A lot of the tracks have been extend- doesn’t matter what you call yourself.
world. So it’s counter-intuitive we didn’t don’t rep- ed and changed, parts added and new songs added. ‘We’ve always liked to play with all sorts of differ-
resent what’s on screen, but what’s in her – what So it’s a soundtrack, but it’s a Decoder Ring album ent styles of bands, everything from the more
she’s feeling, and how she’s seeing it. We really had too. It traverses the terrain in the same way that all punk/hardcore bands, to hiphop, electronic, or post-
to lock in with the character.’ our releases have, but in a different way. rock, and it’s always been very important to us that
While touring after the first album came out, the ‘The soundtrack is like its own world; it’s always we like all sorts of different music. We like to sup-
band had been working on a lot of new material – in the aim to create a world that you’re invited into. I port stuff that we find interesting rather than any-
fact they had about three quarters of an album ready find it’s like you can put play the album and create thing genre-specific, but at the moment I don’t really
to go. ‘Whether that material will ever see the light of a little bubble – you’re in it and the rest of the feel an affinity with anything scene in particular.
day is another thing,’ says Fitzgerald. ‘It’s funny world’s outside it – and that’s a really nice thing to And because we’ve just been doing what we do,
because you look back and it’s been almost two years have done, especially with what’s happening to the independent to music, it’s funny how music ghetto-
but it’s gone incredibly quickly – we toured and then world at the moment. In the whole world context ises styles. It’s really nice to just say, ‘This is what I
just jumped into the film for about six months. And it’s really nice to do an album that is gentle and del- do and you can take it or leave it,’ and it’s up to
because there are songs on the album that aren’t in icate, for us it’s almost a statement. For me, all this other people to make those decisions. They’re going
the film, we finished them off and produced the energised macho bullshit stuff that’s going on at the to anyway – and they’ve probably got a better per-
album, and then we buggered off to Cannes. Since moment sort of denies the existence of these other spective than me.’
then we’ve just been getting back to playing live and issues, but in the past music has played a much
starting practising for some shows in October. more active part. At the moment music seems to Decoder Ring’s soundtrack to
They’re going to be special shows where we focus a just be hyping everybody up and being stuck on tel- Somersault is released on Inertia
lot on the soundtrack, but we also want to have some evision commercials with no shame.
of the various complementary material from both the
EP and the album, and some new material as well.
We’re really excited about it actually.
‘We’re really good at writing songs before we
record them and then forgetting them. We did a
phenomenal song just last week, which we all sort
of finished, and were absolutely blown away. But
we all have absolutely no idea what we were play-
ing or what it actually sounded like, except that it
was incredibly sonic and moved really naturally.
We became so lost in it that nobody noted what was
happening. It probably would’ve been white noise
once it filtered through the minidisc. One of the
rebounds from doing all this delicate stuff is that
we’ve been quite loud at the moment.
‘On this album, a lot of what we ended up using
was done by playing around, jamming and record-
ing various instruments over it, first takes and
things like that that really fitted. So the soundtrack
is amazing like that – a lot of it hasn’t been
analysed to death. There are first takes with buzzes
 What you don’t miss about the ‘early days’ ?
10
S O F Carrying 26 inch monitors up the stairs – and
down again at the end of the night.

AG E R Old gear vs new gear comparisons?

+ IM
R A L IA ideo
Art
I can’t define a point at which gear went from old
to new but I can say that a point occurred when

AUScTtive of Austra TOM ELLARD

l i a n V abstract visuals became concrete – were images of
known things. That state-change has occured a
few times in different working methods – in com-
spe
Retro Healy
puting it came in 1987 with the Amiga and
The enigmatic lynchpin and frontperson for DigiView – but in live graphics it came later.
an Severed Heads, with an embarrasingly large back
by Se catalogue of mashed & mutant audiovisual mate-
rial. Ellard was testing the limits of computer-
based AV technology before many current DJ/VJs
were born and is heavily cited as an influence by
Trace the current live pixel boom back from rav-
many. He continues to release new experiments
elight to cavelight, and music will always be
at his <www.sevcom.com> site.
found dancing with imagery. Even musical nota-
tion is a visualisation, and a rich lineage of
Early Inspirations?
shadow puppetry, sideshow carnivals, tweaked
Film effects – of the sort created by Douglas
oil lamps, slides and album cover art attest to
Trumbull by exposing light to film through lens-
the historically interwoven nature of music &
es. My brother and myself tried to recreate them
imagery. Live visual tweakage got a kick out of
long before video was an option. My brother
the last decade though: with real-time video and
built models and photographed them as 35mm Tom Ellard in situ, 1988
graphics manipulation possibilities soaring
slides. The slides would be projected onto a
thanks to a shift from C64 to P4 & G5; the emer-
screen and a skateboard used to move the projec- How have your creative processes evolved?
gence of laptops capable of broadcast quality
tor! Then they’d be reshot onto 8mm film. Throughout the ‘90s computers were too slow for
video edits; delivery of a dizzying array of time-
real-time and so it was a matter of generating
melting and splicing audio and video software;
What equipment did you start off using? frames and dumping them to videotape – the
and web connectivity. This issue of Cyclic
Slides. Most music audio visuals were done with results were increasingly static video compared to
Defrost we will profile some of the Aussie Pixel
slides (e.g. The Reels and the Human League). the ‘80s. Since about ‘96, real-time has started to
Battlers who rode that wave in.
They were the only things bright enough – video reappear. However, I’m still mostly grounded in
was far too feeble. Computers started to get places pre-calculated graphics because the image quality
AV pioneers such as Severed Heads; the hard-
with the Atari 800, but still only as a source for is an issue for me. I would rather pre-calculated
ware-modifying ‘Video Subvertigo’; and the
slides. I also used film loops – 8mm film fed good work than real time twiddly (I HATE any-
Australian Fairlight company (which made the
through a projector and then joined into a loop. thing fractal or hippysplat) – the maturation of
CVI video processor) should all be recognised
OpenGL and the new graphics cards are now able
for having risen to the challenge of invention –
Favourite moments? to equal prerendered video, so I can tell the stories
each contributing much to the growth and
Usually when we introduced a new mechanism – I want to tell in real time. I believe in content.
potential of the live video community in
video synthesiser in the early ‘80s or OpenGL
Australia. Alongside them, several key artists
rendering in the early ‘00s – and the results The evolution of ‘visuals’ over the 90s?
contributed to the evolution of live video in
jumped ‘up a level’ if you know what I mean. I am not sure what the fascination was with
Australia, and it’s a pleasure to present some
Suddenly there was a new potential. rotating doughnuts. I guess all early 3D software
interview responses from the majority of
was able to create a doughnut and rotate it – so
Australia’s finest live visual aesthetes, experi-
that’s what you got. I myself once bought a real
menters and epilepsy-inducers of the pixel
doughnut and hung it on a string, digitised that
decade past.
and used it as a video for a band. Around the
early mid ninetees the whole hippysplat thing
FAIRLIGHT went way out of control – mandelbrots and feed-
In 1984 Australian innovators Fairlight released back everywhere. I hated it – it was not saying
the ‘The Fairlight Computer Video Instrument’ anything at a time when there was a lot that
(CVI), a no-longer manufactured but highly sought after piece of vintage video pie. What you got could have been said. The point worth making
for your US $6,500 in the day, was a small rectangular box with a set of sliders, buttons and a small here is that performance video has yet to escape
graphics pad with which you could ‘paint’ or stencil layers of video. As a real-time video effects a trivial ‘eye candy’ level. It still is assessed in
box with 100 customisable preset effects and hands-on analogue control the CVI caught on quick in terms of ‘what equipment/technique’ – how
the electronic arts world, and went through several updates until its eventual demise. Now only ‘clever’. More mature artforms such as film have
occasionally popping up on ebay for too much moola. been able to escape that level. I have seen very
few video works that made me cry.
VIDEO SUBVERTIGO
Ian Andrews
One half of the legendary and politically efferves-
cent Video Subvertigo, and well known in video cir-
cles for his modification to the Panasonic MX10
mixer, which enabled luma-keying and black level

mu
adjustment. Aside from a lengthy span as video per-
former, Ian also has a hefty catalogue of produced
ic

s
music under his belt – as part of Non Bossy Possee,
Organarchy and many aliases such as Disco Stu. Try club
<www.radioscopia.org/iana> for an extensive list of
his AV exploits.
KIRSTEN BRADLEY
Kirsten started out regularly performing solo in
Sydney, creating lush live video for The Bird, Prop
and other artists, before merging with Tonescope in
Melbourne and producing several well received out-
door performances. She has also done some large
scale video in theatre productions along the way. Want something new but can’t decide?
Non Bossy Posse <www.cicada.tv> Want to experiment with new genres?
Early Inspirations? No time to browse in record shops?
Fuzzy Logic crew in Sydney, Xmix on miscellaneous
televisions and experiencing the Tokyo Equinox par-
ties. Getting a 7300/200 Mac with video in-built!
WE CAN HELP...
Cyclic Defrost now run a subscription-based
John Jacobs What equipment did you start off using? music club. The best and most interesting music
The ‘JJ’ half of Video Subvertigo is a constantly pro- I lied my way into the craft – got myself a national released locally and from around the world is
voking Sydney artist with a strong community pedi- tour with The Bird, then went and immediately sent directly to you each fortnight or month.
gree – working as part of the Jellyheads & Vibetribe hocked my entire music studio and swapped it for a
collectives, the Organarchy & Non Bossy Posse VJ rig – MX50, 4 tapedecks, a projector, 5 monitors We supply listening notes, facilitate live
tekno groups & producing radio at Radio National. and kilometers of cabling, all housed in old suitcases discussions with the artists and/or labels, as
Aside from cratefuls of VHS montages, he has also with foam stuck inside. I then went on tour and well as with fellow subscribers.
developed a stack of tracks available at the anti- learnt how to use it all – rigging 3 projector shows as
copyright site: <www.mpfree.cat.org.au.> I went. I had a leatherman though, so I was sorted. The Cyclic Music Club also offers subscribers an ever
changing monthly range of other 'recommended' music
What equipment did u start off using? Favourite moments? at very low prices – you can buy as many or as few
Panasonic mx10 video mixer was the brain of the Making video with my sweetheart and being extra albums as you like.
operation. Often we used 3 of them all connected allowed to talk about visuals in bed at 3am. First Recent Music Club releases
Qua, Painting Monsters On Clouds (Surgery)
together with absurd feedback loops. They were all night of VJing at a bush party with Tesseract, Morph Various, Melatonin (Room40)
modified to do full luminance key with video and Oishii – they got me tripping and then stuck me Junior Boys, Last Exit (Elektrokin)
instead of background colour. We used a variety of on all this gear I’d never seen nor used, it all made Arovane, Lillies (City Centre Offices)
Headset, Space Settings (~scape)
cameras. My favourite was a JVC 3tube KY1900 that sense for some reason. Re_Squared, cause we finally Clouddead, Ten (Big Dada)
produced beautiful soft feedback, and John Jacobs’ got to do a site-specific work with a decent budget. The Congos, Heart Of The Congos (Blood & Fire)
Beans, Shock City Maverick (Warp)
Tri-cam which was a special hand built tripod with Birdcage, cause it rocked my heart and soul and dj/Rupture, Special Gunpowder (Tigerbeat6)
the camera facing straight down towards a monitor everyone came together to cover a building in light
which swivelled on huge industrial bearings. We and it was just damn special. SUBSCRIPTION COSTS (inc delivery and GST)
would control the video feedback from the cameras
$165 for 6 CDs total
with Arlunya processing amplifiers and Sony colour Landmark events where live video went ‘next level’? delivered fortnightly for 3 months Australia-wide;
correctors. We also used Amigas playing animation When I figured out how to use my mixer at the first
loops and Fairlight CVI. Bird Show in Newcastle (thanks to mr Nick Ritar $83 for 3 CDs total
delivered monthly for 3 months Australia-wide;
who had shown up to have a look).
Favourite moments? $190 for 6 CDs
Sometime in the early ‘90s Meatbeat Manifesto What you don’t miss about the ‘early days’? delivered fortnightly for 3 months anywhere in the world
came out and played at a huge party in Sydney (the The size of the rig and the packdown time.
name I will not mention). There were massive video
projections and Subvertigo were supplying most of
To find out more or join up visit
How have your creative processes evolved?
the images. The cops arrived half-way though the I know what I like, and I know how to make it.
www.cyclicdefrost.com/club
night and herded every one out. While they were The Cyclic Music Club is run by and for music lovers. We aim to
doing this out the words ‘fuck the police’ flashed offer the best releases at the lowest possible prices and any
Old gear vs new gear comparisons?
profits, small as they are, are channelled back in to Cyclic Defrost.
continuously on the screens. Old was tactile, new is powerful – it’s a tradeoff.
JOHN POWER
Now sporting a beard large enough to store floppy Hotel during 2002 Electrofringe with a DVcam, a productions were quite well put together. We did
disks in, John has long championed animation and VHS deck, and an RCA lead. I was just pulling the eight hour sets, and sort of planned them in big the-
computer graphics in Melbourne, and as part of lead out of one machine and sticking it in the other, matic slabs.
‘2Loops’, took his visual performances across sometimes jiggling the lead for a sprinkling of glitch-
Australia and parts of Asia. Apart from lecturing at iness. The crucial ingredient was the footage Dale What you don’t miss about the ‘early days’?
RMIT he transforms game engines into live video had shot of himself photocopying a dead cat. It took Carrying equipment up and down stairs. Not getting
manipulators in his spare time. the staff a while to realise what was going on, and paid
once they’d all had a good look they kicked us out.
Early Inspirations? How have your creative processes evolved since
Kaleidoscopes. Josie and the Pussy Cats on Saturday Performances that went really well? then?
morning TV, and the general pop-art glam of later 2Loops did something like 100 shows at Every VJ who likes to mix live learns to keep their
60s early 70s TV (eg. Batman, Banana Splits, Get Centriphugal, and a few of those nights were pretty content pretty sparse, so there’s room to add things
Smart, Doctor Who titles). Wayan Kulit (Indonesian packed and crazy, with people really aware of –and when you mix it. Early material I used involved lots
shadow puppets) doing scenes from the Ramayana enjoying – the images responding to the sound. I once of pretty involved 3D animation and lots of movie
when I lived there in 1972. The climactic AV ‘con- mixed defocused static with video feedback for about clips. I hardly do anything figurative anymore, rely-
versation’ in Close Encounters Of The Third Kind. 45 minutes, and later had a girl explain that not only ing more on abstract composition.
Scripting computer graphics on Apple IIs in 1981. did she know where and when I had shot this ‘crowd
Studying with Paul Brown and doing my first 3D footage’ (of a great gig she’d been at), but which light Old gear vs new gear comparisons?
video in 1986. Learning about Kinaesthetics and tower I would have climbed to get the shot. Non-linearity is hard to beat. Many people seem to
Klee, Kandinsky and Fleischer’s work into ‘simul- be going for the software patching paradigm,
taneity’ at the Bauhaus. Steve Middleton’s manipu- Landmark events where live video went ‘next level’? although I’m more interested in what a game engine
lated projections with Don’t Shoot the Messenger at 2Loops did quite a few shows at the Prince Of can do simply because there’s much less data to
the Mind-a-Maze parties, early 1990s. Studying Wales in 2000-2001 for the 33 1/3 series where we fuss over.
experimental film with Arthur Cantrill in 1992. had more ambitious rigs with digital video feeds,
stacks of TV monitors
Favourite moments? facing the crowd. The
Dale Nason and I did a video mix alongside Alan DJs and performers
Bamford in the back room of Newcastle’s Cambridge were great, and the

WADE MARYNOWSKY/SPANKY/ AC/3P

Convict-era Australia’s best known Booty House producer, and long-time 8-bit
AV pin-up boy, Wade’s been simultaneously testing bass bins and projectors for
many a year. Recent projects include soundtracking a performance artist sub-
merged in a glass tank of live eels and performing an AV mash-up onboard a
Finnish ferry. <www.imperialslacks.com/wade>

Early Inspirations? to an ambient set, Perth – having tra-

auv-i, tddy, 242.pilots, Farmers peze artists in front of my visuals was
Manual, Pimmon, Francisco Lopez, pretty weird, video stealth ninja was
Yasaona Tone, Dada, surrealism, Clan the best when we took over a
Analogue, post arrivalists, Toy Death, Starbucks wall for around 40mins
EBN, negativeland, Bloody Fist,
Elefant Traks, Video Subvertigo, early What you don’t miss about the ‘early
Kinselas. days’ ?
Carrying around a desktop machine
What equipment did you start off that usually crashed during my sets.
using?
Apple 575, 33mhz, 36mb of ram, 8 How have your creative processes
bits of power! evolved since then?
Into real time live inputs and
Favourite moments? increased automation. I’ve explored
My first gig at Memory Loss at the many different techniques.
Landsdowne, a woman danced wildly
 release their debut album
‘Louden Up Now’

WarpVision
The Videos
1989
!!! (pronounced ‘chk chk chk’) are destined to be one of the most
talked about artists of 2004. They are a live seven-piece,
electro punk funk mutant disco house killing machine.
!!!’s new album ‘Louden Up Now’, released on the Warp label,
features “Pardon My Freedom” (as heard on Triple J)
and “Me and Giuliani Down By The School Yard”.
2004
‘Louden Up Now’ is a serious The definitive DVD collection of Warp Records videos,
featuring ground-breaking work from directors such as
experiment in getting down Chris Cunningham, David Slade, Alex Rutterford and
“as good an argument as you’ll find for dance and guitars co-existing Jarvis Cocker among many others.
rather than living separate lives… brilliant” Jockey Slut
“acid-bleeding, cowbell-tapping new groove brilliance” NME 32 videos for artists such as Aphex Twin,
“lean white electro-funk… a Standout” Time Out Squarepusher, Autechre, Plaid, LFO, Beans,
“nigh-on irresistible” The Independent
Luke Vibert, Jamie Lidell, Broadcast, Sabres of
Paradise and Nightmares On Wax.

Plus stunning, never seen before videos for

Aphex Twin and Jamie Lidell.

Released for a limited time as a book bound 2 DISC set

including an exclusive 55 minute Warp mix CD.

‘Louden Up Now’ is out now // distributed by OUT NOW

TESSERACT ENDA MURRAY
Cindi Drennan & Justin Maynard /THE HEADCLEANER
Tesseract (Research Laboratories) are amongst With the thickest Gaelic accent on the Australian VJ
Sydney’s most prolific ‘creators of immersive visual circuit by a long mile, Enda has continued on from
environments’ in recent times. Cindi continues to his VJing to produce many provocative award win-
move them away from ‘screen rectangles’ and into ning media projects, always tackling social justice
screen sculptures, installations and performances at and environmental issues on the way. <www.virus-
odd shaped buildings like the Opera House. Justin media.com.au>
is also a qualified rigger, a coder, and co-organiser
of many ludicrously complicated audiovisual Early Inspirations?
events. <www.tesseractvisuals.com> Dabbling with Super8 film loops at small reggae
Landmark events where live video went ‘next level’? sound system gigs in Coventry when helping out a
Early Inspirations? Electrofringe, for bringing together VJs from around mate who’d ‘liberated’ a video wall (20 x Barco 36
Cindi: my background was in painting and film- Australia (www.projectroom.com/ef2k ). It generat- inch video monitors from his workplace). I began to
making; live video performance was a progression, ed many positive connections, ideas and projects. It collect material from BBC wildlife films and an
using events, architecture and screen sculptures as a led to the formation of the vidi-yo nexus, which eclectic collection of avant garde film sources to
canvas for ideas @ 25 fps. We were influenced by helped us all keep in touch (www.vidi-yo.com) At play at parties. I pirated some early computer graph-
prolific and experienced VJs like John Jacobs, Emile Electrofringe in 2000 we all performed for each ic work from the Museum of Contemporary Art in
Rasheed from Area NotArena, who were tremen- other, with each other in a group show. There were London and hey presto, I was on the road. Matt
dously encouraging and this provided inspiration great experiments like the mega-video mixing Black from Coldcut was also an early influence. I
for directions to explore, or avoid. machine on the last evening, which ended up moved to Australia in 1996 and through
Justin: I was attending an Apple world wide devel- inspiring our Video Combustion project, which is a Undercurrents contacts I hooked up with the CATV
oper’s conference in San Jose in 1996 where the live ensemble performance by an ‘optical orchestra’ (Community Activist Techknowledgy) people. I was
Apple Game Sprockets group had a party in a ware- <www.videocombustion.org> very impressed with John Jacobs’ passion for VJing
house. An electronic band noodled on stage, but the and his energy helping people starting out. Video
entire back wall was covered in beautiful movement Subvertigo were taking VJjing to a respected place,
and colour, which I tracked down to Greg Jalbert which was only fitting given the amount of energy
who was performing with his own software bliss that went into it.
paint (www.imaja.com). That was the moment I
realised I wanted to get into live video. What equipment did you start off using?
2 VHS players and an MX10 mixer… I never really
What equipment did you start off using? moved over to computer. Prior to buying my first
Whatever we could access, we were hungry to try LCD projector I was in the habit of liberating a mon-
everything – initially Justin used a 7500 Mac run- ster 3 gun CRT (Cathode Ray Tube) projector from
ning Blisspaint, Cindi created sequences using tra- How have your creative processes evolved? the city council where I worked and setting it up in
ditional animation techniques, combined these with From the beginning we’ve been committed to live fields outdoors (I’m sure the technicians who guard-
footage we shot and manipulated ourselves. We (audio) visual performance as an important new ed it during the week would have had heart attacks
recorded every single show we did, watching back screen-based artform (and culture), and using that had they known). I was always more into narrative
to learn from our work (we’ve recorded hundreds of as a basis we continue to explore and evolve the than spectacle and was always trying to create sense
hours, it’s fascinating to watch the progression). Our concept of illuminative art, live improvisation, from the snippets of material I had. I would always
2nd mixer was a modified Panasonic MX-10, adopt- screen sculpture and audiovisual architecture... all have a tape ready in the video machine in case
ing the mod devised by Ian Andrews and John of which require loads of think time, planning, prep something worth recording came on. Very DIY.
Jacobs (Video Subvertigo). The immediacy of aside from the actual live performance itself. The
response and the control of image using knobs creative investment means this is a full time occu- Favourite moments?
became integral to our show, and we eventually col- pation, and we tend to do fewer, larger projects. We In more recent times I’ve concentrated on producing
luded with our electronic engineer friend, Brian partner with collaborators, and initiate more of our images rather than projecting but I do feel rather
Murray, to modify an MX-12 for higher quality, own projects these days. proud of my role in the ‘Boat People’ projection onto
which is what we still use at many performances. the Sydney Opera House. It was definitely a moment
Old gear vs new gear comparisons? when projections were taken to the ‘next level’.
Favourite moments? Cindi: Despite the laptop evolution and all the small
Freaky Loops 98, 99 were the biggest events we had stuff, we still lug loads of equipment to shows What you don’t miss about the ‘early days’ ?
ever played at in those early days, and were exciting because the quality we strive for is only possible with Lugging 20 flight cased monitors around was a bug-
events that brought together all sorts of musicians in the bigger processers/faster drives etc of the desktop ger. On one occasion we had set up the video wall
a fundraiser for 2SER. Early Liquid Labyrinth parties computer. Digital Video and DVD are integral new at a cheesy rave only to be told by the promoter that
were special. Perhaps the most special was ‘Life the additions, no lugging crates of VHS these days. it was 6 inches off centre and we should take it all
Universe and Everything’ in 2000, where we played Justin: I think that modern laptop loop based tech- down and move it six inches.
a bogus CNN report at midnight... almost tricked a niques really lose something in the way of visual
few people into heading back to Sydney for those surprises and serendipity from the old mixing up
‘Y2K buggy ATMs spitting cash out onto the streets’. hours of VHS.
TIM GRUCHY

Tim Gruchy, Mardi Gras, 1995

Mixing video since the late ‘80s RAT parties, Gruchy was a founding OTHER LIVE
member of the audiovisual band Vision 4/5, and designer of their inter- VIDEO NOTABLES
active AV performance systems. Tim now runs the Gruchy Productions Stephen ‘Indiana’ Jones: Former
visual imaging and events company. Severed Head, used self-assem-
bled video synthesisers and pat-
Early Inspirations? tern generators as Severed
Stephen Jones / my sister Jane / Buckminster Fuller. GTK. Head’s vidician during the ‘80s.
<www.culture.com.au/brain_proj.>
What equipment did you start off using?
Mid seventies Black and White reel to reel thanks to Brisbane Steve Middleton: Created mas-
Community Video Access Centre and QUT students Union. sive globally toured visual
JASON GEE installations in the early 90s,
produced the first net telecast
Favourite moments? Aside from a long-time history of live video
The warehouse party scene in Brisbane in the eighties. Improvising experiments in Syd, Jason Gee is also renowned from Australia in 95, worked
everything. People bowing in homage to the screens. The RAT parties for performing crunchy audio with Garry with Stelarc on robotics and is
in Syd in the late eighties. RAT NY88 – the first time we did nine pro- Bradbury as ‘Size’. now researching a Doctorate in
jectors surrounding the Hordern when E was first hitting the scene in a AI at RMIT. <http://home.vic-
big way. One party in the Hordern particularly when the whole floor Early Inspirations? net.net.au/~stevem>
went into spontaneous group dance moves. The time we put 2 starvi- The television cutup work of Ian Andrews and
sion (massive outdoor CRT arrays) screens in the RHI (Royal Hall of John Jacobs, everything by Severed Heads and Adam ‘Mu Magic’: Charismatic
Industries) which was also the first time a lighting director ever asked the radio show ‘Stalking the nightmare’ on Brisbane VJ & visual producer,
me to turn the screen down. 2MBS. Severed Heads live. who passed away earlier in
2004.
What equipment did you start off using?
Amiga 1000 Lalila: Sydney duo with sophis-
ticated home-coded audiovisual
Favourite moments? linux shenanigans and av flair.
The Australian Video Festival (1989) opening party
where I had 30 identical TVs linked with RF Morph: Syd Fairlight, live pixel
cables all in a row and the signal got weaker as it & VJ Forum enthusiast.
got to the last.
Olaf Meyer: Has built his own
Performances that went really well? laser harp, turned a crystal Ball
A Big Day Out where we had massive program- into a visual theremin and per-
mable cube video wall and John Jacobs had formed many, many melbourne
organised 5 layers of down stream keying. gigs: http://olaffalo.i.am/
Performances that went really well?
What you don’t miss about the ‘early days’ ? Chris Lange / Oishii: Melbourne
RAT late eighties – big shows, big budgets, big ideas, big crowds, big
Calibrating the grid on old video projectors, ani- creator of the VJ software, SVi :
fun. Vision 4/5 performance in the Horden. The Humid album launch
mating using frame by frame methods and stor- www.oishii.org.
at the Metro in ’95. The DIVA awards, where video design is worked
into the whole structure of the show including stage design the presen- ing the results on floppy disks.
Richard Byers / Superlight: best
ters / mutiple venues. The year the whole Hordern cried when Carlotta
How have your creative processes evolved? known for his cinematic, textur-
entered the hall of fame – superb spontaneous video mix. Some of the
My work now attempts to bring a more narrative al & vectoral contributions to
Mardi Gras and Pride shows where we designed live shows integrating
context to the environment. The Psychedelic Frigid.
performers and video in complex ways.
experience approach to visuals should be taken
out and shot. Kim Bounds: One half of 2
What you don’t miss about the ‘early days’ ?
Loops & long-time Melbourne
Rigging.
Old gear vs new gear comparisons? pixel-ist now running communi-
You would have to say new, although I have a ty digital media projects @
How have your creative processes evolved since then?
huge respect for where things have evolved ACMI.
Gotten more focussed – prefer shows.
from.
Dale Nason: Long-time contribu-
Old gear vs new gear comparisons?
tor to the Melb Centrifugal feed-
Gear – I love it all – the smell and feel of old analogue hardware, its
back massive, and photocopier
hands on interface even though I hated it at the time and always want-
If your appetite has simply been of dead cats.
ed better control that went beyond the evolutionary hangover. Digital
whet, there’s lots more on the
software based tools for their compactness, flexibility and precision –
web at cyclicdefrost.com
but I still want better interfaces/pseudo randomness.
16

OKEN
’ T B R
A IN
IFomuIT Dominic Stanton
It’s no mystery why they didn’t if you look at
the detail. The Acid Jazz and Big Beat scenes had
recently spent time in the limelight after wearing
the ‘next big thing’ mantle, but when the press
D ith
t e r v iew w got bored, the scenes faded away and the artists
In involved had to move on. ‘We were all conscious
lico
by Ca
of that and didn’t want to spoil the good thing
we had. We’re all kind of on the breadline trying
In studios and clubs around the world, thirty to make good music, and if that changed then the
years worth of music (and beyond) is being whole dynamic would change.’ It’s hard to imag-
pulled apart and reconfigured into new forms ine, but with Bugz in the Attic playing festivals
and shapes. Close to the centre of this, is an around the world, it can’t be too long until they
explosion of inventive sounds from a crew origi- get the call from Madonna.
nally defined by their location – the West ‘The music magazines are so corporate that if
London scene – even if many of the main play- it’s not trendy, then it’s not in the interest of the
ers, including Dominic Stanton, aren’t based in magazine, because they won’t sell more maga-
the UK capital (Stanton is based in the small zines for promoting it, so they don’t.’ Stanton’s
town of Bedford fifty miles north). wariness of the music media began with
drum’n’bass. When he started buying records in
If Stanton’s name is not immediately familiar, 1992, there were a couple of music magazines
you’ll probably recognise at least one of his alter available (DJ, Mixmag) and each had a
egos. The best known is the long running Dom- drum’n’bass reviews page. But a year later the
Unique Productions, or Domu. Fresh from finish- reviews pages stopped and coverage of
ing up a ‘nice kinda cinematic opening’ for his drum’n’bass dried up. ‘The only place I could
new album, Stanton took a moment to work out see reviews was in (fortnightly black music
what was happening. newspaper) Echoes. It wasn’t until ’95, when
He ended up in music pretty much by default Muzik magazine started, that you could find
at the age of fourteen. ‘I didn’t have much else to press on drum’n’bass again.’
ally be into, I was just a scrawler, not big on sport or ‘I see music that a lot of my friends make in
y your re sn’t the house page, the leftfield page, the hiphop
it doe
la anything.’ So twelve years ago he bought turnta-
en y ou p a nd bles and soon after began mixing jungle and was page, it’s always everywhere and in a way I think
‘Wh
ental
stuff , “well
im h inking producing within a year. He sent out demos and that’s more creative than having a page of your
expe r ay t g it if own because you’re spreading into so many dif-
go aw
4 Hero’s Reinforced label showed interest, bring-
y o u m e makin ing him on board. ‘I was only seventeen, but I ferent people’s tastes.’ And as soon as a sound
k f
wor oint o o it?”
’
the p nce t
moved up through Reinforced and then to 2000 has its own page you start to have people making
w h at ’s t o d a Black and Archive. Then this scene kind of hap- music to get onto that page. The scene has resis-
ing
e’s go pened so it was all a smooth progression really.’ ted expanding from its pool of key players, but
no-on This scene is now better known as broken beat, there has always been a network of crews outside
but it is a true melting pot, in retrospect, an the UK. These include people like Jazzanova in
almost inevitable result of the genre clash of club Germany, Straight Ahead and GAMM in
culture. Taking the familiar ingredients of dub Switzerland, Kyoto Jazz Massive in Japan,
and dancehall, jazz and rare groove, hiphop, Titonton Duvante in the US, and even guys like
house, garage, electronics and drum’n’bass, the Ennio Styles in Melbourne.
menu is contorted into unpredictable directions, ‘I was quite lucky to get in, it was just through
and most people now identify the style by its Reinforced and 4 Hero. They’re hard bastards to
intricate and irregular rhythms. impress and that’s why there aren’t a lot of new
With the emergence of Jazzanova and IG people coming in, because if someone gives you
Culture in the late ‘90s, support from DJs like a CD and it’s not good enough, it’s not good
Gilles Peterson and Patrick Forge, great (if slight- enough and they don’t have a record. I was quite
ly confused) press and critical acclaim, they were lucky starting eight years ago and I did manage
touted as a potential next big thing and seemed to build a name as being someone that was
set to explode. experimental… but there’s being experimental
and having potential, and there’s putting out a tion for blending underground beats with the songs they have this whole jiggy American thing, which I
record that just isn’t right. I think there’s a lot of that have become anthems at the club, and says it can’t really get down with. But ‘Crazy In Love’ is a
that now, people just want to put out music, so they balances with the production in terms of making baad track, it’s sampling the Chi-Lites with a fat
start their own label and put out records that just money, but musically it’s not such a happy marriage. break and a wicked vocal, and if you can do some-
aren’t really accomplished.’ ‘There are conflicts because Co-op has created a lot thing like that with one of the best singers in the
Stanton blames the advent of PC-based recording. more dance floor tunes than there ever used to be, world then that’s a great record.’
‘People spend a week learning Logic or Cubase and and it’s made a scene, where before it was people ‘Madlib’s done the DJ Rels album, I really liked
they’ll have a record out, they’re just not ready.’ experimenting. That’s the nature of scenes, they settle the first twelve, but the album is really dirty, scuzzy
Which suggests that Stanton’s not into grime, or down and form templates, but it’s made everyone rough breaks and it’s all a bit, not unlistenable, but
whatever you call the dark underbelly of UK garage more conscious of what works in a club. So when kind of unplayable. Sometimes the Americans really
giving birth to a deformed child (dubstep, 8bar, you play your really experimental stuff and it doesn’t hit the nail on the head though, like Timbaland, he
sublow). ‘Grime is a lot of kids in skullcaps and work you go away thinking, ‘well what’s the point of says he was trying to make drum’n’bass but couldn’t
Nike tracksuits making music on Playstations. The me making it if no-one’s going to dance to it?’ There’s find the right sounds.’
MCing is all about aggression and anger and frustra- this huge paradox, where if you’re making 12 inches,
tion and airing your views and the beats are simple a DJ has to buy it to be able to play it. Obviously Like all music scenes, broken beat has settled down
and dirty. It’s great, that’s what kid’s music should there are different environments, but if you play it at over time, but if you take a look at some of the
be all about.’ the Co-op, where everyone is schooled and there for music coming out now – especially the challenging
So what ties broken beat music together? the music, if they don’t dance to it you wonder what stuff on Stanton’s Enter The Umod or IG Culture’s
‘Attitude really, I think there just came a time where chance you’ve got of anyone dancing to it.’ New Sector Movements – they’re definitely not
we all had an idea to stop doing the other music we ‘When you’re looking at your music in that sense slowing down. And that makes sense, because
were doing and do something different, and it was you can really lose a lot of experimentalism because while the scene takes time to re-evaluate and con-
all around the same time.’ you’re so worried about the dance floor reaction.’ solidate the musical advances of the past, they’re
‘People were experimenting, using classic song Stanton found the drum’n’bass scene stifling when laying the groundwork for the future.
structure and playing that up a bit, misusing it. If it began to settle into a format of rolls and beat This process of consolidation is often the lead-in
you look back at the early broken stuff, all the early drops and says, ‘Even at Co-op there was a time to some of the best music to come out of a scene,
IG [Culture] stuff on People, Jazzanova and things when I could sense this formula looming over us. which makes it clear that broken beat is yet to reach
like that, they’re kind of song based and they have a Now everyone has kind of checked themselves and its peak.
lot of movement, but not a lot of form to them, they’re tinkering around again and trying to do
they’re quite free.’ something new. But there are not enough people Umod’s Enter the Umod is
Stanton complains that the scene has become club- outside of the scene making music for us to play.’ available on Sonar Kollektive
bier since then. He’s held a long-time DJ residency at They are appearing though. ‘I can see similar through Creative Vibes
London club night The Co-op, which has a reputa- things to where The Neptunes are coming from, but

THE MANY FACES OF DOMU

While Domu is Dominic Stanton’s main project, The new album from Domu should arrive on ‘And the rest are just one-off names I make up
he’s constantly releasing material and most recent- Archive later in the year. He’s hooked up with because I’m doing something that doesn’t really
ly dropped Enter The Umod on Jazzanova’s Sonar Yolanda, a ragga-ish MC who’s worked with the feel like it’s Domu.’ Among these are Yotoko’s
Kollektiv label. ‘Umod is about going back to Bugz as well as garage producer Spoonface and deep broken techno (released on the Delsin label),
messing around with samples, it’s very tracky and breaks duo Deekline & Wizard. ‘It’s shaping up to Brazilian disco as the Star Wars inspired Bakura
was done in about 8 days on spur of the moment. be a spacey theme, with samples from Battle of (Especial), the vocal broken beat of Rima
It’s a nerdy album for the heads, for the people the Planets and Transformers, and I’m piecing (Compost, and a new album likely to drop on
that want to hear experimentation and sound together a story about someone arriving on another Sonar Kollektiv), Vaceo (Chillifunk), Zoltar (Sonar
manipulation. It’s nice to strip it down and just get planet and trying to get home, a bit like ET but in Kollektiv), Blue Monkeys (Spinning Wheel), Kudu
a groove sometimes and that’s what Umod was robot form. I’m trying to write songs that are rele- (Bitasweet), Realsides (Sirkus) and Domu & Volcov
about. I felt really glad when I did it, but now I vant to that, you know, the kind of similes about (on Best Seven and Residual). He’s also producing
want to get back and write songs and use some exploration of one’s inner self and exploration of a vocal album for Nicola Kramer who sang on the
musicians and make a bit more of a masterpiece.’ the world.’ Rima and Domu albums, which should finished
‘Vocals aren’t that important to me, but I try to Sonar Circle is where it all started for Stanton by the end of winter.
include them as I know a lot of people are instant- with early releases on Reinforced. ‘I’ve always ‘It’s very complicated,’ says Stanton of his
ly taken by them. But the main thing is the been a very complex producer – my drum’n’bass prodigious, even by electronic music standards,
rhythm; I’m really into the drum programming and has so much going on, just to make up one beat I’d array of alter egos. ‘You just go round and round
the emotion it creates, that it leaves you feeling as have four or five different tracks and beats going in your head, ‘do I keep the nerds happy, do I
though it’s moved around a bit. All the music I over one another, all these different high hats and keep the girls happy,’ so that’s why I have so many
make has at least two or three different sections. things, it just gets a bit crazy at times.’ Stanton different names and so many different projects it’s
Whether it’s techno, hiphop or whatever, I like to still records under the alias from time to time because I can afford to make different people
have a lot of emotional and rhythmic dynamics.’ when he ‘feels like making some drum’n’bass’. happy at different times.’
18 Black
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e soun hipho tape lo ithou inally pigeo in’ J h thing me of
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wider udien e enspie -and-a h-arou ’s got chees ’ J app rtists ith it.
comm e is best k c e, and l on ‘Y ll th n d-the a rous- in e s s e ar to h re v isiting W
unity nown Lake)’ an it is edges hearte and th hile
field a is the ou Fo unsop d and e part ave a the ‘8
s Disc for his within re thro ol (Yo histic nature fun re y vibe real p 0s at
o Stu. work the Vocals ugh n ur Ho ated. Melin . In su assion the
stream S in the te e m erge fr ecessit u s e T he d a Taylo le a s e m mary fo r
succe ince fi chno that w is Buil r for fa – it’s its
ss wit nding a om th y, not t on a ns of a
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Clan A 1’s En ain- closin ake w round nscio Bliss dance
his ex nalog glishm g trac onderf and if us art n Eso to.
perim ue, A an in easily k ‘A W ul son they a iness. Flowe
e n ndrew Ibiz im alt z re rs
the ne ta l roots s has a agine fo r Bere g writers h eadin in the
wly e . Pacif return Conste a voc nice’ . The g (Obes Pavem
label stabli ica, re ed to llation al cou is bea cello e Rec ent
is a co shed leased too. A label nterp utiful on Hipho ords)
m Sydne on le th o in t. an
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ful tes g, and d Pneum rth ch ’r e a fa couple u ld app
icate tamen a t time a ecking n of the of sho ly for a w
and e t to h s quit . The churn rt yea ork-fo
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dream un dscap c ra ft at a n d sellin , scraw x brea
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20 Decod
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album pilati t to me ases fr w hethe at wh s ound le b astian o gam any b
from ons. Th ntion o m ro n g CD r someo e n I firs c reated Chan e synth ottom
Obese S eir late th in ne at t such s
tradit ydney e num e n tr th e b th heard sound
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p. Bli releas s n Es g play they’v media ce gett rd pla athom
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years v e been c ra ti c, upfr tin u fo r But th d o ver th r in e T ense o p o logy
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rs in th Experi ont lo annes is stirr e cou an (Valve
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metap e Pav pays, ney h alread FI sco chly te discs Takin
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choru T riple te d with ass. S d Rhod tte ma Brisba orativ , is a ack on
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ments r by p li g h ri te ippets s, occ e effort ent of
psych in the unchli t on th te tr ack fr r, and of voc a siona Brisba e-piece b etwee intent
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of Mis crews mind d a pa but and m t In T Air’s the fi Begin hamp thom ely
chief, like th m rty-tim tears, elanc ransla Moon lm ning in ions o Five a
rejects a n app e H ierogly e o f the W e if you h o lic mu tio n wil S a fari o swell f p ostcla n d
slamm roach phics est Co ’re no sic. If l be e r the in a s s of o ssical;
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and b ing ra lemen and m way th still m This is relativ mood tral fl
lunted zor be te aybe fo is bea sad, it e y elec otsam gy.
tricks a ts d b y pro S o uls r a long ti utifull a k e you fe m ay bri ly s olid g tr o n ics, it and je
aroun . ‘Vagin fo r m d me. C y el a li n b as ro
dam ore ce uction music g on s line und o progre tsam
in a Ice’ w re bral s that a lico al sco tt le wis a nd gu f s ses to
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territo dark m multip m achin lo aded t I fired . Here to ach g, utili n for
lands ry and a in im le e toy F irebir up a C tarist G rime h ie ve dri sing d his
cape, busy a l ambie teens M icrorh d Softw ommo A nthon as tea fting e rones
unexp w h ere it s e mi-in n t m uckin y thm. are’s s d ore 64 with a y Gue m ed up lectronic , field
ected seems d ustria variou g aroun I used e minal certain rra, a re with L vistas
comp ly subsid to build l s sup d wit to spend 8 -bit d Whils pench n owne o ndon-b of
elling e, cre then toys o er-low h Mic hours rum t work ant fo d textu ased g
world ating n the -quali rorhy in my ing w r work alist a ui-
be su where a vast C64. S ty spe thm a early materi ith wa ing w nd im
re wh a n to this o e c h s nd als al at ti rb ith p ro
Bob B at’s aro you c d 3" EP it is w ynthe o with sonic mes, G ling m electr viser
und th an ne and H from ith an siser the adven uerra’s asses onic a
aker e nex ver edonis Newc ear of and s turer ‘Stich of pro rtists.
Fish t corn astle nosta ample ic terr Joel S ’, with cessed
er. and K t, both h a rd lg ia ito ry te d ig
illing know core h that I duo re . The rn, als Melbo ital
& bas Sheep n for eavyw come corde piece o ven urne b
s filte . Imag their eights d in A here is tured ased
red th ine, if releas Epsilo appea u based into a
timbra ro y ou wil e s o n n ra n ce at g u st o n lm o s t melo
l pale ugh th Blood Festiv the W 2002 a coll
tte of e limit l, hard y Fist hat Is follow abora d-
the C ed so core a al. Wh ing G tion th
64 an und a nd dru ilst th Music uerra’s e
d you nd m at
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inute in this g, bac
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origin ratchin has e mus an be becom ord, a d re-
ri al o dd sc e o is s that c t- f it s was re a pe rec li ng an
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featuri
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sourc CDR, d dro iding
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ugh it k, d e e m ore ment time a on wit briou
e as a ack an l prov re s. Tho ith thic m ay be e er. Mo same scinati e lugu un-
releas feedb ateria ghts a cade nce g w h a t
ork, a
n d th
at the sors fa n som the fo
mask in g , the m
eh ig h li workin volumes. W the w just u c h
red e c e s
lays d o w re a te s
ward pro cessed cus. Th n derbel- Mows
on is high hind ehow ish
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o f its p mpes le bass c ing an
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d re ifie d fo
roodin
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rian K lu
s’ d o u b
dru m m
and
return ore un of a b gs of quite
in te
th e co n
ten e rs B ob Ba n g. Ad Waple ttergun e ssing
aps m nsist tterin er, is all lis en ts.
sam p li d B e n d s c a
tp ro c
cleare
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w e v g th at
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uts , w h
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re th
nd s a m p
nger c ted by ething keable wson wren ents a
the lo terrup cillati , som unsha in Mo for La r abov lessly
in and os cu ts igs dation flutte eir in
strum y seam improv-
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ffec ts ris ti c of e th
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sticky ing in g frag lly ev
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ometh eepin er rea a f Bris b a n a p sic is
ctron ic s
The re’s s
a s th e sw
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t eleg
a n t sion w Ba k e plex outfit ken a ting th
almos nd ten ficult
. Bob O Com ctronic Shane Rud gin s o rpora n Chan
sity a or dif iec e e le
ardist album
b e in c
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)
three-p keybo . The which ns. S
build in g fr af is a itator Lewis Pt 1’, isatio
becom Ponylo egurg mian Breed ,
really g of e x -R
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to th is tip
ne
sistin mplem tic tra stick ne Twoto
an Te inema nt to this Twoto obbe’s
it T il ly , s ide D a ti c and c . N o t conte y p ath on m ig ht e c it y n e , R yan G e glitch
Plaid d t in a th
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win
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tha C
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ight H ond a es tha
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Now R e Guff long a genre intric (Bug rging ecallin lateau
g o ld ) s m in s o u n dscap o t te rribly is v ery re ir m usic a b o u t every in s with die s o u g h eme e rm any. R o f M ille P d , it ’s an
b n e a g h n
(Stau erline
rs Ja bient ea is ke th just Nights
’ be y melo Alt er to G lism Sou
init, B ate am the id s well they ta g into wintr s clos inima m and er (m
aybe
As M y, cre tory. If it is, a achin ‘Junkie s and ining sound and m Rhyth
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b s c a p es of
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rl la nre-n torted a sec ur-to-t tion.
forme hazy,
and
eir pa
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mic ing du collec rely o
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ative, g than
ere be wit mmin interv ying fo e hiss uced t squa
medit inal, th ere w
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cks to
e o r orig s atisfyin R ight H te s t and e a t a t re a ls o n g c a b ly a s h o u re
in n o v ati v
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h e e sy vo is tr a cting o n s . ‘Aarg in g gui- a ll th th a t brings n c o pation o v e and
as r ndo u n ep ic - c d ti s h ay y pag ro
of the
fou
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thra in a w chy s sets u dub-
minu btle m It’s a odere ost floor f twit
Three 2, but gh su s. beats. se voc l, grin f the m use o otone choly
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a s ro p h u d m fl m a
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the lo chime es into drama or- ouse’ ‘Nhae ple, b m is occas sentati recommen
g tones chang gears rs , anch T ownh o nica. e – sim e albu u es it, (‘Repre is rs
wav eri n
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ay thro as its ally c aining Captu w and merge want no ob ugh th
halfw b e a u tifully e s e ventu c h ord rem il e p ri a tely ra rt in g to e if you y . T h ere is e w a y, tho ld d raw
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u a n k n Mo n b f the c
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patter.
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b le ry a S ti a th Syd n p a
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of
ality.
Ron in cre
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, r the ion –
used ing’ h nal m ng ab led fo al vis e
proce de music t Sail ventio layeri over strugg music zz; on
with onjure loss in e ‘Nigh ith con strong it h and rt icular m odal ja
to c n d in g li k ou t w w it h in g w eir p a p a rt – the
ability corr e s p o ri n g
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ing a – they iece phras
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incurr ise an
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f e a ch sec n e ra tes a u e s a me ca c h c arry p a rt rhyth d is fraugh o k like
o e h a a lo
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Bruce Melbo ach o n and ‘Luck onduc
ted path th too lo
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ti c T ones is w ork by e co-dire the to o n g tensio
e s ti k a’ and d s . A h p e r- th e y play y p la y too
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th tr If e
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th n as ng an herald
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th e5p
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c T ones n , p erhap A rt Festiv rn a l piece le b arrage o rk , electr li s h c o m e a ve a n M n
ti o d b w g b e r o
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ge to
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Bruce rchite
cture with ed pie n. La replac mana , occa
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artist bued ree tw s mpos n they
L iq uid A o u nd im d u ced th static (a a nd co e x pressio p e th e way
of th e a sso f s
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ey
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repeti a c ks tha to rs to pla Jeline
k
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m in ute tr
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rn s e w it h Ja n
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a-half ggests d wit t nt Re
tu ing li azing
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the ti that a o whe nse o ia) osk p quite all in succe ing’, it l
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This is ey in order ght p ne wh
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s 16
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yo e s o h id d ir tw e B e rl in fi c u lt s T ri le a s in
ts of th s ly e r if w a re
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nces fr eir M ld be aving duce nce a ompil ith- less b music
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constr h ot ma to riously Here ng arr f Ollie lly do re H e bega stic a
icted ch of n age to a O m nd m some-
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all fire ersion ti mes th o od pe ch as In acks s ateria n tinues g his m re al nam i-
rhym -n-bri s of th e r- H onour, o lo and l in mu to litc h bas o re min e as a
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mston
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tory – es pu prose than a m- al psy as do ye, an jects Consis is fina ck Fro
the H tting in ‘Bre nd Bra years chede wntem d Qua ting o l trilo st is th
e rd the M oth e li p o rk , d ro f s ta rk g y fo e
metal ’s Urt Cs in a the’ – ss s r artis a, and ambie skirt- nes, s m in r Doro
in ‘Ab hboy d istinc and th u c h as S ts have melod n t elec u btle e im al sou bo.
some out to does tly un en haolin also s ic ele tronic surrou lectric ndsca
times Break a cho fa m il c h arging Wood te pped c tr onica s, n d ed by s and g p es, du
rus th
espec grates
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this fo at verg iar terri- some
rock’n en Me
n, rem
up an
d mad
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c
is a d
auntin a mult
itude
uttura
l rum ll
sublim
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choru uation rcing
of iss
es on trippe ’roll ja
ms he ixing e an im ent the ba g pros
p of spa blings
ses – re fl ected u es tha D avid T d o u t new re , or A o n e of the p a ct, c k cover ec t. Despit c e , Black
e vers tracks in the t hruss d Astr ir ow ed an that lo e the Frost
along es to like ‘F age ele a, wh n d hea
s. Alt some song-w on ‘A ell’s B ctro ro o pro dphon w volu sugge
hough what ire’ m riting utocra lack L ck on vides odd re mes a stion
conse n ot a c c o n trived o v e from , duce ti c Zeit S u n g ‘B illion s embla e s p ermit re recom on
quenc riticis the the sh offers s’. Wh nce to ted, B
settle e of th ‘big m ow sto hift’, the ab record lack F mend
into m eir hig m per omen deep, Melbo rasive ilst that p Black ro -
h mu s e – as it t’ s ing- lush a p p er in u rn a cid tr re Ic e, the s t bears
in suc
h trac
ore na
tural sical ’s obv hopefu mbien ‘Afterm e duo Hes ance ly in
terms ceded
it. Wh infern an
progre a m bition io usly a lly a ta c e and a a th’, an iu s Dome releas o f tone, ilst it a l noise
Nevert ks as ssion s, wh funky unexp pro- e, the being differs
heles ‘Tang s betw en tra WEYE ster fo -assed re is a at hea
s an in o’ it a cks W, Ey r their ected tivene drama
reaso teresti ll feels een v pops e from forthc bass li mix o ss in n une rt a d tical-
ns it s s o erse/c legen o n e f th x p e cted s a rk ambie
retain uccee
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much
more
horus
g
up wit
haw dary Ja ming album that is albeit
a t
e way
sound imilari nt
a sens nd th at falt s atisfy ro o ve he e irdo e p anese . And th p o lar op s and ty and d
e of h e hidd ers fo ing. record veryth outfit en and fe posite tones istinc
umou en sp r the is bein ed in ing-bu the B w glitc volum are in -
Vario r. DH ace ja same g prod ‘98 th t-the-k oredo in and hes in es. Th trodu
us Ar m sho ta n u c e d a t is itc hen-s m s o u t th e p lace o e re ced –
ti s ws th cream today still le in in of this are no
Decom ts ey and fo . So forg agues k g , surp strang f beats, beats,
positio This a rget n et Dav ahead rising e dark and te
(Soun n mazin ationa e Hug of wh Black ly min nethe xtures
d Pun g coll l prid hes, fo at Frost imal d rworl fade
c ection e . P rg te p ro v ro n d . A
The c h) furthe sy-Ha et sun rpoin ides a e and challe
heese Vario r confi rmon - t to th curiou avant- ng-
. The la u s Artists rms it ic s n oise, e a s e le
God,
I have ck of Overl . Bob is Ico
nic. now m ggression th and a
ccom ctric p
iece,
a love emoti and Baker Fish inima at pre plishe
tracks -h ate re o n . The la (Natu F is h li s m c e d ed it. d coun-
. And restrip , I wo We’ve
with la ck of nder
bass a
nd ag shimm tionship w subtle
ty. Oh Nature ) what’
s nex had
ain th ering ith ‘8 strip Waitin t?
the m at ove sy nth, a 0 s m ovie s incorp is a Melb g for B ob Ba
idst rwrou wailin ound- orate ourne The S Guinn ker
Harold of that fan ght ch g guit
ar, sla micro enviro label how ess
Faltem tastic eesy s phonic nmen focus (Indep
in LA eyer (F all y terrib y n th p s in th ta l sound s in g on a enden
) and le wo I’m ba Overl eir wo , field rtists
whoe letch), rld po ck in and is who It’d b t/Vita
sound ver th Wang pulate Nature a vita rk. On record e easy min)
track a Chun d s tr l and ly rec ings a a to dis
to Ma t d u de wa g (T o Live b y ip ’s com a rr esting e n tl y esta n d n o velty, miss
One’ g num. s who ap p roach m itmen docum b lished especia Sydne
is but Askii and D es and takes lly wh y ban
pilati the op ’s (Ad did th ie Whils t to d ent th , from d Wait
on of ening a at roc t techn emon at dis the so en on ing fo
music track m Milbu k in ’ it p resen iq u es in s tr a ting th p la ys th e imme u ndtra occas r Guin
lation for sh to Decom rn ’s) ‘Th Ja p anese ts untre w orkin e dive d iate a c k of th ion th ness a
s by a ort film e m a ted urb g with rs d u nnys p peal o e ey sou s
g a positio a n etropo fi ity of o Mupp nd lik
fearle g gle of , intera n, a c d Bris lis via an so eld re f a cou f their et mo e out-
ss loc in n o ctives om- b ane a Toshiy u nds in c ordin a c hi ban ntry pu gypsy v ie. Ho
all cu a l Melbo v a tive, ge and in a n d trea rtist La a Tsu a thri g s. d made b whil m eets k w ever,
rated urne nre-be stal- ted m wrenc noda’s ving Ted c up of e bein lezme
unde music nding and N ulti-la e Eng ‘Recla alling Irish g sere r in th
record ians a lish’s bingo
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Floor’ a Nic happy and d next. Items

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26 patter. repea est th
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 SLEE
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Alex C
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S

left:
Blackletter’s Junk Extensions in
all its chaotic glory
above:
Blackletter back cover
Junk Extensions below:
(Vibragun 2004) CD print
Format: CD
Designer: Dank Realms

Hot off the presses, another explosive design from

Dank Realms for this second Vibragun release
which also credits Blackletter for some graphic
elements. Here, like a method actor, the graphic
chaos has motivation. A photographic background
shows the flat earth and superimposed cities being
bombarded with lightning. Fragments of letters and toonesque people, looking contemplative and irritat-
shattered keylines are strewn across the digipak by ed, respectively. Their inky lines are a great contrast
the mother of all storms, which comes complete to both the photography and the crispness of the
with twisters. The credits and track listing are simi- line work. And there’s a joke for fellow designers
larly thrown around the sleeve like so much debris, too. The name Blackletter is written in the heavy
the tightly tracked heavy sans serif face varying in sans serif on the front. But on the back it is written
readbility. Intricate spot varnishes add a watery in black letter – that’s what’s commonly known as look really old or traditional – the word ‘Antiques’
depth. Caught in the storm on the front cover and gothic writing, an ornate hangover from hand letter- for instance. But there’s more. In 1936, typeface
sliced into several pieces are two hand-drawn car- ing beloved of anyone trying to make something designer Frederick Goudy said ‘anyone who would
letterspace black letter would steal sheep.’ He was
left: referring to the writing on a typeface award he had
front cover just won, ungrateful sod. Anyway, here the black
detail letter is not letterspaced (big gaps between the let-
ters) but is very very tightly tracked. Goodness only
knows what Dank Realms will do to your sheep. It
appears on the back cover in this style and also on
the CD, which is printed in black on black. Noice,
and a good fit for the record – variously moody and
abrasive, with abstracted digi-noise contrasting with
fragments of melody and occasional guitars.
 Twink
The Toy Box
(Mulatta 2004)
Format: 3 mini-CDs and a picture book in a box
Designer: Twink

The type and design on the printed band that closes music is created with lots of toy instruments com-
this box recalls late 19th century American type – bined with electronics. It’s actually more musical
vaudeville posters and the like. But slip the maroon than it sounds – these people can play, contrabass
and lilac band off the recycled brown box and you and trumpet appear in amongst the toy sitars and
see a thoroughly contemporary... thing. Is it a jelly- animal sounds. Some of it recalls The Residents, but
fish? A three-stalked mushroom? Whatever it is, it’s these guys are on a very different trip. The next CD,
printed on there with a rubber stamp, and also 7 Pieces for Pling Plong features a very different and
appears on the lilac cover of the booklet that greets more classic serif typographic style in gold on a
you as you lift the lid of the box. The book follows deep red stock, topped with a clean illustration of a
the adventures, in pictures only, of a cute white leaping bunny with a key in its back. The insert fol-
bunny when he encounters this jellyfish/mushroom lows the same tri-fold format as before with a calli-
– and we have to add bird to that, because it turns graphic typeface on parchment forming the credits.
out it has wings. The bunny tries to catch the jelly- A pling plong is apparently a music-box-like instru-
mush bird with a butterfly net, but crashes into a ment that can only be played by cards punched
bush. He climbs the tree it’s perched in and tries to with holes. And it can only cope with C major, but
grab it, falls, and catches its leg as it flies off – but they have certainly taken it a lot further than that
he crashes to the ground again. But then, jellymush suggests. From the bluesy swank of ‘Dandelion
bird returns with two friends and they sing to him, Wine’ through the moody and evocative ‘Light
and he is happy. We could be, perhaps, in the land Through a Keyhole’ and the sweet melancholy of
of Cute. So we reach the first mini CD, clad in ‘Yarnbelly’ to the minute-long black and white
brown die-cut gatefold sleeve printed on the cover Hollywood sweetness of ‘Zwool’ it deserves the love
in metallic copper. Hand-drawn style type and care put into the packaging. To the last CD,
announces the name of the CD, Small Sound All Welcome to the Jingle where it all goes a bit darker.
Around. The name Twink is written in a beautifully Another bunny this time forms a skull and cross-
executed ‘70s blobby style across a flower. On the bones, except they are crossed carrots, in silver on
back, the track titles spiral in copper around the black card. On the back is the name Twink in mock
page. An insert into the gatefold comes on bright heavy metal logo form. The insert features Kiss bun-
orange paper, printed in black with credits and nies. Bloody hilarious. By now I really like these
another flower with musical notes on it. The CD is people. The CD print features the same bunny and
printed with an orange and white flower. Twink’s cross-carrots, but the centre of the CD removes his
face. And on the CD we get grinding guitars mixed
with toy xylophones, and driving synth basslines.
Above, right and below: And cellos. The design works in that each CD
Twink’s twisted universe design has its own personality to suit the different
in all its cute wonder sides of Twink’s output. So it relies on using differ-
ent colours of the same stock and the same die-cut
to hold it together. For me, the design of the outer
band could have had more connection with the lit-
tle illustrated booklet or vice versa, or the pattern
on the band could have been used inside to pull it
all together. Recommended all the same.
 Carsten Nicolai
Auto Pilot
(Raster-Noton 2002) classification of snow crystals by Ukichiro Nakaya
Format: CD and book (one piece brought the process of their creation into
Designer: Olaf Bender, Jonna Groendahl, Carsten a gallery space) to the effects of different sounds fre-
Nicolai quencies on liquids; the book contains a series of
photos of milk that you can almost hear.
In the embossing bonanza that was last issue, we Explorations cover the nature of randomness, new
showed an example of CD sleeve-as-book. Here is forms of notation, the codes and systems of lan-
another, although strictly speaking this is a book guage, the relationship between the mathematical
with CD. It’s a retrospective of some of Carsten and the organic, and the movements of energy as
Nicolai’s audio and visual science-art that I just sound waves. Somehow the potential severity of the
rediscovered on my shelf and it deserves to be cov- aesthetic is always dissipated, and perhaps the ran-
Clockwise from above: Carsten Nicolai’s turntable ered here. It’s a fascinating collection and thanks to domness plays a part in this. So the book’s cover
array in Auto-Pilot; the front cover of Auto Pilot; the Raster Noton aes- consists of a series of lines and dots from the piece
agf’s tiny delight. thetic it looks great. The Telefunken Reverso, the CD-holding device and
contents run from the bright yellow core of the CD peeking through a cir-
cular die-cut. The CD is solid yellow with copyright
details in tiny type, and is held in a gatefold flap
inside the cover. The book variously contains fine
line work and gallery photography, diagrams, and
interview texts. It’s well-paced, varying between
full-bleed double page spreads, text pages, and
illustrations swimming in white space. Transparent
plastic sheets printed with strips of black form the
centre of the book, recreating part of the Telefunken
Reverso piece. Can someone please bring this work
to Australia? Ta.

agf
delayONmyPILLOW
(Stichting Mixer 2004)
Format: mini CD
Designer: Uncredited

This is a good example of a low budget but quite interesting

sleeve. Firstly it isn’t square. A plastic closure holds together
a rectangle that is printed with bands of navy on cream
stock. The title appears on the back in Courier or similar.
Snap open the plastic doodad and remove it from the die-cut
hole to reveal two more navy stripe-printed flaps that help
secure the CD, which is printed half white, half blue and fea-
tures artist, title and catalogue number in Courier again.
A business card accompanies it and contains title, credits,
label contact and logo and website addresses. It could have
gone further, but it’s a nice twist on mini-CD packaging.
Musically it’s an 18-minute piece of field recordings, creaks,
overheard voices, whispering, occasional percussion, DSP
and a lovely gentle song at about the eight-minute mark, with
a more strident song at the end. The whole piece is very
evocative – I would love to see it interpreted visually.

See cyclicdefrost.com for more including the Rune Grammofon

release Money Will Ruin Everything, more illusttrations and,
as always, reproductions in glorious full colour.
 fuck-ups, it displayed the randomness and chaos that elec-

LIVE tronica sometimes misses. Doily, although overshadowed by

REVI
her labelmate, was consumate in her honest set of crunch
and syncopation. During the odd break and wander I peeped

SONA
R 20
EWS Prince Po doing call and response (yawn), Prefuse 73 spin-
ning plastic (double yawn) and poor old Fog from Hymie’s
Basement playing a lonely set post-downpour on the main
0417-19 stage, amongst a mere smattering of audience members
June, (sigh). Deciding to leave the huge night event to the pilled-
by Da Barce up munters I headed to my hotel via one of the stranger
le Ha lona
rrison takes on Indian cuisine that I’ve tasted.
Arriving mid saturday I was greeted by Dani Siciliano in
full band mode reinterpreting faithfully her most recent
Sonar is a strange beast. The sheer scale of the production album. Less throat and silk than chest and canvas, her pres-
and organisation, even in the daytime events, was mesmeris- ence and performance were remarkable for their ability to
ing. At times sonically arresting, at others astonishing in its capture the nuance and shade that she possesses on record
blandness; at times too crowded, and at others, disturbingly without optioning on flashy gimmicks, apart from getting
empty; at once an epiphany and an exercise in futility, it Herbert up for a bandoneum solo. Heading over to one of the
was, and probably always will be, an enigma. smaller stages I managed to catch most of Roger Robinson’s
Taking place in the centre of the glorious ramshackle set of spoken word/hiphop – a large man with a command-
metropolis of Barcelona, Sonar ran over three days and ing presence, Robinson played tracks from his upcoming
nights. The daytime events were held in the grounds of album on Jazz Fudge. Expecting his righteous and inciteful
Barcelona’s premier modern art facility, the CCCB/MACBA, poetry I was almost shocked when, accompanied by guitar
literally in the epicentre of the city. With apartment blocks on and violin he proceeded to sing a pretty ditty in praise of
all sides, sprouting from the intricate laneways and thorough- sunshine with summery chorus intact and smiles all around.
fares, the space was like an oasis in a desert of intricate 19th Fantastic, and courageous. He was followed by label mates
century architecture. The proximity to housing is arresting – Dark Circle, a German/UK hiphop crew whose boundless
the daytime events take place on thousands of people’s energy, interplay and bilingual verbal gymnastics were a
doorsteps – needless to say the locals are a mite tetchy at the breath of fresh air. And despite their reputation for being a
presence of so many people, and show it with banners hang- little serious their set never strayed into self-indulgent terri-
ing from windows and balconies. The daytime events were tory. Nearby a Domino showcase featured Juana Molina, Max
change) we were joined by Big Dada’s Roots Manuva and
generally more experimental and featured showcases from a Tundra, Fourtet and To Rococo Rot. Juana Molina stole the
band. Coming on to a just-filling room they took a little
number of different labels including Lex, Ghostly, Domino show as well as my heart with her delicious understated folk
while to get settled; the fact that Mr Manuva has selected
etc. The nighttime events were held in the less salubrious songs soaked in gentle electronics. Accompanied by an imp-
a band as adhoc and casual as himself may have also played
environs of a warehouse complex in Barcelona’s outskirts, ishly playful yet portly ginger-bearded keyboard/guitarist,
a part. But that’s part of the charm, and by the time ‘Witness
and were basically huge dance parties with the odd decent her set was delivered with a quiet charm verging on shyness.
(1 Hope)’ was played (featuring two bass players) all the slop
act sandwiched into line-ups of big name DJs. Next up, Max Tundra had the dubious distinction of being
finally solidified.
Wandering around on the first day was a little futile – still one of the few acts of substance to really capture the crowd’s
Day two was far more coherent and thus more enjoyable.
recovering from jetlag and acclimatising to the city meant Despite this I still missed out on more than I saw. The
that I managed to catch very of little of interest. The gallery festival curse of crowds, time conflicts and intervening fac-
however, remained open, and was full of Sonar punters tors (such as eating/abluting/resting) meant that I managed to
(including me for a couple of hours of air-conditioned bliss) miss the Spanish hiphop of La Excepcion and Roty340.
meandering through an excellent exhibition on war, with However, I was stunned to stumble upon Rune Grammofon’s
security present, it seemed, to insist only that the public Maja Ratke, whose glacial stillness and strength was a tonic
carried their backpacks in front of them. to the heat and grit of the day outside. Francois K with a
The evening was taken up by a special umbrella event fea- majestic Mutaburaka holding court was another early high-
turing the Barcelona Orchestra in a versus situation with light, with the dub poet riding equally comfortably over
Ryuichi Sakamoto, Pan Sonic, Fennesz accompanied by abstract rhythms and more familiar dubwise terrains. When
visuals from Lia, Jon Wozencroft and Videogeist. Despite the the stalwart DJ moved into more housey domains so did I.
sumptuous surrounds of the auditorium and the obvious One of the smaller stages featured showcases from
pedigree of the performers, it was a little lacking in focus Michigan’s Ghostly International and NYC’s Brøklyn Beats.
and inspiration. Both Sakamoto and Fennesz did little audi- Geoff White from Ghostly played a somewhat dry set of
bly to really interrupt, interact or involve the orchestra, messed up instrumental hiphop ensconced behind a laptop,
adding subtle DSP effects to what seemed like the whole and managed to barely change facial expression through the
orchestra rather than remixing (or reconducting) singular course of the set. Dabrye seemed far more comfortable, and
instruments – in fact Sakamoto seemed merely to be manip- was far more compelling because of it, even though his set
ulating a Kaos Pad during his performance. The roles were was very similar to the one he had played in Australia in
reversed during Pan Sonic’s set and this was far more suc- 2003. Brøklyn Beats upped the ante, performance-wise at
cesful, with the Barcelona Orchestra playing at, around and least, with a quite manic display from Drop the Lime. clockwise from top: Juana Molina and ginger-bearded com-
through Pan Sonic’s clinical but organic swathes of sound. A skinny blonde kid flipping out to a soundtrack of mashed padre; anti-sonar banner hanging from an adjacent apart-
The late evening featured a press launch at a largish up drill’n’bass while screaming into a mic was pure gold and ment block; Roger Robinson in flight; Dark Circle displaying
Barcelona club. After waiting through a set drawn directly easily the highlight of the day. Full of pauses, ruptures and gesticular fortitude.
from hiphop’s canon (it’s great that some things don’t
 DETR
OIT E
29-31 LECT
May, RONI
by W Detro C MU
ill Tre
gonnin
it SIC F
g ESTIV
AL (D
EMF)
In Detroit, no-one lives downtown if they none of the melody and top end, which is really
can afford not to. Instead the middle class what his tracks are all about.
live a million kilometres away out in the The prize for the weekend’s most amazing after-party venue
'burbs and, should they be so unlucky as to goes to Ghostly International , who hired out the ballroom of
work in the city, commute everyday. I'd the Detroit Masonic Temple – a massive, slightly gothic, shab-
heard about Detroit’s ruined downtown and by building, from the 1920s. The inside of the building was
was expecting to be amazed by the post-indus- all stone floors, wide, dramatic staircases, high ceilings, low
trial melancholia of it all – and I was amazed. lighting and massive chandeliers. The ballroom even had a
It's one thing to be a visitor wandering around mezzanine with viewing boxes. Unfortunately, in order for it
appreciating the gritty aesthetic and quite to have looked like a party, they would have needed about
another thing to actually live there, when the another 400 people more than the 150-odd techno geeks,
‘shithole’ aspect would probably take over from intellectuals and professional-haircuts that were there by the
the ‘melancholic’ grandeur. time Matthew Dear bumped out a tough, minimal and occa-
With a backdrop as poignant as this it was only sionally interesting laptop set. There was a pretty amazing
fitting that the Detroit Electronic Music Festival after-party where the same Kill Memory Crash played along-
was fraught with problems of relevance, lack of side DJs including Ben Sims. It was in three little rundown,
resources and adequate cash flow. sweaty, interconnected shopfronts—rough n’ tumble and real-
The cracks appeared as festival organiser Derrick ly dark. Tech-house in one room, bangin’ techno in another
attention with a genuinely entertaining and amusing set of May was hardly to be seen over the weekend. When he did and electro-tech in another. Brilliant. Another after-party had
his trademark brittle beats viewed through red cordial gog- pop up, he was looking pretty worried – not much of a sur- Japanese legend Ken Ishii playing to a crowd of just 200.
gles. Foot on the wedge guitar solo and all. Unfortunately To prise seeing as it was a lot of his cash that was funding the By the last day, when most of the big local names were play-
Rococo Rot fell victim to an unseasonal storm and had their event. Since the festival is always free, they were having a ing, it got to the stage where I was just praying that Kevin
set cancelled, but the faithful few who stayed around were tough time getting anything back. He interrupted Barbara Saunderson, Stacey Pullen and Rolando would be able to save
treated to a Fourtet set on two laptops that was recieved by Presinger’s (~scape Records) set for an ‘important announce- the main event by at least being entertaining. Saunderson’s set
most with harmless abandon. ment’: they needed cash, so could we ‘please buy the official I’ve already mentioned. The other two were unfortunately on
Fed and watered we ventured out to the warehouse night merchandise’? Later on it turned out that the power suppliers at the same time and Pullen lost out. Rolando was playing the
event. The venue and production were simply awesome – the had threatened to turn off the power the next morning if they main stage and he played a mostly excellent, well constructed
smallest stage was three times the size of the Hordern, and it didn’t get paid and that, as recently as two days before the fes- set. In a good way, it was kind of just what you would expect
was dwarfed by the two bigger hangers; both of which con- tival started, the legendary Kevin Saunderson was scraping – some Detroit history mixed in with newer, Detroit-influ-
tained stick-figure DJs partially obscured by the curvature of around for the $125,000 that they needed to pay the security enced tracks. But the crowd? There would have been a few
the earth. They were that big. Sticking in the hiphop arena I and sound guys. thousand people there. Only about half were dancing. The rest
was treated to a rare glimpse of Madlib on the mic. Billed as a Presinger was playing what was called the Underground just stood around. When the MC (Derrick May, hidden behind
Jaylib show, he was to be joined by Stones Throw label mates Stage which was literally underground, in a space a bit like a speaker stack) was trying to amp up the crowd, no-one was
Jaydee and Peanut Butter Wolf but was left to fill in time with a double-height car park. It had a massive PA that was responding to his calls. There was even crowd-surfing and,
beats provided ably by J-Rocc. Seemingly unpeturbed he always turned up too loud to the point where the kicks and god help us, girls flashing their tits. It was all so surreal.
mumbled and stumbled through a set of typical Madlibian bass all just blurred together into a huge, messy, bowel- Why have a free techno festival for people who, it
genius that was devoid of crowd pleasing schtick apart from shifting boom that made the top of my skull vibrate. When seems, mostly aren’t really that into it? It seems like part
questions like ‘Do you like Coltrane? You know Sun Ra?’. Presinger played, it was raining outside so the place was of the reason for having a big-ass festival is to pay homage
Obviously left with time to spare he hopped in the drums for packed with ‘peakers’. When May interrupted, he apolo- to their own glory. Most of them have been around a
one of the most blatantly self-indulgent, embarrassingly gised for breaking up her ‘really excellent set’ and I’m while now — some would have released their first record
incompetent and downright shitful displays of drumming I’ve thinking: ‘bullshit, you only just got here’. As a taste maker nearly 20 years ago — so I suppose their options are
seen. I had to leave the room in shame – but when he was she’s faultless, but it’s a party and if she’s going to DJ, she either to fuel the hype or fade away. Many still seem to
joined by Scott ‘Prefuse 73’ Herren for a drum-off it I returned should learn how to mix. But she wasn’t the only one with believe, without a hint of irony, that they’re on some sort
because the display had entered the realms of high farce. We substandard mixing skills. Kevin Saunderson played the of futuristic mission for the salvation of music. The festi-
were then treated to an hour’s audience in the aspect of Kid penultimate set on the main stage on the last day. This val program guide was full of this hagiographic, self
Koala’s undeniable virtuosity before returning home. joker’s been DJing since before I was born and his mixing aggrandising bollocks. This is the glaring problem for the
was rubbish. festival: that the Detroit sound is, well, kind of boring
The three days were ultimately satisfying, but I was left The best day of the festival was the first one, when most of now. Despite supposedly being the music of the future, it
with a feeling of having missed out on just as much. The the darker, electro-y people and the Dutch contingent is sounding purely historical. They needed more fresh tal-
sheer magnitude of both the venues meant that getting played. Kill Memory Crash were easily my favourite, banging ent, not just the old men.
around became a task in itself, and ‘stage surfing’ (i.e. out a rough set of cranky electro. It’s good to see producers
checking more acts for shorter periods of time) was almost laying their own vocals over their tracks, even if they are just
out of the question. Nevertheless a fine few days that lived screaming through a vocoder. I was really looking forward to Both reviews appear in longer
up to expectations Legowelt’s D&D techno, but he was disappointing, probably form at cyclicdefrost.com
because the booming PA meant that you could hear almost
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compilation of the six hour ‘Unites States of
America’ concert. I was particularly influenced by
her in my earlier sound works, in the use and
Joni Mitchell manipulation of text, which provided me with a
Clouds, Blue & Hejira bridge from my performance practice to an electron-
(Reprise 1973, Reprise 1971, Elektra/Asylum 1976) ic-based and audio-focussed approach.
From my Beatles obsession developed a deep love
The Beatles of all things folk, and as a wannabe singer/song- PJ Harvey
Sergeant Peppers Lonely Hearts Club Band writer, what better role model is there than Joni? I Dry & Is This Desire
(Parlophone/EMI 1967) found Clouds first –a straight shot of acoustic pleas- (Shock 1992, Island 1998)
When I was about 14 my mother came home from ure. Then I bought Hejira and didn’t know what to The feisty rock-babe in me got really excited by the
Bankstown tip with a box full of records. It con- do with it – all that dark, moody jazz. I forced bold and blatant tracks on Dry. It was the early ‘90s
tained a pretty complete Beach Boys collection that myself to listen to it. Now there is nothing like the and I was big on the assertive-female-perspective
did nothing for me. There was also Sergeant incredibly agile, dark, funky bass lines of Jaco thing, so her bolshy lyrics really appealed. She was
Peppers..., complete with cut-outs and the thickest Pastorius on ‘Coyote’ and ‘Black Crow’ for a road one of the first heavier, dirty-rock sounds that I was
slab of vinyl I’d ever seen. I listened to it and wasn’t trip. Blue came to me a lot later. Joni’s tinny guitar attracted to after all that folk. But what I really
too fussed, but thought that perhaps it was some- style and liquid lyrics never cease to do it for me. I loved was her conversion from the punky, rock style
thing important, so kept it when we got rid of all will unabashedly say that ‘Case of You’ is one of the to the intricate sonic depth of Is This Desire. Here
the rest (I don’t want to think what other gems may greatest love songs of all time. she built a whole other world both lyrically and
have been there). I revisited it two years later after sonically. The restraint in the production and inte-
being given the lyrics to ‘She’s Leaving Home’ in Laurie Anderson gration of electronic content has a real brooding,
my English class, and it unleashed an unholy obses- Big Science & Strange Angels darkly sexy quality about it.
sion that saw me collecting the entire Beatles output (Warner Bros 1982/1987)
over the course of a year. In 12 months I trans- It’s pretty evident that lyrics do it for me. So not Björk
formed from choir girl to rebel child, following the surprisingly, Laurie blows my mind. I first heard Human Behaviour & Vespertine
lads from skiffle rock’n’roll, through the drug reve- ‘Walking and Falling’ when I was 17, as a sound- (Bapsi/One Little Indian 1993/2001)
lations of Rubber Soul and Revolver, finally finding track for a dance work in which the dancer lay on When I’m not wanting to be Laurie Anderson, I’m
my spiritual home in the conceptual explorations of the floor and blinked in time. I love the linguistic wanting to be Björk. Everything on Debut opened
Abbey Road and the White Album. logic, the philosophical nuances – Laurie’s conver- my eyes. Her vocal abandon, more akin to a jazz
sational style creating a less cock-driven beat poetry singer or wailing harpy than pop utilising every
– and of course all her early explorations with elec- possible timbre; the fusion of beats and found
tronics and multimedia. I have since repelled many sources; down to the atmospheric recording tech-
 ing, texture and then text. The greatest revelation epiphanies, but I don’t listen to sound art at home for
was (and it still is) those spiky rhythms that emerge, my own pleasure. I have been known to play Peter
o
ting t looping unusual sources, the uneven beats and Blamey’s Felt, Joel Stern & Anthony Guerra’s Stitch
no t wan lurches that works so well with the voices. (Impermanent Recordings 2002, 2003 respectively),
n I’m n,
‘Whe A nderso
or Scott Horscorft’s 8 Guitars (Quecksilber 2003) from
ur ie rk.’ Belle & Sebastian time to time, and quite recently been mesmerised by
be La g to be Bjö Tigermilk Robin Fox’s DVD Backscatter (Synaethesia 2004).
antin
I’m w (Jeepster 1996) But it just doesn’t seem to work by myself – I
The Reindeer Section don’t have the same attention to detail and absorp-
Son of Evil Reindeer tion in the texture.
(BrightStar 2002) What I love about live audio art events is being
niques of ‘There’s More to Life Than This’. I love Obsessive home listening for me is bitter sweet gathered in a room with other people sharing that
everything she does, but book-end Debut with the Glaswegian pop, and has been for a few years now. listening experience, having a single uninterrupted
very other-worldliness of Vespertine and you see After bagging Belle & Sebastian as limp and sappy on focus for a specified time, capturing the sound in
how she goes from strength to strength. The fusion my first listen, they grew on me – now it’s like a time and listening to people listening. In this con-
of Matmos’ masterful sampling and the extraordi- nasty skin condition. Tigermilk is on high rotation. text I’ve had plenty of epiphanies – the Husbands at
nary choral and orchestral moments is something There’s nothing like ‘She’s Losing It’ to set an ugly Space 3 in September 2003, Kaffe Matthews in a
only the weird Icelandic princess could pull of morning on the right vibe. But my ultimate favourite Berlin cellar in February this year, and Anthony
without it ever becoming excessively saccharine. is a CD compiled by a friend of mine from singles. Pateras on prepared piano at Impermanent Audio in
Nothing beats the three-chord catharsis of ‘This Is April this year. When it comes to art, that initial
Tricky Just a Modern Rock Song’. And just when I thought I demand for ‘performance’ will just never lay and
Maxinquaye might be kicking the bad habit – post Electrofringe down and die.’
(Island 1995) 2003 when I needed some acoustic distraction – I
A friend gave me a tape copy of Maxiquaye for my found Reindeer Section’s Son of Evil Reindeer. Those Gail Priest is now retired from
25th birthday, and the world has never been the painfully sweet melodies with the most devastating Electrofringe and is working on
same since. I was still in acoustic singer/songwriter lyrical content you’d ever hope to find perfectly artic- several other projects. Check out
mode and hadn’t really listened to any electronic ulate every kind of heartbreak you have experienced. mp3s of her sound art at
music (besides Björk) but all of sudden everything ‘Now that I’ve exposed my tune-based listening pas- cyclicdefrost.com
became clear. I could see the structure, loops, layer- sions, I’m meant to tell you my favourite sound art
 DEA R
A REG
ULA R DO DE G R
since
SE OF
IRREG
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ASSI
we didn’t really CULT
see Jennifer much on screen URE
after that. It was only recently that I discov-
ered the truth. It turns out that Jen didn’t actually
do any of the dancing in the film – most of the hard
work was done by French dancer Marie Jahan. DURAN DURAN
Dear Degrassi, However, Marie didn’t know how to do a backspin, I know I harp on about this one, but it
What’s you’re greatest disappointment? which features so prominently in the climactic deserves another mention: Duran Duran supporting
Duane Glazafemty dance scene. Hollywood, having stacks of cash said, Robbie Williams! SUPPORTING! I honestly shed
‘Hey, let’s get the best of the best to teach Marie to tears when I found out about this situation, but I
Disappointment? You mean one singular instant in backspin in just one day,’ and so they called in shed further tears when the 26-year-old work col-
my life that has been more disappointing than Richard ‘Crazy Legs’ Colón of Rock Steady Crew league who was scoping for Robbie tickets asked me
another? No can do, my friend! My life has been lit- fame. When he told them that you can’t teach a who Duran Duran were. I could have solved NSW’s
tered with disappointments to the point where I’ve backspin in a day, they asked him if he wanted to drought crisis with my tears! Only it gets worse.
just tossed them all into a basket labelled do it. After being shown the money, Crazy Legs Whilst up late recently, I found myself watching a
‘Disappointments’. Let me rifle through it now and donned some leg warmers and a leotard... and mil- batch of ‘fresh’ video clips and once-raunchy-now-
reminisce in a state of perpetual self-indulgence. lions of horny men were none the wiser. paunchy Simon Le Bon was leading the pack of sim-
ilarly be-jowled Duran Duran leftovers with a terri-
BILL COLLINS’ DEMISE FERRIS’ FIDDLER ble comeback single [which incidentally has been
The evaporation of Bill Collins from free-to-air televi- ‘Ehhhhhhd Rooney’, otherwise known as Jeffrey adopted as theme music for channel 7’s Sunrise –
sion has meant that people are now expected to just Jones who played Ferris Bueller’s nemesis principal. Ed]. Didn’t they prove that their creative pool was
watch films without any introduction. How else are I’d always been a huge fan, but wait, what’s that? starting to resemble a desert back in the mid-’90s
you expected to find out fascinating facts and witty Busted for child molestation. Nice one, Ed. I’ve with the release of ‘Electric Barbarella’, a nod to the
anecdotes about the particular print you are going to never been able to watch him utter the words ‘The film from which they stole their name.
watch? In fact, I think that I can attribute Bill with game is up. Your ass is mine,’ in the same way since.
my pernickety love of film and, more generally, pop Time for another patented Degrassi segue... I’ve had
culture. Thank your respective deity that cable TV SILENT SOUNDTRACK a blast writing this column over the past six years,
has snapped him up and he can bring further joy and And whilst we’re on the subject of Ferris..., I wish I but unlike Duran Duran, I’ve decided to hang up my
information to my life. How can you not trust a guy could invite John Hughes around to my place for boots before I wear a hole in them. Stay tuned for
who lived with his mum until she died of old age dinner and then box him around the ears for his the next Cyclic Defrost for a tacky, Vaseline-soaked
and then promptly married her best friend? distinct lack of good judgement. Foolishly, he decid- ‘Best Of’. And hey, who knows, five years from now
I remember Bill Collins presenting Flashdance on ed not to release an official soundtrack of the film. I may come back for a reunion issue sporting an
free-to-air and going on about a huge disappoint- He felt that the mix of songs would have been far appalling hair-do!
ment he had with the film. In fact it so disappointed too eclectic to have sold successfully. From the Star
him, that he was afraid that if he revealed it before Wars theme to the most beautiful cover of a Smiths Alas, Degrassi will be going the way
the film, he might ruin people’s enjoyment of it. So track ever (and yes, all you trainspotters who think of Sex and the City, Friends and
if we wanted to find out what it was, we would they can teach me a thing or two, I do own the Morr Dicko and shall not be returning
have to go and see him at some shopping centre Music compilation, and The Dream Academy’s ver- next season. She will of course be
public appearance the next day. My father and I sion of ‘Please, Please, Please Let Me Get What I featured heavily in reruns and may
speculated as to what it might be and he came up Want’ is far better). And who on earth would admit appear in cameos for such things
with an answer: Jennifer Beales was actually a man. to knowing who Wayne Newton was if it hadn’t as Christmas specials and the like.
For many years I thought dad had to be right been for the street parade scene? A ‘best of’ will appear next issue.
couchblip!
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